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1
ART AND ARCHAEOLOGY

THE ARTS THROUGHOUT THE AGES
An llliisl rated Monthly Magazine

PuBUSHKD AT WASHINGTON, D. C, by
THE ARCHAEOLOGICAL INSTITUTE

OF AMERICA
VOLUME XI
JANUARY— JUNE, 192
^^^.
l^V^
^WH-^P,
EDITOR-IN-CHIEF DIRECTOR AND EDITOR

William H. Holmes Mitchell Carroll
BOARD OF EDITORS BOARD OF MANAGERS

Virgil Barker Frank Springer, Chairman
Howard Crosby Butler Townsend Russell, Vicc-Chairman
J.
Charles Upson Clark
Albert T. Clay James C. Egbert
Charles T. Currelly Ex-Officio as President of the Institute
H. R. Fairclough
BuRWELL S. Cutler
Edgar L. Hewett
Morris Jastrow, Jr. John B. Earner
FisKE Kimball Charles Colfax Long
David M. Robinson
Helen Wright Dan Fellows I'latt
VOLUME XI (Nos. 1-6, JANUARY-JUNE, 192 1)
CONTENTS
The Chal-o Canyon and Its Ancient Monuments Edgar L. Hewett 5
(Thirty-three Illustrations.)
1. Introduction.
The De<;ert, The Canyon and its Ancient Towns.
2.
The Chacones and their Contemporaries.

3.
The Emergence of Chaco Canyon in History Lansing B. Bloom .... 29

(One Illustration.)
The Economic Resources of Chaco Canyon Wesley Bradfield 36

What the Potsherds Tell Kenneth M. Chapman ... 39
(Ten Illustrations.)
To Sipoph^, The Gate of Heaven (A Poem) John Peabody Harrington . .

44
The Excavation of Chettro Kettle, Chaco Canyon, 1920 Edgar L. Hewett 45
(Thirty-two Illustrations.)
1. Scope and Method of the Field Work.
2. Progress of the Excavations.
A Marble Vase from the Ulua River. Honduras Zelia Nuttall 63
(Six Illustrations.)
A Sculptured Vase from Guatemala Marshall H. Saville .... 66

(One Illustration.)
A Ceramic Masterpiece from Salvador W. H. Holmes 69

Marty-red Monuments OP France II: The Town Hall OF Arras. . Colonel Theodore Reinach . 83
(Eight Illustrations.)
Art's Demand Le Baron Cooke 94
What the War Cost France in Art Treasures Stephane Laiizanne .... 95
Still Life: Today and Yesterday Horace Townsend 99
Armistice Day (Poem) J- B. Noel Wyatt .... 105
Playing Cards: Their History and Symbolism W. G. Bowdoin 106
The Memorials of Rome in the Italian Colonies Giiido Calza 131
(Nine Illustrations.)
Ave Roma Immortalis (Poem) . . Henry S. Washington . . . 144
Smy-rna: "The Infidel City" George Horton i4,s
The Diggers (Poem) Han-ey M. Watts .... 154
The Angel in American Sculpture Frank Owen Payne .... 155
TuscuLUM, AND The Villa OF CicERO Clara S. Streeter 163

(Four Illustrations.)
The Arts of Czechoslovakia:
Art in Czechoslovakia Ales Hrdlicka 179
Folk Art Karel Chotek 185
(Twenty-six Illustrations.)
Architecture Oldrich Heidrich 199
(Three Illustrations.)
Sculpture Oldrich Heidrich 207
Painting Ales Hrdlicka 213
Sir Moses Ezekiel, American Sculptor Henry K. Bush-Brown ... 225

The Alban Lakes Mary Mendenhall Perkins . 235
(Two Illustrations.)
Some Literary Bookplates Alfred Fowler 239

William Rush, The Earliest Native Born American Sculptor . . Wilfred Jordan 245
Rus IN Urbe (Poem) Harvey M. Watts .... 247
Glimpses Into Greek Art Frederick Paulsen .... 248
(One Illustration.)
On a Sarouk Rug (Poem) H. H. Bellaman 250

Caricature and The Grotesque in Art Alfred J. Lotka 251
Piero di Cosimo (Poem) Robert Hillyer 253
Creators of Costume Kathryn Rticker 255
Current Notes and Comments:
7i
Old English Portraits at the Ralston Galleries
Claude Lorrain's "Rape OF Europa" AT THE Satinover Galleries 71
The Lawrence Collection OF Gothic Stained Glass AT THE American Art Galleries 71
J. Stewart Barney's Landscapes AT

THE Ehrich Galleries ....'.... 73
The Hankey Etchings on Exhibition at the Schwartz Galleries 75
General Meeting OF the Archaeological Institute 76
Mlle. Helene DuFAU. the Great French Portraitist 113
Perronneau Pastel Portraits at the Knoedler Galleries 113
The Flower Seller," by George Hitchcock 113
Portrait of Robert A. Hay-Drummond and Brother by Benjamin West 117
Portrait of Mme. Leopold Gravier by Henri Fantin-Latour "7
America's Leadership in City Planning — Why Not Constantinople? 119
121
A Sculptured Vase from Guatemala
Illustrated Lecture on " Carillons in Holland and Belgium " before the Arts Club of Washington 121
American Foundation in France for Prehistoric Studies 121

General Meeting of the Archaeological Institute of America 122
The College Art Association of America 122
An Underground Tomb with Important Fresco Decoration Recently Discovered in Rome ....-.' 169
An Apartment House of One Thousand Rooms 172
Annual Meeting of the College Art Association 172
"Death and Resurrection." by Ettore Cadorin 221
Athenian Nights at Toledo Art Museum 221
Annual Convention of American Federation of Arts 221
Monticelli Exhibition at the VosE Galleries. Boston 222
Madame Anie Mouroux, French Medalist 258
A John Burroughs Art Exhibition at the Ehrich Galleries 259
The American School in France for Prehistoric Studies 259
An Unpublished Verestchagin 260
Sir Moses Ezekiel, American Sculptor 261
Exhibition of Whistleriana at Library of Congress 261
A Rare Effigy Pipe from Tennessee 262
Mrs. Nuttall and the Ulua River 263
The Arts Club of Washington 264
Book Critiques:
From Holbein to Whistler. Notes on Drawing and Engraving, by Alfred Mansfield Brooks 77
Attic Red-Figured Vases in American Museums. By J. D. Beazley 77
Everyone's History of French Art. By Louis Hourticq 78
An Economic History of Rome to the End of the Republic. By Tenney Frank 79
Sketches AND Designs by Stanford White, with AN OUTLINE OF his CAREER. By Lawrence Grant White 123
Dynamic Symmetry. The Greek Vase, by Jay Hambidge o 02140
The Ideals OP Indian Art. By E. B. Havel 125
Outlines of Chinese Art. By John C. Ferguson 125
Wilderness: A Journal of Quiet Adventure in Alaska. By Rockwell Kent 127
The Sorceress of Rome. By Nathan Gallizier 128
The Medallic Portraits of Christ. By G. F. Hill. Fellow of the British Academy 128
The Metropolitan Museum of Art. Catalogue of Engraved Gems of the Classical Style. By Gisela M. A.
Richter I73
Fogg Art Museum, Harvard L'niversity. Collection of Mediaeval and Renaissance Paintings 173
Decorated Wooden Ceilings in Spain. A Collection of Photographs and Measured Drawings with Descripttve
Text. By Arthur Byne and Mildred Stapley - I74
Modern Greek Stories, translated from the original by Demetra Vaka and Aristides Phoutrides, with a foreword by
Demetra Vaka I75
The Leopard Prince. A Romance of Venice in the Fourteenth Century at the Period of the Bosnian Con-
spiracy. By Nathan Gallizier 176
Modern European History. By Hutton Webster 176
The Outline OF History, by H. G. Wells. Being a Plain History of Life and Mankind 223
The New Stone Age in Northern Europe. By John M. Tyler 224
Venizelos. By Herbert Adams Gibbons 265
Discovery in Greek Lands. A Sketch of the Principal Excavations and Discoveries of the Last Fifty Years.
By F. H. Marshall 267
The Greek Theatre of the Fifth Century before Christ. By James Turner Allen 268
—— — — —— —
APPRECIATIONS
JJ'hat readers are saying of recent numbers of Art and Archaeology
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abroad." Ettore Cadorin, Nutv York.
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given in this number of the magazine, as well as for the unusually fine article in the December
number, 'The Empress Eugenie and the .=\rt of the Second Empire,' bearing your signature. In
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Denver, Colo.
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Art and .'\rchaeology. I receive it through the courtesy of The .Arts Club of your cit.v, of which
I am a member. The magazine is a marvel pictorially, a perfect exemplar of the printer's art
and the text is of unfailing interest. You are doing a wonderful service to moderns in presenting
an attractive form the history of the ancients as told by their ruins throughout the world.
in such
Each number presents a mine of information, and constitutes a real joy." Edwin Carlile
Litsey, Lebanon, Ky.
".\n and Archaeology is one of the most sumptuously illustrated publications in America.
It deals largely with the civilizations of the past —
particularly with those which existed in .America.
On this account it is of especial interest to those who have travelled in the Southwest, and desire
to keep abreast of the explorations and investigations in that section of the United States. To
read it is to receive a liberal education in .Art." Charles I. Taylor, Boulder, Colo.
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$5.00 THE YEAR 50 CENTS THE COPY
ART AND ARCHAEOLOGY An Illustrated Monthly Magazine

