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Full text of "Pennsylvania Museum Bulletin. Number 63, October 1918"

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OCTOBER, 1918 



Board of Trustees 

The Governor op the State, Ex-Cf. The Mayor 

Mrs. Rudolph Blankenburg John Story Jenks 
Charles Bond 
James Butterworth 

G. Car ruth 

Henry S. Grove 


les H. Harding 
Thomas Skelton Harrison 

Gustav Ketterer 
John H. McFadden 
John D. McIlhenny 
Mrs. Arthur V. Meigs 
John W. Pepper 
Eli Kirk Prick 

of the City, Ex-Of. 
Walter H. Rossmassleu 
Theodore C. Search 
Edgar V. Seeler 
Mrs. Joseph F. Sinnott 
Edward T. Stotesbury 
Tames F. Sullivan 
William Wood 







LESLIE W. MILLER, Secretary, Principal of lite School 

LANGDON WARNER, Director of the Museum 

HAMILTON BELL, Acting Director of the Museum 


For October, Nineteen Hundred and Eighteen 


The New Children's Museum 




Entered August 2 

lelphia, Pa., as Second-Class Matter, under Act of Congress of July lo, 189*. 
al rate of postage provided for In Section 1103, Act oi October 3, 1917, 
authorized on July 5, 1918. 






During the summer months, a large section of the capacious basement of 
Memorial Hall was transformed by the Park Commission into an exhibition 
hall, well lighted by electricity, in which, according to plans laid out by the 
Director, Mr. Langdon Warner, before he left us temporarily, has been installed 
such material as appeared suitable for the purpose of forming the nucleus of 
what it is hoped to make a Children's Museum. 

This includes transportation material of several countries and epochs, 
represented by actual examples, or by small models both of vehicles and of 
ships, the latter mainly from Asia. Also some models of dwellings calculated 
to give children an idea of the workaday life of peoples of other races, and of 
the manner in which they have solved the problems of existence, as presented 
to them. 

Miss Mary Sinnott's large collection of dolls, including representations of 
the Papal Court, occupies cases at the northern end of the Museum. These 
dolls are of various description and nearly all national costumes are represented 
in the series. The collection will acquire increasing interest as the years go by 
and gradually national costumes pass out of use if not of existence as, indeed, 
already is the case in many localities. In addition to the Papal and the National 
series, there are artistic dolls dressed in the height of modern style — some also 
designed by soldier-artists wounded in the present war, and which represent 
types — as for instance the Girl from Montmartre, curiously picturesque in her 
slovenly attire, with her bold face and unkempt red locks. Among the Ameri- 
can dolls three are old ones with papier-mache heads and kid sewed bodies, 
which made the delight of our venerable grandames when they were children. 
There are of a later date, French dolls of our own childhood with porcelain 
heads and woolly blond wigs, and jointed gutta-percha bodies. 

A large handsome French doll, presented by Mrs. Sydney E. Hutchinson, 
was dressed by her mother, Mrs. Stotesbury; and another notable beauty 
appears in the costume of 1859 with hoopskirt and tulle ball-dress after the 
style worn by Harriet Lane, when reigning Lady at the White House. 

Out of this collection, by filling certain lacunae, a systematically complete 
history of the doll could be made which would be as interesting to adults as 
to children. 


Next to Miss Sinnott's collection of dolls, has been placed a collection of 
Mexican munecos, made by the Indians of the neighboring Republic. This 
series includes the native occupations of the Mexicans, whether Indians — that 
is so called "leperos" or the mixed type that represents the middle and gov- 
erning classes. The bull-fighter, the guerillero are there as well as the humble 
tortilla-maker and vendor, who sits on her "petate" surrounded by her tools 
of trade, grinding her corn on her " Metate;" or the charcoal dealer who trots 
down from the Sierra, his mountain haunt, carrying a pack of his made product, 
as tall as himself, on his strong, patient back. 

It is a fact that these little clay figures are molded and painted by the 
Indians themselves who never even heard of an art school, although many of 
them turn out work the realistic accuracy of which would put to shame many 
of our students. 

Across the passage that, like the Pacific Ocean, separates Mexico from 
Japan, is an interesting series of models of Japanese dwellings, and fortunately 
the Museum possesses real Japanese figures of the proper size to set off these 
small houses and give them a homelike, inhabited appearance. 

