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VOL.1 AUGUST 11. 1913 No 26

MENTOR

A Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY A

American
LandscapePainters

DEPARTMENT OF FINE ARTS

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THEMENTOR

"A Wise and Faithful Guide and Friend"

Vol. i

AUGUST n, 1913

No. 26

AMERICAN LANDSCAPE PAINTERS

GEORGE INNESS

HOMER MARTIN

A. H. WYANT

THOMAS MORAN

D. W. TRYON

F. E. CHURCH

American Art Annual

By SAMUEL ISIUM
t

THE beginnings of art in America were confined almost exclusively
to portrait painting. In the earliest colonial times unskilled
limners came from the mother country and made grotesque effi
gies of our statesmen and divines. As the settlements developed
and the amenities of life increased better men came, and native
painters were found, until about the end of the eighteenth century
a portrait school of surprising merit arose, founded on the contem
porary English school, and developed men like Copley, Stuart, and
Sully. The other branches of painting, however, history, allegory,
genre, still life, landscape, and the rest, were rarely attempted, and
usually with unsatisfactory results.

Probably no artist devoted himself entirely to landscape until
1820, when Thomas Doughty, who was already twenty-seven years old,

62385

AMERICAN LANDSCAPE PAINTERS

gave up his leather trade and took to painting American views in delicate
gray and violet tones, with small encouragement from his contemporaries.

THOMAS COLE, THE IDEALIST

Soon after came Thomas Cole, the real founder of the school,
who emigrated to America with his father s family when he was nineteen.
He was a sensitive, delicate youth, who suffered much in his wanderings
while trying to support himself, at first by his trade of wood engraving,
hut most of all after the chance meeting with an itinerant portrait painter

led him to take up art.
It was not until he came
to New York in 1825 that
his merits were recognized
and his difficulties ceased.
Some small canvases that
he exhibited were quickly
bought, and from this time
until his death his popu
larity steadily increased.
The quality of Cole s work
owes much to his own
character, and perhaps
also to his early English
bringing up. He was an
idealist rather than a real
ist. He cared less to re
produce the beauties of
the nature around him
than to awaken high,
moral thoughts. It was
not for the pleasure of the
eye, but to suggest profit
able musings on the
grandeur and decline of
nations, the transitoriness
of life, the rewards of
virtue after death, that he
painted the "Course of
Empire," the "Voyage of
Life," and the rest. He
was the founder of a ro-

Metropolitan Museum of Art

THE VALLEY OF VAN CLUSE, BY THOMAS COLE

AMERICAN LANDSCAPE PAINTERS

Metropolitan Museum of Art

THE AEGEAN SEA, BY F. E. CHURCH

mantle school, which may be traced even down to the present day.
The succeeding artists did not indeed paint allegories; but they put the
main interest of their pictures in the strangeness or beauty of their sub
ject, rather than in rendering ordinary scenes with personal feeling.

CHURCH, PAINTER OF NOBLE SCENERY

The best known of these followers was F. E. Church, who was a
pupil of Cole and the only pupil that he could properly be said to have
had; for Church lived and studied in his house for years. While he
showed no desire to imitate the mystic subjects of his master, Church
cared little for the common world immediately around him. He seems to
have thought that the nobler the subject the nobler the picture, and he
ransacked the whole earth for its beautiful, strange, or impressive scenes.
The luxurious vegetation of the tropics, the isles of the ^gean Sea, the Par
thenon, icebergs, volcanos, he painted them all, set off by sunset, clouds,
thunderstorms, rainbows, or whatever else would enhance their beauty, and
he painted them well. He was the best artist of his school; much better
than Cole, whose careful studies of real scenes are often well done, but

AMERICAN LANDSCAPE PAINT E:R S

Metropolitan Museum of Art

THE ROCKY MOUNTAINS, BY ALBERT BIERSTADT

whose workmanship degenerated rapidly when, leaving
nature, he entered into the realm of pure imagination.
The succeeding men who took Church s view
point and sought subjects for their exceptional beauty
or majesty had an additional impulse given to their
imagination by the discovery of such subjects in
their o\vn country. Church painted no important
picture of his own land; but when exploring parties
began to enter the great West they were accom
panied by artists eager to set down marvels no less
striking than those of the tropics or of Europe.

ALBERT BIERSTADT

The foremost of these artists was Albert Bier-

stadt, who gave to the public its first impressions of the vastness of the
Rockies and all their strange fauna, the buffalo, the big trees, and the
rest. The public, both educated and uneducated, enjoyed and ad
mired the pictures which offered it a new impression of the grandeurof
its country and flattered the somewhat uncouth but real pride of the time.

AMERICAN LANDSCAPE PAINTERS

Other men besides Bierstadt
accompanied the explorers of the
West, Whittredge, Wyant, Samuel
Colman, and others, but though
they painted the plains and the
Rockies they soon deserted them
for other subjects. One man, how
ever, now a veteran of his profes
sion, has remained faithful to his
early ideals.

THOMAS MORAN

Thomas Moran, who was one of

three brothers, all distinguished in

art, came with them to this country

from England in 1844, when he

was seven years old. He continues

to our day the traditions of Church;

not directly, for his training came

from an entirely different source,

but by his natural preference for

Nature in her more striking and

impressive forms. A trip to the

Yellowstone as early as 1871 fur
nished him with a series of subjects

peculiarly his o\\n; but, while he has always found matter for his brush
in the marvels of the great West, he has added to
them many of the most beautiful scenes of Great
Britain, Switzerland, Venice, and the Orient, render
ing them all with a sure facility and brilliance that
make his canvases recognizable at a glance.

In contrast to these men, who sought to give
interest and dignity to their work by choosing imag
inative or strange, far-sought subjects, may be placed
those whose interest was rather in the familiar native
landscape that lay about them, who found in it
beauty sufficient for their needs if only they could
fully express the emotions with which it inspired
them. The two schools are anything but rigidly
separated. The idealists made careful studies from
THOMAS MORAN nature, and the realists attempted excursions into

LAKE OF THE WOODS
BY THOMAS MORAN

AMERICAN LANDSCAPE PAINTERS

ASHKR B. Dl RAM)

allegory or scenic beauty; but the fundamental
difference of the point of view is sufficiently marked.
The two founders of our landscape schools are
typical examples of the two temperaments. Thomas
Cole, born abroad, with much of the sentimentality
of Europe of that time, was a dreamer, sensitive,
shy, living in his visions.

THE TRUTH AND FEELING
OF DURAND S ART

Asher H. Durand, on the contrary, was of
sturdy Huguenot stock, one of the many children
of a farmer who cultivated his land on Orange
Mountain, but whose ingenuity made him also a

watchmaker, silversmith, and skilled mechanic generally. His son, after

some boyish efforts at engraving, was apprenticed to that trade, and

rapidly became by far the best engraver in the country, both prosperous

and skilful. His masterpiece is

the "Declaration of Independ
ence," which holds its own today

as a most creditable production.

He was still an engraver when

Cole came to New York, and was

one of the first to encourage him

and buy his pictures. At this

time Durand, though an older

man by some five years than

Cole, had not yet begun to paint.

\\ hen he did some ten years later,

in 1835, his first productions were

portrait heads admirable in their

delicate draftsmanship and sure,

fine characterization; but he soon

abandoned these for landscape,

and for the latter part of his long

life devoted himself entirely to it.
Durand s landscapes, like his

portraits, showed his training as

an engraver in their accurate and

minute drawing. Contrary to

the general practice of the time, IN THK WOODS, BY ASHER B. DURAND

AMERICAN LANDSCAPE PAINTERS

Metropolitan Museum of Art

A GLIMPSE OF THE SEA, BY A. H. WYANT

he painted many
of his large can
vases out of doors
in face of nature.
His love for nature,
combined with his
training as an en
graver, probably
accounts for his
almost invariable
choice of full mid
summer daylight
for his pictures,
when vegetation
was at its fullest
and all its details
could be minutely

seen. Yet, for all his love of detail, he does not loose unity, and the color
is true to the soft, warm haze of summer, and the shadows keep
their local atmosphere.

THE HUDSON RIVER SCHOOL

Durand s landscapes were popular, and there grew up about him
a school of painters treating nature much as he did. They loved the
country that they visited in their summer excursions, and like him they
painted Lake George, the White Mountains, the

P Hudson, and so there grew up what has been called

^^^^ the Hudson River School. Durand was old when

&lt;& &lt; 4* he began painting, and his followers were of a younger
generation. Kensettwas probably the best of them.
He worked less from nature than Durand; his detail
has none of Durand s tranquil thoroughness, and his
shadows are apt to be rendered by a facile generali
zation of brown. However, he made a decided
advance over the older master in representing all
aspects of nature, all seasons and all times of day,
with a special leaning toward sunsets.

Of the others of the school there is space to
recall only a few names at random, Whittredge,
McEntee, Bristol, Sandford R. Gifford, Cropsey,

were mostly sincere, hard-

A. II. WYANT

and the rest. Thev

AMERICAN LANDSCAPE PAINTERS

working painters, and very charming, worthy men personally. They
won for themselves a social position in the old New York of the 6o s
and yo s greater and more important than any other artistic group has
enjoyed in this country. Their paintings were also admired and bought
for handsome prices, and as a whole they were prosperous. Time has
dealt rather hardly with their fame. Though all of the men whose names
have just been cited left works that may still be seen with pleasure, yet
as a rule the pictures of the school were thin, laborious, and timid. There

was no rich, strong handling of the pigment,
no decorative quality to the composition,
no massing of light and shade, and no revela
tion of individual temperament and emotion.

WYANT, MARTIN, AND INNESS

Approaches to these qualities were
occasional!} made; but to find them the
general rule we must go to the men who
are now conceded to be the culminating
masters of the school, Wyant, Homer
Martin, and Inness.

Of these Wyant holds closest to the
traditions of the school. He had a larger
sense of composition, a completer mastery
of technic, a freer handling, and a finer
draftsmanship. He represented with in
finite refinement the heaped up summer
clouds and the smooth, delicate tree trunk
beyond which the widespread landscape was
seen; but on the whole it was only a culmination of the qualities of the
school and awoke no opposition. With Martin and Inness it was differ
ent. They succeeded in giving to their landscapes a deeper note of personal
emotion and feeling than any of their predecessors. Both were men of ex
ceptional spiritual and mental endowment. Their characters were formed
not in a conventional model imposed by their surroundings, but by much
solitary meditation. Both had begun by painting in the general style
of the Hudson River School, and both found the result unsatisfactory.
Martin s desertion of the old traditions consisted largely in a change
of workmanship. Instead of the thin, smooth coating of pigment general
at the time, which he himself had practised in the beginning, he used
a thick impasto, laid on with a heavily loaded brush or even the palette
knife. The color, too, was not used in unbroken tones, but draw r n

HOMER D. MARTIN

AMERICAN LANDSCAPE PAINTERS

SEPTEMBER AFTERNOON, BY GEORGE INNESS

and blended together in streaks
and spots, which gave it quiver
and vitality. Apart from the
method of painting, the man
ner changed also. Detail, so
admired by the public of the
day, was more and more simpli
fied. The composition resolved
itself into a few strong masses
of light and dark, the relations
between which became more and
more balanced and subtle as the
little incidents disappeared. His
pictures in this latter manner
are not very numerous, for he-
could not paint when he was not
in the mood; but the best ol
them make a profound impres
sion by their strong simplicity.

THE ART OF INNESS

Inness was a much more
prolific painter, and his work

shows greater variety. He early felt the
monotony of the old school, its lack of cer
tain qualities that he found in engravings of
European landscapes, and he used to take
the prints with him when he went sketching,
to try to discover wherein their merit con
sisted. He studied nature continually, living
with it, so that at last he knew its moods
and methods by heart. Toward the end of his
life he painted much from memory. Aland-
scape painting, perhaps originally sketched
from nature, would change under his
brush much as the scene itself might under
changing lights or varying seasons. The sky
tilled with clouds, then cleared again, the
sunlight spotted the grass or the shadows
stretched across it, while the trees turned
from the green of summer to the russet of

GEORGE INNESS

Metropolitan Museum of Art

ACROSS THE FIELDS, BY D. W. TRYON

autumn. Naturally work of this later period, much
of it left unfinished, is very unequal in merit; but at
its best it marks his highest achievement rather than
the more carefully planned productions of his middle
life. It is more vital and more subtle; but all of
Inness s work except his very earliest reflects the inner
nature of the man. It has none of the dignified
melancholy of Martin, which has also at times its note
of revolt. Inness is never trivial: he keeps his seri
ousness; but he is never sad. Nature is to him always
beautiful, always kindly.

With Wyant, Martin, and Inness our early land
scape school reached its culmination. Their lives all
continued after the end of the Civil War, they even
did their best work after it; but they belonged to a
school formed in other surroundings. After the war
conditions changed. The country was less isolated, intercourse was
easier, wealth had increased, and foreign paintings, calculated to show
the deficiencies of native work, became increasingly common. The bud
ding artists were no longer willing to pick up their art by their own

American Art Annual
D. W. TRYON

AMERICAN LANDSCAPE PAINTERS

exertions, aided by occasional counsel from their elders
or such inadequate schools as the country then fur
nished, but departed in ever increasing numbers to
the famous schools of Europe.

The difference was not that the earlier painters
had ignored Europe. They traveled to see the mas
terpieces of art and the beauties of nature in foreign
countries; but they were on the whole contented with
their work and proud of their native school. The
younger men absorbed enthusiasm for foreign work
manship, and adopted foreign standards.

THE SENTIMENT OF TRYON

D. W. Tryon is an example of this new spirit at
its best. His sentiment, if not so deep and strong as
Inness at his best, is yet more delicate and subtle.
That is due to a difference of temperament; but the
way in which the picture is developed is a matter of
training. With Inness the first thing was to express
somehow his feeling, and then the canvas was worked
over until it was got into construction; with Tryon
the draftsmanship was fundamental and indispensa
ble, and the sentiment was built upon that. One ma}
say of our recent landscapes that they show a con
struction gained from the
study of the nude and a
handling adapted from the
best foreign models. This
education has greatly raised

H. W. RANGER

BRUCE CRANE

J. FRANCIS MURPHY

the average of our art; but a few men of the
older time had strength and feeling to work
out a training for themselves more personal
and perhaps as permanent as that of the later
day. Time tests all things, and its verdict can
not be foreseen; but it is doubtful if it will
place any of our modern landscape artists be
fore Martin or Inness. Among these modern
landscape painters are men of such talent as H.
W. Ranger, Bruce Crane, and J. Francis Alur-
phy, without mention of whom no article on
American landscapepainters would becomplete.

AMERICAN LANDSCAPE PAINTERS

SUPPLEMENTARY READING

American Painters &"* w - SMdon

Art in America S.G.W. Benjamin

American Masters of Painting . . c - H. Caflin

The Story of American Painting . . C. //. Coffin

A History of American Painting . . Samuel Isham

A History of American Art. ... K. S. Hartman

Book of the Artists .... Henry T. Tuckerman

Life and Times of Asher B. Durand . John Dmand

Homer Martin Frank J&MU Mather

George In ness . . . . . Elliott Daingerfield

George Inness: A Memorial . . . Alfred Trumble
Homer Martin: A Reminiscence

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VOL.1 AUGUST 18. 1913 No 27

MENTOR

A Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY A

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The Island City

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To make you well acquainted with the world s knowledge by devoting a little time
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The Mentor gives you each week a simple, lucid article by a well known authority,
and six exquisite pictures. On the backs of these pictures is the daily reading
interesting, descriptive comment. In this way you learn one thing every day, and
day by day and week by week, you learn the things you have always wanted to know.

As a result, you will find at the end of a year that you have learned 312 things.
You will know what the best authorities can tell you of these things, and you will have
a gallery of 3 1 2 beautiful pictures. And a most pleasing feature of the plan is that you
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, T " E MENTOR " " Published by The Mentor Association, Inc., at 52 Ea.t Nineteenth Street, New York,
. M. Donaldson, Pre.ident and Trea.urer; W.M.Sanford, Vice Pre.ident; L. D. Gardner, Secretary.
Copyright, 1913, by The Mentor Association, Inc.

.altar March 10. 1913. at the post office at New York. N. V ., under the Act of March 3, 1S7J.

THE MENTOR

"A Wise and Faithful Guide and Friend"

VOL. I

AUGUST 1 8, 1913

N T o. 27

VENICE, THE ISLAND CITY

ST. MARK S CATHEDRAL

DOGE S PALACE AND
CAMPANILE

BRIDGE OF SIGHS

GRAND CANAL

TYPICAL VENETIAN
CANAL

RIALTO BRIDGE

A Trip Around the World with
DWIGHT L. ELMENDORF, Lecturer and Traveler.

THE PEARL OF THE ADRIATIC," she has been called. " Queen
of the Sea" is another of the poetic terms applied to her. If all
the expressions that have been used by admirers to pay tribute
to the beauty of Venice were gathered together, they would make a glos
sary of eulogy of considerable size. It was inevitable from the beginning
that Venice should receive such homage; for she has a beauty that dis
tinguishes her from all other cities. She is absolutely unique in picturesque
attraction and in romantic interest. There are many cities that draw the
admiration of the traveler: there is but one Venice, and anyone who has
been there and felt her spell cannot wonder at the worshipful admiration
that she has received from the time of her birth in the sea.

The fascination of Venice for the traveler is such that ordinary terms
of appreciation are insufficient. The city takes complete possession of

VENICE

THE

ISLAND CITY

one, and visitors who have surrendered to her charms are referred to as
having the "Venice fever." All who love beauty have had more or less
violent attacks the artist is most susceptible to it.

HOW I T CAME TORE

Venice is built on a group of little islands. At a depth of from ten
to fifteen feet there is a firm bed of clay; below that a bed of sand or
gravel, and then a layer of peat. Artesian wells dug to the depth of
sixteen hundred feet have shown a regular succession of these beds. On
this base, piles, where they have been used for the foundation, have become
petrified. So the city may be described actually as having been built up
from the bed of the sea. In its physical aspect it may be summed up

THE GRAND CANAL DURING A FETE

This is the main artery of traffic in Venice. It is nearly two miles long, and varies from IOO to 2OO feet in width.
It is adorned with, about two hundred magnificent old patrician palaces.

VENICE,

THE

ISLAND CITY

THE GRAND CANAL BY MOONLIGHT

by saying that Venice
stands on 117 small
islands formed by some
thing like 150 canals and
joined together by 378
bridges.

There is but little in
the way of sidewalks.
Occasional narrow paths
of stone skirt the canals;
but in many places the
water laps the very walls
of the buildings, and
transportation is to be
had only by boat. Of
course there are many
lanes and passages among the houses; but the general effect is such as
would make an impression on the traveler of a city set in the sea, and
the people live, move, and have their being on either stone or water.
They are strangers to groves, shady lanes, and country places. Some of
the inhabitants of Venice have never seen a horse or a cow.

The city is divided into two parts by the Grand Canal, which is
nearly two miles in length and varies from 100 to 200 feet in width. It
makes a fine curve like the letter S, and by this it displays to advantage
the magnificent residences that line it. There on its gleaming surface are
to be seen the brilliant pageants of the city, gondolas and autoboats
in great number, gay parties, chatting and laughing and tossing flowers,
and the whole stretch a blaze of intoxicating color. Some of the most
attractive views of Venice are to be had not from within the canal, but
from some point out in the lagoon. Your map of Venice will show you
the city not literally situ
ated in the Adriatic Sea, but
located within the lagoon
and protected from the outer
sea by long sand hills
strengthened by bulwarks of
masonry. From the strip to
the mainland, across the
lagoon, where Venice is sit
uated, the distance is about

A GONDOLA

These black- pair.ted crajl take the place of cabs in Ver.ice.
are propelled by a gondolier, who stands at the rear.

They

VENICE

THE ISLAND CITY

VENICE AND THE ADRIATIC SEA

A panorama of the beautiful "Island City."

five miles, and in this stretch of water you will see many striped posts
called "pali." These mark the navigable channels about the city.

ST. MARK S

It is not the physical conditions alone that make Venice unique.
In the beauty and interest of its domestic architecture it ranks before
any city in the world. The mosaics of Venice have been famous for cen
turies, and are today the marvel of all who see them. The spot where
Venice has massed the gems of her beauty is St. Mark s Place.

The view of Venice most familiar to stay-at-home bodies is the one
to be had from across the water looking at St. Mark s Place, and includ
ing, besides the cathedral of St. Mark, the Doge s (doje) Palace and
Campanile (cam-pa-nee -le) Tower, and in some cases a glimpse of the
Bridge of Sighs. The Piazza of St. Mark is called the "Heart of
Venice." All the life of the city surges there at certain times, then
sweeps from there through its various channels. It is gayest on summer
evenings, when the population turns out to enjoy the fresh air and listen

VENICE, THE ISLAND CITY

A VENETIAN CANAL

to the military band. At
that time the piazza is bril
liant with fashionable people.
Go there on a moonlight
night, and you will find it a
dream of beauty. You must
see, of course, the pigeons of
St. Mark s. Flocks of them
circle about the square or
gather in groups on the
pavement, wherever food is
to be found. The pigeons
of St. Mark s used to be fed
at public expense. It is not
necessary now: there are
always plenty of travelers

.1 *ll ^.L ^ i One of the smaller and narrower canals of Venice.

that will pay them this

pleasant toll for the sake of being photographed in their company. St.

Mark s Place is 191 yards in length, and in width 61 yards on one side and

90 on the other.
The beautiful ef
fect of it can hard
ly be expressed.
It is paved with
trachyte and mar-
b 1 e, and s u r-
rounded by build
ings that are not
only important
historically but
most interesting
architecturally.

The Church of
St. Mark, now a
cathedral, was be
gun in 830. The
year before that
the bones of St.
Mark, the saint
of Venice, were
brought from

ST. MARK S CATHEDRAL

Tlie remains of St. Mark, the tutelary saint of Venice, are said to have been brought
from Alexandria in 829, and to have been buried here.

VENICE

THE ISLAND CITY

Alexandria, and they now lie buried in the church. This marvelous
building is Romanesque in style. During the eleventh and twelfth cen
turies it was remodeled and decorated with most lavish magnificence. In
the fifteenth century it received some Gothic additions which enhanced
its effect. In such short space as this it is impossible to do justice to the
beauty of St. Mark s. It is best by far to rest on what Ruskin has said
in his " Stones of Venice":

The effects of St. Mark s depend not only upon the most delicate
sculpture in every part, but eminently on its color also, and that the most

subtle, variable, inex
pressible color in the
world, the color of
glass, of transparent
alabaster, of polished
marble, and lustrous
gold."

The building is in
the form of a Greek
cross, with mosaics
covering more than
4,500 square feet. Over
the upper entrance are
four horses in gilded
bronze, counted among
the finest of ancient
bronzes. They may
have adorned the tri
umphal arch of Nero
or that of Trajan in Rome. The Emperor Constantine sent them to
Constantinople, and from there they were brought by the Doge Dandolo
to Venice in 1204. These horses were taken to Paris by Napoleon in
1797, and for awhile crowned a triumphal arch in that city. After
Napoleon s downfall, in 1815, the bronzes were restored to their original
place at Venice.

PALACE AND CAMPANILE

Close beside the cathedral of St. Mark stands the square Campanile,
the most prominent feature in all Venetian views. Standing 325 feet
high, the Campanile always dominated the picturesque low stretch of
Venice s skyline and gave a peculiar distinction to the whole scene. It
seemed indeed to many Venetians and to lovers of Venice all over the

THE RECONSTRUCTED CAMPANILE OF ST. MARK S

VENICE, THE ISLAND CITY

AMERICANS FEEDING THE DOVES OF
ST. MARK S

scale. The older part of the present edifice was
built in 1309; while the west wing, facing on the
piazzetta, was built between 1424 and 1438 by
the celebrated architects Buon, father and son.

In gazing at
the Doge s Pal-

world that the city had lost its crowning
feature when, in 1902, the Campanile col
lapsed. It was originally erected in 900
and rebuilt in 1329. After it had fallen
Venice seemed maimed, and the hearts of
thousands felt the depression until the
tower was rebuilt and the city could once
again hold up its beautiful head. A new
tower was built by Piacentini (pee -ah-
chen-tee -nee) during the years 1905 to
191 1, and on com
pletion it was con
secrated with most
impressive ceremo
nies.

The Doge s Pal
ace was originally
founded about 800 ;
but was destroyed
by fire five times,
and each time re
built on a grander

,0.

LION OF ST. MARK S

THE BRONZE HORSES OF ST. MARK S

These horses are among the finest of ancient bronus.

Ti:ey probably once adorned the triumphal arch of

Nero, emperor of Rome.

ace the eye is first caught by the upper
arcade. From there the sentences of
the "Council of Ten" were pro
nounced listened to by [the assembled
people in silence and in awe.

The columns of this arcade arc
most beautiful, and have been pointed
to with pride for years. Ruskin de
scribes the detail of the sculptured
columns, and declares that they are
the finest of their kind in Europe. The
interior of the Doge s Palace is won
derful. Tintoretto s painting of

VENICE

THE

ISLAND CITY

"Paradise" is there, a
marvel in size and in de
tail. The residence of the
Doges and the apartment
in which the authorities
held their meetings are
there, revealing still much
of their ancient glory.
The palace is virtually a
museum, and it shows a
great display of fine paint
ings, containing, among
others, notably works of
Tintoretto, Paul Vero
nese, (vay-ro-nay -seh)
and Palma Giovane
(jo-vah -neh) . Days could
be spent profitably wan
dering through these
halls, studying the treas-

THE PALACE OF THE DOGES

The Doge s Palace is said to have been founded beside the church of St.

Theodore about Boo for the first Doge of Venice. It has been rebuilt and

altered many times.

ures of art and history
be found there.

SCALA DEI GIGANTI, DOGE S PALACE

The Stairway of the Giants, so calhd from the colossal statutes of Mars

and Neptune at the top, leads to the Palace of the Doges. On the

highest landing of these steps, in the later days of the Republic, the

Doges were crowned.

BRIDGE OF SIGHS

In one room you will
find yourself gazing from
a window at a sight that
will be familiar to you;
though you may never
have traveled before. You
will exclaim when you see
it, "The Bridge of Sighs!"
A corridor nearby leads
you to the bridge. You
will take it, and find that it
conducts you across from
the Palace of the Doges
to the prison, where are to
be seen the gloomy walls
as well as the torture

VENICE,

THE

ISLAND CITY

chamber and the place of execution of former days. The Bridge of Sighs
is best known in Venice, and the reason for it is chiefly sentimental. The
Council of Ten of the Middle Ages is supposed to have sent doomed state
prisoners across this bridge to their execution. We gather that these
unfortunates saw the light of day for the last time when crossing the
bridge. The thought is
enough to seize upon the
imagination of visitors, and
many of them indulge them
selves in sympathetic reveries
when there. The interior of
the Bridge of Sighs is gloomy
enough to start creepy feel
ings; but there is no need of
wasting too much sentiment
on it. W. D. Howells calls it a
"pathetic swindle." As a mat
ter of fact, there is no evidence
that any great number of pris
oners, or any prisoner of im
portance, ever crossed there.
Aside from any sentimental
reason, however, the Bridge of
Sighs is most interesting arch
itecturally. It was built in
1600. It is attractive in design, and it makes
a good picture, connecting with fine lines the
two grim buildings on each side and bridg
ing over the long, narrow canal beneath.

HALL OF THE GRAND COUNCIL, DOGE S PALACE

This was the assembly hall of the great council, which consisted
of all members of the nobility over twenty.

BRONZE WELL, DOGE S PALACE

PICTURESQUE WATERWAYS

The canals of Venice are of varying
width, and as they wind through the city
they offer picturesque nooks and corners
that have from the earliest times captivated
the eye of the artist. F. Hopkinson Smith,
a long-time devotee of Venice, has painted several hundred pictures,
and at that has drawn but lightly on the possibilities of the subject.

Little canals in deep shadows, wider canals in sunlight, some straight,
some curved, and at various points picturesquely bridged, supply effects
in light and color that the eye greets with delight.

VENICE

THE ISLAND CITY

THE GRAND CANAL

It is trite and ineffective simply to say that the Grand Canal is the
great artery and thoroughfare of Venice. It is so much more than that:
it is a magnificent show course adorned with two hundred or more mag
nificent palaces dating from
the fourteenth to the eigh
teenth centuries, and beau
tiful churches and interest
ing public buildings. A
sightseeing trip in a gon
dola affords the visitor an
object of architectural
beauty and historic interest
at every rod. The historic
interest of some of these
houses is double, the in
terest attached to them by
virtue of the original patri
cian owners, and a new
interest acquired through
the residence in them of

PALAZZO VENDRAMIN-CALERGI

THE CHURCH OF SANTA MARIA DELLA SALUTE

Erected in 1641-56 in commemoration of the removal of the plague
in 1630. The interior contains excellent paintings by Titian.

notable men of later time. Drift slowly

along this splendid waterway. Marble steps .... ,,.

iij r i i i Richard Wagner, the composer, died in this

lead down irom the noble residences to the house in 1883.

water s edge. Tall posts bearing the colors

of the family serve as hitching posts for the boats. Your guide will tell
you the stories, poetic and dramatic, of the families whose names are set
down in the great roll of the nobility of Venice entitled "The Book of
Gold." Then you will be told of the later associations that enhance the

VENICE, THE ISLAND CITY

THE GRAND CANAL

Leaking across the canal we see here an example of the beautiful
palaces which line this famous thoroughfare.

interest of some of the pal
aces. That handsome man
sion over there is where Des-
demona lived. Nearby it is
the Palazzo Vendramin-
Calergi,(ven-drah -min cahl-
ehr -gee) in which Richard
Wagner (vahg -ner) died in
1883. That stately palace
over there was for a time
the home of Robert Brown
ing; he died there in 1889,
and there is a memorial tab
let on the wall. Look at
those three palaces close
together. The one in the
center was occupied by Lord
Byron in 1818. Nearby is
the Browning home, a Gothic building, in which \V. D. Howells wrote his
"Venetian Life." In another palace George Sand had residence for a
time. The great painter Titian (tish -an) lived in one of these buildings.
Each structure has its interest. Each bend of the canal reveals new
beauties. Across the beautiful waterway are three bridges the name of
one is familiar the world over.

THE BRIDGE OF THE RIALTO

For many years this was the only bridge across the Grand Canal,
and it stands for much of the past glory of Venice. It is made of marble,
and is over 150 feet long. It was built between the years 1588 and 1592,
and is today, as it was in early times, a place of shops. Here Shylocks
have bargained and Bassanios have met their friends these many years.
More literally speaking, it was not the Bridge of the Rialto that Shylock
refers to in Shakespeare s "Merchant of Venice," but the district nearby.

It is difficult for anyone who has visited Venice to select single
points for comment or description. The city appeals to him as a whole,
and each object of beauty in it is a part of the wonderful whole. The
essence of Venice is a dreamy, poetic charm, a charm of light, color, and
form, not of sound. Mrs. Oliphant writes :

" Venice has long borne in the imagination of the world a distinctive posi
tion, something of the character of a great enchantress, a magician of the
seas. ..She is all wonder, enchantment, the brightness and glory of a dream."

VENICE, THE ISLAND CITY

SUPPLEMENTARY READING

Studies in the History of Venice . . H. R. F. Brown

Venice ...... H. R. F. Brown

Makers of Venice ..... Mrs. Oliphant

The Venetian Republic (two volumes) . . W. C. Hazlitt

Venetian Life IV. D. Howells

St. Mark s Rest John

The Stones of Venice .... John

Gondola Days ..... F. Hopfcnson Smith

Literary Landmarks of Venice . . Laurence Hutton

Pen Sketches Finley Archer

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VOL.1 AUGUST 25. 1913 No. 28

THE

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THE MENTOR

A Wise and Faithful Guide and Friend"

Vol. i

A I GUST 25, 1913

No. 28

THE

W I F E

I N

ART

Ll CREZIA FEDI-

ANDREA DEL SARTO

I.l CREZIA BUTI-

FRA FILIPPO LIPPI

HELENA FOURMENT-

RUBENS

SASKIA VAN ULEXBt RG

REMBRANDT

MARIA RUTHVEN-

YAX DYCK

ELIZABETH SID DAL

ROSSETTI

By GL STJ/ KOHRE

IT may be that he who rides alone rides fastest; and that the man
encumbered with wife and family feels his pace slacken and the goal
as far away as ever. Andrea (ahn -dree-ah) del Sarto, in the closing
lines of Browning s poem, utters the same thought. He is addressing his
wife, Lucrezia Fedi, whose extravagant and wayward tastes, many think,
ruined his career and prevented his ranking with Leonardo (lay-o-nar -
do), Raphael (rah -f ay-ell), and Angelo (ahn -jel-o) :

In heaven, perhaps, new chances, one more chance

Four great walls in the New Jerusalem,

Meted on each side by the angel s reed,

For Leonard, Raphael, Angelo, and me

To cover- the three first without a wife,

While I have mine! So still they overcome

Because there s still Lucrezia, as I choose.

And so, in that supreme painting contest with his three rivals, he
still is distanced, "because there s still Lucrezia" (loo-crate -see-ah). But

H E

W I

I N

R T

note that he adds, "as I choose." He had
rather fail with her than triumph without her.
Indeed, my point in mentioning Andrea
and Lucrezia is to assert that he rode faster
for not riding alone; that he was not the
equal of the three artists he aspired to rival;
and that, if it is sometimes thought he might
have rivaled them, this is due to the works
he painted under the inspiration of his love
for Lucrezia. She kept him in a constant
state of impecuniosity and jealousy; hut it
was "as I choose." And well it might have
been! His art seems to rise to a higher
plane from the moment her dark, imperious
beauty a new note in religious paint
ing looks out at us from works like the LUCREZIA FEDI, BY DEL SARTO
"Madonna of the Harpies" and the youth- in the R&lt;,yai Gallery, Berlin.

ful Saint John. For from her face he-
painted the faces not only of women, but also of boys and youths,
and always it is her beauty that dominates the picture.

ANDREA DEL SARTO, BY HIMSELF

In the Pitti Gallery, Florence.

INFLUENCE OF THE WIFE

If she, in character the worst kind of
\\ife a man can have, so inspired her hus
band, how rare and exquisite must have
been the influence of Lucrezia Buti (boo -
tee) over Fra Filippo Lippi (lip pee), of
Helena Fourment (hel-en-ah fur -ment) over
Rubens (roo-benz), of Maria Ruthven over
Van Dyck, of Saskia over Rembrandt, of
Elizabeth Siddal over Rossetti! For these
women were devoted to their artist-hus
bands, and were in turn adored by them.
Doubtful, indeed, if any of these men would
have subscribed to the doctrine that he rides
fastest who rides alone.

Lucrezia Buti, who was the wife of Fra
Filippo Lippi, must not be confused with
the Lucrezia Fedi (fay -dee) whom Andrea
married. Moreover, the circumstances

H E

W I

I N

DETAIL OF THE VIRGIN AND CHILD
BY FRA FILIPPO LIPPI

LucreziaButi was f he model for the [Fir gin.

under which Fra Filippo wooed and won
his Lucrezia were far more romantic. He was
a man whose great talent manifested itself
early in life, and, although he had been put
in a monastery because his relatives were too
poor to educate him, his evident genius for
art earned him many liberties. In fact, he
was decidedly gay, and the hero of numerous
escapades, the most famous of which has
been immortalized by Browning, who found
in the two Italian artists, Andrea and
Lippo, subjects for two of his finest poems.
The adventure of which Browning
writes occurred upon the triumphant return
to Florence of Cosimo de Medici (med -e-
chee) and his patronage of/ Fra Filippo.
Cosimo, frequently annoyed by the friar s
loose habits, and despairing of his ever
finishing an important picture that he had
commissioned him to paint, caused him to

be locked up in a room of the Medici Palace. Fra Filippo stood this for

a few days. Then one night, wearying of his confinement, he escaped.

The friar s own pleading in Browning s

poem tells the story:

I could not paint all night
Ouf! I leaned out of window for fresh air.
There came a hurry of feet and little feet,
A sweep of lute-strings, laughs, and whifts of song

. . . Round they went.

Scarce had they turned the corner with a titter,
Like the skipping of rabbits by moonlight, three

slim shapes,
And a face that look d up. . . Zooks, Sir, flesh and

blood,

That s all I m made of! Into shreds it went,
Curtain and counterpane and coverlet,
All the bed furniture a dozen knots,
There was a ladder! Down I let myself
Hands and feet, scrambling somehow, and sodropped,
And after them.

Notwithstanding his conduct, so out of
keeping with his cloth, he was appointed

FRA FILIPPO LIPPI

H E

W I

I N

PETER PAUL RUBENS, BY HIMSELF

In Windsor Castle, England.

chaplain to the nuns of the convent of
Santa Margherita (mahr -gare-ee-tah) in
Prato (prah -to) and commissioned by the
abbess to paint a picture of the Madonna
for the altar of the convent church. It
chanced that there was in the nunnery a
novice to whom convent life was just as
ill suited as monastic life would have been
to Era Filippo had he been obliged to abide
by its tenets.

FILIPPO AND LUCREZIA BUTI

The name of the novice was Lucrezia
Buti, and, struck by the grace and beauty
of this young woman, the artist begged
that she might be allowed to pose for him
for the picture, and the request was granted.
It may indeed have been diplomacy on
the part of the abbess; for it is not unlikely
that Lucrezia, who had no vocation what
soever for

conventual life, had proved herself refrac
tory, and that the convent authorities saw
a chance of getting rid of her, which they
could not do by returning her to her
family, because she had been consigned
to them against her will by a stepbrother,
anxious to get rid of her care and expense.
In any event, the friar Lippi fell in love
with her and she with him. Profiting by
the crowd and confusion attendant on
the festival of the Madonna of the Girdle,
which is celebrated in Prato on the first cf
May, Fra Filippo carried off Lucrezia, ap
pealed to his patron, Cosimo de Medici,
and through the latter s intercession re
ceived from the Pope, Pius II., a special
brief, absolving both himself and the
novice from their ecclesiastical vows and
granting them dispensation to marry. He

HELENA FOURMENT, BY RUBENS

T II E

W I

I N

R T

and Lucrezia had two chil
dren; their son, Filippino
Lippi, more than rivaling
his father s fame as a
painter. The Madonna
that Fra Filippo painted
for the convent may still
he seen in Prato, and there-
are other pictures in which
Lucre/.ia s lovely face is
discernible.

THE TWO WIVES
OF RUBENS

Rubens was so happy
with his first wife, Isabella
Brandt, who died after
eighteen years of blissful
married life with him, that
he could not endure the
loneliness of being a wid
ower, but four years after
Isabella s death took as
his second wife Helena
Fourment. This marriage
proved to be as happy as
the first; although he was
already fifty-three and
she barely sixteen. Their
union was blessed w r ith five
handsome children; so that his declining years found him surrounded by
youth and beauty, and with a splendid young wife as comrade.

During the eighteen years of his first marriage Isabella appeared
in nearly all his large pictures. She was of a more refined type than
Helena; so that, with his second marriage, when he began to introduce
his second wife into his pictures, his style becomes broader and more
vigorous. For Helena had a strong, fully developed figure of pronounced
contour, rosy flesh tints, golden hair, and lips that seemed always partly
open to show the flash of pure white teeth. These were her attractions.
She was obviously more beautiful, more brilliant, than Isabella, although
in her youth her development was somewhat too luxuriant, a picture

HELENA FOURMENT, BY RUBENS

A portrait oj the artist s second wife and two of their children, hang
ing in the Louvre, Paris.

H E

W I

I N

SASKIA, BY REMBRANDT

of healthy, bursting, buoyant young woman
hood. Indeed, so proud does Rubens seem
of having, at his age, won a woman of her
pronounced and youthful charms, that in
some of his pictures he expresses them too
freely, as, for example, in the Helena in a
fur pelisse in the Imperial Gallery, Vienna.
That Rubens drew a vast amount of inspi
ration from his two wives, Isabella and
Helena, is obvious to anyone familiar with
his work; for they appear in picture after
picture from his brush. His married life,
first with Isabella and then with Helena,
\vas a constant stimulus to his best work.

REMBRANDT AND SASKIA

Rembrandt, too, was married twice, and
although his first wife was refined and aris
tocratic and his second far from it, having
been a servant in his household, he was intense!}- happy with both and
painted them many times. Saskia van Ulenburg, although not strictly

speaking a beauty from the casual point of
view, lent herself admirably, nevertheless,
to pictorial treatment, especially that pic
torial treatment of lights and deep shadows
of which her husband was the greatest
master that ever lived. Indeed, the pic
tures in which she appears are almost too
numerous to mention. There is the de
lightful portrait of her in the gallery at
Cassel, said to have been painted in her
own home in 1633, tne year before she and
Rembrandt were married. Her face in pro
file, the features delicately delineated, is
shown against a background of deep, rich
colors. With the lightest touch her wavy
chestnut hair lies upon her cheek and fore
head. A spray of rosemary in her hand
rests across her heart. This, the emblem
REMBRANDT, BY HIMSELF of a. Dutch maiden s betrothal, tells its

In the Royal Gallery, Berlin. OWn StOTV.

H E

W I

I N

Probably, however, the most famous portrait ever painted of an
artist and his wife is that by Rembrandt in the Dresden Gallery, of Saskia
seated on his knees while he clasps her waist with his left hand and
raises in his right a half-filled glass. The joy on their faces gives witness
to the pride and pleasure they found in each other. Saskia was a wealthy
woman, and while she lived want never entered Rembrandt s house.
But, alas! she was delicate, and died in 1642, less than a year after giving
birth to the son who was
christened Titus. Rem
brandt had spent much
money in filling his house
with objects of art, prints,
rich stuffs for costumes,
and other things and not
long after Saskia s death
he found himself impov
erished. Some idea of the
richness of his collections
is obtained from the adorn
ments with which Saskia
appears in the picture
known as the "Jewish
Bride," and in the genre
portrait, "Minerve," in
which she is shown as a
learned lady in the richest
of costumes, seated at a
beautiful table and reading
from an ancient tome.

Rembrandt ranks with
the greatest masters in art.
" He rides fastest who rides
alone." Is it possible that
Rembrandt could have rid
den faster or reached a farther goal without Saskia and Hendrikjc:

RKM BRANDT AND SASKIA. BY REMBRANDT

In the Royal Galli-ry, Dresden.

VAN DYCK S PORTRAIT OF MARIA RUTH YEN

Van Dyck, the favorite pupil of Rubens, so much so that when some
romping pupils in Rubens absence brushed against a partly finished
picture and marred it he was asked to retouch it in order that the master
might not notice the defect,- also was a favorite in t he world of women, and

W I

I N

R T

much influenced by them. Kven in youtli a love adventure is said to
have sent him from Rubens atelier to Italy. In England, where no one
is more closely identified than he with the period of Charles I., "die

schonen ladies," as a German writer on Van
Dyck expresses it, fairly fought for the
honor of being painted by him.

If his works lack the vital vigor and
joyous abandon of the typical Flemish mas
ters, it must be remembered that his Italian
sojourn, passed largely in court circles,
greatly refined his style, and that he, the
painter of aristocrats, is also an aristocrat
among painters. His output for his short
life (1599-1641) was great, and of the 1,500
works catalogued as his 300 are portraits of
women. Walpole speaks of their beautiful
hands. But Van Dyck had special models
for the hands, for those of both the men and
the women. The elegance and refinement
of his work is, however, undoubted, and,
though he lacks the power of a Rembrandt
and the tremendous verve of a Rubens,
much of his work (within the limitations
imposed by elegance) is executed in the "large" manner.

It is said that his ability to accomplish so much was due to the fact
that he never allowed a sitter to weary him, obviating this by dismissing
them at the end of an hour. At the time
appointed for the sitting the artist appeared in
his studio. At the end of the hour he rose,
made his obeisance, and appointed the hour for
the next sitting. A servant cleaned the brushes
and reloaded the palette, \vhile the artist re
ceived and entertained the next sitter. He had
many love affairs in England, and especially one
with Margaret Lemon, who threatened, when
his love began to cool, to cut off his hand.
The world is the richer by a beautiful por
trait for this love affair, and fortunately, in
stead of cutting off his hand or even attempt
ing to, Margaret went to Holland with friends.
Van Dyck s gay life, however, seriously alarmed

VAN DYCK, BY HIMSELF

This portrait, which hangs in the Hermi
tage, St. Petersburg, shows the artist as a
young man.

VAN DYCK, BY HIMSELF

THE

WIFE

I N

ART

MARIA RUTHVEN, BY VAN DYCK

the king, who, being genuinely attached to him and also admiring his art,
feared for his health. Accordingly, his Majesty chose for him a wife, a
beautiful young woman, Maria Ruthven, daughter of Lord Ruthven.
Van Dyck painted her several times, and one of his best known por
traits is that of her with her violoncello, which is in the old Pinakothek
(pin -a-ko-thek), Munich. His married life seems to have been happy,
though brief. He died within two years of his nuptials, leaving us the
portraits of Maria as souvenirs of his happiness.

ROSSETTI S "BLESSED DAMOZEL"

Dante Gabriel Rossetti, who was poet as well as painter, buried the
manuscript of his poems, although they had been announced for publica-

W I

I N

tion, in the coffin of his wife, who died in Feb
ruary, 1862. Not until October, 1869, was the^
manuscript resurrected and the publication of his
poems made possible. It is doubtful if poet or
painter has ever paid a greater tribute than
Rossetti thus paid to Elizabeth Siddal.

Rossetti was introduced to Elizabeth bv a

ROSSETTI, BY HIMSELF

Painted in f$jj.

brother artist, who had
discovered her in a mil
liner s shop in London.
She consented to pose
for Rossetti. His
brother, in some charm
ing reminiscences of
her, writes that to fall
in love with Elizabeth
Siddal was a very easy
performance, and that
Dante Gabriel did it at
an early date. The name Elizabeth, however,
was never on Dante s lips; but rather Lizzie or
Liz, and fully as often Guggums, Guggum, or
Gug. Mrs. Hueffer, the younger daughter of
Ford Madox-Brown, says that when she was a
small child she saw Rossetti at his easel in her
father s house uttering momentarily, in the
absence of the beloved one, "Guggum, Gug
gum!" After awhile "Guggum" became a set
tled institution in Rossetti s studio, and other
people, his brother included, understood they
were not wanted there. Dante was constantly
drawing from Guggum, and she designing under
his tuition. He was unconventional, and she, if

ROSA TRIPLEX, BY ROSSETTI

ELIZABETH SIDDAL
BY ROSSETTI

T H E

WIFE

I N

not so originally, became so in the course of her companionship with him.
In her appearance, as in her character, she was a remarkable young woman.

THE BEAUTY OF ELIZABETH SIDDAL

The artist s brother writes of her that she was truly a beautiful girl,
tall, with a stately throat and fine carriage, pink and white complexion,
and massive, straight, coppery golden
hair. Her heavy-lidded eyes 4 were
large and greenish blue. But, as this
narrator says, it is not necessary to
speak much about her appearance,
ki as the designs of Dante Rossetti
speak for it better than I could do. 1
Her whole manner, in spite of her
great beauty, was reserved, self-con
trolling, and alien from approach."
Rossetti s brother says that her talk
was, in his experience, scant} ; slight
and scattered, with some amusing
turns, and little to seixe hold upon;
little clue to her real self, or any
thing determinate.

But, alas! the beautiful Eliza
beth was a sufferer from consump
tion, accompanied by neuralgia. For
the neuralgia frequent doses of laud
anum had been prescribed. Her
condition was such toward the end
that sometimes she was obliged to

BF.ATA BEATRIX, BY ROSSETTI

A portrait of Elizabeth Siddal.

take one hundred drops at a time. On February 10, 1^66, she dined at
a hotel in London with her husband and Swinburne. She and Rossetti
returned to their home about eight o clock. She was about to go to
bed at nine, when Dante Gabriel went out again. When he came back
at half-past eleven the room was in darkness. He called to his wife; but
received no reply. He found her in bed, unconscious. On the table
was a vial. It had contained laudanum it was empty.

He paid her the tribute of burying his poems with her. He had
already paid her the great tribute of painting her, and that often. Those
large, greenish blue eyes of hers were his guiding stars. Let him who will
say that he rides fastest who rides alone. There are six great artists and
manv more to sav him nav.

i i

THE WIFE IN ART

SUPPLEMENTARY READING

Fra Filippo Lippi ..... Edward C. Strutt

Rembrandt and His Work (Svois.) . . Wilhclm Bode

Rembrandt R. Muther

The RoSSettis ..... Elisabeth Luther Cary

L Oeuvre de P. P. Rubens . . . Maximilian Rooses

RubenS (Masterpieces in Color Series) . S. L. Bensusan

Andrea del Sarto ..... H. Guinness

Sir Anthony Van Dyck . . . Lionel Cust

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THE MENTOR

A \Yi-e and Faithful Guide and Friend"

VOL. i

SEPTEMBER i, 1913

No. 29

GREAT AMERICAN INVENTORS

KLI WHITNKV

1765-1825

ROBERT FULTON

1765-1815

KIJAS HO\VF.

1819 1867

S. F. B. MORSF
1791 1X72

ALKX. GRAHAM HFI.I.
1847-

HOMAS AIA A FDISON

1847-

By II. ADDINGTON KRLCE

ANYONE who reads the history of the United States must be
/-\^ impressed with the supremely important part played by the
inventor in the evolution of the nation. The explorer and
pioneer, the statesman, diplomat, and soldier, all these have con
tributed, and contributed notably, to the upbuilding of the mighty repub
lic of today. But it is beyond dispute that in the long run their efforts
would have counted for comparatively little had it not been for the genius
of those who have bent their energies to the devising of means for the
development of the country s marvelously rich resources, and have-
still further added to the national wealth by the creation of unsuspected
channels for the profitable employment of human enterprise and labor.
It was in the humble workshops of men like Whitney, Fitch, and
Fulton that, almost as soon as the independence of the United States had
been won by the sword, the foundations were laid for its rise to the
standing of a world power. Kvery invention these men made meant

GREAT

A M E R I C A N

I N V E N I () R S

a gain in the nation s strength, and
a wider opening of the door of oppor
tunity to all native-born Americans,
and to the constantly increasing host
of newcomers from abroad. The
American inventors have not simply
astonished mankind; they have en
hanced the prestige, power, and pros
perity of their country.

WHITNEY S ARMORY

THE COTTON GIN

In 1798 tht- inventor of the cotton gin began the man-
Take, for example, the results ^ufacture of firearms near New Haven,ConnectieiU.

that have flowed from a single inven
tion, that of the Whitney cotton gin. When the young Yankee school
master and law student, Eli Whitney, was graduated from Yale and
settled in Georgia in 1792, the production of cotton in the Southern
States was insignificant. At that time, indeed, cotton was grown by the
Southerners chiefly for decorative effect in gardens, because of its hand
some flowers. Its cultivation for commercial purposes was virtually out of
the question, owing to the fact that no means were available for economic
ally separating the lint from the seed. This had to be done by hand,
and since it took ten hours for a quick worker to separate one pound of
lint from its three pounds of seed no adequate returns could be had.
What was needed, as his southern friends pointed out to Whitney,
was the invention of some apparatus for performing the work of separa
tion cleanly and quickly. The problem was one that appealed to him

with peculiar force. Even as a boy in
Massachusetts he had been fond of tin
kering with mechanical appliances. At
the early age of twelve he had made a
violin of fairly good tone; a year later
he was making excellent knives; and
before he was fifteen he was recognized
as the best mechanic in his native town
of Westborough. It was therefore with
real enthusiasm that he set up a work
shop in the basement of his Georgia
home, and varied his law studies by ex
perimenting in the manufacture of a
cotton gin. Within a few months he

BIRTHPLACE OF WHITNEY

In this house in Wes thorough, Massachuittt
Eli Whitney was born on December 8, 1765.

GREAT

AMERICAN

INVENTORS

had successfully completed his self-imposed task by the creation of a

machine equipped with hundreds of tiny metal fingers, each of which

did more work in quicker time than the human hand could possibly do.

That same year (1793) fully five million pounds of cotton were

harvested in the United
States, the product of
a planting stimulated
solely by faith in the
Whitney gin. By the
year of Whitney s death
(1825) cotton was in
disputably king in the
commercial life of the
nation, the value of the
cotton exports for that
year being more than
$36,000,000, as against
a valuation of barelv

THE FULTON HOMESTEAD

The inventor purchased this farm in It 1 as king-
ton County, Pennsylvania, when he was but
twenty-one years of age. Here he left his mother
when he went to England to study art.

$30,000,000 for all other Amer
ican exports. The eventual
abolition of slavery served
only to accentuate the stu
pendous importance of the cot -
ton gin. Under free labor the
production of cotton has
steadily risen, until nowadays
it annually runs into the bil
lions of pounds, with a valua
tion of many hundreds of mil
lions of dollars, and affords
employment not only to an
enormous army of cultivators, but to a still greater army of workers in
factory, office, and store.

Even of much greater importance have been the results of the labors of
another illustrious American inventor, Robert Fulton. Born in Lancaster

ROBERT FULTON

Fulton was tall, and his face showed great intelligence, lie wa&lt;
refined, and possessed grace and elegance of manner.

GREAT

AMERICAN

INVENTORS

County, Pennsylvania,
in November, 1765,
Fulton, by reason of the
astonishing number
and variety of his inven
tions, may well be called
the Edison of his time.

ROBERT FULTON

Similar to all truly-
great inventors, he
was a man of broad
vision and keen imagi
nation. What he was
most interested in was
not immediate conse
quences, but ultimate effects, and in working on the complicated me
chanical problems with which his mind was incessantly occupied he kept
steadily in view their significance to society as a whole. Thus, one of his
most ingenious creations the famous Fulton torpedo, crude forerunner
of the deadly submarine missiles of today was inspired by an ardent
desire to produce something that would make war so terrible as to impel

FULTON S FIRST EXP r RIMENT WITH PADDLE WHEELS

In the summer of 1779 Fulton first tried the method of propelling a boat
by means of paddle wheels on Conestoga Creek in eastern Pennsylvania.

MODEL OF ROBERT FULTON S FIRST STEAMBOAT, THE CLERMONT

Constructed for the Hudson-Fulton celebration at New York in the fall of 1909.

(, R E A T

AMERICAN

I N V E N T O R S

mankind to universal peace. And similarly it was with an eye to increas
ing the welfare and happiness of society that he went to work on the
invention with which his name will always be linked, the steamboat.
He was not the first to whom the idea had occurred of applying the
steam engine to purposes of water transportation. Already the Pennsyl
vania!). William Henry, the Connecticut mechanic, John Fitch, the New
Jersey inventor, John Stevens, and the Scotsman, William Symington, had

demonstrated more or less suc
cessfully the possibility of
using steam as a motive power
on the water; but it was left to
Fulton to establish definitely
the value of the steamboat as

BIRTHPLACE; OF ELI vs HOWE

.{mid thr-M- humble surroundings the inventor of the sewing
machine was born at Spencer, Massachusetts, in 1819.

a medium for passenger and freight traffic.
This he did with his historic Clermont,
built at New York in 1807, partly with
funds provided by Chancellor Livingston
and partly by loans from reluctant and
skeptical friends.

The general impression was that Ful
ton had undertaken a hopeless and vis
ionary task. "As I had occasion," he
himself has related, "daily to pass to and from the shipyard while my
boat w r as in progress, I often loitered unknown near idle groups of stran
gers, gathering in little circles, and heard various inquiries as to the
object of this new vehicle. The language was uniformly that of scorn,
sneer, or ridicule. The loud laugh often rose at my expense; the dry
jest; the wise calculation of losses and expenditures; the dull but end
less repetition of Fulton s Folly."

BEFORE THE WAR

A fftcing machine of 1851.

GREAT

AMERICAN

INVENTORS

THE FIRST BOBBIN WINDER

As everybody knows, the Clcr-
mont did not sink or otherwise
come to grief when she started up
the Hudson, August n, 1807, for
her maiden voyage to Albany. On
the contrary, she made the journey,
against the wind, at an average rate
of nearly five miles an hour; and,
with the wind again ahead, returned to New York at about the same
speed. Compared with the steaming powers of the modern ocean
leviathan, this was a sorry enough showing; but, with the continued
success of the Clermont and her sister boats, the Raritan and the Car of
Neptune, which together constituted the world s first regular line of
steamboats, it was sufficient to prove for all time that man had made
another superb advance in the
masterv of t he forces of Natu re.

A SEWING MACHINE OF 1860

"// has stitched many hundred mile- of seam, and is
still in go id working order."

INVENTOR OF THE
SEWING MACHINE

Very different, but also of
great value, was the service
rendered by Klias Ho\\e of
sewing machine fame. There
are two stories as to the genesis
of this wonderful labor-saving
device. One is that it was
suggested to Howe by the
chance remark of a visitor to
the Boston machine shop in
which he was employed. The
other and more romantic storv

BIRTHPLACE OF S. F. B. MORSE

inventor of the telegraph was born at the foot of Breed s
Hill, CkarlfstOtPn, Massachusetts.

GREAT

AMERICAN

INVENTORS

is that the idea of a machine for sewing gar
ments originated from a desire on Howe s
part to lighten the labor of his wife, who,
when he was ill and out of work, was obliged
to take in sewing and toil far into the night.
Whichever version is correct, it is cer
tain that in 1843 (Howe was then only
twenty-four years old) he set to work in the
garret of his father s home in Cambridge,
and about a year later gave to the world a
sewing machine that embodied the principal
features of the most up-to-date models of

the present day.
For long, ho\\ -
ever, the world
was reluctant to
accept this splen
did invention.
The tailors of
Boston, to whom
he first offered it,
refused to adopt

it, on the ground that it would ruin their busi
ness; and later, in New York, there were anti-
sewing machine demonstrations, fomented by
labor leaders, who failed to realize that in the
end labor-saving devices of any real merit were
always certain to increase, not decrease, the
demand and opportunities for the workingman
and workingwoman.

In the case of the sewing machine the truth
of this has long since been demonstrated. Not
only has it become a familiar household adjunct, freeing millions of
women from the slavery of the needle, and thus most effectively answer
ing the piteous plea of Hood s "Song of the Shirt," but it has also
brought about a marvelous expansion of the clothing industry. It has
in fact created an entirely new and most important branch of that in
dustry, the ready-made clothing business,- -giving employment to
hundreds of thousands of people, and providing well patterned and
well finished garments at prices undreamed of in other days. Surely
Howe, no less than Fulton and Whitney, deserves to be regarded

THE NEW YORK HOME OF
S. F. B. MORSE

house was located on West Twenty-
econd Street near Fifth Avr.u -.

SAMUEL F. B MORSE

GREAT

AMERICAN

I N V E N T R S

THE FIRST

as a benefactor 01 humanity. TELEPHONE

So, too, with Samuel F. B.
Morse, and Alexander Graham Bell, the one
the father of the electric telegraph, the other
the inventor of the telephone. If anybody
had told Samuel Morse in 1811, when as a
youth of twenty he sailed from Xew York to

Liverpool to
study paint-

THK FIRST TELEGRAPH
INSTRUMENT

ing under Benjamin West, that he \\ould
be known to posterity as an inventor rather
than as an artist, he would have laughed
the prophecy to scorn. But, as has hap
pened to other gifted men, circumstances
conspired to turn and fix the thoughts of
this brilliant son of New England on prob
lems unconnected with the routineof his daily
life, yet appealing to him with such force
as to change the whole course of his career.

TELEGRAPH AND TELEPHONE

With Morse the turning point was
reached in 1827 when, some years after his
return from England, he attended a course
of lectures in New York on the subject of
electromagnetism. What he then heard
fired his imagination, and led him, during
a second visit abroad, to study more closely

GREAT

AMERICAN

INVENTORS

the nature of electricity. He spe
cially became interested in the pos
sibility of utilizing this great natural
force as a medium for long-distance
communication, and when homeward
bound, in the autumn of 1832, ap
plied himself to this one problem to
such good purpose that before land
ing in New York he was able to
show to his fellow passengers plans
of the instrument that was to im
mortalize his name.

It was not until five years after
ward, however, that Morse made
the first working demonstration of
his invention, which by most people
was regarded as a scientific toy rather
than a creation of the highest practi
cal utility. And a scientific toy it
remained until, after a heartbreaking
struggle to secure the necessary finan
cial aid, Morse persuaded Congress
in 1843 to appropriate $30,000 for
the construction of a telegraph line
between Washington and Baltimore.
The first message to be flashed over
this line, May I, 1844, was the news

"LONG DISTANCE

Alexander Graham Bell opening tht New York-Chi
cago longdistance telephone line, October 18, 1892.

ALEXANDER GRAHAM BELL S SUBURBAN RESIDENCE AT WASHINGTON, D. C.

GREAT

AMERICAN

INVENTORS

THE EDISON HOUSE AT MILAN, OHIO

Here Thomas A. Edison was born on February II, 1847.

of the nomination of
Henry Clay for the presi
dency; and with the send
ing of that message one of
the greatest inventions in
the history of mankind def
initely gained recognition
as an accomplished fact.
Alexander Graham
Bell, experimenting in the
same field of long-distance
communication by the aid
of electricity, was more for
tunate in securing early
acknowledgment of the
merits of his telephone, a
public demonstration of
which was given at the Centennial Exhibition in 1876. Connected with
this invention a most interesting story is told. Bell, it is said, was experi
menting with a device for multiplex telegraphy, when the accidental
snapping of a wire sent a sound vibrating through another wire which
had attached to it at each end a thin sheet-iron disk a few inches in
circumference. At once Bell asked himself if the sound could be repeated.
Experiment showed that it could, and the query then suggested itself
to him, Could vocal sounds be thus transmitted? Forthwith he set him
self to the task that resulted,
after many failures, in the cre
ation of the telephone.

But even in the case of
this marvelous instrument it
was for a long time impossi
ble to obtain the necessary
financial support. When,
in 1877, Bell took the tele
phone to England, he could
find no purchaser for half
the European rights at $10,-
ooo, and in this country a
personal friend declined to
advance #2,500 for a half in
terest. Today, so it is stated,

* ~^fe

. -^^SRSflfriP^ ^fjm

THE FIRST PHONOGRAPH

// was with this machine that Editon in 1877 originally demon
strated the fact that sound could be recorded and reproduced.

GREAT

AMERICAN

INVENTORS

there arc in use in the I nited States alone approximately seven and a
halt million telephones.

EDISON, THE MASTER INVENTOR

Never has there been an American inventor who has contributed more
abundantly than Thomas Alva Edison to the republic s industrial expan
sion, nor one who has achieved greatness under a heavier handicap of
early disadvantages. Born (1847) of a poor family in an obscure Ohio
canal village, Kdison began his career at the age of twelve in the
occupation of a railway newsboy.

It was as a telegrapher, which
he became at eighteen, that his
inventive genius first displayed
itself. One after another various
devices for improving telegraphic-
service flowed from his fertile
mind, until, after his astonishing
success in inventing a duplex and
quadruplex telegraph, he was able
to command the support of a group
of New York capitalists in carry
ing through a long series of experi
ments that finally resulted in the
invention of the now familiar
Kdison electric light.

Had it been for only this one-
invention Edison s name would
be gratefully remembered for all
time. But to strengthen his claims
on the gratitude of his countrymen
and of posterity there has since
come from his New Jersey labo
ratory a succession of inventions, to name only a tew, the- phonograph,
the kinetoscope, the mimeograph, the storage battery, and the "talking
moving pictures," which have meant new openings for capital, new
opportunities for labor, and an incalculable enlargement of the resources
of the human race. Whitney, Fulton, Howe, Morse, Bell, Kdison,
clearly it is only simple historic justice to rate these great inventors with
the great statesmen, warriors, and pioneers who in days gone by have won
undying fame as makers of the American republic.

KDISON LISTENING TO THE PHONOGRAPH

GREAT AMERICAN INVENTORS

SUPPLEMENTARY READING

Leading American Inventors . . George lies

Inventors ...... P. G. Hubert, Jr.