Published at WASHINGTON. D. C. by
THE ARCHAEOLOGICAL INSTITUTE OF AMERICA

ART AND LIFE (new york) combined with ART AND ARCHAEOLOGY
Volume XI JANUARY-FEBRUARY, 1921 Numbers 1-2

WILLIAM H. HOLMES MITCHELL CARROLL
BOARD OF EDITORS
ViRGii. Barker BOARD OF MANAGERS
Howard Crosby Butler Frank Springer, Chairman
Charles Upson Clark J. Townsend Russell, Vice-Chairman
Albert T. Clay
James C. Egbbrt
Charles T. Currelly
H. R. Fairclough Ex-officio as President of the Institute
Edgar L. Hewett Burwell S. Cutler

Morris Jastrow John B. Larner
FiSKE Kimball
Charles Colfax Long
David M. Robinson
Helen Wright Dan Fellows Platt
CONTENTS
The Chaco Canyon and its Ancient Monuments Edgar L. Hewett
Thirty-three Illustrations
1. Introduction
The Desert, The Canyon and its Ancient Towns
2.
3. The Chacones and their Contemporaries
The Emergence of Chaco Canyon in History Lansing B. Bloom 29

One Illustration
The Economic Resources of Chaco Canyon Wesley Bradfield 36

What the Potsherds Tell
Ten Illustrations
.... Ketinelh M. Chapman . 39
To Sipoph^, the Gate of Heaven John Peabody Harrington 44

A Poem
The Excavation of Chettro Kettle, Chaco Canyon, 1920 . . . Edgar L. Hewell 45
Thirty-two Illustrations
1. Scope and Method of the Field Work

2. Progress of the Excavations
A Marble Vase from
Six Illustrations
the Ulna River, Honduras Zelia Nullall .... 63
A Sculptured Vase from Guatemala Marshall H. Saville . 66

One Illustration
A Ceramic Masterpiece from Salvador W. H. Holmes 69

One Illustration
Current Notes and Comments 71
Seven Illustrations
Book Critiques 77
Terms: S5.00 a year in advance, single numbers, .so cents Instructions for renewal, discontinuance, or change of address should be
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provided for in section 1103, Act of October 3. 1917. authorized September 7. 1918.
Copyright. 1921. bv the Archaeological Institute of America
M f
» v
ART mU
ARCHAEOLOGY
The Arts Throughout the Ages
Volume XI JANUARY-FEBRUARY, 1921 Numbers 1-2
THE CHACO CANYON AND ITS ANCIENT