In the Eastern aisle of the hall has been temporarily installed a series of 
real vehicles ranging from an old chaise, the curious springs of which are made 
of hard stitched leather, and the entrance to which must have been as difficult 
to any one save an acrobat, as the biblical eye of a needle — to a London hansom 
cab of ten years ago, which Mr. John H. McFadden purchased and sent to the 
Museum to ripen for the benefit of the coming generations. These surely will 
marvel at the courage of the driver who could be found willing to be responsible 
at such long range for the good conduct of his horse — the penalty for the short- 
comings of which was to him a long fall from his exalted perch — and will ponder 
over the pluck of the passenger who was ready to stand so close to the unknown 
beast's hindquarters, with his driver and only protector so entirely out of 

There are Japanese palanquins of fine lacquer, and a gaily decked Neapoli- 
tan cart and harness, and there is a Norwegian sled and horse, and — well, 
these old friends in their new abode look like newly found treasures. But in 
many cases the lacunae are so great and numerous as to prove veritable chasms, 
and those in charge have to look to the traveling public to assist in filling them. 

In my humble opinion, no museum display is of real educational value 
unless it presents a logical series. It is true that to form consistently com- 
plete series with original specimens is often impossible. But missing links 
may be supplied by models or even by good size photographs or drawings. 
After all. the educational museum must differ materially in spirit and method 
from the art gallery, which aims at presenting the highest art that money 
and opportunity can procure. 

The educational museum deals primarily with ideas. As my old friend 
and early guide, George Brown Goode, head of the Smithsonian Institute and 
in charge of the U. S. National Museum at Washington, used to say: "The 
museum of the past (he wrote in 1891) must be set aside, and transformed 
from a cemetery of bric-a-brac, into a nursery of living thoughts. It must 
stand with the library and the laboratory as part of the teaching equipment of a 


great city and must contribute its share as one of the principal agencies for the 
enlightenment of the people." 

In a museum of industrial art, especially one that is established in a 
great manufacturing center, we have two functions fused, or at least merged, 
into one effort. The art taste of the period or of the race is applied to the 
products of its industries. And this brings to bear upon the subject, historic 
or ethnic influences which the museum expert is bound to consider if he is to 
produce an intelligent classification. 

I have dwelt perhaps more seriously on these questions, because, as far 
as I know, most, if not all of the children's museums that have been established 
so far, have dealt principally, if not entirely, with natural history — and that is 
science pure and simple. A Children's Museum of Industrial Art, therefore, 
is a new departure. Whether adapted to a general community or only to its 
children, a Museum of Industrial Art must consider industry as well as art. 
It represents virtually what, as early as 1874, Sir Henry Cole, the founder of 
"the Department of Science and Art," urged upon the British as a necessary 
adjunct of a nation's educational system. 

"A thorough education and a knowledge of science and art are vital to 
the Nation and to the place it holds at present in the civilized world. Science 
and art are the life blood of successful production." 

Now a child's museum should teach the child more than the story of 
beautiful things or that of industries — it should teach him, quite unknown to 
himself, an idea of the logical sequence of things. Classification, too often over- 
looked even in art museums, cannot be set aside with impunity in a museum of 
industrial art, as upon it depends an orderly habit of mind which goes by the 
name of "scholarly," but which in reality means nothing more impressive than 
the cultivation of the quality of intellectual order, and of the sequence of 
things, the seeking of cause and effect, which leads to logical conclusions. 

It seems to me that a child's museum, more than — certainly, as much 
as — any other, should possess that quality and that to it, more than to any 
other, does the axiom of the most intelligent museum man I have ever known, 

"An efficient educational museum may be described as a collection of 
instructive labels, each illustrated by a well-selected specimen." 

The reason why most museums fail in educational value is precisely because 
they are made up of objects brought together more or less haphazard, quite 
irrespective of a plan, and that, of course, however valuable each object may 
be, their collecting leads nowhere. 

The objects exhibited in a museum should be in groups, in systematic 
sequence, so that they may have a collective as well as an individual signifi- 
cance, thus affording a chance to cultivate powers of observation and become 
a stimulant to intellectual activity. 

To return from theory to practice: The Children's Museum about to be 
opened, offers great possibilities which, if handled adequately, will result in 
an unique and invaluable educational instrument in this community. To 
complete such a museum as can only be indicated with the present material 
at hand, must cost some money. The traveling public, however, doubtless 


could help materially in adding much from its superfluous stores as well as by 
bearing in mind the needs of the Museum, while in distant lands. 

What is needed just now, is a definite plan toward the carrying out of 
which both those in charge and the community, once it understands the needs, 
may work. Above all do not get discouraged by the incompleteness of the 
present beginning, and remember that "a finished museum is a dead museum," 
and a dead museum is more useless than a dead horse. 