Four American Inventors ... P.M. Perry

Edison His Life and Inventions . F. L. Dyer and T. C. Martin

Bell s Electric Speaking Telephone . George B. Prescott

Samuel Finley Breese Morse . . J. Trowbridge

Life of Robert Fulton ... T.W. Knox

Memoir of Eli Whitney ... D. Olmstead

NEXT WFKK S MENTOR

FURNITURE AND ITS MAKERS

Beautiful photogravures of Thomas Chippendale, Daniel Ma rot, Thomas Sheraton,
J. Henri Riesener, Charles Andre Boulle, George Hepplewhite.

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Vol. I

SEPTEMBER 8, 1913

No.

FURNITURE AND ITS MAKERS

CHARLES ANDRE BOULLE

DANIEL MAROT

J. HENRI RIESENER

THOMAS CHIPPENDALE

THOMAS SHERATON-

GEORGE HEPPLEWHITE

By PROFESSOR C. R. RICHARDS
Director of Cooper Union, New York.

IT is rather surprising to find how late a development furniture is
in the modern sense. Up to the seventeenth century chairs were
far from common. Outside of the large and heavy armchairs re
served for the head of the family, benches, chests, and stools were the
only seats in all but the wealthiest households. Before the sixteenth
century fixed tables were unusual. Dining tables were almost always
composed of a set of boards placed upon trestles at mealtime. Going a
little further back to the fourteenth century we find furniture, even in
castles of the nobility, of the scantiest and simplest. In the sleeping
rooms the pieces were limited to a bed, one or two chests, a bench before
the fireplace, and seats built into the wall, commonly under the windows.
In the hall where meals were served the only indispensable article besides
the trestle tables and benches was a dressoir or buffet for the display of
plate. All of these pieces were exceedingly heavy and massive, and often-

FURNITURE AND ITS MAKERS

times built into the structure of the room. Not
until the seventeenth century did furniture be
come lighter, more easily movable, and more
comfortable. It was at this period that chairs be
gan to be made with sloping backs and furnished
with cushioned seats of leather or woven stuff.

Every age has impressed its artistic stan
dards strongly upon the furniture of the period.
Long after Gothic cathedral building had ceased,
the cabinetmakers of northern Europe con
tinued to carve their delicate window tracery
upon the panels of chests and buffets and to
copy the moldings of pier and mullion.

The Renaissance brought a great change
in the surface appearance of furniture, and in
Italy, France, Flanders, and Germany the new
art spirit manifested itself in different forms,
each of which reflected the peculiar genius of the
people of the land.

But all the earlier developments in furni
ture we re over
shadowed by

LOUIS XIV CABINET
EXAMPLE OF BOULLE

FRENCH OR FLEMISH CABINET OF
THE FIFTEENTH CENTURY

the splendid achieve
ments of French art in the latter part
of the seventeenth century. These began
under Louis XIV, and continued with
undiminished productiveness and refine
ment of design through the reigns of
jL Louis XV and Louis XVI, to a decline
under the Empire.

LOUIS XV FURNITURE OF
THE BOUDOIR

The foundation by Colbert, minister
of Louis XIV, of the Manufactures Royales
des Meubles de la Couronne, commonly
called the Gobelins, brought together for
the production of furniture and tapestry
for the royal palaces the most talented
designers and expert craftsmen of the
time. Of these Charles Andre Boulle was
the master cabinetmaker. His name is

FURNITURE AND ITS MAKERS

commonly identified with marquetry of tortoise shell and brass,
which he carried to a high state of perfection; but he was much
more than a craftsman. He developed a furniture style that har
monized perfectly in its vigor and magnificence with the splendid
proportions of the great royal residences. Large in scale and mas
sive in construction, his pieces rely for their effect upon bold and
striking decoration of gilded bronze
and marquetry.

Boulle s pieces accord thor
oughly with the years of pomp and
splendor of Le Grand Monarque;
but even before the death of Louis
a notable change in the appearance
of furniture set in. The nobility,
whose resources had been severely
strained to maintain the splendor
set by the king, found it necessary
to substitute smaller apartments for
their great rooms and galleries.
Moreover, the heroic quality of the
earlier Louis XIV decorations was
no longer suited to the growing soft
ness and effeminacy of the age.
Smaller and more delicate furnish
ings were demanded. The Louis
XIV chairs had borrowed the high
upholstered backs, together with the
S curves for arms and legs, from the
Italians later on the bold bombe
curve appeared in the supports of
the tables. By the time of the
Regency these outlines had become more slender and refined and
the reign of the curved line in furniture became established, a reign
that lasted for fully half a century, during which time some of the
ablest masters of design that have ever lived played and conjured
with curves delicate and curves bold, now bringing forth an outline
pure and exquisite in quality, and again with amazing inventiveness
interlacing curve with curve in combinations of infinite variety and
bewildering richness.

Most Louis XV furniture develops naturally from that of Louis
XIV, and is built upon thoroughly structural lines. The reaction,

AN EXAMPLE OF RIESENER MARQUETRY
STYLE OF LOUIS XV

FURNITURE AND ITS MAKERS

however, against severity and the increasing demand of a frivolous
aristocracy for new and more striking effects, gradually produced a style
in which decoration was often not subordinated to structure, but made
an end in itself.

The rococo (from rocaille, rock, and coquille, shell) ran its extravagant
course with increasing exaggeration and license during the first half of the
reign of Louis XV; but it should not be thought of as affecting all the
furniture even of this period, for its manifestations were mainly in the

field of the carver and bronze
worker, and the outlines of furni-
ture were very little influenced,
except in the case of the smaller
and lighter pieces, such as console
tables. About the mid
dle of the reign the limit
of artistic license had
been passed and a re
action set in. The
ormolu, which had
reached excessive size
and had become over
loaded on the surface,
was withdrawn to the
edges, and made smaller
and more suitable for
the delicate proportions
of the pieces. In its

place marquetry of beautiful colored woods, more or less practised for
over a century, was brought to a perfection never before equaled.

LOUIS XVI THE INFLUENCE OF THE CLASSIC

The reaction against the excesses of the rococo which had set in as
early as the middle of the eighteenth century continued to gain strength
during the next two decades, and to carry the design of furniture farther
and farther from the fashion of the early years of Louis XV.

The new impulse turned naturally to the straight contour. This
meant almost inevitably the adoption of classic lines. At first the
change showed itself in the straightened bodies of commodes, cabinets,
and writing tables, which still retained their curved supports. Finally
the legs themselves were made straight or rather tapering; until by the
end of the reign of Louis XV the curved outline had quite disappeared

LOUIS XV TABLE

FURNITURE AND ITS MAKERS

and the style called
Louis XVI was fairly
launched.

The ormolu takes
new forms. It is lim
ited to the edges and
to frames of pa*nels,
to friezes, and to im
portant centers, and
follows the classic
spirit: not an out
right imitation of Ro
man or Greek forms,
but a charming French
interpretation of the
antique. The designs oi the metal worker had never been more deli
cate, or his execution finer. Delicacy and appropriateness of ornament,
fineness of proportion, and sobriety of treatment were the ideals of the
new cabinetmakers. The art of marquetry was still further advanced,
and reached perhaps its culminating expression in the fine examples of
Riesener and Rontgen.

It was during this reign that mahogany began to be extensively and
almost exclusively used as a cabinet wood, in place of the walnut pre
viously employed. Where walnut was still used, as in the case of chairs,
it was generally gilded or enameled. The chair and the canape or sofa
stand out as among the most successful achievements of the Louis XVI
designers. Simple as to structural lines, their details \\cre worked out
with scrupulous care and, from fluted
tapering legs to the carved frames in
closing the beautiful tapestry backs,
they represent extreme elegance and
consistency of style.

Toward the end of the reign of
Louis XVI the quality of furniture design
degenerated. Instead of charming
adaptations and interpretations of the
classic spirit, mechanical imitations of
Greek and Roman forms appear, and
heavy bronze caryatids overweigh and
distort the outlines of cabinets and tables.
Dull heaviness takes the place ol ele-

FURNITURE AND ITS MAKERS

gance and the play of fertile invention. The
decline had begun.

EMPIRE THE IMITATION
OF THE CLASSIC

The new order, built on the overthrow
of monarchical society and with no sympathy
for delicacy and refinement, desired a setting
free from the traditions of the past. The
cabinetmakers, however, had only their train
ing of the reign of Louis XVI, and this they
could not transcend. For motives they had
only their knowledge, or what they considered knowledge, of the antique.
On this they endeavored to build a new style by direct adoption of
classic forms. In chairs and couches they attempted to reproduce the
actual shape used by the Greeks and Romans. Figures of caryatids and
sphinxes take the place of simpler structural supports in tables and stands.
Ormolu was no longer employed in an architectural manner in which
one decorative detail is set off against another in a play of rhythm and
contrast; but was applied as single figures or small ornamental motives on
a plain surface of mahogany. Oftentimes this ornament has so little
relation to the space decorated that it could well be omitted without loss
of real effectiveness. This enthusiasm for the antique passed through
Egyptian, Greek, and Roman phases. Heavy and unimaginative

as most of the Em
pire pieces seem, it
can at least be said
that they are more
consistent and satis
fying than the inhar
monious mixture that
characterized the fur
niture of the last year
of Louis XVI. Many
of the Empire chairs
indeed are of real
dignity and beauty of
proportion. In some
of these ormolu, intro
duced for the first time
in chairs, was used in

FURNITURE AND ITS MAKERS

combination with polished mahog
any; but in most cases the wood
work was sparingly carved with
rosettes and enameled in white and
gold. For the coverings, silk brocade
and applique in the prevailing colors
of yellow and red took the place of
tapestry.

CHIPPENDALE THE
MASTER OF LINE

The French styles were the
result of many designers working
upon common lines; but in Kngland
during the last half of the eighteenth
century certain noted individual
cabinetmakers set the fashion,
and for a period of years the
designs of Chippendale, Hepplc-
white, and Sheraton were each in
turn recognized as the established
vogue.

Thomas Chippendale began
business in London on his own ac
count about 1735, and evidently rapidly built up a very flourishing
establishment, inasmuch as the "Gentleman and Cabinetmaker s Direc
tor," which he published in 1754, contains a
wide variety of designs suitable only for wealth}
customers.

The "Director" contains main- designs
that are fantastic, and many that arc difficult
and even impossible to execute. Fortunately
Chippendale s fame does not rest upon these
designs, made to catch the eyes of his richer
patrons, but upon the pieces actually made,
and it is refreshing to see how much finer arc
these latter, evolved by the trained craftsman,
understanding every limitation and every pos
sibility of his material. Chippendale s chairs
represent by far the best expression of his
genius. Starting with the modified Dutch

JEWEL CABINET OF MARIE LOUISE
LATE EMPIRE

EMPIRE ARMCHAIR

FURNITURE AND ITS MAKERS

forms introduced by \\ illiam and Man- and Queen Anne, in which
the cabriole leg with ball and claw feet and the flowing curved back with
solid splat are the prominent features, he soon developed an individual
style marked by great dignity, strength, and originality. His earliest
chairs are perhaps the finest. In these the
cabriole leg is always employed, and the side
frames of the back curve outward as they
run up to more or less pronounced ears at
the top. The top rail takes more or less of
a cupid bow shape, and the central splat fills
in the inclosed space. It is in the design
of these central splats and the inclosed frame-

EMPIRK ARMCHAIRS

work that Chippendale is at his best. The
almost inexhaustible variety of figure in these
pierced and interlaced centers, always in the
happiest relation to the framework, gives
the principal interest to these chairs, and
stamps Chippendale as one of the great mas
ters of design.

Chippendale s styles represent many influences. His early work
was patterned closely upon Queen Anne models; but with the " Direc
tor" appeared many examples of Gothic and fretted furniture. The
Gothic, unsuitable as it was for domestic use, obtained little vogue;
but the ornamentation of chairs and tables, either by open or, more
commonly, applied fretwork, was popular for a dozen years or more,

FURNITURE AND ITS MAKERS

CHIPPENDALE PIE
CRUST TABLE

CHIPPENDALE TABLE

This table shows strong Chinese influence.

and is characteristic of some of Chippendale s most successful if not
most showy productions.

During this same period a rage for things Chinese possessed the
popular taste, and in many latticed chair backs and canopied tops of
cabinets the versatile cabinetmaker catered to this ne\v interest.

Besides his chairs, the name of Chippendale is closely associated with
the charming tripod tables, generally made with tilted top and often with
molded or "piecrust" border, with the flat card tables so much used in
the gaming of the period, and with the all-china cabinets and bookcases
with glass fronts, and oftentimes with a characteristic broken pediment
at the top.

The two other men who identified their names with English styles

worked under the influence of the
classical revival brought about in
England largely
by the influence
of the brothers
Adam. In the
case of Hepple-
white this influ
ence greatly af
fected but did
not absolutely
determine the
style; for this
practical cabi-

CHIPPENDALE nptmflL pr was

CHIPPENDALE SETTEE-FRETWORK ARMCHAIR

FURNITURE AND ITS MAKERS

man of independent if not original ideas, and his work
bears a strong stamp of individuality. Hepplewhite
died in 1786, and the "Cabinet-maker and Upholsterer s
Guide," published by his widow and partners in 1788,
shows us in the form of a trade catalogue much of the
spirit and quality of his work.

HEPPLEWHITE THE EXPONENT
OF ELEGANCE

The most characteristic designs of Hepplewhite are
his chair backs. These are commonly shield or oval
shaped, with open center splats, in the center of which
were often introduced the ostrich plumes of the Prince
of Wales. Another form of back frequently employed

nm** I by Hepplewhite was that with slightly curved sides
and strongly bowed top, known as the "camel back."
I The legs of Hepplewhite s chairs are almost always

tapering and square in sections and end in a spade foot.
APPLEWHITE rpL r ^i i rr c

CORNER CABINET [ ne proportions of these chairs give an effect of extreme
elegance and refinement. They seem almost fragile;
but the material is disposed with such skill and the workmanship is
so excellent that in reality they are far stronger than might appear.
From the time of the Middle Ages the buffet has existed as an
important article of furniture; but to Hepplewhite is due the credit
of perfecting the sideboard in its present English form. He combined
the pedestal cellaret and side table of Robert Adam in one structure,
and effected a union of utility
with elegance, which he executed
in many pleasing designs of bow
and serpentine front.

To Hepplewhite we must also
give credit for the most refined
and tasteful use of inlay and of
veneers to be found in English
furniture. On the doors of ward
robes and on the front of drawers
he employed veneers of the beau
tiful curl mahogany that came
into favor about 1760, and on the
front of his solidYnahogany tables,

HEPPLEWHITE COMMODE

FURNITURE AND ITS MAKERS

EXAMPLES OF HEPPLEWHITE CHAIRS

EXAMPLES OF SHERATON CHAIRS

sideboards, and bookcases he substituted for carving the inlay of low-
toned colored woods in the form of lines and narrow bands and other
ornamental motives.

SHERATON THE PURIST

The last of the three great cabinetmakers represents the culmination
of the classic spirit derived both from the brothers Adam and the French
Louis XVI style. Sheraton s productions, or rather his designs, depicted
in the "Cabinet-maker and Upholsterer s Drawing-Book," have little of the
vigor and strength of Chippendale s work; but they are always character
ized by delicacy and refinement.

Sheraton designed furniture both in mahogany and in satinwood,
decorated by inlay and by painting, and [it is w r ith this last style, the
introduction of which was largely due to the popularity of the gifted
young artist Angelique Kauffmann, that he is particularly identified.

His work in mahogany is
characterized by simplicity
of form and by the taste
ful use of inlay, in which
respect he was perhaps
the equal of Hepplewhite.
His chair backs are
almost always based upon
the straight line, and,
although sometimes made
petty by the introduction
of inappropriate classic

FURNITURE AND ITS MAKERS

ornament, they exhibit on the whole much skill and refinement
in composition. In the legs of chairs and tables he almost invariably
used turned and tapering supports, which were frequently decorated by
reeding. In the sides and often the backs of his chairs he reintroduced
the vogue of canework, \vhich had not appeared in fashionable furniture
since the seventeenth century.

Sheraton s satinwood furniture took the form mainly of commodes or
bureaus, small writing desks, toilet tables, and other lighter articles for
the boudoir. The daintiness and elegance of some of these pieces deco
rated by the brush of Angelique Kauffmann or Pergolesi challenge com
parison with some of the exquisite furniture made during the reign of
Louis XVI, and they mark the final culmination of English furniture
before its degeneration into the mediocrity of later times.

SUPPLEMENTARY READING

French Furniture ....... A. Saglio

A History of English Furniture .... Percy Macquoid

French Furniture in the Eighteenth Century . . Lady Dilke

Colonial Furniture in America .... Luke Vincent Lockwood

English Furniture of the Eighteenth Century . . Herbert Cescinsky

Furniture . . . . .. . . Esther Singleton

French and English Furniture . . . Esther Singleton

French Furniture in the Eighteenth Century . . Lady Dilke

The Furniture Designs of Thomas Chippendale . . /. Munio Bell

NEXT WEEK S MENTOR

SPAIN AND GIBRALTAR

Beautiful photogravures of the Alcazar at Seville, Royal Palace at Madrid, Cathedral
of Toledo, the Alhambra at Granada, Cathedral of Seville, the Rock of Gibraltar.

A Trip Around the World with D WIGHT L. ELMENDORF
Lecturer and Traveler

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VOL.1 SEPTEMBER 15, 1913 No. 31

THE

A "Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY

Spain And
Gibraltar

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DWIGHT L. ELMENDORF Lecturer and Traveler

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Entered as second-class matter March 10, 1913, at the post office at New York, N. Y.. under the Act of March 3, 1879.

THE MENTOR

: A Wise and Faithful Guide and Friend

Vol. i

SEPTEMBER 15, 1913

No.

SPAIN AND GIBRALTAR

TOLEDO CATHKDRAL

ROY A L PA LACE, MADRID

ALCAZAR AT SEVILLE

SEVILLE CATHEDRAL

THE A LH AM BRA,

GRANADA

GIBRALTAR

A Trip Around the World with
L. ELMENDORF, Lecturer and Traveler

GONE is the ancient glory of Spain. To the visitor it appeals
chiefly as a country of a splendid past. This is not true, of course,
of some of the more populous localities. Barcelona is full of life
and commercially enterprising, and Madrid is full of activity and is a natu
ral center of interest as the capital of the nation. But many of the cities
and towns of Spain attract chiefly as interesting and picturesque survivals.
They breathe the atmosphere of a former age. We feel the influence of
it wherever we turn. Spain is not much traveled by tourists. More
would go perhaps if they realized what splendid scenery was there, and
how rich in historic and romantic associations the country was.

Since the days of the first inhabitants, the Iberians, and beginning
with the Celts who crossed the Pyrenees some five hundred years B. C.,
Spain has been invaded by Phenicians, Carthaginians, Romans, Vandals

SPAIN

AND

GIBRALTAR

GENERAL VIEW OF TOLEDO

Toledo is one of the most ancient cities in Spain, It was at its zenith under the Moors. Later it became the

residence of the kings of Castile.

and Visigoths, Arabs and Moors, and each of these races has left evidences
of its dominion, in monuments of one kind or another, in architectural
forms, in roads and buildings, and in the language and customs of com
munities. The interesting Basque people of the northern provinces of
Spain are declared by students of history to be almost unmixed descend
ants of the original Iberians.

THE GLORY THAT WAS SPAIN S

And in these many years what glory has been Spain s! She has been
aptly called an "eddy of tribes and races." Under Moorish rule she
commanded the Mediterranean. Then as a Christian kingdom, beginning
with Rodrigo the Cid and Alfonso VI in the eleventh century, and extend
ing through several hundred years under such famous rulers as Ferdinand
and Isabella and later Charles V and Philip II, Spain acquired the whole
peninsula and rose to be a great world power. In war she was a dreaded
foe of France, England, and the Netherlands. Her armada for years
swept the seas. In search of treasure and to extend Spain s power and
possessions, Vasco da Gama discovered India and Columbus opened up
the new continents of the western world.

All the achievements of Spain in the brilliant past are brought home
to the visitor who spends even a few weeks in that country. So many

SPAIN

AND

GIBRALTAR

things in Spain are interesting for what they were! The visitor soon
comes to know the mood of Washington Irving, who dwelt for a time
in the Alhambra. His impressions are like those of a beautiful dream.
Irving withdrew from the world of his day and immersed himself in the
romance of the past. That is the mood in which the traveler will enjoy
himself most when visiting many places in Spain.

THE LAND OF THE DONS

The very entrance to Spain is a fit preparation for the strange, inter
esting and beautiful things to be seen there. No one can forget the day
that he crosses the impressive boundary between France and Spain, wind
ing about and tunneling through the majestic Pyrenees. Once this
superb mountain range is passed, the traveler feels as if he had come upon
a different world from any that he has seen before. His attention turns
first, most naturally, to the great cities, which differ essentially from one
another. Perhaps no two more contrasting cities could be selected than
Toledo and Madrid. Toledo was from the earliest times a capital city.
The Romans, Goths, Moors, and finally the Christians, made it the head
quarters of authority.
It was the scene of
the triumph of that
world-admired hero of
the eleventh century,
Rodrigo the Cid. To
ledo is in all respects
an impressive relic of
bygone splendor. Ma
drid, on the other
hand, is a modern city.
In the days when To
ledo was most mag
nificent and had a
poulation of over 200,-
ooo, Madrid was a
little town. Today
Madrid numbers over
500,000 inhabitants,

PUENTE DE TOLEDO, MADRID

The bridge of Toledo at Madrid was completed in 1872. The banks of
the stream art continually rising, and the piers are therefore partly
buried in the ground.

while Toledo s popula
tion has dwindled to less than 30,000. In Toledo we find many things as they
have been for hundreds of years. The city is still famous for its swords.
The Toledo blade is known the world over todav as it was in Roman times.

SPAIN

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GIBRALTAR

The traveler does well to visit Toledo first. Its very situation is
extraordinary. The river Tagus flows about it and almost binds it in like
a rope. The banks of the river are rocky and steep, and spanned by several
interesting old stone bridges.

A CITY OF THE PAST

The effect of Toledo viewed from the south and looking across the
gorge through which the river flows is remarkable. The city is inclosed
within ancient Moorish and Gothic fortifications, and presents an aspect
of a jumble of housetops dominated by two great structures, the cathedral
and the Alcazar.

Enter Toledo, and you find novelty and picturesqueness on every
side. The streets are narrow and
crooked. The houses are blind and
forbidding on the outside, reserving
their attractions for their inner
courts. Everything about you is
strange and curious, and full of his
toric significance. If you wish to get
the history of Spain in condensed
form, you will find it in Toledo.

The cathedral is the most im
portant feature of the city, and one
of the finest and most interesting
in Europe. The religious life of
Spain centered there for centuries.
On that site a Christian temple
stood in the sixth century. When
the Moors came they made a mosque
of it. Then Alfonso VI took pos
session in 1085, and the Moors were

PUERTA DEL SOL, MADRID

The "Gate of the Sun" the big square in the center of

Madtid and the busiest spot in the city, has long

been the real political arena of Spanish history.

driven out. In the thirteenth century
the old building was torn down and
the present edifice was begun. Dur
ing 265 years it was in course of
construction a lifework for many
architects and artisans. And there the great archbishops of Toledo
controlled the government and civilization of Spain for years. Every
thing of importance that made Spanish history w r as then in their hands.
You are made to realize this when you visit the cathedral. It con-

SPAIN

AND

G I B R A L T A R

THE ESCORIAL

This immensf building was constructed at the great cost of over $3,000,000, by

Philip II of Spain. It was the result of a vow made by the king to build a

monaster\ to Sain/ Lawrence.

tains many valua
ble relics of history
and art treasures.
When you have
seen these go to the
tower. The view
will repay you. The
most prominent
object to be seen
from there is the
Alcazar, standing
on the highest
ground of the city.
This building is the
phenix that has
risen over confla
grations of former
structures on that

site. The original building was a Roman citadel. When the Cid reigned
supreme, in the eleventh century, he resided there. Afterward fires con
sumed the building, and it was rebuilt several times. It has been in
turn a castle, a palace, a cadet academy, and now it stands there a
stately and imposing monument to the past.

MADRID, THE CAPITAL OF SPAIN

Madrid was made the capital by Philip II in 1560. It was not by
nature attractive. The winter winds are cruel, and the summer heat is
intense. The country roundabout is bleak, and for years after it became
the capital it remained a city of small buildings and unimposing appear
ance. But the court being there, it was the center of all political and
religious activities. Arts and letters received their greatest stimulus under
the patronage of church and court. Cervantes lived there, and it was
in Madrid that he finished his immortal "Don Quixote." The Bourbons
came into power in the eighteenth century, and then the great royal
palace was built. After that Madrid increased rapidly in population
and improved in appearance. Today it is a city of great activity, full of
life, gaiety, and fashion; in short, the Spanish Paris.

The two things that command most interest in Madrid are the
palace and the museum. The palace, which stands on high land on the
site of the old Moorish Alcazar, was erected between 1738 and 1764, and
is a most imposing structure, no matter from what side it is viewed. Some

SPAIN

AND

GIBRALTAR

idea of its immensity may be gathered
from the statement that it covers 26,900
square yards of ground and its sides are
500 feet long. Like many great struc
tures in Spain, it is built of native granite.
It is not easy to gain access to the in
terior of the palace. Sometimes in the
absence of the royal family permission
may be obtained, and those who have
the privilege of being admitted find
there many relics of historic value, a
priceless collection of tapestry, a num
ber of most interesting old works of
art, and a library containing many
volumes of unique worth.

The collection of paintings in the
art museum is one of the finest in all

THE ESCORIAL

One ot the monks oj the monastery on the bal
cony, overlooking the formal gardens.

Kurope. There is a magnificent rep
resentation of the Spanish school,
and especially of the great painter
Velasquez. There are sixty pictures
of his, including some of his most
brilliant works. There are also many
splendid examples of the art of
Murillo, and many paintings by Ru
bens and Van Dyck.

THE ESCORIAL

Situated twenty-seven miles
from Madrid is the village and palace
of Escorial. The Escorial is a most
extraordinary building. Many of the
Spanish people regard it as the eighth
wonder of the world. It is a fitting
memorial of the cold, cruel monarch

LIBRARY OF THE ESCORIAL

This splendid room contains many rare and valuable

works. The older books stand with their fronts toward

the spectator and have their titles stamped on the

gilt edges.

SPAIN

AND

GIBRALTAR

who built it. It is related that Philip II constructed the Kscorial in
fulfilment of a vow, made during the battle of St. Quentin, which took
place on Saint Lawrence s day, August 10, 1557. King Philip declared
that he would, in case of victory, erect a memorial building to Saint

Lawrence that would transcend any structure of
its kind that had ever been built before.

Saint Lawrence, it will be remembered, was
burned to death on a gridiron, and it is said that, in
memorial of this, the structure of the Escorial was
planned to resemble a gridiron in form. There is
nothing authoritative to substantiate this tradition,
however. It is simply the story that goes with the
place. This monstrous building was begun in 1563
and was completed in 1584. It is a monastery and
a palace at the same time. Its vastness overwhelms
the mind. At first sight you are awed by the
solemn, stern, and forbidding aspect of the build-

THE LEANING TOWER OF
SARAGOSSA

lllg, and this first
j&lt;,

GRANADA AND THE ALHAMBRA

*he Alhambra occupies thf plateau of thf Monte de la Assabria. This wonder-
*! building was begun by Mohammed /, who was the originator of the motto
jr. It old ih&liba ill .-illdhta dld" (there is no conqueror but the Most Hieh God).

ened after going .,,

. . e o which is so conspicuous among the inscriptions of the Alhambra.

through the im

mense courts, corridors, and chambers. It has but little ornament to
relieve its severity. It is the work of a morbid and supersti
tious man. As one visitor has put it, "Philip was the proudest

SPAIN

GIBRALTAR

among kings and the most bigoted among devotees. What wonder
that he should build a convent and palace and make its costliest room
his sepulcher!"

The Escorial staggers description. Perhaps an
adequate idea of it may be had from a brief statement
of facts. It cost three and one-quarter million dollars,
and covers 500,000 square feet. It is 700 feet long,
580 feet wide, and is divided into sixteen courts. The
great towers at the corners rise 200 feet. The main
cupola or tower above the church, in the center, is 320
feet in height. When we add that there are 86
staircases, 89 fountains, 15 cloisters, 1,200 doors,
2,600 windows, and miles of corridors, we sum up

in a measure

the astounding

dimensions of

this wonderful

structure.
The Escorial

is well kept by

the Augustin-

ian brothers

who are in

charge. The

BELL TOWER, CORDOVA
CATHEDRAL

7 his tower is three hundred
feet high, and was built on the
foundations of the Moorish
minaret. At the top is a figure
of Saint Raphael with a
weather fane.

PALACIO DE GENERALIFE, GRANADA

The Palace of theCeneralife was the summer residence

oj the .Moorish kings. This interior view shows the

Patio de la Acequia.

pleasant to turn south to Granada;
itor in Spain awaits him there,
in a valley, on ground that rises

su rrou nding
terrace and
gardens are
carefully cul
tivated, and
these outer
adornments
help a little to
soften the austerity of the stupendous
pile of granite buildings.

In this country of contrasts
there is no more striking contrast
than that between the cruel Escorial
and the romantic Alhambra. It is
for the greatest treat of all for a vis-
Granada is picturesquely situated
toward the hill of the Alhambra.

SPAIN

AND

GIBRALTA R

A SEVILLE INTERIOR

The private life of Seville is focused in the inner courts of the
houses. This picture shows the beauty of one of these courts.

The view from the highest
points is beautiful.

THE ALHAMBRA

Granada is not especially
attractive in itself. It is
chiefly a city of the past. It
is the Alhambra that draws
the visitor there. This cele
brated building is a dream
of Moorish magnificence
made real. It is impossible
to do justice to its wondrous
beauties in brief space. An
extensive literature has been
written in description and in
appreciation of its architec
tural splendors and of its romantic interest. Washington Irving has
done most for the subject in his "Tales of the Alhambra." He lived
there for a time, and wrote there during his stay. You will find his
name registered in the visitors book under date of 1829. The
Alhambra, like many Moorish buildings, is severely simple on the out
side; but when you enter your senses are captivated by the exquisite
beauty of design and decoration that stretches out before you as you
go through the courts and halls of this wonder palace. \\ hile in tin-
whole it presents an effect of
uniformity, there is infinite
variety in detail, and there
are countless forms of beauty
about you that captivate the
mind and fill the soul with
delight.

Aside from the Alhambra
there are two buildings in Gra
nada that command special
attention, the Palace of
Charles V, which adjoins the
Alhambra, and the Palace
of the Generalife. Both of

THE GARDENS OF THE ALCAZAR, SEVILLE

The plants and flowers of these gardens are very beautiful.

NOTE. Further information concerning the Alhambra will be printed in a future number of The Mentor, de-
yoted to "Beautiful Buildings of the World."

SPAIN

AND

GIBRALTAR

them have features of great architectural beauty. The former building
was never completed. The palace of the Generalife is situated to the
east of the Alhambra and 165 feet higher. It was the summer
residence of the Moorish kings. From there the finest view about
Granada can be had, covering the Alhambra below and stretching far
across the vega (plain) to the distant mountains. The interior of the
Generalife in its time must have been as beautiful as that of the Alhambra.
The most beautiful spot is the garden of the Generalife, with its ter
races, pools, grottoes, hedges, and overhanging trees.

SEVILLE

It is a great relief to turn from the squalor in Granada to the comforts
and delights of Seville. There is no town or city in Spain that can com
pare in charm with Seville. By its snow-white cleanliness, its fragrant
fruit and flowers, its luxurious foliage, its gay and harmonious life, it
invites the traveler to stay and few can resist the invitation. Once intro
duced to the home life of the inhabitants, the visitor is apt to renounce
gladly for a time all thought of departure. Everywhere about him is
competence, comfort, and content. It seems as if families vie with one
another in making their homes attractive. The family life is in the inner
court or patio. That is the summer parlor, and there in the midst of
flowers, plants, and beautiful birds friendly parties gather in happy com
panionship. It is in Seville, it seems to me, that the life of the native

Spaniard may be seen
in its most attractive
light.

The two most
notable sights in Se
ville are the Alcazar,
which was the palace
of the Moorish kings
and afterward the
home of Spanish rul
ers, and the cathedral,
which is one of the
finest, largest, and

THE HARBOR AT BARCELONA mOSt beautiful Gothic

Through Barcelona passes almost one-fourth of the entire foreign commerce Churches tO DC TOUnd

0} Spain. This city is the most important commercial and industrial town anywhere.

in Spain, and has a population of 530,000. The Alcazar has

SPAIN

AND

GIBRALTAR

much of the beauty that is to|be found
in the Alhambra. Many of the interior
decorations are not of the original build
ing, but were the result of a restora
tion, and in this work many of the de
signs were frankly borrowed from the
Alhambra.

The cathedral is one of the largest
and most beautiful in Europe. Within
this great building there are so many
interesting and valuable works of his
toric and art interest that it might fairly
be called a museum. One feature of the

THE VILLAGE OF GIBRALTAR

In the distance is seen the misty outline oj the Rock of
Gibraltar.

GIBRALTAR

This, the key to the Mediterranean, is one oj

the most important coast fortresses in the world.

It has been in possession of Great Britain

since 1704.

exterior of the cathedral arrests
the eye of a New Yorker at once,
the tower. He is apt to ex
claim on sight of it, "The Madi
son Square Tower!" The simi
larity is close. When the plans of the Madison Square building were
made the tower of Seville was copied.

We have gone now far to the south. A few miles brings us to Cadiz,
on the ocean coast, or Malaga on the Mediterranean. The distance
from either of these two attractive cities to Gibraltar is short.

GIBRALTAR, THE IMPREGNABLE

And when we reach Gibraltar the change of scene and life is abrupt
and almost startling. If we go to Gibraltar by the road from Spain,
we cross a narrow strip called Neutral Ground. It is arbitrarily fixed
territory between Spanish and British ground. It is so low that it can
hardly be seen from a distance. The effect is to make Gibraltar seem
like an island. In case of emergency it would not be difficult to blow up
this neutral strip and make an actual separation.

SPAIN AND GIBRALTAR

The rock of Gibraltar has been for years the symbol of stability and
of strength. It is in a military sense the "key to the Mediterranean." It
was taken by the British in 1704, during the war of the Spanish Succession,
by Admiral George Rooke, who commanded the British fleet. It has
been fortified by the English government in a manner that is most dis
couraging to anyone contemplating a hostile advance through the straits.

The shape of Gibraltar is that of an enormous lion. As Thackeray
says, "It crouches there, to guard the passage for its British mistress."
At the base of the rock are batteries; up on the summit are guns of
heavy caliber, and over its face are holes through which cannon muzzles
look out across the water like sullen and malignant eyes.

Gibraltar is over 1,400 feet high and is composed of limestone.
Under its present conditions of fortification it is declared to be impreg
nable. It looks it. At the foot of the great rock is a town of 30,000
inhabitants, of whom 6,500 are soldiers, composing the British garrison.
In this town is to be found a cosmopolitan mixture of men, and the
character of it shifts from time to time according to conditions of traffic
through the straits. There is enough to entertain a visitor for a day.
Life there for a long time must grow monotonous. The impressions,
however, of a single day at Gibraltar are not forgotten. You carry away
the conviction that, whatever might happen to anything else in this
world, Gibraltar is likely to stay.

SUPPLEMENTARY READING

Spanish Cities C. A. Stoddard

Spain and Morocco . Henry T. Finck

Castilian Days John Hay

Tales of the Alhambra Washington Irving

Spain ........... Edmondo De Amicis

The Story of Spain E. E. and Susan Hale

Spain: Its Greatness and Decay (1479-1788) . . . Martin Hume

Modern Spain (1788-1898) . . . . . Martin Hume

A Record of Spanish Painting ...... C. G. Hartley

Gibraltar and Its Sieges ....... J . H. Mann

Gibraltar H. M. Field

NEXT WEEK S MENTOR

HISTORIC SPOTS OF AMERICA

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Comment by
ROBERT M. McELROY, Professor of American History, Princeton University.

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THE MENTOR

A Wise and Faithful Guide and Friend"

VOL.

SEPTEMBER 22, 1913

No. 32

HISTORIC SPOTS OF AMERICA

JAMESTOWN

PLYMOUTH ROCK
TICONDEROGA

INDEPENDENCE MALI.

GETTYSBURG

By ROBERT McNUTT McELROY

Head of the Department of History and Politics, Princeton University

A FEW years before the settlement of the territory now known as
the United States the people of Europe had witnessed a great
naval battle in which two kinds of civilizations contended for
supremacy. England and Spain were the combatants, and the issue, as
we now clearly see, was whether the old idea of monarchy or the new idea
of democracy should dominate two continents. Gold from Mexico and
Peru had made Spain a great power. Successive royal inheritances had
given to her kingly line the control of a large part of Europe. She was
the champion of the Church of Rome, and regarded it as her mission to
prevent all heretics from planting colonies in the New World. England,
on the other hand, was the champion of Protestantism, whose doctrine of
the direct responsibility of the individual led logically to democracy
in government. England won the battle, destroying Spain s great
Armada, and thus opening the New \Yorld to the settlement of men pro-

HISTORIC SPOTS OF AMERICA

JAMESTOWN ISLAND

The exact site of the original settlement. Once a peninsula, this ground has been cut away from the mainland
by the constant washing of the river. It is now protected by a stone wall.

fessing Protestant doctrines; for as
soon as Spain s power on the seas was
shattered Protestants could plant col
onies without danger of having them
destroyed by a Spanish man-of-\var.

THE VIRGINIA COMPANY

Within a few years after the
destruction of the Armada a great col
onizing company was established in
England for the purpose of sending out
men to settle the New World. Sir
Thomas Gates, Sir George Somers, and
a number of associates asked King
James the First of England to grant
them a charter of incorporation. He
consented, and on April 10, 1606, trans
ferred to them the vast district called
Virginia, which comprised practically
all the territory later occupied by the
thirteen American colonies. The char
ter which made the grant clearly

declared "that all and every the Persons . . . .which shall dwell and
inhabit within every or any of the said colonies or Plantations, and every
of their children, .... shall have and enjoy all liberties, Franchises, and
Immunities ... .as if they had been abiding and born within this our
Realm of England." This was a promise of self-government for all
English colonies in America, and if England had carried it out in good
faith there would not later have been the necessity of fighting the Revo-

OLD CHURCH AT JAMESTOWN

A ruined tower of the earliest colonial days.

HISTORIC SPOTS OF AMERICA

JAMESTOWN CHURCH

A reproduction of the church built 1639-1647. This building was put

up for the Jamestown Exposition in 1907, using the old tower, which

can be seen in the background, for its entrance.

lutionary War; since all that the Americans
demanded at the opening of that conflict was
to be taxed only by their own representatives,
a privilege which Englishmen in England had
enjoyed for many generations.

The Virginia Company, as this great cor
poration was called, was divided into two
subcompanies, the London and the Plymouth
Companies, to each of which was assigned the
task of colonizing one-half the territory.

Before many weeks had passed George
Popham attempted to plant a colony in the
part assigned to the Plymouth Company, but
it utterly failed.

The London Company, meanwhile, had
fitted up three small vessels, the Godspeed, the
Discovery, and the Susan Constant, placed one
hundred and five colonists aboard, and sent

them forth to plant a colony. They sailed from the Downs on New
Year s Day, 1607, and after a stormy voyage of almost four months
dropped anchor off a pleasant point of land, to which in gratitude
they gave the name " Point Comfort."

JAMESTOWN MONUMENT

A shaft to commemorate the first

permanent English settlement on

American soil. Jamestown teas

founded May 13, 1607.

HISTORIC SPOTS OF AMERICA

JAMESTOWN, THE

FIRST ENGLISH

SETTLEMENT

As they had been
warned, however, to
establish this settle
ment far up a naviga
ble river, out of danger
from wandering vessels
of the Spanish Main,
they entered the beau
tiful river of Pow-
hatan, which they
called the James, and
sailed up it for some
fifty miles until they
to a wooded

THE MAYFLOWER

The pilgrim ship is shown as it entered Plymouth Harbor bringing the first
New England settlers.

came to a

island, which they chose as the site of their colony. There they cut logs
and built the rude huts which marked the site of Jamestown, the first
permanent English settlement within the limits of what we now know as
the United States of America.

Through sorrow and privations, surrounded by the nameless terrors
of an unknown wilderness, harassed by savages, and disheartened by sick
ness, the little colony survived as by a
miracle, and became the nucleus of a nation.
Of the old Jamestown nothing now remains
but an ancient church tower overgrown with
ivy and a few crumbling tombstones. But
its honor remains, secure in the hearts of
a grateful people.

The failure of the Popham colony had
discouraged the Plymouth Company, and
it was not until Jamestown was a flourishing
village that a permanent settlement was
made in the northern part of the region
which King James had granted to the Vir
ginia Company. Those years had been
years of strife and sorrow in England. The
king in the narrow bigotry of his ecclesias
tical views, had declared that if any refused
to conform to the rules of worship prescribed
by the established Church of England, he

EDWARD WINSLOW

From the only portrait of a "Mayflower"

pilgrim in existence. Edward Winslow was

one oj the governors of Plymouth colony.

HISTORIC SPOTS OF AMERICA

would "harry them out of the land," and King James had kept
his word. Many Englishmen had been "harried out of the land," and
had taken refuge on the continent of Europe; but the band for whom
history was reserving the largest place had escaped from Scrooby in Not
tinghamshire and established themselves at Leyden, Holland. Here they
had prospered; but they were still English, and, seeing their children
growing up with distinctly Dutch characteristics, they determined to
migrate to a land where the son of an Englishman would grow up an
Englishman. It is often said that the chief aim of the Puritans was to
settle in a land where they could worship God as they pleased. This,
however, they were quite at liberty to do in Holland. It might be said
with greater truthfulness that they desired to settle in a land where they

could compel others to worship

( jod as they commanded and this
they managed quite effectively for
some years after their landing.

THE PILGRIMS

The&gt;- accordingly obtained
from the London branch of the
Virginia Company permission to
settle at the mouth of the Dela
ware, and from the king the
promise that he would "wink at
their heresy." When all was
ready, the youngest and strongest
of the Leyden congregation, with
Brewster, Bradford, W inslow, and
Myles Standish at their head, re
paired to Delft Haven, where they

embarked for England upon the Speedwell. At Southampton they were
joined by the Mayflower, with recruits from London, and the two little
vessels turned their prows toward the vast waters of the Atlantic.
The Speedwell, however, soon sprang a leak, and the two vessels
entered the harbor of Plymouth in Devonshire, where as many as possible
of the Speedwell s passengers were transferred to the Mayflower, those
who could not be there accommodated being placed ashore. As the May
flower glided out of the harbor on September 6, 1620, the one hundred
and two devoted souls on board waved a sad farewell to their twenty
disconsolate fellow Pilgrims who stood on the quay. As the dim outlines o f
ancient Cornwall faded from their view, the hearts of flesh cried out, but
the steady voice of the Spirit gave them courage; for to the Puritan, in
spite of his faults, which were many and great, duty was always first,

PLYMOUTH ROCK

The granite boulder on which the Pilgrims are said :o have
landed in 1620.

HISTORIC SPOTS OF AMERICA

and the^planting of the wilderness with the choicest seed, as he modestly
called himself, was a solemn duty laid upon him by God.

Driven from their course, lost on the vast oceans of an unknown
world, the little company pressed bravely on, and on November 9
sighted Cape Cod, far to the north of their intended destination. Here
their patent was useless, and as some of the company in "discontented

and mutinous speeches" during the voyage
had declared that "they would use their
own liberty" after landing, it was thought

I A wise to draw up a compact binding its

signers to render "all due submission and
obedience" to the government therein pro
vided. This document has been called the
first written constitution in the world s
history. It was not a constitution, how
ever; but only a compact.

:3* ~ . fc5~-

PLYMOUTH ROCK

After five w r eeks of careful inspection
of the coast they selected for their colony
a spot which Captain John Smith had
already named Plymouth, in honor of the
lovely harbor from which they had sailed.
Here, as tradition says, upon a great rock,
now known throughout the w r orld as Ply
mouth Rock, they landed on December
21, plowed through the deep snow, and
amid the "murmuring pines and the hem
locks" began to build a House of God and
about it rude cabins of logs. To this scene
every true American heart should turn
with reverence, whatever his creed, political
affiliation, or sectional tradition; for it,
more than any other in American colonial
history, typifies the spirit which has made
of America a great nation. At Plymouth,
more even than at Jamestown, the political doctrines which had grown
out of Calvinistic theology took firm root. In religion the Puritans
were bigoted and intolerant; but in political theories they represented
the idea of the freedom and dignity of the individual. The God-given
right of self-government was their political motto, and from it they
never swerved. The great contest which we call the American Revo
lution was not, as is sometimes asserted, an attempt to throw off the

Copr. 1906, A. S. Burbank, Plymouth, Mass.

NATIONAL MONUMENT TO
THE FOREFATHERS

Erected in remembrance of their sufferings
for civil and religious liberty.

HISTORIC SPOTS OF AMERICA

PLAN OF FORT TICONDEROGA

A restoration begun in 1909. The first fort, called Fort Carillon, was built by the French in 1755. It was taken
by the British in 1758 and rebuilt as Fort Ticonderoga.

shackles of tyranny, but was, on the contrary, a determined refusal to
allow these shackles to be put on. George the Third and his obse
quious minister, Lord North, were the real revolutionists; for they
sought to take away from the American colonies rights of self-government
as old as Jamestown and Plymouth. In this they failed, and their failure
cost England an empire.

TICONDEROGA AND INDEPENDENCE HALL

To tax a man without his consent has always been, since Magna
Charta was written, contrary to the liberties of native-born Englishmen.
It was therefore contrary also to the liberties of native-born Americans,
and as such it was resisted by our ancestors of the revolutionary epoch,
as it had been resisted by our ancestors of the colonial era. When, on
May 10, 1775, Ethan Allen and Benedict Arnold, sword in hand, called
upon the king s ancient fortress of Ticonderoga to surrender, giving as
their authority "the great Jehovah and the Continental Congress," they
were but putting into striking phrase the political doctrines of Calvinism
and seeking to enforce the royal promise that Americans of whatever
colony were entitled to "all Liberties, Franchises, and Immunities. . . .
as if they had been abiding and born, within this, our Realm of England."
And when the great political figures of the Revolution Adams, Wither-
spoon, Franklin, Jefferson, and the rest assembled in Independence Hall,

HISTORIC SPOTS OF AMERICA

Philadelphia, and signed the Declaration of Independence, while the Lib
erty Bell pealed forth the notes of freedom, they were but repeating the
declaration of the first American charter.

Our Revolution was thus a war calmly entered upon to maintain im
memorial rights and ancient institutions, whose preservation meant liberty
not alone for America, but for England as well. Today we can clearly see

what was at stake atTiconderoga, at Bunker
Hill, and upon the long chain of Revolution
ary battlefields, stretching from the lakes
to the faraway swamps of Georgia. Repre
sentative government
hung in the balance,
and whenever we hear
of a nation s rising
against despotism and
demanding that the
people shall rule, we

TABLET AT TICONDEROGA

On this rock are the names of Ticonder-

oga s heroes, Champlain, Montcalm,

Lord Howe, Amherst and Burgoyne.

THE ETHAN ALLEN HOUSE

An inn at Dorset, Vermont, where the
Revolutionary hero used to stop.

should add one more blos
som to the garland which
we are weaving for the
graves of the men who
gave Liberty to enlighten
the world. Tennyson,

with the soul of a true poet, though writing for
Englishmen, has expressed the thought for all men:

"Oh! Thou who sendest out the man,

To rule by land and sea,
Strong mother of a Lion-line,
Be proud of those strong sons of thine,
Who wrench d their rights from Thee!"

Years passed by. The ideas which had triumphed in the Revolution
grew ever stronger in the nation that war had created. By slow degrees
men came to understand more fully what it meant for the people to rule.

ETHAN ALLEN MONU
MENT

Erected at Manchester, Ft., to

the daring frontiersman who

captured Fort Ticonderoga

from the British.

HISTORIC SPOTS OF AMERICA

The colonies grew to populous
cities, and the far off plains of Texas
became the field for pioneer activity:
Austin, Houston, and a host of others,
with their love of "God s out of
doors," left settled parts of America
and sought homes upon the spreading
prairies of that distant province of
Mexico. With these men ideals of
American freedom had become in
stinctive, and from the very first a
trial of strength was inevitable be
tween them and Santa Anna, t he-
despotic ruler of Mexico.

THE ALAMO

The Alamo was a Franciscan
mission, dating from the eighteenth
century. It was strongly built, and
inclosed an area of about three acres,
upon which stood a roofless church
and a few other crumbling buildines.

ROOM IN INDEPENDENCE HALL

The room where the Declaration of Independence was adopted July 4, 1776.

Much of the original furniture is preserved here, and the portraits of those

who signed the Declaration hang about the walls.

LIBERTY BELL

In Independence Hal!. Philadel
phia.

Its garrison consisted
of 186 men, under
Colonel Travis, and
included the famous
frontiersmen, James
B o w i e and Da v i d
Crockett. Sam Hous
ton, commander of the
Texas forces, had or
dered that the Ala
mo be blown up and
abandoned; but his or
ders had been disre
garded, and the gallant
little garrison was now
to pay the terrible price
of its disobedience.

HISTORIC SPOTS OF AMERICA

On February 23, 1836, the Alamo was invested by four thousand
Mexican soldiers and the final reckoning began. On March 6, after a
gallant defense, it was taken by storm, its garrison having been slaughtered
to a man. "Thermopylae had its messenger of defeat the Alamo had
none," so runs the epitaph w r hich stands upon the
monument of these heroes of liberty.

But the blood-avenger was at hand. A few weeks
later Sam Houston, standing with bared head before
his little army of Texas patriots, gathered at San
Jacinto, gave the watchword, "Remember the Alamo!"
and within twenty minutes the army of Santa Anna
was scattered "like the chaff which the wind driveth
away." Texas was free.

GETTYSBURG

But I have mentioned one other battlefield, and
one which in numbers and in the military skill of
those engaged, as well as in the principles at stake,
stands among the great battles of the world. Gettys
burg is a name w r hich is justly mentioned with pride
by Americans of all sections; for when its ,aged vet
erans, North and South, can clasp hands and declare
themselves brothers, it would be presumptuous for
others to display the rancor of partizanship.

The settings of the battle were dramatic. Robert
E. Lee, the ablest commander of the Confederacy, had
crossed into Pennsylvania with his main column. The
Federal army of the Potomac was close behind, intent
upon pressing northward after Lee to protect Balti
more should it be endangered. Gettysburg lies in a
fruitful valley of Pennsylvania, just north of the Mary-
land borderline. It is walled in by low mountain
ranges studded with peaks Culp s Hill, Round Top,
and Little Round Top whose names rouse thrilling
memories. Here on July I, 2, and 3, 1863, the two
armies fought the most fearful and significant open
battle of the whole Civil War.
For the first two days fate favored the Confederate army, and "these
partial successes," writes General Lee, "determined me to continue the
assault next day." A movement was planned in which Pickett s division
of Longstreet s corps was to strike the Federal line in the center, while
Stuart with his cavalry attacked it in the rear. It was a desperate ven-

Copr Archer s Studios

PROPOSED ALAMO
HEROES MONUMENT

The tower will be 802

feet high, the loftiest in

America, and will cost

2,000,000 dollars.

HISTORIC SPOTS OF AMERICA

THE BATTLE OF GETTYSBURG

This struggle, the crisis of our Civil War and one of the great battles of the world, raged for three days.

ture, and Longstreet declared that when the moment came for ordering
Pickett and his gallant five thousand to advance, his lips refused to form
the words, and to the calm inquiry, "General, shall I advance?" he could
only reply by an affirmative bow. Within thirty minutes two thousand
of the detachment had fallen, and of the officers who had headed this
desperate venture, only Pickett and one lieutenant came out unharmed.

Stuart had failed to reach the Federal rear in time to aid the attack
which, unsustained, had ended in disaster. "It was all my fault," gener
ously commented Lee, when the whole tragic result was understood, "Let
us do the best we can toward saving that which is left us." Meade made
no attempt at pursuit. Lee led his army back to Virginia and was safe.

In an order of July 4, Meade had used the expression, "driving the
invader from our soil," which, when the great, sad-eyed Lincoln read, he
heaved a deep sigh and remarked, "Will our generals never get that idea
out of their heads? The whole country is our soil."

SUPPLEMENTARY READING John Fiske s "Old Virginia and Her Neighbors,"
" Beginnings of New England," " The Critical Period of American History," and " The
American Revolution"; "True Relation of Virginia," Smith; "Plymouth Plantation,"
Bradford; "Sam Houston," Bruce; "Stuart s Cavalry in the Gettysburg Campaign,"
John S. Mosby.

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MONDAY, SEPTEMBER 22, 1913
Volume I Serial Number 32 Number 32

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Editorial

The Mentor Association is less than a
year old. The Mentor plan is a few
months older than that. But the idea
of which The Mentor Association is the
outgrowth is one of the oldest in the
world. It is as old as Curiosity and just
as human. The "Wonder Why" of
Curiosity is always linked with the
"Want to Know." The two lead on to
Knowledge. What has always been want
ed and what is wanted now is a quick,
easy and agreeable way of getting
Knowledge. That is what The Mentor
Association gives.

The plan of The Mentor Association
fills so definitely a real want, that every
one ought to know about it. All members
of the Association and all others who see
The Mentor will want to know not only
what we have done and are doing, but what
we shall do for months in the future. In a
broad, popular, educational plan of this
kind there should be the fullest confi
dence. The importance of this grows
week by week, for The Mentor idea has
drawn the interest of many thousands,
and the membership increases day by day.

Though these lines are headed "edi
torial," we feel a good deal of hesitancy
in using the word. It gives the impres
sion that The Mentor is simply a maga
zine, while actually it is much more than
that. It is an important part of a broad

educational plan, which includes an In
quiry Department, Suggested Courses of
Reading, and other advantages.

It is not easy to find the exact word for a
plan of this sort. Some day a brief phrase
will come to us no doubt some member
of the Association will supply it that
will tell fully and adequately all that
The Mentor Association stands for.
We have described it many times. We
cover the plan fairly well when we say
in our prospectus that "the purpose of The
Mentor Association is to make it easy to
learn the things we want to know and
ought to know," but in that we say
nothing of the beautiful pictures, which
are a most important feature. There is a
value in the stimulating phrase that we
use, "Learn one thing every day," but
there is no hint in that of the delight
afforded by the exquisite illustrations
furnished in The Mentor. In the service
of The Mentor Association Information
and Art go hand in hand.

^ The quick recognition of the value of
The Mentor plan during the eight
months of its existence is naturally gratify
ing, but what is most interesting is the*
wide reach of its appeal. We have hun
dreds of letters coming to us from all
sources, and the message is much the
same, whether it be a lawyer, a college
professor, a teacher, a clubwoman, an
engineer or a doctor. The burden of all
these messages can be summed up in three
phrases: First, "The idea is fine"; second,
"You have carried it out admirably"; and
third, "It fills a real want."

We have referred to our prospectus.
This is a booklet in which the plans and
purposes of The Mentor Association
tion are fully described, and the sched
ule of the year is given. It also tells
something of what we have in preparation
for 1914. Send for copies of this prospec
tus. If you are a member of The Mentor
Association you will, of course, want
it, and you should have some extra copies
to give to your friends. You will be doing
them a service.

The Mentor Association

DO YOU LIKE THIS MENTOR? WHY NOT GET THE PRECEDING NUMBERS?

The simple, attractive, educative value of THE MENTOR will surely make
you feel the need of having every number. While each number is complete in itself,
you will want all the issues in the various Departments of Travel, Art, History,
Literature, or Music. Nowhere in the world of print can you get such condensed,
instructive readin? and such rich picture value as you find in THF. MFA TOR.

WHAT THE PRECEDING NUMBERS GIVE YOU

FEB. 17. BEAUTIFUL CHILDREN IN ART
Custac Kobbe.

FEB. 24. MAKERS OF AMERICAN POETRY
Hamilton II . Mabie.

MAR. 3. WASHINGTON. THE CAPITAL
Dwight L. Elmendorf.

MAR. 10. BEAUTIFUL WOMEN IN ART
J. T. Willing.

MAR. 17. ROMANTIC IRELAND
Pv/ight L. Elmendorf.

MAR. 24. MASTERS OF MUSIC
IV. J. Henderson.

MAR. 31. NATURAL WONDERS OF AMERICA
Dwight L. Elmendorf.

APR. 7. PICTURES WE LOVE TO LIVE WITH
James Ihintker.

APR. 14. THE CONQUEST OP THK PEAKS
1 rofessor Charles E. Fay.

APR. 21. SCOTLAND, THE LAND OF SONG AND
SCENERY
Dvight L. Elmendorf.

APR. 28. CHERUBS IN ART
Custav Kobbe .

MAY 3. STATUES WITH A STORY
Lorado Taft.

MAY 12. STORY OF AMERICA IN PICTURES:
THE DISCOVERERS
Professor Albert Bushntll Hart.

MAY 19. LONDON

Dwight L. Elmendorf.

MAY 20. THE STORY OF PANAMA

Stephen Bor.sal,

JUNE 2. AMERICAN BIRDS OF BEAl TY
Edvard H.Forbush.

JUNE 9. DUTCH MASTERPIECES

Professor J. C. Van Dyke.
JUNE 10. PARIS. THE INCOMPARABLE

Diuight L. Elmendurf.

JUNE 23. FLOWERS OF DECORAT.
U.S. Adams.

JUNE 30. MAKERS OF AMERICAN
Burges Johnson.

JULY 7. AMERICAN SEA PAINTERS

Arthur lloeber.

JULY 14. STORY OP AMERICA IN PICTURES:

THE EXPLORERS

Professor Albert BuskneH 11
JULY 21. SPORTING VACATI

Daniel C. Beard.
JULY 28. SWITZERLAND: THE LAND

SCENIC SPLENDORS
;ht L. Elmendorf.

AUG. 4. AMERICAN NOVEL!-
Hamilton II . Mabie.

AUG. 11. AMERICAN LANDSCAPE PAINTERS
Samuel I sham.

VENICE. THE ISLAND CITV
Dwighl L. Elmer

AUG. 25. THE WIFE IN ART

Gu star Kobbf.

SEPT. 1. GREAT AMERICAN INVENTORS
//. Addington Li

FURNITURE AND ITS MAKERS
( . R. Rithardi.

SEPT. I. .. SPAIN AND OIBRAL
.orf

FORTHCOMING ISSUES

89. BEAUTIFUL BUILDINGS OF THE
WORLD

The Taj Mahal. The Alhambra, Chateau de
Chambord, Salisbury Cathedral, Arnier.s Cathe
dral, New York City Hall.
Profestor Clarence Ward, Rutgers College.

OCT. 6. GAME BIRDS OF AMERICA
t* Back Duck. Bob White, C
Wild Turkey, Mallard Duck, Grouse.
Edward 11. Forbnsk, State Ornithologist of
chusetts.

OCT 13. STORY OP AMERICA IN PICTURES:
THE CONTEST FOR NORTH AME:

rfield Massacre. H

bee. John Wesley, Braddock s Dif.
Mission.

Albert Bushncll flart. Prf essvr of G^.trnment.
Harvard University.

OCT. 20. FAMi- "LPTORS

.lonnles.
I. U. D. C.

h. P. W. B;i:
Lorado Taft. Sculptor ,1

OCT. 27. THE CONQUEST OF THE I

A uruKi,

Amundsen, Scott. Pi
Rear Admiral Robert 1
Pole.

NOV. 3. THE MEDITERRANEAN
Algitr .irlo. The K.

Naples.

iW L. r.lniendorf, Leitu / -ler.

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VOL.1 SEPTEMBER 29. 1913 No.

THE

MENTOR

A Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY A

Beautiful Buildings
Of The World

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THE MENTOR

"A Wise and Faithful Guide and Friend"

Vol. I

SEPTEMBER 29, 1913

No. 3.3

BEAUTIFUL BUILDINGS of the WORLD

TAJ MAHAL

THE ALHAMBRA

AMIENS CATHEDRAL

SALISBURY CATHEDRAL

CHATEAU de CHAMBORD

NEW YORK CITY HALL

By CLARENCE WARD

Professor of Architecture, Rutgers College

BEAUTY in architecture is as difficult to define as beauty in nature.
No single factor renders a building beautiful. Size and propor
tion, style and decoration, age and setting, all enter into account.
And moreover there is the power a building possesses to appeal to the
ideals of the beholder, to his mind as well as to his sight and touch. Even
when judged from this broad viewpoint, the number of beautiful buildings
in the world is legion. It would be impossible to point to anyone as the
finest, or even to select a dozen without leaving a dozen more that were
equally beautiful. Every age, and every nation, has left to us some crown
ing achievements of the builder s art. The following are therefore merely
selections from this storehouse, illustrating to some degree the wealth of
architectural treasures that is our heritage.

Few if any buildings in the world have been the subject of such praise
as that bestowed upon the Taj Mahal ("Gem of Buildings"). Travel-

BEAUTIFUL BUILDINGS OF THE WORLD

THE TAJ MAHAL

The approach through the splendid gardens seen in the foreground is bordered by dark cypress trees, which contrast
admirably with the color of the marble domes beyond.

ers, painters, authors, and poets have all sought to express in word or
color the indefinable charm of this gem of Indian art. Built at Agra, in
India, by the great mogul of Delhi, Shah Jahan, as a tomb for his favorite
wife, Mumtaz Mahal, the Taj is a veritable translation into stone of
human remembrance and affection. It was begun in 1632, and was com
pleted in twenty-two years. The material of which it is built is
pure white marble, and inlaid in its walls are jaspers, agates, and other
stones in marvelous designs. But it is perhaps the dome that gives
the greatest beauty to this tomb. Of typical Eastern shape, it rises a
mass of white against the deep blue of the Indian sky, or shines like
silver in the radiance of the Indian moon.

THE WORLD S MOST BEAUTIFUL TOMB

It cannot be denied that the Taj Mahal (tahzh man-hahl ) owes much
of its beauty tp its setting. Not merely has it the contrast of the brilliant
sky above, but also the deep green of the gardens at its feet, and more
than this the four tall, graceful minarets standing like sentinels at the
corners of the marble terrace on which the tomb is placed. The interior
is scarcely less impressive than this outside view. Its subdued light
serves only to show more clearly the beauty of the garlands of red and
blue and green inlaid along its walls as never- withering memorials of the
queen who sleeps beneath the lofty dome.

BEAUTIFUL BUILDINGS OF THE WORLD

It is perhaps beside her tomb that the traveler sees a vision of the
proud and mighty Jahan, cruel in many ways, but steadfast in his love,
building this glorious resting place for his fair consort, whom he called
by the familiar name of Taj. One may see even farther still and picture
to himself this once proud ruler, bereft of all his power and even of his
throne, looking out from his chamber window toward this same Taj
Mahal. Perhaps its wondrous dome gleamed in the moonlight on that
last night before he came to rest beneath its shades as it gleams today to
the enraptured gaze of thousands who take the pilgrimage to Agra to see
this wonder of the Eastern world.

THE PALACE OF THE MOORISH KINGS

It is not such a step as it may seem from the Taj Mahal to the
Alhambra (al-ham -bra). Both
are oriental. Both are the prod
ucts of Mohammedan art, and
mark in a way its Eastern and
its Western expressions. As
early as the eighth century
of our era the Moors of north
ern Africa crossed to Spain and
made the Iberian peninsula a
Moorish califate or kingdom.
Its capital and last stronghold
was Granada. And here on a
lofty hill, overlooking the city,
King or Calif Al Hamar began
the mighty fortress of the
Alhambra in the early years
of the thirteenth century.

As is the case with almost
every Mohammedan building,
its exterior is extremely plain.
But once the door is passed one
seems to have stepped from Eu
rope to the Orient. Courtyards
and porticos, halls and passages,
open before the visitor in a truly
oriental maze of color and decoration. The first important court is
known as that of the Myrtles. In its center is a marble basin a hundred
and thirty feet long, bordered with trees of myrtle and orange, and
flanked at both ends by two-storied pavilions with slender marble shafts

COURT OF THE MYRTLES. ALHAMBRA

The pool is bordered on both sides by beautiful old hedges.