MONUMENTS
Bv Edgar L. Hewett
I. INTRODUCTION. these remarkable people survive to
become available in the evolution of
SOME centuries ago, a group of
communities lived along a small
the coming American race, for it was
virile stock.
waterway on the western slope
A strip of land seven miles long by a
of the continental divide in latitude 36
mile wide embraces the entire area that
north, longitude 109 west, a place that
these communities inhabited.- It is
is now known as Chaco Canyon, New
probable that they never cultivated
Mexico. No written Word of history
more than 3,000 acres of land at any
exists concerning them. No convincing one time and never numbered more
them had ever been found
tradition^ of
than ten thousand inhabitants, but
among living peoples until, on the eve of they left as their racial autograph evi-
sending this article to press, when a rich
dences of great cultural power. In
field of Chaco was discovered
tradition
enduring architecture for residential
among the Tewa of the Rio Grande
use, indicating highly organized relig-
valley. The name by which they knew
ious life and social structure, they at-
themselves and were known among
tained to levels not surpassed by the
their contemporaries is lost utterly. If
the language they spoke still exists we architects of the ancient world. The
do not know of it. Of all the peoples of master builders of antiquity in Asia,
the ancient world whose achievements Africa and Middle America excelled
have survived the ages, none have more them in temples and mural embellish-
completely attained oblivion. It is ment but not in substantial residence
hoped that somewhere the blood, lan- -Two ruins, Kin Klizhin (The Black House) and Kin Biniola
(House of the Winds) on tributaries of the Chaco, at a distance of
guage and cultural potentialities of five and ten miles to the southwest from the central group, and
Pueblo Pintado (painted) fifteen miles east above the oriKin of the
•Folk tales in which they figure have been found among the Na- Canyon near the beginning of Chaco Arroyo, are treated as out-
vaho. One touching Pueblo Bonito has recently been recorded by posts. They appear to be identical in culture with the central
Mrs. Lulu Wade Wetherill and Dean Byron Cuniniings. group.
[3]
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Chaco Canyon: Chettro Kettle twenty years ago.
building. In ceramics and some minor The writer began the study of the
arts they reached a plane worthy of the ancient communities of Chaco Canyon
greatest of their contemporaries. in the summer of 1902 under the
Such is the claim of Chaco Canyon to auspices of the New Mexico Normal
investigation. The ruins of twelve University. Among the results of this
large community houses, numerous first visit were (i) the first archaeologi-
:
small sites and the accessories of com- cal map Chaco Canyon, prepared
of
munity life, such as sanctuaries, ceme- for the Bureau of American Ethnology
teries, stairways, trails, ditches; the evi- in 1905, and made the basis for Presi-
dences of economic resources, such as dent Roosevelt's proclamation by which
fields, plant and animal food, fuel and the Chaco Canyon National Monument
building material, together with cul- was established in 1907; {2) a short
tural remains of industrial, esthetic, article on "Prehistoric Irrigation in
social and religious character constitute Chaco Canyon," published in Records
the material available for study. Addi- of the Past in 1905; (3) the articles on
tional light may be obtained through Chaco Canyon ruins in the ILuidbook
the study of the somatology, language of American Indians m
1905-6; (4) the
and culture of tribes inhabiting adja- description and discussion of Chaco
cent regions —Pueblo, Ute, Piute and Canyon ruins in "Historic and Pre-
Apache. historic Ruins of the Southwest and
[6]
Chacii Canyon; Ni'ii tlri) KL-tlle.
Their Preservation," prepared for the writer until the year 1916 when an
Department of the Interior in 1904; in agreement was entered into between the
"A General View of the Archaeology Smithsonian Institution, the Royal
of the Southwest," prepared for the Ontario Museum of Archaeology-, and
Smithsonian Institution in 1905, and in the School of American Research, with
"Les Communautes Anciennes dans le a view to making this a field of investi-
Desert Americain" pubhshed in gation for a term of years. The plan
Geneva, Switzerland, in 1908, and (5) was accepted and the work authorized
information furnished to Congress and by the Department of the Interior
the Department of the Interior from June 19, 1916.
1902 to 1906 in connection with the Acting under this authorization a
proposed laws for the preservation of small party proceeded to Chaco Canyon
American antiquities. for the purpose of making a re-exami-
Owing to incessant duties incident nation of the field and preparing de-
to the founding of the School of Ameri- tailed plans for the following year.
can Research and its affiliated institu- This was done in the fall of 19 16. With
tions, the Museum of New ]Mexico, at the entry of the United States into the
Santa Fe, and the Museum of San World War in the spring of 191 7 all
Diego, California, no further research work of the character proposed was
work was done in Chaco Canyon by the suspended. The appropriations from
[7]
;
•;^75
»•
^^^*»^'-''-*'_t-..
**,-
Chaco Canyon: Pueblo Bonito, north wall, twenty years ago.
the state of New Mexico for carrying the region its place in the Pueblo area
;
out the part of the vSchool of Research a digest of everything that has been
in the project were continued from year written about it; a collection of all
to year and the funds pledged for the photographic records that have been
part of the Royal Ontario Museum made of the ruins from the earliest
were held available on call. The Smith- times to the present; a thorough study
sonian Institution did not succeed in of the architecture, art, economic re-
getting from Congress the necessary sources and ethnological relations of
special appropriation for its part of the the ancient inhabitants.
undertaking. In short, the undertaking is to un-
In 19 1 9 preparations were made by cover such facts as are obtainable con-
the School to resume its research pro- cerning these extinct communities and
gram including the Chaco Canyon to produce as far as such facts warrant
project. The Canadian institution a picture of the life that was lived ages
signified its readiness to proceed. Ac- ago in this remote place. It is obvious
cordingly, in the spring of 1920 new that for this purpose the entire region
plans were made and work commenced. with every factor of environment and
Provision has been made for not less ethnic relationship must be studied.
than five years. The plan contem- Such excavations must be undertaken
plates a study of the physiography of as are necessary to the purpose in view
[8]
Chaco Canyon: Pueblo Bonito from above
and evety effort made to effect the Arroyo and Casa Rinconada, constitute
preservation of this remarkable group a central group which, with their acces-
of ruins. The physical, intellectual sories, may be considered as one town,
and spiritualdevelopment of a people the buildings and mounds belonging
capable of such achievements as that thereto being included in a circle of a
exhibited in the Chaco Canyon culture quarter of a mile radius. Interest in
constitutes a priceless chapter in the the Chaco Canyon culture, therefore,
history of the human mind, especially is concentrated in this central group.
valuable as evidence of the character Insofar as the story can be told by ex-
and attainment of the native American cavation, it is to be uncovered here.
race. Viewing the central group from
A decision on the question of site for purely scientific considerations, only
excavation was not difficult to reach. one choice of site was possible. Pueblo
Of the twelve ruins in the seven miles of Bonito, the largest of all, was for four
canyon above mentioned, eight: Wijiji, years the scene of excavations on a
Una Vida, Hungo Pavi, Kin Kletso, large and expensive scale by the Hyde
Casa Chiquita, Pefiasco Blanco, Pueblo Exploring Expedition. Approximately
Alto, and Tsin Kletsin are single, iso- $40,000 was expended on this work
lated buildings remote from water, and during the years 1897, '98, '99 and 1900;
of secondary importance. Four: Pue- a sum which, because of the cheap labor
blo Bonito, Chettro Kettle, Pueblo del and subsistence of those days, would do
[9]
—
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.^f«*t".
-^M
•TIS!! '
.
•vV--
1.. 5i«-.!\.:
CiiALii Cawux: Pueblo ilul Arrovo.
the work of more than twice that Accordingly, the excavation of Pu-
amount now. About one hundred eblo Bonito now would mean some
Indian workmen were kept employed. years devoted to dead work; that is, to
The work was under the scientific the re-excavation of rooms previously
supervision of Professor Frederick W. emptied, thoroughly examined, con-
Putnam of Harvard University and tents recorded and all museum material
the material secured was placed in the found therein removed to its final
American Museum of Natural History repository. Moreover, Mr. Pepper's
in New York. Air. George Pepper, who report on this work has not yet reached
was in charge in the field, informs me publication, but will be issued soon by
that Pueblo Bonito was about 6o% the American Museum of Natural
excavated. As that was in the days History. Therefore, Pueblo Bonito
when neither government nor private seems unpromising as a scientific propo-
excavating was done with a view to sition.
clearing out and repairing luins, the Pueblo del Arroyo, the nearest house
excavated rooms were, as was the cus- in the group to Pueblo Bonito, about
tom of the archaeologists of that time, 150 yards away, is a comparatively
refilled as the work advanced, this being small ruin, much reduced by vandal-
considered the best method of preser- ism. It would naturally be the next
ving the walls. considered. Its minor importance, to-
[10]
Chaci) Caxvc Huiiu I'.ivi.
gether with a practical reason that will preserved by the friendly soil. Not a
be stated later, dismisses it from con- specimen from it is known to exist in
sideration. Casa Rinconada, across the any museum. It is, therefore, an in-
arroyo, a few hundred yards to the viting prospect for excavation, from a
the south is not a house but simply an scientific point of view.
enormous kiva. It was probably the In the midst of the Navaho desert,
great sanctuary of the central group. however, certain practical considera-
It lies in the region that is supposed to tions will of necessity govern. The
have been devoted to the burial of the season for excavation in the Chaco is
dead from Chettro Kettle, Pueblo from spring to fall. During much of
Bonito, and Pueblo del Arroyo. It this time the heat is scorching, the
should be excavated in conjunction winds high, and dust storms frequent,
with Chettro Kettle to which it was and at times well nigh intolerable.
clearly tributary. Living in tents is, therefore, extremely
Chettro Kettle, the remaining hovise disagreeable. Maintaining any kind
of the central group, is of equal im- of living quarters in the immediate
portance with Pueblo Bonito. No ex- vicinity of the excavations is impossible
cavating has been previously done there on account of the dust from the digging.
excepting the vandalism to which every Writing field notes and drafting plans is
ruin in the region has been subjected. kept up with great difficulty. At
A great part of it is deeply buried, well Pueblo Bonito, only forty feet from its
[11]
Chaco Canyon: Pueblo Pintado.
walls, is the six-room stone house built the excavation of Pueblo Bonito, only
some years ago by the Richard
late a single decision was possible, viz: that
Wetherill for a residence. This was Chettro Kettle was, for both scientific
found to be available for the permanent and practical reasons, the site to be
use of the School. It would be buried in chosen, with Casa Rinconada and its
dust from excavations going on at adjacent mounds as a place for col-
Pueblo Bonito, but entirely unaffected lateral investigation.
by work at Chettro Kettle, nearly a The season commenced with the estab-
quarter of a mile away. At Pueblo del lishment of permanent headquarters.
Arroyo, twenty-five feet from its walls, Through the kindness of Mr. Sargent,
also on the Wetherill homestead, is the lessee of the Wetherill homestead, the
trading post on which the expedition expedition has excellent accommoda-
depends for supplies. The dust caused tions in the stone house above referred
by excavating at this site would simply to. This affords office, kitchen, dining
put the trading post out of business. room, field library and general confer-
Therefore, after numerous trips to the ence room, with space adjacent for the
Chaco at different seasons of the year, storage of museum material. In another
long study of the conditions above- stone building forty feet to the east,
described, and consultations with all partly within the walls of Pueblo Bo-
who could be found who took part in nito, are three rooms that have been
[12]
—
fitted up for photography, commissary pedition is under many obligations for