S. Y. S. 


While much, and, indeed, much good, metal work is done now-a-days, one 
conspicuously beautiful branch of this craft has been strangely neglected. 
This is a method of inlaying and engraving practiced by the medieval Saracens 
and popularly, but erroneously, known as Damascening. It is in the hope of 
encouraging its revival that I wish to draw attention to the examples, few in 
number and unfortunately not of the finest quality, of this splendid art, in the 
Pennsylvania Museum. I will use some of these, however, as illustrations to a 
brief account of the history and technique of this process. 

The art of inlaying metal in metal is of great antiquity; one need only 
recall the superb weapons of bronze from Mycenae and Egypt, dating from 
between 2000 and 1000 B. C. to realize that the craft, of which they are such 
consummate examples, must be even more ancient than this remote time. 

But the manifestation of it with which we are concerned is from two to 
three thousand years younger still. 

In Mesopotamia in the twelfth or thirteenth centuries enough of the ancient 
tradition of this and many other arts had survived the iconoclastic deluge of the 
Moslem conquest (in about 625 A. D.) to respond to the stimulus provided by 
the overthrow of the Kalifate by the less bigotedly religious Turks. Under 
these last the steady growth of the more liberal of the two great Mohammedan 
Sects — the Shi'ite permitted the use of human and animal figures in the arts 
and the perennial skill in craftmanship of the Persian and Mesopotamian peoples 

The earliest examples of Saracen inlaid metal work known to us are from 
Mosul on the upper Tigris. They are probably not earlier than the thirteenth 
century although one or two pieces in which this technique appears, sparingly 
employed, are dated 1 159 and 1 190 A. D. One of the most splendid examples is 
in the British Museum and is dated 1232 A. D. The finest work ceased to be 
made by the end of the fourteenth century. 

The chief characteristic of the Mosul style is the predominance of the 
figures of men and animals. The lavish use of silver for inlay is its most con- 
spicuous feature, technically; gold is rarely if ever used, though red copper is, 
occasionally. The brass or copper base is often entirely covered with the more 
precious metal and the intervening spaces are generally filled with a black 
bituminous composition. 

In about 1255, possibly as a result of the Mongol invasion, the art suffered 
a brief eclipse and probably about this time many craftsmen emigrated to 




^ ^ 





Syria and Egypt, where their art underwent certain modifications in harmony 
with the tastes prevalent in those lands. 

In Syria, where Damascus and Aleppo were the chief centers, during the 
fourteenth century, men and animals disappeared from the decorative repertoire 
of the metalworker but birds remained and rosasces filled with flowers, such as 
are common in the tile work and pottery of this part of the East, became the 
predominant feature of Syrian work. The Damascene craftsmen also probably 
inspired the use of gold in the inlay, this is known to have been a favorite method 
of theirs. 

By far the most numerous of these works of art are Egyptian and are 
classed as Mamluk, the name of the magnificent Sultans who governed that 

Mosul Work, Perhaps XIV Century 

Brass, Engraved and Inlaid with Silver. 


country from 1258 to 1507 A. D. They are the most easily dated from the 
inscriptions which form the chief feature of their decoration. These usually 
vaunt the titles and achievements of the Sultans or their courtiers. The human 
figure does not appear in Mamluk work except on pieces used in astrology, but 
birds, ducks in especial, and fish often occur. 

Cairo was the capital where most of it was made and the art survives there 
to the present day. 


Most of it now is merely engraved work, though, since the influx of winter 
visitors into Egypt, inlaid work of considerable merit is produced in the Mamluk 
style, sometimes very elaborate and inlaid with gold as well as silver. 

M. Gaston Migeon, Conservateur in the Louvre Museum, who has made 
exhaustive studies of the arts of the Nearer East, and Mr. Stanley Lane-Poole, 
the English authority on this subject, agree in general in these classifications, 
though M. Migeon is far from being so definite in his divisions as Mr. Lane-Poole, 
admitting frankly that Syrian and Mosul work are easily to be confused, and 
that the so-called Yemen (Arabian) is only to be distinguished from Egyptian 
by the subject-matter of the inscription. Indeed he inclines to the opinion that 
the Sultans of Yemen obtained their works of art directly from Cairo, some are 
so inscribed, of which powerful court they were satellites in the fourteenth and 
fifteenth centuries. 

By the fourteenth century Persian metal work, directly descended from 
that of Mosul, was in full flower. Figure subjects remained in high favor, 
but the costumes had become Persian instead of Arab or Mongol. Gold was 
more and more used there as time went on, and the piercing of the metal leaving 
the patterns cjoures is also a characteristic of Persian work, although it is 
occasionally to be found in such objects as incense burners of earlier date. 