BEAUTIFUL BUILDINGS OF THE WORLD

and graceful Moorish arches. From
one of these pavilions opens the Hall
of the Ambassadors, the throne room
of the califs, and the largest cham
ber in the palace.

THE ALHAMBRA S BEAUTY

But it is not its size that makes
this room imposing. Here, as else
where in the palace, it is the deco
ration. Rising for three or four feet
from the floor is a band of colored
Moorish tiles. All the wall above is
of stucco, molded in lacelike patterns
and painted in blues and reds and
brilliant golden yellows. The designs
are largely geometrical or floral, fre
quently interspersed with Arabic
inscriptions. Some of these when
translated read, "God is our refuge,"
"Praise be to God," familiar phrases
in Mohammedan faith, or "There
is no conqueror but God." Add to
this decoration of the walls imposing
stalactite domes, and ceilings often
of cedarwood inlaid with mother of
pearl, and imagine the floors and
windows again adorned with oriental
rugs and hangings, and the beauty of
the Alhambra \vill be easily under
stood.

But neither the Court of the
Myrtles nor the Hall of the Ambas
sadors is the crowning glory of the
palace. This honor belongs to the
Court of the Lions. One hundred
and sixteen by sixty-six feet in size,
this court compares with any apart
ment in the world for pure, exquisite
beauty of design. An open portico,
its ceiling borne on a hundred and
twenty- four slender and beautiful
marble columns and delicately orna-

HALL OF REPOSE OF THE BATHS. ALHAMBRA

THE GATE OF JUSTICE

A part of the Alhambra palace not well preserved.

BEAUTIFUL BUILDINGS OF THE WORLD

inented arches, incloses the central space, in the middle of which rises
a magnificent fountain, its basin cut from a single giant block of alabaster,
and supported on the backs of twelve lions of white marble, emblems of
courage and strength.

It is small wonder that the last of the Moorish kings, Boabdil (bo-
ahb-deel )i looked back with many tears at this glorious palace as he

surrendered it in 1492 to his
Christian conqueror Ferdi
nand. Sadly indeed he and his
followers must have crossed
again to the dreary deserts of
Africa, since they left behind
them the whole fair land of
Spain, which they had adorned
not merely with the Alhambra,
but with the Alcazar at Se
ville, the mosque at Cordova,
and other monuments of their
civil and religious greatness.

INTERIOR OF THE ALHAMBRA

,-lrched window in the "Tower of the Captivity of Isabel."

THE GREAT CATHE
DRALS

At the very period when
the Mohammedan conquerors
of Spain were building their
palace of the Alhambra, the
Christians of northern France
were erecting those vast cathe
drals which stand today as the
crowning achievements of the
builder s art. Paris, Chartrcs

(shahrtr), Bourges (boorzh), Rheims (reemz), Rouen (roo-ong ), Le Mans
(lee-mong ), Beauvais (bo-vay ) and Amiens (ah-mee-ong ) are but a few
of the long list of French Gothic cathedrals of the twelfth and thirteenth
centuries. From such a list it is most difficult to choose. Each one has its
distinctive claim to recognition, and its distinctive features which are not
surpassed in any of the others. This fact, indeed, has caused it to be said
that the ideal cathedral should have the facade of Rheims, the spires of
Chartres, the nave of Amiens, and the choir of Beauvais. But even such
an ideal cathedral would not be perfect without the addition of features
from each of the other churches in our list.

BEAUTIFUL BUILDINGS OF THE WORLD

Since, however, it is necessary to choose, let us choose Amiens; for
perhaps this church is most widely acknowledged as the finest example
of the Gothic style. Its facade is a masterpiece of decoration. Three
deeply recessed portals in the lower story are covered with a wealth of
sculptured figures in the round and in relief. Bible lessons and the
events of human life and history, carved here in stone, taught the terrors
of sin and hell and the joys of a godly life as preached in the church
beyond these lofty doors. Nor is the decoration confined to sculpture;
for the whole facade, and in fact the entire church, is a tracery of stone.

THE GOTHIC GLORY OF AMIENS

It is from a side view r , however, that Amiens shows at its best the
true glory of Gothic architecture. Nearly five hundred feet long and over
two hundred feet to the ridge line of the roof, it rises high above the

buildings of the city in which
it stands, a symbol of the
supremacy of spiritual over
earthly things. To be sure
it has its faults. The towers

are too low and the central
spire is of awkward shape;

SOUTH PORTAL OF AMIENS CATHEDRAL

The statue of the Virgin which stands in the portal replaces that of

St. Honore, which was moved to the north transept. The carvings

about the south portal are taken from the life of St. Honore.

but the huge windows, with their tracery
in geometric patterns, occupying the
entire space between the buttresses, and
these buttresses themselves with their
soaring arches spanning the aisle roofs
below, afford an unsurpassed example of
beauty of design combined with the
utmost structural daring. Moreover, the

NAVE OF AMIENS CATHEDRAL

BEAUTIFUL BUILDINGS OF THE WORLD

interior is even more impos
ing. Lofty piers and pointed
arches separate the nave from
the aisles. Slender shafts
carry the ribs of the huge
vaults of stone forty-three
feet in span, which seem sus-

SALISBURY CATHEDRAL

A vino from the northeast, showing plainly the double-cross
shape of the foundation.

pended in air one hundred and forty feet
from the pavement below. In the Sup
port of these vaults lies the keynote of
Gothic architecture. Though they seem
hung as if by magic over walls of glass,
with very little masonry for their sup
port, their weight and thrust are borne
by the sweeping arcs of the exterior flying
buttresses and the huge piers of masonry
from which they rise beyond the side
aisle w r alls. Viewed from a central point,
the majestic sweep of the nave, the soar
ing height of the eastern apse, the wondrous window of the northern tran
sept, and the maze of piers and arches and chapels, all unite to produce
a glorious whole which cannot be surpassed in any monument of any age.

SALISBURY S SIMPLE BEAUTY

If the interior of Amiens personifies in the highest degree the majesty
and glory of Christian faith, the spire of Salisbury may be said to embody
its hope and aspiration. Rising four hundred and four feet from the
ground, this spire has few to rival it in all the world. Other cathe
drals might dispute its claim to first place among spires; but none is
set upon a church so fine. That Salisbury is the most beautiful
cathedral in England is not claimed. As was the case in France, so here,

NAVE OF SALISBURY CATHEDRAL

A number of interesting monuments were
placed between the columns by James Wyatt.

there are too many churches, each with its own distinctive points of beauty,
for anyone to be the finest of them all.

But Salisbury at least must find a place among the first, and is espe
cially interesting because it is exactly contemporary as to date with Amiens
in France. Architecturally both are Gothic; yet the difference in design
is as great as the distance in miles between them. Low instead of lofty,
with little decoration, and set in the midst of nature s grass and trees
instead of in a crowded city, Salisbury s appeal is through the quiet
beauty of its line, and the simplicity of its construction in contrast to

m A ill ft

CHATEAU tie CHAMBORD

Showing the Mansard roof put on by the celebrated architect, Mansart, at the order of Louis XIV , to accom
modate a large court.

the complex structure of the French cathedral. The Gothic of England
was rarely the Gothic of carefully balanced thrust and pressures, of flying
buttresses and huge window spaces. Here at Salisbury the walls are still
quite heavy and the windows only moderately large. They have no
tracery of stone; but are simple, narrow openings in the walls, with
pointed heads so like a lance in shape that they have given the name of
Lancet to this period of English Gothic architecture. Slow to throw off
their earlier traditions, the English builders clung, even in Gothic days,
to many of the characteristics of the Norman era, which had produced
such masterpieces as Durham and Peterborough, Ely and Norwich, cathe
drals. The result of this is especially evident in the interior of Salisbury;

BEAUTIFUL BUILDINGS OF THE WORLD

for here, in spite of the shafts of Purbeck marble, one for each hour in
the year, and in spite of the rich moldings of the piers and arches, the
lack of structural unity, and the comparative smallness of the windows
and lowness of the vaulting cause Salisbury s nave to fall far short of that
&gt;f Amiens in beauty of construction. Viewed from the west, the cathedral

is also disappointing; for the facade is an
ugly screen wall, badly decorated, and
deserving of little praise. But when seen
from north or south or east, with its spire
rising from the very heart of the church,
Salisbury is truly inspiring. In its quiet
close it seems the very expression of Un
church at peace.

CHATEAU de CHAMBORD

Between the construction of Amiens
and Salisbury and the building of the
Chateau of Chambord (shong-bore ) lie
two centuries of history. In them the
spiritual power of the church, and the

TOWER OF THE GRAND STAIRCASE

Ckdtfau de Chambord.

temporal power of the pope
and clergy, which had been
supreme throughout the Mid
dle Ages, gave \vay to a large
extent to a spirit of individ
ualism and a rising power on
the part of the king and
nobles. This change had its
effect upon the arts. The palace took precedence over the church in
architecture as the secular took precedence over the religious in painting
and the other arts. The Chateau of Chambord dates from the earlier
stages of this new architectural era. Built by King Francis I in the early
years of the sixteenth century, it is but one of the hundreds of chateaux
erected by the kings and nobles of France, from Francis to the fall of the
monarchy. Its architectural style is what is known as early Renaissance.

HALL IN THE CHATEAU de CHAMBORD

The two stairways seen in the back wind around the same central
shaft and never join.

BEAUTIFUL BUILDINGS OF THE WORLD

The claim of Chambord to beauty is due, not so much to its decoration
as to its imposing size, to the sense of spaciousness it conveys, and to
the manner in which it reflects the spirit of its age.

Four hundred feet square along its outer walls, this vast chateau
was designed by Francis I merely as a hunting seat. The chief exterior
attraction of the building lies in its roof. This is a very maze of
gables, dormers, chimneys, and cupolas, dominated by the lantern that
crowns the center stair, and in which lights were hung to guide belated
hunters from the forest.

THE STAIRWAY OF GHAMBORD

This stairway is the chief attraction of the interior. Sweeping round
a central newel which forms an open well, it rises the full height of
the building. Moreover, it is not a single flight of steps, but two, so
placed that one person may go up and one come down, yet never meet.
From this stairway four large halls open at every floor, and four hundred
and forty rooms and fifty other stairs fill up the wings of this great
palace. The interior, when richly furnished, must have been magnificent.
In spite of its size, Chambord has little history of which to boast.
Nothing of importance or even of special interest took place there.

NEW YORK CITY HALL

We are fortunate indeed
as a nation to have had in
our earlier days an architec
ture that could boast of such
pleasing monuments as the
New York City Hall. Our
ancestors in both the North
and South were strongly influ
enced from the point of view
of art by that English Renais
sance which reached its cul
mination in the hands of Sir
Christopher Wren. Many a
New England church and
many a Southern home boasts
an architectural beauty of
rare charm and in rare accord
with the natural setting of
this new land. Nor were we
less fortunate in public works.
The old and new statehouses

STAIRWAY IN THE NEW YORK CITY HALL.

BEAUTIFUL BUILDINGS OF THE WORLD

in Boston, Inde
pendence Hall in
Philadelphia, and
the Capitol in
Washington are
but a few of the
early buildings in
America that, like
the New York City
Hall, are worthy
to rank among the
best in beauty of
design. The latter
was the work of
John McComb,
Jr., and was built
between 1803 and
1812 in a style
based largely upon
the Italian Renais-

OLD COLONIAL CHAMBER

The office of the Borough President of Manhattan in Xew York City Hall.

sance. Though not of very great size, its proportions are remarkably fine,
and its architecture beautiful. For good taste and for excellence of work
manship it is as worthy of the city of millions today as of the city of
thousands for which it was first built.

That the source of beauty in architecture is indefinable, this brief
account of six of the world s finest buildings has clearly shown. No two
are alike; yet all are beautiful. And this quality lies not merely in size
and proportions, in design and decoration, but in the appeal that each one
makes to the mind as well as to the eye. Thus the Taj Mahal fairly
speaks of human remembrance, the Alhambra is the embodiment of
oriental luxury, Amiens affords a majestic picture of religious power, and
Salisbury of quiet Christian worship, Chambord conjures up visions of
gay kings and courtiers, while New York in its City Hall possesses a
worthy monument of civic interest and pride. Many another building
could be added to such a list as ours, and in the case of each it would be
found that added to its visible and tangible beauty was an invisible char
acter that marked it above its fellows. It is from this broad standpoint
that all architecture should be judged.

SUPPLEMENTARY READING: "History of Architecture," Hamlin; "Indian and
Eastern Architecture," Fergusson; "Medieval Architecture," Porter; "Handbook of
English Cathedrals," Van Rensselaer; "Renaissance Architecture in France," Blomfield.

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The next number will contain six beautiful color pictures

GAME BIRDS OF AMERICA

Canvasback Duck, Bob White, Canada Goose, Wild Turkey, Mallard Duck,
Ruffed Grouse. The story of their haunts and habits charmingly told by
EDWARD H. FORBUSH, State Ornithologist of Massa,

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VOL.1 OCTOBER 6. 1913 No 34

THE

MENTOR

A Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY A

Game Birds
Of America

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"A Wise and Faithful Guide and Friend"
VOL. i OCTOBER 6, 1913 No. 34

GAME BIRDS OF AMERICA

RUFFED GROUSE CANADA GOOSE

BOB WHITE MALLARD

WILD TURKEY CANVASBACK

By EDWARD II. FORBUSH, State Ornithologist of Massachusetts

Author of " Useful Birds and Their Protection," "A
History of Game Birds, Wild Fowl, and Shore Birds" etc.

NORTH AMERICA, when discovered by Columbus, probably con
tained more game birds than any other continent. The great
falling off in the number of these birds in recent times has been
accentuated by the extinction of the passenger pigeon and the Eskimo
curlew, and the rapid disappearance of many others, among which are
the whooping crane and the sandhill crane, great birds that are gradually
being swept from the continent. The upland plover, formerly abundant
in every suitable grassy region east of the Rocky Mountains, is now facing
extinction, and its salvation is beyond hope, unless the regulations, pro
tecting it at all times, recently made by the United States Department of
Agriculture, under the Weeks-McLean law, can be enforced. The rails
do not appear to have decreased in number quite so rapidly as have the
shore birds; but from the king rail, the finest of them all, down to the sora
they are much less numerous than in the early years of the last century.

GAME

BIRDS

O F

AMERICA

THE RUFFED GROUSE

"Whir-r-r-r-r-r-r clip-clip-clip Heavens! what was that? Any
how, it s gone, and nobody s hurt. How well I recall the startling sound
that checked in an instant my headlong pursuit of a baby cottontail rabbit
when, from the leaves almost beneath my feet, up sprang a feathered pro
jectile with thundering wings,
which sped away in headlong
flight through whirling leaves
and bending twigs, disappearing
in an instant in the thick of the

YOUNG GROUSE

The young bird learning to perch above the reach of prowl
ing enemies.

A RUFFED GROUSE NEST

trees. There I (aged eight) stood,
gazing after this new wonder,
while little Cottontail made good
its escape. I had seen my first
grouse, the king of game birds.

In the North this grouse is known as the partridge; Southerners
recognize it as the pheasant; but how few of us know more about it!
How few realize that it flies quietly when undisturbed, or that it has a
variety of notes, ranging from the soft, cooing mother s call to the harsh

YOUNG GROUSE

Confident that they are hidden from the camera man.

GAME

BIRDS

O F

AMERICA

RUFFED GROUSE ON NEST

This picture was taken by leaving the camera set ail night.
The bird itself pulled a thread which released the shutter early
in the morning.

scream or squeal with which she
hurls herself at some enemy of
her brood. Many have heard
the drumming of the male,
" Thump thump thump
thump, thump; thump, thump-
rup, rup rup rup r-r-r-r-r-r-
r-r-r"; but how many know
that some seasons in some local
ities they do not drum at all?
And why not?

In my notebooks the nest
of the ruffed grouse figures as
a hollow in the ground, lined
with dead leaves or pine nee
dles. The eggs range from seven
to twelve; in one case fifteen.
The mother does not commonly cover them on leaving the nest; although
a bird was once seen to do so by dropping straws and leaves on her back
and then sliding out from under.

What keeps the eggs from harm for weeks in the open woods? The
grouse often brings off her young safely not far from the home of hawk,
crow, or fox. Does the mother bird leave no scent by which her many
four-footed enemies can find her? In one case, at least, well trained pointer
and setter dogs could not find the bird on the nest, even after she had
walked away and returned to it. Sometimes a dog or a fox blunders on
the nest, and then the mother, every feather on end, flies at him in an
attempt to drive
him away; but this
does not scare or de
ceive cunning Rey
nard, and in an in
stant his mouth is
full of eggs. Some
times a prowling cat
catches the mother
on her eggs at night,
and that ends the
family history; but
in the majority
of cases the eggs
safely hatch.

GROUSE

A favorite drumming log and trysting place.

GAME

BIRDS

O F

AMERICA

The little ones all come from the shell together, and are fully equipped
to find their own living. They need the mother only as guard, defender,
and shelter. When they pop out of the eggs they leave the nest forever,
and thenceforth they are at home in Robin Hood s barn, and sleep wher
ever weariness or night overtakes them. A little roving band of downy,
brownie, striped chicks, they keep close together, running here and there,
always hunting, picking insects from grass, ground, and foliage; while
the mother, stalking behind, herds them along with soft and gentle calls,
acting as rear guard, to give warning of any enemy that may be upon
their trail, to lead the destroyer away if she can, to defend them with her
life if she cannot, and to brood them beneath her maternal breast whenever
they are wet, cold, tired, or sleepy. Wherever night finds them there
they snuggle down to sleep, protected from cold and storm by her tire
less devotion. Probably the little ones do not leave much scent; but the
fox, racoon, mink, weasel, dog, and cat may cross their trail at any
moment, crows, owls, and hawks menace them; yet commonly about
half of them escape all danger and grow and thrive while the summer
waxes and wanes. They learn to
fly by the end of the first week.
Before they are half grown they
leave the ground at night, and
roost with the mother in the trees.

When the "leaves begin to
turn" the well grow r n brood seeks
the wild grapevines and the wild
apple and thorn trees that it
may eat the fruit. When the
first heavy snow falls the few that
have safely run the gantlet of the
guns squat beneath the low-
spreading branches of some ever
green tree and calmly allow the
snow to cover them if it will.
They are ready for winter now,
and have donned their snowshoes.
What! really? Yes, actually.
They have grown horny processes
on both sides of the toes which
will help to support their weight

on packed snow or thin crust, and A YOUNG GROU SE

they are perfectly at home on This grouse was but nine nonths dd _ Ai this age the

Or Under the SnOW. If a CrUSt male is not distinguishable from the female.

GAME

BIRDS

O F

AMERICA

freezes over them, they
make their way beneath
it, feeding on twigs
and ground vegetation
until they can break
out. When pursued
they dive from on wing
into the snow, and push
their way below the
surface, to burst out
again farther on. It
is exceedingly difficult
to starve the grouse.
They will live on frozen
twigs, buds, laurel
leaves, sumac berries,
or birch and alder cat
kins. So my notebooks
cover the history of
the grouse through all

BOB WHITE IN WINTER

These little birds have a hard time

finding food when the snow is on

the ground.

the seasons of the livelong year.
THE BOB WHITE

"Bob white! You bob white! " cries a brave
little fowl from the top rail of the old fence.
His call is the embodiment of cheerfulness.
There is something heartening in the sound.
This is due in part to its rich and vigorous
quality, and in part to its rising termination
the question in the final note as if it said
"All right there, Fellows?" How different
from the note of the whippoorwill, with its
falling inflection and its general expression of

sad finality. The whippoorwill may be a cheerful bird. One is inclined
to doubt it; but we know Bob White is happy. Just hear him! He looks
it too. Thus this cheerful little optimist makes his way to the hearts
of men. Even the sportsmen who slay him love him, and are often his
best friends, after the shooting season, and the epicure loves him
on toast. Down South they call him partridge. In the North he is
known as the quail; but the ornithologists, who try to settle such matters
for all, have taken his word for it and have named him Bob White.

This cheery little manikin is about the most important North Ameri
can bird that flies, not excepting even the American eagle. He is the

A YOUNG BOB WHITE

GAME

BIRDS

O F

AMERICA

farmer s friend. Almost every insect pest of the garden and field is grist
for his mill. All spring and summer he slays his thousands and tens of
thousands, and in the fall he fattens up on millions of weed seeds. Yes,
grain too; but only the waste grain left in the stubble. That is about all
the grain he takes and, after all this, many farmers get the sportsman
to pay off the taxes on their farms for the privilege of shooting their
little friend! Thus the school taxes are paid, and Bob White settles for
the education of the children.

The pursuit of Bob White is a blessed boon to many jaded and brain-
wearied business and professional men. Some believe that they have
lengthened their lives by trying to shorten his. How the bird has sur
vived with so many "friends" thirsting for his blood is hard to tell; but
for all his trustfulness he is not so easily taken. Many gunners have
believed that he can sometimes fool the best dog by "holding his scent."
I have seen him several times squat close to the ground on the approach

of a dog, draw his head flat
between his shoulders, and
"sit tight" while the dog
poked along, his nose to
the ground, absolutely un
conscious of the w r here-
abouts of the little bird;
but let a man appear, and
the bird shows more anx
iety and takes greater pains
to get away or hide. I
have seen him, when
alarmed, disappear as if he
had put on a coat of invisi
bility, and then, when the
danger was past, grow out
of the scenery, and walk
right toward me from the
very spot on which my
powerful glass had been focused all the time. How he does this is
another story.

Why talk about his habits? Everybody who does not know them
can have a good time studying them; for his life is open for all to see.
What concerns us most is how we can make this useful, companionable
friend to man more plentiful. In the District of Columbia they have
solved the problem by forbidding shooting for the last few years, and there
in some places the chorus of bob whites sounds like that of the little frogs
in springtime. A close season for five years on this bird would do more

YOUNG BOB WHITES

The birds in this group are seven weeks old.

GAME

BIRDS

O F

AMERICA

to stock the country than any other method now known; except, perhaps,
in the northernmost part of its range, where it is sometimes almost
exterminated by a severe winter. Event
ually artificial propagation may solve
our problem; for Bob White is a very
prolific bird.

THE WILD TURKEY

The ruffed grouse may be the king
of game birds in the field; but the wild
turkey, the largest game bird that flies,
is to my mind king of them all on the
table. A young wild turkey, well
roasted, is a dish for the gods. The
domesticated turkey is not in the same
class; nor is it a descendant of our wild
turkey. It was bred from the Mexican
turkey, a bird of another race, not so
handsome as ours, and having a white
rump. This turkey was domesticated
by the Aztecs, and hundreds of thou
sands were bred by them in domestication
long before America was discovered by
Columbus. Europeans received the bird
from the hands of
the Indians. The
white man never
has succeeded in
domesticating any
American game
bird sufficiently to
bring it into gen
eral use. The task
still lies before us.
The American
Ornithologists
Union now recog
nizes but one
species and five
subspecies of the
wild turkey, all of WILD TURKKY

WniCn are natives This picture shows a female with its young. It is reproduced from one of the
Of this Continent. famous set of plates of "Birds of America" made by J. J. Audubon.

Often called the grandest bird of America.

GAME

BIRDS

O F

AMERICA

A WOODCOCK

The range of the species formerly
extended over Mexico, most of the
United States, and into southern On
tario. The early explorers found it rov
ing in large flocks along the Atlantic
seaboard, and at times migrating in great
armies in search of food.

We can form little idea today of
the former almost incredible abundance
of these noble birds. Our forefathers
were accustomed to hunt them for the
Thanksgiving dinner, and they rarely
failed to secure a good supply. The bird
is now extinct through the greater part

of its former range. It was hunted, trapped, and shot at all seasons,
and is likely to vanish from the earth unless it can be propagated under
partial domestication and restored to its former habitat.

THE CANADA GOOSE

There is a quality in the cry of the wild geese returning northward
in the spring that stirs the blood of all to whom the "Red Gods" call.
That wild and solemn clamor ringing down the sky is as "the voice of
one crying in the wilderness." All eyes are turned to follow the baseless
triangle drifting fast across the sky. What memories are awakened by
that resounding call, memories of open marsh or prairie, sounding shore
and placid bay, lake or river, scenes of a wilderness of waters or of plains;
for the wild goose is a bird of the waste places! Two hundred years ago
it nested over the greater part of the continent; but civilization and mar
ket hunting have confined it now mainly to the vast morasses of the
North, where it seeks some island in the
marshy lands and there makes its nest.

The goose normally mates for life,
and as its life is reckoned to last about
one hundred years the partnership, bar
ring accidents, is a long one; but life is
full of accidents. The goose does not
reach maturity early, and therefore does
not breed for the first few years. The
gander is not such a goose as he looks;
for in his constant watch over mate,
nest, and young he shows both courage
and sagacity. He defends his mate and
brood to the utmost extremity. He is

RING-NECK PLOVER

This bird mother is brooding a chick.

GAME

BIRDS

O F

AMERICA

CANADA GOOSE

The male is standing and the female sitting.

said to be a victor sometimes over
the crafty fox, and he easily drives
away the deer or elk when his young
are in danger. The goslings take to
the water early; but they like to
go ashore to feed on the green grass
and herbage of the uplands, and there
they often run into trouble. One of
their greatest aquatic enemies is the
snapping turtle. I have known one of
these monsters to capture a full grown
goose by catching its foot. In the
fierce struggle that followed the goose
escaped only by tearing its leg from
the socket, and died a miserable death
from the result of its fearful wound.
When advancing winter seals the
waters of their northern home, the
geese gather in flocks, rise in air, and
turn their faces to the south. They
travel by well known landmarks, and
unlike many sea fowl often become
confused in a fog. Therefore, I believe they never intentionally fly
out of sight of land; though they often cross wide bays and inlets.

THE MALLARD

The mallard is a cosmopolitan, the wild duck of the world, the pro
genitor of the domestic duck, and the chief water fowl of the game pre
serve. Its eggs and flesh formed a considerable part of the food of Indians
and early settlers. Vast numbers of mallards formerly bred not only in
Canada and Alaska, but in the western United States. Tons and tons
of these birds were killed for their feathers by Indians and halfb reeds in the
South and West. Boats loaded to the gunwales, wagons piled with
ducks, to be given away; tons of birds spoiled before they could be shipped,
then hauled out and dumped into the coulees; markets glutted and mar-
ketmen unable to handle the birds, these were all episodes of the time
of plenty. The result of this appalling waste, and the settlement of a
large part of their breeding grounds, has been a tremendous decrease in
the number of mallards in the country; but the birds may be readily
replaced by protection and artificial propagation, and the mallard is not
in any immediate danger of extinction.

It nests in marsh or slough wherever it is undisturbed. The little
ones, when hatched, soon reach shallow water, where they are perfectly

GAME

BIRDS

O F

AMERICA

at home. They swim about the sedge and water plants, catching insects,
and when danger threatens keep concealed and sheltered by the herbage.
They are often in peril, not only from hawks, owls, eagles, gulls, and
herons, foxes, minks, and dogs, but they are attacked on all sides in their
own element. Great frogs and fish spring to seize them with open mouths.
Turtles prey upon them, and in the South alligators devour many.
When a dog scents the little family in shoal waters and rushes in, the
mother throws herself in his way and flutters off as if sorely wounded.
While he chases her eagerly, his open mouth close to her tail, the little
ones dive and swim away, more under water than above it, and, leaving
the slough, crawl through the grass to the next refuge, hiding there safely
until all danger is passed. Inherited experience has taught them the

way of life, that
their species may be
perpetuated.

THE CANVAS-
BACK

Long live the
canvasback! His
fame has gone far
ther, perhaps, than
that of any other
American game
bird. Some epicures
rank him above the
little-neck, the lob
ster, or the terrapin,
and he is considered
a greater luxury
than quail on toast.
Yet the canvas-
back,when deprived
of its favorite food,
the wild celery, is
hardly superior to
the despised mud-
hen. Wilson tells
us that many years
ago a vessel loaded
with wheat was
wrecked near Great
Egg Harbor. The

BLACK DUCKS

The birds are gathering to feed.

BLACK DUCKS

These birds were purposely flushed and taken on the first upward spring.

GAME

BIRDS

O F

AMERICA

DUCKS SWIMMING ACROSS A BAY

wheat floated out in quantities, and soon the bay was "covered" with a
new kind of duck unknown to the local gunners. They had great sport
for three weeks, shooting canvasbacks, and sold them for twenty-five
cents a pair; but did not discover the particular excellence of their flesh.
They finally learned what they were and that they might have disposed
of them for four times the sum they had received.

Redheads, which feed to a great extent on wild celery, often appear
on the table masquerading as canvasbacks. In one case, at least, the
gunner sold to some innocent clerks a lot of fish-eating sheldrakes or mer
gansers under the name of canvasbacks. I am told that the dishes that
resulted were about as palatable as a bundle of old stewed kerosene lamp-
wicks.

No longer ago than 1850 canvasbacks hovered in interminable flocks
about Chesapeake Bay. Over ten thousand people were accustomed to
shoot there. These ducks were then plentiful in all first class restaurants
and hotels of the East. The glories of Chesapeake Bay as a shooting
ground have largely departed, and canvasback ducks are now rarely seen
on tables w r here they formerly appeared often; but there is still a stock of
breeding birds left, and with adequate protection it will be long before
we see the last of the species. So far as I know, no one has as yet suc
ceeded in breeding this bird in captivity. Therefore we cannot depend
on artificial propagation; but must protect the stock of wild birds.

SUPPLEMENTARY READING Birds of America, by John James Audubon;
Game Birds of North America, Wild Fowl of North America, and North American
Shore Birds, by Daniel Giraud Elliott; Feathered Game of the Northeast, by Walter
H. Rich; American Game Bird Shooting, by George Bird Grinnell.

1 1

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NUMBERS ALREADY ISSUED

&gt;. 1. BEAUTIFUL CHILDREN IN ART

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i ATUES WITH A STORY

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THE WIFE IN ART
GREAT AMERICAN INVENTORS

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The next number will contain six beautiful photogravures

STORY OF AMERICA:
CONTEST FOR NORTH AMERICA

La Salic, Williams House Deerfield, Death of General Montgomery, John

Wesley, Braddock s Defeat, San Jose Mission.
ALBERT BUSH NELL HART, Professor of Government, Harvard I

NUMBERS TO FOLLOW

Oct. 20. FAMOUS AMERICAN SCULPTORS

Augvistus St. Gaudens. Frederick MacMon-

Prench, P. W. B.v
By Lor ado Tail. Sculptor and .1

.. THE CONQUEST OF TH:

:ekelton. Duke of the Abruzzi.
Amundsci

i/ Robert E. Pe^ry, Dis(Oi-trtr
of the North Pole.

Nov. 3. THE MEDITERRA.X

By Du i^hl !..Elmtndorf. Lecturer and TV,

0. GREAT HEROES OF HISTORY:

Emperor Napoleoi

n Board
the B.

By Ida Jf. Tarbtll.

17. ITALIAN MASTERS OP PAINTI

:-.naof the Cross. Raphael; The Dcl-
ph: .- and

the Dragon.

Giorgione.

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VOL.1 OCTOBER 13. 1913 No.

THE

MENTOR

A Wise and Faithful
Guide and Friend

LEARN ONE THING
A EVERY DAY A

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The Contest for North America

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THE MENTOR

A Wise and Faithful Guide and Friend"

Vol. i

OCTOBER 13, 1913

No. 35

THE STORY OF AMERICA IN PICTURES

THE CONTEST FOR NORTH AMERICA

LA SALLE

CAPTURE OF LOUISBURG

DEERFIELD MASSACRE

CAPTURE OF QUEBEC

BRADDOCK S DEFEAT

POXT1AC WAR

By ALBERT BUSH NELL HART

Professor of Government, Harvard University

THE whole round world is now open. Gone is the pleasure of find
ing new lands, sighting strange mountains, floating down mysterious
rivers, and meeting unknown races of men. After Mt. Everest
is climbed by some daring mountaineer, and after an airship lands on the
highest peak of Mt. McKinley, what will be left for the seeker of novelty ?
Where can you now find a river or mountain range or tribe certified
never before to have been seen by white men?

That rich pleasure was enjoyed in the fullest measure by the explorers
in North America; in fact, they enjoyed it so much that they kept it
alive for four centuries. For a good two hundred and fifty years the
English at intervals battered their way into Hudson Bay, and Davis
Strait, and the Arctic deserts, trying to smash a route through the ice,

THE CONTEST FOR NORTH AMERICA

ROBERT CAVELIER
DE LA SALLE

Born 1643; died 1687.

around to the north of Asia and Europe. Nearly
three centuries passed after De Soto reached
the lower Mississippi before Lieutenant Pike
found its source in its native lair. As late as
1880 no man, white or red, knew the passes
across the Canadian Rockies; and to this day
only two boat parties have ever gone through
the length of the canyon of the Colorado.

In the work of opening up North America
the French surpassed the English: if no bolder,
they were more adventurous. From the lower
St. Lawrence they held a direct route into the
interior, which flanked the two great obstacles
to western exploration; namely, the Six Nations
of the Iroquois and the Alleghany Mountains.
It is hard to say which was the firmer wall
against English discovery.

FRENCH ADVENTURE

If we were only French, we could weep at the splendid story of French
discovery, as compared with the final collapse of the French empire on
the continent of North America. The French were the first to find the
St. Lawrence; first to see each one of the Great Lakes; first to spread ex
aggerated ideas about Niagara Falls where, according to Mark Twain,
the hack fares in his time were so much higher than the falls that the visi
tor did not perceive the
latter. They were first to
be awestruck at the site
of the future city of Chi
cago; first to reach the
Mississippi; first to be
stopped by the Falls of
St. Anthony, which un
fortunately were not at
that time subject to con
servation ; first to navigate
the Mississippi; first to
see the Rocky Mountains;
first to cross from Lake
Superior to Hudson Bay.
What a fate, to be the
star actors in so many
first performances, and

LA SALLE S SHIP, THE GRIFFIN

From an old print.

THE CONTEST FOR NORTH AMERICA

then not to appear at all in the last act! What a destiny for the earliest
explorers of our country !

One reason why the French secured early control of the interior was
that they had an astonishing gift of living on the country. When Stan
ley crosses the Dark Continent, or Amundsen penetrates the White Con
tinent, he carries great quantities of stores with him; but Champlain,
and Marquette, and La Salle went light. The Frenchmen paddled their

canoes along with their Indian friends,

lived on game and Indian corn, found | fjfft
much to engage and interest them,
and were always ready for a joyous
fight. Frenchmen know how to draw
the pleasures of life out of unpromis
ing surroundings.

FOUNDING OF QUEBEC

The French made their first per
manent settlement at Quebec in 1608;
but the English had then been in
Jamestown a year. From the first
the continent was too small to hold
two such boisterous, expanding, and
conflict-loving people. Captain Argall
in 1613 opened the ball by capturing
the little Jesuit settlement at Flying
Mountain on Mount Desert. From
that time, for just a hundred and fifty
years, the two nations were sparring
with each other.

P or many years this warfare was
hedged in, because mountains, woods,
and savages filled up a broad belt of
territory between the English coast
settlements and the St. Lawrence.
But in war, as in the chivalric game
of football, when you cannot break through the center, you play round
the ends. Hence in everyone of the six regular wars, besides various
local squabbles, there was always fighting between French and English
in Nova Scotia, or the islands of the Gulf of St. Lawrence, or along that
river. In 1613 the English captured Port Royal on the Bay of Fundy,
and again in 1690 and 1710, it became almost a habit, in 1670 they
broke into Hudson Bay; in 1745 and 1758 they mastered Louisburg;
and in 1759 took Quebec.

own & Co Reproduced by

LA SALLE PRESENTING A PETITION TO KING
LOUIS XIV

THE CONTEST FOR NORTH AMERICA

NIAGARA FALLS

As -pictured by Father Louis Hennepin, probably the first white

man to see this wonderful waterfall. From a plate made from

the original Utrecht edition of 1697.

LA SALLE

The most gallant figure
in this century and a half is
the chevalier Robert Cave-
lier, Sieur de la Salle, who
had all the pluck and endur
ance of his Norman ancestors.
He was educated by the
Jesuits; but preferred the life
of a seignior on the frontier
of Canada. There he heard
tales of a river starting some
where near the Great Lakes
and following so long a course
that he guessed it must be
the Colorado. From that time
he became a still hunter for
the Mississippi River. He
built the Griffin, the first ves
sel ever seen on Lake Erie. Apparently he found the Ohio, and decided that
that was not the advertised stream; and before he could get to the Missis
sippi it had been discovered by the priest Marquette and the Indian trader
Joliet, while Father Hennepin went up the great stream to the falls.

La Salle had larger plans than to see new countries and float on
strange rivers: he wanted to occupy that region for his sovereign and
friend, Louis XIV, Le Grand Monarque. Early in 1682 he reached what
the recorder of that expedition calls "the divine river, called by the
Indians Checagou." With him was that picturesque figure Tonty, "the
man with the iron hand" and his artificial member was no tougher and
more enduring than his iron heart.

February 6, 1682, the expedition reached what they called "the
River Colbert," and six leagues lower they passed the mouth of the
Missouri. There they registered the first protest against the St. Louis
water supply; for that stream, they said, "is full as large as the River
Colbert, into which it empties, troubling it so that from the mouth the
water is hardly drinkable." The Indians entertained him with the fic
tion that by going up the Missouri ten or twelve days he would come to a
mountain, beyond which was the sea with many ships.

La Salle was the man.who put the French into the Mississippi Valley,
and thus gave them possession of the two finest regions in North Amer
ica, the whole watershed of the St. Lawrence, including the Great Lakes,
and the whole watershed of the Mississippi. How many different craft

THE CONTEST FOR NORTH AMERICA

have followed after his canoes, a keel boat containing Aaron Burr and
his misfortunes; a flat boat, with Abraham Lincoln stretching his long
arms over the steering oar; the Belle of St. Louis racing the Belle of Mem
phis, cramming sugar and hams into the furnace, and, just as she pulled
abreast of her rival, blowing up in most spectacular style; and Porter s
gunboats, driving past Yicksburg and exchanging broadsides with the
batteries on the heights! Little did La Salle know that he was opening
up a highway for a nation not yet born!

ENGLISH CLAIMS

Where were the English all this time? Did their Indian friends tell
them nothing about great rivers full of crocodiles, and crook-backed,
woolly oxen, and mountains of gold? After 1664 they held the whole
coast from the St. Croix River to the Savannah River; but it took them
a long time so much as to reach the edge of the Mississippi Valley. Two
adventurous men, Thomas Batts, and the German, John Lederer, wormed
their way through the confused mountains of western Virginia, and Batts
reached the New River about 1671, "a pleasing but dreadful sight to
see, mountains and hills piled one upon another." They took possession
of "all the territories thereunto belonging" for his Majesty Charles II.
Massachusetts, Connecticut, and Pennsylvania all had charters reaching
west of the mountains; but they knew better than to try to pick up
territory from under the lodge poles of the ferocious Iroquois. The Eng
lish seemed to lack the discoverer s spirit, which can be satisfied only,
as the colored
preacher puts it,
"by unscrewing the
inscrutable." John
Endicott thought
he was as heroic as
Marco Polo, when
he went up the
Merrimac River to
Lake Winnepesau-
kee, and there cut
his initials on a
rock ; and Governor
Alexander Spots-
wood of Virginia
felt very proud of
himself when in
1716 he conducted

GENERAL PEPPERELL AT LOUISBURG

Central Pepperell was commander of the English furces which on June 16, 174$,
captured the town of Louisburg.

THE CONTEST FOR NORTH AMERICA

a party of gentlemen on horseback across the mountains into the vallev
of the Shenandoah, which was still a long way from the Mississippi Basin.
The French riveted their claim on the Mississippi by sending out a
colony in 1699, which soon after founded the town of New Orleans, on
the high bluff fourteen feet above the sea level of the nearby Lake Pon-

chartrain. They made many

settlements; such as Detroit, and St.
Joseph, and Green Bay, Vincennes, Kas-
kaskia, and Natchez. They set up trad
ing posts among the Indians; they buried
lead plates along the banks of the Ohio
River, bearing the arms of the king,
they had a clear claim to the two enor
mous river valleys.

What was a clear claim? The In
dians thought they had a clear claim, and
warlike tribes like the Iroquois and the
Creeks fought for that conviction. The
English claimed the Mississippi Valley
because they wanted it, and took advan
tage of the four international wars of

DOOR OF OLD HOUSE,
DEERFIELD

Showing the holes chopped in the door by the
Indians, through which they shot Mrs. Wei-
don, a victim of the raid.

the eighteenth century to

make that claim good by

further right of conquest.

After the second war, by the

treaty of Utrecht, in 1713, the first territory was chipped oflF - from the

French possessions; Acadia (Nova Scotia) passed to the English, and with

it they acquired whatever the French claims had been to Newfoundland

and Hudson Bay. At the end of the third war, in 1748, they were holding

Louisburg; but gave it back. Then in 1754 came the great struggle of

the French and Indian War, in which the English attacked the French on

the upper Ohio, on Lake Ontario, at Louisburg, and finally at Quebec, all

OLD HOUSE IN DEERFIELD

This old house escaped the conflagration in 1704.

THE CONTEST FOR NORTH AMERICA

SOLDIERS MONUMENT, DEERFIELD

This monument stands on the common in Deerfield, on the site of the
church of 1704.

with triumphant suc
cess. The Canadian
French were outnum
bered five or six times
to one in America, and
their home govern
ment had its hands
full with European
and naval wars, and
could not help them.

FRONTIER
WARFARE

All this fighting
was not according to
the nice, formal, ob-
serve-the-laws-of-war
methods, such as are now followed between civilized nations: it was
more like a campaign in the Balkans, or the amenities of the Zulus
in Africa. Europeans were not particularly gentle in their warfare. The
early colonies were planted when the Thirty Years War was raging in
Germany, a war in which the unoffending peasants expected both sides to rob
them of their little property, and then to torture them because they had
no more to give. The Indians were not the only race that found pleasure
in inflicting awful suffering on other human beings. The cultivated Eng
lish colonists and the French trappers and hunters were not above taking
scalps on occasion; and, though they did not torture their prisoners,
allowed their Indian allies to indulge themselves in that amusement.

The French were
better wood fighters
than the English,
and throughout
these struggles had
a disagreeable habit
of raiding English
settlements. Twice
they captured vil
lages within a day s
march of sacred
Boston. Their most
DEERFIELD MEMORIAL spectacula r achieve -

This stone marks the grave of the victims of the Deerfield massacre on ment Was the raid

February 29, 1704. upon Deerfield in

THE CONTEST FOR NORTH AMERICA

GENERAL MONTCALM S HEAD-
QUARTERS AT QUEBEC

1704, upon which an epic poem might be
written. Depict the French and Indians steal
ing two hundred miles through the frozen
wilderness; the Puritans in Deerfield trusting
to their stockade; the sudden dash at dawn;
the shots, cries, screams; the Indians chop
ping away with their hatchets at Parson Will
iams front door, till they made a loophole
through which to fire at the family; the file of
captives quickly marshaled for the terrible
northward trail; the valiant little band from
Hatfield pursuing the Indians, many times
their number, and getting a bad licking; the
wrath and fear of all New England at this ap
pearance of the fearful enemy!

The people of Haverhill, Massachusetts,
have put up a statue to a militant woman
named Hannah Dustin w r ho, when carried
away a captive, had the sweet thought to
brain half a dozen of her captors, and so get
home again with her children. Had there
been more Hannah Dustins, there would have been fewer French raids!
In all these wars the English colonists excelled as fighting seamen.
We may still be proud of William Phipps and his levy of colonial forces,
who took Port Royal in 1690. Who shall envy him his well earned title
of Sir William, and his fair brick house on Green Lane, Boston? Think of
the New England men, aided by a small British fleet, sallying out in 1745
to attack Louisburg, the proudest fortress in the western world,

laying siege to it,
digging trenches
before it, compli
menting it with
bombshells, and
-compelling it to
surrender! That
was worth a score
of Deerfields!

The world has
agreed to give the
palm of pictur-
esqueness in war
fare to the capture
of Quebec in 1759

QUEBEC IN COLONIAL DAYS

From an old print.

THE CONTEST FOR NORTH AMERICA

DEATH OF GENERAL WOLFE

When Quebec was captured from the French by the English under General

Wolfe, the commanders on both sides were killed. General Montcalm was in

command of the French forces. From the painting by Benjamin Wesi.

by Wolfe s English fleet and army. Modern
critics tell you that nothing could be easier; that
anybody can make his way up the steep footpath
in Wolfes Cove. But Montcalm, the French com
mander, as brave a man and as skilled a warrior
as you could find, did not think it likely that a
British army would find its way to the Plains of
Abraham at the top. Still he realized, when his
little army came out of the strongly fortified town,
and offered battle, that the French empire in
America was at stake. The battle of Quebec was
a stage battle, soldiers arriving in alarms and
incursions, and both commanders fighting like
heroes till they fell covered with wounds. Quebec
was a battle that makes a man glad of being what
he is, whether French or English.

Four years earlier the French took their
chance to defeat an army and kill a British gen
eral. Somebody has said that it was a hard fate
for a brave military officer to go down to history known only through
"Braddock s Defeat." The trouble with Braddock was that he was an
Englishman, bigoted, obstinate, know-it-all, but brave to his heart s core;
and his march up through the wild country was managed with great skill.

WOLFE S MONUMENT.
QUEBEC

Thi&lt; memorial commemorate*

the capture of Quebsc from the

French by the English.

THE CONTEST FOR NORTH AMERICA

BRADDOCK S MARCH

General Braddock marched his army through the wilderness as though he were on a parade ground in Europe.
To this lack of caution was due in great measure his defeat.

Braddock was a good officer; for on that fateful day he recognized and
gave responsibility to a better officer, young George Washington. The
French had been on the point of fleeing
from Fort Duquesne, and as a last des
perate chance came out, faced the in
vader, and defeated him.

THE INDIAN S FATE

"If the pitcher fall on the rock, the
pitcher shall be broken; and if the rock
fall on the pitcher, the pitcher shall be
broken." So runs the Eastern proverb,
and it applies to the fate of the Indian
throughout the wars of the French and
English. Every time an Indian tribe
fought with either side it was sharpening an
arrow that would be directed against itself.

For a long time the Indian astutely
played off one foreign nation against the
other; but after the French were excluded
the only Great Father left to the poor
Indian was his Majesty KingGeorge III

BRADDOCK S GRAVE

Near Uniontaivn, Pennsylvania, one mile east
of Chalk Hill, beside the National Pike, lie
the remains of General Edward Braddock.
They are said to have been reinterred at this
place in 1824.

THE CONTEST FOR NORTH AMERICA

God bless him! The French loved the Indians, in both a flowery and an
actual way; but the English would neither protect them nor marry them.
Hence the outbreak under Pontiac, after the Northwest had been turned
over to England. He was one of the greatest of his race. He might have
said, as one of his brethren did say to an Anglo Saxon potentate, "I am

a man; and you are another." This was one of the
few attempts in America to combine the Indian
tribes and to attack the whites all along the line.
When Pontiac failed there was nothing for it but
to yield.

Even the Iroquois gave in and learned to eat
out of the hand of Sir William Johnson of John-

PONTIAC

The chief of the Ottawa*. In April,
1769, he was murdered, when
drunk, at Cahokia (nearly oppo
site S. . Louis} by a Kaskaskia
Indian, bribed by an English
trader. He was buried near the
St. Louis fort.

STARVED ROCK

In 1770 this rock became the last refuge of a small band of Illinois Indian;
flying before a large force of Pottaivottomies, who believed that one of the
Illinois had assassinated Pontiac, in whose conspiracy the Pottawottomies
had taken part. Unable to dislodge th Illinois, the Pottawoltomies cut
of their escape and let them die of starvation.

son Hall; and they
made the treaty of
Fort Stamvix with the
English in 1768, gen
erously giving lands they had never possessed. That was fatal for tin-
Six Nations; for they got so addicted to Great Father George III that
they stood by him when the Revolution broke out. That gave to Patriot
General Sullivan the chance to march into their own country in 1779, and
to break to pieces the only American third power that ever tried to stand
neutral between the French and the English.

SUPPLEMENTARY READING. "French and English in North America," Francis
Parkman; " History of Canada," F. B. Tracy; " Formation of the Union," A. B. Hart;
"France in America," Reuben G. Thwaites; "Sir William Johnson and the Six Na
tions," W. E. Griffis; "United States" (Vol. II), Edward Channing; "Mississippi
Basin," Justin Winsor; "Old Fort Loudon," Charles Egbert Craddock; " Seats of the
Mighty," Gilbert Parker.

1 1

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Volume I Number 35

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The Mentor Week by Week

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WASHINGTON. THE CAPITAL 21

BEAUTIFUL WOMEN IN ART

ROMANTIC IRELAND

MASTERS OF MUSIC 23.

NATURAL WONDERS OP AMERICA 24.

PICTURES WE LOVE TO LIVE WITH

THE CONQUEST OP THE PEAKS 25.

SCOTLAND. THE LAND OF SONG AND #&gt;.

SCENERY

CHERUBS IN ART 27.

STATUES WITH A .STORY 28.

STORY OF AMERICA IN PICTURES- 29.

THE DISCOVERERS 30.

LONDON 31.

THE STORY OF PANAMA 32.

AMERICAN BIRDS OF BEAUTY 33.
DUTCH MASTERPIECES

PARIS, THE INCOMPARABLE 34.

FLOWERS OP DECORATION
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THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

FAMOUS AMERICAN SCULPTORS

Augustus St. Gaudens, Frederick MacMonnies, J. Q. A. Ward, George Grey
Barnard, D. C. French, P. W. Bartlett.

By LORADO TAFT, Sculptor and Auiho,.
NUMBERS TO FOLLOW

Oct. 27. THE CONQUEST OF THE POLES

Naiwen, Shackclton. Duke of the Abruzzi.
Amundsen, Scott. Peary.
By Rear Admiral Robert E. Peary, Discoverer
of the North Pole.

Nov. 3. THE MEDITERRANEAN

Algiers, Monte Carlo, The Riviera,

Genoa, Naples.

By Dv ight L.Elmendorf. Lecturer and Traveler.

Nov. 10. GREAT HEROES OF HISTORY:
NAPOLEON

Emperor Napoleon. Bridge at Arcole
Retreat from Moscow, Napoleon on Board
the Bcllerophon, Napoleon at St. Helena.
By l.ta M. IjrMl.

Nov. 17. ITALIAN MASTERS OF PAINTING

Madonna of the Cross. Raphael; The Del
phic Sibyl, Michael Angelo; St. George and
the Dragon. Tintoretto; Venice Enthroned.
Veronese; Charles V at MUhlberg. Titian;
Knight of Malta. Giorgione.

ByGustat Kobbt, Author andCnii.

J4. FAMOUS COMPOSERS. Chopin. Men-
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By Henry
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VOL.1 OCTOBER 2O, 1913 No. 36

MENTOR

A Wise and Faithful
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LEARN ONE THING
A EVERY DAY A

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THE MENTOR

; A Wise and Faithful Guide and Friend"

Vol. i

OCTOBER 20, 1913

No. 36

FAMOUS AMERICAN SCULPTORS

JOHN QUINCY ADAMS
WARD

FREDERICK WILLIAM
iMACMONNIES

GEORGE GREY BARNARD

DANIEL CHESTER FREN CH

AUGUSTUS
SAINT GAUDENS

PAUL WAYLAND
BARTLETT

By LORADO TAFT

Sculptor, and Author of " History of American Sculpture J:

THE story of American sculpture is a brief one compared with the
chronicles of other lands. Our first professional sculptors, Horatio
Greenough and Hiram Powers, were both born in 1805. In European
countries the records of the last hundred years are but fragments, brief
sequels to the story of ages of endeavor. It is difficult to realize that our
actual achievement, from the very kindergarten stage of an unknown art
to the proud eminence held by American sculpture in the Paris Exposi
tion of 1900, was the work of but three score years and ten was seen in
its entirety by many living men.

BEGINNINGS OF AMERICAN SCULPTURE

The beginnings of all arts in this country have been timid and
imitative. Literature, music, and painting had something to found them
selves upon in the national tradition; but sculpture was never abundant
in England, and this art, usually one of the earliest, was the last to appear
in America. Its first inspirations were Italian, and for half a century
American sculpture was a crude parody on the art of Canova and Thor-
valdsen. Many of our sculptors, like Powers, Greenough, Crawford

FAMOUS AMERICAN SCULPTORS

Story, Randolph Rogers, Rinehart, Ball, Mead, and Harriet Hosmer,
made their homes in Florence and Rome, and welcomed the ever swelling
tide of American travel with wistful greetings. Perhaps their influence
was greater there upon the receptive travelers than it could have been at
home; but one cannot help feeling a high regard for men like Palmer,
John Rogers, and Ward, who held the fort," developing the native ma
terial of their own land.

About the time of the Centennial, France was suddenly discovered
by our young sculptors. Her opportunities were appreciated, and soon
the entire stream of students was diverted thither from Italy and Ger
many. Saint Gaudens was the first important product of the American-
French school of sculpture, and his talent and training together offered
an irresistible argument for the new methods.

JOHN QUINCY ADAMS WARD

Before speaking further of our greatest sculptor, a few words
should be devoted to the last and most distinguished of the pioneers,

John Quincy Adams Ward (1830-
1910), who was privileged to see the
triumphs of American sculpture at
home and abroad, and to participate
them to the end Always keenly

BIRTHPLACE OF J. O. A. WARD

Ward was born in 1830, on a farm in the neigh
borhood of Urbana, Ohio.

alive and vibrantly responsive to
the forces at work about him, he
was ever a contemporary of the
youngest men of his profession.
Ward s earliest success, The
Indian Hunter" in Central Park,
New York City, was the result
of a long journey among the red
men. Its intensity is an uncon
scious revelation of the man
who made it: no lackadaisical
dreamer could have conceived

FAMOUS AMERICAN SCULPTORS

the idea, much less have carried it to its happy
realization. The emotion of war times found
expression in "The Freedman," and later in a
notable series of memorials to heroes of the con
flict, culminating in the great "Henry Ward
Beecher" of Brooklyn, one of the most im
pressive portraits in this country. None but a
big man could have grasped that character;
none but a strong nature could convey to others
that impression of exuberant vitality and of con
scious power. The great preacher stands solidly
upon his feet, enveloped in a heavy overcoat and

WASHINGTON, BY WARD

On Watt Street, New York City.
The pedestal bean the inscription:
"On this silt, in Federal Hall,
April 30, \j%&lt;),George Washington
took the oath as the first President
oj the United States of America."

cape, his hat in hand.
The poise is superbly
confident; the leonine
head uplifted as if
in command rather
than in exhortation.

New York City has many of Ward s works. His "Pilgrim" and
"Shakespeare" in Central Park are well known. His "Horace Greeley :
is the last word in faithful characterization, as vivid as his Wall Street
"Washington" is noble and detached. The admirable equestrian "Gen
eral Thomas" and the "Garfield" monument in Washington are equally
familiar. The uprightness and dignity of the whole life of the sculptor
left their impress upon every portrait he modeled. Some are greater
than others; but they are men, everyone of them. They stand firmly
on their feet, and they make no gestures, no attempt to win us. There

THE WARRIOR, BY WARD

One of the three figures that adorn the base of the Garfidd statue at Wa&lt;h-
ington. The other two are the " Statesman " and the " Student."

FAMOUS AMERICAN SCULPTORS

is no restlessness, no anxiety; you feel
eternity in their attitudes, in their com
posure. Above all, the sculptor has
known how to endow each with an
individual intelligence.

SAINT
THE

GAUDENS,
MASTER

Augustus Saint Gaudens, like so
many of our best citizens, was a prod
uct of another land; of two others, in
fact. Born in Dublin in 1848 of a
French father and an Irish mother, he
represented an unusually fortunate
combination of two artistic races. The
humble family settled in 1850 in New

GRIEF, BY SAINT GAUDENS

This mysterious figure is sometimes called " Death," or

" The Peace of God." It is in Rock Creek Cemetery,

Washington, and is a memorial to Mrs. Adams.

York, where the boy was early
apprenticed to a cameo cutter,
supplementing his childish efforts
with a rigorous training in the
drawing classes of Cooper Union.
In 1880, after some years abroad,
he exhibited at the Salon his
remarkable figure of Admiral Far-
ragut, now in Madison Square,
New York, which still remains one
of his finest works. This statue
and its harmonious pedestal met
with instant success, and was fol
lowed by a series of triumphant
works, so novel and original, so

DEACON CHAPIN, BY SAINT GAUDENS

At Springfield, Massachusetts.

FAMOUS AMERICAN SCULPTORS

significant and admirably perfected, that the master s position at the
head of the profession in this country was constantly reaffirmed to the
day of his death.

Indeed, in reviewing the life of this great artist, one asks what other
sculptor of modern times has produced such a succession of notable
achievements as the "Farragut"; the "Lincoln" of Chicago; the "Dea
con Chapin" of Springfield, Massachusetts; the "Adams Memorial"
in Washington; the
"Shaw Memorial";
the "Logan"; the
"Sherman", and
finally the seated
"Lincoln." Add to
this the countless
exquisite medal
lions, the delight
fully decorative
high relief portraits,
and, perhaps most
beautiful of all, that
angelic brood of
which the "Amor
Caritas" is the type
and [culmination,

AUGUSTUS SAINT GAUDENS IN HIS STUDIO

From a painting by Kfnyon Cox.

and where shall we
look for a more in
dividual expres
sion ? Rodin himself, with all his contortions, has not produced so much
beauty nor demonstrated himself more "original."

To different moods these great works make their differing appeals.
The heroic "Lincoln," with its strong, gaunt frame and its majestic head
bowed in sympathetic tenderness; the sturdy "Chapin," wrapped in a
voluminous cloak and self sufficiency; the mysterious, inscrutable genius
of the Adams tomb; the rhythmic momentum of the colored regiment
with its fated leader riding serenely, square shouldered, and level eyed
to his doom; the glorious "Victory" of the Sherman group, the most
spiritual, most ethereal of all sculptured types, what an array are these!
What wealth to have brought to our national ideals!

DANIEL CHESTER FRENCH

Worthy successor to the great artist who put us all under such heavy
obligations is Daniel Chester French, whose work is known throughout
the land. French was born at Exeter, New Hampshire, in 1850, and

FAMOUS AMERICAN SCULPTORS

grew up in Concord, Massachusetts,
amid ideal surroundings. His first
youthful effort in sculpture, "The
Minute Man of Concord," was a suc
cess, and his busy life has known no
failures. No other American sculptor
has produced so much, and we can
name here but a few of his most
important works.

Best beloved is the noble "Death
and the Young Sculptor," designed as
a memorial to the sculptor, Martin
Milmore. In this poetic group we
have unquestionably one of the high
est expressions of a purely American

BIRTHPLACE OF D. C. FRENCH

French was born in Exeter, New Hampshire, on
April 20, 1850.

Reproduced from American Sculpture, by Lorado
Taft. Copyright, 1903. by The MacMillan Co.

ALMA MATER, BY FRENCH

Adorning the approach to the Library of
Columbia University, New York City.

DANIEL CHESTER
FRENCH

French is well known as a

sculptor in both America and

Europe.

MINUTE MAN, BY FRENCH

At Concord, Massachusetts.

art. Other works of interest are the ascetic
"John Harvard" of Cambridge; a vigorous
"General Cass" and the touchingly sympathetic
"Gallaudet" group, both in Washington, D. C.;
the "O Reilly" monument of Boston; the

FAMOUS AMERICAN SCULPTORS

FREDERICK WILLIAM
MACMONNIES

French, and many tnere are
who owe to him their success
ful beginnings.

FREDERICK MACMONNIES

When in 1884 Frederick
MacMonnies arrived in Paris he
was equipped as no American
had ever been before. He was
twenty-one years old, and had
already spent five years in the
studio of Saint Gaudens, besides
learning to draw like a skilled
painter. His progress was pro
portionate, and it has been his
joy ever since to meet his Eu
ropean competitors upon their
own field and to rival them in
whatever they undertake. If
there is nothing distinctively
American in his art, it is sculp
ture of the highest degree of
workmanship, an international

equestrian "Washington" in Paris and Chicago;
"General Grant" in Fairmount Park, Philadelphia;
and "General Hooker" in Boston. Among his most
recent works are a "Lincoln" for Lincoln, Nebraska,
and an "Emerson" for Concord.

The Columbian Exposition was crowned by
French s gigantic and truly monumental "Repub
lic," a superb figure which reappears, comfortably
seated for all time, in the "Alma Mater" of Colum
bia. French does not disdain architectural sculpture,
and has made beautiful groups for the Custom
House of New York, the post-office of Cleveland,
and the pediment of the Brooklyn Institute. In
the recent Parkman and Melvin memorials he has
shown a treatment peculiarly adapted to the stone,
a most valuable suggestion to our younger men.
No one has greater influence upon the trend of
American
sculpture
than has
there

HORSE TAMERS, BY MACMON NIES

Two groups, one of which is shown, that adorn an entrance to
Prospect Park, Brooklyn. They formed part of the sculp
tor s remarkable exhibit at the Paris Exposition of 1900.

FAMOUS AMERICAN SCULPTORS

coin that passes current wher
ever good art is known.

No one has ever worked
quite so feverishly as did Mac-
Monnies during those wonderful
first years of his career, and no
one has ever done so much in
the time. The list is too long
even to chronicle here, much less
to comment upon. Beginning
with the "Nathan Hale" and
"Stranahan" of the Salon of
1891, the sculptor came insist
ently into national view in 1893
with his great Columbian foun
tain, the jewel of the Chicago
Exposition. It was the oppor
tunity of a lifetime, and the
young sculptor rose serenely and
triumphantly to the occasion.
The memory of that exquisite
twilight vision remains a delight
to all who saw it. Orders fol
lowed in rapid sequence, and
brought more successes, the
archaistic "Shakespeare" of the
Congressional Library; the
irresistible "Bacchante" "Sir

BIRTHPLACE OF G. G. BARNARD

Barnard was born at Bellefonte, Pennsylvania, where

his parents were temporarily residing in 1863. The

sculptor is really a Westerner.

THE HEWER, BY BARNARD

The plat eon the pedestal says, "Erected in memory of William

Parker Halliday, and presented to the city of Cairo, III., A.

D. 1906, in token of his unswerving f aith in her destiny."

Henry Vane" of Boston; and the
sculptor s various contributions to
Prospect Park, Brooklyn, the Me
morial Arch, with its gigantic army and
navy groups, and its glorious Quad
riga above, and the "Horse Tamers."
Upon the exhibition of these
works at the Paris Exposition of 1900
MacMonnies decided that he wanted

FAMOUS AMERICAN SCULPTORS

GEORGE GREY BARNARD

a rest, which in the case of one of his nervous
temperament meant merely a change. He
dropped his modeling tools absolutely, and
for a number of years gave himself up to the
joys of painting. All sculptors dream of this;
but he could really do it. His work on canvas
is no less masterly than his sculpture. Of late
he has returned to his first love, and we look for
ward eagerly to the new products of his studio.

THE BOLD ORIGINALITY
OF BARNARD

George Grey Barnard is a Westerner,

although he chanced to be born in Pennsylvania,

where his par

ents were tem

porarily residing

in 1863. The sculptor s father is a clergy
man, and the fortunes of the ministry after-
uard led him to Chicago, and thence to
Muscatine, Iowa, where the son passed his
boyhood. One cannot doubt that these
circumstances had their profound influence
upon the character of the young artist. In
it is something of the largeness of the
western prairies, something of the au
dacity of a life without tradition or prec
edent, a burning intensity of enthusiasm;
above all, a strong element of mysticism
which permeates all that Barnard does
or thinks.

The stories of his student struggles in
Chicago and Paris are familiar. The first
result of all this self sacrifice became tan
gible in that early group, a tombstone for
Norway, in which the youth portrayed
"Brotherly Love," a work of "weird and
indescribable charm."

In 1894 Barnard completed his cele
brated group, "Two Natures," upon which
he had toiled, in clay and marble, for sev-

. . . A oivid representation of the mighty Horen-

eral years. Ihis masterful achievement tine, is on, o thebroKutfai,, that decorate

Reproduced from American Sculpture, by Lorado
Tart. Copyright. 1903. by The MacMillanCo.