stores and tools. With a number of cordial assistance and accommoda-
supplementary tents for sleeping quar- tions.
ters the expedition is thus comfortably By the end of the season the entire
and efficiently sheltered. A well, one regular staff of the School and Museum
hundred yards from the house, affords was in the field. As the work develops
an abundant supply of pure ccld water other specialists will take up the parts
a rare luxury in the Navaho desert. assigned to them. A preliminary ac-
The surrounding country is treeless count of the excavations at Chettro
except for stunted cedar and pinon, Kettle and other activities of the first
but an out-crop of good lignite coal, field season follows in the papers of this
a mile away, produces adequate fuel number. The complete report will be
for camp use. The trading post at ready for publication by January first.
Pueblo del Arroyo available for
is The excavation season for 1920 closed
ordinary supplies. The nearestpost- October second, but repair work neces-
office is Crownpoint 38 miles away. sary to the preservation of walls con-
Here is located the Pueblo Bonito tinued for some weeks longer. Ex-
Indian vSchool and Navaho Agency. To cavating will be resumed in May 1921,
the superintendent, Mr. Stacker, the ex- and from now on some phase of the
[13]
s> -'ftil
CiiAC) Caxviin; Kin Kk-tso.
work will be in progress continually waterhole and rock-shelter is charted

throughout the year. in their brains. They have matched
their wits against scorching winds
II. THE DESERT, THE CANYON AND and smothering sandstorms and wintry
THE ANCIENT TOWNS. blasts for centuries and have survived
Whoever reaches Chaco Canyon will and made of the desert a hospitable
have some experience with the desert. home. It is no exaggeration to say that
It is fifty miles in any direction to a liv- with all its seeming hardness they love
ing stream. From any point of ap- it. You hear them singing on the
proach the desert barrier must be desert trails with as wild a joy as ever
crossed. This is not a formidable mat- did Swiss mountaineer or Alsatian
ter now, with trading posts every day's peasant.
journey and Fords to take the place of To the white man, until he has fallen
weary beasts. In the old days one under the spell of the desert, it was any-
toiled across on horseback or by wagon, thing but inviting. Food was scarce
and it was a march for seasoned vet- always. The iron ration was the cus-
erans only. It was safe only when tomary thing. Cold springs existed,
accompanied by a trusty Navaho. but only the Navaho knew where.
These bedouins of America know the Even with this help it often meant
ways of the desert. Every spring. long days of hard riding to reach water.
[14]
ART AND ARCHAEOLOGY
But it must not be supposed
that the Chaco region is al-
ways a place of burning sands
and suffocating dust storms.
Like all other deserts it has
its times of unearthly charm.
The scene invites reflection
upon the exchanges made in
coming from metropolitan
civilization into this. For the
;
morning rush to business in

the subway, the sunrise stroll
to work along a desert trail;
for the orchestral din at meal
time, the quiet, unbroken by a
real noise within sixty miles;
for the movies, a pastoral of
flocks rounding into the corral
against an afterglow on red-
brown cliffs and for the great
;
white way, an indescribable

moonlight over calm desert
canyons. The majesty of si-
lence and space that rests
upon the land suggests the
vastness in which Eternal
Mind organizes the energies
of the universe. The human
spirit so immersed for gen-
erations must live in a state
of freedom that is unknown Chaco Canyon: Tsin Kletzin.
in crowded centers of popu-

lation. Humanity, in this environ- mountains. Contrast the history of the
ment ages, would probably be
for European mind —the crowded races
content without rapid movement, in- perpetually fighting for the limited
stantaneous communication, the meas- advantages of valleys and seas and
urement of time into fractions of natural boundaries. Taking by vio-
seconds, the incessant shock of ma- lence, holding by force, organizing de-
chinery, political campaigns, class ha- ception to supplement physical might,
treds, industrial revolutions and world living through the ages under the
wars. Space is the first requisite of shadow of impending conflict with
mental and spiritual tranquility. It is crowding —
neighbors Europe could
reflected in the imperturbable nature hardly have had a different history and
in the Indian race whose psychology the European race could not have been
was established in the freedom of limit- —
other than it is the race preeminent in
less plains and deserts, forests and war, industrial strife and cunning prop-
[15]
Chaco Canyon: Ancient stairway back of Hungo Pavi.
ART AND ARCHAEOLOGY
aganda, with such tendencies as mur- from 1897 to 1900 brought it into note
der, stealing and lying pervading all and its name came to stand for the
social, political and international life. group. Because of the excavations,
The mystery of the desert reaches its more of it is in sight than of any other
climax when, in the center of this area and it has usually been the one selected
a hundred miles square without a flow- by writers. Its vast size
for description
ing stream of any sort, we come upon a and the magnitude of its ruined walls
group of ruins such as Egypt and Mes- make it most impressive. It may be
opotamia and Asia Minor and Middle doubted if in the great days of the
America have been supposed to have Chaco it was distinguished among its
a monopoly on. These are the long- neighbors for its beauty. Several others
deserted homes of the Chacones, the surpassed it in this respect. A glance
ancient communities which are the sub- at its ground plan shows it to have been
ject of this article —
a group of ruins without unity in design. It grew to its
which W. H. Jackson in 1877 declared great proportions by successive addi-
to be "preeminently the finest remains tions that did not conform to any
of the work of unknown builders established plan. Its general form is
to be found north of the seat of the that of a capital D. Its long diameter
Aztec Empire in Old Mexico," an is 667 feet; the shorter axis 315 feet.
opinion which time has more than justi- It varied in its different parts from the
fied. Only a brief description of these one-story southern facade, to five sto-
sites be presented here.
will The ries in height along its northern side.
photographs and drawings will be This vast sweep of curving wall over
depended upon mainly to convey the eight hundred feet in length, still
picture of this desert land, the silent standing almost fifty feet high in places,
canyon and the ruined buildings. is, to my knowledge, unmatched among
ruins of residential architecture in the

I. THE CENTRAL GROUP. new world nor can I think of anything
;
The ancient communities of the with which to compare it in ancient old