There are several fairly good pieces in the Museum some of them quite 
modern. Indian inlaid metal work is also represented. It flourished in that 
country under the magnificent Mogul emperors and though greatly deteriorated 
has not since died out. It is known there as Keft work; Keft being Arabic for 
inlaying of all sorts. It was also the name from very ancient times of the port 
of Egypt on the Red Sea whence traders sailed for the Farther East. 

In the sixteenth century the art began to be practiced in Venice chieflv 
by Oriental workmen whose style, while influencing, was also modified by, the 
spirit of the Italian Renaissance. 

A brief account of the process whereby the beautiful results of the Saracenic 
metal inlayer were achieved is perhaps the most important part of this paper. 

No soldering was employed, in the best period, but the original surface was 
cut away in planes deepening towards the edges, which were slightly undercut. 
The silver was then forced into the cavity as nearly as possible to a level with the 
brass base and the rebated edges burnished down over it. The inlaying of the 
finer lines, where there was not room for undercutting was achieved by punch- 
ing a series of notches with an oblong headed instrument, into which notches the 
silver was pressed with a burnisher of jade or agate. 

The earliest work was never accomplished by stippling the surface of the 
cavities with little triangular notches which serve as teeth to hold the inlaid 
plates down; this process was only used in later times and in Venice when the 
art spread in the sixteenth century to that semi-oriental city. The modern 
method is to roughen, either by notches or crosshatching, the entire surface and 
then to press into these with a burnisher the very thin plates of the precious 
metals which are cut into the desired shape and subsequently touched up with 
a graver. A small amount of heat is used to make the gold and silver adhere 
closely. This is the way in which the modern Russian, Persian, Indian and 



Brass, Engraved and Inlaid with Silver. 

Iron, Inlaid with Silver. 





Brass, Engraved and Inlaid with Silver. 



Spanish " Damascening, " so called, is done; as may be gathered, it is not inlay- 
ing at all, but what I prefer to call encrusting.* 

The inlaying having been completed, the artist then proceeded to com- 
plete, with a graver, every detail of his design, faces and dress of the men, 
feathers and fur of beasts and birds and every detail of floral and other ornament 
was delicately and minutely chased on the silver. Everything, except the 
smooth faces of the letters of the inscriptions in Mamluk work, was engraved. 
No portion of the work was slurred over even if it was not likely to be often seen. 

Stanley Lane-Poole tells an illuminating story of Mahmud El-Kurdy, a 
Saracen artist established in Venice in the sixteenth century, who, when he 
made use of the stippling process, described above, stippled his notches in 
graceful scrolls although he knew that they would be immediately concealed 
by the silver plates they were designed to hold. The accidental loosening of 
some of these has betrayed the artist's honest work. 

Nos. 99-758 and 99-357 in the Bloomfield Moore collection and Nos. 93-1 12 
and 92-700 give us some idea of the process I have described though none of 
them is of the highest excellence and all much later than the best period. 

While urging the revival of this exquisite art I would not be understood as 
advising a slavish imitation of Saracenic ornament in the use of the process. 
It can be adapted to any style of design and the student must remember, that 
although the chefs-d'oeuvre of the technique are Saracen, no art is truly living 
unless it strives to express the spirit of the age in which the artist finds himself. 

Besides the examples of this art in the Pennsylvania Museum, there are 
there and in the School Museum several admirable reproductions of famous 
pieces from European collections, and at the present time some exceptionally 
fine specimens on loan in the Museum of the University of Pennsylvania. 

H. B. 

* Our lax use of the words Damascene and encrust has been adopted from the French, in which language 
Damasquiner means to make incisions in steel and fill them with gold or silver wire. Incruster, meaning literally 
to encrust, has come to signify any sort of inlay, an obvious perversion of the plain sense of the word, since to 
encrust is to cover over, while to inlay is to insert into. 

The Encyclopaedia Britannica gives the same definition of Damascening or Damaskeening, admitting that 
it is sometimes applied to the production of Damask (i. e. "watered") steel. But, in so defining, it speaks of it 
as "the art of encrusting gold, silver or copper wire on the surface of iron, steel or bronze," giving then an elaborate 
description of the process of inlaying. It repeats this misuse of this word in describing Inlaying which it defines as 
a method of encrusting or otherwise inserting in one material a substance differing therefrom in color or nature. 
This is a correct description of inlaying but is in no sense encrusting, as has been stated. 

The New English and the Century Dictionaries give both "watered" steel and "the art of ornamenting the 
surface of one metal by inlaying with another" as definitions of Damascening or Damaskeening. The Century 
quite correctly informs us that in incrusted work in metal the surface is decorated by attaching to it ornaments 
also in metal. 