MICHELANGELO. BY BARTLETT

gave him at once high standing in Europe, tke rotunda of tiu Comrtuionai Library.

FAMOUS AMERICAN SCULPTORS

and his work has never since ceased to interest the cultivated public
of the world s capitals. Then followed an extraordinary "Norwegian
Stove," a monumental affair illustrative of Scandinavian mythology;
and "Maidenhood" and the "Hewer," two of the finest nudes thus far
produced in America.

The great work of Barnard s recent years has been the decoration
of the Pennsylvania capitol. It has been said of him that he was "the
only one connected with that building who was not smirched"; but
his part is a story of heroism and triumph. The writer has not yet seen
the enormous groups in place, but is familiar with fragments that
have won the enthusiastic praise of the best sculptors of Paris. They
are inspiring conceptions which point the way to still mightier

achievements in American sculpture.

LAFAYETTE, BY BARTLETT

In the Louvre, Paris.

THE VIGOR OF BARTLETT

Paul Wayland Bartlett was born
in 1865 of artistic ancestry, his father
being Truman Bartlett, teacher and
critic. The boy grew up in Paris,
entering the Beaux-Arts at the age
of fifteen, and working also at the
Jardin des Plantes under the help
ful guidance of Fremiet, the great
animalist. His art has always
offered an interesting blend of the
two influences, animal forms appear
ing in nearly all his compositions.

Bartlett s first important exhibit
was the "Bohemian Bear Trainer";
the second, the Indian "Ghost Dan
cer, " shown at the Chicago Expo
sition. Soon followed those striking
works for the Congressional Library,
his "Columbus ""and "Michelan
gelo." The former shows the dis
coverer in a new light, no longer
the gentle dreamer, the eloquent
pleader, the enthusiast, nor yet the
silent victim in chains, but a hero
of might and confidence, hurling
proud defiance at his calumniators.
The "Michelangelo" is, if possible,
an even more vivid though less

FAMOUS AMERICAN SCULPTORS

vehement presentation of its theme. The
short, gnomelike figure with stumpy legs;
the big, powerful hands; the stern face, rough
hewn, with its frown and tight lips, all these
combine to make this at first sight a not
very winning presentation of the great
master; but it has the quality that will out
live all others. It was left to an American
sculptor to grasp his character profoundly,
and to create an adequate representation of
the mighty Florentine.

Bartlett s young "Lafayette" stands in
one of the most coveted sites in all Paris,
within the inclosure of the Louvre. It is well
worthy of the honor, and is a monument to
the artist s capacity for "taking pains,"
representing as it does many years of study
and experiment.

Bartlett collaborated with Ward upon
the pedimental group of the New York Stock
Exchange, and a logical result of the good
work done there was the commission to
design the long awaited pediment for the
House of Representatives in Washington, a
gigantic undertaking of great significance,
which is now in progress.

To select these six names out of a
hundred seems invidious. One wants to talk

r TT i A j 11-1 TII

r IT AdamS 1 a " d hlS beau tlful busts,

or Karl Bitter and all the fine things he has
done, of MacNeil and Grafly and Aitken and the Piccirillis and the
Borglums and all the rest, of the Boston men, of the women sculptors,
even of the little western group; but space fails. They are all working
enthusiastically for the love of their art and for the fair fame of America.

BLACK HAWK, BY LORADO TAFT

A concrete work of gigantic proportions,
overlooking Rock Riser, Illinois.

SUPPLEMENTARY READING "History of American Sculpture," Lorado
Taft; "American Masters of Sculpture," Charles H. Caffin.

MAGAZINE ARTICLES "George Grey Barnard, Sculptor," G. B. Thaw,
World s Work, December, 1902; "Daniel Chester French, Sculptor," Lorado Taft,
Brush and Pencil, Vol. 5; "Bartlett" ("Some American Artists in Paris,") Francis
Keyser, Studio, Vol. 13; "Frederick MacMonnies, Sculptor," H. H. Grier, Brush and
Pencil, Vol. 10; "Augustus Saint Gaudens," Kenyon Cox, Century, Vol. 13; "The
Work of J. Q. A. Ward," Russell Sturgis, Scribner s, Vol. 32.

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THE CONQUEST OF THE POLES

Nanscn, Shackleton, Duke of the Abruzzi, Amundsen, Scott, Peary.
By Rear Admiral ROBERT E. PEARY, Discoverer of the North Pole.

NUMBERS TO FOLLOW

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. Vttt Dyke, Professor of the
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The Conquest Of
The Poles

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THE MENTOR

OCTOBER 27, 1913

THE CONQUEST OF THE POLES

REAR ADMIRAL ROBERT E. PEARY

Discoverer of the North Pole

FRIDTJOF NANSKN SIR KRXKST II. SHACKLETON
DUKE OF THE ABRUZZI ROALD AMUNDSEN

ROBERT E. PEARY ROBERT FALCON SCOTT

TEN years ago many, perhaps the. majority, of intelligent people
doubted if the Poles of the earth would ever be reached by man.
From east to west, and west to east, the world seemed small. Jules
Verne s "Round the World in Eighty Days" dream of not so many years
ago had been cut in two; but from north to south the world still stretched
in apparently unattainable infinity.

Within the last four years the two Poles have been reached three
times, and in their attainment the globe has shrunk to commonplace di
mensions. With the attainment of the Poles the climax of polar discov
ery has been reached, the last of the splendid series of great world voyages
and mighty adventures has been finished. But while the glamour, the
mystery, the speculation, as to what exists at the ends of the earth are
gone, the work of detailed exploration, of continuous scientific observations
and investigations, will continue until to the scientist and geographer the
polar regions will be as well known as the more favored regions of the earth.

EARLY POLAR EXPLORATION

It is nearly four hundred years (1526) since the first recorded expedi
tion went forth to seek the North Pole under the initiative of England.

Trade, the great prize of the commerce of the opulent East, land
lust, and the spirit of adventure in turn played their part as incentives
for the earlier expeditions. It seems to be generally accepted that nothing
had a more powerful influence on the work than England s determina
tion to have a trade route of her own to the riches of the East, inde
pendent of the southern routes controlled by Spain and Portugal. It was

THE CONQUEST OF THE POLES

TRAVELING IN THE FAR NORTH

Dog sledges used by Peary on his expedition to the North Pole.

this determination that made the terms Northeast Passage and North
west Passage historic, and brought about years of search that, though
latterly scientific, have been largely the acme of adventure and sentiment.

From the misty date of Pytheas (325 B. C.) down through the suc
ceeding centuries, the record of polar exploration contains much of inter
est, of mystery, of superstition, followed by some of the grandest epics,
most heroic efforts and sacrifices, and somberest catastrophes and trag
edies in all the wide field of exploration. Briton and Scandinavian,
Teuton and Latin, Slav and Magyar, and American, have entered
the lists and struggled for the prize.

In the earlier years of this long
record occurred the strange voyages of
the Zeni, and Eric the Red, Icelandic
outlaw, with his discovery and coloniza
tion of Greenland, strange stories of
hot springs in that far country, with
which the monks warmed their monas
tery and cooked their food; a tribute of
walrus tusks toward the expenses of
the Crusades; tales of the rich green
pastures, and herds of grazing cattle,
of these colonists, and later their myste
rious and complete disappearance,
leaving only a scattered ruin here and
there to show that they ever existed.

ARCTIC EXPEDITIONS

Beginning with the earliest authen
tic expedition (1526), it is possible to
touch only on the most important inci-

THE ROOSEVELT

Peary s ship, in which he sailed to discover the
North Pole.

THE CONQUEST OF THE POLES

dents of the record of this later phase of the subject. The time from
1526 to date may be roughly and generally divided into three periods:

The first, from 1526, the time of the first North Polar expedition by
England, to about 1853, the close of Great Britain s Franklin search expe
ditions. In this period the preponderance of British efforts over those
of all other nations combined was so great as almost to obscure them
and make this period preeminently British.

In this period British navigators essayed every route to the polar
regions, attempted the Northeast and Northwest Passages again and

again, and wrote some

of the most brilliant
pages of Great Brit
ain s history over the
names of Hudson,
Davis, Baffin, Ross,
Parry, Franklin, Mc-
Clintock, and others.

The second period
covers from about
1850 to 1895. In this
period other nations
the United States,
Germany, Austria,
Sweden, and Norway
showed equal activity
with Great Britain,
and the namesof Kane,
Hayes, Hall, Lockwood, Brainard (United States), Nares and Markham
(Great Britain), Koldewey and Weyprecht (Germany), Payer (Austria),
Nordenskjold (Sweden), and others were written indelibly into Arctic
history. In this period the record of farthest north which had been
held by Great Britain was wrested from her in 1882 by Lockwood
and Brainard of the United States.

THE NORTH POLE ATTAINED

The third period is from 1895 to date. In this period, while other
valuable work was being done, as Amundsen s navigation of the North
west Passage, Sverdrup s extensive discoveries in the North American
archipelago, Erichsen s completion of the last gap in the north Greenland
coast line, three men, Nansen, Abruzzi, and Peary, each having for his ob
ject the attainment of the North Pole, pushed in succession far beyond the
farthest of their predecessors, penetrating the inmost regions of the north,
and the last named attaining the Pole which had been the prize of centuries.

From "On the Polar Star." by the Duke of the Abruzzi. Copyright, Dodd. Mead Sc f~o
THE HUT OF THE DUKE OF THE ABRUZZI

From a photograph taken by moonlight in the Arctic regions.

THE CONQUEST OF THE POLES

Briefly summarized, from 1526 to 1882 Great Britain held the palm
of nearest approach to the Pole, slowly pushing the record up till Mark-
ham reached 83 20 north latitude. Then the lead came to the United
States with Lockwood and Brainard s 83 24 . In 1895 Norway went to
the front in a great leap in Nansen s 86 14 , and in 1900 Italy grasped
the blue ribbon with Abruzzi s 86 33 . In 1906 the United States took
the lead again with Peary s 87 6 , and finally closed the record with his

attainment of the Pole on April 6

and 7, 1909.

ANTARCTIC EXPLORATION

The exploration of the Antarc
tic regions dates back much less far
than that of the Arctic. In 1772
Captain James Cook first crossed
the Antarctic Circle and penetrated
the Antarctic regions. After him
came the Russian Bellingshausen in
1819, who discovered the first land
within the Antarctic Circle. Then
came Weddell the British sealer,
who in 1823 pushed his sailing ship
south into the great bight southeast
of Cape Horn, named after him
Weddell Sea, to 74 15 south lati
tude, 241 miles beyond Cook s rec
ord, and not exceeded in that region
until the last year. At Weddell s
farthest no land or field ice was to
be seen, and only three icebergs were
in sight.

In 1839-1841 occurred the im
portant voyage of Sir James Ross.
Ross a few years before had located
the North Magnetic Pole. He was now in command of the Erebus and
Terror, two^ ships that a few years later were to bear the Franklin ex
pedition to its fate near the same North Magnetic Pole. Ross discovered
South Victoria Land, directly south of New Zealand, with its long stretch
of southerly trending savage coast line from Cape Adare to 78 10 south
latitude, where he found an active volcano, Mt. Erebus. From here
Ross followed the edge of the great ice barrier some three hundred miles
to the eastward. The great indentation in the Antarctic continent thus
discovered and navigated by Ross, and named after him Ross Sea, has

From "On the Polar Star," by the Duke of the Abnizzi. Copy
right, Dodd, Mead & Co.

THE POLAR STAR

Landing the stores while the ship was nipped by the ice.

THE CONQUEST OF THE P O L E 8

since been the base
which the South Pole

of operations from
was twice attained.

"FARTHEST SOUTH

After Ross came various minor expedi
tions contributing to the knowledge of the
Antarctic regions, and in the i89o s began
a renaissance of Antarctic interest and ex
ploration. In 1892, 1893, 1894 Scottish,
German, and Norwegian whalers recon-
noitered the Antarctic seas of Ross and
Weddell in search of new whaling grounds,
and in 1894 the first landing was made
upon the Antarctic continent by some

members of

Bull s Norwe
gian crew; in
1895 Ne\v-
mayer intro
duced in the
sixth Geo
graphical
Congress in

REAR ADMIRAL ROBERT E. PEARY

AT THE NORTH POLE

Photograph taken at the" Topofthf World."

London a resolution upon the importance
of Antarctic exploration; and in the years
following there was an international at
tack upon the problem by Belgium, Great
Britain, Germany, Scotland, Sweden, and
France. In 1898, for the first time in the
history of Antarctic exploration, an expe
dition (the Belgian under Commander
de Gerlache), passed a winter within the
Antarctic Circle beset in the ice; and a
year later, in 1899, a British expedition
under Borchgrevink passed a winter on
the Antarctic continent itself, and made
at Cape Adare, in Ross Sea, the first
attempt at land exploration.

In 1901-1902 a German expedition
under Drygalski determined a new part
of the coast of the Antarctic continent
south of Africa, and three others, under
Bruce of Scotland, Nordenskjold of Swc-

THE CONQUEST OF THE POLES

den, and Charcot of France, made valuable discoveries in Weddell
Sea, and the regions southeast, south, and southwest of Cape Horn. In
1901-1903 Scott of Great Britain, selecting the Ross Sea region dis
covered by Ross sixty years before as his base, effected the first serious
land exploration of the Antarctic continent. In a magnificent sledge
journey he covered three hundred and eighty miles due south, reaching a
point within four hundred and thirty-seven miles of the South Pole. Fol
lowing Scott, his lieutenant, Shackleton, in 1908-09, using essentially
the same base and route as Scott, made an even more brilliant jour
ney, and reached a point within ninety-seven miles of the Pole, Jan
uary 9, 1909. At that time this was the "farthest south" record.

THE SOUTH POLE

The successes of Scott
and Shackleton still fur
ther stimulated interest in
the Antarctic problem,
and in 1910 and 1911
Great Britain, Norway,
Germany, Australia, and
Japan sent expeditions
into the field; the United
States unfortunately, as
in the past, being unrep
resented. Four of these
expeditions the Japanese,
Australian, Norwegian,
and British selected the
Ross Sea region south of
New Zealand and Aus-

Reproduced from "The Heart of the Antarctic," by Sir Ernest H. Shackleton. Copy
right, J. B. Lippincott Co.

SHACKLETON S EXPEDITION

The hut in the early winter quarters near Mi. Erebus, the Antarctic
volcano.

Reproduced from "The Heart of the Antarctic," by Sir Ernest H. Shackleton. Copyright, J. B. Lippincott Co.

THE "FARTHEST SOUTH" CAMP AFTER A SIXTY-HOUR BLIZZARD

THE CON Q U EST OF THE POLES

Reproduced

Heart of the Antarctic." by Sir Ernest H. Shacklcton.
Copyright. J. B. Lippincott Co.

SHACKLETON S SHIP, THE MMROI)

Moored to a stranded iceberg about a mile from winter quarters, the
Ximriid wa? sheltered from blizzards.

.tralia for their work; while the German
expedition selected the Weddell Sea region
southeast of Cape Horn, the most promising
of all points of attack upon the Antarctic

continent. All

SHACKLETON AND HIS SON

Reproduced froir
by Sir Ernest H.

Shaikleton. Cupyngh
Lippincott Co.

DISCOVERERS OF THE SOUTH
MAGNETIC POLE

Part of Shackleton s expedition reached
for the first time the South Magnetic Pole
that is, where the south part of the
compass needle points. Those in the
picture, reading jrom left to right, are Dr.
Mackay, Professor Dacid, and Dougla*
Mawson.

these expedi
tions have now
returned. The Japanese expedition explored
an unknown section of the coast of King
Edward VII Land east of Ross Sea, the
Australian expedition explored a long stretch
of \\ilkes Land west of Ross Sea, the Ger
man expedition made new discoveries in
Weddell Sea, reaching a point farther south
than ever before attained in that region;
while Amundsen s Norwegian expedition,
from its base in the southeast angle of Ross
Sea, attained the South Pole, December
14 to 17, 1911, and Scott s British expedi
tion, from its base in the southwest angle
of Ross Sea, attained it a month later, Jan
uary 18, 1912, Scotland his four compan
ions dying of cold and starvation on the
return.

The record of Antarctic exploration
from 1772 to date may be divided into two
periods; the first from 1772 to 1898 and
1899, a period of summer voyages only, the

T HE G O N Q U S T O F T H E POLES

NANSEN S EXPEDITION

Digging the From out of the ice.

work carried on
entirely by ships,
with no land or
sledge work, and no
attempt to winter
in that region.
During this period,
though other na
tions, notably the
United States and
France, took part
in the work, the
work of Great Brit
ain was so pro
nouncedly prepon
derant as to more
than equal all the
others combined. T n e second period is from 1899 to date, and is the period

of overland exploration with sledges. In
this period, as in the last period of Arc
tic exploration, three men, Scott, Shackle-
ton, and Amundsen, each having for
his object the attainment of the South
Pole, pushed so far beyond all predecessors
as to be in a class by themselves, two of
them, Amundsen and Scott, actually reach
ing the Pole.

THE POLAR REGIONS-
A COMPARISON

After the foregoing condensed resume
of Arctic and Antarctic exploration and
discovery, I feel sure the reader will be
interested in noting some of the striking
contrasts between the two Poles and thc-ir
surroundings. These contrasts are as great
as the Poles are far apart. The North Pole
is situated in an ocean of some fifteen hun
dred miles diameter, surrounded by land.
The South Pole is situated in a continent
of some twenty-five hundred miles diam
eter, surrounded by water. At the North
Pole, Peary stood upon the frozen surface

AMUNDSEN IN POLAR COSTUME

Dijcovertr of the South Pole.

THE CONQUEST OF THE POLE S

From "On the Polar Star," by the Duke of the Al&gt;nizz
right. IJodd. Mead & Co.

ENTRANCE TO HUT

Topy-

A " horns" in the polar region*.

of an ocean more than Vivo miles in
depth. At the South Pole, Amundsen
and Scott stood upon the surface of
a great elevated snow plateau more
than two miles above sea level. The
lands that surround the North Polar
Ocean have comparatively abundant
life, musk oxen, reindeer, polar bears,
wolves, foxes, arctic hares, ermines,
and lemmings, together with insects
and flowers, being found less than
five hundred miles from the Pole. On
the great South Polar continent no
form of animal life is found.

Permanent human life exists
within some seven hundred miles of
the North Pole; none is found within
twenty-three hundred miles of the
South Pole. The history of Arctic
exploration goes back nearly four
hundred years. The history of Ant
arctic efforts covers one hundred and forty years. The record of Arctic-
exploration is studded with crushed and foundering ships, and the deaths
of hundreds of brave
men. The record of
Antarctic exploration
shows the loss of but
one ship, and the death
of a dozen men.

For all those who
aspire to the North
Pole, the road lies over
the frozen surface of an
ocean, the ice on which
breaks up completely
every summer, drifting
about under the influ
ence of wind and tide,
and may crack into nu
merous fissures and
lanes of open water at
any time, even in the
depth of the severest

AT THE SOUTH POLE PHOTOGRAPHED BY AMUNDSEN

THE CONQUEST OF THE POLES

winter, under the influence of storms. For those who aspire to the South
Pole, the road lies over an eternal, immovable surface, the latter part

rising ten thousand and eleven thousand feet
above sea level. And herein lies the inesti
mable advantage to the South Polar explorer
which enables him to make his depots at con
venient distances, and thus lighten his load
and increase his speed.

THE FUTURE OF POLAR
EXPLORATION

The efforts and successes of the last fifteen
years in the Antarctic regions ought to, and I
hope will, spur us as individuals, as societies,
and as a nation to do all in our power to enable
the Lnited States to take its proper part and
share in the great work yet to be

("opr.. 1013, by International Newsservice

IN MEMORY

OF BRAVE

MEN

The cross erect
ed on Observa
tion Hill to
Scott and his
courageous
companions.

done in that field. There are three
ways in which this country could
make up for its past lethargy
in regard to Antarctic work,
and take front rank at once in
this attractive field.

One is to establish a station
at the South Pole for a vear s

PRECEDED BY AMUNDSEN

When Captain Scott and his party reached the South Pole they found that Amundsen had been there before them.
Captain Scott is peering into the tent left by Amundsen s expedition.

THE CONQUEST OF THE POLES

continuous observa
tions in various fields
of scientific investiga
tion. With the practi
cal experience in meth
ods of travel and trans
portation now at the
commandof the United
States as the result of
our last twenty-five
years of North Polar
work, this would not
be so difficult as it may
seem to the layman.
Another is to inau
gurate and carry out,
in a special ship, with
a corps of experts,
through a period of
several seasons, a com
plete and systematic survey and study of the entire circumference of the
Antarctic continent with its adjacent oceans, with up to date equipment
and methods. This plan would probably be the most attractive to scien
tists, as it would secure a large harvest of new and valuable material to
enrich our museums and keep our specialists busy for years. It would
also be the most expensive.

The third would be the thorough exploration of the Wcddell Sea
region southeast of Cape Horn, which is specially within our sphere of
interest, together with a sledge traverse from the most southern part of
that sea to the South Pole. Such a traverse, with the journeys of
Amundsen, Scott, and Shackleton from the opposite side, would give
a complete transverse section across the Antarctic continent.

This last would promise the largest measure of broad results in
the shortest time, and least expense, and would probably be the most
attractive to geographers.

The successful accomplishment of any one of these ventures would
put the United States in the front rank of Antarctic achievements.

THE THREE POLAR STARS

A photograph of Captain Roald Amundsen, Sir Ernest H. Shackleton, and
Rear Admiral Robert E. Peary, taken at Philadelphia, January 16, 1913.

SUPPLEMENTARY READING " Nearest the Pole" and "The North Pole,"
Peary; "On the Polar Star," Duke of the Abruzzi; "The Heart of the Antarctic,"
Shackleton; " Farthest North," Fridtjof Nansen ; " The Uttermost South the Undying
Story of Captain Scott," Everybody s Magazine, July, August, September, and
October, 1913.

: .

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Volume I

OCTOBER 27, 1913

Number 37

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NUMBERS ALREADY

. 1. BEAUTIFUL-CHILDREN IN ART

2. MAKERS OP AMERICAN POETRY

3. WASHINGTON. THE CAPITAL

4. BEAUTIFUL WOMEN IN ART

5. ROMANTIC IRELAND
. MASTERS OF MUSIC

7. NATURAL WONDERS OF AMERICA

8. PICTURES WE LOVE TO LIVE Vv ITH

9. THE CONQUEST OF THE PEAKS

10. SCOTLAND, THE LAND OF SONG AND

SCENERY

11. CHERUBS IN ART

12. STATUES WITH A STORY

13. STORY OF AMERICA IN PICTURES-

THE DISCOVERERS

14. LONDON

15. THE STORY OF PANAMA

10. AMERICAN BIRDS OF BEAUTY

17. DUTCH MASTERPIECES

18. PARIS, THE INCOMPARABLE

19. FLOWERS OF DECORATI

20. MAKERS OF AMERICAN HUMOR 30

Xo. 21.
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THE MEDITERRANEAN

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By DJVIGHT L. ELMENDORF, Lecturer and Traveler.

NUMBERS TO FOLLOW

Nov. 10. GREAT HEROES OF HISTORY:
NAPOLEON

or Napoleon, Bridge at Arcole." 1807,"
Retreat from Moscow, Napoleon on Board
the Bellero-ihon, Napoleon at St. Helena.
! ,y Ida AI. 1 arbeU.

Nov. 17. ANGELS IN ART

Angel in St. Peter s. Melozzo da Forli ; Angel

Choir, Benozzo Gozzoli; Angels, Leonardo

da Vinci; Playing Angel, Bellini; Angel

PUying Lute, Carpaccio; St. Michael.

Perugino.

By J. C. Van Dyke. Professor of the History

of Art, Rutgers College.

Nov. 24. FAMOUS COMPOSERS. Chopin, Men

delssohn. Schubert, Schumann. Liszt.

Brahms.

By Henry T. Finck. Author and Music

DEC. 1. EGYPT. THE LAND OF MYSTERY
Pyramids. Sphinx, Luxor, Alixandr.
nak. Thi-t
By DuighlL.Elmendorf, Lecturer and Traveler.

DEC. 8. THE REVOLUTION

Attack on Charlestown. Bunker Hill, Sur
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Declaration of Independence, Capture of
Vincennes.

By Albert BushntllHart, Professor of Govern
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NOVEMBER 3 1913

VOLUME 1 NUMBER 38

THE

NAPOI EON

DEPARTMENT
OF BIOGRAPHY

The Mentor Association

AN INSTITUTION OF LEARNING ESTABLISHED FOR THE
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NOVEMBER 3, 1913

NAPOLEON BONAPARTE

IDA M. T A R B E L L

Author of "Short Life of Napoleon
Bonaparte" "He Knew Lincoln" etc,

EMPEROR NAPOLEON BRIDGE AT ARCOLE - FRIEDLAND 1807

R E T R E A T F R O M MOSCOW ABO A R D T II E B E L L E R-

OPHON- ST. HELENA

NOBODY who has lived in modern times has so stirred up the world
as Napoleon Bonaparte. Nobody has upset so many old things, and
started so many new ones. No man ever lived who had more faith
in his own powers and less respect for those of other men. Napoleon
had, too, an unusual combination of those personal qualities which excite
and interest men. It is nearly a hundred years since he dropped out of
active life; but his story is more rather than less thrilling as time goes on.
There was nothing in his birth or schooling or his first activities in life
to lead one to expect an unusual career. His family was poor and servile;
his father trading on his name and his acquaintances to feed, educate, and
place his family. The most promising thing about young Bonaparte was
his resentment of this servility and his own flat refusal to participate in
it to help himself. Throughout his boyhood in the island of Corsica,
where he was born in 1769, during the six years he spent at school in
France and the eight years of intermittent military service that followed
his first appointment at the age of sixteen to a second lieutenancy, he
lived a tempestuous inner life. Ambition for himself, devotion to his fam
ily, love for Corsica, hatred of France, sympathy for the new ideas of
human rights that were stirring Europe, these sentiments kept the mind
and heart of the young officer in tumult and made him waver between
allegiance to the land in which he was born and the land that had trained
him; between the career of a soldier that was his passion and a career of
money making, in order to educate his brothers, settle his sisters, and put
his mother into a secure position.

NAPOLEON

BONAPARTE

LjETITIA BONAPARTE
The Mother of Napoleon.

NAPOLEON THE OPPORTUNIST

It is quite fair, I think, to characterize
his early career as that of an adventurer.
He was watching for a chance, and had
determined to take it, regardless of where
it offered itself. It was at a moment when
he was in disgrace for having refused the
orders of his superiors in the army that the
chance he wanted came.

The convention in which at that mo
ment the French government centered was
attacked by the revolting Parisians. Bona
parte had no particular sympathy with the
convention, in fact, he had more with the
rebels, but w T hen one of his friends in the
government who knew his ability as an
artillery officer asked him to take charge of
the force protecting the Tuilleries, where
the convention sat, he accepted -with hesitation; but, having accepted,
he did his \vork with a skill and daring that earned him his first important
command, that of general in chief of the French Army of the Interior.
Four months later he was made commander in chief of the Army of Italy,
the army that was disputing the conquest of northern Italy with Austria.

THE ITALIAN CAMPAIGN

It was a ragged, disgusted, and half-revolting body, this Army of Italy,
one that for three years had been conspicuous mainly for inactivity. With
out waiting even for shoes, the new commander started it out swiftly

on a campaign that for clever
strategy, for rapidity of move
ment, for dash and courage in
attack, was unlike anything
Europe had ever seen. In less
than two months he drove his
opponents fromLombardy and
had shut up the remnant of
their army in Mantua. The
Austrians shortly had a new
army in the field. It took
eight months to defeat it and
capture Mantua; but it was
accomplished in that period.

WHERE AN EMPEROR WAS BORN
In thl room Napoleon was born In 1769.

NAPOLEON

BONAPARTE

Austria then called her ablest general, Archduke Charles, and gave him
one hundred thousand men with which to avenge her disasters. With
half the number Bonaparte advanced to meet the archduke, and drove
him step by step to Vienna.

After a year and seven months of campaigning General Bonaparte,
now twenty-eight years old, signed his first treaty. By that treaty he
formed a new republic in northern Italy and made a new eastern frontier
for France. Before the treaty,
however, he had filled her
empty treasury, had loaded
her down with works of art,
and had given her a new place
in Europe; a place that he
had proved he could sustain.

The glory of the Italian
campaign thrilled the French
people; but it disturbed the
politicians in power. Bona
parte saw that if the govern
ment could manage it he
would have no further op
portunities for distinguishing
himself. It was this sense
that led him to urge that
England, the only nation then
in arms against France, be
attacked by invading Egypt.
The government consented
promptly. It was a way of
disposingof Bonaparte. What
the government did not
dream, of course, was that
Bonaparte with this army hoped to found an oriental kingdom of which
he should be the ruler.

But nothing went as he expected. He suffered terrible reverses, which
he knew the government at home was using to break his hold on the peo
ple; his supplies and information were cut off; his prestige in his own
army weakened; his faith in his destiny was shaken. That the effect of
this bad fortune was not more than skin deep was clear enough when he
accidentally learned that things were in a very bad way in France, that
much of what he had gained in Italy had been lost, and that Austria and
Russia were preparing an invasion.

BIRTHPLACE OF NAPOLEON

In this house, on the little island of Corsica, the first em
peror of France spent his boyhood.

NAPOLEON

BONAPARTE

FIRST CONSUL
FRANCE

Promptly and secretly Bon
aparte slipped out of Egypt,
and before the powers at home
knew of his intention he was
in France and the people were
welcoming him as their de
liverer. He was ready to be
just that. It was no great
trick for a man of his daring
and sagacity, adored by the
populace, to overturn a dis
credited and inefficient gov
ernment and make himself
dictator. It was done in a few
weeks, and France had a new
form of government, a consu
late, of which the head was a
first consul, and Bonaparte
was the first consul.

The most brilliant and
fruitful four years of Napoleon
Bonaparte s life followed; for
it was then that he set out to
bring order and peace to a
country demoralized and exhausted by generations of plundering by privi
leged classes, followed by a decade of revolution against privileges. France
needed new machinery of all kinds, and this Bonaparte undertook to
supply. There were many people who regarded him as a great general;
but to their amazement he now proved himself a remarkable statesman.

NAPOLEON THE STATESMAN

He attacked the question of the national income like a veteran finan
cier. The first matter was reorganizing taxation. He succeeded in dis
tributing the burden more justly than had ever been known in France. The
taxes were fixed so that each knew what he had to pay, and the inordinate
graft that tax collectors and police had enjoyed was cut off. New financial
institutions were devised; among them the Bank of France. The economy
he instituted in the government, the army, his own household, everywhere
that his power extended, was rigid and minute; as he personally exam
ined all accounts, there was no escape. The waste and parasitism that per
vaded the country began to give way for the first time since the Revolution.

EMPRESS JOSEPHINE
From a painting by Pierre Paul Prud hon.

NAPOLEON

BONAPARTE

Industries of all kinds had sickened in the long period of war. Bona
parte undertook their revival by one of the most severe applications ever
made of the doctrine of protection, he even attempted to make his women
folk wear no goods not made in France! His interest in agriculture was
as keen as in manufacturing, and his personal suggestions and interfer
ence of the same nature. The prosperity of the country was stimulated
greatly by the public works Bonaparte undertook. One can go nowhere
in France today without finding them. It was he who set the country at
road building. Some of the most magnificent highways in Europe were
laid out by him, including those over four Alpine passes. He paid great
attention to improving harbors. Those now r at Cherbourg, Havre, and
Nice, as well as at Flushing and Antwerp, Bonaparte planned and began.
As for Paris, his ambition for the city was boundless. He was responsible

for some of her finest features
and monuments.

His greatest civil achieve
ment was undoubtedly the
codification of the laws, and
it was the one of which he
was proudest. That he con
tributed much to the Code
Napoleon besides the driving
power that insisted that it be
promptly put through, there
is no doubt. His great con
tribution was the inestimable
one of commonsense. I le had
no patience with meaningless
precedents, conventions, and
technicalities. He wanted laws
that everybody could under
stand and would recognize as
necessary and just.

Nothing more daring was
undertaken in this period by
Bonaparte than his rcestab-
lishment of the Catholic
Church and his recall of thou
sands of members of the old
regime driven out of the coun
try by the Revolution. It was
an attempt to reconcile and
restore the two most powerful

NAPOLEON AS FIRST CONSUL

NAPOLEON

BONAPARTE

NAPOLEON BONAPARTE
From the painting by Delaroche.

elements he
was working
with, the degree of his success is one of the
wonders of statecraft. As time went on,
however, he was subjected to more and
more jealousy, criticism, and intrigue. And
as he saw his power questioned his grasp
tightened. He even began to employ the

tactics of des
pots, espion
age, censor
ships, sum
mary punish
ments. The

enemies of the Revolution, the two that
the first consul knew Europe would never
cease to fight to restore to power. There
was of course great opposition in radical
and republican circles to both ventures.

EMPEROR OF THE FRENCH

What Napoleon aimed at was to fit to
gether all the different elements that had
made France, under a government that he
should direct, and then to impose upon them
all peace, industry, and loyalty. Consider
ing the char
acter and his
tory of the

LIEUTENANT OF ARTILLERY
From a painting of Napoleon by Greuze.

KING OF ROME

From a painting by Sir Thomas Law-
ence of the unfortunate little son of
Napoleon and Marie Louise. His unhappy
story is told by the French dramatist
Rostand, in the play "L Aiglon."

upshot of the
attacks upon

him and of his determination to impose
his own will was that in 1804, when he-
was thirty-five years old, he had himself
made emperor of the French. I think
there is no doubt that Napoleon believed
that this was the only method by which
he could make the position of France in
Europe impregnable; but that he was will
ing to play the emperor there is no doubt.
The dream of a throne where he should
rule for the welfare and happiness of

NAPOLEON

BONAPARTE

everybody concerned, no doubt, but rule brilliantly and absolutely had
never left his mind since boyhood and now it was a fact accomplished!
The spectacle that followed is almost unbelievable. Napoleon with
perfect seriousness set about to train himself, his lovable, but vain and
unprincipled empress, Josephine, his selfish and vulgar family, his train
of rough intimates of the battlefield, to the etiquette, ceremonies, and dig
nity of a court. He worked with the same energy, attention to details,
and with the same insistence on complete obedience as when directing a
campaign. The Napo
leonic court achieved
real brilliance and dig
nity; but to those born
to the purple it was
always an upstart s
court. That it was far
and away more moral,
economic, and orderly,
as well as more service
able to France, counted
for little with those of
the old regime.

NAPOLEON THE
CONQUEROR

The year after Na
poleon was crowned
emperor of the French
(1804) he had himself
crowned king of Italy.
The territory he now
governed included not
only these two coun
tries, but several Ger
manic states. It was an
enormous power, and
the old kingdoms of
Europe, England, Aus
tria, and Russia looked on in dismay. It was not only his power, backed as
it was by his genius, but it was the ideas he was spreading. Everywhere
he went he put his new code of laws into force, and preached, even if he did
not always practise, personal liberty, equality before the law, religious tol
erance, ideas that many of his enemies feared more than they did armies.

NAPOLEON AND QUEEN LOUISA OF PRUSSIA AT TILSIT

NAPOLEON

BONAPARTE

NAPOLEON S FAREWELL TO JOSEPHINE

For reasons of state Napoleon divorced the Empress Josephine to
marry Marie Louise, the daughter of the emperor of Austria. His
last words to the woman who loved him were: "My destiny and
France demand it!"

A coalition against
him was inevitable, and
in 1805 he took the field
again. The campaigns
that followed closely in
the next four years in
clude some of his most
interesting military feats,
the battle of Austerlitz,
of which he was proudest
himself; the campaign of
Jena, by which he hum
bled Prussia, increased
French territory largely,
and won the czar of Rus
sia as an ally; the war on
Spain, which ended in his
own deserved defeat (Na
poleon at St. Helena char
acterized his attack on
Spain as "unjust," "cyni
cal," ^villainous"); the
campaign of Wagram,
which finally humbled his
persistent enemy Austria.
At the end of these
four years Napoleon was
himself the practical mas
ter of Europe; the only
nation not recognizing his
power being England,
which was at least tem
porarily quiet. He had
created an empire; but
no heir. To provide for one he
Empress Josephine

what was he to do with it? He had
carried out a plan long considered, he divorced

and married again. The new empress was the daughter of the old and
now humbled enemy of France, the emperor of Austria. Napoleon ap
parently believed that on the birth of an heir France would accept him
fully, and that Europe would cease to fear and resent his power. He was
wrong. He had stripped too many of wealth and position, outraged too
many social and religious conventions, set in motion too many ideas hos
tile to those that Europe as a whole lived by. His demands on subjects

NAPOLEON BONAPARTE

From a portrait of the Emperor painted by Paul Delaroche.

NAPOLEON

BONAPARTE

and allies were too heavy, and particularly the one that he had most at
heart, that no continental nation should allow a dollar s worth of Eng
land s goods to cross its borders. His punishment of those who displeased
him and disobeyed his orders was too severe. A revolt against his mon
strous assumption was inevitable.

THE SETTING STAR

It was with his ally, Russia, that the first break came. That Napo
leon was startled by the idea of war with Alexander and sought to pre
vent it, is certain; but Alexander refused to yield to his demand that the
embargo against English goods be enforced. The embargo he had set down
as the "fundamental law of the Empire." There was nothing to do but
settle it by arms, and in the summer of 1812, with an army of over
half a million men, he began a reluctant and hesitating march
against Russia. It was a campaign of terrible disasters. The Rus
sians retreated before him, letting cold and hunger do the work of battles.
So effectively did they work that the French army was practically de
stroyed. The Russian campaign is one of the most appalling in history.
It was but the beginning of his overthrow. Alexander raised the cry
"Deliver Europe!" Stein and other liberal minds rallied the youth of the

THE BATTLE OF WATERLOO

NAPOLEON

BONAPARTE

LONGWOOD

Napoleon s residence

during his captivity

at St. Helena.

German states into a
league, pledged to fight
for national freedom.
His allies and depend
ences began to demand
the return of lost ter
ritories as a price of
loyalty. France re
volted at the prospects
of continued blood
shed. The campaigns
thrust upon him by
all these forces were
fought; but frequently
without his old genius.
It was June of 1812 when Napoleon
began the Russian campaign. Twenty-
6ne months later Paris capitulated to
his allied enemies, and a few weeks later
he had lost the greatest empire modern
Europe had seen gathered under one
man, and w r as an exile in the little
island of Elba.

AN EXILE S GRAVE

The , pot where Napoleon was burled in May. WATERLOO AND ST. HELENA
1821. His body was removed to Paris in 1840.

His dramatic escape from Elba;

the scurry out of France at news of his arrival of all who had opposed
him, leaving the coast practically clear for him ; the rally of the army and
people to him; the immediate attack upon him by the allied powers of
Europe; his defeat at Waterloo and speedy exile to St. Helena, these
make perhaps the most dramatic succession of events in all history, and
it was not he who lost by the record of them, though it ended in his cap
tivity. Napoleon a prisoner on an island six hundred miles from land
was Napoleon still. He was there because of his conquerors fear of him.
No greater tribute to one man s power was ever paid than that of Europe
when under English leadership she consented to confine Napoleon
Bonaparte on the island of St. Helena. It was all that was needed to
impress him forever on the world as one of heroic mold.

SUPPLEMENTARY READING. "Short Life of Napoleon Bonaparte," Ida M.
Tarbell; "The First Napoleon," John C. Ropes; "Napoleon Bonaparte, First Cam
paign," H. H. Sargent; " Life of Napoleon," Las Casas; "Napoleon, the Last
Phase," Lord Rosebery; "Letters and Papers of Napoleon;" "Napoleana," Fre de ric
Masson.

THE MENTOR

ISSUED WEEKLY BY

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52 East igth St., New York, N. Y.

Volume I

NOVEMBER 3, 1913

Number 38

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
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MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS
URER, R. M. DONALDSON; VICE-PRESIDENT, W. M.
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Editorial

The present number of The Mentor ap
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voted to Napoleon in royal red and gold.
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BEAUTIFUL CHILDREN IN ART
MAKERS OP AMERICAN POETRY
WASHINGTON, THE CAPITAL
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THE DISCOVERERS
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The next number will contain six beautiful photogravures

ANGELS IN ART

Angel in St. Peter s, Melozzo da Forli; Angel Choir, Benozzo Cozzoli; Angels,
Leonardo da Vinci; Playing Angel, Bellini; Angel Playing Lute, Carpaccio;

St. Michael, Perugino.

By J. C. VAN DYKE, Professor of the History of Art, Rutgers College.
NUMBERS TO FOLLOW

Nov. 24. FAMOUS COMPOSERS. Chopin. Men
delssohn, Schubert, Schumann, Liszt,
Brahms.

By Henry T. Pinch, Author and Music
Critic.

Dec. 1. EGYPT. THE LAND OF MYSTERY
Pyramids. Sphinx, Luxor. Alexandria, Kar-
nak, Thebes.
By DwithiL.Elmendorf, Lecturer and Traveler.

Dec. 8. THE REVOLUTION

Attack on Charlestowrt. Bunker Hill. Sur
render at Yorktown, Bonhomme Richard.

Declaration of Independence, Capture of

Vincennes.

By Albert Bushrtrll Hart. Professor of Gotvrn-

tnent. Harvard University.

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son. Browning.
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I. S. Copley, Washington Allston. Rem
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LEARN ONE THING

NOVEMBER 1O 1013

VOLUME 1 NUMBER 39

THE
MENTOR

THE
MEDITERRANEAN

DEPARTMENT
OF TRAVEL

The Mentor Association

AN INSTITUTION OF LEARNING ESTABLISHED FOR THE
DEVELOPMENT OF A POPULAR INTEREST IN ART, LIT
ERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL

THE ADVISORY BOARD

JOHN G. HIBBEN President Princeton University

HAMILTON W. MABIE Author and Editor

JOHN C. FAN DYKE .... Professor History of Art, Rutgers College
ALBERT BUSH NELL HART . . . Professor of Government, Harvard University
WILLIAM T. HORN AD AY .... Director New York Zoological Park
DWIGHT L. ELMENDORF Lecturer and Traveler

EFFICIENCY AND KNOWLEDGE

E MENTOR idea found its origin in a real human
need. Heretofore, in this busy work-a-day world,
knowledge has been very hard to get, for there is little time
to read many books or long articles. We have all felt the
need of some quick, easy, effective way of acquiring useful
information. We have felt the need of that modern efficiency
in acquiring knowledge which we have seen applied to other
branches of endeavor.

The Mentor supplies that need in art, literature, his
tory, science, travel, and nature. It recognizes the value
of the spare moment. It makes the spare moment count.

The Mentor Association, Inc.

THE MENTOR

THE MEDITERRANEAN

DWIGHT L. ELMENDORF

Lecturer and Traveler

ALGIERS THE RI\ I ERA MOXTE CARLO
X I C E - G E X O A - X A P L E S

ACROSS the straits from Gibraltar is another and very different
world. Start with Tangier (tahn-jeer ) and wander alone
the Barbary coast, and you will find yourself in such contrast
ing conditions, and in a civilization so different from those north of
you in Spain and in France, that it will be hard for you to believe
that you are separated from those countries by distances varying
from the narrow straits of Gibraltar to a mere matter of t\\o or
three hundred miles.

You will seem to have been transported to the other side of the world.
No traveler can find greater variety in scene and life, in language and habit,
in climate and condition, than he gets in the course of a full Mediterranean
tour. Few travelers make the whole circuit of the Mediterranean. This
great inland sea is usually visited only in parts, and while the traveler is
in transit from one point to another. There is no general description
that can apply to the whole of this interesting body of water. On every
shore there is something that is new and different, and somewhere on
these shores there is something to delight each one. If scenery is desired,
the French and Italian Riviera (ree-vee-ay -rah) will draw one irresisti
bly. A life full of gaiety will hold him there. If historic associations
interest him, he will turn naturally to the shores of Italy and Greece, and
he will spend months pleasantly in the Adriatic or /Egean Sea. There
is in those countries an endless amount to learn and a wealth of natural
beauty. When you have cruised through the .Egean (ce-jee -an), visit
the coast of Greece, and of Asia Minor. There you will know the

THE

MEDITERRANEAN

ALGIERS

feelings that stirred Lord Byron
when he wrote:

"Fair clime! where every season

smiles

Benignant o er those blessed isles,
Which seen from far Colonna s

height,
Make glad the heart that hails

the sight,
And lend to loneliness, delight."

The Mediterranean has been
the arena of the w-orld s history
for several thousand years.

THE MEDITERRANEAN
TRIP

A street scene in Algiers near the mosque.

As your eye traces the coast
line on the map and you note the
countries whose shores are w r ashed
by the Mediterranean, you realize
what a trip throughout that sea
must mean in instruction as well
as in delights of travel. Besides
the countries I have named,
there are Turkey, Asia Minor,
Palestine, and Egypt, to say
nothing of the great stretch on
the African coast. The shore
line is so extended, and the life
and customs at different points
vary so, that w r e think of the
Mediterranean as not one thing,
but many things. What is us
ually called a "Mediterranean
trip" rarely comprises more than ten or fifteen points. With limited time,
the traveler naturally selects the points of which he has heard most.

ALGIERS

A Mediterranean trip to many travelers means Algiers (al-jeerz ), as
far as the African coast is concerned, and the Riviera, with all the
points on that beautiful north shore line. Then they must see Naples,
of course, and after passing down the Italian coast they are likely
to go straight on to Kgypt. After passing through the straits of
Gibraltar the attention of the traveler is soon centered on Algiers.

ALGIERS

A scene near the busy market.

THE

MEDITERRANEAN

From the entrance to the harbor Algiers appears like a white diamond
set in a circle of emeralds. The town consists of two parts, the French
and the Arab quarters. To the visitor from the west Algiers is most inter
esting; for there he meets characters of all kinds, European peoples mix
ing with those of North Africa.
The French quarters show that
the Frenchman, when com
pelled to live in another coun
try, takes a bit of Paris with
him; for there is found the
typical French cafe, with its
little tables on the sidewalk,
contrasting with the Arab cafe
where natives, in their pictur
esque white costumes, sit and
sip their coffee and gossip with
wild gesticulation. Even in its
African population Algiers is
oddly mixed. Each tribe has
its own peculiar costume,
the marketplace
often looking like
a stage of a comic-
opera, only much
more artistic and
natural.

The govern
ment house, and
in fact all the
buildings except
those in the
French quarters.

MOSQUEE DE LA PECHERIE, ALGIERS

The" Mosque of the Fishery" was erected by Turkish architects in

1660. It is a cruciform building, with a large central dome

painted inside, and a square minaret, now a clock tower.

TOMBEAU DE LA CIIRETIENNE

This large tomb n- ar Algiers, 108 feet high, a.
built a&gt; a tomb for Juba II and his family.
It serves as a landmark for sailors. Its present
name is derived from the cruciform mold
ings of the door panels.

A STREET SCENE IN
ALGIERS

Showing three different style &lt;
of costume.

are Moorish in
design and gener
ally whitewashed,
so that they mas
querade as glit
tering white mar
ble. The town is beautifully situated, and is surrounded by a very inter
esting country filled with relics of Punic War times, and ruins of struc
tures of even a more remote period. Near Algiers is the building called
the "tomb of the Christian woman." This is really the tomb of Juba
II, who married Cleopatra Selene (se-lee -nee), daughter of the celebrated

THE

MEDITERRANEAN

Cleopatra and of Marc Antony. Juba II had a son, Ptolemy, and a
daughter, Drusilla, who was the wife of Felix, procurator of Judea,
who, it will be remembered, said to Saint Paul, "Go thy way for this time;
when I have a convenient season, I will call for thee" (Acts xxiv, 25).
All the coast about Algiers is filled with just such interesting relics
of Biblical times. Perfect French roads now make it possible to reach
the most interesting places by carriage or motorcar.

THE RIVIERA

Across the Mediterranean is a stretch of shore that no traveler in Eu
rope should miss. It is called "The Riviera, " and it extends from Cannes

(kahn) to Ventimiglia (ven-
tee-meel -yah), thence to
Spezia (spet -see-ah), be
yond Genoa (jcn -o-ah);
the former section French,
the latter Italian. From one
end to the other is a chain
of health resorts, some most
fashionable, others the very
opposite; the latter on that
account more desirable to
those who wish peace and
quiet. Even in the most re
tired spots, however, there
is no escape from the honk-
honk of the motorcars ; for
Riviera highways are the
favorite touring roads of
southern Europe.
Beginning at Cannes, the necklace of the sea contains such jewels
as Antibes (ong-teeb ), Nice (nees), Villefranche-sur-Mer (veel-frongsh-
soor-mare ), Beaulieu (bo-lee-eh ), Monaco (mon -ah-ko), Monte Carlo,
and Mentone (men-to -ne) . These are followed by the Italian section,
Ventimiglia, Bordighera (bor-dee-gay -rah), Ospedaletti, San Remo
(ray -mo), Alassio (ah-lahs -see-o), Savona (sah-vo -nah), Pegli (pel -yee),
and Genoa. This section is called the Riviera di Ponente (po-nen -the),
followed by Riviera di Levante (le-vahn -te) to the east of Genoa,
Nervi (ner -vee), Recco (rek -ko), Santa Margherita Ligure (lih-goor -eh),
Rapallo (rah-pahlMo), Sestri Levante, and Spezia.

The French section is more fully developed, and therefore more com
fortable and fashionable. The Italian section, while beautiful, leaves
much to be desired bv the ordinarv tourist.

LOOKING TOWARD MENTONE

Mentone belonged to Monaco until 1861. It is beautifully situated on

the Golfe df la Paix, consisting of two bays separated by a rocky

promontory.

THE

M E D I

ERRANEAN

MONTt CARLO

1 he front of iht Casino.

There nestles in the southeast cor
ner of France a tiny little principality
called Monaco, the most remarkable
place of its kind in the world.

MONTE CARLO

It is only about a half-square mile in
area, and contains fifteen thousand in
habitants. Strange as it may seem, there
are no taxes there, as the Societe des
Bains de Mer, which is simply a name
for the society or company that runs
the Casino gambling tables at Monte Carlo, pays the tribute-. From
the millions of francs paid by this society to the Prince of Monaco and his
government every year, the natural inference is that most of the visitors
to Monte Carlo get nothing except experience.

The Casino building is very theatrical in style, built expressly for
its purpose, and superbly placed on a promontory overlooking the sea and
town. It is surrounded by beautiful gardens, carefully kept. In fact,
the whole place is a delight to the eye and the most beautiful spot on the
Riviera. It is attractive enough to detain one for days, even if t he-
great magnet, the Casino, was not there. On account of the gaming, tin-
whole district is filled with characters that one had rather not meet ex
cept in the Casino, where perfect order is assured by the presence of nu
merous detectives, read} to check disorder when it threatens, or to notify

politely anyone of sui-
dical tendency to leave
the Casino and the
principality. There is
no place in the world
where arrangements
are so well planned to
satisfy the desire of
human beings to get
something for nothing.
And it is not simply
a gaming place. Tin-
spectacle of Monte
Carlo has a ere at fas
cination even for those
who never play at the
tables, everything is so
beautiful, so orderh ,

Ike

MONACO

of ttu Prince of Monaco, and in the background the " Tfte at
Chien " or "Dog Head Mountain."

THE

MEDITERRANEAN

THE CASINO,
MONTE CARLO

One of the beauti-
&gt;ul gaming rooms,
the " S alle du
Trentc-Quarante.

and so well kept. Many who visit there prefer, however, to stop at
Mentone, which is but a few minutes distant by trolley or motorcar.

NICE

The Nicsea (ny-see -a) of ancient times, founded by Massilians
in the fifth century B. C., Nice is the birthplace of Massena (mah-say-nah )
and Garibaldi, (gah-ree-bahl -dee). Sheltered by the Maritime Alps, and
because of the great limestone cliffs along shore, which absorb the heat rays
of the sun, the temperature is so modified that flowers bloom the
year round. Nice and its near neighbors have become a famous resort
for invalids, especially of the English, who flee to this part of the
world to escape their own disagreeable winter. In summer the temper
ature is fifteen to twenty degrees lower than Paris. The best
view of the town is obtained from Castle Hill, overlooking the shore of
the Promenade des Anglais, constructed by the English in 1822, in order
to give work to the unemployed. One of the secrets of the great
success of Nice as a resort is the great variety of entertainment
offered by the clever Frenchmen. Fine hotels, theaters, casinos, prom
enades, and roads (the best in the world), especially the Petite and
the Grand Corniche (kor-neesh ), together with a superb climate,
are quite enough to attract people from all parts of the world.
The business part of the town is a miniature Paris. Fine avenues,
lined with shops filled with all kinds of attractive things, inveigle the

THE

MEDITERRANEAN

THE CASINO.
MONTE CARLO

The richly decor
ated " Salon df
Conversation."

tourist into extravagant expenditure; while casinos and gambling
places relieve the venturesome of their spare cash most politely.

GENOA

From being a republic and a great naval power in the Middle Ages,
and as such a rival of Venice, Genoa has come to be now a city of great
enterprise and activity. It stands next to Marseilles (mahr-saylz l
in importance as a seaport. It is advantageously situated, the Gulf of
Genoa affording an attractive harbor, and the slopes of the Ligurian
hills at the back offering man} spots of advantage for the display of the
city s beautiful buildings.

The city is finely constructed. As you enter the harbor you find
just before you that part of the lower town that is on the level of the
water. Beyond that and up the hillslopes beautiful structures have
assembled themselves on the different levels of a great natural theater, as
if to watch your coming and to greet you on your arrival.

On landing at the pier the traveler quickly finds himself in the attrac
tive Palazzo Doria, named after Andrea Doria, (do -ree-ah) the famous
admiral of Charles V. It is well for the visitor, especially if an Ameri
can, to take this course, following up the Via Doria to the square in
front of the railway station; for there, surrounded by flowers and palms,
stands a fine monument of Christopher Columbus; who, it will be re
membered, was a native of the city. Genoa is full of stirring activity.

THE

MEDITERRANEAN

MCK

I he to jun and the promenade from Castle Hill

It you have gone there from
some of the quieter towns along
the Riviera, you will, feel a
change in spirit. You are in
clined to move a little faster.
Things are happening all the
time. There is much to be
seen, and all that you see tells
a story of years of vigorous,
successful civic life. The most
notable physical features of
Genoa are its fine medieval
churches and its many splendid
sixteenth century palaces.
Follow up the Via Garibaldi,

a magnificent street \\ith many beautitul palaces on both sides. To
van- the impressions of fine architectural display take a ride in the
tramway up to San Nicolo (nee-ko~lo ) and Castellaccio (cahs-tel-ah -
cho), where you will find yourself over a thousand feet high, and
commanding a superb view of the Bisagno (bih-sahn -yo) Valley and
the Campo Santo (kahm -po sahn -to) below you. The cemetery called
Campo Santo is one of the most interesting features of Genoa. It is
beautifully situated, and is filled with remarkable monuments, some of
them executed by the leading sculptors of Italy. In the burial spots of
the Genoese, as well as in the homes where the) live, there is much ot
luxury and elegance. In its business activities, its social life, its climate,
and its customs, Genoa
is attractive, and
holds the visitor there
tor sometime con t CM.

N A V L L S

On the most beaut i-
tul site in Europe-
stands Naples, the
Xeapolis of the Athen-
ian colonists. After
;iie Romans conquer
ed it, it still retained
Greek culture and in
stitutions. It became
the favorite summer
resort of the Romans,

NICE

A ice is a superb winter resort. In the summer it is less frequented.

THE

MEDITERRANEAN

and the delight ot the poets Horace, Ovid, and Virgil. It was when
living in Naples that Virgil wrote his famous verses on agriculture,
the "Georgics." After many vicissitudes Roger de Hauteville formed t he-
kingdom of Naples in 1130.

Medieval Naples is trace
able in its walls and great
gates. The Porta Capuana is
one of the best preserved.

After the young Con-
radin (kon -rah-deen), the
last of the Norman dvnastv

THE RAM. WAV STATION. C;KNO\

(JENOA

Homes in the old town near the port. Th,

old town is a network of narrow and steep

. treeti ; but the newer quarters have brnad

and traight thoroughfare*.

in Naples, was executed,
the country was ruled by
the house of Anjou (En
glish, an -jo; French, ong-
/ho ), then by the French
(Louis XII), and then by
Ferdinand of Spain. Don
Carlos improved the city
and surrounding country. In 1806 the city was invaded by Napoleon,
who established his government there for a short time. The Bourbon
(boor-bong 7 ) rule came to an end in 1860, when Frances II was dethroned
by Garibaldi. From the time it was founded till the present day poor
Naples has been so torn to pieces by the many nations contesting for it

CAMPO SANTO. &lt;;KNOA

I his cemetery toa&gt; laid out by Resasco in 1844-5 * I h* central point
is a rotunda, with a dome borne by column: of black marble.

THE

MEDITERRANEAN

that there is but little left
of its ancient beauty or
grandeur, and it now de
pends upon its wonderful
situation, which, with the
beautiful places about it,
holds the visitor enchanted.

THE BEAUTY
NAPLES

NAPLES

The market street in the old quartc

There are travelers of
years of experience who
have declared that the site
and surroundings of Naples
are not excelled in beauty
anywhere in the world. You
enter the Bay of Naples
with the island of Ischia
(es -kee-ah) on one side and on the other the island of Capri (kah -pree).
Immediately before you lies Naples, stretching out from the water s edge
up the hills beyond; the second largest city in Italy, with a population
of over five hundred thousand. Back of it and to the southeast is
Vesuvius. History has taught us to look with feelings of respect and
awe upon that smoke-crowned cone. On the shore, to the south, Hercu-
laneum (her-kew-lay -nee-um) and Pompeii (pom-pay -yee) are to be
seen, and as the coast curves out to the peninsula you come to Sor
rento (sore-ren -to) and the road along the mountainside that takes

you on a scenic tour of
matchless beauty, includ
ing Amalfi (ah-mahl -
fee), Vietri (vee-ay -tree),
and Salerno (sah-ler -no).
The interest in Naples
is not only scenic, but
historic. It is not the
achievements of mon-
archs nor the monuments
of artists that attract you.
In such matters Naples
is poorer than other towns
in Italy. But the relics
rescued from the explor
ations in Herculaneum and

PORTA CAPUANA, NAPLES

Capua Gate, one of the finest of Renaissance gateways, wa&gt; built by tk
Florentine Ciuliano da Maiano, with sculpture/ by Giovanni da Nola.

T H E

MEDITERRANEAN

Pompeii afford an interest that is unique and compelling an interest,
too, that is continually growing, for new discoveries are being made from
time to time.

Many are the scenic trips to be taken from Naples. It is a point
of departure for pleasure tourists in almost every direction. The ascent
of Mount Vesuvius is interesting; but that is the interest of curiosity.
Where visitors find the greatest happiness is in the trips to outlying
points, especially to the peninsula of Sorrento, to the island of Capri,
and to Amalfi and Ravcllo. It is at these points that we find the
greatest beauty of the Mediterranean. It seems indeed as if the great
inland sea and mankind had joined there to make a pleasure ground
beyond compare.

It is in and about Naples that the traveler will care to linger
longest. There is so much to be seen there and, when satisfied
with pleasure jaunts and scenic trips, there is a serenity of life in
Naples, and a soft, sunny climate that, to repeat Byron s words, "lend
to loneliness delight." One friend of mine prolonged a trip, planned for
a week, until it filled out twelve months. There is much to interest and
delight one in all the seaport towns of the Mediterranean. After all has
been said of its varied shores, however, one is apt to conclude by giving
the palm of distinction in beauty and interest to Algiers, to Monte Carlo,
and to Naples with its environs.

NAPI.RS FROM TIIK BAY

SUPPLEMENTARY READING" Mediterranean Winter Resorts," K. Reynolds-
Ball; "Algeria and Tunis," Frances K. Nesbitt; "The Barbary Coast," H. M." Field;
"The Garden of Allah," R. S. Hichens; "Servitude," Irene Osgood; Burckhardt s
"Cicerone," translated by Mrs. A. H. Clough; "Afloat and Ashore on the Mediter
ranean," Lee Meriwether; Mediterranean Trip," N. Brooks; "Italian Cities,"
E. H. and K. W. Blashfield.

THE MENTOR

ISSUED WEEKLY BY

The Mentor Association, Inc.

52 East i9th St., New York, N. Y.

Vol. i

November 10, 1913

No. 39

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
COPIES FIFTEEN CENTS. FOREIGN POSTAGE J1.50
EXTRA. CANADIAN POSTAGE SI. 00 EXTRA. ENTERED
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OND-CLASS MATTER COPYRIGHT, 1913. BY THE
MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS
URER. R. M. DONALDSON: VICE-PRESIDENT. W. M.
SANFORD; SECRETARY. L. D. GARDNER

Editorial

The Mentor has reached the farm. We
have heard of its work in cities and towns
and small settlements. We have had as
surance of its acceptance by professional
men, business men, educators, reading so
cieties, and of the place it has assumed in
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it seems to us that a plan that carries in
formation in a popular and interesting
way to the public must be a welcome vis
itor week by week to any intelligent farm
family.

* * *

And now comes the first voice from the
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est, and cheeriest message that we have
had. It is so full of simon-pure human
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sure it will interest all of our readers as
much as it gratifies us:

"The Mentor Association, Inc., New York
City.

Dear Sirs: Thank you so much for
your offer for becoming a charter member.
I think The Mentor is splendid and I de
sire most keenly to accept, but alas, I am
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expenses until another crop is harvested
next year. The cream from the cows pays
for food and clothing and incidentals.

* * *

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self in thinking / will some time have
some of them. Best wishes to you in your
great plan, and many thanks also for the
two blue coupons for my friends."

* * *

We have always claimed for The Men
tor a "wide human reach." Surely it
must have it when a single number can
bring a message like this back to us from
a far western farm.

And now a word about the blue coupons.
They are Mentor Presentation Coupons,
and they have been prepared for the use of
members of The Mentor Association. We
believe that every member of The Mentor
Association has many friends who would
be delighted to know The Mentor, and to
become acquainted with the advantages
which the Association affords. In this
busy work-a-day world people are often
too busy to pass on a good thing to their
friends. Sometimes it is not because they
are too busy; it is simply because there
is no convenient way of passing on the
information. Some of our readers have
told us that if we would supply them with
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Mentor known to others it would be
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* * *

So we have prepared the blue coupon
specially with the thought of interesting
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chance to enjoy it too.

The Mentor Week by Week

The value of The Mentor will certainly make you feel the need
of having every number. Each number is complete in itself,
but each number is an integral part of one of the various
Departments of Travel, Art, History, Literature, or Music.

NUMBERS ALREADY ISSUED

No. 1.
2.
3.
4.
5.
6.
7.
8.
9.
10.

11.
12.
13.

14.
15.
16.
17.
18.

20.

BEAUTIFUL CHILDREN IN ART
MAKERS OP AMERICAN POETRY
V. .v IIINGTON, THE CAPITAL
BEAUTIFUL WOMEN IN ART
ROMANTIC IRELAND
MASTERS OF MUSIC
NATURAL WONDERS OF AMERICA
PICTURES WE LOVE TO LIVE WITH
THE CONQUEST OF THE PEAKS
SCOTLAND, THE LAND OF SONG AND

SCENERY
CHERUBS IN ART
STATUES WITH A STORY
STORY OF AMERICA IN PICTURES-

THE DISCOVERERS
LONDON

THE STORY OF PANAMA
AMERICAN BIRDS OF BEAUTY
DUTCH MASTERPIECES
PARIS. THE INCOMPARABLE
FLOWERS OF DECORATION
MAKERS OF AMERICAN HUMOR

. 21.
22.

23.
24.

25.
2fi.
2V.
28.
90.
30.
31.

33.

34.
35.