Chaco had one principal focus of popu- world architecture of similar purpose.
lation, concentrated, as previously About every style of masonry known to
stated, within a radius of a quarter of a the Chaco is found in the walls of Bonito.
mile. To this place it may be proper to Tliirty-two kivas (circular council
apply the indefinite term town. We chambers, or sanctuaries) have been
have no name by which to designate it found in the course of the excavations,
as a whole. Its component units will all in the interior of the building. Up-
be described under the names by which ward of 500 rooms were excavated and
they are best known: some of which, mostly refilled by the Hyde Exploring
like those of the entire region, are Expedition.
Spanish, some Navaho, some of un- Bonito is only seventy feet from the
known origin; small village sites re- canyon wall which here is a vertical
main nameless. rock, one hundred feet to the top of the
Pueblo Bonito (Bonito-Beautiful) first ledge. At this point, as in many
has long been considered the most other places along the canyon wall,
important ruin in the Chaco region, if a huge wedge-shaped mass of the sand-
not in the United States. Certainly it stone has become detached by erosion.
is the most famous. Its excavation This towers threateningly balanced
[17]
y-î>ts--
Chaco Canyon: Kin Biniola.
ovej" Pueblo Bonito. One vast section the displeasure of deific powers in such
of it has actuallybeen thrown down at a disaster, and when so convinced, the
no very distant time, breaking into works of centuries would be abandoned
masses many tons in weight, some of in a day.
which were cast perilously near to the A ledge of masonry reinforced with
Pueblo walls. One can imagine the timbers was built under the balanced
terror this must have caused the people rock back of Bonito. It is often sur-
if the place was inhabited when the mised that this was a childlike attempt
shock occurred. The same thing has to keep the cliff from falling; a device
been happening for thousands of years that would have no influence whatever
in this canyon and will continue to hap- in holding up that vast weight. The
pen as the work of nature proceeds. Navaho evidently so believe and from
Small villages against the cliff lie under time immemorial have called the place
these fallen masses, whether covered Sa-ba-ohn-nei (place where the rock is
before or after desertion no one can yet braced up). But the wise Bonitans
say. Herein may lie the secret of the who knew enough to build stone walls
abandonment of Chaco Canyon by the that would stand through many cen-
ancient people. They were not only turies of exposure to the elements made
prudent, but superstitious. It required no such mistake in judgment. These
mighty forces to cast down these great rock masses are eroded to the danger
rocks. The Indian would readily sense point by water and wind undercutting
[18]
Chaco Canyon: Wijiji.
them in the soft strata at the base. letter E. The order of growth probably
Protect them from such erosing by was the straight linear mass, re-
first
shoring up with soHd masonry^ and the presented by the back of the letter.
danger has been obviated in exactly When needed one wing was built on
the same manner that we today stop the giving the building an L shape. vSeveral
deterioration of a heavy wall by shoring of the Chaco pueblos remained in this
up at the base with concrete. form to the end. With the majority
The nearest neighbor to Pueblo the other wing was added, and in some
Bonito was Pueblo del Arroyo, an instances the central stem of the E.
average city block to the west. It is Whether this last member was added or
much reduced but has some very not the extremities of the wings were
beautiful masonry remaining. It stands usually connected by a curving front
beside the arroyo, now dry except in wall, or as in several of the larger
flood season, and in places has been cut pueblos by a series of one or two-story
into by the water. This is one of the rooms, built on a sweeping curve, form-
smaller houses and as will be seen by ing a fourth side of the building and
looking at its ground plan, was a good inclosing a spacious court which in
example of the most prevalent Chaco time was nearly filled with circular
Canyon type of building, which in kivas. Pueblo del Arroyo has all these
general took the form of our capital elements except the middle stem.
[19]
ART AND ARCHAEOLOGY
It should be pointed out that this which, if set down in a modern Ameri-
style of ground plan, (with the excep- can city, would pretty fully occupy two
tion of the curved front wliich might average blocks. As a dwelling house,
well be copied), is now widely used in built by people for their own domestic
hotel and office buildings in modem purposes, I know of nothing to compare
American cities, dictated by
being —
with it in the world ancient or modern.
economy and efficiency as to light, air Chettro Kettle is rich in the variety and
and space. The Department of the beauty of its walls. The striking
Interior building in Washington, if it banded effects, produced by courses of
had the central stem shortened and the heavy stone alternating with layers
curved front added would be in good made up of fine laminated plates, are to
Chaco Canyon style as to ground plan. be seen here at their best. This device,
The Chacones would have spread it of both artistic and structural merit, is
over more space, limited the height to characteristic of the Chaco Canyon
four or five stories on the exterior, with ruins, being used in only the most
a succession of terraces arotmd the elementary way elsewhere.
inner courts. Casa Rinconada, the remaining
Chettro Kettle of the central group unit of the Central group, lies across the
is nearly a quarter of a mile east of arroyo to the south. It was a great
Bonito. By referring to the ground ceremonial chamber, sixty-six feet in
plan it will be seen that it varies from diameter pertaining to the large Pue-
the type by having one of the wings of los —
a tribal sanctuary. Like all the
the E completely extended, the other kivas of the Chaco, it was circular in
only partially; the central stem is form. There are about it the ruined
present and the sweeping curved front. walls of probably thirty to forty rect-
As yet an accurate comparison of size angular rooms. In the walls of the
with Pueblo Bonito can not be made for great circular chamber at regular inter-
the reason that so much of Chettro vals apart, are thirty-two niches, twelve
Kettle is buried. The great curved by sixteen inches, by fourteen inches
front, not merely a wall as formerly deep, probably recesses for ceremonial
supposed, but a part of the building two objects. The chamber may have been
to three rooms wide and one to two an open arena without roof. Excava-
stories high, is seven hundred feet in tion will be necessary to determine the
—
length two average city blocks. It is character of this interesting ruin in
entirely buried, showing only as a ridge detail. It is significant that it is iso-
of earth. The long north wall standing lated from the large dwelling houses, in
one to three stories above the surround- what may prove to be the necropolis of
ing sand with a full story buried the community.
beneath, is over four hundred fifty feet
2. NEIGHBORING TOWNS.
long. If one starts at the southeast
corner of this structure, at the point These will be only briefly mentioned.
where the excavations commenced, and Their ground plans are given, with
follows its outer walls clear around to photographs showing the present con-
the point of starting, he must walk dition of the ruins.
—
1540 feet between a quarter and a third Pueblo Alto is on the mesa north of
of a mile. Here then was a community- the canyon, a little more than half a
residence (an ancient apartment house) mile from Bonito. It consists of two
[20]
Chaco Canyon: Una Vida.
buildings, Alto Grande and Alto Clii- Down the canyon a scant mile
quita. The former is the main one and below Bonito is Kin Kletso (the Yellow
is greatly reduced. Only a small per House) and another mile further on
cent of the walls remain standing and Casa Chiquita (Little House). Both of
not much of it is buried. The building these are small houses that never got
stone was poor. The small house is in a beyond the early stages of development.
better state of preservation. No wings were extended from their
Tsin Kletzin (black wood, or char- main axes. Interesting masses of their
coal, place) is a small ruin on the mesa walls remain standing.
nearly a mile south of Bonito. It has Three miles below Bonito, on a high
many interesting features, including an point south of the Canyon is Penasco
imusual ground plan. It has some Blanco (White Rock Point). It ranks
excellent masonry in its walls. The fact almost with Bonito and Chettro Kettle
that a point near this ruin could be seen in size and interest. In its ground
from nearly every one of the Chaco plan it is a great ellipse, all its ex-
settlements, even the distant outposts, terior walls being curved. It has been
suggests the possibility of this spot as sadly vandalized and in some parts
an ancient signaling station. shows indications of having been vio-
[21
,„.;"('. ,>'>"ll"ll„ ..lll'l"//;,,
,,,111//,,
^-..«;.\'ii;;;.:.'.'.';i/ii\r ^' ^ / ""''i--.
J- 'i>.
''"iinwm^
#
t^ffiiit-
'^^/I'/llll*'^
S-^vWl'/ftj, --•? *'//iii*"'"
$:?"'/,,, Ill,, ,î"'"/i('i"',, ,,'•=

•'<«.
%.,Ai'//,.v\«ii////,,AMr:- %/iil# %//«# .».,.ui»<--.ii./,.-,ill/;i Iii,.;.,ui,v- '#i.
%'.'.'.''rwil#%//iny' -„..-ii//,„ ilin"""///|i I'll ii//iii"''iiiin""' ", %nwu<^''''iih\'^^'%nu-%''''lm^^^^^^^^^