A new and clearer set of terms is obviously needed to describe these various processes of decorating one metal 
with another. 

It is always dangerous to try to replace traditional terms, even if incorrectly used by those which more 
accurately describe the subject under discussion, otherwise I should be disposed to suggest that Damascening be 
limited to the production of laminated or watered steel, since that is described by no other single word : the Inlaying 
of metal in metal is lucidly definite. 

Encrusting could then be reserved for the process of applying one metal on another without inlay, and Plating 
would continue to express the entire covering of one surface with another. In this way the present confusion 
would be relieved by an accurate definition of the processes involved. 



The fifth Summer Session of the School opened July 8th and closed August 
2d. The enrolment of forty-eight included (besides those from Pennsylvania) 
supervisors of drawing from Wisconsin, North Carolina, Virginia, Maine, 
District of Columbia and New York; ten students preparing themselves for 
drafting positions with the government; and one young man who made an 
especial study of color theory to direct men camouflaging the ships of the 
Emergency Fleet. 

Poster design and rendering was especially emphasized to enable the 
drawing teachers to obtain this coming year more effective patriotic posters. 
Interesting and successful experiments were made in tied and dyed work. 

The session closed with an exhibit of the work done. 

Fourteen will be awarded the Summer School Certificate. 

The lectures on Patriotic Training Work for Teachers given in co-operation 
with the National Security League, had an average attendance of 56. The 
principals and teachers enrolled had in their charge last year over 21,000 pupils. 
This course has beyond doubt enlightened them as to the causes and issues of 
the war, and inspired them to spread a proper propaganda through the children 
to the homes. Mr. Dougherty Reese, a well-known lecturer, delivered two 
supplementary talks on Russia and Italy, and their relation to peace adjustments. 

An important feature of the Summer Session is the attendance of teachers 
who received their appointment to positions while pupils of the regular daily 
course of study here, and had never been able to complete their records for the 
diploma. Several, by the credits obtained in the Summer Class, in the few 
seasons it has been operating, have completed the requirements and received 
the diploma. 

There is of course some uncertainty as to the exact conditions for the 
coming regular School session. Changes all through the country have inter- 
ferred with the lenrolment of students coming from a distance. The great 
demand for all kinds of skilled drafting, wood, and metal working, has absorbed 
practically all the students qualified, and they are serving as heads of mechani- 
cal drawing rooms, pattern shops, casting and other processes, and many are 
working in the ranks of ships, locomotive and other mechanical operations. 
The Camouflage Corps, both here and abroad, have naturally received many of 
our graduates, and the Medical Museum, and other war record-keeping divisions 
of the army and navy, have engaged our illustrators and modelers. 

Mr. Henry C. Pitz, the instructor in nature study, and the decorative 
interpretations of this subject in practical illustration, has been drafted and 
gone into the service, which has absorbed so many of our younger men. 
Mrs. Isabelle Wildermuth Bailey may resume her former charge of at least a 
portion of these subjects, which will enable the School to maintain the same 
standard of observation and expression. 

The Students' Committee has organized for the Fourth Liberty Loan 
Campaign. Robert Paul Marenzana, the chairman of this body in its very 
successful drive for the Third Liberty Loan, goes into the navy service the 


date set for the opening of the School, but will conduct the work the previous 
week and it is expected his inauguration of the activities will give the impetus 
to carry it far forward. 

It was natural that through the Summer, much poster work, particularly 
of a patriotic character, should be done, both in prize competitions and as 
regular employment. Frederick C. Knight has carried off the most honors in 
the Normal Class, and has also filled an important position during vacation. 
His "Good Health" prize poster for the Anti-Tuberculosis Campaign in Penn- 
sylvania, attracted much attention. In this competition all the prizes went to 
pupils of the School — Miss Mildred Buckley winning the first; Mr. Knight 
the second; Miss Helen Connor the third. 

The most important single work service upon which the School has yet 
entered is the part it will take in the conducting of the School of Occupational 
Therapy which opens October 2d. The suggestions from Washington are 
to make the Philadelphia course more comprehensive than any other given in 
the United States, as the scale of which operation has been planned here, is 
larger than elsewhere, and the government desires that at least one of the 
established schools shall include the work necessary for all the types of war- 
affected men. As the conditions range from partial to almost total physical 
disability from mere stupor to actual mental overthrow, the list of necessary 
elements is large. By the co-operation of all the educational institutions and 
the hospitals, adequate resources are assured and it gives Philadelphia this 
first opportunity to unite such organizations in mutual aid, and "curing by 
occupations" will become a more essential feature of the civil hospitals, as its 
effect upon war patients is noted. 