AMERICAN SEA PAINTERS

SPORTING VACATIONS
SWITZERLAND: THE LAND OP

SCENIC SPLENDORS
AMERICAN NOVELISTS
AMERICAN LANDSCAPE PAINTERS
VENICE. THE ISLAND CITY
THE WIFE IN ART
GREAT AMERICAN INVENTORS
FURNITURE AND ITS MAKERS
SPAIN AND GIBRALTAR
HISTORIC SPOTS OF AMERICA
BEAUTIFUL BUILDINGS OP THE

WORLD

GAME BIRDS OF AMERICA
STORY OF AMERICA IN PICTURES-

IM!R C IC N A TESTFORKORTH
FAMOUS AMERICAN SCULPTORS
THE CONQUEST OF THE POLES
THE MEDITERRANEAN

THESE BACK NUMBERS WlLJ. BE SUPPLIED AT FIFTEEN CENTS EACH

THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

ANGELS IN ART

Angel in St. Peter s, Melozzo da Forli; Angel Choir, Benozzo Gozzoli; Angels,
Leonardo da Vinci; Piaying Angel, Bellini; Angel Playing Lute, Carpaccioj

St. Michael, Perugino.
By J. C. VAN DYKE, Professor of the History of Art, Rutgers College.

NUMBERS TO FOLLOW

Nov. 24. FAMOUS COMPOSERS. Chopin. Men
delssohn. Schubert, Schumann, Liszt.
Brahms.

By Henry T. Pinck. Author and ifusic
Critic.

Dec. 1. EGYPT. THE LAND OP MYSTERY
Pyramids. Sphinx. Luxor. Alexandria. Kar-
nak. Thebes.

By DwighlL.Elmendorf. Lecturer and Traveler.

Dec. 8. THE REVOLUTION

Attack on Charlestown, Bunker Hill, Sur
render at Yorktown. Bonhomme Richard.

Declaration of Independence. Capture of

Vincennes.

By Albert BuihneU Hart. Professor of Gottrn-

menl. Harvard University.

Dec. 15. FAMOUS ENGLISH POETS

Byron. Shelley. Keats. Wordsworth. Tenny
son, Browning.
By Hamilton U . Mabie. Author and Critic.

Dec. 22. MAKERS OP AMERICAN ART

I. S. Copley, Washington Allston. Rem
brandt Peale. Gilbert Stuart, John Trum-
bul!. Benjamin West.
By J. T. traUng, Author.

THE MENTOR

The Plan

C The object of The Mentor Association is
to enable people to acquire useful knowledge
without effort, so that they may come easily
and agreeably to know the world s great
men and women, the great achievements, and
the permanently interesting things in art,
literature, science, history, nature and travel.

C The annual membership fee of The
Mentor Association is Five Dollars. Every
member upon accepting an invitation to
membership, receives an engraved certificate
of membership and becomes entitled to the
privileges of the Association for one year,
including fifty-two numbers of The Mentor.

LEARN ONE THING
EVERY DAY

NOVEMBER 17 1913

VOLUME.l NUMBER 4O

THE
MENTOR

ANGELS
IN ART

DEPARTMENT
OF FINE ARTS

FIVE DOLLARS A YEAR

A r*r\T*\s mm.

The Mentor Association

AN INSTITUTION OF LEARNING ESTABLISHED FOR THE
DEVELOPMENT OF A POPULAR INTEREST IN ART, LIT
ERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL

THE ADVISORY BOARD

JOHN G. HIBBEN President Princeton University

HAMILTON W, MABIE Author and Editor

JOHN C. FAN DYKE .... Professor History of Art, Rutgers College
ALBERT BUSH NELL HART . . . Professor of Government, Harvard University
WILLIAM T. HORN AD AY .... Director New York Zoological Park
DWIGHT L ELMENDORF Lecturer and Traveler

A CUMULATIVE LIBRARY

"T^HAT is what The Mentor gives you- a library that grows
-* and develops as you grow and develop a library that
has in it just the things you want to know and ought to know
and nothing else.

Day by day and week by week you add with each
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You add it in a natural, agreeable way. It becomes a per
manent possession. You gather weekly what you want to
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comes thus, in every sense, your library, containing the varied
things that you know. You have its information and its beau
tiful pictures always ready to hand to refer to and to refresh
your mind. In time your Mentor Library represents in print
ed and pictorial form the fullness of your own knowledge.

The Mentor Association, Inc.

FOURTH AVENUE AT NINETEENTH STREET

NEW YORK

ANGELS

IN AR^T

UAUAl

By JOHN C. VAN DYKE

Professor of the History of Art, Rutgers College

THE MENTOR

NOVEMBER 17, 1913

DEPARTMENT
OF FINE ARTS

MENTOR GRAVURES

ANGEL WITH VIOLIN . Melozzo da Forli

ANGEL CHOIR Benozzo Gozzoli

ANGEL OF ANNUNCIATION . Burne-Jones

MADONNA AND CHILD WITH ANGELS Bellini

ANGEL WITH LUTE Carpaccio

SAINT MICHAEL Pcrueino

PAINT an angel!" exclaimed Courbet (koor-bay ) the realist to a
pupil who one day asked him how it should be done. "When did you

ever see an angel?" The abashed pupil had to admit that he had
never had the good fortune to see one. "Very well, then, you had better
paint the portrait of your grandfather, whom you see every day." The
advice to keep his head out of the clouds while his feet were on earth
may have been needed by the pupil; but nevertheless angels have been
painted time out of mind, and even such pronounced realists as Courbet
and Manet (mah-nay ) have painted them. And they saw them, too;
that is, they saw the pretty-faced models they turned into angels by add
ing enlarged pigeon wings to their shoulder blades. But they were not
very spiritual angels. Realism rather scorns things spiritual, and besides
religious feeling and sentiment in art passed out several centuries before
the coming of the modern realists.

The early men the Fra Angelicos, the Benozzos (ben-ots-o), the
Filippinos, of the fifteenth century believed in the Biblical scenes they
painted, and sometimes stated their belief in letters of gold at the bottom
of their pictures. They saw things with the eye of faith, saw Madonnas,
saints, and angels in visions, and painted them, as the evangelists wrote,
by the aid of inspiration. Perhaps it was their belief, their intense feel
ing, that gave the fine religious sentiment to the work of these early men.
Yet they did not invent or discover the angel in art. It had a more mate-

PERUGINO; BAPTISM OF CHRIST (detail)

rial and commonplace origin than in
medieval belief and religious fervor.

WINGED FIGURES IN
ANCIENT ART

There were winged figures in
Egyptian, Chaldean, and Assyrian art,
deities of the air, goddesses of the
cloud and the heavens. The Hittite
and the Persian produced the winged
Sphinx, and the Greek the winged
Victory that flew above the advancing
host and pointed the way to glory.
This winged Victory of the Greeks
probably suggested the Christian an
gel; though the immediate forerunner of the angel was found in the Cupid
and Psyche of Roman art. The Christians, following the Romans, took
over in their art much of the material of the old Roman world. They
had to do this; for Christianity was without form in art, and the early
Christians decried it as idolatrous. But later on there came a demand for
telling the Bible stories in form and color, that people might see what they
could not read. Then Christianity, answering the demand, took up
Roman forms and gave them Christian significance. They took the
Cupids of Roman art and turned them into Cherubs, and out of the
winged Victories and Psyches they made ministering angels.

The pagan form was soon forgotten in the Christian spirit, and
the angels of the Gothic and early Renaissance periods developed
a new meaning, a new soul. What beautiful sentiment, what pro
found feeling, the early painters put into the angel of the Annunci
ation! What a world of pathos and sadness they gave the angel
seated by the tomb of Christ! What gladness and joy to the angels
of the Nativity standing near the Madonna or singing the Gloria
in Excelsis in the upper sky! According to tradition, the angels
know neither gladness nor sadness, neither wrath
nor pity. They are heavenly messengers obeying
the mandates of the Most High, without emotion
or feeling of any kind. But the old masters of Italy
did not so regard them. They gave them human
characteristics, made them emotional and sympa
thetic, painted them in robes of blue, of red, of gold,
of white, and gave them faces and forms that
were human, it is true, but as near divine as
earthly thought could render them.

PERUGINO: CHERUB
HEAD (detail)

G E

CHERUBIM AND SERAPHIM

The red- robed angels (they were painted red of face as well as of
robe) were the Seraphim, the angels of love, and nearest to God. Often
with the early painters only their heads were shown, with wings crossed
in front of them, sometimes with four, six, or eight wings. The blue-
robed angels were the Cherubim, the angels of knowledge, and they too
were shown in their heads only, with many crossed wings. They appeared
in groups and halos surrounding the presence of the Father, the Son, or
the Virgin. The cherubs or putti of later Italian art, so frequently seen
with the Madonna and Child, are the artistic descendants of the Seraphim
and Cherubim. They are seen in the large aureoles of light that surround
the Madonna ; for instance, in Raphael s " Sistine Madonna " and Titian s
"Assumption of the Virgin." They recede into the background or come
forward in clouds as the countless hosts of heaven.

Frequently the Cherubs are given enlarged childlike or feminine forms
with individual features, elongated wings, variegated colors. They are
then shown hovering or standing or seated near the Madonna, and are
usually playing on musical instruments making music for the glory of the
Madonna and Child. They are seen in the pictures of Bellini (bel-lee -nee)
and Carpaccio (kahr-pah -cho) near the foot of the throne; with Melozzo
da Forli (for-lee ) they soar in the air; with Duccio (doo -cho) and Cima-
bue (chee-mah-boo -ah) they stand about the throne, dressed in rich
robes, singing, playing, or worshiping. Music and color were associ
ated in the minds of
the early Italians as
though both were man-
ifestations of senti
ment in art. Especially
was this true at Venice,
the one great color
spot in Italian art.

MINISTERING

AND GUARDIAN

ANGELS

The angels that
sang the Gloria in Ex-
celsis, or knelt near at
hand at the birth of
Christ, were usually
larger than the putti,
girlish in form, and
very beautiful of face.

DOMENICHINO. MADONNA OF THE ROSARY (detail)

They were dressed sometimes in colors, as with Correggio (kor-red -jo) ;
sometimes in gold brocades of gorgeous pattern, as with the Vivarini (vee-
vahr-ee -nee) ; sometimes in white and blue, as with Piero della Francesca
(f rahn-ches -kah) . Again, they frequently had jeweled crowns or embossed
halos or peacock-eyed wings. It was the idea of the old masters to make them
decoratively beautiful as well as representative of purity and truth. And
they carried out this idea still further in the faces, which were always of the
most lovely types they could find or imagine. To us today these angel faces
are perhaps the most attractive feature of this early church art of Italy.
The same kind of angels, but clothed usually in white, appeared to the
Shepherds, attended the Holy Family in their flight into Egypt, stood by
the river bank at the baptism of Christ, were with Him in the wilderness,
in the garden, at the crucifixion, watched by the tomb, and rolled away
the stone from the door. Others of the angelic host appeared at times
to warn Abraham, to present a message to Saint Joachim, to guide Saint
Peter out of his prison. They were all ministering spirits, but without
specific names.

THE SEVEN ARCHANGELS

On the other hand, certain
deeds to be done were given to

CORREGGIO; ANGEL GROUP (detail of fresco at
Parma)

FRA BARTOLOMMEO; MADONNA ENTHRONED

(detail)

certain angels who had definite
names. These were the seven arch
angels. It was Michael, captain of
the Hosts of Heaven, that overcame
the Demon and drove him into the
Bottomless Pit; it was Jophiel with
the flaming sword that drove Adam
and Eve out of Paradise; it was
Zadkiel that stayed the hand of
Abraham, and Chamuel that wrestled
with Jacob. These were all arch
angels who appeared with their va
rious symbols in Christian art. Uriel,
guardian of the sun, is seen less

GUIDO RENI; ST. MICHAEL AND THE DEMON

frequently than the others; but
Raphael, the chief guardian
angel, is often seen in company
with Tobit, and occasionally in
the pictures of the Last Judg
ment with Michael, blowing the
dread blast of the great resur
rection.

But the angel Gabriel ap
pears in art oftener than all the
other angels put together. This
is because he was the angel of
the Annunciation and foretold
the coming of Christ. He is seen
a thousand times in Italian art,
lilies in hand, kneeling and re
peating the message to the Ala-
donna. The theme was the most
popular of all, and a thousand
different types of beauty were
created to impersonate Gabriel.
Many of them are still existent,
and some of them are the
most lovely creations of the old
masters.

ANGEL IDEALS OF THE OLD MASTERS

Of course the ideal of angelic beauty varied with each painter,
chose for a model the fairest type he could find,
and each differed from his fellow. Perhaps
the most popular types of angels in the early
Renaissance were painted byMelozzo da Forli.
A notable group of them was painted in a
cupola of the Church of the Apostles in Rome.
They were angels of the Ascension, and sur
rounded the rising figure of Christ. The fresco
afterward became so damaged that it w r as
taken down, and some of the angels w r ere
transferred to the Sacristy of St. Peter s,
where they are now to be seen. Our reproduc
tion shows a detail of one of them, one with
a fair face, abundant hair, a halo about the
head made up of golden cubes of mosaic, and
large expanded wings. The figure is seen

Each

VEROCCHIO (School of) ARCH
ANGEL RAPHAEL (detail)

slightly foreshortened, and this, with
the spread wings that seem really
large enough to support an angel,
gives the impression of flight, or at
least a hovering movement. The
wings are upraised, and seem to
frame the beautiful head and its
halo. This upward swing of the
wings is counterbalanced by the
downward sweep of the drapery
from the waist line. Between the
upward and the downward curves is
a swirling cross line, made up by the
shoulder, the arm, and the violin

BOTTICELLI; MADONNA, CHILD. AND ANGELS

VERONESE; ANNUNCIATION (detail)

bow. All this is shrewdly worked
out, and gives force and movement
to the figure. The whole compo
sition has nobility and loftiness
about it, and is not a mere sweet-
faced affair of the Carlo Dolci
(dol -chee) kind.

TYPES OF BENOZZO AND LEONARDO DA VINCI

The angels of Benozzo Gozzoli (got -so-lee) are of similar characters.
They have not a particle of sweetness about them, and would never be
called "pretty"; but what fine sentiment and decided individuality they
have! They are part of a famous fresco in the Riccardi Palace at Flor
ence, one of the finest and best preserved frescos in all Italy. The little
chapel where they are had its walls entirely covered by Benozzo with a
fresco representing the Adoration of the Kings. The gorgeous procession
of the kings and their attendants (made up of portraits of the Medici and
their friends, with Lorenzo the Magnificent riding as one of the kings)
covers three walls of the chapel. The splendid cavalcade winds along,

and finally comes up to the fourth wall, where was once shown the
Madonna and Child with Joseph. This group of the Holy Family has
disappeared; but the band of worshiping angels is on the side wall, still
intact. The angels are kneeling and standing amid flowers which one
does not see at first because of the bright colors and the golden halos.
What beautiful faces, naive forms, and praying hands are here! This is
sincerity in art, and true enough sentiment into the bargain. One will
travel far before seeing its better.

A historic and even a sentimental interest attaches to Leonardo da
Vinci s (lay-o-nahrd -o dah vin -chee) little angel in the Baptism of Christ
by Andrea Verocchio (vay-rok -kee-o). Vasari (vah-sah -ree) recites the
story of how Verocchio, when ill perhaps, told his pupil, the young Leon
ardo, to finish this picture by painting in the second angel, and that
Leonardo did it so well that it was superior to the other parts of the pic
ture. "Perceiving this, Andrea resolved never again to take pencil in
hand; since Leonardo, though still so young, had acquitted himself better
in the art than he had done." This is a pretty story, which has been pooh-
poohed and denied by recent criticism, but without reason. The angel
with the profile was certainly done by a different hand than the angel with
the full face. It is different from any other part of the picture, and there
is every reason to believe it done by Leonardo as Vasari states. The
charm of the angel, the type,
the graceful contours, the light
and shade, all foreshadow the
later work of Leonardo. What
a lovely creation, not only in
face and feature, but in serenity
and fine feeling!

THE CHARMING
ANGELS OF PERUGINO

Perugino (pay-roo-jee -no)
was in that same studio of
Verocchio, a fellow pupil with
Leonardo; but his angels are
much weaker conceptions than
Leonardo s. They are contem
plative, full of wistful tenderness,
lost in reverie; but they lack
somewhat in mental grip. They
make up for this, however, by a
charming sentiment. The St.
Michael, reproduced herewith, BOTTICINI; MADONNA AND CHILD (detail of anei)

N G

shows it. He is hardly the ideal
captain-general of the heavenly host,
able to wield the sword in the front
ranks; but on the contrary is a slight,
boyish figure, full of fancy, and lost
in day dreams.

PERUGINO S SAINT MICHAEL

In this picture he stands aloof
from the figures about him, and, with
his head inclined to one side, seems
to be listening to the song of the an
gels in the upper air. The brown eyes
are full of earnestness; but the round
face and slight mouth have no set pur
pose other than to suggest sentiment

and symme
try. A very
pretty type,
no doubt; but
not a strong
one. A man of

FRA ANGELICO; CORONATION (detail)

FRA ANGELICO: TRUMPET-
BLOWING ANGEL

power like Michelangelo could have very little
sympathy with it. Indeed, he sneered at the
pretty face and called Perugino a dolt and block
head in art. That was more than Perugino could
bear, and, in a rage, he brought Michelangelo
before the Council of Eight on a charge of slander.
But it only resulted in a laugh at Perugino s ex
pense. His action was perhaps foolish; but his
pictures are not to be laughed at. They are ex
cellent in color, and the pretty face that Michelan
gelo scorned became the early model for Perugino s
great pupil, Raphael.

THE ANGELS OF FRA ANGELICO

In sweetness of type and depth of feeling,
the angels of Fra Angelico are more profound than
Perugino s. Besides, they seem to have more sin
cerity about them. The monk-painter in his cell
saw visions of heavenly things, and as he saw so
he recorded in art. All his faces seem filled with
divine tenderness. He painted only one face, one
type. His pictures show men with beards and monks

in cowls, and angels in flowing robes with bright
wings; but there is always the same face, the
same sentiment. His trumpet-blowing angels,
of which there are countless copies in existence,
are epitomes of this conception and sentiment.
They have great purity and beauty. Fra An-
gelico was a man of pure thought to start with,
and everything he touched reflected his purity.

TYPES OF FILIPPINO
BOTTICELLI

AND

FILIPPINO LIPPI; MADONNA AND
ST. BERNARD (detail of angels)

Filippino and Botticelli came later than
Fra Angelico, and the Florence of their day
had begun to draw away from medieval tra
ditions in art in favor of more learned technical
accomplishment; yet one can hardly see any
waning of sentiment in the work of these men.
In fact, the sentiment of Filippino is often per
ilously near to sentimentality, so intense and
earnest is the feeling of the man. His Madonna
is always on the brink of tears, and his angels
are in perfect sympathy with the Madonna.
Botticelli is more of an intellectual force; but
he too is sat
urated with

sentiment to a point of morbidity. His
Madonnas have sad eyes, mouths that
droop at the corners, hollow cheeks,
and long, flowing hair. They bend be
fore the Angel of the Annunciation like
broken flowers, or agonize at the Cru
cifixion like lost souls. Their sentiment
is intense. Nor does it vary much when
Botticelli dealt with classic subjects.
His Venus in her seashell, his Pallas, his
Spring, all have some of the same mor
bidity, mingled with mystery, melan
choly, tenderness, that we see in his
angels surrounding the Madonna. This
personal quality of the painter is very
attractive, and has perhaps done more
to make Botticelli popular than his fine
qualities as a draftsman and a painter.

SEPPI; ANGEL OF ANNUNCIATION

PRERAPHAELITE ANGELS

When the Preraphaelite movement started in England over half
a century ago, with Rossetti, Holman-Hunt, and Millais as painters,
and Ruskin for a prophet, it could think of no one better as a model
to follow than Botticelli. The Botticelli look is quite apparent in the
sad, rather unhealthy faces of Rossetti.
This Rossetti influence was handed on to
his pupil, Burne Jones. None of the Pre-
raphaelite ardor was abated or its senti
ment lessened with Burne-Jones. Indeed,
he improved upon his master both tech
nically and sentimentally. He was a much
better draftsman and colorist than Ros
setti, and presented the Preraphaelite idea
with greater force and effect.

THE ANGELS OF BURNE-JONES

The Burne-Jones type had rounder,
more inquiring eyes, thinner cheeks, a
sadder mouth, a more willowy figure. It
appears often in long, flowing hair, with
swirling drapery, and dramatic action. At
other times one sees it as a romantic
type consumed by a fever of passionate
sentiment. The Annunciation shown here
with is not a very good illustration of
this. The Madonna has a dull stare in
her eyes as though she was something of
an invalid, and even the angel has a semi-
malarious look. But the melancholy, the
sadness, the morbidity, so apparent in Bot
ticelli are also apparent here. The picture
is a fine example of the painter s decorative
sense. It has been put together w r ith
much skill. Notice the architecture, the
passageway at back, the bas reliefs, the
repeated lines of the draperies in both the

Madonna and the angel. One could almost wish it in stained glass,
so beautifully would it fill an upright window.

Every painter of Botticelli s rank in Italy had a score or less
of followers, and among them all there was never any dearth of
sentimental Madonnas and pathetic angels. Florence held no monop
oly of the subject.

BURNE-JONES: THE ANNUNCIATION

N G

VEROCCHIO: BAPTISM (detail of Leonardo s Angel)

times out of ten, the painter s own
wife? And how better could he de
pict the winged messengers of the
sky than by painting them with the
forms of those he loved here be
low? It is only a step across the
world from heaven to earth, and is
not love the band that unites them?

ANGELS OF BELLINI AND
CARPACCIO

At Venice in the early days
were Bellini and Carpaccio, who
produced famous Madonnas and
most lovable angels. They are
different angels from those of
Botticelli. In fact, they are little
more than handsome children
naively making music for the
Madonna and Child. Their un
conscious quality is captivating.
How very childlike, in their pure
faces, their golden hair, their
round legs and fat little hands!
The models were perhaps the
painter s own children. Why not?
Was not the Madonna, nine

MURILLO; GUARDIAN ANGEL

SUPPLEMENTARY READING. "Sacred and Legendary Art," Jameson; "Life
of Christ in Art," Farrar; "Christian Iconography," Didron; "Angels of God,"
Timpson; "Angels in Art," Clement.

THE MENTOR

ISSUED WEEKLY BY

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52 East igth St., New York, N. Y.

Volume I

NOVEMBER 17, 1913

Number 40

ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE
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OND-CLASS MATTER. COPYRIGHT. 1913, BY THE
MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS
URER, R. M. DONALDSON; VICE-PRESIDENT. W. M.
SANFORD; SECRETARY. L. D. GARDNER.

Editorial

We have just received the following let
ter from a reader of The Mentor: "I
have examined with great care and profit
a copy of The Mentor just received. There
is only one suggestion that I can make
towards its improvement, and that is that
on the back of the photogravures there
should be a pronunciation scheme for all
foreign names. Not everyone who reads
is able to pronounce properly the Spanish,
French, or Italian; particularly is this
true of names and places. The pronuncia
tion might be put in brackets right after
the names, or made a sort of marginal
affair."

* * *

This is the kind of letter we like to get.
The suggestion is a good one. We wrote
at once to the writer, saying that pro
nunciation would be indicated wherever
foreign names were used. We have done
so in the text pages of The Mentor
our readers know that. We have not
been doing it in the stories printed on the
back of The Mentor gravures. There was
no reason for not doing it. The indication
of pronunciations should accompany for
eign names wherever they are used. The
writer of the above has done us a real
service in calling attention to the matter.
We wish that readers would write to us
whenever they have a suggestion that they
think would add to the value and useful
ness of The Mentor.

* * *

Half knowledge on any subject is not
of much use. The case of a college pro

fessor comes to mind. He was very strong
on what he called "completing a thought
and finishing a fact." He said that as a
man walked through life or looked through
books he was constantly in an atmos
phere of information that facts were
darting like meteors all about him. He said
that the habit of mind of most people was
slovenly. Such complete facts as come
to their attention are perhaps absorbed.
Half facts come along, and most people do
not "follow them up to a finish." The
habit of this professor was to carry a
memorandum pad in his pocket, and when
ever he would hear a statement or re
ceive a bit of knowledge he would jot down
a note and then, in some leisure moment,
look the matter up in an authoritative
reference book, thereby completing his in
formation and, as he put it, "sewing it up
good and tight" for future use.

* * *

The result is that that college profes
sor knows what he knows thoroughly and
accurately. He is never heard saying, as
so many do when a subject is mentioned,
" Oh, what about that. I have had bits of
information concerning it from time to
time. What does it mean?" The profes
sor had looked up the matter when he
got his first bit of information, and, as a
result, he had digested the subject and in
his way owned it.

* * *

We have planned The Mentor with the
thought of giving members of the Asso
ciation the essential information that they
should have on different subjects. Every
one is not fortunate enough to have a good
reference library some are not even in
touch with reference books. It is the
purpose of The Mentor, therefore, to
come like a good friend who is well in
formed and spend a few minutes a day
with you, telling you in simple language
about the many interesting and important
things, events, and people of the world.

* * *

And you don t have to make notes as
the professor did. You don t have to go
looking for books of reference on the sub
ject. The Mentor not only gives you in
an interesting way the essential facts about
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gives you a list of the important reference
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The Mentor Week by Week

The value of The Mentor will certainly make you feel the need
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but each number is an integral part of one of the various
Departments of Travel, Art, History, Literature, or Ivlusic.

NUMBERS ALREADY ISSUED

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20.

BEAUTIFUL CHILDREN IN ART
MAKERS OF AMERICAN POETRY
WASHINGTON. THE CAPITAL
BEAUTIFUL WOMEN IN ART
ROMANTIC IRELAND
MASTERS OF MUSIC
NATURAL WONDERS OP AMERICA
PICTURES WE LOVE TO LIVE WITH
THE CONQUEST OF THE PEAKS
SCOTLAND. THE LAND OF SONG AND

SCE N ER Y
CHERUBS IN ART
STATUES WITH A STORY
STORY OF AMERICA IN PICTURES-

THE DISCOVERERS
LONDON

THE STORY OF PANAMA
AMERICAN BIRDS OF BEAUTY
DUTCH MASTERPIECES
PARIS. THE INCOMPARABLE
FLOWERS OF DECORATION
MAKERS OF AMERICAN HUMOR

No. 21.

22 -

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BEAUTIFUL BUILDINGS OF THE

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THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

FAMOUS COMPOSERS

Chopin, Mendelssohn, Schubert, Schumann, Liszt, Brahms.
By HENRY T. FINCK, Author and Music Critic.

NUMBERS TO FOLLOW

Dec.

Dec,

1. EGYPT. THE LAND OF MYSTERY
Pyramids. Sphinx. Luxor. Alexandria. K.ir-
nak. Thebes.

By DwightL.Elmendorf. Lecturer and Traveler.
8. THE REVOLUTION

Buttle of Lexington. Bunker Hill. Washing
ton Crossing the Delaware, John Paul Jones.
Uc-claration of Independence. Birth of the
Flag.

By Albert BushneU Hart. Professor of Gotern-
ment. Harvard University.
Dec. 15. FAMOUS ENGLISH POETS

Byron. Shelley. Keats. Wordsworth, Tenny.

son. Browning.

By Hamilton W. Mabie. Author and Critic.

Dec. 22. MAKERS OF AMERICAN ART

J. S. Copley. Washington Allston. Rem
brandt Peale. Gilbert Stuart. John Trum-
bull, Benjamin West.
ByJ. T. Willing, Author.

Dec. 29. THE RUINS OF ROME

The Colosseum. The Forum from the Capi
tol. The Forum toward the Capitol, The
Campagna. The Arch of Titus. The Tomb
of Hadrian.

By J. Willis Botsford. Proftssar of Ancient
History, Columbia University.

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NOVEMBER 24 19 13
VOLUME 1 NUMBER 41

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MENTOR

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AT is what The Mentor gives you a library that grows
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FAMOUS COMPOSERS

By HENRY T. FINCK

Author of "Wagner and His Works," "Success in Music," "Chopin,"
"Grieg and His Music." etc.

THE MENTOR

NOVEMBER 24, 1913

DEPARTMENT
OF FIXE ARTS

MENTOR GRAVURES

FREDERIC FRANCOIS CHOPIN . . 18101849
FELIX MENDELSSOHN-BARTHOLDY, 1809-1847
FRANZ PETER SCHUBERT . . . 1797-1828

ROBERT SCHUMANN
FRANZ LISZT . . .
JOHANNES BRAHMS

1810-1856
181 1-1886
1833-1897

"V" 7"HILE it is generally understood that the three great musical coun-
%/%/ tries are Italy, Germany, and France, it must not be forgotten that
Poland revolutionized the music of the pianoforte, the most popu
lar and universal of all instruments. That small country looms up very big
indeed in the history of the piano. Paderewski, the greatest pianist of our
time, and one of the best composers (although his day as such has not yet
come), is a Pole, and so is the pianist who ranks next to him, Josef Hof-
mann. Karl Tausig, in his day, was a piano giant; while three other
Poles are well known to all music-lovers of our time, Moszkowski and
the Scharwenka brothers, all of them composers for the same instrument.

CHOPIN, THE SOUL OF THE PIANO

Greatest of all the Poles, however, is Frederic Francois Chopin. While
his name is usually printed with the French accents, and the French are
inclined to claim him as their own because his father emigrated from
France to Poland, he himself was as thoroughly Polish in all his sym
pathies as his mother, and there is reason to believe that his paternal
ancestors also came originally from Poland. Some of the traits that have
endeared his music to all players and listeners its elegance, its charm,
its polished style make it seem French; but the Poles also are noted for
these same qualities; and in other respects Chopin s music is as thor
oughly and unmistakably Polish as it is an expression of his unique genius.

FAMOUS

COMPOSERS

This is true particularly of his polonaises and his mazurkas. Pol
onaises seem to have been played originally at the coronation of Polish
kings when the aristocrats were marching past the throne; while the
mazurkas were quaint old folk dances. In Chopin s pieces the aristo
cratic and the folk elements are artistically blended, and that is one of
their principal charms. Like Luther Burbank s wonderful new fruits, they
unite the raciness of the soil with the qualities of his own creative genius.
Why does an audience invariably applaud a Chopin valse enthusiasti
cally, provided it is well played? Because the Chopin valse is both popular
and artistic. No one thinks of the ballroom while it is heard: it is enjoyed
because of its enchanting melody, its rhythmic swing, its elegance, and
its exquisite harmonic changes. Why are his etudes applauded with no
less fervor? Because, though modestly called studies, they are dazzling

displays of skill and at the same time lofty
flights of poetic fancy, astonishing in their
originality, like most of his works. "Pre-

^^ hides," he called more than two dozen of his

.; ^j short pieces; but they are so many precious

stones, every facet polished by a master hand.
His splendid sonatas were for a long
time underrated, because he refused to cut
them according to traditional patterns; but in
these days of musical free thinking we laugh at
such objections
and applaud his
sonatas as much
as his short pieces.
While the pub-

FREDERIC CHOPIN

From a portrait made by Stattler, after
original by Ary Scheffer.

lie loves Chopin
for the reasons
hinted at, experts
hold him in highest honor also because he
discovered the true language of the piano,
which all the composers who came after him
had to learn to speak. By his ingenious use
of the pedal to combine "scattered" tones
into chords he revealed an entirely new world
of ravishing tone colors of extraordinary rich
ness and variety. Quite new, too, were the
dainty ornamental notes that here and there
bedew his melodies like an iridescent spray.
He created not only a new style of playing,
but also pieces of new patterns, or forms;

THE CHOPIN MONUMENT

FAMOUS

COM. POSERS

CHOPIN PLAYING IN THE SALON OF PRINCE RADZIWILL (1829)

whereas most of even the greatest masters had contented themselves
with accepted traditional forms and simply enlarging or improving them.
When Paderewski plays a Chopin mazurka, he varies the pace inces
santly, with most enchanting, poetic effect. This is called "tempo
rubato." It was used before Chopin, notably by opera singers; but it
was through him that it became the accepted mode of interpreting all
poetic music, not only for the piano, but for the orchestra. Thanks to
Chopin s influence, combined with that of Wagner and Liszt, no good
pianist or orchestral conductor of our time performs a piece of music in
monotonous metronomic time, except in a ballroom.

MENDELSSOHN S MUSICAL SUNSHINE

When Mendelssohn s parents called him Felix they chose the right
name for him; for Felix means happy, and throughout his life few things
occurred to cast on him shadows of dark clouds like those which occa
sioned the gloomy moods of Chopin, Beethoven, Schumann, and Liszt.
While Chopin also had his happy moments, a vein of sadness twines
through most of his pieces. It is significant that of these pieces the
one most often heard is the funeral march from one of his sonatas; whereas
of Mendelssohn s pieces the one most in vogue is the jubilant wedding
march from his music to "A Midsummer Night s Dream." Evidently
there dwells in most souls a love of both the sad and the cheerful in art.

FAMOUS,

COMPOSERS

There was a time when Mendelssohn s
popularity was second to that of no other
composer. His short piano pieces known
as "Songs without Words" in particular
enjoyed unbounded popularity, thanks to
their tunefulness, which all could appre
ciate. The thing was overdone, and as in
all such cases the inevitable reaction came,
these pieces being looked on now as mere
sentimental trifles. Paderewski, however,
has shown that if played in the modern
way they appeal as much as ever to music
lovers. He has the audacity to use the
tempo rubatOj which Mendelssohn would
have none of; but there is reason to think
he would like it as used by Paderewski.

MENDELSSOHN S SONGS AND
CHORAL WORKS

THE MENDELSSOHN-BARTHOLDY
HOUSE IN HAMBURG

Moses Mendelssohn, the father of Felix.

was a banker. He added Bartholdy to

the family name.

While the songs of Mendelssohn en
joyed for a generation as wide popular favor as his "Songs without
Words," it is not likely that they will ever recover their lost ground,
ground which they lost because, though tuneful, most of them are
superficial. There is no doubt a good deal of "small talk" in many

of Mendelssohn s works, and small talk has no
enduring value. But while the songs of this
master are now neglected, his choral works, "St.
Paul" and "Elijah," still awe and thrill modern
audiences, because in them, as in the oratorios of
Handel and Bach, religious fervor is expressed
in terms of noble music.

It is a curious and somewhat paradoxical fact
that, while Mendelssohn s personal sympathies
were on the whole rather with the conservative
classicists in the matter of form than with the
modern progressives, by far the greatest of his
works, particularly for orchestra, are those in which
he heeds the modern craving for realism and pro
gram music, as illustrated in his "Fingal s Cave"
overture, the "Scotch" symphony, and the "Mid
summer Night s Dream" music. The overture to
this is one of the marvels of music; for it is amaz
ingly original from every point of view, though writ-

MENDELSSOHN- BARTHOLDY

MONUMENT. LEipsic ten by him when he was only seventeen years old.

FAMOUS

COMPOSERS

It is commonly assumed that Italy is the land of melody; but Theo
dore Thomas used to maintain, and rightly, that the prince of melodists
was the Austrian, Franz Schubert. Tunes flowed from his brain as
spontaneously as water flows from a gushing well. He slept with his
spectacles on, so as to lose no time when he jumped out of bed to jot down
the melodies that came to him like inspirations from above. While he read
a poem, the music suitable for it often sprang from his brain, Minerva-like.

SCHUBERT, GREATEST OF MELODISTS

It is this spontaneity of Schubert s melodies that explains their
vogue, their universal popularity.
Strange to say, during his life (which,
to be sure, was pathetically short) his
wonderful songs were, with a few
exceptions, neglected, partly because
with his melodies there were associa
ted harmonics and modulations which
to us are ravishing, but which to his
contemporaries were "music of the
future." The shrill dissonance of the
child s cry when he thinks the Erlking
is seizing him in the death-grip was
as revolutionary and as far ahead of
the times as any thing Wagner or Liszt
ever wrote. It was Liszt, by the way,
who directed the world s attention to
the marvels of Schubert s songs by
playing them in his matchless way on
the piano. Seeing how they moved
audiences, the singers then took them
up, and more and more convinced
the world that among song writers
Schubert was indeed king.

It is one of the strangest facts in musical history that the great
masters who came before Schubert while some of them (Haydn, Mozart,
Beethoven) wrote a considerable number of songs reserved their best
inspirations for their operas, symphonies, and sonatas. Schubert was
the first who was willing to put his best into a "mere song," and that
helps to explain his appeal to all music lovers.

FELIX MENDELSSOHN-BARTHOLDY
From a portrait painted by Horace Vernet. Thi*
is considered an excellent likeness of the com
poser. The face reflects his sunny disposition.

SCHUBERT S INSTRUMENTAL PIECES

W hile he put of his best into his songs, there was plenty of it left
for his instrumental pieces. Rubinstein considered his short pieces
for piano even more marvelous than his songs, and among his sym-

FAMOUS

COMPOSERS

phonies there are two (the "Unfinished," in two
movements, and the ninth) that are as popular
with high-class audiences as the best of Bee
thoven s, which they even surpass in richness and
novelty of orchestral coloring and in variety and
novelty of modulation, while their melodic charm
is as great as that of his songs.

SCHUMANN, CHIEF OF ROMANTICISTS

While Schubert belongs to the romantic
school, he did not follow all of its principal
methods. In so far as he wrote chiefly short
pieces and allowed them to crystallize into forms
of their own (the variety of form in his songs
is astonishing), he is a romanticist; but in writing
instrumental pieces he did not associate poetic
titles or stories with them. In this respect Schu
mann went far beyond him in the direction of
realism and program music, and for this reason
he is considered the most thoroughly romantic of the German masters.

In his early period, in particular, he seldom wrote a piece without
suggesting in the title a poetic basis for it. It was his custom to issue
his pieces in groups, with a general title for the group, like "Papillons"
(Butterflies), "Kinderscenen," "Faschingsschwank," " Kreisleriana,"

and a special title for each piece in
the group, suggesting its message.

THE SCHUBERT MEMORIAL
VIENNA

FRANZ SCHUBERT
From portrait sketch made in 1825, by W.A. Rieder.

SCHUBERT S BIRTHPLACE. VIENNA
The composer was born here in 1797.

FAMOUS

COMPOSERS

To many lovers of Schumann these early pieces are still the dearest.
He was more thoroughly romantic when he wrote them than he was in later
years, when he came too much under the influence of Mendelssohn and the
classical masters, and at the same time grew less original and spontaneous.
It is not difficult for those who have read the romantic and pathetic
story of his life to connect the w r aning of his originality with the gradual
coming on of the mental disease to which he finally succumbed. For
tunately the bulk of his works, including four admirable symphonies and
some excellent chamber music,* notably the glorious quintet for piano
and strings, was written before his creative power was weakened.

It has been said that Mendelssohn would
have made five pieces with the material Schu
mann used for one. This highly concentrated
quality of his music makes it more difficult to
understand, and explains why his contempo
raries did not appreciate him as they did Men
delssohn. It also helps to explain the better
"keeping qualities" of Schumann s music.
While Mendelssohn s songs, for instance,
have, as just stated, virtually disappeared from
recital programs, Schumann s are more popular
than ever, and seldom today is a program
printed without one or a group of them. The
best, by far, of his songs
are among the hundred
he wrote during the year
when he married Clara
Wicck, after a long con
test with her father for
the possession of her

heart, though it had belonged to him for years.
The popularity of Schumann s songs is due largely
to their being the expression of this ardent love.
Women have not yet written immortal songs; but
they have inspired many of them.

LISZT, THE MANY-SIDED

Richard Wagner called Liszt "the greatest musi
cian of all the ages." He certainly was the greatest
pianist of them all, unequaled to this day; but he was

very much more than that. In all departments of mu- THE SCHUMANN MEMO-
sic, except the opera and chamber music, he created

ROBERT SCHUMANN

RIAL. BONN

or any incident, scene, or poetic fancy associated with it by the composer.

LISZT PLAYING AT THE HOME OF MADAME MUNKACSY

This picture, by the artist Frederic Regamey, represents one of the brilliant assemblages in the salon

of Madame Munkacsy, In Paris. In the picture are many portraits. Beside Liszt stands Madame Mun-

kacsy. next to her Gounod, and grouped in the front are Saint-Saens, Portales, Daudet and other notables.

Munkacsy, the celebrated painter, stands at the back on the extreme left.

F A M O U

O M P O

E R S

a new epoch or opened new and glorious vistas; and his influence on the
musicians of his time and those who came after him was as great as Wagner s.
The strangest thing in Liszt s extraordinary career is that when he was
at the height of his fame as a pianist, and fabulous sums were offered him for
recitals, he renounced his instrument, so far as concerts were concerned. For
charity he would play occasionally, and for his friends and his pupils; but
not for the paying public. This happened thirty-nine years before he died.
Various motives prompted this action, one of them being that he pre
ferred creative work. Thus it came about that the loss of his contem
poraries in not hearing him play was our gain in enabling us to hear his
songs, his piano pieces, his choral and orchestral compositions. Many
of these are still "music of the future"; but their day is dawning.
At piano recitals, in America as in Europe, no composer s pieces are

now more favored than Liszt s. Pianists

usually place them at the end of the pro
gram; not only because they make a bril
liant close, but because they prevent the
audience from leaving before the end, as
few or none \vant to miss these pieces.

THE DYNAMIC EFFECTS OF LISZT

The reasons why the public is so enam
oured of Liszt are .

not far to seek.
While Chopin is,
as Rubinstein
called him, "the
soul of the piano
forte," because

ROBERT AND CLARA SCHUMANN

he makes it speak its own language as no
one had made it speak before, Liszt s piano
music is no less idiomatic, and at the same time
it is even richer in color and more varied in
tonal power, or what musicians call "dynamic
effects." Not satisfied with the piano as such,
Liszt converted it into a miniature orchestra,
enabling the pianist to thunder or to whisper in
tones not previously heard from that instrument.
Much of Liszt s music, for both piano and
orchestra, is program music: it tells its story
in tones. In "St. Francis Walking on the
Waves" one actually hears the waters, as in
the orchestral "Mazeppa" one hears the gallop-

FRANZ LISZT

From a portrait of him in his youth
painted by Ary Scheffer.

FAMOUS

COMPOSERS

LISZT AT THE PIANO
From a photograph made late in life.

LISZT S HOME IN WEIMAR

It was in this house that he

spent his latter years.

ing of the wild steed
and the groans of
the man tied on its
back. The public

likes music with such

pictorial associations ; but it would never have taken
to Liszt s program music as it has were it not at the
same time good as music pure and simple, inter
esting melodically, rhythmically, and harmonically.

Musicians, as well as the public, admire in
Liszt s orchestral works the same variety of new
colors that enrich his piano music. They honor
him for having created new forms of music in his
symphonic poems, differing from symphonies as
Wagner s music-dramas differ from opera.

What the public likes best of all in Liszt s
works, however, is his Hungarian rhapsodies, in
which the gipsy songs of love and war and every
phase of life are "pianized" with marvelous art, one of the greatest
charms of which is that it is absolutely unfettered and unconven
tional, a real improvisation, like the playing of gipsies themselves.

BRAHMS, THE CONSERVATIVE

Admirers of Liszt, and full-blooded Wagnerites, rarely care much
for Brahms; while, conversely, the Brahmites look somewhat haughtily
on those two composers, and all the other "progressives," except Schu
mann, who is exempted, not only because there is a certain affinity be
tween his music and that of their idol, but because he discovered Brahms,

LISZT MONUMENT. WEIMAR

FAMOUS

COMPOSERS

proclaiming him the
"musical Messiah."
Brahms himself once
signed a "protest"aim-
ed against the Wagner-
Liszt school; yet his
bark was worse than
his bite, for his works
here and there show
the influence of Wag
ner, and he liked some
of Wagner s operas.
Johannes Brahms
is the god of the con
servatives. He aimed,
half-consciously, to
carry on the traditions
of Beethoven, and he
had no use for modern
realism and program music. His symphonies the most delightful
of which is the second are marked simply numbers one, two, three,
and four; and for his piano pieces he has no poetic titles after the manner
of Schumann: they make their appeal by their own beauty, unadorned
and they have won a large audience of admirers.

Some of his songs everybody likes. They are on most programs, and
are often redemanded. The music goes well with the
words, and they are usually written most effectively
for the voice, which makes the singers favor them
too. But it is in his chamber music trios, quar
tets, or sextets, for strings, with or without piano
that Brahms genius is most convincing. In this
department he has composed many masterworks.
In general, it may be said that, while Brahms
iBPn i g melodically less spontaneous than some of the

other masters, he excels most of them in the variety
and originality of his rhythms.

JOHANNES BRAHMS
From a special photograph by Maria Fetlinger.

THE BRAHMS MEMORIAL
VIENNA

SUPPLEMENTARY READING-"Chopin : The Man and
His Music," James Huneker; "The Life of Chopin," Frederick
Niecks; Articlein Grove sDictionary of Musicand Musicians,
" Mendelssohn," S. S. Stratton; " Romantic Composers," S.
G. Mason, " Songs and Song Writers," H. T. Finck; " Life
of Schumann Told in His Letters," May Herbert; "Franz
Liszt," James Huneker; " Life of Johannes Brahms," Flor
ence May; Articles on the Composers in Grove s Dictionary.

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NOVEMBER 24, 1913

Number 41

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While being carried in her chair she had
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* * *

We have been informed that a very
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Suppose, now, that the essential in
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The Mentor Week by Week

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NUMBERS ALREADY ISSUED

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BEAUTIFUL CHILDREN IN ART
MAKERS OF AMERICAN POETRY
WASHINGTON. THE CAPITAL
BEAUTIFUL WOMEN IN ART
ROMANTIC IRELAND
MASTERS OP MUSIC
NATURAL WONDERS OF AMERICA
PICTURES WE LOVE TO LIVE WITH
THE CONQUEST OF THE PEAKS
SCOTLAND, THE LAND OF SONG AND

SCENERY
CHERUBS IN ART
STATUES WITH A STORY
STORY OF AMERICA IN PICTURES:

THE DISCOVERERS
LONDON

THE STORY OP PANAMA
AMERICAN BIRDS OF BEAUTY
DUTCH MASTERPIECES
PARIS, THE INCOMPARABLE
FLOWERS OF DECORATION
MAKERS OF AMERICAN HUMOR

No. 21. AMERICAN SEA PAINTERS

22. STORY OF AMERICA IN PICTURES-

THE EXPLORERS

23. SPORTING VACATIONS

24. SWITZERLAND: THE LAND OF

SCENIC SPLENDORS

25. AMERICAN NOVELISTS

26. AMERICAN LANDSCAPE PAINTERS

27. VENICE, THE ISLAND CITY
23. THE WIFE IN ART

29. GREAT AMERICAN INVENTORS

30. FURNITURE AND ITS MAKERS

31. SPAIN AND GIBRALTAR

32. HISTORIC SPOTS OF AMERICA

33. BEAUTIFUL BUILDINGS OF THE

WORLD

34. GAME BIRDS OF AMERICA

35. STORY OF AMERICA IX i &lt; TURES:

THE CONTEST FOR XORTH
AMERICA

36. FAMOUS AMERICAN SCULPTORS

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THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

EGYPT, THE LAND OF MYSTERY

Pyramids, Sphinx, Luxor, Cairo, Karnak, the Dam at Assuan
By inriGHT L. ELMENDORF, Lecturer and Traveler

NUMBERS TO FOLLOW

Dec. 8. THE REVOLUTION

Battle of Lexington, Bunker Hill, Washing
ton Crossing the Delaware. John Paul Jones,
Declaration of Independence, Birth of the
Flag.

By Albert Bushnell Hart, Professor of Govern
ment, Harvard University.

Dec. 15. FAMOUS ENGCISH POETS

Byron, Shelley, Keats, Wordsworth, Tenny-

. Browning.
By Hamilton W. Mabie, Author and Critic.

Dec. 22. MAKERS OF AMERICAN ART

J- S. C&lt; :ington Allston. Rem

brandt Pert tuart, John Trum-

bull. Benjamin \\
By J. T. Willing, Author.

Dec. 29, THE RUINS OP ROME

The Colosseum, The Forum from the Capi
tol, The Forum Toward the Capitol. TK-
Campagna, The Arch of Titus. T!.
of Hadrian.

By J. Willis Botsford. Professor of Ancient
History, Columbia University.

Jan. 5. MAKERS OF MODERN OPERA
Verdi, Puccini, Gounod.
Humperdinck.
By E. II. Krchbitl, Author of "Wagner and

ss in Mus:
"Griesi and His Music," etc.

Jan. 12. VIENNA, THE QUEEN CITY

Palace from Gardens, Schi mbrunn. The
Danube Canal, The Hofburg, Old
The Grabeu. Hofburg Theater. By Dvight L.
Elmendorf, Lecturer and Traveler.

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EGYPT, THE LAND OF MYSTERY

I By DWIGHT L. ELMENDORF

THE MENTOR DECEMBER i , 1913

DEPARTMENT OF TRAVEL

&gt;
MENTOR GRAVURES

CAIRO THE SPHINX KARNAK

THE PYRAMIDS LUXOR THE DAM AT ASSOUAN

IT is no wonder that the Egyptians through all their history have
worshiped the Nile; for that marvelous river is the spine, the mar
row, and the life of Egypt. Indeed, it is Egypt; for living Egypt
is only a narrow strip twelve or fifteen miles wide, simply the banks of
the Nile. Herodotus called Egypt "the gift of the Nile." The river
nourishes and controls the land. All along that waterway are
to be found wonders and mysteries of the past. The mind balks in
contemplation of the monuments of Egypt. They whisper messages from
so far distant a time that we stagger in trying to grasp their meaning.

A visit through Egypt usually begins with Cairo. And it is just as
well that it is so; for in Cairo there is much that is modern and much
that is familiar to the English traveler. It is, therefore, a good way for
the visitor to break into ancient Egypt. In Cairo modern people mingle
with the sons of ancient Egyptians. The English soldier is to be seen
almost everywhere, and in front of Shepheard s Hotel you may at times
almost forget that you are in Egypt.

That is because you are bound down in Cairo, mingling with your
own fellow visitors and too close to hotel life. Get up early in the morn
ing, and go to the top of the hill known as the Citadel, and there you
will get an impression of an Egyptian city. Look at one of the greatest

EGYPT, THE LAND OF MYSTERY

MUSKI CORNER AND MINARET. CAIRO

TOMBS OF MAMELUKES. CAIRO

buildings, the Mosque of Mehemet
AH. It is called the Alabaster Mos
que. There is a great deal in modern
Egypt that is imitation. That is the
reason that this building of pure
alabaster is to be valued. Its interior is rich and beautiful in design.

CAIRO AND ITS SURROUNDINGS

Stand on the parapet of the Citadel, and look over Cairo, and see the
sun rise. Far in the distance is a sandstorm. Many people in the United
States think that the weather in Egypt is as clear as crystal always. That
is a great mistake. The days there are rarely as clear as American clear
days. In January, February, and March you are likely to have sandstorms,
or the sirocco, or wind from the desert, which almost obliterate the sun.

Down by the edge of the desert is the Dead City. The tombs there
and their interiors are wonderful. The beautiful buildings have been
allowed to decay. It is an oriental peculiarity not to repair anything.

On the other side of the Citadel are the tombs of the Mamelukes. I
advise anyone going to Cairo to visit these tombs; for they contain very
curious sarcophagi, and the tomb mosques are interesting, each of them
being surmounted by a picturesque dome.

Our modern expositions and fair grounds would not be complete
without "the streets of Cairo." As we know, a bit of street life is shown,
more or less accurately chiefly less. A fairly correct impression of
Egyptian street life is, however, created by such artificial reproductions.
One of our pictures will no doubt recall these exposition impressions.
The genuine old streets of Cairo are fascinating. Some are so narrow
that the traveler must go on foot, or on a donkey. The shops are almost
within arm s reach on both sides, and many of them are temptingly at-

EGYPT, THE LAND OF MYSTERY

tractive. There on one side they make famous leather goods; on another
they sell glassware. Be careful not to buy unless you know how to bargain.

THE STREETS OF CAIRO

You must go to these little streets to find the bazaars if you want
to buy anything; for the great street of the Arab quarter, the famous
Muski, is not any longer a thorough Cairo street. Big shops and depart
ment stores have crept into it.

Stand for a moment on the corner of this great street and see a little
bit of the Arab life of old Cairo. It is a busy city. There goes a carryall
(a camel), an entire family on its back, except the husband, who walks
by the side. This man coming down with a strange sack on his back is
a walking fountain. The sack is filled with something sweet and sticky
which he calls "sweet water." It is not pleasant. The genuine water
carrier of the old school goes to the river, fills his jar, and then goes through
the streets shaking his cup in his hand with a chink. It is plain water
that he peddles. I should not advise one to drink either of these bever
ages. Then there are the bread venders of Cairo, who walk the streets
carrying bread on their heads and crying out thoir wares.

Cairo is full of interesting mosques. The oldest and most celebrated
is the Mosque of Omri. It is one of the earliest of Mohammedan temples
in Egypt. They have a service there but once a year, when the khedive

himself comes. The interior seems a
veritable forest of pillars. One of
these is a most remarkable pillar. I

BAZAAR STREET. CAIRO
Where the most Interesting shops are found.

THE CITADEL. CAIRO
Built. 1176-1207. of stones taken from the Pyramids.

EGYPT, THE LAND OF MYSTERY

THE OLDEST PYRAMID. SAKKARA

will tell the story of it as
my boy Mohammed Mousa
told it to me: "This pillar
very important one very
holy. This pillar sent by
Mahomet here; for when
Omri come to build this
mosque Mahomet so pleased
he sent pillar from Mecca.
The pillar come here. He find
no other pillar from Mecca
here; so he get lonely and fly
back. Mahomet very angry,
and send pillar back. Sec
ond time he fly back. Mahomet then get very angry, draw his sword,
and strike pillar, and tell Omri to put pillar in prison. So he put it
in prison, and it stand there." That is the story that they all believe.

THE PYRAMIDS

The road leading down to the old Nile gate is a very beautiful one.
Crossing the bridge there, we see the picturesque Nile boats, like the
lateen boats of the Mediterranean. The avenue leads out to the pyra
mids, and there in the far distance you can see them, those golden
cones about which is wrapped so much of Egypt s history and mystery.
The first sight of the pyramids naturally means much to any intelligent
traveler. It makes no difference how much you have read, how much
you have heard of them, you cannot be disappointed. It is said that the
pyramids will last as long as the world, and they certainly look it. They

represent to us the life of
the world stretching back
into the dim past; and,
in their imposing solidity,
they seem to give assur
ance of lasting to eternity.
There are four of the pyra
mids in this group; though
the mind naturally dwells
on the largest, the Pyra
mid of Khufu or Cheops.
And to think that these are
the works of man, and that
they are tombs of the kings
who lived and reigned some-

DISTANT VIEW OF PYRAMIDS. WITH THE NILE

EGYPT, THE LAND OF MYSTERY

where about fifty centuries ago! The Great Pyramid of Cheops is 480
feet high and covers an area of thirteen acres, each side being 755 feet.
The dimensions of this astounding work are almost mathematically
exact. It is built of over two million blocks of limestone, and they are
fitted together with the nicety of mosaics. How could these wonderful
structures have been erected? that has been the question of modern
engineers. It has been suggested that an inclined plane of earth was con
structed, and that the blocks were dragged by men to the top, the inclined
plane being added to and raised for each layer. Then, when the pyra
mid was complete, the
inclined plane of earth
might have been taken
away. This, however,
is only a theory. Noth
ing is known of the
methods employed.
Originally the sides of
the pyramid were
smooth, and a little of
this outer facing is still
in place. These prism-
shaped blocks were
taken away from time
to time for building
purposes in Cairo.

People climb the
pyramid, and also go
inside. In the very heart of the Great Pyramid is a tomb chamber,
where we see the empty coffin of Cheops or Khufu. The tomb
was rifled long ago, and no one knows where the king s ashes are.

Ascent to the summit of the Great Pyramid means arduous climbing;
but it is worth while simply for the view it affords of the desert. Most of
us imagine the desert as a level of white sand. I thought so until I saw
it from the summit of this pyramid. The desert stretches off in long
waves, and does not seem like a plain, but rather like the rolling ocean.

THE SPHINX

Not far from Cheops we see above the waves of sand a rough-hewn
head that stirs us mightily. No one can forget the first impression of
the Sphinx. It stands for something unique in history and in knowledge.
No one with a spark of reverence in his nature can stand before that great
stone face without a feeling of awe. There will be little that he can say-
the most reverent ones say nothing. There before you is that half-
buried, crouching figure of stone about which you have read and heard so

GIZEH
Great Pyramid. Sphinx, and Temple of Armachis.

EGYPT, THE LAND OF MYSTERY

THE SPHINX
From a drawing showing the front uncovered by sand.

much. The paws are covered by sand. It is only by industrious shovel
ing and digging that the desert is prevented from rising on the wings of
the wind and completely burying the great figure.

The Sphinx is the symbol of inscrutable wisdom, and its lips are sup
posed to be closed in mysterious silence, knowing profoundly, but telling
nothing. These are, however, mere impressions. Facts are the impor
tant things. No one knows how old the Sphinx is. It is supposed to
have been made during the middle empire; but later investigations seem
to prove that the Sphinx existed in the time of Cheops, which would
mean that it is even older than the Great Pyramid. The Sphinx was made
out of living rock, and the dimensions
are as follows: Body, 150 feet long;
paws, 50 feet long; head, 30 feet long;
face, 14 feet wide; and the distance
from top of head to base, 70 feet.

It must have been an imposing
monument when constructed; for then
it stood in position to guard the valley
of the Nile, and about it was Memphis,
the great city of Egypt Memphis now
past and gone. Memphis was once
the capital city of the Pharaohs,
and is said to have been founded by

FALLEN STATUE OF RAMESES. MEMPHIS

EGYPT, THE LAND OF MYSTERY

Menes. In its day of glory it was a prosperous and well fortified
city. About 1600 B.C. it was supplanted as capital by Thebes, and
the glory of Pharaoh s court was transferred to the southern city.

THEBES

The most flourishing period in the history of Thebes was between
1600 and noo B.C. Thebes in turn fell into decay, and is now only a
small place visited in the course of
a trip to Luxor and Karnak. The sit
uation of Thebes is interesting. It lies
in the widest section of the Nile Valley,
with a broad plain on the west stretch
ing off to the Libyan Mountains. On
this plain are the famous statues known

THE COLOSSI OF MEMNON

These two gigantic statues stand near the approach of the
Temple of Amenophis. One of them la known as the
Vocal Memnon. Inscriptions on the vocal statue record
the visits of those who were with Hadrian, and of others,
and relate that they heard the voice of Memnon. The
Colossi are of hard gritstone, monolithic, and forty-seven
feet in height, with pedestals twelve feet high. They repre
sent Amenophis III, seated on his throne, and are sixty
feet apart.

MEMPHIS
Front of the second court of the Ramesseum.

as the Colossi of Memnon.
Across the Nile, on the east
bank, stand the ruins of Luxor
and Karnak, and beyond them
to the east are the Arabian hills.
Notable monuments on the
west side are the temples of Seti
I, Rameses II and III, which
bear the names of El Kurna,
the Ramesseum, and Medinet-
Abu. Lying by the side of the
Ramesseum is the fallen Colos
sus of Rameses II, the largest
statue in Egypt. It is made
of pink granite, and is about
sixty feet in height or length,
we should now say, since the
statue is prostrate.

LUXOR

Not far from Thebes is the
village of Luxor: not much in

EGYPT, THE LAND OF MYSTERY

itself, but just a place to stay while visiting the temples. It is pleasing to
note that they have done a good work there in raising the embankment in
the hope of keeping the Nile water out of the temples. The bank is steep;
for the Nile rises high every year. In olden times these temples were
evidently protected from the water by some means; but now it rises
half up over them. The Temple of Luxor is one of the most beautiful
and interesting in Egypt; though not so imposing as the Temples of
Karnak. As you approach you can only see a part of it; for there is a

fence up there, and if
you want to go through
you have to show a
ticket. A so-called
"monument ticket"
can be obtained from
the government for
about six dollars a
year, and this will en
able a visitor to see
every monument in
Egypt. The fund thus
raised is used to save
the monuments, and
every penny of it goes
to that work.

The beauty of the
Temple of Luxor is in its
splendid colonnade. It
must have been superb when in good condition, with colors fresh and bright.

KARNAK

The Temple of Karnak, too, is a distinguished mass of columns, the
most imposing structure of its kind in existence. It was erected by Seti
I and his son, Rameses II. Amenophis also had a hand in the building
of it. They were great builders in those days, and all their plans were
conceived on a vast scale. The ruins of Karnak are magnificent. Some
idea of the impressive character of their columns may be gathered from
the following statement: There are 134 great columns forming the cen
tral aisle, 12 of these 62 feet high and 12 feet thick, the rest of them
42 feet high and 9 feet thick. You will notice traces of color, and can
gather from that what the temple must have been in its full glory.
On a recent trip I found some German artists at Karnak, and sug
gested that if they would get some water and throw it over the col
umns they would obtain the effect of the true coloring. A good color
chart of these columns has now been secured, showing them as they

RAMESES STATUES AT LUXOR

MOONLIGHT ON THE NILE
Reproduced from a night photograph taken near Luxor.

EGYPT, THE LAND

O F

M Y S T E R Y

LUXOR. FROM OPPOSITE BANK OF THE NILE

were three thousand years ago. On its outside walls sculptures tell the
history of the splendid conquests of the kings that erected the structure.
Egypt is a country of impressive temples and monuments, the interest
of which has not been exhausted by a library of books on the subject. A trip
through Egypt is not complete without a visit to the Ramesseum and that
unique monument, the Temple of Denderah. The latter is a building set
apart in architectural and in historic interest. It is not imposing; but it has
an appeal that the other temples have not. It was a place of mystery. Its
inner chamber, the sanctuary of Denderah, was sacred to Pharaoh himself.

THE GREAT DAM AT ASSOUAN

As one goes up the river visiting these strange monuments, he finds
at the first cataract of the Nile an imposing object of modern interest.

This is the dam at Assouan, one of the
greatest feats of engineering in the world.
The dam, which was completed in 1902,
is a mile and a quarter long. It holds
back the waters of the Nile, and supplies
the reservoir, from which the waters are
led into irrigation canals. The benefits
of this great dam are felt from its location
at the first cataract all through the farms
and fields that skirt the Nile clear to the
delta, six hundred miles below. It has
made acres fertile that had been barren. It
also, of course, has relieved the burden of the
poor workmen at the shadoofs who dipped
water for irrigation. Moreover, the dam has
improved the conditions of transportation
on the Nile; for it has disposed of the first
cataract, where boats formerly had to be

-11 XT i

puHed through the rapids by men. Psiow the

A iplendid example of the Egyptian

square arch form.

EGYPT, THE LAND OF MYSTERY

vessels go into a canal, and are conveniently and promptly lifted up
through four locks to the level of the upper Nile.

The visitor should not leave Egypt till he has seen Philae, with its
beautiful temples, ruined walls, and colonnades. It is a sight for artists
to draw and for us to dream of, Philae apparently afloat; for now the
Nile water has penetrated the halls of its temples and surrounded its
beautiful columns.

On returning from the upper Nile a visitor should go to the new
National Museum at Cairo. He may have visited this interesting place
before he took the Nile trip; but he will know more on his return. The
valuable collection of Egyptian antiquities there in the museum will mean
more to him. Months could be spent with profit in this building.
It contains one of the richest and most interesting collections of
historic remains in the world the result of years of exploration,
excavation, and the intelligent study of eminent scholars. There be
fore you are the relics of ancient Egypt. There are the statues,
mummies, and other antiquities that the government has collected.
In them you may read the history of ancient Egypt and learn to
appreciate the life, literature, and art of Pharaoh s time.

THE ISLAND OF

This picture (hows the beauty of Philjc before the waters of the Nile rose about It. Since the buildinf
of the great dam at Assouan the temples of Philar are half under water.

SUPPLEMENTARY READING. " Modern Egypt and Thebes," Sir Gardiner
Wilkinson; "A Thousand Miles Up the Nile," A. B. Edwards; k4 Egypt," S. Lane-
Poole; A History of Egypt from the Earliest Times to the Persian Conquest," J. H.
Breasted; "A Short History of Ancient Egypt," P. E. Newbeny and J. Garstang;
" The Empire of the Ptolemies," J. P. Mahaffy; " Egypt in the Nineteenth Century,"
D. A. Cameron; "Modern Egypt," Lord Cromer.

