Pennsylvania Museum Bulletin. Number 63, October 1918

BULLETIN OF

THE

PENNSYLVANIA
MUSEUM

MEMORIAL HALL
FAIRMOUNT PARK
PHILADELPHIA

PUBLISHED QUARTERLY BY THE PENNSYLVANIA MUSEUM
AND SCHOOL OF INDUSTRIAL ART

SUBSCRIPTION, ONE DOLLAR A YEAR

OCTOBER, 1918

PENNSYLVANIA MUSEUM

AND SCHOOL OF INDUSTRIAL ART

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

.PEL

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

Vice-Presidents

Officers

THEODORE C. SEARCH, President

JOHN STORY JENKS,

JOHN G. CARRUTH,

JAMES BUTTERWORTH, Treasurer

LESLIE W. MILLER, Secretary, Principal of lite School

LANGDON WARNER, Director of the Museum

HAMILTON BELL, Acting Director of the Museum

BULLETIN

For October, Nineteen Hundred and Eighteen

CONTENTS

The New Children's Museum

Sch

49

52
59
61
62
47

Entered August 2
Acceiv

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.

BULLETIN

OF

THE PENNSYLVANIA MUSEUM

OCTOBER, 1918 SIXTEENTH YEAR Number 63

THE NEW CHILDREN'S MUSEUM

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.

50 BULLETIN OF THE PENNSYLVANIA MUSEUM

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
reach.

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

BULLETIN OF THE PENNSYLVANIA MUSEUM 51

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,
apply:

"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

52 BULLETIN OF THE PENNSYLVANIA MUSEUM

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.

SARACEN INLAID METAL WORK

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
revived.

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

BULLETIN OF THE PENNSYLVANIA MUSEUM

53

1^

^ ^

Ed

Q

54

BULLETIN OF THE PENNSYLVANIA MUSEUM

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.

(99-758)

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.

BULLETIN OF THE PENNSYLVANIA MUSEUM 55

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

56

BULLETIN OF THE PENNSYLVANIA MUSEUM

Brass, Engraved and Inlaid with Silver.
(93-112)

Indian.
Iron, Inlaid with Silver.

(99-357)

BULLETIN OF THE PENNSYLVANIA MUSEUM

57

Persian.

Brass, Engraved and Inlaid with Silver.

(92-700)

58 BULLETIN OF THE PENNSYLVANIA MUSEUM

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.

BULLETIN OF THE PENNSYLVANIA MUSEUM 59

SCHOOL NOTES

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

60 BULLETIN OF THE PENNSYLVANIA MUSEUM

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,
illustrated.

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

BULLETIN OF THE PENNSYLVANIA MUSEUM 61

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.

CATALOGUES OF THE J. PIERPONT MORGAN COLLECTIONS

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.

62 BULLETIN OF THE PENNSYLVANIA MUSEUM

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
today.

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.

RECENT BEQUESTS

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

BULLETIN OF THE PENNSYLVANIA MUSEUM 63

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.

64

BULLETIN OF THE PENNSYLVANIA MUSEUM

ACCESSIONS
July-September, 1918

CLASS

Ceramics

Jewelry.
Enamels,

Etc.

Metal work

Paintings

Silversmith's
Work

Textiles
Miscellaneous

OBJECT

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,

1793-1819

Tablespoon, by Stockman & Pepper, Philadelphia,

1831

3 Teaspoons

Sampler, made inl819

Saddle and Bridle, Mexican

Crystal Ball Supported by Carved Ivory Elephant. . .

HOW ACQUIRED

Bequest of Miss Mary K. Bent.

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

Lent by the Commissioners of Fair-
mount Park.

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

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

Collection.)

,- 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
Collection.)

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.

ENNSYLVANIA

EUM

AND SCHOOL OF INDUSTRIAL ART

MUSEUM COMMITTEE

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

Ralston Welsh

•l.'TH

1 Harrison

ward t, stotesbury

Mrs. Corneh

HONORARY CURATORS

Textiles, Lace and Embroidery Rg. j0HN Harrison

Oriental Pottery. . .Mrs. jones 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

INSTRUCTION COMMITTEE

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

ASSOCIATE COMMITTEE OF WOMBIT TO THE BOARS OF TRUSTEES
President

Mrs. Rudolph Blankenburg

Ftrtt Vice-President

Miss Nina Lea

Secretary

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

Treasurer

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

HONORARY MEMBER

Mrs. M. Hampton Todd