It is interesting and instructive to recall that the number of students 
already trained in the School have been handicapped by various defective 
physical conditions, but attained success in their own lines of work. There 
are instances here of students deprived of the use of one or both legs, either by 
amputation or paralysis, one arm, one eye, various fingers, deformed backs, 
and of course deafness. In no instance has any one of these defects prevented 
perfectly normal training, and execution of the subjects of design and craft 
work taught here as professions. 

Since the last report, the School has received the following gifts: 

From Mrs. W. W. Gibbs — Fourteen volumes of miscellaneous subjects, 

From Mrs. Albert B. Weimer — One full year's set of copies of The Mentor 
(magazine) . 

From Miss Bachman — A coin cabinet in oak. 

From Mrs. James Mifflin — Italian hair and neck ornaments. 

Miss Margaret Baugh having left as a memorial to Doctor Edwin Barber, 
former Curator of the Museum, the sum of $50,000, "to be used to revive, 
carry on and develop" the kind of pottery formerly made in Pennsylvania, 
which so interested both Doctor Barber and Miss Baugh, it is hoped that the 
School may now be able to advance its work begun along those lines more than 
thirty-five years ago, and which within the last few years has made many strides 
forward. At various times the effort has been directed to the slip and sgraffito 
decorative pottery, but not sustained, owing, both to the lack of funds and to 


the necessity of giving up the workers at the end of their diploma course. The 
establishment of foreign scholarships in 191-1 enabled the Director to select 
pupils of special subjects, and take them abroad for advanced study, and among 
those who benefited by this opportunity, was Leon W. Corson, a Pennsylvania 
student, directly interested in this ware, and particularly well acquainted with 
its former production in his own neighborhood. His study of the examples 
existing in Holland and Italy, was most satisfactory, and he returned to 
America to carry on the production and reproduction of this type. He was 
prevented by the failure of his health, and his death soon afterward cut short 
what promised to be a brilliant career. The School possesses good examples 
of his work, both completed and in process, and many renderings in color which 
he made from early historical examples, which he studied in the Italian museums 
and at the Cantagalli studios in Florence. 

The collection of native pieces of this pottery at the Museum in Memorial 
Hall is undoubtedly the best in the world, and offers all the inspiration which 
can be locally obtained. Such scattered examples of this ware produced in 
other countries as may be found in various places in America, will serve their 
part in the revival and establishment of this pottery, but the real quickening 
power is in the design which the simple process and composition inspired for 
the over-lay of the two-colored clays, the ease of execution and the natural 
features in the manipulation of the medium, all tend to suggest various plays 
of thought and fancy, not offered by the more subtle and difficult forms of 
pottery making. 

The early Pennsylvania settlers were practical folk, and the aim of their 
potters was to supply the actual needs of an unimaginative people, but those 
who undertake "to revive, carry on and develop" this war 5 now have a much 
greater altitude and a richer field of purpose and result. 


Mr. J. Pierpont Morgan has generously added to the Catalogues of his 
Father's collection of Chinese Porcelains and of Watches, which that great 
collector presented to the Museum Library several years ago, no less than seven 
more of these famous Catalogues, making seventeen splendid volumes in all, con- 
taining the records of nine departments of the Morgan collection. 

The new volumes comprise the Catalogue of the Collection of Paintings at 
Princes Gate and Dover House, London, in three large folios, profusely illustrated, 
some of the plates being in color. The introduction is by Humphrey Ward. 

There are four volumes of the Catalogue of a Collection of Drawings by the 
Old Masters formed by C. Fairfax Murray and purchased in its entirety by 
Mr. Morgan. 

Four handsome volumes of the Catalogue of the famous Morgan Collection 
of Miniatures by C. G. Williamson contain a very complete history of this art, 
illustrated by numerous examples of the work of its most distinguished professors. 


This is also true of the Catalogue of the Bronzes of the Renaissance which 
was written by Mr. Wilhelm Bode and is the last word by that authority on this 
important and interesting subject. 

The Catalogue of Twenty Renaissance Tapestries by Seymour de Ricci is, 
equally with the two last, more than a mere chronicling of an individual col- 
lection, it is an authoritative work on the subject. One about which too little 
has been written with real scholarship. 

The Catalogue of Old Plate is likewise the work of a recognized authority 
on the subject, having been prepared by E. Alfred Jones whose "Old Silver of 
American Churches" is one of the standard books on the silversmith's craft. 