THE MENTOR

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52 East igth St., New York, N. Y.

Volume I

DECEMBER i, 1913

Number 42

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
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MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS
URER. R. M. DONALDSON; VICE-PRESIDENT. W. M.
SANFORD; SECRETARY, L. D. GARDNER.

Editorial

It was no easy matter for Mr. Elmen-
dorf to present the subject of Egypt in an
article of only 2,500 words. He has con
fined himself in his characteristic inter
esting manner to the impressions of a
traveler. Of the great store of archaeo
logical treasures in Egypt, the monuments,
statues, tablets, tombs, inscriptions in
fact all that is comprehended under the
name Egyptology Mr. Elmendorf could
say nothing. These are subjects for the
historical student rather than for the trav
eler. And they will be taken up in turn
in The Mentor of some later date when
we will approach the subject of Egypt
from the standpoint of the historical stu
dent. There is, however, one question
that readers of Mr. Elmendorf s article
are apt to ask in fact ordinary curiosity
would prompt the inquiry. The monu
ments of Egypt are covered with historic
records in the form of inscriptions. These
records are hieroglyphic. They are what
some people call "picture writings." The
natural question is "How were these
hieroglyphics deciphered." The answer
is interesting, and it seems to us that
both question and answer belong in the
number of The Mentor with Mr. Elmen
dorf s article.

covered, in August, 1799, the key to Egyp
tian hieroglyphics. It is called the Rosetta
Stone, and it is now in the British Museum.

* * *

For years the hieroglyphic was an un
known language, and the history of Egypt,
except such as is contained in the Bible,
was a blind book. The Rosetta Stone was
found to contain an inscription in three
different languages the Hieroglyphic, the
Demotic, which was the common language
of the Egyptians, and the Greek. When
these inscriptions were examined, it was
discovered that they were each a transla
tion of the other. There, then, was the
clue which opened up the whole field of
Egyptian history.

* * *

Dr. Young, in 1814, began the work of
deciphering hieroglyphics by this clue. He
worked on various inscriptions, especially
the pictorial writings on the walls of Kar-
nak. The value of this discovery may be
appreciated when we consider that its dis
covery has enabled scholars to translate
hieroglyphics almost as easily as they
would any of the classic writings. The
actual inscription on the Rosetta Stone is
not so important in itself. It is a decree
issued in honor of Ptolemy Epiphanes by
the priests of Egypt assembled in a synod
of Memphis on account of the remission
of arrears on taxes and dues. It was put
up in 195 B. C. Since the discovery of the
Rosetta Stone other tablets containing
more important inscriptions have been
found, but the unique value of the Rosetta
Stone lies in the fact that it contains a
corresponding Greek inscription, thereby
affording a clue to the meaning of the
hieroglyphics. * * *

The stone is black basalt, three feet
seven inches in length, two feet six inches
in width, and ten inches thick. After it
was found by the French it was trans
ferred to the British, and in 1802, it was
brought to England, where it was mount
ed and placed in the British Museum.

The River Nile separates at its delta
into two branches. The eastern stream en
ters the Mediterranean at Damietta. The
western stream enters the great sea at
Rosetta. It was near this latter town
that an officer in Napoleon s army dis-

The Rosetta Stone is a corner stone
of Egyptology. And the revelations of
early Egyptian history and life, brought
to light by means of it, have cleared some
of the mystery of Egypt and have made
known much of its history.

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The next number will contain six beautiful photogravures

THE REVOLUTION

Battle of Lexington, Bunker Hill, Washington Crossing the Delaware, John
Paul Jones, Declaration of Independence, Birth of the Flag.

By ALBERT BUSH NELL HART

Professor of Government, Harvard University.

NUMBERS TO FOLLOW

Dec.

1.-,. FAMOUS ENGLISH POETS

Byron. Shelley, Keats. Wordsworth, Tenny
son. Browning.
By Hamilton W. Mabie, Author and Critic.

Dec. 22. MAKERS OF AMERICAN ART

I. S. Copley, Washington Allston. Rem
brandt Peale, Gilbert Stuart. John Trum-
bull. Benjamin West.
By J. T. Willing, Author.

Dec. 29. THE RUINS OF ROME

The Colosseum, The Forum from the Capi
tol, The Forum Toward the Capitol, The
Campagna, The Arch of Titus. The Tomb
of Ha

By J. Willis Botsford, Professor of Ancient
History. Columbia University.

Jan. 5. MAKERS OF MODERN OPERA

Verdi, Puccini, Gounod. Massenet, Strauss,
Humperdinck.

By E. II. Krehbiel. Author of "Wagner ami
f.T in Music," "Chopin,"
"Grieg and His Music." etc.

Jan. 12. VIENNA, THE QUEEN CITY

Palace from Gardens SchOnbrunn, Votive
Church, Reichsrath Gebaude. Old ^
The Graben, Hoch Brunnen Fount. .
Prince s Palace. By Dwight L. Elmendorf,
Lecturer and Traveler.

Jan. 19. TWO EARLY GERMAN PAINTERS
Diirer: Portrait of Himself;
Young Woman, Hieronymus ! .
Holbein: Erasmus, The Meier M .
Queen Jane Seymour.

/ . J. Mather, Professor of Art and Archae
ology, Princeton University.

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THE STORY OF AMERICA IN PICTURES

THE REVOLUTION

By ALBERT BUSHNELL HART

Professor of Government, Harvard University

GEORGE THE THIRD

THE MENTOR

DECEMBER 8, 1913

DEPARTMENT OF
HISTORY

MENTOR GRAVURES

GEORGE WASHINGTON

BATTLE OF LEXINGTON BATTLE OF BUNKER HILL WASHINGTON CROSSING
THE DELAWARE SIGNING OF THE DECLARATION OF INDEPENDENCE "I
HAVE NOT YET BEGUN TO FIGHT" JOHN PAUL JONES THE BIRTH OF THE FLAG

WORDS wear out after using them a thousand or a million times.
"Liberty," "The Constitution," "The People s Government,"
people take those terms into their minds nowadays as they
take a chocolate cream, without stopping to think of its contents. So
with "Revolution." When we hear the word we feel a pleased
sensation of a good, great, glorious time, intended by Providence
to prepare the way for our various patriotic organizations. The Rev
olution? Why, yes, that was when our forefathers tied the first hard
knot in the British lion s tail! All the people were patriots, and all
the patriots were as wise as college professors, and as brave as
Albanians, and as great as a president. All the statesmen wore silk
stockings and red velvet suits and powdered wigs. All the ladies were
lovely, and spurned the offers of marriage made by British generals.

THE MILITARY REVOLUTION

What is a revolution but an overturning, a spinning of the wheel, left
to right, and bottom come uppermost? Likewise, since the right believes
itself right, and the top is sure that the world exists in order that it may
be the top, most revolutions mean force, arms, big guns booming, troops
marching, bullets flying, heads cut off with axes or caught in a hang
man s noose; also arms and legs cut off, and the ground soaked with a
crimson fluid. "You can t make an omelet without breaking some eggs,"

THE AMERICAN REVOLUTION

and in a revolution there is bound to be breakage
of heads and hearts, and banks and constitutions.
We know that the American Revolution was
a military contest, because the pictures in our first
textbook of American history show General George
Washington, in buff and blue, leading his Conti
nentals up to within sixteen feet and eight inches of
General Howe, in a magnificent red coat laced with
gold, in vain trying to rally battalions of craven Hes
sians wearing highly inconvenient bearskin caps.
Commanding officers of opposing armies are
not really so intimate as that; but Americans are
justified in immense pride over the military success
of the Revolution. The simple fact was that
three million people, of whom about a fourth were
negro slaves, put up a fight against a mother
country having four times their population.
They began without a single professional officer,
except the traitor Charles Lee; and with only a
thousand or two men who had not seen mili
tary service except militia training day, and desul
tory frontier warfare with French and Indians.
They had not one ship of war, not a factory of
arms. Yet they attacked the great British empire,

though it was flanked
right and left by the lion
and the unicorn, trained by
two centuries of European
wars, thousands of troops

THE BUNKER HILL
MONUMENT

GENERAL NATHANAEL

GREENE

His courageous work in the
South greatly helped the
American cause. (From
painting in possession of the
Historical Society of Penn
sylvania.)

under arms, officers successful in other fields, and
they sailed into the greatest naval power on the sea.
So far as power and prestige and experience
decide wars in advance, the Revolution was due to
be snuffed out at the end of 1776; Benjamin Frank
lin was destined to be hanged, George Washington
to be immured for life in a gloomy dungeon, dressed
in a ball and chain. Were not the English every
where successful? They captured New York, they
captured Newport, they captured Philadelphia,
they captured Savannah; they were driven away
from Charleston by the palmetto forts, but returned
and captured Richmond. They beat the Americans
at Long Island, at the Brandywine, at Germantown,
at Camden. Their cruisers and privateers swept

T II E

AMERICAN

REVOLUTION

the seas, until Nathaniel Tracy of Newburyport lost ninety of his hundred
and twenty vessels. They drove the little American navy from the seas.
Yet in the end they were beaten. It is easy now to criticize the
strategy of Washington and Greene and the rest, and to show that by
all the laws of war they laid themselves open to defeat. Nothing can
alter the stubborn fact that the American militia at Bunker Hill for hours
held off a British army and so damaged it that it never took the field
again; then the Americans captured Burgoyne s army at Saratoga in
1777, a humiliation seldom known in British annals. And this victory
brought the French alliance, and the aid of Von Steuben the magnificent
drill master, of d Estaing and his fleet, of Rochambeau and his army.
With that aid, the Americans beat the second army at Yorktown, and
that ended the war. General Cornwallis had to surrender his sword
to an officer whom a few months before the British had addressed as
"George Washington, Esq., etc., etc."

EXTRAORDINARY AMERICAN SUCCESS

In one way the Americans were too successful. Beginning with raw
militia, ill-equipped, worse disciplined, the Americans made an army
that beat the British. General Washington never ceased to implore
Congress and the states to give him a better system for a real national
army. Half the men and a fourth of the money expended would

SURRENDER OF BURGOYNE AT SARATOGA

This picture, from a painting by Trumbull, the famous American artist, shows the surrender of the
English general John Burgoyne to the Americans at Saratoga. New York, on October IT, 1777.

THE

AMERICAN

REVOLUTION

SURRENDER OF CORNWALLIS

The British general. Lord CornwalHs, surrendered to Washington at York-
town. Virginia, on October 19, 1781. The victory virtually decided the
Revolution in favor of the Americans.

have done the job just as well, if the advice of
Washington and other experts had been followed.
On the sea also the Americans began a great
career of naval success; or, rather, they repeated
the methods of earlier wars by sending out a
hornets nest of privateers, christened with such
gallant and suggestive names as The Charming
Peggy, The Fair Lady, The American Revenue,
The Black Joke, The Fair America, The Scotch
Irish, The Skunk, The Nimble
Shilling, and The King Tamer.
If they did not tame George III,
they did tame the British mer
chant and his representatives in
Parliament; for American priva
teers in the course of the war
captured about seven hundred
British merchantmen.

SURRENDER MONUMENT
YORKTOWN, VIRGINIA

GENERAL LORD
CORNWALLIS

And then there was the American navy; or rather
John Paul Jones, for in him the navy was concen
trated. It was a painful surprise to the British to
have the royal frigate Serapis taken in 1779 by the
Bonhomme (Bo-nom) Richard, a condemned mer
chant ship hastily fitted out in France. Jones is
already a sort of mythical figure, partly because of

THE AMERICAN REVOLUTION

BuelFs imaginary so-called biography; but he is the naval father of Hull
and Porter, and the grandfather of Farragut and another Porter, and the
great-grandfather of Sampson and Devvey.

THE CIVIL REVOLUTION

A revolutionary overturning came whenever the Union Jack was
hauled down and the Stars and Stripes hauled up. But the revolution
ary army was not the Revolution: it was like the line in a football match,
desperately holding back the other line while the backs get into play. The
real Revolution was an overturning of governments, and charters, and
political power. The revolving wheel whirled the old colonies out of
existence, and cunningly framed and
polished new state governments. The
Revolution turned the British empire
down, and pushed the United States of
America up. The Revolution rolled to
the bottom of the wheel Governor Gage
of Massachusetts, and Governor Tryon
of North Carolina, and Governor Dun-
more of Virginia; and up to the top
revolved Patrick Henry, and Benjamin
Franklin, and John Adams. The Revo
lution was like a religious conversion:
it set the American people out of their
old ways, and into a new upward path.

All that seems natural to us; for
we have been brought up on the tyranny
of George III, and the misgovernment
and plunder of the colonies by the Brit
ish government. We realize the bad
state of things much better than did the
Americans at the beginning of the Rev
olution. In truth the colonies were freer
from harsh and arbitrary government
than England, Scotland, and Wales, to
say nothing of what was then the sep
arate kingdom of Ireland. Every colony
had its local assembly: not a single
English county had one. In every
colony any freeman who had the neces
sary pluck and health could acquire
land and become a voter: in England
not a twentieth part of the adult men
could vote. The colonists laid their

JOHN PAUL JONES

Commander of the first American navy.
From the portrait by C. W. Peale.

BIRTHPLACE OF JOHN PAUL JONES
John Paul Jones, the "founder of the Ameri
can navy." was born in this cottage at Kirk-
bean, in Scotland, in 1747. He died in Paris
in 1792.

THE

AMERICAN

REVOLUTION

OLD BELFRY. LEXINGTON

MASSACHUSETTS

From this belfry was rung out the

alarm on the morning of April 19.

1775, calling the minute men to

assemble on the common.

PAUL REVERE S HOME
IN BOSTON

The tablet that may be seen between
the second and third stories of the
house was placed there by the Paul
Revere Chapter of the Daughters of
the American Revolution

own taxes and ex
pended them for
their own purposes:
Englishmen paid
taxes levied by a
Parliament over
which only a few of
them had control.
Apparently the
main cause of the
Revolution was that
the colonists could
do so much for them
selves that there
was no reason why
they should not do
substantially every-
thing for them
selves. They had a
personal attachment for England, the king, and the English system of
government, very like that now felt by the Canadians, and would have been
quite satisfied with the degree of self government that England has since
freely given to Canada. John Adams says, "That there existed a general
desire of independence of the Crown in any part
of America before the Revolution, is as far from
the truth as the zenith is from the nadir."
Then why revolt, especially when above a third
of the thinking people in America were opposed to
the Revolution, and had to be driven out or si
lenced ? To the original grievances of the Revolu
tion was added a stupid John Bull obstinacy, con
centrated in George III, but shared by a good part
of the British nation. These mistakes made by Eng
land are a fine example of what comes to a country
that falls into the hands of what are called the
" Interests " ; for Parliament was really nothing but
a combine of great titled families, who took in some
representatives of the cities and the merchant class.
One of the best results of the Revolution was that
it shook up the British aristocracy; and the best
proof that the Revolution was right is the admis
sion of Lord North, when the war was all over,
that it had been a great mistake, but that the nation
had made it, and not simply the prime minister.

PAUL REVERE
From the painting by the
famous American artist, Gil
bert Stuart.

THE

AMERICAN

REVOLUTION

The Revolution was worth all the blood and treasure that it cost,
because it lighted a new torch of popular government. There had been
plenty of government of the people in ancient and medieval times; but
at the epoch of the American Revolution the formerly democratic Swiss
and Dutch, and the free
citizens of the German and
French and Spanish cities,
had lost faith in them
selves. It was fashionable
to revere Demosthenes and
Cato and Brutus and the
Populus Romanus; but real
republican government had
about ceased on the earth
when the new constella
tion of the United States
appeared on the horizon.

The colonies had very
tidy little governments,
schools of politics, in which
the speaker of the assem
bly was commonly the
leader of a healthy opposi
tion to the governor; and
on that foundation they
built tidy little state gov
ernments, which showed
the prevalent belief that
governors were dangerous
creatures who ought to
have as little power as pos
sible; while legislatures
were a reflection of the
people s will which could
not err. The wheel of rev
olution has twirled back
ward in our day; for we
make governors and presidents great political leaders, and set our legis
lators on a one-legged race against the initiative and referendum. In
the midst of the confusion of the Revolution, when town after town was
picked up by the British, and nobody knew whether the Revolution would
win out, it is wonderful how well the state governments worked, and
how successful they were in putting on record the great principle of
the two kinds of law, fundamental or constitutional law, and statute law.

PATRICK HENRY ADDRESSING THE VIRGINIA

ASSEMBLY IN 1763.

He is famous for Ms speech supporting the resolutions to resist
the Stamp Act. At one point he exclaimed. "Caesar had his
Brutus, Charles the First his Cromwell, and George the Third "
"Treason! treason!" shouted the Speaker of the Assembly.
"Treason! treason!" shouted the members "and." Henry con
tinued. "George the Third may profit by their example. If this
be treason, make the most of itl "

THE

AMERICAN

REVOLUTION

THE CHAIR AND TABLE USED AT THE SIGNING OF
THE DECLARATION OF INDEPENDENCE

The finest work of the Rev
olution was the making of a na
tional government; for which the
army and the navy were in part
responsible, because a central na
tional power was all that could
save the army from capture and
the navy from destruction. The
Continental Congress became a
government before it knew it,
authorizing an army and navy,
borrowing money, issuing many
times more paper notes than it
could ever redeem, appointing
George Washington commander
in chief of the Continental forces, sending ambassadors to foreign countries.

Were men greater on the average then than now? Would Speaker
Clark and Senator Lodge of Massachusetts, and Senator Beveridge
bulk as big as Patrick Henry and Sam Adams and John Dickinson,
if revolution broke out now? "These are the times that try men s souls,"
said Tom Paine, and it was also a time that made men s souls! The one
indispensable man in the Revolution was George Washington; for there
was no other in the colonies who was so central, so immovable, a force.
But the Revolution would also have failed but for Benjamin Franklin, and
Thomas Jefferson, and the other civilians who built up the new government.

THE DECLARATION OF INDEPENDENCE

And they framed the Declaration of Independence! They framed it;
but Thomas Jefferson wrote it. He was bent on proving that the Revolu
tion was right. And, having taken an unpaid brief for his country, he found

twenty-seven good reasons for in
dependence, even at the cost of a
bloody revolution. Those reasons
are not the Declaration: the real
pith of that splendidly written
document is the brief statement
of "self evident truths"; among
them "that all men are created
equal, that they are endowed by
their Creator with certain una-
lienable Rights, that among these
are Life, Liberty and the pursuit
of Happiness, that to secure these
rights, Governments are insti-

BENJAMIN FRANKLIN

THOMAS JEFFERSON

THE

AMERICAN

REVOLUTION

OLD STATE HOUSE IN BOSTON
A crowd listening to the reading of the Declaration of Independence.

THE SIGNING OF THE DECLA
RATION OF INDEPENDENCE
From the painting by John
Trumbull.

tuted among Men,
deriving their just
powers from the con
sent of the govern
ed." Some of the
states made much
longer and fuller
statements of the
same kind; but this
is the bedrock of pop
ular government in
America. Time can
not tarnish, use can
not diminish, age
cannot weaken, this
splendid thought
that God Almighty
sends His children
into the world with

THE

AMERICAN REVOLUTION

SAMUEL ADAMS

From the painting by the

early American artist, J.

S. Copley.

equal political rights; that every human being has
an interest in that mutual understanding with
other human beings called society and government.

SOCIAL AND COMMERCIAL REVOLUTION

When Rip Van Winkle came back home he found
a new set of neighbors who scoffed at good King
George. The Americans lived in a changed world.
In the South most of the political leaders who were not
Englishmen took the patriots side, the Randolphs,
and the Peytons, and the Carrolls, and the Rutledges,
and the Pinckneys, and the Haynes, and when the
war was over the wheel had revolved under them, but
left them still at the top. In the North there was a
greater change, Sam Adams, the untitled leader of
the Boston town meeting, became leader of Massa
chusetts; John Hancock, the merchant accused of
smuggling, was governor; John Adams, the struggling
lawyer, was minister to England. Where were the rich and fashionable peo
ple who lived in the fine colonial mansions and drank too much Madeira?
Hundreds of them gone, exiled, driven forth, farming in the eastern
townships of Canada, waiting in the antechambers of the great in London.

EFFECTS OF THE WAR

That was a revolution that reached the wives and daughters, and the
handsome sons w r ho inherited their fathers silken suits and had expected
to inherit their dignities. It took the Americans thirty years to find
out how great a revolution they had undergone
in business; for when the war was over they had
an unpatriotic
hankering for the
broadcloths and
kerseymeres of old
England. For
their women folk,
dealers still
bought caliman-
cos, and padua-
soys, and oznabrig
linens, and India
muslins, through
reliable English
houses. Again
Great Britain

PARSON CLARK S HOUSE,

LEXINGTON

Here Samuel Adams and John Hancock
were sleeping when aroused by Paul Re
vere on his famous ride on April 19. 1775.

JOHN HANCOCK S HOUSE

IN BOSTON

Interesting not only in its historic
associations, but as an attractive
example of colonial architecture.

THE

AMERICAN

REVOLUTION

made the mistake of undervaluing the Americans;
and when they became independent told them to
be independent and suffer for it. Now that the
United States of America was a separate nation,
let it keep its vessels out of the trade with the
former sister colonies! It took long years to open
up other avenues of trade.

REVOLUTION IN THE WEST

Within the military and civic Revolution arose
another territorial revolution. When in 1 778 George
Rogers Clark with his few score frontiersmen slip
ped down the Ohio River and picked up the little
British towns of Kaskaskia, Cahokia, and Vincen
nes, he was blazing the trail into the West, and
opening that vast country to millions of Americans
still to be born or adopted, till they would in the
end rule the republic. Because of Rogers Clark, or
rather of the westward vision of the great men of
that time, Great Britain gave up the Northwest, and
then yielded the South

GEORGE ROGERS CLARK
An American general who in
ir78captured Vincennes from
the British. It was soon re
captured; but Clark took it
again after a terrible march
across country in midwinter.
He then conquered all the
country near the Wabash and
Illinois rivers.

west. With all its boldness and courage, ^
Revolution did not make a complete nation:
to become a world power, it was necessary to
cross the mountains and bind the Mississippi
to the sea. And the man of that time, who
was at the same time eastern and western, who
fought the French and took up lands and
planned roads and canals beyond the moun
tains, was George Washington, the greatest
soldier, best statesman, and most clear-sighted
business man of the Revolution.

SUPPLEMENTARY READING. "American Rev
olution," Claude H. Van Tyne; "American Revolu
tion," John Fiske; "American Revolution" (3 vols.),
George Otto Trevelyan; "Struggle for American Inde
pendence" (2 vols.), S. G. Fisher; "George Washing
ton " (5 vols.), John Marshall; "American Statesmen"
series (16 vols.); "Literary History of the American
Revolution" (2 vols.), Moses Coit Tyler; "Paul
Jones," Norman Hapgood; "Letters and Memoirs,"
Madame Rediesel; "The Spy," James Fenimore
Cooper; "Hugh Wynne," S. Weir Mitchell; "The
Partisan," William Gilmore Simms; "Alice of Old
Vincennes," James Maurice Thompson.

MERIWETHER LEWIS

Companion of William Clark in his

western explorations.

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Volume I

DECEMBER 8, 1913

Number 43

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
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Editorial

In the early part of the nineteenth
century the United States Government
realized the importance of having a record
on canvas of the nation s great historical
events, and several painters of that day
produced pictures that hold places of
honor in our Government buildings. John
Trumbull was the foremost of these
painters.

There has been a demand for several
years for new historic paintings. The
feeling exists that the painters of one hun
dred years ago could not have the per
spective to portray the Revolution cor
rectly, no more than a historian of the
same period could write its history. The
time has come for modern artists in
American historic art. The World s Fair
at Chicago gave an impetus to the work,
especially in decorative form. As a re
sult, public buildings erected within the
past twenty years show many interesting
and distinguished examples of historic art
in mural decorations, by such artists as
Blashfield, Kenyon Cox, C. Y. Turner,
and others. There is a demand now from
many sources from galleries, Federal and
state governments, and from schools
for historical pictures which shall be true
and shall also be worthy examples of mod
ern work. -***

This number of The Mentor contains
four distinguished examples of modern
historical art. Three of them are the
work of Mr. Henry Mosler, and were
painted within the past five years.

Mr. Mosler has been known as an artist
of great distinction for a long time. As
early as 1874 ne won a rnedal at the Royal
Academy of Munich, and he won the
Thomas B. Clarke prize in the National
Academy of Design, New York, in 1896.
Mr. Mosler, therefore, brought the ripe
powers of a master painter to the work,
and he has produced four paintings of
great art value and historic importance.

* * *

The first picture, which appeared four
years ago, js entitled "Ring, Ring, for
Liberty," and represents, with great
strength and vigor, the old bell ringer in
the cupola of Independence Hall, who
sounded the note of liberty in July, 1776.
Three years ago Mr. Mosler finished his
painting of Betsy Ross and her compan
ions making the first flag, which is re
produced in this number of The Mentor.
Mr. Mosler based his work on careful
sketches made in the Betsy Ross house
on Arch Street, Philadelphia. Our read
ers will surely feel the grace and charm as
well as the vital interest of this picture.

* * *

Many have said that our country
needed a new painting of "Washington
Crossing the Delaware." The familiar
composition, by Leutze, is regarded as
stiff and constrained and as lacking a sense
of reality. Mr. Mosler s picture gives a
true and spirited conception of the event,
based on historical study and on sketches
made in the winter time at the point of
the Delaware where Washington crossed.
The painting of Paul Jones is a vivid
dramatic presentment of a historical sub
ject that has never heretofore been pic
tured in an adequate manner.

* * *

Another interesting picture in this
group is the "Signing of the Declaration
of Independence," by Miss Sarah Ball
Dodson. The actual life and spirit of the
scenes in Independence Hall during July,
1776, have not been fully realized by other
artists. Miss Dodson s picture is a striking
presentment of the scene, distinguished
not only for its art value but for its truth.
Each figure is an actual portrait and
takes an earnest, living part in the com
position. Miss Dodson was a native of
Philadelphia, and knew her subject at first
hand. Her death some years ago was a
distinct loss to American art.

The Mentor Week by Week

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DECEMBER 15 1913

VOLUME 1 NUMBER 44

FAMOUS
ENGLISH POETS

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FAMOUS ENGLISH POETS

By HAMILTON W. MABIE, Author and Critic.

THE MENTOR

DECEMBER 15, 1913

DEPARTMENT OF
LITERATURE

MENTOR GRAVURES

BYRON

SHELLEY

KEATS

WORDSWORTH
TENNYSON
BROWNING

JOHN KEATS

PERCY BYSSHE SHELLEY

MODERN English poetry is rich not only in its quality, but in its
variety, both of theme and of manner. The exuberant imagination
and splendid profusion of Swinburne are in striking contrast with
the restraint and clearness of style of Matthew Arnold; the fluency and
narrative faculty of William Morris, with the strongly etched and power
fully phrased work of Francis Thompson and Henley. The classical
dignity of Landor, the humor of Hood, the seriousness of mood of Clough
(kluff), the pictorial genius of Rossetti, the fresh invention of Stevenson
and Kipling, suggest the range of poetic production of an age not
matched in wealth of genius since the age of Shakespeare. Among the
throng of poets who made lasting contributions to English literature
during the nineteenth century, six may be regarded as most representative.
Byron died ninety-one years ago; but, although there has been a
great change in the way poets look at life and in their way of writing
verse, he holds his place as one of the greater poets, not only in reputation,
but in popular regard; and for two reasons, he was one of the born
singers to whom men will always stop to listen, and he was also a poet of
revolt. He is not read in this country as Browning and Kipling are read;
nor, on the other hand, is he neglected as Milton and Landor are neg
lected. His stormy nature and his tempestuous career add an element
of personal interest to the claims of his poetry upon the attention of
reading people today, and he is one of those men of genius about whom
it is difficult to be judicial: those who like his work become his partizans,
those who dislike him charge him with insincerity and immorality.
It must be frankly confessed that Byron. had moments of insincerity,
and that he often posed; but he was largely the victim of his tempera
ment. Mr. Symonds has said of him that he was well born and ill bred.

FAMOUS

ENGLISH

POETS

He had noble impulses, and he had the strong passions that give energy
of feeling and vitality of imagination to many of the greatest men and
women; but he had neither clearness of moral vision nor steadiness of
purpose. He had great genius; but he was neither intellectually nor
morally great. And yet he had such force of mind and eloquence that
Goethe, (gay -te) who was the greatest critic of his time, if not of all time,
declared that the English could show no poet to be compared with him.

BYRON S PLACE AMONG POETS

What ground was there for an estimate which gave Byron a place by
himself among English poets ? " English Bards and Scotch Reviewers " was
a telling satire written by a confident boy of genius, effective in " hits " which

the time understood, but
defective in critical in
sight; "Childe Harold,"
the early stanzas of which
appeared after travel had
inspired him, was a splen
did piece of rhetoric which
often attains a very noble
eloquence. "The Giaour"
(jow -er)," Manfred," the
"Corsair," "Lara" (lah -
rah), stirred an age which
was in revolt against rigid
and often artificial con
ventions. "Don Juan"
(hoo-ahn ), like "Childe
Harold," is a poetic jour
nal which lacks dramatic unity, but
contains descriptions of compelling beauty.
Some of the shorter pieces, like the "Pris
oner of Chillon," "When We Two Parted,"
"She Walks in Beauty," have the power
of deep feeling when it becomes eloquent;
while such stanzas as "The Isles of Greece,"
scattered through "Childe Harold," make
history as moving as poetry.

Byron had richness of imagination
rather than wealth of thought; he had a
full-throated, operatic voice rather than
purity of tone; he had splendor rather than
clarity of mind; he had great natural force

NEWSTEAD ABBEY
Byron s Home.

BYRON S MOTHER

From the painting by Thomas Steward-
son in possession of John Murray.

FAMOUS

ENGLISH

POETS

LADY BYRON
The wife of the poet.

LORD BYRON

From the engraving by Lupton after the
painting by Thomas Phillips.

of genius rather
than command of
the resources of
art. He was gen
erous in impulse,
enthusiastic in
temper, and he
loved liberty. It
was the presence
of these qualities
in his nature, and
his spirit of revolt,
that led Mazzini
(maght-see -nee),

to predict," The day will come when Democ
racy will remember all that it owes to Byron!

SHELLEY

Shelley, too, was a lover of freedom;
but of a freedom that was the breath of
the soul rather than social or political lib
erty. He lacked humor, he bore no yoke
in his youth, his father was a matter-of-fact and eccentric tyrant, and the
boy of genius lost his way in a world w r hich nobody helped him to under
stand. When one reads the story of his brief and confused career, of
the shabby and immoral things he did, it must be remembered that
he discovered how to fly, but nobody taught him how to walk. He
was always a splendid, wayward child, to whom visions were more
real than facts. He died at thirty, and his life was only a beginning.

But what a splendid prelude it was! "Alastor," the "Stanzas
Written in Dejection," the "Ode to the West Wind," "The Cloud," the
immortal lines "To a Skylark," are flights of poetry which reflect the
splendor of the sky under which they seem to move as if impelled by
wings. "Prometheus Unbound," "The Revolt of Islam," and other long
poems show his hatred of tyranny, whether human or divine, his ardent
passion for humanity. He was only at times a great artist: his verse
often lacks substance and reality, and has the beauty and remoteness of
cloud pictures. His critical faculty was obscured by the spontaneity and
facility of his creative moods; but he had the power of growth. His best
work was at the end of his career, and he died at the moment the signs of
maturity were showing themselves. He had no creed save that of resist
ance to tyranny, and he defined nothing; but he had noble visions, a
beautiful voice, a splendid faith. With all the faults of his youth, and

FAMOUS

ENGLISH

POETS

SHELLEY S BIRTH
PLACE

Here the poet was born
August 4, 1792.

SHELLEY AS A CHILD

From a copy by Reginald Easton of

the Due de Montpensier s minature

of Shelley, in the Bodleian Library.

THE SHELLEY MEMORIAL
Designed by E. Onslow Ford.

they were of tragic seriousness, there was
something angelic about him, and he made
life richer and more splendid.

KEATS LOVE OF BEAUTY

The poets of the first quarter of the last
century died young: Byron at thirty-six,
Shelley at thirty, Keats at twenty-six. What
Byron s future would have been no one will
venture to predict; but Shelley and Keats
were rapidly gaining in power when the
end came. The first was the fiery leader of revolt, the second was
the idealist, concerned, not with present oppressive traditions, but with
untrammeled freedom of thought and of life.

Keats cared for none of these things: he was in love with beauty.
One must go back to Spenser to find an Englishman of his sensitiveness
to beauty, and he was much simpler than Spenser, whose moral idealism
expressed itself in a refined symbolism. Keats was the son of a stable
keeper, went to school for a few years, and was conspicuous chiefly for his
pugnacious disposition. The impression that he was a weak, sentimental
boy and man is without foundation. He became the victim of a heart
breaking disease; but his was essentially a brave and manly nature.

His later work is notable not only for its beauty, but for its solidity
of texture. He became an apprentice to a surgeon. Through his acquaint
ance with a family of cultivated people he became a reader of good books,
and discovered his vocation when he opened the "Faerie Queene." That
poem did not make him a poet: it opened his eyes to the fact that he was

FAMOUS

ENGLISH

POETS

KEATS AT HOME

all things." He not only loved it, but gave
it illustration in short poems of unsurpassed
perfection. "The Eve of St. Agnes," the
"Ode to a Nightingale," the "Ode to Au
tumn," the "Ode on a Grecian Urn," have
a deathless loveliness and are stamped by that
finality of shape which marks the best pieces
of Greek sculpture. Matthew Arnold said
of these shorter poems that they had "that
rounded perfection and felicity of loveliness
of which Shakespeare is the great master."

WILLIAM WORDSWORTH

While these poets died before maturity,
Wordsworth, Tennyson, and Browning had
ample time in which to harvest all the
fruits of their genius. Wordsworth s life
was in striking contrast to the lives of
his brilliant contemporaries. Born before
them, he lived twenty-seven years after the
oldest of them died. Byron was an exten
sive traveler, Shelley lived five years in
Italy, and Keats last months were spent in

a poet. "Endymion," published when he was
twenty-three years old, was immature in con
struction and diction; but it was the first
bloom of a beautiful genius. "Hyperion,"
which came near the end, is a fragment, for
he was still very young in knowledge of life
and the practice of art; but it has nobility
and a certain largeness of handling that pre
dict strength as
well as art. The
first line of "En
dymion " showed
where he stood as
a poet, "A thing
of beauty is a joy
forever," and on
his deathbed he
said, "I have
loved the princi
ple of beauty in

THE GRAVE OF KEATS
Keats died in Rome on February 23.
1821. and was buried in the Protestant
cemetery. His last request was that
on his tombstone there be carved.
"Here lies one whose name was writ
in water."

THE LIFE MASK OF KEATS
Attributed to Haydon by the artist
Joseph Severn. From a cast made in
New York, presumably from a cast of
the original. An electrotype of the
mask is in the National Portrait Gal
lery. London.

FAMOUS

ENGLISH

POETS

the same country. Byron died in
Greece, Shelley was drowned in the
Gulf of Spezia (spet -see-eh), and
Keats came to the end of his suffer
ings in the little room that looks out
on the Spanish steps which are gay
with flowers in the Roman spring.
With the exception of a brief
residence in France and Germany,
Wordsworth spent eighty years on
English soil, and mainly in the
Lake Country. He was born in the
North, went to school in a little
village near Lake Windermere, and
spent his life at Grasmere and at Rydal
Mount only three or four miles distant.
His life was free from struggles, either
mental or material, and was one of medi
tation and quiet growth. In contrast with
Byron, he was a poet of reflection; unlike
Shelley, he saw Nature as the intimate

companion of
the spirit;
and he sought
beauty in the
simplicity of
obscure lives
and daily ex
perience rath
er than in the
richness of

WORDSWORTH S BIRTHPLACE IN THE
LAKE REGION

DOVE COTTAGE
At Town End, Grasmere.

GRASMERE CHURCH

WORDSWORTH S MOTHER
By Margaret Gillies.

imagination

or in that fairy land of mythology which
laid its spell on Keats. He was deeply re
ligious, and saw Nature as a revelation of
the divine mind; a visible and material
creation, penetrated and filled by the divine
spirit. His years of inspiration were few;
but his conscientious industry was untiring.
In his creative moods he wrote some of the
noblest and most perfect poetry in English;
in his moods of faithful industry he wrote
much thoughtful but unpoetic verse. In
the latter class fall his long poems; in the

FAMOUS

ENGLISH

POETS

RYDAL MOUNT
Wordsworth s home.

former class fall many of his shorter pieces, in which lofty thought and

deep feeling are fused in an art of exquisite simplicity and purity. The

Prelude" and "The Excursion" contain passages of great beauty; but

they are valuable chiefly to stu
dents. In the ten years which

followed the publication of the

"Lyrical Ballads" in 1798 he

wrote many poems which are

for all people and for all time.

Such poetry as "Lucy," "To a

Highland Girl," "The Solitary

Reaper," "To a Cuckoo,"^ "I

Wandered Lonely," " She Was a

Phantom of Delight," "Three

Years She Grew in Sun and

Shade," ought to be planted in

the minds of children as refuges

from the commonplace, and as

a protection from all that is

cheap and inferior in life and art.

In the "Ode to Duty," that on

"Intimations of Immortality,"

in many stanzas from the long

poems, and in a group of son
nets, Nature and Life are in
terpreted in an art w r hich is

both commanding and beautiful.

At his
best, in
depth

of thought, loyalty to truth, spiritual insight,
purity of feeling, and that simplicity which is
the last achievement of art, Wordsworth belongs
among the half-dozen great poets of England.
It is too soon to assign their permanent
places to Tennyson and Browning; but there
is little doubt of their survival among the
singers whom the world will not forget. Both
were fortunately born and well educated, though
in different ways; both were happily situated
in life; both had ample time in which to give
full and rounded expression to their genius.
Fame did not come early to either; but it dis
covered Tennyson in middle life, and for three

ALFOXDEN HOUSE
Wordsworth s temporary home as It is now.

WILLIAM WORDSWORTH

FAMOUS

ENGLISH

POETS

TENNYSON S BEAUTIFUL HOME
Aldworth. at Haslemere, Surrey, England.

or four decades it invested him with
immense authority. Both were think
ers and students as well as singers,
and both had ample intellectual re
sources. Tennyson was the finer
artist; he was, indeed, one of the
most perfect artists in the history of
poetry. He had command of both
harmony and melody; in other words,
he could build a poem on strong con
structive lines, and he could make it exquisitely musical. He mastered
the resources of words; he knew how to use consonants and vowels
so as to make his lines sing in the ear; he understood what can be done
with assonance (resemblance in sound), repetition, alliteration. He

ALFRED. LORD TENNYSON
From the etching by Rajon.

ALFRED, LORD TENNYSON
Photographed by Mrs. H. H. Cameron.

LADY TENNYSON
From painting by G. F. Watts.

HALLAM, LORD TENNYSON
The son of the poet.

ALFRED. LORD TENNYSON
From a mezzotint by T. A. Barlow, after the painting by Sir John E. Millait. made in 1881.

FAMOUS

ENGLISH

POETS

ROBERT BROWNING

From a portrait painted at Rome In

1859 by Field Talfourd.

was an expert workman ; but never a mechanic
alone. The stream of thought was not locked
in poetic forms : it flowed freely through them.
His art is so perfect that it conceals itself.
He was not only a poet of exquisite skill, but
he was a vigorous and independent thinker.
The future historian of the intellectual and
spiritual history of the nineteenth century will
find "In Memoriam" what is called "an orig
inal authority" of far greater value than the
formal records of the time. Some of the early
short poems which captivated young readers
in the ? 3o s and 4o s of the last century seem
somewhat thin and artificial today; but the
great mass of Tennyson s poetry has sub
stance as well as quality, and such poems as
" Ulysses," " Sir Galahad,"
the "Two Voices," have a
noble reach of thought as
well as a compelling music,

w r hile the magic which lives in "Break, Break, Break,"
the songs from "The Princess," "Crossing the Bar,"
does not lose its spell. In power of thought, in deep relig
ious feeling unbound by dogmatism, in faith in or
dered liberty, in love of home, and in passion for beauty,
Tennyson is the central figure of the Victorian Age.
Browning is not so broadly representative of the

movement of the age.
He gave dramatic ex
pression to one aspect of
its experience; but that
aspect was of thrilling
interest. Tennyson did
not miss the significance
of individual impulse; but
he saw men in ordered
ranks, in social relations.
He felt and expressed the
collective experience of
his age. Browning felt
and expressed the ex
perience of individual
souls, of "Paracelsus,"

BROWNING S HOME.

1887-9

De Vere Gardens. Ken
sington. London. Eng
land.

THE PALACE IN VENICE WHERE

BROWNING DIED

It was in this house, surrounded by all the

beauties of Venice, that the poet breathed

his last on December 12. 1889.

FAMOUS

ENGLISH

POETS

" Luria." He is the interpreter of exceptional
experiences and natures, of "Abt Vogler,"
Andrea del Sarto, the Renaissance Bishop.
He knew secrets of great and mean souls,
of Pompilia and the Pope, of "Half Rome"
and Caponsacchi (kah"-pahn-sock -kee),
in "TheRing and the Book,"of "The Patriot,"
and of the husband of "The Last Duchess." He
was a psychologist of penetrating intelligence,
and his passion for analysis and dealing with
problems sometimes ran away with him, to use
a colloquialism; hence the perplexities which
beset the student of some of his work and
the organization of clubs to interpret him.
Browning was often a very effective
artist; but he was often very indifferent to
form, and there are long productions of his
which are intensely interesting but are not
in any proper sense poetry. Time will sep
arate the experiments in psychology from the achievements in art, and
there will remain a body of poetry which appeals powerfully to men and
women of intellectual interests and habits; a poetry notable for its reading
of the secrets of individuality, its splendid optimism based on faith in the
individual soul and in the purpose and power behind the universe, in the
sense of freedom to take and use life daringly, in the impulse to action and
spiritual venture, for its bold imagery and strong phrasing. Such poems as
"Prospice," "Rabbi Ben Ezra," "Childe Roland to the Dark Tower
Came," are not only impressive poetry,
but have the note of the bugle in them.

ELIZABETH BARRETT BROWNING

From a portrait painted at Rome in

18S9 by Field Talfourd.

SUPPLEMENTARY READING. " Life of
Wordsworth," Professor Knight; "Words
worth," F. W. H. Myers (English Men of
Letters Series); "Life of Shelley," Medwin;
"Shelley," J. Addington Symonds (English Men
of Letters Series); "Life, Letters and Literary
Remains of John Keats," Richard Monckton
Milnes; "The Works of Lord Byron, with His
Letters and Journals and His Life," Thomas
Moore (17 volumes); "The Real Lord Byron,"
J. C. Jeafferson (2 volumes); "The Life and
Letters of Browning," Mrs. Sutherland Orr;
" Browning," G. K. Chesterton (English Men
of Letters Series); "Alfred, Lord Tennyson: a
Memoir," Hallam, Second Baron Tennyson;
"The Life of Lord Tennyson," G. C. Benson.

MRS. BROWNING S TOMB

IN FLORENCE. ITALY

Elizabeth Barrett Browning was herself a poet

of exceptional genius: she was born in 1806.

married to Robert Browning in 1846. and

died in 1861.

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MAKERS OF AMERICAN ART

By J. THOMSON WILLING

WEST

COPLEY

STUART

THE MENTOR

DECEMBER 22, 1913 DEPARTMENT OF FIXE ARTS

MENTOR GRAFURES

LADY WENTWORTH

By John Singleton Copley 1737-1815
CHRIST REJECTED

By Benjamin West 1738-1820
GEORGE WASHINGTON

By Charles Willson Peale 1741-1827

ALEXANDER HAMILTON

By John Trumbull 1756-1843
DOLLY MADISON

By Gilbert Stuart 1755-1828
A SPANISH GIRL

By Washington Allston 1779-1843

EARLY art in America was distinctly commercial, in that it conformed
to the law of demand and supply. In those prephotographic days
records were desired of the appearance of people who were gradually
coming into an easier mode of living than their ancestors, the hardy pio
neers, had been able to acquire. The Colonial official, the landowner, the
merchant, all wished to emulate in little the great folk of the Old World,
and have family portraits. The craftsmen to supply the demand were
few, and the quality of their art far from fine. The Colonial period was
barren of good production. It is marvelous that in this pictorially un
cultured time, without the stimulus of good examples to be seen and of
fellow strivers to instruct, such wonderfully good workers in art should
arise as Copley in Boston and West in Pennsylvania, and a little later Mai-
bone in Newport, who in miniature work outclassed anyone then working.
After study in Europe these men s work was broader and better; but yet
much of their early work indicates their caliber.

MAKERS

OF AMERICAN ART

MR. and MRS. IZARD (Alice DeLancey)
By Copley, in Boston Museum of Fine Arts.

EARLY AMERICAN
PORTRAITS

After the proclamation of
peace the people were more
prosperous and the portrait
market was good. Not only
family portraits were wanted,
but portraits of political he
roes. The commercial artist
was there to take orders and
deliver the goods. The goods
he delivered were of a very
high grade of workmanship.
After the individual portrayal
came the order for the histor
ical picture, the celebration of

the dramatic moment and the great event. Further^ than these two
classes of pictures the earliest art did not go ; The life of the day in
all its human aspects of picturesqueness was ignored. The genre pic
ture did not come until about the middle of the nineteenth century.
In England, Benjamin West, who had gone there about his twenty-
fifth year, was painting biblical and mythological subjects, inspired by
his stay in Italy; for Italy was yet the field for art inspiration. He
received extended patronage from King George, and succeeded Reynolds
as president of the Royal Academy. "Christ Healing the Sick," in the
Philadelphia Hospital, and the "Death
on the Pale Horse," in the Pennsylvania
Academy, are two of his best known works
in America. The latter is an immense
canvas, melodramatic in character, and
carrying no direct message to modern
observers. West seems to have wished to
impress by size and industry. In regard
to color he always remained a Quaker.

THE GENEROSITY OF WEST

Perhaps West s best contribution to
the art development of America was the
splendid generosity of his welcome to his
young compatriots when they came to
London to study. His was the hand that
gave them greeting, his the studio and the
home that were at their service, and his

JOHN QUINCY ADAMS
By Copley, in Boston Museum of Fine Arts.

MAKERS

OF AMERICAN

ART

the mind that directed their work. To him came Matthew Pratt of Phila
delphia, though his senior, and stayed four years, returning then to his na
tive place and carrying on his profession there. The Peales, father and son,
were indebted to him for their training. Dunlap and Trumbull and Stuart
all studied under his tutelage. Allston sat at his feet as a devout disciple,
becoming a veritable legatee of his mode of thought and of his manner.
This manner was evolved from a contemplation of grand subjects, alle
gorical, religious, mythical, and historical. Neither he nor West was an
observer of the life of their day; though West did a radical thing, a great
service to natural art, when he painted the Death of Wolfe with all the
figures therein clad in the regimentals they then wore, and not in classic

MRS. DANIEL DENISON ROGERS
By Copley.

MRS. FORD
By Copley, in Hartford Athenaeum.

garb, as historic happenings had hitherto been painted. His work had little
beauty of color, little atmosphere, and no spontaneity. It has not held its ap
preciation as have other more natural paintings of that time. To Boston, in
1725, had come John Smybert, from London, a protege of Bishop Berkeley.
He there painted many portraits until his death in 1 75 1 ; though his work
had little merit. He was the forerunner of Copley, the first able native artist.

THE DISTINCTION OF COPLEY

In his youth Copley had the slight advantage of some instruction from
his stepfather, Peter Pelham, the engraver; but early acquired a style of

MAKERS OF AMERICAN ART

THE AMERICAN ACADEMY
By Matthew Pratt, in the Metropolitan Museum, New York.

his own. His technic was
not very fluent; but his
design was good, his draw
ing remarkably true, and
his characterization unus
ual. A dignified formality
pervaded his canvases, as
befitted the sitters of his
native Boston. It is said
that a Copley portrait in
a New England family is
a certificate of aristocracy
and social standing. He
painted textures well,
though somewhat labor
iously. "Large ruffles,
heavy silks, silver buckles,
gold-embroidered vests, and powdered wigs are blent in our imagination
with the memory of patriot zeal and matronly influence," writes Tucker-
man. But those adjuncts to the personality would not be so associated

with the patrician Colonials had not
Copley rendered them so well. None
of the early painters so accurately
gave the spirit of their time as he.
As we can glean from Lely s por
traits of the beauties of the Car-
olean Court the free and easy man
ners that were its atmosphere, so
from Copley s portraits we get the
moral atmosphere of that Colonial
time, with the reserve and self-
respect of its men and the virtue
and propriety of its women. He did
not go abroad until he was thirty-
seven years old. In England he was
well received, and had many com
missions. He was made an A. R.
A. in 1777, and a full academician
in 1779. Shortly after this he was
commissioned to paint "The Siege

of Gibraltar." His son, Baron Lynd-

BENJAMIN WEST hurst, became lord chancellor, and

By Sir Thomas Lawrence, the English portrait painter. Collected many of his father s

MAKERS OF AMERICAN ART

THE PEALES, A FAMILY OF PAINTERS

Charles Willson Peak s fame is almost wholly derived from his por
traits of Washington, of which he painted fourteen from life, extending
in time from 1772 to 1795. His earliest shows Washington in the uniform
of a British Colonial colonel, and is now in the possession of Washington
and Lee University.

Washington is known to have sat forty-four times to various painters.
Based on these comparatively few sittings have been more portrayals on
canvas than have been accorded to any man in history, with the possible
exception of Napoleon. A collection of engraved portraits of him has
been made which included over four thousand plates. Rembrandt Peale,
a son of Charles Willson Peale, contributed a cumulative fame to the
name, as he also painted Washington, as well as Jefferson, Dolly Madison,

and other political and t

social leaders. He, as
well as his father and
his uncle, James Peale,
all worked at times in
miniature. In the work
of father and son there
was little merit, little
invention, but a cred
itable craftsmanship.
They recorded the ap
pearance of the people
of their day with un
inspired fluency.

THE ART OF
TRUMBULL

KING LEAR
By Benjamin West, in Boston Museum of Fine Arts.

John Trumbull s
standing, like Peale s,
is attained largely on
his renderings of Washington. He had much opportunity for observing
the general, and this contributed much to the accuracy of his compositions,
but little to the fineness of his art. He is fortunate in having many of
his works gathered together in the Yale School of Fine Arts; for in the
aggregation they are impressive, as being a dignified and graphic pre
sentment of the important events of the Revolutionary period. These
canvases are not large. Indeed, much of his work was in the nature of
miniatures in oil. He made many careful studies from life of those persons
he introduced into his historical compositions. His picture of the signing
of the Declaration of Independence was painted in 1791, when most of

MAKERS OF AMERICAN ART

the _ signers were yet living, and from all of these he obtained sittings.
Claim has been made that he was the greatest of the early painters in
America. He was, in the sense of having made the truest record. But in
the sense of being the best according to our latterday conception of art, as
being something other than a labored and literal rendering of a fact, he was

inferior to both Copley and Stuart.

GILBERT STUART, MASTER
IN PORTRAITURE

InGilbert Stuart we had the most
valuable art worker. His portraits,
while good records, had also beauty
and charm. His color was fresh and
brilliant. He gave his subjects poise
and personality. His pictures were
vital. He had not the faculty for de
sign and composition to the extent
of the great Englishmen, Reynolds
and Gainsborough; but he had a
technic that was not inferior. For
tunate has been the nation that has
known its heroic founders through
the medium of Stuart s picturing.
Indeed, much of our modern regard
for those heroes has been engen
dered by these dignified yet very
human presentments. Of Philadel-

phia families he WaS the tTUC hlS-

torian, and of Boston society he
w r as the splendid chronicler that outshone its own Copley. In England,
after studying with West, he ranked high for several years in that, the
greatest period of English art. He returned to America in 1792, and after
spendingtwo years in New York went to Philadelphia to paint Washington.
Apart from the several celebrated pictures of the first president, his
best work was done in the decade in which he resided in that city. It
has been the policy of the Pennsylvania Academy of Fine Arts to acquire
as many of these works as possible. More than a score are now in its
possession, including portraits of Presidents Monroe and Madison, and
the famous Dolly Madison canvas. Stuart painted as many as three
sets of the first five presidents, one of which was destroyed by fire in
Washington. One set is now privately owned in Boston. What is known
as the Lansdowne portrait is in the Philadelphia gallery. In design and
general impressiveness, though not in features, it is one of the most sat
isfactory of all the presidential picturings. The Gibbs-Channing portrait,

c w PEALE

Portralt by the painter. In the Pennsylvania Academy.

MAKERS

O F

AMERICAN

ART

JOHN TRUMBULL
Painted by himself.

WASHINGTON TAKING LEAVE OF HIS GENERALS
By Trumbull, In the Yale School of Fine Arts.

now in the Metropolitan Museum, New York, is
the finest in facial modeling. Stuart made many
replicas of the few Washingtons he painted from
life especially was this so of the Athenaeum head.
Much controversy has arisen as to which of the
many Washington portraits is the most accurate.
The fact of the absolute dimensions of any feature
is of little moment to later generations. What is
of greatest moment is the poise, the nobility, the
grandeur, the serenity, the faith, the wisdom, the
Homeric mold, of the man, and these a grateful
people has come to think were intimated more
fully by Stuart than by any of the other portrayers.

STUART S PORTRAITS OF WOMEN

Stuart is quoted as saying "Houdon s bust is the best, and after that,
my portrait." We can well be content to accept these as the two ideal
renderings. It has been claimed that he was not very successful in por
traying female beauty. This is a contention that is hard to controvert.
He did not prettify his sitters in the way Lawrence did; but he surely
made them humanly lovely. Rebecca Smith, Anne Bingham, Frances

MAKERS OF AMERICAN ART

ELIZABETH BEALE BORDLEY

MRS. WM. JACKSON
Women s portraits by Stuart.

FRANCES CADWALADER

Cadwalader, Elizabeth Bordley, and Sallie McKean, all reputedly hand
some in the written testimony of that period, have certainly not suffered
in that repute by Stuart s painting of them. And Betsy Patterson, she
of the wilful temperament and romantic career, who married the brother
of an emperor, lives for all time as a beauty because of the ability of
Stuart. Of this handsome woman a contemporary writes, "Mme. Jer
ome Bonaparte is a model of fashion, and many of our belles strive to
imitate her; but without equal eclat, as Madame has certainly the most

beautiful back and shoulders that ever were

seen," and again, "To her mental gifts
were added the beauty of a Greek, yet
glowing, type, which not even the pencil of
Stuart adequately portrayed in the ex
quisite portrait that he wished might be
buried with him: not yet on his other can
vas which, with its dainty head in triple-
pose of loveliness, still smiles in unfading
witchery." Whether or no he painted her
as lovely as life, he produced a canvas
that has great individuality and charm.

THE CULTURE OF ALLSTON

Washington Allston had a great reputa
tion in his day; but his product was incon
siderable and not of a quality to justify
the standing he then had. He had greater
culture and a finer intellectuality than

THE GIBBS-CHANNING PORTRAIT OF

WASHINGTON
By Stuart, In Metropolitan Museum. N. Y.

MAKERS OF AMERICAN ART

perhaps any other artist in the United States in its first century.
His was a sensitive nature. He lived in the spirit. For the high, the
lovely, the perfect, he strove all his days. Yet that high ideality and that
earnest Driving had little effect on the art of his time. He was honored
by his literary contemporaries; but his work was not emulated to any ex
tent by his fellow artists. His work was an intellectual expression. Its
tradition was continued by Thomas Cole, who painted landscape
as an allegorical message.

Allston was born near Charles
ton, South Carolina, spent his
youth at Newport, where he be
came intimate with Malbone,
and after graduating from Har
vard went abroad to study. The
Italians attracted him; but he
found his way to London, where
he associated with Coleridge and
other literary celebrities. He
was made an A. R. A.; but
returned soon thereafter to Bos
ton, working there from 1818
to his death in 1843. He laid
much stress on his technical
processes in painting. His pic
tures had none of the spon
taneous quality of his sketches
and studies. His was an art
totally at variance with the
mode of the present day. We
feel in Copley s canvases a
very modern quality, and in most of Stuart s, but not in Allston s.

VANDERLYN AND SULLY

A more modern man, though not so celebrated, was John Yanderlyn,
a native of Kingston, New York, who spent many years in Paris. He
had aspiration after beauty for its own sake. His Ariadne, owned
by the Pennsylvania Academy, was really the first important
nude painted here. Such subjects in those days caused much protest.
This artist s life was a stern struggle against ad verse conditions; though he
greatly deserved success. In the rotunda of the Capitol at Washington
is his Landing of Columbus, a work that docs not well represent his
ability. His portrait work carried through the traditions of the Revo
lutionary days to that period of the early half of the nineteenth century
when Thomas Sully and Henry Inman were the leaders. The latter was

ELIZABETH PATTERSON.

MME. JEROME BONAPARTE

By Stuart.

MAKERS OF AMERICAN ART

WASHINGTON ALLS TON

Miniature by Malbone, Boston

Museum of Fine Arts.

born in Utica in 1801, and lived but forty-five
years. His work was uneven, but at its best,
as in the Henry Pratt portrait in the Pennsyl
vania Academy, is comparable to Raeburn. He
painted Wordsworth, Macaulay, Dr. Chalmers,
and other men of mark in England, on com
missions from their American admirers. Though
Sully was a pupil of Stuart, he entirely lacked the
master s authority of manner. His was a timid
technic, without freshness of color or firm char
acterization. His life was a long and successful
one, spent chiefly in Philadelphia, and he had
many celebrities as sitters, Queen Victoria,
Fanny Kemble, and General Jackson are among
his best known canvases. Of the work of
Sully the Pennsylvania Academy has, besides several portraits of
the artist himself, a large number of his canvases. This policy of the
chief galleries of Boston, New York, and Philadelphia, of acquiring works,
of the several worthy artists of the older time, has become a more diffi
cult one to follow as the years go
on, and the ancestral portrait, the
family heirloom, becomes precious
beyond price.

THE BEGINNING OF AMERICAN
MINIATURE PAINTING

Treasured with even greater
reverence is the old time min
iature. There was no produc
tion of this form of art in the
Colonial days, but its practice
developed after the Revolution,
and had its chief exponent in Mai-
bone, who, though living but from
1777 to 1807, is to this day one of
the very best artists of the portrait
in little. Excellent draftsman
ship as well as good coloring gave
his work a structural firmness un
usual even in Cosway s produc
tions. His best known picture was
an imaginative composition en
titled "The Hours," which is now
in the Athenaeum at Providence,

DEAD MAN RESTORED TO LIFE BY TOUCHING

BONES OF PROPHET ELISHA
By Allston. Pennsylvania Academy.

MAKERS OF AMERICAN ART

EDWARD G. MALBONE

JOHN VANDERLYN
Painted by himself. Metropol
itan Museum. N. Y.

R. 1. Through his friend
ship with Allston, Malbone
accompanied him to Charles
ton in 1800, and there
painted miniatures of promi
nent South Carolinians, in
cluding Mrs. Ralph Izard,
the beautiful Alice Delan-
cey, who had been previously
pictured by both Copley and
Gainsborough. Other beau
tiful women he painted were
Rachel and Rebecca Gratz
of Philadelphia, the latter
being the inspiration for Re-
Sir Walter Scott s "Ivanhoe." Allston
He had the happy talent of

becca in

wrote of Malbone,

elevating the character without impairing the like
ness. This was remarkable in his male heads, and
no woman ever lost beauty under his hand." In Charleston at that
time was Charles Fraser, a miniaturist of much ability, whose work
is now sought by collectors. As the nineteenth century progressed
the portrait gradually lost its preeminence, and the landscape, the
story telling picture subject, and later the composition painted for
its own sake became the chief expressions of the American artist.

SUPPLEMENTARY READING

ART IN AMERICA

By S. G. W. Benjamin.
1880 Harper & Bros., New York.

AMERICAN PAINTING

By Samuel Isham.
The Macmillan Co. 1910.

The most complete and modern work on the

subject.

ARTIST LIFE

By Henry T. Tucker man

D. Anpleton & Co. 1847.

Not so much biographical as laudatory esti
mates.

PORTRAITS OF WASHINGTON

By Elizabeth Bryant Johnston
A most complete work of reference.

HEIRLOOMS IN MINIATURES

By Anne Hollingnvorth If harton.
J. B. Lippincott Company. 1898.

The standard work on the subject of American
Miniature Art.

LIFE OF BENJAMIN WEST

By John Gait.

Published shortly after the death of the artist
and long out of print.

THE DOMESTIC AND ARTISTIC LIFE OF
JOHN SINGLETON COPLEY, R. A.

By M. B. Amory.
Houphton, Miffllin & Co., Boston 1882.

The st?ndard work on Copley. Difficult to
procure.

LIFE AND WORKS OF GILBERT STUART

By George C. Mason.
Charles Sctibner s Sons 1879.

An elaborate work now out of print.

LIFE AND LETTERS OF WASHINGTON
ALLSTON By Jared B. Flagg.

Charles Scribner s Sons 1902.

Interesting from a literary standpoint.

LIFE PORTRAITS OF GEORGE WASHING
TON By Charles Henry Hart.
McClure s Magazine February, 1897.

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DECEMBER 22, 1913

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NUMBERS ALREADY ISSUED

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11.
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,
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IS.

10.

21.

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BEAUTIFUL CHILDREN IN ART
MAKERS OF AMERICAN POETRY
WASHINGTON. THE CAPITAL
BEAUTIFUL WOMEN IN ART
ROMANTIC IRELAND
MASTERS OF MUSIC
NATURAL WONDERS OF AMERICA
PICTURES WE LOVE TO LIVE WITH
THE CONQUEST OF THE PEAKS
SCOTLAND THE LAND OF SONG AND

CHERUBS IN ART

STATUES WITH A STORY

STORY OF AMERICA IN PICTURES:

inJirTxT
LONDON

THE STORY OP PANAMA
AMERICAN BIRDS OF BEAUTY
DUTCH MASTERPIECES
PARIS. THE INCOMPARABLE
FLOWERS OF DECORATION

.,,,

AMERICAN SEA PAINTERS

STORY OF AMERICA IN PICTURES:
THE EXPLORERS

No. 23.
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33
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42
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44.

SPORTING VACATIONS
SWITZERLAND: THE LAND OP

SCENIC-SPLENDORS
AMERICAN NOVELISTS
AMERICAN LANDSCAPE PAINTERS
VENICE, THE ISLAND CITY
THE WIFE IN ART
GREAT AMERICAN INVENTORS
ITS MAKERS

BUILDINGS OF THE

GAME BIRDS OP AMFRIPA
STORY OF AMERICA IN PICTURES:

THE CONTEST FOR NORTH

AMERICA

FAMOUS AMERICAN SCULPTORS
THE CONQUEST OF THE PO.
NAPOi
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EGYPT, THK LAND QP MYSTERY
STORY OF AMERICA IN PICTURES:

THE REVOLU i
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THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

THE RUINS OF ROME

The Colosseum, The Forum From the Capitol, The Forum Toward the
Capitol, The Campagna, The Arch of Titus, The Tomb of Hadrian.

By J. WILLIS BOTSFORD

Professor of Ancient History, Columbia University

MBERS TO FOLLOW

Jan.

MAKERS OF MODERN OPERA

cini. Gounod, Massenet, Strauss,
k : ...... . .. , , . ,

*^&3Z6i*

Jan. 12. TWO EARLY GERMAN PAINTERS

rtrait of Himself . f a

Holbein: Erasmus. The ,nna.

lour.

J. Miukft f Art and Archa-

ology. Princeton University.

Jan. 19. VIENNA. THE QUEEN CITY

; SchOnbrunn Votive
Church. Reichsraths GcbSudc. O \

gi-ria

Brunnen Fountains and Schwarzcnberg
Prince s Palace. By Dwighi L.Elmf
&lt;rer and Traveler.