"I" '///in' ''/I-
^///n^
Surface Plan of Chettro Kettle
,,oti*''". .
;>%,
*•'• — .„„
After Hoi singer

Ground Plan of PuebJo Bonito.
Jwtl I «l •»«<' ^ J^>"l"M"IH.l.M,
•aiiHiai|>ii»iMnr'âi>li>li>)(ii>ii<li>',M>ilir<i<|i<>tr(i>*|C'"',"''<."''."%
no
i i
|IHIHIii|Ufl/WllfB*Illlll>lll'l>U/l|lll
Pueblo del Arroyo.
v\
*^'"*'*-.
'"'""""•pfli.pi
Casa Rinconada.
Penasco Blanco.
<«Mi|lli|llllii|t/</ vMMUtlllilllKiHn
vrf'' „ »""""'"';!'i*j»,„„^
"x^
\.
5V»Mp.(/'( irfMrOifn.tni'iMiiiiini.Mi .t >ii'(>iiMl''(.ii(n.riiiiiti.ti»(\i
Hungo Pavi.
jlll'l|.'jlMu(ll»i(|p
r: r^%
L^^fi
Kin Biniola Pueblo Alto.
Ground Plans of Chaco Canyon Community Houses.

ART AND ARCHAEOLOGY
,ul»iinN,w,„„„^^^^^^
/
#
§o..,.„vl""";"'"'|p»«i
v\«\n\lllg. ...»;iiHiljy^y^^y^j)jl)|iî^jj|,j;hiiMMilMnHiinMa"^J]gj^^
f •';"
I I"'-" !'£ Jf
^1
\^^"\'^. ^///(em"|f\iiivJinii()ii(|niiriiii/,|iiiii
•Û1/W»(IUtlil|(|<l}MtMl»f|l'l"1H\ftlfi'i
Ground Plan of Kin Klizhin.

Ground Plan of Tsin Kletzin.
rounding country. The Navaho call it

lently overthrown as by an earthquake.
Say-de-gil, the vSacred mountain. It
It displays every grade of masonrs^
is a cardinal point in Navaho myth-
some extremely poor, and some of the
ology. Above Una Vida on a ledge
most substantial sort, with some of the
about one hundred yards to the north
finest examples of banded walls to be
west, is a circular ceremonial chamber
seen in the Chaco group.
of great size, only second to Rinconada
Two miles above Chettro Kettle, above described, and one in the Court
close up to the canyon wall, is the ruin
at Chettro Kettle.
of Hungo Pavi (Crooked Nose?). It is
Wijiji is a small ruin about two miles
one of perfect unity of plan, the E
above Una Vida. It is perfectly sym-
form, with both wings complete, central
metrical in its ground plan and has no
stem, and the wings connected by a
unusual features. It is without the
curved front. The north wall stands
curving front wall. The main north
thirty-feet high in places, and is built
wall is pierced with portholes in the
of small stone, closely and compactly
second story, the apertures extending
laid. It lacks the ornamental effects
diagonally through the wall and alter-
that are so prevalent at Chettro Kettle.
nating in direction from northeast to
The whole building is dark brownish-
northwest. This may have been a
red in color. One of the most interest-
device for archers in defending the
ing stairways to the mesa top, with
place.
which each pueblo was provided, is the
one at Hungo Pavi. 3. THE OUTPOSTS.
A mile farther up the canyon where Pueblo Pintado is ten miles east of
the two forks, Chaco and Fahada join, Wijiji,near the top of the continental
is Una Vida. The ruin is not well divide where the Chaco originates. It
preserved; it contains much poorly occupies a high point visible from far
built wall. Its situation is particularly distances and constitutes a valuable
interesting. Across the canyon to the landmark in the desert. It is a large
southeast is the great round Mesa ruin, well preserved, and particularly
Fahada, a landmark for all the sur- important in being near the frontier of
[24]
:
^^'
- t' -^^ , *> >""- ' l^Kt r-i'— -^-V' -.'r'>_ _jB '-/.-.J*- ,->.-»
•ic-
'_.,*':'
iSm..-
S^lfef
;^
CuAco Canyon: Casa Chiquita.
the Rio Grande pueblos. Aluch desert land. It was probably the center of a
legendry centers about it and its walls considerable population.
exhibit interesting evidence of historic
changes. III.THE CHACONES AND THEIR
Kin Klizhin (the Black House), five CONTEMPORARIES
miles south west of Bonito in a side Let us now note the location of Chaco
canyon off the Chaco, is mainly a large Canyon in the southwest and consider
tower-kiva, inclosed in the walls of a the relation of these communities to
small pueblo. It could have accom- their contemporaries in the ancient
modated only a small clan. Near by southwestern world. Consulting the
are the remains of interesting prehis- accompanying map, showing the dis-
toric irrigation works. tribution of sedentary population in
Kin Biniola (House of the Winds) is the centuries of great building activity
ten miles southwest of Bonito in a antedating the coming of Europeans
branch of the Chaco. It is one of the to America, it is seen that this large
important ruins of the region, mostly culture province was composed of five
above ground and well preserved. It is sub-areas which correspond to the prin-
surrounded by interesting outlying sites cipal drainage basins of the region, viz
and was well provided with agricultural the Rio Grande on the east side of the
[25]
•t -w^ '
CuAcu Canvun: PucIjIo Alto.
continental divide, the vSan Juan, Little Chaco Canyon is in the San Juan
Colorado and Gila on the western slope, drainage near the southern rim of that
and the inland basin of Chihuahua. basin, in southwestern New Mexico,
This region, a thousand miles north and one hundred miles in an air line slightly
south by eight hundred east and west, north of west of the capital of the state,
was one physiographic area. That it Santa Fe. It is sixty- six miles north
became in course of time a culture area of the vSanta Fe railway at Thoreau,
that was co-extensive, speaks clearly seventy south of the Denver and Rio
of the coercive influence of environment Grande at Farmington, and one hun-
upon human society. dred and fifty miles northwest from
The groups of population that are Albuquerque. These are the principal
indicated may be considered contem- points from which the place may be
poraneous. This must not be taken to reached by passable wagon roads.
mean exactly synchronous periods, but In the days of the Chacones neigh-
construed in the newer historic sense bors were far apart. To the northwest
in which chronology has become less a lumdred miles were the cliff dwellers
important and evolution the dominant of Mesa Verde a hundred miles slightly
;
factor in human history. Adifference west of south were the forebears of the
of a century or two in time is not taken "vSeven Cities of Cibola," the ancient
into account in this use of the term con- Zuni towns. Within this circle were
temporaneous. numerous minor settlements, as those
[26]
ART AND ARCHAEOLOGY
along the San Juan seventy miles north, with some confidence. It assumes that
Canyon de Chelly, fifty miles west, and the period originated with the establish-
isolated outposts of small population ment of the sedentary communities over
here and there in every direction. this vast region, all of which invited this
About a hundred miles west were the mode of life as the great plains with
ancestors of the ancient Hopi the can-
; their countless buffalo herds, the tem-
yons on both sides of the lower vSan perate forest and mountain areas with
Juan basin were inhabited by cliff abundant game and fish, and coast re-
dwellers the Little Colorado valley was
; gions with bountiful resources of sea
the seat of many villages. In the Rio food, would not. Where subsistence
Grande drainage the communities were was derived mainly from the soil, and
forming which developed into the set- corn was the chief product it became a
tlements of Jemez, Taos, Pecos and matter of vital interest to the people
Gran Ouivira. In southern New Mexico to secure land in permanence and insure
the people of the Mimbres lived, and its water supply and build permanent
along the Gila almost from its head- structures for residence, defense and
waters in New Mexico to its mouth in religious practices.
Arizona were settlements of cliff dwell- There is a similarity of resources
ers when geographical conditions so throughout this entire region. It occu-
directed, and mesa and valley towns pies the Cordillera, with its principal
like Casa Grande in the level flood foci of population in high altitudes with
plain. Five hundred miles away in the exception of where the continent
Chihuahua were the populous districts narrows down to the connecting strip
of Casas Grandes, Cave Valley and the between the two Americas, and the
cliffs and canyons of the headwaters Maya built their towns as far down the
of the Yaqui. All these may be con- slopes as sea level. From its northern
sidered the contemporaries and cultural to its southern extremities corn was the
cognates of the Chacones. It may be common factor of cultural evolution, as
reasonably supposed that 1 500 miles to metal was in Europe. With the excep-
the south on the Mexican plateau the tion of the mid-tropical region it was
pre-Aztecan towns were flourishing; necessary to farm by irrigation, rainfall
that in Central America, the earlier being too unevenly distributed over the
Maya communities of Yucatan and the seasons to insure germination, growth,
temple cities of Guatemala and Hon- fertilization and maturity of corn and
duras were in their prime, and that other food crops. The conditions of
in far-away Peru the Incas were run- climate and subsistence were suffi-
ning their course. ciently alike to produce throughout a
It must be remembered that chrono- general type of social structure, dis-
logical exactness is not claimed for the cernible in the building of the towns;
above suppositions. It is an impression and a religion based upon the Indian's
gained by a study of all these places. view of nature which was practiced with
That there was an epoch of great build- great zeal. Pottery making and weav-
ing in America from Colorado, Utah, ing of fabrics were arts that were gener-
Arizona and New Mexico to Peru, ex- ally cultivated.
tending over several centuries and vSo a building culture came into exis-
finished long before the European inva- tence in localities that invited perma-
sion is an hypothesis that is advanced nence. The students of vSouthwestcrn,
[27]
—
ART AND ARCHAEOLOGY