The last of these beautiful volumes is of greater interest to the student than 
to the layman, being the Catalogue of Cylinders and other Ancient Oriental 
Seals made by William Hayes Ward. 

Besides being of great value to the student the majority of these volumes 
well merit the epithet sumptuous. They are all exceptionally well printed and 
"made," on the very finest papers with illustrations in the most modern and 
perfect processes, varied with the varying demands of the objects to be repro- 
duced. A large portion of them are bound in full morocco, silk lined and tooled 
with appropriate and tasteful ornament, the work of the best bookbinders of 

They are in every sense a monument to the liberality and fine taste of the 
greatest of American collectors and the Pennsylvania Museum is to be con- 
gratulated on being the recipient of Mr. Morgan's enlightened munificence. 


During the summer the Museum has obtained by bequest : — 

From Miss Mary K. Bent a portrait in oil signed and dated 1843 by 
Rembrandt Peale of a "Boy in a Red Jacket;" a horse, by Buenessen, of Royal 
Copenhagen Porcelain; a small collection of Chantilly lace and a number of 
books on art subjects. 

An interesting collection of works of industrial art has been presented to us 
by Mrs. Albert P. Brubaker in memory of Frederick J. Kimball and Helen 
Kimball GrafHin. 

Although Mrs. Kimball, by her second marriage to Mr. William H. GrafHin, 
became in later life a resident of Baltimore she and her first husband were 
prominent and loyal Philadelphians who resided at Red Gate, Germantown, and 
it was in fulfilment of Mrs. GrafHin's expressed wishes that Mrs. Brubaker, who 
inherited the contents of her house at Glencoe, Maryland, bestowed the following 
objects in the Pennsylvania Museum. 

Chief among them is a valuable addition to our collection of Delft ware, most 
of the fine pieces of which, at present exhibited, being loans. A set of twelve plates 
of this ware are marked as the production of the well known ' ' De Porceleyne 
Bijl, Porcelain Axe" factory; they are decorated with figure subjects, following 


the avocations appropriate to each of the twelve months; the costumes are of 
about the year 1700. With these are six large plates, several of them very good, 
and a garniture of four covered vases of blue and white Delft decorated in the 
Chinese manner. 

There are also two large Chinese "Powdered-Blue" jars, with covers, 
mounted in ormolu of the period of Louis Sixteenth, and a Chinese Celadon jar 
with engraved decoration under the glaze, likewise mounted in ormolu. 

Two black basalte jugs, one for wine and one for water, designed by Flaxman 
the sculptor and made by Josiah Wedgwood, c. 1763, a Meissen (Dresden) 
porcelain box and an English luster bowl inscribed to the honor of "Jack 
Crawford, The Hero of the Constitution, October 11, 1797," complete the list 
of ceramics. 

There is a bronze statuette of " Icarus" by a French sculptor, Ferrat, signed 
and dated 1849 and a reproduction in bronze of the well known antique group of 
"The Boxers. " 

A gold, enameled and jeweled watch and chain, with Turkish numerals, 
made by George Prior, London, c. 1825. 

An old harpsichord in a gilt and painted-gesso covered case, and a curious 
old dulcimer in a painted case of eighteenth century design, are the most impor- 
tant pieces of furniture in the collection; there are besides two large pieces of 
inlaid furniture, with ormolu mountings, in Louis Fifteenth style and a Korean 
chest with heavy brass mountings. 

The furniture is displayed in the appropriate alcoves of the galleries devoted 
to that purpose, while the smaller objects are now on temporary exhibition in a 
case in the Rotunda, previous to their permanent installation. 



July-September, 1918 





Metal work 





Figure of Horse, Copenhagen Ware 

Garniture of 4 Delft Vases 

2 Powdered Blue Vases, Chinese 

Celadon Vase, Chinese 

2 Black Basaltes Ewers, bv Wedgwood, c. 1763 

12 Delft Plates, " The Porcelain Axe Pottery," c. 1700, 

6 Delft Plaques 

Luster Bowl, England 

Jewel Box, Meissen, Late Eighteenth Century 

Worcester Teapot, c. 1812 

Spinet , Italian 

Dulcimer, Italian 

Comode, French, Louis XV St vie 

Bahut. French, Louis XV Style 

Chest , Korean 

Watch and Chain, Enamel and Gold, by George 
Prior, London, c. 1825 

Chant illy Black Lace Flouncing 

Chant illy Black Lace Shawl 

Collar made of Tatting 

2 Pairs of Lace Mitts 

Bronze Figure, "Icarus" 

Bronze Group, " The Boxers" 

Fire Insurance Plate, " F. I. Co" 

Circular Tin Bathtub '. . . 