Jan. 26.

-opolis Areopagus
vsius *

History. Columbia

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DECEMBER29 1913
VOLUME 1 NUMBER 46

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AMONG THE RUINS OF ROME

By GEORGE WILLIS BOTSFORD

Professor of History, Columbia University. Author of " The
Story of Rome" "A History of Rome."

ONE OF THE CAMPAGNA AQUEDUCTS

THE MENTOR

DECEMBER 29, 1913 DEPARTMENT OF TRAVEL

MENTOR GRAVURES

THE CAMPAGNA THE FORUM TOWARD THE CAPITOL
THE FORUM FROM THE CAPITOL THE COLOSSEUM
THE ARCH OF TITUS THE TOMB OF HADRIAN

SHORTLY after sunset the express train, speeding north from Naples,
emerges from the mountains and begins winding its way down
grade. The expectant visitor to the Eternal City sees below him
through the car window a broad expanse of plain, sloping imperceptibly
on the left to the sea, in front to the Tiber River. It is an ocean of green,
here quietly level, there billowed in ridges or headed up in round hillocks.
This is the Campagna, the broad flat belt which borders the Tiber
on the left. At first sight it reveals to us its solitude. In early Roman
times it had swarmed with peasants who owned the lands they tilled. As
the city grew wealthy the district fell into the hands of lords, who cov
ered it with their luxurious villas, peopled by multitudes of slaves. Still
later, when Rome was declining, these villas fell to ruins, the slaves dis
appeared, and Malaria stalked lonely and terrible over the beautiful
country she had made her own. Even now she rules it, scarcely weak
ened by modern progress. The dwellings of her few wretched tenants
are miles apart. Herds of sheep and of fierce long-horned cattle pasture
on the abundant grass, and along the well-made roads that span the
plain an occasional ox-team wearily drags an awkward cart.

But the Campagna has its attractions. It fascinates imaginative
tourists and draws them to its heart. Three or four together, their
knapsacks filled with food and drink, often take long trips through this
wild region, whose eternal quiet speaks peace to the weary mind, whose
delicate, ever-changing tints of sky and field appeal to the taste for natural

AMONG THE RUINS OF ROME

EMPEROR CLAUDIUS

beauty, whose ruined villas and towns awaken
historical memories of the rise of Rome from
a little settlement on the Tiber to a world
wide power and a fame that cannot die.

THE APPIAN WAY

The most impressive features of the
Campagna as we view it from the car win
dow or in a stroll along either the old Appian
Way or the modern Appian Way, are the
ruins of aqueducts. The one here illustrated
is the Claudia, named after Emperor
Claudius, who completed it. Its sources
were more than forty miles distant ; while
crossing the Campagna the water flowed in
a channel supported by a series of gigantic
arches. It provided Rome not only with
her best water, but her most abundant

supply, amounting to more than 400,000 cubic meters daily. All the
aqueducts together poured into the city each day more fresh water than
the Tiber now empties into the sea.
As we view this work of great util
ity, we naturally wonder what sort of
man was the builder. At the time of
his accession he was fifty years old,
and had devoted his earlier life zeal
ously to study and writing. Grotesque
in manner and eccentric in his habits,
he was generally considered a learned
fool; and yet he made an admirable
ruler. When acting as judge he often
slept during the pleas of the lawyers,
waking at the close of the trial to give
his decision in an equitable and humane
spirit. It was unfortunate for the case,
however, if he chanced to smell any
thing good cooking in a neighboring res
taurant; for he would adjourn court to
refresh himself. He was far more liberal
than his predecessors in bestowing
Roman citizenship on subject peoples.
To keep the city population sup
plied with cheap food, he subsidized and
insured grain ships at the cost of the

THE TEMPLE OF CASTOR AND POLLUX

The ruins of this famous temple stand in

the Forum.

AMONG THE RUINS OF ROME

Temple of Julius Caesar

HOW THE FORUM PROBABLY LOOKED

Palace of the Caesars

Basilica Julia

Temple of Vesta

Temple of Castor and Pollux.

government; and his activity in erecting public works is illustrated by
the completion of this magnificent aqueduct. It is a fact of great im
portance that the early emperors, whatever their private characters,
almost uniformly devoted themselves to the public good. Personal ser
vice to the empire was their chief title to office and the basis on which
successive rulers built up their power.

THE FORl/M

The city of Rome itself abounds in places and objects of interest
more easily reached than the Campagna. It requires at least a teaspoonful
of information to appreciate the features of Rome; and to those who are
mentally equipped no spot furnishes keener enjoyment than the Forum.
An impressive view can be had looking eastward from the Capitol, one
of the "seven hills" on which the early city sat. It can be seen that
the Forum lies in a valley nearly surrounded by hills. In the tenth and
ninth centuries B. C. these hilltops were occupied by villages and the val
leys between them were marshes. In the eighth century the villages
united to form one city, Rome, and the marshes were gradually drained
by means of sewers. The low area became at that time the Forum,
"marketplace" of the new city. It is an approximate oblong, on the
north side of which one of the kings marked off a space, the comitium

AMONG THE RUINS

O F

ROME

(assembly-place), in which all the citizens met to vote on questions of
public importance. Adjoining the comitium was the senate-house.
King (afterward two consuls), senate, and popular assembly constituted
the government. The Forum was therefore the political center of Rome,
and from this circumstance it derives all its interest. When one reflects
that for nearly five centuries after the downfall of the kings (509-27 B. c.)
Rome was a republic, that during that time she conquered and organized
her empire practically the whole Mediterranean basin, we begin

to understand that this spot

must have been the scene of
stupendous political conflicts,
the birthplace of far-reaching
legislative and administrative
measures. Here worked the
brain of the best organized
and most enduring empire the
world has known.

An essential feature of the
Roman government was re
ligion, which the senate and
magistrates well knew how to
operate for practical ends. It
is not surprising, therefore, to
find about the Forum the
ruins of many temples. There
is the temple of Saturn, now only a group of columns. It rests on an
unusually high foundation. Within this basement were chambers which
contained the treasury of the state. It was largely by the control of
the treasury that the senate long maintained its political supremacy.
A few steps from the temple is the pavement of a great oblong build
ing, of whose superstructure there are but scant remains. This was the
Basilica Julia, erected by Julius Caesar, and rebuilt, after a destructive
fire, by Augustus. A basilica was used for law courts and for business
purposes. The style of building was borrowed from Greece; but the
architect at Rome wrought in the spirit of her people. He left the ex
terior plain and unattractive, to devote his whole attention to the interior.
It is essentially a vast hall, with aisles separated from nave by a row of
arched piers in this case, in other basilicas by colonnades. The designer
molded, as it were, the interior space, so as to express in the language
of art the grandeur of the empire, and in the severe harmony of the lines
the orderliness and symmetry of Roman law. No other architectural type
so well embodied the imperial idea.

Of the other buildings connected with the Forum the most conspicu
ous is the temple of Castor and Pollux, just beyond the Basilica Julia.

CLOACA MAXIMA

AMONG THE RUINS OF ROME

TRIUMPHAL PROCESSION ON THE ARCH OF TITUS

The ruins consist of three
slender columns, standing on
a high foundation and sup
porting a fragment of the
entablature. These remains
belong to the reconstruction
of the temple under Augustus.
The worship of the twin gods,
Castor and Pollux, patrons of
cavalry, had been introduced
from Greece into Rome in
the early republic. The front
porch of the temple often
served as a platform for party
leaders while addressing the
crowd in the Forum. On such
occasions it sometimes became the center of violent political conflicts out
of keeping with the beauty of the surroundings. This temple and nearly
all others at Rome are of the Corinthian order of architecture, distin
guished by the capital of clustered acanthus leaves surmounting the
graceful fluted column. It is one of the best of its class; and the three
columns with their entablature form the most beautiful architectural
fragment still preserved from classical Rome.

The present level of the Forum is many feet lower than that of its
immediate surroundings. During the three thousand years that separate
us from the beginnings of the city the valleys have been gradually filling

through the accumulation of debris of ruined
buildings, the washings of earth from the sur
rounding hills, and various other means. Recently
scholars have excavated nearly the whole Forum
down to the earliest level, laying bare the lower
parts of buildings, the earlier pavements, altars,
a primeval cemetery, and many other objects.
Nearly everything found has been identified and
clothed in the historical imagination with the
associations of the time when it had a purpose
and a meaning. But the spot, once the abode of
intense life, is now still; it seems the burial place
of a dead society and government; state officials
keep drowsy guard over the remains. Tourist and
scholar walk undisturbed through this sepulcher
of a mighty empire, their senses awakened to the
ancient life only by the rush of waters through
EMPEROR TITUS the subterranean Cloaca Maxima, and to the life

AMONG THE RUINS

O F

ROME

THE COLOSSEUM FROM THE NORTH

of our day by the roses,
geraniums, and wild Italian
flowers that grow luxuriantly
wherever a bit of soil is left.

THE ARCH OF TITUS

Beyond the Forum and
on the summit of the ridge
known as the Velia is the Arch
of Titus. We can read the in
scription: SENATUSPOPU-
LUSQUE ROMANUS DIVO
TITO DIVI VESPASIANI
F. VESPASIANO AUGUSTO
(The senate and people of
Rome (dedicated this arch) to

the deified Titus Vespasianus Augustus, son of the deified Vespasianus.)
Consider this inscription. Both the Greeks and the Romans propitia
ted the spirits of the dead with sacrifice and prayer. The founder
of a city or any specially great benefactor of the community they
venerated after death as a hero, a being intermediate in dignity and
power between man and the gods.

It was with this idea that the senate by decree deified (more strictly,
heroized) a deceased emperor who seemed to that body to have been a
specially worthy ruler. Thus they had deified Vespasian, and after him
his son and successor Titus. This arch, therefore, was dedicated by the
senate and people to the memory of Emperor Titus after his death.
A monument of the kind commemorated a victory so great as to en
title the general to a triumph, a procession of the victorious com
mander and his army along the Sacred Way, past the Forum, and up
the Capitol to the temple of Jupiter on the summit. The spoils of war
were carried in the procession, while games and other festivities rejoiced
the hearts of the populace.

This arch is a memorial of the war waged by Titus against the Jews,
in which he besieged and destroyed Jerusalem, their holy city. During
the conflict the Jews resisted with superhuman energy; and when every
thing was lost they killed one another and their wives and children
as the lot determined, in order not to be slaves. The fame of their
heroism is as imperishable as the military renown of the conqueror.
The triumphal arch, accordingly, represents the slaughter of innocent
people, the crushing of national liberty, the brutal sacking of cities, the
merciless sale of captives into slavery. While casting this gloomy shadow,
it reflects on the sunlit side the glory of victory and the extension and
solidification of Roman power.

AMONG THE RUINS OF ROME

THE COLOSSEUM

This immense amphitheater was built by Vespasian and dedicated
by Titus. It is a gigantic oval four stories in height. From the north
side, which is still nearly intact, the first three stories present simply a
series of arcades; the fourth story is a closed wall. Four entrances lead
into the arena; seventy-six others into vaulted corridors, whence the spec
tators passed up various stairways to their seats, which extended in tiers
from near the floor to the top of the highest story. The seats have dis
appeared, but careful measurement places the capacity at 45,000, with
standing room for perhaps 5,000 more. Hidden from view were the cages
of wild beasts and the cells for gladiators, and beneath the arena were
machines for elevating animals to the surface.

The dedication in 80 A. D. was accompanied with games lasting through
a hundred days. A Roman "game" involved a contest; and those offered
by Titus at the dedication included the baiting and slaughter of savage
beasts, fights of gladiators, and a sham naval battle, the arena being flooded
for the purpose. It is difficult to understand how a ruler such as Titus,
who abhorred bloodshed and would condemn no man to death during his
administration, provided the city populace with this bloody, brutalizing
sport. But love of popularity has always been a powerful motive among
men ; and some emperors and patriotic citizens tried to excuse the sport on

** 4* " Qfifc.

INTERIOR OF THE COLOSSEUM ON A FETE DAY

AMONG THE RUINS OF ROME

THE BASILICA

JULIA

A drawing show-
Ing the reconstruct
ed Interior of this
building, which for
merly stood in the

Forum.

the foolish supposition that it fostered the military spirit. As a matter of
fact, the populace who attended these shows grew more and more unwilling
and unfit to defend their country and homes against invading barbarians.
It was not till some years after Titus that the spectators began to
experience a new kind of pleasure in seeing Christians thrown living to
the wild beasts of the arena. Many thus perished as witnesses of a better
faith and a higher morality. When, however, Christianity triumphed
and became the religion of the empire, an effort was instituted, first by
Constantine, to stop the degrading shows. But the people were so fran
tically addicted to them that they were scarcely abated by government
edicts till Emperor Honorius succeeded in abolishing gladiatorial
fights in 404. Long afterward the hunting of wild beasts continued.
The massive structure remained scarcely impaired by time till about
the middle of the fourteenth century, when the greater part of the
southern half collapsed, probably through an earthquake. The ruin
piled up a "mountain of stone," which for the next five centuries served
the Roman nobles as a quarry.

THE GRANDEUR OF THE COLOSSEUM

Some of the most imposing palaces which lend dignity to the modern
city have been built with this material. Although fully half the stone has
been thus removed, the part of the structure which still remains is the
most impressive of all the ruins of the city a monument of the grandeur
and of the moral degradation of Rome. It is an especially rich experience
to visit the Colosseum by moonlight, where, seated on a stone at the edge
of the arena, we may in imagination, with the aid of the tranquil light,

AMONG THE RUINS OF ROME

THE BASILICA OF

TRAJAN

One of the build
ings of the Forum
of Trajan. The In
terior as it looked
in the days of an
cient Rome.

reconstruct the vast interior and repeople it with a Roman multitude
breathlessly awaiting the opening of the games or exulting over the tri
umph of a popular favorite. On certain nights the municipal authorities
illuminate the interior with colored lights, whose weird spell awakens
the imagination to sights of bloody conflict amid a yelling, savage mob.

THE TOMB OF HADRIAN

The most versatile and perhaps the ablest of all the emperors an
artist, poet, philosopher, general, and statesman was Hadrian. Two-
thirds of his reign of twenty-one years (117-138 A. D.) he devoted to
travel throughout his vast empire. The object of these journeys was
not, like that of our presidents, to explain policies and secure votes for
reelection to a second term; for the emperor s lease of power was
lifelong. His purpose was rather to discover and meet the needs
of his people. We find him accordingly improving the organization,
equipments, and discipline of the army, fortifying exposed points of
the frontier, negotiating treaties of alliance with border states,
building roads, providing the cities he visited with temples, theaters,
and aqueducts, carefully overseeing the complex system of adminis
trative officers, or finding relaxation in conversation with architects,
authors, and philosophers.

In the period of the decline the tomb was converted into a
fortress, and this character it has retained to the present day. Dur
ing the Middle Ages and early modern times, a period of fifteen hun
dred years, it was the center of nearly all the factional strife and of

AMONG

THE

RUINS

O F

ROME

HADRIAN S TOMB
Now known as the Castle Sant Angelo.

the civil and foreign wars that raged in and
about the city. During this time it experi
enced the greatest changes in appearance by
the removal of decorations and facings and
the substitution of ramparts, turrets, and
other elements of military defense.

Its present name, Castle of Sant Angelo,
was given it in the time of Pope Gregory the
Great. The story is told that in 590, when
leading a procession to Saint Peter s in an
attempt to check by prayer a dreadful pes
tilence, "as he was crossing the bridge, even
while the people were falling dead around
him, he looked up at the mausoleum and
saw an angel on its summit, sheathing a
bloody sword, while a choir of angels around
chanted with celestial voices the anthem since
adopted by the Church in her vesper service."

EMPEROR HADRIAN

AMONG THE RUINS OF ROME

In commemoration of the miracle a statue of the Holy Angel Michael
stands on the summit with wings outspread.

This castle unites the memories of nearly two thousand past years
with the living present. Having stood as a fitting tomb of a noble
emperor, and again as the storm center of divisional strife, let it
bide henceforth as a durable monument of Italian unity and freedom.

THE APPIAN WAY
Showing the Ruined Roman Tombs.

SUPPLEMENTARY READING

HISTORY OF THE ANCIENT WORLD
G. W. Botsford.

(The Macmillan Co.) It includes a brief his
tory of Rome.

TOPOGRAPHY AND MONUMENTS OF AN
CIENT ROME S. B. Plainer.

(Second edition, Allyn & Bacon.) The best
treatment of the subject in English.
Rl INS AND EXCAVATIONS OF ANCIENT
ROME Rudolfo Lanciani

(Houghton, Mifflin Co.) By the greatest liv
ing authority on Roman topography.
THE ROMAN FORUM C. Huelsen.
(Stecheit & Co.) By a great scholar.

THE ART OF THE ROMANS tf. B. Walters.
(The Macmillan Co.) Treatment of the ele
ments by a well known authority.

ROME DESCRIBED BY GREAT WRITERS
Editor, Esther Singleton.

(Dodd, Mead & Co.) Instructive and inspiring
sketches by Maeterlinck, Crawford, Dickens,
and other famous authors who have visited
Rome.

A SOURCE BOOK OF ANCIENT HISTORY
C. W. W L. S. Botsford.

(The Macmillan Co.) Extracts from ancient
writers relating to the Romans.

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Vol. I

DECEMBER 29, 1913

No. 46

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Editorial

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The next number will contain six beautiful photogravures

MAKERS OF MODERN OPERA

Verdi, Puccini) Gounod, Massenet, Strauss, Humperdinck.

By H. E. KREHBIEL

Author of "How to Listen to Music," "Studies in ihe Jf a^ierian Drama etc.

NUMBERS TO FOLLOW

Jan. 12. TWO EARLY GERMAN PAINTERS

Durer: Portrait of Himself; Portrait of a
Young Woman, Hieronymus Holzschuhcr;
Holbein: Erasmus. The Meier Madonna,
Queen Jar.

By F. J. Mather. Professor of Art and Archae
ology. Princeton University.
Jan. 19. VIENNA. THE QUEEN CITY

Palace fron, Schcinbrunn. Votive

Church, Reichsraths Gebaude, Old Vienna.

Theresa Monument
:-n Fountains and Schwarzenberg
By Dui&ht L. Elm;ndarf, Lecturer
and Traveler.

Jan. 26. ANCIENT ATHENS

.The Parthenon, The Acropolis. Mars Hill
Areopagus. Theater of Dionysius. These-
ura. Stadium.

By G. Willis Botsford, Professor of A
History. Columbia University.

Feb. 2. THE BARBIZON SCHOOL

asseau;
The Old
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By Arti. .tr Hoeber. - .til and Critic.

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VOLUME 1 NUMBER 47

MAKERS OF

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WAGNER

THE MENTOR

JANUARY 5, 1914

DEPARTMENT OF
FINE ARTS

VERDI

VERDI
MASSENET

MENTOR GRAVURES

PUCCINI
STRAUSS

GOUNOD
HUMPERDINCK

THE form of entertainment called opera had its origin a little more
than three centuries ago in an effort made by a company of scholars
and musical amateurs in Florence to rescue music from the arti
ficiality into which the composers, who were all churchmen, had forced it.

The Florentine group had convinced themselves by study that music
had been effectively linked with poetry and action in the Greek stage-
plays, and in striving to imitate these they created the art-form which in
time came to be called "opera" though at first it was known bynames
all more or less closely connected with the terms which the composers of
today use to describe their dramatic works, lyric dramas, musical dramas,
and so forth. The new style quickly spread over Europe, and inasmuch
as Italy was the home of music, it retained for a time the Italian language
and the style of musical composition evolved by its creators. Soon other
nations, impelled by a desire to hear the new lyric plays, began to translate
the Italian books into their own languages. This brought with it a recog
nition of the incongruity between Italian music and the French, German,
and English languages, and the dramatic poets and musicians of these
countries began to seek more satisfactory idioms in which to express
their ideals. Thus there came into existence the three great schools of
operatic composers whose latterday representatives are here considered.

Two men mark the point of departure of the lyric drama of today
from the general style which characterized opera all the world over during

MAKERS OF MODERN OPERA

GAETANO DONIZETTI

GIOACHINO ROSSINI

the first two centuries following
its invention. They are Verdi
(vair-dee), the Italian, and Wag
ner (vahg -ner), the German; and,
strangely enough, they were both
born in 1813. The latter exercised
an influence which was universal,
and Verdi fell under it.

THE GLORY OF VERDI

But neither in precept nor
in practice was the great Italian
brought to disavow the native
genius of his people. That is the
great glory of Verdi. For decade after decade he kept pace with his
German rival in the march toward truthfulness and variety of expression
in the lyric drama; but never did he forget that the first, the elemental,
appeal which music makes is through melody. His conception of melody
changed as his artistic nature grew and ripened; but song, vocal melody,
is as dominant a factor in his first successful opera, "Nabuco," performed
in 1842, as it is in "Falstaff," which he gave to the world fifty-one years
later. Verdi s music illustrates every step of progress which Italian opera
has taken, from the time when Rossini overcame the taste formed by the
last masters of the eighteenth century till the advent of the impetuous
champions of realism who disputed popularity with him in the closing years
of the nineteenth. His ideals when he wrote "Oberto" in 1839 were those
of his immediate predecessors, Bellini (bel-lee -nee) and Donizetti (don-nee-
dzet -tee) ; but his voice was ruder, so rude, indeed, as to lead Rossini (ros-
see -nee) to describe him as a "musician with a helmet." This rudeness
was the first expression of his desire for passionate and truthful expression,
a desire which at the height of his spontaneous creative powers reached
its finest flower in the final trio of "II Trovatore" and final quartet of
" Rigoletto," two examples of operatic writing which are as good
in their way as
any that French
or German op
era has to show.
It is no de
preciation of the
mature and per
fect Verdi of
"Otello" and
"Falstaff "to say

VERDI S BIRTHPLACE AND HIS HOME

MAKERS OF MODERN OPERA

LA SCALA OPERA HOUSE
Where many of Verdi s works had their first performance.

that he reached the climax of his melo
dic inventiveness in "II Trovatore"
(tro-vah to -re), "Traviata" (trah-vee-
ah -tah), and "Rigoletto" (ree-go-let -
to), and that "Aida"(ah-ee -dah), which
is now his most universally admired
work, is such because it is a product of
his combined melodic inspiration and
his marvelous judgment, skill, and taste,
developed by study and reflection. The
greater charm which "Ai da" exerts now
is due as much to the advanced ideals
of the public, which Wagner was largely
instrumental in creating, as to the refined
and deepened sense of dramatic pro
priety and beauty which Verdi discloses in its melody, harmony, and
instrumentation.

If his mind was more impetuous in the sixth decade of the last century
than in the tenth, it was of infinitely finer fiber at the last. When his cre
ative impulses came to wait upon reflection his music showed much nicer
adjustment of the poetical and musical elements than had prevailed in his
works thitherto, his harmonies became richer, the blatancy of his orches
tration disappeared, and his instruments became more beautiful and
truthful associates in expression w r ith the singers of the drama than they
had ever been. When he reached "FalstarT" and "Otello" the last bit
of slag which had vulgarized his earlier works was cast aside, and he
stepped forth as full an exemplar of national art as Wagner. In this last
incarnation of the Italian spirit he was helped by his collaborator Boito
(bo-ee -to), a poet as well as a composer, and therefore a type of the true
dramatic artist as he existed in ancient Greece, and as \Vagner conceived

GfUSEPPI VERDI
From a painting by Millicovitz.

MAKERS OF MODERN OPERA

him when he projected his
Artwork of the Future. It
was Verdi s association
with Boito which was
largely responsible for the
fact that he became the
successor as he had been
the predecessor of Mas-
cagni (mahs-kahn -yee).
After the death of
Verdi nobody was readier
to concede how much he
had meant to Italian art
than Mascagni, who had
been the first to profit by
the revolt against Verdi

which came with the advent of Wagner s art in
Italy. When "Lohengrin" (lo -en-grin) made its
way into Florence and other places many pupils
at the conservatories forsook Verdi and followed
Wagner. The effect may have been a good one.
There can scarcely be a doubt but that it was to turn his hotheaded young
countrymen back to the path which he knew to be the only correct one
for them that Verdi made his supreme effort in his last two works.
Under the new influence the young Italians
had plunged headforemost into realism of the
crassest sort, and that they might follow a
vulgar bent for lurid expression they went
to the Neapolitan slums for their subjects.

RUGGIERO LEONCAVALLO
Composer of Pagliacci.

PIETRO MASCAGNI

Composer of Cavalleria

Rusticana.

REALISM IN OPERA

Some of the first fruits of the tendency
toward realism are plays whose plots can
scarcely be narrated without moral and even
physical nausea. Compared with them Mas-
cagni s "Cavalleria Rusticana" (kah-vahl-
lay-ree -ah rus-tee-kah -nah) and Leonca
vallo s ( lay-own- kah-vahl -o) "Pagliacci"
(pahl-yah -chee) are sweet and sane. After
the taste for hot blood had been measurably
satiated and the failure of scores of operas
in which lurid orchestration, violent shriek-
ings, and rough harmonies had supplanted

GIACOMO PUCCINI

MAKERS OF MODERN OPERA

the old national ideal there came back again the reign of dramatic melody,
albeit in a new form, as we have it in the works of Mascagni, Leoncavallo,
and Puccini (poot-chee -nee).

Puccini s operas are not entirely purged of artistic coarseness (as wit
ness "Tosca" and "The Girl of the Golden West"); but he has been true
to his Italian mission as a melodist, and has besides widened the Italian
canvas to receive the new element of local color, which is an essential
element in "Madame Butterfly," the most extraordinary feature of which
is the degree in which such stubborn material as Japanese melody has
been made to yield up a charm which it does not
at all possess in its native state.

Fifty years ago, so far as Americans were
concerned, French opera was practically summed
up in "Les Huguenots" and "Faust." Meyer
beer (my -er-bare) was not a Frenchman, but
the embodiment of merely sensuous tendencies
which belonged no more to one people than to
another, but which found its fittest expression
in the glamour of Parisian life. That Gounod
(goo-no ) should have prevailed against these
tendencies is to the great credit of the man and
the people from whose loins he was sprung.

GOUNOD S MUSIC

Amiability was as marked a characteristic
of Gounod s music as it was of his personality.
He was graceful and winning, but not strong.
He was an emotionalist and a mystic. When
his expression of passion ran out into ecstasy
he was at his best, and he could give expression
to an emotional state better than he could depict
its development. Essentially, therefore, he was a lyrical rather than a
dramatic composer. The two most perfect products of his genius both
disclose the climax of their beauty in scenes wherein ecstatic utterance
asserts its right. The gems in Gounod s crown are the garden scene of
"Faust" and the balcony scene of "Romeo et Juliette." Critics have
placed a high estimate upon the latter opera, and the lovers of senti
mental church music are fond of Gounod s religious ballads (they are
nothing else), one or two of his masses, and the oratorio "The Redemp
tion"; but to the historian and the people of the future it is not likely
that he will be more than the composer of "Faust," an opera which has
a history that is unique in operatic annals. It had been in the repertory
of the Theatre Lyrique ten years when it was transferred to the Academic
Nationale (or Grand Opera, as it is popularly called) in 1869. When the

GIACOMO MEYERBEER

1791 1864
Composer of Les Huguenots.

MAKERS OF MODERN OPERA

transfer was made it had already been performed four hundred times in Paris,
and before Gounod died in 1 893 it had been performed nearly seven hundred
times more. No opera has had a record comparable with this, and there
is yet no evidence of loss of popularity in France, England, or America.
As a musician Gounod may be described as an eclectic. Though his
genius was essentially lyrical, his models were the kings of dramatic

music, Mozart, Weber (vay -ber)
and Wagner. To his love for the
first of these he raised a lovely
monument in a book on "Don
Giovanni" (jo-vahn -nee), which
opera, he said, had influenced his
whole life like a revelation, and
had remained from the beginning
the embodiment of dramatic per
fection. He was one of the first of
Wagner s disciples in France; but
his lyrical trend did not permit him
to follow the German poet-com
poser to the logical outcome of his
theories. Wagner s influence upon
him stopped with "Lohengrin."
Thereafter, as Gounod himself
expressed it, he and Wagner

GOUNOD S RESIDENCE IN PARIS

CHARLES FRANCOIS GOUNOD
18181893.

traveled in diametrically opposite
directions, he seeking to grow more
simple in his manner and more de
sirous to achieve his ends by unaf
fected means and truthfulness of feeling. At the end he was disposed to
consider Wagner an aberration of genius, a visionary haunted by the
colossal, unable longer to estimate aright his own intellectual powers,
one who had lost the sense of proportion.

So far as American people are concerned the operatic Gounod lives only
in "Faust" and "Romeo et Juliette." There have been a few fitful per-

formances of "Mireille"
(mee-ray ) and "Philemon
et Baucis" (Anglicized:
fy-lee- mon and baw-sis);
but all the other operas
on his list are a blank.
Very different is the
case of the most popularof
his successors, Massenet
(mahs-nay ); though it
is more than likely that
he too will become a two-
opera man. Massenet
is the most popular of
Gounod s successors, but
not the greatest. A
greater musical drama
tist than he was Bizet

(bee-zay ); a greater musician and almost also CAMILL SAJNT SANS
as prolific an opera writer was, or is, Saint- Compo . erof5 . ni .on.ndD.iiuh.
Sae ns (sahng-song ). These two men are repre

sented in current opera lists by a single opera each; but of Massenet s
works New Yorkers have heard no less than eleven, "Werther" (vare-
ter) and "Manon" (mah-nong ), which are likely to endure, and "Le Cid"
(lay sid), "La Navarraise," "Le jongleur de Notre-Dame" (translated:
The juggler of no -tr dahm), "Thai s" (tah-ees ), "Herodiade," "Sapho"
(sah-fo ), "Griselidis," and "Cendrillon" (sang-dri-yong ) which are not
likely to endure long. QUALITY QF MASSENET

AMBROISE THOMAS
Composer of Mignon.

LEO DELIBES
Composer of Lakme.

So many operas ought to speak well of Mas
senet s versatility, as it surely does of his pro
ductiveness and industry; but the individuality
of this composer, which is incontestable, is an in
dividuality of style which leans heavily on same
ness. The French wits who thought it clever to
dub him "Mademoiselle Wagner" twenty years
ago never got the opportunity to call him Madame
Wagner. He never grew up to that estate. He
did not grow older in thought or riper in creative
ability; but only more facile in expression.

All of Massenet s operas are essentially illus
trative of the sentimental spirit of French art.
Whether Gounod attempts to write an oratorio on
so sublime a subject as the fall and redemption

MAKERS OF MODERN OPERA

of man, or Massenet tries to picture the touching faith and piety of an
honest mountebank, it is all one: the music is bound to run out into a
strain of religious balladry. But French music as represented by Gounod
and Massenet is ingenuous also in its persistent pursuit of beauty. The
northern ideal of strength before beauty, or truth before convention, is
not for the French, with their devotion to elegance of utterance, and this
fact has saved their lyric stage from the deplorable tendency exhibited

by the most notable, and probably greatest,
German composer since Wagner, namely, Rich
ard Strauss (strous). Oscar Wilde, though
English, wrote his "Salome" in French; but
it had to wait for the coming of a German for
a musical glorification of its morbid attraction

7,.

MASSENET IN HIS STUDIO IN 1891

JULES MASSENET. 1842-1913

toward dead bodies. Nor
is Electra s bestial feroc
ity, as pictured by HofT-
mansthal and Strauss,
likely soon to find favor
among the French. Thus

much must be said in favor of the artistic tendency of a people who are
still willing to hark back to a miracle-tale like that of "Our Lady s Jug
gler," or to a legend like that of "The Patient Grizel," for operatic material.
Between Gounod and Massenet there stands at least one French
dramatic composer who accomplished much, but promised more in respect
of the development of the lyric drama. Bizet s "Carmen" has won
heartier recognition in Germany than even Gounod s "Faust." Perhaps
the qualities which conquered this distinction were against it when it
first appeared in its native land. It may have been a feeling of its ap
proach to an extra-national ideal which made the French people, who with
all their enthusiasm for art are yet strongly predisposed in favor of their
own ideals, scent an objectionable Teutonism in " Carmen " and give it only
tardy recognition; perhaps also more than a touch of jealous patriotism.

MAKERS OF MODERN OPERA

GEORGES BIZET 1838-1875
Composer of Carmen.

The Franco-Prussian War had a twofold
effect upon music in France, it threw the
people back upon an appreciation of some of
their own composers, Berlioz (bear-lee-oze),
for instance, and also turned them against
not only the German, but also all of their own
composers in whom they thought they recog
nized German influences. The feeling was not
only strong to taboo Wagner, but everybody in
whose music they scented Wagnerisme. Their
conception of the term was amusingly vague.
They did not recognize it in the freedom
of form manifested in "Faust"; but felt
it in the truthful and forceful dramatic ex
pression which marked "Carmen," and espe
cially in Bizet s use of the typical phrase,
the Leitmotiv. Wagnerism had to be purged
by time before Charpentier (shahr-pong-tee-ay) could triumph with
"Louise," and Debussy (day-boos-see ) with "Pelleas et Melisande"
(pale-lay-ahs ay may-lee-sahnd ), works in which the Wagnerian sys
tem is much more extensively and frankly used than in "Carmen."

THE INFLUENCE OF WAGNER

French, German, Italian, Russian, and Eng
lish composers have for half a century been
under the domination of Wagner s influence. In
France and Italy he put
a new spirit into opera;
but the composers did
not attempt to follow him
slavishly in both practice
and precept. In Germany,
on the other hand, many
of his disciples made
the attempt and failed.
Two only have created
living works Engelbert
Humperdinck (hoom -
per-dingk) and Richard
Strauss. The more inter
esting phenomenon of the
two is presented by Hum
perdinck, who has not only

GUSTAVE CHARPENTIER
Composer cf Louise.

CLAUDE DEBUSSY
Composer of Pelleas et Melisande.

MAKERS OF MODERN OPERA

ENGELBERT HUMPERDINCK

applied Wagner s theories to the
musical score of his masterpiece,
"Hansel und Gretel" (hen -zeloont
gray -tel), but has extended their
application to dramatic material.

HUMPERDINCK AND
WAGNER

Wagner held myth to be the best
subject for the lyric drama; Hum-
perdinck has extended the principle
to include fairy tales, which, in a
sense, may be said to be decayed
myths. Taking the German form of
the story of the Babes in the Wood,
he has turned it into an opera which
illustrates the methods Wagner em
ployed in his great mythological
tragedy, "The Nibelung s Ring,"
and has given the methods a peculiar
charm by making his musical symbols (Leiimotiven) out of nursery
jingles and tunes like them. Notwithstanding that he was thus hew
ing to a line drawn by another, the opera has a melodic fluency and
freshness which have scarcely a parallel in mod
ern opera. A later work "Konigskinder" (Royal
Children), though full of beauty, lacks the spon
taneity and charm of its predecessor largely be
cause its book is stilted in language, its symbolism
too much in evidence and not sufficiently sym
pathetic, and its construction faulty.

RICHARD STRAUSS

Richard Strauss reflects the tendency of the
times away from all ideal things. Physical, moral,
and mental degeneracy are the subjects which he
has attempted to glorify in "Salome" and "Elek-
tra," and shameless immorality in "Rosenkava-
lier" (ro -zen-kahv-ah-leer ). To the celebration
of such things and to the promotion of his
material interests he is prostituting the finest
musical gifts possessed by any composer known to
the present day.

Not all the men who deserve to be called
makers of modern opera have been mentioned

RICHARD STRAUSS

MAKERS OF MODERN OPERA

as yet. There are Frenchmen whose works have shown more vitality
than those of Charpentier and Debussy, though these two, representing
a more individual tendency, are generally singled out for comment
when the talk is of latter-day men.

OTHER MODERN COMPOSERS

There is still a strong feeling among the lovers of French opera
for Ambroise Thomas because of his "Mignon,"
and Delibes because of his "Lakme" and his
ballets. The dramatic, or pantomimic, dance is
getting a stronger hold on the stage every day,
and nothing has yet been produced in this line
more graceful or in all artistic elements more ele
gant than "Coppelia." Saint-Saens s " Samson
et Delilah," though better fitted for the concert-
room than the theater, has also won its way to
recognition in America and England; while Ger
many, forgetting that Berlioz was pitted against
Wagner by the characteristic spirit after the
Franco-Prussian War, continues to pay deep
respect to "Benvenuto Cellini." Wolf-Ferrari,
half German, half Italian, has fought his way to
the fore with two works in which- his genius shows
at its best ("II Segreto di Susanna" and "Le
Donne Curiose"), and lately a Russian, Mous-
sorgsky, has come crashing through the veneer of conventional art
with his Boris Godounov" in a way which justifies the cry raised long
ago by this writer in the concert-room: "Beware of the Muscovite!"

ERMANO WOLF-FERRARI

Composer of The Jewels of The

Madonna.

SUPPLEMENTARY READING

CHAPTERS OF OPERA
A BOOK OF OPERAS

By H. E. Krehbifl.

Mr. Krehbiel s books are admirable commen
taries, written with authority and in a most
readable style.

MEMOIRS OF THE OPERA

By George Hogarth.
\ standard work long recognized.

HISTORY OF THE OPERA

By Sutherland Edwards.
A valuable work by an English authority.

THE LYRICAL DRAMA

By H. Sutherland Edwards.

THE OPERA, PAST AND PRESENT

By W. F. Apthorp.

Brilliant writing and critical taste characterize
Mr. Apthorp s work.

SOME FORERUNNERS OF MODERN

OPERA By W. J. Henderson.

A thoughtful, scholarly and well written book.

THE STANDARD OPERA

By George P. Upton.

An excellent book by a well known Chicago
critic.

THE MENTOR

ISSUED WEEKLY BY

The Mentor Association, Inc.

52 East igth St., New York, N. Y.

Volume I

JANUARY 5, 1914

Number 47

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50
EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED
AT THE POST OFFICE AT NEW YORK. N.Y.. AS SEC
OND-CLASS MATTER. COPYRIGHT, 1913. BY THE
MENTOR ASSOCIATION. INC. PRESIDENT AND TREAS
URER. R. M. DONALDSON; VICE-PRESIDENT, W. M.
SANFORD; SECRETARY. L. D. GARDNER.

Editorial

The new year is here and with it the
forward look. It is the time for an
nouncements, and the magazines of the
day are filled with them. The Mentor
Association does not lay down a definite
and fixed program for a year ahead, week
by week. It is important that our sched
ule should be elastic. But we want our
readers to know the plans of The Mentor
for 1914, and so we print herewith a list
containing some of the subjects sched
uled. The articles may not appear in the
exact order of this list. Definite dates
will be announced later. We print the
list for the purpose of giving our readers
an idea of the scope and variety of the
year s program.

TWO EARLY GERMAN PAINTERS. DURER AND
HOLBEIN. Portrait of Himself, Durer; Portrait of
Young Woman, Durer; Hieronymus Holzschuher, Durer;
Erasmus, Holbein; The Meier Madonna, Holbein; Queen
Jane Seymour, Holbein. By Professor F. J. Mather,
Princeton University.

VIENNA, THE QUEEN CITY. Palace from Gardens
Schonbrunn, Votive Church, Reichsrats Gebaude, Old
Vienna, Maria Theresa Monument, Hoch Brunnen Foun
tains and Prince s Palace. By Dwight L. Elmendorf.

ANCIENT ATHENS. Parthenon, The Acropolis, Mars
Hill (Areopagus), Theseum, Stadium, Theater of Diony-
sius. By Professor George Willis Botsford, Columbia Uni
versity.

THE BARBIZON PAINTERS. Evening, by Daublgny;
The Holy Family, Diaz; Meadow Bordered by Trees, Rous
seau; Landscape with Sheep, Jacque; The Wild Oak,
Dupre"; The Gleaners, Millet. By Arthur Hoeber.

ABRAHAM LINCOLN. Lincoln, the Boy. Lincoln as
a Rail Splitter or Flatboat Man, the Douglas Debates,
President Lincoln, Emancipation Proclamation, Assassina
tion. By Professor Albert Bushnell Hart. Harvard Uni
versity.

MEXICO. Mexico City. The Cathedral. The Palace,
Popocatapetl, Chapultepec. Scenic View. By Frederick
Palmer, Author and Journalist.

GEORGE WASHINGTON. The Surveyor, Braddock s
Army, Taking Command of American Army, Valley Forge,
Farewell Address, Inauguration as President. By Professor
Robert McNutt McElroy, Princeton University.

AMERICAN PROSE WRITERS. Benjamin Franklin.
Jonathan Edwards, Charles Brockden Brown, Washington
Irving, James Fenimore Cooper, James Kirke Paulding.
By Hamilton W. Mabie.

COURT PAINTERS OF FRANCE. Parnassus.
Claude Lorrain; The French Comedy, Watteau; Shep
herds in Arcadia, Poussin; Louis XIV, Rigaud; Marie
Leczinska (wife of Louis XIV) Van Loo; Music Lesson,
Lancret. By W. A. Coffin.

GLACIER NATIONAL PARK, MONTANA. Morn
ing Eagle Falls, Shore Line of Lake St. Mary, Iceberg Lake.
Two Medicine Camp on Two Medicine Lake, McDermott
Falls, Gunsight Lake and Mount Jackson. By William T.
Hornaday.

GRECIAN MASTERPIECES. Venus de Milo, Disk
Thrower, The Three Fates, From Parthenon Ptdiment;
Samothracian Victory, Hermes, Pericles.

EARLY ENGLISH POETS. Geoffrey Chaucer, Ed
mund Spenser, John Milton, John Dryden, Alexander Pope,
William Cowper. By Hamilton W. Mabie.

FLEMISH MASTERS OF PAINTING. Rubens and
Isabella Brandt, Rubens; The Lion Hunt, Rubens; Helene
Fourment and Daughter, Rubens; Duke of Buckingham
with Horse, by Van Dyck; William II of Orange and His
Bride, Van Dyck; Duke of Richmond and Lenox, Van
Dyck. By Professor John C. Van Dyke.

HISTORIC AMERICAN HIGHWAYS. Boone s Wil
derness Road, Cumberland Road, Braddock s Road, Old
Natchez Trail, Sante Fe" Trail, Oregon Trail. By H. Ad-
dington Bruce.

Other subjects for the year are as follows:

BERLIN. By Dwight L. Elmendorf.

MASTERS OF THE PIANO. By Henry T. Finck.

AMERICAN POETS OF THE SOIL. By Burges
Johnson.

FAMOUS AMERICAN WOMEN PAINTERS. By
Arthur Hoeber.

OUR FEATHERED FRIENDS. By E. H. Forbush.

HOLLAND. By Dwight L. Elmendorf.

THE CONQUEST OF THE AIR. By Henry Woodhouse.

FATHERS OF THE CONSTITUTION. By Professor
Albert Bushnell Hart.

THE CELESTIAL WORLD.
INDIA. By Dwight L. Elmendorf.
RUGS AND RUG MAKING. By J. K. Mumford.
FAMOUS EUROPEAN WOMEN PAINTERS.
MASTERS OF THE VIOLIN. By W. J. Henderson.
GREAT RIVERS. Story of the Rhine.
GREAT PULPIT ORATORS.
JAPAN. By Dwight L. Elmendorf.
WOMEN OF THE FRENCH COURT.
FOUNDERS OF ENGLISH PAINTING. By Arthur
Hoeber.

AMERICAN COLONIAL FURNITURE.
HISTORIC AMERICAN HOMES.
CHINA AND CHINA COLLECTING.

These titles are not representative of all
the departments in the interesting course
that The Mentor is developing. Had we
four times the space we could fill it with
equally attractive features. What we
print, however, will afford some idea of
the wealth of material that has been
planned for early publication.

The Mentor Week by Week

The value of The Mentor will certainly make you feel the need
of having every number. Each number is complete in itself,
but each number is an integral part of one of the various
Departments of Travel, Art, History, Literature, or Music.

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IE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

TWO EARLY GERMAN PAINTERS

Durer: Portrait of Himself; Portrait of a Young Woman, I lU s Holzs-

chuer; Holbein: Erasmus, The Meier Madonna, Queen Jane Seymour.

By F. J. MATHER

Profes. d Archaology, Princeton

\IBERS TO FOLLOW

sn. 19. VI :

Feb. 2. TH 2 BAR BIZ

THE MENTOR

A GIFT FOR ALL
THE YEAR

YOU could hardly provide for your
family or for any of your friends an
advantage more certain to give keen
enjoyment and solid satisfaction every day
during the coming year than a membership
in The Mentor Association.

It provides:

A library of the world s knowledge fifty-
two issues a year.

A beautiful art collection for the homey-
three hundred and twelve art prints in
sepia gravure.

A daily reading course throughout the year.

An education under the direction of the
foremost educators of this country in
art, literature, science, nature, history,
and travel.

The Association has prepared an attrac
tive presentation card in red and gold, on
vellum, which readers may sign and attach
to the engraved certificate of membership
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The annual membership fee of the
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DEVELOPMENT OF A POPULAR INTEREST IN ART, LIT
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THE ADVISORY BOARD

JOHN G. HIBBEN President Princeton University

HAMILTON W. MABIE Author and Editor

JOHN C. VAN DYKE . Professor History of Art, Rutgers College
ALBERT BUSH NELL HART . . . Professor of Government, Harvard University
WILLiAM T. HORN AD AY .... Director New York Zoological Park
DWIGHT L. ELMENDORF Lecturer and Traveler

A CUMULATIVE LIBRARY

THAT is what The Mentor gives you a library that grows
and develops as you grow and develop a library that
has in it just the things you want to know and ought to know
and nothing else.

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Two EARLY GERMAN PAINTERS

DURER AND HOLBEIN

By FRANK JEWETT MATHER, Jr.

Marquand Professor of Art and Archeology, Princeton University

THE MENTOR

JANUARY 12, 1914

DEPARTMENT OF
FINE ARTS

MENTOR GRAVURES

PORTRAIT OF HIMSELF .... Durer ERASMUS Holbein

PORTRAIT OF YOUNG WOMAN . Durer MEIER MADONNA Holbein

HIERONYMUS HOLZSCHUHER . Durer QUEEN JANE SEYMOUR . . . Holbein

ALBRECHT DURER

A GREAT painter gives us much more than skilfully arranged lines
and colors. These are only the symbols by which we may share
his vision of the world. What we must try to find in any work of
art is the soul of a great man. This is particularly true of so serious an
artist as Albrecht Diirer (doo -rer) of Nuremberg, who was born in 1471,
a little before the outbreak of the Protestant Reformation. In that move
ment he shared heartily, but without bitterness for the Catholic Church,
in which he had been bred. He was a broad-minded Christian, a thought
ful and thorough craftsman. In the little drawing he did of himself at
thirteen we see the serious, worried lad already a competent draftsman.
We may see him again in the Madrid portrait, the confident young painter
of twenty-seven; at Munich, the mature and dignified artist of thirty-
six; and finally, in the haggard woodcut profile, as a man grown old with
unabated ardor of spirit.

The accent of study and concentration is present at every stage.
He painted so carefully that such work did not pay him. The engravings,
of which he did about 100 with his own hand, brought him in a comfort
able fortune. They are marvels of faithful observation and of minute
execution. When old age and illness made painting and engraving diffi
cult, he wrote books on the proportions of the human body and the art of

TWO EARLY GERMAN PAINTERS

fortification. We must not ex
pect a man of such stern and
high ideals to be charming.
He may, however, have many
true things to tell about life
and character that it behooves
us to know.

THE ENGRAVINGS

At fifteen Diirer was ap
prenticed to the painter and
woodcutter, Michael Wohlge-
muth. The lad saw the ad
vantages of the new process of
woodcutting and copperplate
engraving, by which a design
might be multiplied. Then
the good wife Agnes, whom he
married by parental arrange
ment at twenty-three, came
to be a thrifty saleswoman for
the prints. The work was of
the most taxing kind, being all
done under a magnifying lens.
When the firm lines had been
graven in the copper they were filled with ink, which under heavy pres
sure from a roller press was transferred to paper. The lines of Diirer were
so fine and closely spaced that the whole print got a charming pearly
quality w r hich is well represented in our reproductions. Bible stories, the
life of Christ and the Virgin, popular customs, portraits of his learned
friends, and a strange series of plates having a moral meaning may be
specially noted. In 1513 and 1514 he engraved
what are called the four master plates, two of
which are reproduced.

THE KNIGHT, DEATH, AND THE DEVIL. Upon a
splendid steed an armored knight rides through a
rocky defile, high above which is seen his goal, an
imposing castle. Forms of horror beset tne trav
eler. The horse sniffs impatiently at a skull in
the road. King Death himself, mounted on a jaded
nag, holds up an hourglass. The Knight s hours
are measured. Behind the horse stalks a swinelike
form, which may represent the lower temptations
that assail a warrior of the Lord. Regardless of these

THE KNIGHT, DEATH. AND THE DEVIL, by Durer

MICHAEL WOHLGEMUTH
By Diirer

TWO EARLY GERMAN PAINTERS

nightmare shapes, the Knight
holds his restive horse in the
road. Fortitude has overcome
sin and fear of death. Such
seems the large, informing idea
of a picture which would be
exquisite if regarded merely as
minute delineations of forms
of rocks and trees, and tex
tures of hair and armor.

SAINT JEROME IN His
STTDY. In depicting the Car
dinal Saint, who in the late
fourth century translated the
Holy Scriptures into eloquent
Latin, Diirer may well have
wished to emphasize the en
viable serenity of the schol
ar s lot in contrast with the
perilous course of the Knight.
Everything in this study
speaks of peace and steady,
satisfactory endeavor. The
light shimmers upon wall,
floor, and ceiling like a bless
ing. It seems as if no sight or sound of troublous or unworthy sort could
enter this scholar s sanctuary. The skull and hourglass are no longer
symbols of dread. The saint is oblivious of the passage of time, and
looks forward to death as the opening of fuller knowledge. The elab
orate and beautiful details of the room assure us that this is no mere

dream of an idealist, but an actual place that a
student of the divine mysteries might inhabit. A
different kind of peacefulness pervades the small
engraving of the Hermit Saint, Anthony of Egypt,
behind whom rise the picturesque walls and roofs
of Diirer s own Nuremberg.

SAINT JEROME IN HIS STUDY, by Darer

THE ARTIST S FATHER
By Durer

THE WOODCUTS

The engravings are by Diirer s own hand; the
woodcuts are copies of his designs by capable as
sistants. As early as 1499 he had published the
impressive illustrations for the Revelation of Saint
John. For terror and ferocity the print repre-

TWO EARLY GERMAN PAINTERS

senting the four riders who begin the de
struction of mankind before the last day
has never been equaled. For twelve years
he worked at the designs for the Life of
the Virgin, and a large and a small series
of the Passion of Christ. One woodcut
from the Little Passion, Christ in Geth-

THE FOUR HORSEMEN OF THE APOCALYPSE
By Durer

semane with the sleeping apostles, is re
produced. He has used the small scale of
the plate to indicate a peculiar heartless-
ness in the disciples calmly sleeping so
near their agonized Lord. The postures
of vehement prayer and of complete ex
haustion are affectingly truthful. The
basis of such designs is the artist s own
pen drawing, which is pasted or traced

THE AGONY IN THE GARDEN
By Durer

THE DESCENT FROM THE CROSS
By Durer

TWO EARLY GERMAN PAINTERS

on a pear-wood plank. All the blank spaces are cut away with a
knife, leaving the lines in relief. This wood block may be set up with
type pages and printed on an ordinary press. It is thus better adapted
to book illustration than engraving, which requires special printing.
About 1511 Durer reprinted the Revelation, and published the three
new books. They were justly popular, and from that time he painted
only when he pleased. The woodcuts, which faithfully represent draw
ings made with a coarse quill
pen, will look rude to eyes
accustomed to the often
meaningless finish of modern
illustrations. It will require
patience toseehowdirect, sin
cere, and vigorous is the ex
pression. With so coarse a tool
nothing can be left to chance
or smoothed down. Every
line must tell, and every line
in the Durer woodcut does
tell its story of structure and
feeling. Diirer s woodcuts
are as fine in their way as
his more popular engravings.

THE PAINTED POR
TRAITS

From the first Durer re
vealed in portraiture an in
flexible curiosity as to form
and insight as to character.
The earlier portraits, those
of his master W T ohlgemuth,
and of his own father, have
a speaking lifelikeness. But
the very endeavor to omit nothing and say everything with resolute
truthfulness makes some of the early portraits stiff and forbidding. This
defect is hardly noticeable in the three admirable portraits of his matur
ity, which are our special theme.

They were all painted after his Venetian visit of 1506. There he saw
portraiture as faithful as his own, but softer and more agreeable. Open-
minded student that he always was, he readily learned the lesson. The
charming head of a young woman represents the fruits of this new experi
ence. With a comeliness that is by no means merely pretty, one gets
the sense also of character and of capacity. The tightly drawn hair, the

JOHN AND PETER

By Durer.

PAUL AND MARK

TWO EARLY GERMAN PAINTERS

EMPEROR MAXIMILIAN I
By Diirer. In the Imperial Gallery, Vienna.

DURER. by himself
In the Prado, Madrid.

head held alertly a little for
ward, tell of aggressiveness
with self-control, of perfect
physical and mental well-
being. It was such strong
mothers as this that bore the
men who in finance, manufactures, commerce, and scholarship made the lit
tle city of Nuremberg famous. Initials on the bodice suggest that this may
be the wife Agnes, who was an efficient business partner and a terror to cer
tain easygoing friends. Firm yet minutely varied lines, modeling soft and
lifelike but also decisive, such are the technical merits of this masterpiece.

Among Diirer s portraits of himself, the head in which the master
gave himself the aspect of a Christ is the favorite of many people. The
workmanship is of extraordinary carefulness and beauty. Every detail
of the fur, of the flowing hair, of the powerful, slender hand, is there;
but the effect remains large. There is in the face a sense of dignity, reserve,
decision, and sympathy. Other portraits are probably much more like
Diirer as Nuremberg saw him. This presents his own ideal of himself as cre
ative artist, exemplifying a spiritual beauty that he ever strove to attain.
Despite an old inscription reading 1500, we must date this portrait after
that Venetian visit which brought to Diirer new power and self-confidence.

Efficiency was the trait Diirer most admired. His merchant friend
Hieronymus Holzschuher possessed this quality in a high degree, as his
portrait shows. He still directs toward an admiring world the bluest,
brightest, steadiest eyes ever painted. The silvery hair and beard glisten

TWO EARLY GERMAN PAINTERS

HOLBEIN S WIFE AND CHILDREN
In Basel Museum.

HOLBEIN, by himself
At 25 years of age.

like a halo before a blue sky.
The firm, thin lips under the
scant, well kept mustache
still tell of the sagacity and
persistence that won for
Hieronymus a fortune and
the mayoralty of a proud
city. Nor is this power and rectitude without kindness. One feels the liv
ing presence of a man absolutely just, but also quick to see another man s
side, and withal humorous. Of an old age not too frosty and wholly vig
orous, this picture is a most remarkable embodiment. That Diirer s genius
is as marked in a slight sketch as in elaborately executed works, wit
ness the charcoal study which he did of his old mother just before her
death. Have a few lines ever told more piteously of resigned decrepitude?

THE FOUR APOSTLES

In his last years Diirer painted as a legacy to his native town the
stately figures of the apostles Paul, Mark, Peter, and John. Already
the Protestant movement which he held so dear was breaking up into
wrangling sects. Diirer wished to recall men to the founts of Christian
wisdom and unity. The apostles wear their grand robes with Roman
dignity. The heads are sharply distinguished by temperament. The
burning determination of Saint Paul is very unlike the excitability of
Saint Mark; the inward serenity of Saint John most unlike the care
worn pensiveness of Saint Peter. These are men to move a world.

TWO EARLY GERMAN PAINTERS

On the 6th of April, 1528, he passed away, only fifty-seven years old,
but exhausted by constant effort. The great bankers, merchants, schol
ars, and craftsmen of Nuremberg knew that a notable citizen had gone.
He had known familiarly Melancthon and Luther. Raphael had been
glad to exchange drawings with him. His engravings and woodcuts were
admired throughout Europe. After four centuries he remains the finest ex
emplar in art of the peculiar steadfastness and thoroughness of the German

race. Goethe, the greatest
of German poets, has writ
ten the finest tribute to
Germany s greatest artist:

Wholly unsoftened and un-
quibbled,

Naught prettified or vainly
scribbled,

The very world thou shalt
descry

As seen by Albrecht Diirer s
eye

Her sturdy life and manhood
strong,

Her inward might enduring
long.

HANS HOLBEIN

Whoever understands
the art of Diirer needs lit
tle introduction to that of
Holbein (hole -bine). Hans
Holbein was born in 1497,
when Diirer was just be
ginning to be famous, at
the imperial city of Augsburg, which was merely a larger Nuremberg.
Holbein s father was a painter, and the lad was early perfected in the craft.
By his seventeenth year he was working at Basel, where for some ten
years he practised book illustration, designing for metal and glass,
religious subjects, wall painting. Such versatility he renounced later
for the better paying branch of portraiture. In 1526 some German
merchants called him over to London. There he soon became court
painter to Henry VIII, and there he remained for the most part until
his death by the plague in 1543. He was one of the first of those cos
mopolitan portrait painters who follow their market, a homeless man,
separated from wife and children, a completely detached person. That
he was fitted for the part, the sturdy, confident portrait of himself shows.

PORTRAIT OF GEORG GYZE. By Holbein. In the Berlin Gallery.

i^Hu nJlfvlir

STUDIES FROM LIFE. IN THE WINDSOR COLLECTION
By Holbein.

TWO EARLY GERMAN PAINTERS

SIEUR de MORETTE, by Holbein

As a painter Holbein was Diirer s
superior, though inferior to him as
a man. Where Diirerset his bright
colors in rather harsh combinations,
Holbein worked out arrangements
of mosaiclike depth and brilliance.
Usually the background is pale blue,
green, or other solid tone, against
which the pale flesh tints, with crim
son, green, or black of the rich
costumes, glow like some precious
enamel. He is as accurate in his draw
ing as Diirer, with less sense of effort.
Holbein painted the profile por
trait of the scholar Erasmus about
1523. Erasmus was not merely very
learned but also a wit, and Holbein
has combined with the self-control
and concentration of the face a sense
of astuteness. The set lips would
readily break into a smile. The gentle and careful pose of the hands is
noteworthy. It is as if the great stylist caressed the paper to invite a
happy phrase. Very effective too is
the setting of the figure in the frame.
Everything forms a beautiful pattern.
Cut off the margin ever so little, and
the figure will seem out of balance.
Finely composed again is the fa
mous Madonna of the Meier family.
The kneeling figures make the base
of a pyramid, the lines of which are
carried up by the Madonna s cloak
and the Christ Child s outstretched
hand. Perhaps the formal arrange
ment and the stately niche are a little
out of keeping with the evident sim
plicity of all the people. In fact, the
greatness of the picture lies mainly
in its vitality, in the sense of strength
and devotion it conveys. Holbein,
like Diirer, conceives the Virgin sim
ply as a German mother, none too
intelligent, and rather ungraceful,
but wholly wrapped up in the Divine

DUKE OF NORFOLK, by Holbein

TWO EARLY GERMAN PAINTERS

Child, who is after all much like an ordinary German baby. The gentle
ness of Mary s clasped hands is one of the many beautifully studied details.

A consummate example of his work is the Jane Seymour of 1536.
In the third wife of Henry VIII Holbein had only a moderately good
subject. She seems a stolid person. Yet a certain shrewdness is also in
the face. The setting in the frame is perfect, and the gold- embroidered
robes and jewelry are done with a quiet dexterity that simply takes one s
breath away. The sketch for the portrait is preserved. Holbein always
made a careful crayon drawing for every portrait, introducing slight tints,
or even writing down the color of hair, eyes, etc. From such a study,
which was made in a few hours, the picture was painted. We have then
the most lifelike portraits known to art painted
with the model absent. Today artists plague
themselves and the sitter to poorer purpose.
By utmost concentration upon the original
drawing, Holbein seems to have omitted all
unimportant or merely general traits of his
subject, fixing upon the few that were really
characteristic. Moreover, he stood upon his
first reading of the character.

At any rate, these splendid sketches are
the finest flower of Holbein s genius. Scores of
them are preserved at Windsor Castle. I re
produce only the rather vain and weak face of
the poet, warrior, and dandy, the Earl of Sur
rey. I must repeat that Holbein was less of a
man but in some ways more of an artist than
Diirer, unqualifiedly superior as a mere painter.
Diirer was full of profound ideas about religion and life. His work is truly
a criticism of the life of his age. Holbein had virtually no ideas, and
genially accepted his world as very good to live and paint in. He
brought not a great mind to his art, but a tolerant temper, a most dis
cerning eye, and a magnificently sure hand.

HOLBEIN, by himself

SUPPLEMENTARY READING

LIFE OF ALBRECHT DURER (Translated
from the German.) By Moritz Thausing.
The standard biography.

ALBRECHT DURER ("Classics of An").
Complete collection of reproductions of Durer s
works in half tone.

ALBRECHT DURER By Una Eckstein.

(Popular Library of Art.) A concise but read
able epitome of the main facts.

ALBRECHT DURER By T. Sturgt Moore.
(Scribner s.) Somewhat fuller and of excellent
literary quality.

ALBRECHT DURER By Frederick N uchter.
(Macmillan.) Especially recommended as a
biography and for excellent cuts of good scale
at a moderate price.

HANS HOLBEIN AND HIS TIMES. (Trans
lated from the German) By A. IVoltmann.
The standard biography.

HANS HOLBEIN By G. S. Danes.

A recent and thorough work, in folio, with
many illustrations.

HANS HOLBEIN ("Classics of Art") .

Useful collection of half tone cuts of all his
work at a moderate price.

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* * *

When this was started the Museum
people, it is said, doubted whether it
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wouldn t come. As a matter of fact, how
ever, those who came first told the others
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* * *

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whether it is the mind of a child or of a
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ing to learn of the benefit that The Mentor
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We want The Mentor to be a real factor
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the education of the young generation.

The Mentor Week by Week

The value of The Mentor will certainly make you feel the need
of having every number. Each number is complete in itself,
but each number is an integral part of one of the various
Departments of Travel, Art, History, Literature, or Music.

NUMBERS ALREADY ISSUED

No. 1.
2.
3.
4.
5.
6.
7.
8.
9.
10.

11.

12.
13.

14.
15.
16.
17.

18.
19.
20.
21.
22.

24.

BEAUTIFUL CHILDREN IN ART No. 25.

MAKERS OF AMERICAN POETRY 20.
WASHINGTON. THE CAPITAL
BEAUTIFUL WOMEN IN ART
ROMANTIC IRELAND

MASTERS OP MUSIC -

NATURAL WONDERS OF AMERICA 30.

PICTURES WE LOVE TO LIVE WITH 31.

THE CONQUEST OF THE PEAKS 32.

SCOTLAND, THE LAND OF SONG AND 33.

SCENERY

CHERUBS IN ART 34.

STATUES WITH A STORY 35.
STORY OF AMERICA IN PICTURES:

THE DISCOVERERS

LONDON 36.

THE STORY OF PANAMA 37.

AMERICAN BIRDS OF BEAUTY 38.

DUTCH MASTERPIECES 39.

PARIS. THE INCOMPARABLE 40.

FLOWERS OF DECORATION 41.

MAKERS OF AMERICAN HUMOR 42.

AMERICAN SEA PAINTERS 43.
STORY OF AMERICA IN PICTURES:

THE EXPLORERS 44.

SPORTING VACATIONS 45.

SWITZERLAND: THE LAND OF 46.

SCENIC SPLENDORS 47.