JMexican, Central American and Peru- he might more accurately have made his
vian archaeology have tentatively as- estimate fifty million, so much more of
signed to the sites under investigation the town being buried than he supposed
an antiquity of from one to two thousand and in a great part of the walls there
years. During this epoch the energies being an average of eight hundred
of the people were thrown into building, pieces to the square yard instead of the
not altogether out of need for housing four hundred and fifty counted by him.
but as a development of religious ac- In addition to this, the thousands of
tivity. For example: in the town of logs, poles and slabs that had to be cut
Chettro Kettle, now being excavated, in distant forests, transported by man
the indications are that not less than power, prepared with stone tools and
fifty kivas (sanctuaries) will be un- built into the structures the tons upon
;
covered. Frcm the top of the pyramid tons of mortar that had to be made
of the sun at Cholula, Mexico, the sites altogether it represents a prodigious
of not less than ninety temple-pyramids task for the rather small population of
may be seen. The period ran its course Chettro Kettle. This, it must be re-
and was far into its decline when membered, was repeated proportion-
America was invaded from Europe. ately in each of the twelve large com-
This decay would have been easy to munities of the Chaco Canyon, and an
account for had it not set in until after unknown number of small villages.
1492. The shock of the European con- And it was no unwilling work under the
quest could not fail to radically change lash of priestly or kingly task masters;
the direction of the energies of the the American Indians were never so
people. It would give them a new ruled. It was the spontaneous, per-
and dominating concern which would haps intuitive, impulse of a virile peo-
modify their entire history. But the ple, comparable to the heaping up of
movement reached its apex centuries great mounds far in excess of actual
before. It would seem that it simply needs, by insect communities. Other
ran its course and passed naturally into examples might be pointed out of the
decline as did the epoch of cathedral excessive activities of the human species
building in Europe in the middle ages, as the building of the earth mounds of
and as such exuberance usually does. the Mississippi valley, the Eg>'ptian
In Chaco Canyon the range of activ- pyramids, the Great Wall of China and
ity was necessarily small, so that energy the European cathedrals of the middle
not employed in food production went ages. A parallel to it is seen in the
into religious ceremonies, building, and present-day piling up of wealth beyond
ceramic art, all rather closely inte- the needs or possible uses of accumula-
grated. The result was such a pihng tors. The endless repetition of money-
up of architectural monument as has making transactions characterizes our
rarely occurred in the world. Lieut. commercial age of today, which is being
Simpson estimated that in the con- lived as unconsciously to the majority
struction of Chettro Kettle not less of people, so far as its real meaning is con-
than thirty million pieces of stone had cerned, as was the building millennium
been quarried, transported, shaped and of the aboriginal Americans in their time.
laid in the walls. We now know that School of American Research, Santa Fe, N. M.
[28;
"
THE EMERGENCE OF CHACO CANTON

IN HISTORY
By Lansing B. Bloom
THE TERM usage

"Chaco"
stricted in
is
to the canyon
today re- Apaches Nabajoses." Another petition
of 1766 drew forth the comment by
which bears that name. His- Gov. Velez Cachupin that the peti-
torically, however, it was of much wider tioners might have joined the new set-
significance, designating at least a large tlements of San Miguel de Laredo and
part of the drainage area in which San Gabriel de las Nutrias (also in the
this canyon with its mysterious and Puerco) but they doubtless feared to do
wonderful ruins is the central feature. so as these were "frontier settlements"
Whether, as originally applied, it in- and they lacked courage, preferring to
cluded any of the country north of the register for pasturage "in the peaceful
canyon is not known, but did coverit region of the Navajo country;" but he
the mesa, or tableland, lying north of made the grant, on condition that the
Mt. Taylor and extending from the natives of that district did not object
continental divide westward for many and permitted them the use of their pas-
miles. ture grounds, they on their part to en-
Whether the name of this area has deavor not to injure the said Apache
come down from antiquity or simply Indians. The commissioner, named by
from early vSpanish times cannot, un- the governor to investigate the merits
fortunately, be stated definitely. The of this petition, reported among other
term " Chacra," now associated with things: "In regard to whether the
the mesa above indicated, is a Spanish Navajo Apaches have planted, or now
word meaning "a house of the field" plant, upon the land applied for, I
and no doubt refers to the Navaho state that I have seen in a branch of
hogans which, from earliest historic the little valleys scattered here and
times, were scattered over this region. there a few corn stalks, but I have
The 2nd report of the U. S. Board on never observed that the Apaches lived
Geographical Names (1890-99) defines near these small patches of com, but
"Chacra: (not Chaca nor Chaco) Mesa they mostly make their huts, owing to
in Bernalillo Co., New Mexico. " Maps their dread of the Utahs, distant and on
and manuscripts of the i8th century the highest and roughest parts of the
and even later do not use either the mesas.
word Chaco or Chacra; instead we find A petition of 1767 has similar refer-
the terms Chaca, Chusca, "la mesa de ence to "the fields which the Apaches
Chaca," Chacat, and various refer- de Navajo are accustomed to plant."
ences to the Navaho occupants of the Another, of 1768, asks for lands "un-
region. cultivated, unsettled, situated on the
A petition dated 1761, for example, slope of the Navajo country," and
for a grant in the Rio Puerco valley, recites as northern boundary- "a white
recites the western boundary asked as mesa called the Mesa de Chaca. " And
"la sierra alta do fide siembran los still another, encroaching on the Navaho
[29]
5
1- v:i*tv^ -# :^^!-t>^T^?^? ^
^"'^^^^^^^^^^^ :
..v'^^^
-*4«-
/' ^ i2/
.,>. . PK^"uC)\^..^
•a I ^7 CIK DF .^ ^
V
, ;
^ \ - .^1 Ui nui-iirn
if;'-
.A.
. /
o ur-î)**'
,1.\ \
v'.'H
./.>,V
,4^"=* :
'
' t.
^ •
*
'V
Map 5y,^ Library of Congress
Section of a Map by Don Bernardo Miera y Paciieco, dated Jan. 3, 1777