"A Portrait of a Boy," by Rembrandt Peale, 1843. . . 

6 ' ' Teaspoons . by Fisher Bros 

Creamer, by Christian Wiltberger, Philadelphia, 


Tablespoon, by Stockman & Pepper, Philadelphia, 


3 Teaspoons 

Sampler, made inl819 

Saddle and Bridle, Mexican 

Crystal Ball Supported by Carved Ivory Elephant. . . 


Bequest of Miss Mary K. Bent. 

I Given by Mrs. Albert P. Brubaker. 
(The Frederick J. Kimball and 
Helen Kimball Grafflin Memorial 

Lent by the Commissioners of Fair- 
mount Park. 

I Given by Mrs. Albert P. Brubaker. 
(The Frederick J. Kimball and 
Helen Kimball Grafflin Memorial 

Given by Mrs. Albert P. Brubaker. 
(The Frederick J. Kimball and 
Helen Kimball Grafflin Memorial 


,- Bequest of Miss Mary K. Bent. 

> Given by Mrs. Lucy Whitfield Harper. 

) Given by Mrs. Albert P. Brubaker. 
(The Frederick J. Kimball and 
Helen Kimball Grafflin Memorial 

Given by Mr. John Story Jenks to the 
Frishmuth Collection. 

Bequest of Miss Mary E. Bent. 

Lent bv Mrs. Lucy Whitfield Harper. 

< Given by Dr. E. S. Vanderslice. 

Given by Mr. John H. Willar. 

Lent by Dr. Bernard Berens. 
Given by Mr. Edwin F. Keen. 





John D. McIlhenn wcis 
Thomas Skelton Harrison Mrs. W 
John Story Jbnks Mrs W 
Gustav Ketterer Mrs Job 
John H. McFadden m r 
Mrs. Rudolph Blankenburg, Ex 

Ralston Welsh 


1 Harrison 

ward t, stotesbury 

Mrs. Corneh 


Textiles, Lace and Embroidery Rg . j 0HN Harrison 

Oriental Pottery. . . Mrs . j ones Wister 

European Porcelain. , Rev . Alfred Duane Pell 

Arms and Armor . . . Cornelius Stevenson 

Furniture and Woodwork. .Gustav Ketterer 
Musical Instruments. . D . Frishmuth 

Numismatics. .... ... p. D . Langen 

Sculpture, Marbles and Casts . . Alexander Stirling Calder 


Theodore C. Search, Chairman Mrs P K Hipple 

Charles Bond ^M Miss Nina' Lea 

Mrs. John Harrison Mrs. Arthur V. Meigs 

Thomas Skelton Harrison Mrs. Thomas Roberts 

John Story Jbnks Mrs. Joseph F. Sinnott 

John D. McIlhenny Mrs. C. Shillard Smith 

Edgar V. Sbelbr Mrs. John Wister 

James F. Sullivan Mrs. Jones Wister 
William Wood 

Mrs. Rudolph Blankenburg, Ex-Offieio 


Mrs. Rudolph Blankenburg 

Ftrtt Vice-President 

Miss Nina Lea 


Mrs. Henry S. Grovb 

Mrs. Edwin Swift Balch Mrs. 

Mrs. Jasper Yeates Brinton Mrs. 

Mrs. John H. Brim Miss 

Mrs. William T. Carter Mrs. 

Miss Margaret Cl\ Mrs. 

Mrs. Henry Brinton Coxb Mrs. 

Miss Ada M. Crozer Mrs. 

Mrs. David E. Dallam Mrs. 

Miss Cornelia L. Ewing Mrs. 
Mrs. George Harrison Frazier Mrs. 

Mrs. W. D. Frisdmuth Mrs. 

Second Vlce-Preddant 

Countess Santa Eulalia 


Mrs. Joseph F. Sinnott 

W. W. Gibbs Mrs. 

John Harrison Mrs. 

M. S. Hinchman Mrs. 

F. K. Hippi.e Miss 

J. L. Ketterlinus Mrs. 

Robert R. Logan Mrs. 
Howard Longstreth Mrs. 

Arthur V. Meigs Mrs. 

James Mifflin Mrs. 

Francis F. Milne Mrs. 
Thornton Oakley 

Francis T. Patterson 
Percival Roberts, Jr. 
Thomas Roberts 
Mary E, Sinnott 
C. Shillard Smith 
Cornelius Stevenson 
Edward T. Stotesburt 
William H. Walbaum 
A. B. Weimer 
John Wister 
Jonbs Wister 


Mrs. M. Hampton Todd