AMERICAN NOVELISTS
AMERICAN LANDSCAPE PAINTERS
VENICE. THE ISLAND CITY
THE WIFE IN ART
GREAT AMERICAN INVENTORS
FURNITURE AND ITS MAKERS
SPAIN AND GIBRALTAR
HISTORIC SPOTS OF AMERICA
BEAUTIFUL BUILDINGS OF THE

WORLD

GAME BIRDS OF AMERICA
STORY OF AMERICA IN PICTURES:

THE CONTEST FOR NORTH

AMERICA

FAMOUS AMERICAN SCULPTORS
THE CONQUEST OF THE POLES
NAPOLEON

THE MEDITERRANEAN
ANGELS IN ART
FAMOUS COMPOSERS
EGYPT. THE LAND QF MYSTERY
STORY OF AMERICA IN PICTURES:

THE REVOLUTION.
FAMOUS ENGLISH POETS
MAKERS OF AMERICAN ART
THE RUINS OF ROME
MAKERS OF MODERN OPERA

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THE MENTOR FOR NEXT WEEK

The next number will contain six beautiful photogravures

VIENNA, THE QUEEN CITY

Palace from Gardens Schonbrunn, Votive Church, Reichsrats Gebaude, Old

Vienna, Maria Theresa Monument, Hochstrahl Brunnen Fountains

and Schwarzenberg Palace.

By DWIGHT L. ELMENDORF
Lecturer and Traveler.

NUMBERS TO FOLLOW

Jan. 26. ANCIENT ATHENS

The Parthenon. The Acropolis, Mars Hill

or Areopagus. Theater of Dionysius. These-

um, Stadium.

By G. Willis Botsford, Professor of Ancient

History. Columbia University.
Feb. 2. THE BARBIZON PAINTERS

Evening. Daubigny; Holy Family. Diaz;

Meadow Bordered by Trees. Rousseau;

Landscape with Sheep, Jacque; The Old

Oak, Dupr^; The Gleaners, Millet.

By Arthur Hoeber. Author. Artist and Critic.

Feb. 9. ABRAHAM LINCOLN

President Lincoln, Lincoln s Birthplace.
Memorial to Lincoln. Lincoln the Lawyer,
Head of Lincoln by Borglum, Signing the
Emancipation Proclamation.
By Albert Bushnelt Hart. Professor of Gov
ernment, Harvard University.

Feb. 16. MEXICO

The Cathedral, The Palace. Popocatepetl.
Mexico City. Chapultepec. Scenic View.
By Frederick Palmer. Author and Journalist.

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LEARN ONE THING
FX/FRY DAY

JANUARY 19 1914

VOLUME 1 NUMBER 49

VIENNA,
THE QUEEN CITY

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THE ADVISORY BOARD

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. Author and Editor
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. ELMENDORF LectureT and Travfler

DWIGHT L

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VIENNA, THE QUEEN CITY

By DWIGHT L. ELMENDORF

Lecturer and Traveler

JAN

THE

JANUARY 19, 1914

M E N T O R

DEPARTMENT OF TRAVEL

Mentor Gravures
OLD VIENNA
VOTIVE CHURCH

REICHSRATS
GEBAUDE

MARIA THERESA
MONUMENT

Mentor Gravures

HOCHSTRAHL
BRUNNEN FOUN
TAINS AND
SCHWARZENBERG
PALACE

THE PALACE

FROM

THE GARDENS

SCHONBRUNN

PALLAS ATHENA FOUNTAIN

ON the banks of the Danube lies Vienna, the fourth in size of the
capitals of Europe. The river is called the "Beautiful Blue
Danube" by Johann Strauss, the world-famed Viennese waltz
king. The waltz is more beautiful than the Danube is blue at least so
it seems to me; for the river, whenever I have seen it, has been not blue,
but a muddy brown. It is a sturdy stream, however, and it has afforded
advantages to Vienna that have made it an active commercial center,
where the trade and industries from the West meet and exchange with the
agricultural products of the East. Vienna is the great grain and cattle
market of Austria, and her Exchange is one of the most important in
Europe. The city is situated on the west bank of the Danube, or at least
near it; for the Danube there has several channels. A part of the river
goes through the city in the form of two canals. One, called the Donau
(do -now) Kanal, which was made in the early yo s, winds through an
important part of the city, and is joined by the waters of the river Wien
(veen), which also runs through the city under bridges and culverts. In the
later yo s the main stream of the Danube was turned into a canal eight
miles long and three hundred and twelve yards broad. These changes cost
great sums of money; but they were necessary as protection against floods
and floating ice, for the Danube, in the spring, was often a refractory thing.

VIENNA

THE QUEEN CITY

So located, Vienna has developed in the course of years until now,
with a population of over two million people, it is one of the most brilliant
and beautiful cities of the world, rivaling Paris in attractiveness, and sur
passing it in some of its imposing vistas and magnificent parks. It is
natural to compare Vienna with Paris; for there are similarities in^their
histories, in their geographical situations, the Danube being to Vienna
what the Seine is to Paris, and somewhat in their character. And yet to

the observing traveler strik
ing contrasts between these
two great capitals are appar
ent. Both cities are full of life
and activity, and of fashion,
and both are famous for their
beautiful women and brilliant
men. The Parisian, however,
shows more vivacity and more
sparkle. The Viennese type is
happy ; but in his happiness he
is more self-contained, and
shows something of the easy
temperament of the people of
the Orient.

LIFE-LOVING VIENNA

The life of Vienna is most
inviting, the spirit of the peo
ple most hospitable, their
greetings most sincere. They
are an art-loving, music-lov
ing, life-loving people. Many
travelers declare that the Vien
nese women are the most beau
tiful to be found in Europe.
The attractiveness of the peo
ple and of the city impresses even the most casual observer. The
traveler who spends but a few days there is caught in a whirl of pleasure.
It is easy to find enjoyment there too; for the city is so constnicted that
it offers a wealth of beautiful scenes and pleasure spots.

The buildings of Vienna are magnificent, and they are so set in parks
and public squares that their effect is most imposing. The attractiveness
of Vienna has been largely achieved in the last forty years. Before that
there was an inner city dating far back in time; historically interesting,
but claiming no splendor. Old Vienna was one of the earlier cities in
Europe, and it held a position of vital political importance, opposing its

THE INTERIOR OF SAINT STEPHAN S

This wonderful Interior is 355 feet long. 115 feet wide, and
nave 74 feet high. Over one hundred statues adorn the eigh
teen massive pillars supporting the rich groined vaulting.

VIENNA

THE QUEEN CITY

KARL S CHURCH

This edifice was begun in 1715, after the cessation of the
plague, and was consecrated in 1737.

strength as a frontier town
against the encroachments of
the Moslem empire. Strongly
fortified, it pressed back the
advance of the races of the
PLast, and preserved the relig
ious and political integrity of
Europe. Vienna began with a
little Roman town called Vin-
dobona, distinguished chiefly
by the fact that Emperor
Marcus Aurelius died there in
the year 180.

In the years of its growth
a population developed there
that blended varied national characteristics and brought forth what we
know today as the Viennese, courageous, happy-hearted, hospitable,
loyal in friendship, and enterprising in business. The great majority of
the inhabitants of Vienna today are German, and that is the language
spoken. There is, however, a considerable representation of Hungarians,
Slavs, and other nationalities.

THE RINGSTRASSE

The way to see Vienna is to traverse the length of the Ringstrasse.
This, in some ways, is the most remarkable street in the world. It fills a
space formerly occupied by the fortifications surrounding the old city. It
begins at the Maria Theresa Bridge that crosses the canal at the north of

the city, and it encircles old Vienna like a
belt, joining the Donau Canal again at the
Aspern Bridge. The old wall that ran there
was leveled to make way for this magnifi
cent boulevard. Together with the Donau
Canal it completed a circle of protected
area, and for many years it afforded a suffi
cient bulwark against the assaults of hostile
forces. About sixty years ago, however, a
new civic spirit became apparent in Vienna,
a broader and more far-reaching spirit. And
with it came a desire for expansion, for
progress, and for modern improvements.
There was an insurrection in 1848, which
was firmly repressed by Emperor Francis
Joseph, and thereafter Vienna, having ob-

THE DOOR OF THE VOTIVE CHURCH

VIENNA

THE QUEEN CITY

tained the right of self-government by elective representatives, took on a
new life and inaugurated an era of finer things.

The removal of the old Vienna Wall in 1857 led to active, ener
getic building enterprises which were still further stimulated by the
exhibition of 1873. The buildings, parks, and boulevards constructed
in the last forty years of Vienna s history are examples of a civic
enterprise that cannot be surpassed in Europe, and find a parallel only
in the Napoleonic periods of activity in Paris.

THE VOLKSGARTEN
This beautiful park is much frequented in summer by the Viennese.

There are now two Viennas, the inner city and the outer city; the
former holding the venerable structures associated with the city s earlier
years, the outer city, constructed of magnificent buildings, surrounded by
beautiful parks and public squares, identified with the various depart
ments of the modern city and state governments. And between this outer
city and inner city runs that unique and impressive thoroughfare, the
Ringstrasse. The best way to begin a visit to Vienna is to follow one s
way leisurely from the north end of the Ringstrasse at the point where it
leaves the Donau Canal all around the old city until the street joins the
canal again. In this way you will have the old city on one side, and on
the other an array of magnificent modern public buildings. And at every

VIENNA

THE QUEEN CITY

THE GARDENS OF SCHONBRUNN

In the middle foreground is the Neptune Fountain. The Gloirette (glwahr-et ). built in 1775. may be

seen in the upper background.

point through this interesting trip the art of the landscape gardener is
shown in the lovely public parks.

The Ringstrasse is three miles long, and, in the course of encircling
the city it takes a number of turns. From Maria Theresa Bridge to the
Maximilian Platz it is known as the Schottenring; but from there it turns
and passes the Rathaus Park under the name of the Franzensring. An
other turn to the left and it is called the Burgring; then the Opernring.

Following on, it is known as the Karntner-
ring until it turns sharply again to the left
and makes its way back to the Donau Canal
under the names, successively, of the Kolow-
ratring, the Parkring, and the Stubenring.
In this way and under these varied names
the Ringstrasse completes its course. As a
visitor makes his way along the Schottenring,
his attention is arrested at the Stiftungshaus.
A story will be told him there. This benev
olent institution has an expiatory chapel,
which was built by Francis Joseph, on the
spot where the ill-fated Ring Theater was
destroyed by fire in 1881. It was the night
of December 8, and the occasion was the
first performance of Offenbach s last opera,
"The Tales of Hoffmann." The opera had
made a signal success in Paris, and it opened

THE SCHONER BRUNNEN FOUNTAIN in Vienna to a crowded house. Scarcely

VIENNA

THE QUEEN CITY

THE COURTHOUSE

had the music begun when
there was an alarm of fire,
and in the panic that fol
lowed five hundred and
eighty people were killed.
But Offenbach knew noth
ing of this. He had died a
year before. He had never
heard his last opera, which
he regarded as his master
piece, and he was spared
the shock of knowing the
tragic circumstances that
attended its first performance in Vienna. The incident cast a cloud over
the fortunes of the opera, and it was only after a quarter of a century that
the "Tales of Hoffmann " found general representation and popularity.
To the west of this spot and across the Maximilian Platz is to be seen
the Votive Church, the first important modern church in Vienna. This
building is constructed in the Gothic style, from designs by the architect
Ferstel, and commemorates the escape of the emperor from an assassin
in 1853.

THE VOTIVE CHURCH

The Votive Church was in the course of building for twenty-three
years, and it is distinguished for its dignity and its architectural beauty.
The towers are finely designed, and are three hundred and fifteen feet in
height, embellished with many statues.

Nearby is a great square building in the Italian mid-Renaissance style.

This is the University of Vienna, and
it contains a library of 783,00x3 vol
umes and the collections acquired in
the course of the city s history. The
university was founded as early as
1365; so that it is the oldest German
university next to that of Prague. It
was reorganized in 1752 by Maria
Theresa, and it occupied another
building up until 1857, when the
present structure was completed.
There are over 450 professors and
lecturers, and nearly 7,000 students.
The building is at one end of the
Rathaus Park. At the other is
the impressive Reichsrats-Gebaude,

STATUE OF PRINCE EUGENE

Prince Eugene, who died In 1736, was commander

of the imperial armies against the French and

the Turks. In the background is the new wing

of the Hofburg.

VIENNA

THE QUEEN CITY

THE RATHAUS

This imposing building was built in 1872-82. It covers an area

of 25.000 square yards. Its tower is 328 feet high, and is crowned

with a banner-bearer in copper.

which is the Parliament
building, and was built in
the years between 1874
and 1883. The architect
has followed the Greek
style, and has made an
effect which is magnificent,
both in size and in style.
Enter the portico and pass
into the peristyle. You
will find yourself in the
midst of twenty-four huge
marble columns. Thereon
one side is the Chamber of
Deputies, and on the other
the Chamber of Nobles.
It is the building of the state government. Across the park to the north
west is the building in which the city government is administered. It is
called the Rathaus, which means City Hall, and is one of the most impres
sive buildings in Vienna. This, like the Votive Church, is Gothic in style.

VIENNA S VARIED ARCHITECTURE

The visitor has progressed far enough now to be in the midst
of modern Vienna. As he turns from the Rathaus he can see across
the park the beautiful Hofburg Theater richly and ornamentally built
in the late Renaissance style. This was completed in 1886, and is an
object of great admiration. At this point one is surrounded by varied
examples of architecture. Two of the structures are Gothic, one is
Italian, another classic; while the Burg or Royal Theater is Renais
sance. And there to the right,
in the center of the Volksgarten,
is the beautiful little Temple of
Theseus, as pure an example of
Greek architecture as can be found.
This charming building is the shrine
in which is inclosed the celebrated
statue of Theseus, sculptured by
Canova.

At the turn of the Ringstrasse,
where it becomes known as the
Burgring, another set of fine build
ings greets the eye. There is the
Natural History Aluseum and the

THE HOFBURG THEATER
Built in 1880-86 in the late Renaissance style.

VIENNA

THE QUEEN CITY

Museum of Fine Arts, with a fine, large square between them, in the center
of which rises the beautiful Maria Theresa monument. This is a most
elaborate and enthusiastic art expression of the affection of the Viennese
for their beloved empress. It is virtually the story of her brilliant
reign told in marble and bronze.

Across the way is another fine square, back of which is the Hofburg,
or the Imperial Palace, a group of most impressive and interesting build
ings. In a few minutes we
find that we are on the
Opernring, and we see the
reason for that name in
the Royal Opera House,
which fills a small block by
itself. From that point on
the Ringstrasse is skirted
chiefly by fine mansions.

VIENNA HOMES

As the visitor looks at
them he is apt to wonder
how the Viennese live.
These large mansions are
finely equipped apartment
houses, not imposing in

THE IMPERIAL HOFBURG

t exterior appearance, many

This building, founded by Duke Leopold VI, in place of the old rr _ J

castle Am Hof, has been the residence of the Hapsburg sovereigns of them quite plain. But

within their walls are to

be found all the comforts and luxury in home living that wealth can
command. Following along we turn back again to where the Ringstrasse
rejoins the Donau Canal. There, too, we find a vista of great interest and
attractiveness, the streets spanning the stream with bridges and the banks
lined with substantial buildings. The visitor who pursues this course has
now encircled the city. Let him go at once, then, to the center of Old
Vienna. He will find much to attract him there.

Go down to the Graben. It is one of Vienna s most important busi
ness streets. It was once part of the moat outside the fortifications,
and down to the thirteenth century it formed the southwest boundary of
the city. Many of its buildings stand on the site of the old city battlements.

In the center of the Graben rises the Trinity Column. This monu
ment was designed by Burnacini (bur-nah-chee-nee), and was erected in 1693
to commemorate the end of the plague. It is adorned by many works of
sculpture, and is very ugly. Clouds, men, angels, animals, and devils are
mingled in confused array. One traveler remarked about it, "At the first

VIENNA

THE QUEEN CITY

THE GRABEN
The business center of Vienna.

glance it seemed to me the petrified
result of an explosion of dynamite be
neath the monkey cageof a menagerie.
One almost regrets that the architect
did not succumb to the epidemic."

On the corner of Kartnerstrasse
and the Graben is the famous " Stock
im Eisen." This is the stump of an
old tree, securely fastened to the wall
by an iron band. The iron band
bears the date 1575 and the monc-
gram "H. B." The "Stock imEisen,"
or "Iron Stick," is so called because
it is completely covered with nails.
These were driven into it in accord with some old custom. This tree was
held sacred, and is said to have marked the end of the great Vienna Forest.

A little to the north of the Graben is the Church of Saint Peter, the
second oldest church in Vienna. It was founded by Bishop Arno of Salz
burg (750-821), and reerected by Fischer von Erlach in 1702-13.

SAINT STEPHAN S CATHEDRAL

Also near the Graben is Saint Stephan s Cathedral. This is the very
heart of Vienna. It is the finest Gothic edifice in Austria, and occupies so
central a position in Vienna that the streets are numbered from it in all
directions. Its spire is 450 feet high, and leans to the north, three feet
from the perpendicular. In a sense St. Stephan s has been for years the
heart and soul of Vienna.

When the inner city has been seen, and the great buildings of the outer
city visited, the visitor will spend many easy, agreeable hours in the parks.
These are too numerous to mention in detail, and all of them are attrac-

THE DONAU CANAL

The Danube Canal flows through a part of Vienna,
where it receives the waters of the Wien.

KARL S PLATZ

Showing a station on the underground railway,
an attractive example of commercial architecture.

VIENNA

THE QUEEN CITY

THE ART HISTORY MUSEUM

This is one of the greatest art galleries in the world. It houses
many valuable works of art.

tive. The greatest of all the parks is the
Prater, which lies across the Donau Canal to
the northeast of the city. It is a wonderful
pleasure ground covering 4,000 acres, and is
more than three miles in extent. There is
much there to invite the leisurely visitor.

SCHONBRUNN PALACE

No one will leave Vienna until he has
visited the Palace of Schonbrunn. This is the
summer residence of the imperial family of
Austria, and is situated not far from the
city, a distance of only about two miles. Go
there as you would go to Versailles when vis
iting Paris. And be sure that you pick out a
pleasant day: for that will add tenfold to your Erected in i 8 9 6 in memory of the

rrn T i r r- i i famous composer.

pleasure. The Park of Schonbrunn is exquis
ite. The grass, foliage, and flowers are not surpassed anywhere in
the royal estates of Europe. You will not only find there, too, the
enjoyment of outdoor nature and the interest attaching to an
imperial residence, but also you will learn of many things that had
to do with the destinies of Europe in the last hundred years. It was
here that Napoleon established himself after the brilliant Austrian

STATUE OF MOZART

VIENNA

THE

QUEEN CITY

campaign of 1809, which culminated in his decisive victory at Wagram.
He had his quarters at Schonbrunn while he arranged the terms of his
treaty with Austria. He came near being assassinated at that time. It
was at Schonbrunn that the pathetic little son of Napoleon and Marie
Louise, who was called both the ".King of Rome" and the "Duke of

Reichstadt," lived like a royal prisoner, and
died at the age of twenty-one. There is
plenty to entertain and hold you at Schon
brunn. The very walls whisper of the past.
It has been the scene of numerous historic
and romantic events. It was the home of
the ill-fated Maximilian, brother of the em
peror, whose brief, tragic career as ruler of
Alexico forms one of the saddest stories in
history. MariaTheresa often lived there, and
many of the attractive features of the palace
and its surroundings were planned by her.
Schonbrunn delights you with its many
varied beauties, and especially with its
quiet charm.

If you would have an ideal day at
Vienna, spend seven hours in the sunlight,
dreaming, at Schonbrunn; and then return
to the gaiety, the life, the bright lights, and
the laughter of the Ringstrasse; listen to a
concert by the Strauss Orchestra in one of
the parks, and enjoy the delightful associa
tion with hospitable Viennese friends. It is
an experience that you may repeat until the

days grow into weeks and until your heart grows so warm to this beauti
ful, gay, pleasure-loving city, that you cherish it as you do your home.

MONUMENT TO EMPRESS ELIZABETH

This statue was erected la the Volks-

gartcn in 1907 in memory of Empress

Elizabeth, who died in 1898.

SUPPLEMENTARY READING

THE HOLY ROMAN EMPIRE

By James Bryce.

The Macmillan Co. The authoritative gen
eral history.

AUSTRIA (Story of the Nations Series)

By Sidney Whitman.

G. W. Putnam s Sons. A book written in an
interesting popular style for the general reader.

THE REALM OF THE HAPSBURGS

By Sidney Whitman.

Eighth edition, London, 1893. The story of
Austria.

AUSTRO-HUNGARIAN LIFE IN TOWN AND
COUNTRY

By F. E. H. Palmer.

London, 1903. Impressions of Austrian life
told in an attractive style.

THE WHIRLPOOL OF EUROPE

By Archibald R. and Ethel Colquhoun.
An interesting book by a famous journalist.

THE DANUBE WITH PEN AND PENCIL
By Captain B. Granville Baker.
London, 1911. Impressions and sketches done
in an attractive manner.

THE MENTOR

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Volume I

JANUARY 19, 1914

Number 49

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Editorial

The phonograph has been called "min
iature music." Experience convinces us
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There are some peopie who are thought
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was designed by two persons one of them
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tolommeo Colleoni and that the statue is
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This simple incident illustrates not only
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The value of The Mentor will certainly make you feel the need
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NUMBERS ALREADY ISSUED

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BEAUTIFUL CHILDREN IN 1 ART No. 25.

MAKERS OF AMERICAN POETRY 26.

WASHINGTON. THE CAPITAL 27.

BEAUTIFUL WOMEN IN ART 28.

ROMANTIC IRELAND

MASTERS OF MUSIC 30.

NATURAL WONDERS OF AMERICA 31.

PICTURES WE LOVE TO LIVE WITH

THE CONQUEST OF THE PEAKS 33.

SCOTLAND, THE LAND OF SONG AND

SCENERY 34.

CHERUBS IN ART 35.
STATUES WITH A STORY
STORY OF AMERICA IN PICTURES

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LONDON 37.
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PARIS, THK INCOMPARABLE 41.

FLOWERS RATION 42.

MAKERS OF AMERICAN HUMOR 43.
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THE EXPLORERS 45.

SPORTING VACATIONS 46.

SWITZERLAND: THE LAND OF 47.

SCENIC SPLENDORS 48.

AMERICAN NOVELISTS

iCAN LANDSCAPE PAINTERS
VENICE, THE ISLAND CITY
THE WIFE IN ART
GREAT AMERICAN INVENTORS
FURNITURE AND ITS MAKERS
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HISTORIC SPOTS OP AMERICA
BEAUTIFUL BUILDINGS OF THE

WORLD

GAME BIRDS OF AMERICA
STORY OF AMERICA IN PICTURES:

THE CONTEST FOR NORTH

AMERICA

FAMOUS AMERICAN SCULPTORS
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NAPOL
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EGYPT. THE LAND QF MYSTERY
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The next number will contain six beautiful photogravures

ANCIENT ATHENS

The Parthenon, The Acropolis, Mars Hill or Areopagus, Theatre of Dionysius,

Theseum, Stadium

By G. WILLIS BOTSFORD
Professor of History, Columbia :ty

NUMBERS TO FOLLOW

Feb. 2. THE BARBIZON PAINTERS

Evemr . Diaz;

.usseau ;
;-je: The Old
Oak J, Millet.

:ur Uoeber, Author. Artist and Critic.
Feb. 9. ABRAHAM LINCOLN

..incoln. Lincoln s R : rthplace,

Head of Lincoln by Borglum, Signing the
Emancipation Proclamation.
By Albert Rushnetl Hart, Professor of Gov
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ral. The Palace, Popocatepetl.
-. Chapaltepec. Scenic
ilmer. Author and Jottrnalist,

TON

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ANCIENT ATHENS

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THE MENTOR DEPARTMENT OF TRAVEL
JANUARY 26, 1914

"THE FATES" East pediment of the Parthenon

MENTOR GRAVURES

AREOPAGUS ACROPOLIS PARTHENON THESEUM
THEATER OF DIONYSUS STADIUM

A the Letimbro plows her way round the southernmost cape of Greece
in her voyage toward Athens the sun sets in a splendor of gold that
shades into a pageant of purple, orange, white, blue, and unnamed
colors endlessly various and ever changing. It is thus that for the first
time we enter the portals of Greece, in a glory that no poet could describe
or painter set on canvas.

In the morning, after sailing past many a spot alive with historic in
terest, we steam into the harbor of Piraeus (py-ree -us), and the hotel row-
boats are swarming about us like hungry birds, while the din of Greek
voices seems to our ears a concert of buzzsaws. The porters scale the
ladder and seize their victims, bag and baggage. The Grand Hotel takes
us as its share of the prey. Fees, fees, and hurrying through the streets of
Piraeus to catch the next train to Athens, four and a half miles distant; a
semisubterranean ride to the city, more fees, and a carriage to the Grand
Hotel, what a drop from the clouds!

Thus was accomplished the last stage in our journey of thousands of
miles from New York to radiant Athens. To appreciate what this city
stands for in civilization, we must pass backward nearly twenty-five hun
dred years to the Age of Pericles (per -i-kleez). The change is made, and
we are walking the narrow, crooked, unpaved lanes that serve as streets.
To our right and left are rows of small huts of sun-dried brick, mostly low
and flat, the best but two stories high. In such homes reside not only the

E N

H E

plain citizens, but even the wealthy and the great. "In private life they
practised such moderation that if any of you knew which was the house of
Aristides (ar-is-ty -deez) or Militiadcs (mil-ty -a-deez) or any of the famous
men of old, you would find it no more pretentious than any of its neigh
bors." This quotation from Demosthenes (de-mos -the-neez) epitomizes
the character of the men of that earlier generation, who merged their per
sonality in the state, and strove only to make their city great and beautiful.

THE AREOPAGUS

In our random walk we approach the Areopagus (a-ree-op -a-gus),
a hill best described as a low, irregular mass of rock. The word seems to
mean "Hill of the Curses" (Arae) or Furies, whose shrine was a cave in the
northeast declivity, though a popular etymology has connected it with
Ares, God of War; hence the name has been mistranslated Mars Hill.
On its summit, above the rock-cut stairs shown in the picture, sat the
Council of the Areopagus as a court for the trial of murder in the first
degree. Its members were servants of the Furies who guarded the hill,
and demanded blood for blood and death for death. The proceedings
were solemn, and so well guarded and fair, and so filled with religious awe,
as to make this council the most august criminal court known to the
ancient world. This stronghold of tradition, and of paganism, looms
conspicuous in the history of early Christianity. Five centuries after
Pericles, Saint Paul, coming to Athens as a missionary of a new gospel,
stood in the midst of the Areopagus and said, "Ye men of Athens, I
perceive that in all things ye are too superstitious. For as I passed by, and
beheld your devotions, I found an altar with this inscription, TO THE
UNKNOWN GOD. Whom therefore ye ignorantly worship, him declare I
unto you. God that made the world and all things therein, seeing that he
is Lord of heaven and earth, dwelleth not in temples made with hands."

The council has been dissolved, the temples are in
ruins; but the religion of the man whom the Epicur
eans and Stoics of Athens termed a babbler still lives.

THE MARKET PLACE

Turning to the north, let us descend, in our dream
walk, to the market place, an irregular area nearly sur
rounded by porticos and public offices. Whereas in the
southern half of this space centers the political life of
the State, the northern part is devoted to trade. Deal
ers in bread, cheese, garlic, fish, wine, and other food
stuffs, in pots and pitchers, in oils, perfumes, and books,
have their several wicker booths closely crowded here;
and the noises of hawkers and customers, as they bar
ter and jangle, resemble the uproar of pandemonium.

PERICLES

ANCIENT

ATHENS

THE ACROPOLIS

THE "TEMPLE OF THESEUS"

Emerging from the Babel by a westerly pathway, we see, on a slight
elevation before us, a beautiful little temple, miscalled by the moderns
Theseum (the-see / -um),shrineof Theseus (thee- seoos orthee -se-us). It is
indeed a curious fact that the best-preserved of all Greek temples has for
gotten its own name. Provisionally we may agree with many recent
scholars that it was the home of Athena (a-thee -nah) and Hephaestus
(he-fes -tus), the artisan god, whose shrine certainly stood in the
vicinity, looking down upon the metal market. It is built of marble
from Mount Pentelicus (pen-tel -i-kus), in the Doric style, the more
severe and chaste form of Greek architecture. Traces of color still
extant suggest the general scheme of ancient architectural painting.
In the great spaces, as the columns and the architrave, the marble
was allowed to retain its natural color, while the detailed work was
painted, chiefly red and blue. The great importance of this building,
however, lies in the fact that on account of its excellent preser
vation it shows us better than any other how a Greek temple
actuallv looked.

N G I E N

E N

EXTERIOR OF THE PARTHENON (Restored)

THE ACROPOLIS

In our ramble through the city our attention is gradually directed to
its center, the Acropolis (a-krop -o-lis). Ancient Athens was a rough
wheel, with the wall of defense serving as a rim and the Acropolis as the
hub. From the beginning this height was the stronghold of the city. For
a long time, too, the king had his palace there; and after the monarchy
passed away it remained the dwelling place of Athena, the great protecting
deity of Athens. Her temple, along with the entire city, was laid in ruins
by the invading Persians.

When the Greeks had repelled this enemy, Cimon (sy -mon) began to
prepare the summit of the Acropolis for a larger and more beautiful temple
than the goddess had ever possessed before. With the proceeds from the
spoils of his naval victories he built the great wall along the southern rim,
which gives the Acropolis its present steep appearance on that side.^ The
space within the walls was then filled with the ruins of earlier buildings
and sculptures. His chief object was to widen the summit, so as to form a
large level area for the temple. Before he could carry out his plan, how
ever, he lost his place as the leading statesman of Athens; and it was left
to Pericles to continue his building policy.

LABOR AND TRADE IN ANCIENT ATHENS

Before examining the Parthenon (pahr -the-non), the new temple to
Athena erected under the supervision of Pericles, it may be well for us to
make the acquaintance of the men whose hands performed the actual work
on it. With this object in view we enter the yard of a stone mason. There are

N C I E N

HEN

no large shops or factories in the Athens of Pericles. Business is on a diminu
tive scale, conducted by individuals of small means, and the yard of our mason
is perhaps merely a space behind his dwelling. Here the proprietor works
with his own hands, initiating his sons into the mysteries of his trade, and with
the expansion of his business he hires or buys a few slaves as further aids.
A marked feature of the shop in Periclean Athens is the spirit of
equality between employer and employed, between freemen and slaves.
This happy atmosphere is a condition essential to the production of work
of high merit. The skilled laborer is proud of his profession. Whether
slave or free, he works not for mere subsistence or gain, but in a true
artistic spirit for the creation of the beautiful; in other words, the Greek
mechanic is an artist. Hence it is that the products of his craft, from
tombstones to pots and pitchers, are all works of genuine art. A thing
inseparable from true art is individuality; and in our modern age of
mechanical production it is difficult for us to appreciate the fact that the

Greek apprentice aim
ed not at a servile imi
tation of the master,
but at the creation of
something new, some
thing with a character
and a beauty of its own.
The Greek love of
individual liberty pre
vented the formation
of industrial compan
ies. Hence, when the
State projected a great
public work like the
Parthenon, its com
mittee of supervisors,
elected in a general as
sembly of the citizens,
had todivide theentire
labor into a multitude
of diminutive parts,
and let out the several
parts by contracttothe
masters of the shops
here described. The
contractor agreed in
writing to bring with
him a specified number

INTERIOR OF THE PARTHENON (Restored)

I E N

HEN

of laborers, to do work of a quality satisfactory to the committee, and to be
responsible for damages to the material. In the grant of the same daily
wage to slave and citizen, to underling and contractor, may be found fur
ther evidence of the lack of distinction between artist and artisan, and a
further expression of the democratic spirit.

THE PARTHENON

In 447 B. C. the Athenian citizens in general assembly resolved upon
building the Parthenon, and elected a committee of supervisors to engage
the artists and laborers and to oversee the work. Pericles was chairman
of the committee. His chief adviser for the decoration was Phidias (fid -
i-as), the most famous sculptor of all time. In nine years the building in
Doric style and of Pentelic (pen-tel -ic) marble was substantially com
pleted; though the decorative work continued half a dozen years longer.

The temple extends east and west, and is divided into two rooms.
The smaller, on the west, is a store chamber, and the larger, on the east,
is the dwelling place of the goddess. From each room a door opens upon
a porch supported by a row of six columns, and an outer colonnade ex
tends round the entire temple. These columns, which contribute to the
building its chief element of beauty, are a perfect blend of strength and grace.

SCULPTURED DECORATIONS OF THE PARTHENON

The decorative sculptures of the temple are all connected with ^
goddess, and represent chapters, so to speak, in the history of her relations

ATHENIAN KNIGHTS PARTHENON FRIEZE
6

E N

HEN

LAPITH AND CENTAUR
Parthenon Metope.

with the city. The metopes (met -o-
peez) show us athletic forms in intense
action, conflicts between men and
monsters or gods and giants; in gen
eral, the powers of order battling with
chaos. It is the first chapter in the re
ligious history of Athens, the period an
terior to Athena s present orderly rule.
The second chapter is filled with
the birth of Athena from the head
of her father Zeus (zeoos). An event
of primary importance in the relig
ious history of Athens, it occupies
the most conspicuous place, the
east pediment (gable) above the door
of Athena s chamber and facing the
rising sun. The goddess stands full
grown and armed by the throne of
her father amid a group of deities. In the third chapter, presented by the
west pediment, Athena strives with the sea-god Poseidon (po-sy -don) for
supremacy over Athens. He strikes the earth with his trident, causing a
spring to bubble forth. Athena, however, by creating the olive tree, wins
the victory in the presence of a throng of gods who fill the pediment. She
becomes accordingly queen of the city and first-born of the citizens. The
fourth and final chapter is filled by the frieze, a continuous band of low
reliefs extending entirely round the temple walls within the colonnade.
The subject is the Panathenaic (pan-ath-e-nay -ik) festival held in July
in honor of the goddess, and symbolizes the prosperity and happiness of
her peaceful sway. In various preparations for the procession to the
temple we see, for example, magistrates and priests in their official attire,
men leading animals for the sacrifice, youths bringing jars of water, girls
carrying baskets, knights with their spirited horses, and groups of deities
seated, inspecting the changing scene. Within the temple stands the
colossal statue of the goddess in ivory and gold, made by Phidias. Such
is the building as Pericles completed it.

ATHENIAN ART AND EDUCATION

The sculptors who wrought these decorations, who in more quiet times
worked in the humble shops formerly described, did not aim to produce,
in any popular sense, the utmost grace or physical loveliness: in these
qualities they were surpassed by later artists. Their object was a beauty
that would appeal to the highest intellectual perception of the age, which
would make the spectators think of pure and noble things. Primq requi
sites were dignity, sobriety, and self-restraint, the qualities of the

N C

E N

HENS

men of that age, who brought their city to the forefront of the world s
civilization, whose Parthenon stands for all time as the embodiment of
architectural perfection.

Far from being a bookish people, the Athenians got most of their
education in actual business and in public life, on the farm, in the shop,
in the popular assembly and the offices of administration. But practical
education, in itself narrow and sordid, ought to be broadened and elevated
by ideals. The Athenians needed the teachings and inspiration of their
great poets; and such instruction they received in the theater. This
building lies in the southern declivity of the Acropolis, near its eastern end.
It is entirely open to the sky, and the plays were always presented in

the day time. It was
not till a hundred
years after Pericles
that the theater was
provided with stone
seats, as shown in
the picture. The
building was dedi
cated to Dionysus
(dy-o-ny -sus), pri
marily god of life.
The dramatic fes
tivals were in his
honor, and were
therefore a religious
service. Sitting on
these benches, the
Athenians heard the
plays of Sophocles

AN ANCIENT MARKET SCENE / r/ i i \ i r

(sot -o-kleez) and or

their other great poets, whose task was to inspire the audience with
grand intellectual and moral ideals. It would be presumptuous on
our part to say that we moderns can find in their dramas no lesson
for ourselves in human duty, patriotism, reverence, and righteousness.

THE ERECHTHEUM

About twenty years after the death of Pericles the Athenians finished
another temple on the Acropolis inferior only to the Parthenon in beauty.
This was the Erechtheum (e-rech-the -um), named after Erechtheus
(e-rech -theus), a mythical king of the city. The western half of the new
shrine was devoted to him as a dwelling, in which he received the wor
ship of the citizens. In the eastern half abode the Athena who, repre
sented by an ancient log rudely carved in human form, was the especial

NORTH PORCH OF THE ERECHTHEUM

E N

HEN

guardian of the city, and was therefore more highly venerated than were
any of the beautiful statues of more recent times. While lacking the
simplicity, the regularity, and the artistic proportions of the Parthenon,
this temple is superior in the delicacy of the ornamental sculptures. The
carved decorations of the base and the capital of the Ionic columns, of
cornice and door frame, have never been equaled in the history of art.
Attractive, too, is the Porch of the Maidens. Though bearing heavy
weights on their heads, the maidens stand at perfect ease. In dignified
grace of posture and drapery they are little inferior to the sculptures of
the Periclean age. Whereas the Parthenon is the best example of the
Doric order of architecture, the Erechtheum, as an expression of the
Ionic style, is equally above competition. It is a remarkable fact that
within a period of fifty years Athens produced her most splendid models
of architecture, sculpture, history, comedy, and tragedy in a word a
great part of her contributions to literature and art.

A SOUND MIND AND BODY THE GREEK IDEAL

The Greek states were exceedingly small, comparable not with our
own, but rather with our townships and counties. This very smallness,

however, proved a most potent
stimulus to the development
of mind and body, because
the state required for her pro
tection intelligence combined
with the utmost physical
strength and agility. Hence
arose the great interest in
athletics. Every city had gym
nasia and a stadium, and
nearly every festival included
athletic competitions. The
promising winners in these
local contests were sent to the
great natiorTal games, the most
famous of which were the
Olympic; and the simple olive
wreath that rewarded the vic
tor brought glory to his family
and state. Long after Greece
had become part of the Roman
empire a wealthy Athenian
built for his city a magnificent
marble stadium. It fell to
ruins, as did Athens and the

A GREEK ATHLETE

C I E N

HEN

empire; and the Turk, who held Greece in desolating bondage for four
hundred years, used the Parthenon sculptures as pistol targets.

Early in the nineteenth century the Greeks shook off the yoke of
slavery and became a free people. Recently they revived the Olympic
games, for which they rebuilt the splendid stadium, whose marble seats
accommodate fifty thousand spectators. It was a good omen, too, for the
reborn country, that the first Marathonian winner was a Greek. Still
more recently the nation has passed through a terrible war, guided by a
statesman like those of old, and fought to victory on bloody fields by
men of as enduring frame and valiant heart as those who defied Persia
at Marathon. While regretting the horrible cruelties and sufferings of the
war, we may trust that its outcome means for the rejuvenated nation
an awakening to a future worthy of her glorious past.

THE WEST PEDIMENT OF THE PARTHENON
Drawn by Carey.

SUPPLEMENTARY READING

A HISTORY OF GREECE By G. W. Botsford.
The Macmillan Co.

A brief study of Greek history and civilization.
THE GREEK COMMONWEALTH
Oxford University Press. By A. E. Zimmern

An inspiring study of Greek public life and

economy; of great value, though not in every

respect authoritative.

LIFE IN ANCIENT ATHENS By T.G. Tucker.
The Macmillan Co.

Private, social, and public life; interesting and

accurate.

A HANDBOOK OF GREEK ARCHEOLOGY

By H. N. Fowler and ]. R. Wheeler.
American Book Co.

Authoritative treatment of the elements.^

ANCIENT ATHENS

9y E. A. Gardner.
The Macmillan Co.

An attractive study of the topography and

monuments, by a famous scholar.

THE ACROPOLIS OF ATHENS

By M. L. D Oogf
The Macmillan Co.

The most minute treatment in the English

.language.

A SOURCE BOOK OF ANCIENT HISTORY

By G. W. andl.S. Botsford.
The Macmillan Co.

Extracts from ancient authors relating to the

Greeks.

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Volume i

JANUARY 26, 1914

Number 50

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SANFORD; SECRETARY. L. D. GARDNER.

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* * *

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The value of The Mentor will certainly make you feel the need
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AMERICAN SEA PAINTERS
STORY OF AMERICA IN PICTURES:

THE EXPLORERS
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SWITZERLAND: THE LAND OP

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No. 25. AMERICAN NOVELISTS

\MERICAN LANDSCAPE PAINTERS

27. VENICE. THE ISLAND CITY

28. THE WIFE IN ART

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32. HISTORIC SPOTS OP AMERICA

33. BEAUTIFUL BUILDINGS OF THE

WORLD

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35. STORY OF AMERICA IN PICTURES:

THE CONTEST FOR NORTH
AMERICA

36. FAMOUS AMERICAN SCULPTORS

37. THE CONQUEST OF THE POLES

38. NAPOLK

THE MEDITERRANEAN

40. ANGELS IN ART

41. FAMOUS COMPOSERS

42. EGYPT, THE LAND QP MYSTERY

43. STORY OF AMERICA IN PICTURES:

THE REVOLUTION.

44. FAMOUS ENGLISH POJ

45. MAKERS OP AMERICAN ART

46. THE RUINS OF ROME

47. MAKERS OP MODERN OPERA
DURER AND HOLH

49. VIENNA. THE QUEEN CITY

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The next number will contain six beautiful photogravures

THE BARBIZON PAINTERS

Evening, Daubigny; Holy Family, Diaz; Meadow Bordered by Trees, Rous
seau; Landscape with Sheep, Jacque; The Old Oak,
Dupre*; The Gleaners, Millet.

By ARTHUR HOEBER, Author, Artist and Critic
NUMBERS TO FOLLOW

Feb. 9. ABRAHAM LINCOLN

nt Lincoln, Lincoln s Birthplace,
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Feb. 16. AMERICAN PIONEER PROSE

WRITERS
Benjamin Franklin, Jo nathan E :

ing. James Fenimore Cooper, Janu

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Feb. 23. GEORGE WASHINGTON

.gton the Surveyor, Braddock s

ican Army. Washington at Valley Forge,
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By R -ad of the De-

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Mar. 2. MEXICO

The Cathedral. The Palace. Popocatepetl.

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THE BARB1ZON PAINTERS

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Author, Artist, and Critic

THE MENTOR

FEBRUARY 2, 1914 DEPARTMENT OF FINE ARTS

MENTOR

GRAVURES

THE GLEANERS

By J. F. Millet, i8i4-&gt;5

MEADOW BORDERED

BY TREES
By P. E.T.Rousseau, i8i2- 67

THE HOLY FAMILY

By X. DIAZ, i8o9- 6o

EVENING

By C. F. Daubigny, 18 17^78

LANDSCAPE AND SHEEP
By C. E. Jacque, iSij- go

THE OLD OAK

By Jules Dupr, iSn- Sg

J. FRANCOIS MILLET, by himself

THERE lies alongside the Forest of Fontainebleau (fong-tane-blo ),
in France, a straggling little village which consists of a single long
street, a few peasants houses, and a modest auberge, or inn. There
are no industries in the place, nothing ever happens, and, save for the oc
casional visit of someone bent on an art pilgrimage, few strangers ever
reach the town. It is called Barbizon (bahr-bi-zong ); but its fame is
worldwide, its name being associated with a group of distinguished FVench
painters of the figure, the animal, and the landscape, men whose names
stand out brilliantly in the annals of art, whose work today is sought by
the collector, and whose canvases are included in most of the galleries of
Europe and America.

The history of these men is full of interest and pathos; for they had
more than their share of vicissitudes, struggles, and early neglect. Yet
they vanquished all obstacles, finally emerging triumphant, and forcing
the world to acknowledge their talent, even if they did not reap the re
wards that were their due; for since their deaths their pictures, for which
they asked absurdly modest sums, have sold for great fortunes, single can
vases in frequent cases bringing amounts that would have kept anyone
of the painters in the greatest luxury all his life.

We speak of this group of Barbizon men as "The Men of Thirty";
for it was about 1830 that the town began to be the working place of a

THE

BARBIZON

PAINTERS

JEAN FRANCOIS MILLET

coterie of artists. Six years before that two French
painters from Paris had gone down to Fontaine-
bleau to visit a friend who was director of the
porcelain factory there, and, wandering about
sketching, they lost their way in the forest. A
cowherd they met directed them to the little vil
lage of Barbizon, where they passed the night in a
cowshed. When daylight broke they were charmed
to discover a primitive country, quite unspoiled by
city folk, and, enthusiastic, they took back to their
brother painters glowing accounts of their find.
Thither flocked a crowd of artists, at various
times, Jean Francois Millet (zhong frong-swah
mee-lay ), Theodore Rousseau (roo-so ), Narcisse
Diaz (nahr-sis dee-ahth ), Charles Francois Daubigny (do-been-yih ),
Jules Dupre (doo-pray ), and Charles Jacque (zhahk), with Corot (ko-
ro ) occasionally, and many more men since distinguished.

THE FONTAINEBLEAU SCHOOL

The gorgeous trees, glades, and deep recesses of the adjoining forest of
Fontainebleau (these men founded what is also known as "the Fontaine-
bleau school ") offered them the most engaging themes for pictures ; life was
primitive and inexpensive, and far from the haunts of men, they worked
out their problems, painted their canvases, and lived close to nature.

The place is partic
ularly identified with
the namesof Millet and
Rousseau; although it
was not until 1849
that Millet found his
way to the small vil
lage. Along with his
friend Charles Jacque,
the sheep painter,
both of them with
their families, they
went by diligence
from Paris, and on to
Fontainebleau. From
there these two con
genial souls explored
the splendid woods,
walking through the

SHEPHERDESS KNITTING
By J. Francois Millet. Metropolitan Museum, N. Y.

THE

BARBIZON

PAINTERS

glades until they found Barbizon, to which they came through a cow
gate that is now famous; for here, fastened on a great rock, is a double
medallion portrait in bronze of Millet and Rousseau, executed by one
of the great French sculptors
to commemorate the associa
tion of these painters with
this place.

It is Millet who first
comes to mind when Barbizon
painters are thought of in any
way. When Millet arrived

THE ANGELUS. by J. Francois MUlet
Museum of the Louvre.

THE MAN WITH THE HOE. by J. Francois Millet
Van den Eyndc Collection. Brussels.

THE SOWER

By J. Francois Millet. Metropolitan
Museum. New York.

with his family he went afoot,
holding his two little girls on
his broad shoulders; while his
wife trudged behind with their
infant, a few months old, in
her arms, and a sturdy Nor
mandy servant followed with a basket of provisions. A peasant who
saw them took them for strolling actors. Though Millet went to
Barbizon expecting to stay but a few brief months, he remained until
his death, twenty-seven years later. Here he lived in a modest little
house, where a large north window made a possible room for the painter
to work in, and here he produced those masterpieces that were to
bring him immortal fame.

THE

B A R B I Z O N

PAINTERS

Never a man of great cheerfulness, by the severe work, the struggle
against poverty, against lack of recognition, and against a physical weak
ness that manifested itself in continual headaches, Millet s entire nature
was saddened, and he labored under the greatest difficulties, his pictures
reflecting the depressed mood that almost continuously remained with
him. Yet he never faltered, and even in the darkest periods he kept at
his easel, producing splendid canvases.

MILLET S CAREER

The son of a Normandy peasant farmer, Millet was born at Gruchy,
a little hamlet along the shores of the English Channel, in October, 1814.
For one so lowly born he received a reasonably good education, being fa
miliar with Latin at thirteen. Virgil remained one of his favorite authors
through the rest of his life. As a lad he was always sketching, and, though
he was obliged to assist at the farmwork, he found time to make many
drawings. Finally these so impressed themselves on the notice of his
father that, poor as he was, he felt impelled to make some effort to have
the lad take up the profession of painting, and to that end he made every
sacrifice, took him to Cherbourg (share-boor 7 ), where he entered him in

the studio of one Bon
Demoucel. Here he
remained for only two
months, for his fath
er died and he came
back but now his
grandmother inter
vened, and again he
was sent to Cher
bourg to study with

THE CLOSE OF DAY. by Theodore Rousseau

Langlois (long-glwah ). This teacher was so im
pressed with his talent that he interested the
mayor and members of the common council, who
voted Millet an annuity of eighty dollars to send
him to Paris for study.

The awkward country lad in Paris, big of

THEODORE ROUSSEAU

T H E

B A R B I Z O N

PAINTERS

IN THE FOREST OF FONTAINEBLEAU. by Theodore Rousseau, now in the Louvre

frame, with his great shock of hair, shy manner, and sensitive nature,
put off for a long while entering any studio, contenting himself with
wandering about the public galleries, w r here he studied mainly the
old masters. When he did finally enroll himself under Paul Delaroche
(de-lah-rosh ), the fellow students dubbed him "the man of wood. 1
For the academic system of drawing Millet had no possible use; yet
even his first attempts were taken seriously by his comrades, who
quickly discovered that he was a genius in the rough. But he soon
left Delaroche as he had quitted other masters, and thereafter blazed a
way for himself, living in a little attic with a comrade, and occasionally
attending a night school where he drew from models. Neither then nor
at any subsequent time did he lose confidence in his ability; for he
always took himself and his talent with great seriousness. During this
period he married twice. The first wife lived but two and a half years.
The second remained with him to the end, was a helpmate in every sense
of the word, sharing his troubles and his short triumph, and she bore
him several children.

When one recalls that his famous pictures of recent years have
brought sums all the way from ten thousand to two hundred and fifty

THE

B A R B I Z O N

PAINTERS

thousand dollars, it is almost un
believable that Millet sold work
in the early part of his career for
just enough to keep the family
from starvation.

MILLET S POVERTY

Indeed, in 1848, acknowl
edging the receipt of one hun
dred francs (twenty dollars), he
wrote, "They came in season.
We have not eaten for two days."
About this time he painted signs,
and it is recorded that he gave
six beautiful drawings for a pair
of shoes. His first farm scene, a
theme that was to make him
eventually famous, was painted
in 1848, and was of a man win
nowing corn. He sold it for one
hundred dollars. Shortly before
Millet finished his now famous
picture of "The Angelus" he
wrote to his friend Sensier, "We
have wood enough for only two or three days more. I am suffering." The
American painter, William M. Hunt, who knew him at Barbizon, went to
see him, and tells how " he was desperately poor, but was doing tremendous
things." This picture of "The Angelus" Millet had difficulty in selling for

twenty- five hundred francs ($500). In 1889, at
the famous Secretan (sek-ray-tahng ) sale, it
brought five hundred and fifty-three thousand
francs, and the next year was sold again for no
less than eight hundred thousand francs.

Millet painted picture after picture, generally
tillers of the soil, themes of farm life, shepherd
girls, workmen about the farm, with occasionally
a nude, and these last he did no less well. In each
composition there was a rugged simplicity, a di
rectness, and a force never for a moment to be
misunderstood, invariably ringing true. There
was no suspicion of a model posed, never pre
conception; but always the picture seemed a leaf

LANDSCAPE, by Charles Francois Daubigny
Metropolitan Museum, N. Y.

. FRANCOIS DAUBIGNY out of the day or night work of the farm, of

THE

B A R B I Z O N

PAINTERS

the fields, the dignity of labor, or
motherhood. When his brother
artist Rousseau came into his
good fortune and began to sell his
work for large prices he bought
paintings by Millet secretly, giv
ing it out that a rich American
had become the owner, so his
friend might be encouraged.
Happily, a modest success came
to Millet before his death in Jan
uary, 1875: he sold his work at
prices that enabled him tobequite
free from financial care. Like the
genuine artist he was, conscious
he was nearing the end, he ex
claimed a month before he passed
away, " I die too soon. I disap
pear at the moment when I begin
to see clear in nature and art."

ROUSSEAU, PAINTER
AND NATURALIST

Pierre Etienne Theodore
Rousseau (pyare ay-tyen ), to
give the great French landscape painter his full baptismal name, was
one of the greatest painters of nature the world has ever seen, a man who
was not only a master in pigment, but one who knew the anatomy of the
earth in a truly scientific way. He had made the most profound studies out
of doors : there was not a tree he did not know by
heart, not a growth unfamiliar to him. The only
child of a prosperous merchant tailor, he was born
in Paris. There was never any doubt as to his fu
ture career, and at the age of twelve his father sent
him to study with Remond, a fairly well known
painter. At nineteen Rousseau had a picture in
the exhibition of the Royal Salon in the Louvre,
and when he arrived at man s estate a picture of
his so attracted the critics in the exhibition that
he was pronounced one of the coming men. Then
he became more or less revolutionary, changed
his style of painting, and was in great disfavor
with the classicists. As they had refused his Salon
picture of 1836, he quit Paris for Fontainebleau,

STUDY OF TREES, by Narclssc Diaz
Metropolitan Museum, M. Y.

NARCISSE DIAZ

THE

B A R B I Z O N

PAINTERS

whither he went and came into the Barbizon group. But he suffered
none of the disappointments of the rest of his friends there; for after
a few years not only did he sell his work, but honors piled up on
him thick and fast. In the year of his death, 1867, at the Universal
Exposition, he was awarded a medal of honor.

There was no department of landscape painting that Rousseau did not
know thoroughly. Nothing he ever did was the result of happy accident;
for, even while men sometimes do stumble on certain results, as a distin
guished American painter once said, " no work of art ever really happened."

ROUSSEAU S METHOD OF PAINTING

One of his friends, Alfred Sensier, wrote of a visit to his home
when Rousseau was engaged on one of his masterpieces, "The Charcoal
Burner s Hut." Rousseau had laid it in with the right general effect, at
the first painting on a canvas prepared in gray tints, and, having placed
his masses of trees and the lines of his landscape, he was taking up with
the delicacy of a miniaturist the sky and the trunks of the trees, scraping
with a palette knife to half the depth of the painting, and retouching the
masses with imperceptible subtlety of touch. It was a patient labor,
which finished by being disturbing, it was so imperceptible.

"It seems to you that I am only caressing my picture, does it not,"
the painter asked, "that I am putting on nothing but magnetic flourishes?

I am trying to
proceed like the
work of nature
itself, by ad
ditions which,
brought togeth
er, or united,
become forces,
transparent at
mospheric ef
fects, into w r hich
I put afterward
definite accents
as upon a woof

OT Tl 6*11 f Frll VSlllf*
LANDSCAPE SUMMER, by Jules Dupre. Metropolitan Museum. N. Y.

I hese accents

are to painting what melody is to harmonic bass, and they determine
everything, either victory or defeat. When I have exhausted the resources
of the colors I use a scraper, my thumbs, a piece of cuttlebone, and even
my brush handles. They are hard trials, these last moments of the
day s work, and I often come out of them worn, but never discouraged."

THE

B A R B 1 Z O N

PAINTERS

SHEEPFOLD. by Charles Jacque. Metropolitan Museum. N. Y.

Daubigny was the lyric poet of the little group, a painter of delight
ful, peaceful scenes, who glorified everything he touched with his graceful
charm of manner, his tender sentiment, and his cheerful optimism. He
came of a family thoroughly imbued with artistic notions; for his father
was a painter and a teacher of drawing in Paris. At the age of twenty-
one he made his first appearance at the Salon in Paris, with an effort at
classic work; for France at that time was given over to classicism. He
broke away from these traditions, however, shortly afterward, and thence
forward gave himself over to nature and his own personal manner of
interpretation, quickly gaining favor of both the critics and the public.
Although grouped with the Barbizon men, he is not known to have passed
much if any of his time at that village, being rather associated with them
in spirit and the manner of work; for he was of their school and in close
sympathy with their ideals. He had a home at Auvers (o-vares ), on the
Oise (wahz), and to facilitate his sketching on the wet banks of the river
he devised a houseboat in which he moved from place to place, painting
as his fancy moved him, along the Oise, the Seine (sane), the Marne
(mahrn), and many tributary streams.

DIAZ, THE BOHEMIAN

The real Bohemian of the Barbizon men was the Spanish-born French
man Diaz, the most joyous, devil-may-care of the crowd, artist by the
grace of God to his very fingertips, whose life was like some romance.
Deserted by his father, his mother made her way to Paris by teaching
and undertaking all sorts of work, settling in Sevres (saver), where young
Diaz grew up in the midst of dreams and art work handicapped by a

THE

B A R B I Z O N

PAINTERS

STUDY OF A WHITE COW
By Constant Troyon, Metropolitan Museum, N. Y.

misfortune which cost him one of
his legs. Showing a taste for art,
he was apprenticed to a maker of
porcelains, where he had for a com
panion Jules Dupre. He helped to
decorate china; but his indepen
dence in breaking away from careful
detail cost him his place. Nothing
daunted, he left and gave himself
over to the making of pictures that
suited his taste better. These he
managed to sell at a price, or ex
change with dealers for pieces of
bric-a-brac, rugs, and carvings, with
which his studio was subsequently crowded. He painted scenery too, and
life went merrily with him ; for he was carefree and delighted in his painting.
Somewhere about 1836 he drifted down to Barbizon, where helmet
Rousseau, who had a serious effect upon him, and, from doing trifling
sketches, he gave himself to a more profound study of the landscape. Yet
he could not long remain serious. Application was irksome to him, and
he went his way unrestrained, passionate, versatile, unequal, ^but rarely, if
ever, uninteresting. With his many failings, he rose at times to great
heights, his color instincts being more or less inspired.

He had his weaknesses; but, as a writer has said of him, in art asm
music, literature, and even in humanity itself, there are enduring qualities
that are above and beyond laws. As there are melodies that defy the
rules of harmony and stir us to the very depths, so there are simple bits
of poetry that go straight to the heart, where classic finish leaves us cold.
And there are contradictory natures, passionate, illogical, selfish at times,
yet which wind themselves about our affections in some strange manner.
So with Diaz and his work. We are aware of his shortcomings, and yet
the inborn genius, rising higher than training, than accepted rules and
authorities, fascinates us by the bewitching personality with which his
canvases glow, the brilliance of color, the charm, grace, and lovely
harmonies of his inspired work.

The German art historian Muther (moo -ter), calls Dupre peculiarly
the tone poet of the group, who sounds the most resonant notes in the
romantic concert, a man who revels in contrasts, who delights in rain,
night, and storm, who painted the sea in its rage, muttering like some
hoarse old monster, who celebrated the commotion of the sky, nature in
her angry majesty, and the most brilliant phenomena of atmospheric
life. He was a melancholy spirit, and he passed a lonely existence,
absorbed in his work. Born in 1812, after he quitted the Sevres

THE

B A R B I Z O N

PAINTERS

porcelain works he went to England, where he met Constable, who had a
strong influence on him. He sent his first picture to the Salon of 1835,
and it was not long before he joined the Barbizon group, where he worked
for many years.

Intimate of Millet, closer than any of his friends, Charles Jacque
makes the sixth of this Barbizon group, and was the painter of sheep, as
Constant Troyon (trawh-yong ) was the authority on cattle. He first
attracted attention with his etchings, having started his career as a wood
engraver, working for some years in England. But he too drifted to
Barbizon, where he remained until
his death. He painted poultry and
sheep, his landscapes as back
grounds for the latter being unusu
ally fine.

Constant Troyon was another
of the group who began his art
career in a porcelain factory in his
native town of Sevres. He may
be said to have had no art biog
raphy; since he was without mas
ters, making his way self-taught,
although he is, by general consent,
considered the greatest of the mod
ern animal painters. He is said
to have been a most unaffected, simple soul, entirely occupied with
his art, an enormous worker, and had a splendid success, artistic and
financial, during his life. Cattle, sheep and horses, as well as goats, he
painted with the greatest authority, always against admirable landscape
settings. Since his death his pictures have increased enormously in value
and are sold at immense sums, being eagerly sought after by the collectors.

BRONZE TABLET AT BARBIZON
To the memory of Rousseau and Millet.

SUPPLEMENTARY READING

A HISTORY OF FRENCH PAINTING

C. II. Stranahan.

(New York, Charles Scribner s Sons.) Com
plete biographical account of the artists.

MODERN FRENCH MASTERS

Written by American Artists.
Edited by Prof. John C. Van Dyke.
(New York, The Century Company.) Esti
mates of the artists, with anecdotes and bio
graphical data sympathetically set forth.

ART IN FRANCE Louis Hourtiq.

(New York, Charles Scribner s Sons.) "ArsUna;
Species Mille," series: general history of art,
copiously illustrated and most comprehensive.

THE PAINTERS OF BARBIZON, Millet, Diaz,
Rousseau.

John W. Mollet.

(London: Sampson, Low & Co.) Biographies of
Great Artists series.

BARBIZON DAYS Charles Sprague Smith.

(New York, A. Wessels Company.) Artist s
account of a summer passed in Barbizon, with
anecdotes of the Barbizon painters.

ART LIFE OF WILLIAM MORRIS HUNT

Helen M. Knotclton.

(Boston, Little, Brown & Co.) Hunt was a
personal friend of the Barbizon men, and painted
in that village some time.

ISSUED WEEKLY BY

The Mentor Association, Inc.

52 East igth St., New York, N. Y.

Vol. I

FEBRUARY 2, 1914

No. 51

ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE
COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50
EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED
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OND-CLASS MATTER. COPYRIGHT. 1914. BY THE
MENTOR ASSOCIATION. INC. PRESIDENT AND TREAS
URER. R. M. DONALDSON; VICE-PRESIDENT. W. M.
SANFORD; SECRETARY, L. D. GARDNER.

Editorial

This is a composite answer to a dozen
or more letters that have recently come
in from Mentor readers. They all relate
to the number of The Mentor on "Angels
in Art," and the gist of them all is as fol
lows: "Where did the pictures that illus
trate that number come from? Most of
them are not complete paintings, but de
tails. We would like to know where the
original paintings are."

* * *

When a number of readers have been in
terested enough to write in for this in
formation, it is clear that all the readers
should have the benefit of it. The pic
tures for this number were carefully se
lected by Professor Van Dyke, and the
original paintings from which they were
taken are all of them important and in
teresting works of art. We give below a
list of the titles of the pictures and the gal
leries from which they were taken.

* * *

The two relief placques on the first page
of the number on "Angels in Art" were
designed by the sculptor, Air. Daniel Ches
ter French. The present owner is un
known to us.

The Baptism of Christ, by Perugino, is
in the Pinacoteca Collection, Perugia, Italy.
The head at the bottom of the second page
is a detail of the same picture.

The Madonna of the Rosary is in the
Gallery of Bologna, Italy.

The Madonna Enthroned, by Fra Bar-
tolommeo, is in the collection of the
Louvre, Paris.

Saint Michael and the Demon, by Guido

Reni, is to be found in the Church of the
Capuchins, Rome.

The Archangel Raphael, by Verocchio,
and the Baptism, by the same painter,
also the Saint Michael by Perugino which
is reproduced in gravure are in the Acad
emy at Florence.

The Veronese Annunciation is in the
Academy at Venice. And there also is to
be seen the original of the gravure picture
Angel with Lute, by Carpaccio.

The Botticelli Madonna and Child and
Angels may be seen in the Kaiser Fried-
rich Museum at Berlin.

The Botticini Madonna and Child is in
the Pitti Gallery, Florence.

The Fra Angelico Trumpet Blowing
Angel, and the Coronation, are in the
Uffizi Gallery at Florence.

The Madonna and Saint Bernard, by
Filippino Lippi, is in the Badia Gallery.
Florence.

The Riccardi Palace at Florence holds
that exquisite gravure picture of the An
gel Choir, by Benozzo Gozzoli.

The Madonna and Child with Angels,
by Bellini, is in the Church of the Frari,
Venice.

The Angel with Violin, by Melozzo da
Forli, is in the Sacristy of St. Peter s, Rome.

Finally, the Angel of Annunciation, by
Burne-Jones, which is reproduced in part
in gravure and complete in the pages of
The Mentor, is in England, in the private
collection of the Earl of Carlisle.
* * *

In printing this list we want to assure
a number of readers who have expressed
a desire for such information as this that
we shall hereafter give full information in
reference to the origin of the pictorial
material in The Mentor whenever it is
possible to do so. "Why may it not be
given in every case" that is the question
asked by one of our readers. Gently!
The limits of our information will be
only those of possibility. In some cases
we cannot locate the original picture
no information having been transmitted
with the reproductions of it. In a ma
jority of cases, however, we shall be able
to give this information to our readers,
and we will endeavor to make it, in every
case, as full as possible. So much for the
future numbers. At present it is a satis
faction to give our readers the informa
tion they have asked for in reference to
the "Angels in Art."

The Mentor Week by Week

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