"
ART AND ARCHAEOLOGY

country and involving a spring called this century," and he goes on to speak
vSan M'iguel, asserted that, "altho some of the periodical "rabbit drives" a,s a
small parties of Apaches of said prov- survival of such communal hunting.

ince are accustomed to live at said It is known that certain of the early
spring, this will not prevent them from vSpaniards who came to New Mexico
so doing, but will rather serve to con- had had previous acquaintance with
ciliate and gratify them, and con- vSouth America. Governor Penalosa,
tribute to their quietude whilst in our for example, who held office from 1661
lawful friendship and good relations." to 1664, was born in Peru. He paid
The commissioner in the last case found ofhcial visits to Zuni and to Aloqui, and
no Navaho Apaches at the spring, but he must have skirted close to the region
was told by other Navahoes that "usu- now known as the Chaco, if he did not
ally when out hunting a few come to actually cross it but what similarity to
;
reside a short time at said spring." the Gran Chaco he, or any other Span-
All the above grants were in, or west iard, could have seen sufficient to apply
of, the Rio Puerco valley and north of this name is certainly not clear. If the
Mt. Taylor, and they show beyond word is of South American origin, the
question that "the Chaco" was then in only reasonable theory would seem to
the Navaho country. In fact, it always be that the author of the name had
has been. Excavations of the past sea- been witness to an impressive, spec-
son have uncovered typically Navaho tacular drive of game by the Apaches
cists, such as are today used by this —
de Navaho not on horseback and with
people in parching com, and they ap- muskets, but afoot and with only their
pear at levels in the Chettro-Kettle primitive weapons, as described by such
ruins which certainly antedate con- early writers as Villagra and Torque-
siderably the entrance of the first Span- mada.
iards in New Mexico. is probable, however, that "Chaco"
It
How, then, did the word "Chaco" isthe Hispanicized form of some word
become attached to this region? If we found locally. This is suggested by the
identify it as a Spanish word, it is of variant forms "Chaca" and "Chacat,
South American origin and means the both of which appear earlier than
"circle formed by Indians in hunting "Chaco." Indeed, it is an interesting
the vicufia." Describing the linguistic fact that the spelling "Chaco" is not
stocks of "the Gran Chaco" in vSouth found previous to 1849, though of
America, Brinton states that the word course this form may have been used
"Chaco" is properly chacu, a Kechua long before that date.
word applied to game driven into pens, Doubtless no Spaniard of his time
and he cites Lozano as authority for was better informed regarding the
its metaphoric use in reference to the "Provincia de Nabajoo" than Don
numerous tribes driven from their Bernardo Miera y Pacheco, who ac-
homes into the forests. Similarly Ban- companied Padres Domingues and
delier, discussing the communal charac- Escalante on their exploring expedition
ter of hunting as practiced by Pueblo of 1776, and who subsequently drafted
Indians, says: "What in Peru has been the map which accompanied their re-
described as the 'Cha-cu,' or great port, a section of wliich is shown here-
hunting expeditions of the Incas, could with. " Formerly chief alcalde and war
be witnessed in New Mexico as late as captain of Pecos and Galisteo, " he was
[31]
" "
ART AND ARCHAEOLOGY

commissioned in 1761 by Governor transmitted through the Navaho from
ToMias \^clez Cachupin to investigate some other Indian source. Whether any
tlie merits of a claim to what is now linguistic evidence of historic value
known as the Lagunitas Grant. Again, along this line can be secured from
in the summer of 1769, his name ap- Zuni, Moqui, Jemez, or elsewhere,
pears as a witness in the papers relating is yet to be ascertained.
to the Agua Salada Grant. Both of The field of legend and tradition like-
these grants lay in the valley of the wise gives evidence which is chiefly
Rio Puerco, next to the frontier of the negative. The Montezuma legend is
Navaho Province, and in all such grants certainly an anachronism, and the
is evidence of some knowledge at least tradition of the origin of the Aztlans,
of the country beyond that frontier. whatever historic fact may underlie
It is doubtful, however, whether Miera it, cannot be connected with the pueblo
y Pacheco ever actually saw the pueblo ruins of the San Juan drainage if present
ruins in Chaco Canyon, as the jour- indications are corroborated by subse-
ney of 1776, while it completely en- quent findings in the research which is
compassed the Navaho country, yet now being carried on. The cultural
crossed only the southwestern part of evidence thus far secured shows relation
it; and moreover his map particularly of the builders of the Chaco Canyon
makes the ruins of the Mesa Verde area, pueblos with the Pueblo Indians in
whereas here it indicates simply hogans New Mexico rather than with any peo-
with accompanying springs as "Chus- ple of Uto-Aztecan stock; and the
ca, " "Chacat, " and "ojo de las casas somatic data presented by Louis R.
de Navajoo. vSullivan in the October number of the
"Chusca" as here used is probably A?itJ!ropologist,altho tentative, is an
of Navaho origin rather than Spanish, indication in the same direction.
but "Chacat" is not. Yet the latter Because of a curious similarity to the
seems a more archaic form of " Chaca, name "Chaca" it may not be out of
and this in turn could readily have place here to give a little of the Aztlan
been modified into the variants "Cha- tradition as quoted in "Puchas His
cra" and "Chaco." That "Chaca" Pilgrimes" from the Jesuit writer,
was not considered an adjective by the Acosta. The second settlers in Mexico,
Spaniards is evident by the reference in he says, were the Navatalcas (Nahua-
the papers of the Ignacio Chavez grant tals) who "came from other farre Coun-
to the high mesa west of the Rio Puerco treyes, which lye toward the North,
as "una Mesa Blanca que comunmente where now they have discovered a
llaman la Mesa de Chaca" (a White Kingdome thev call New Mexico.
Mesa commonly called the Mesa de There are two Provinces in this Coun-
Chaca.) And in passing it may be said trey, the one called Aztlan, which is to
that the word "white" in this phrase say a place of Herons; the other Tucul-
indicates the Navaho origin of the name huacan, which signifies a Land of such,
" Chusca " given by Miera
y Pacheco to whose Grandfathers were divine. The
approximately the same part of the Inhabitants of these Provinces have
Navaho country. But as to "Chacat" their houses, their lands tilled, Gods,
and its derivatives all that can be Customes, and Ceremonies, with like
affirmed is that they are not Spanish or order and government to the Navatal-
Navaho, but presumably have been cas, and are divided into seven Tribes
[32]
ART AND ARCHAEOLOGY
or Nations: and for that they have a spelled Chelly), but such an expedition
custome in this Province, that every might well have crossed the Chaca
one of these Linages hath his place and Mesa and perhaps visited the Chaco
private Territorie, the Navatalcas paint Canyon. Yet the maps of Miera y
their beginning and first Territorie in Pacheco, forty years later, indicate no
figure of a Cave, and say that they came acquaintance with these impressive
forth of seven Caves to come and people ruins, and no reference to any of them
the Land of Mexico By isrecorded until 1844. The Navahos
the supputation of their Bookes, it is were thoroughly respected by the vSpan-
about eight hundred yeeres since these iards and Mexicans as lords of their
Navatalcas came forth of their Coun- own and even in the i8th
country,
trey, reducing which to our accompt, century they were by far the better
was about the yeere of our Lord equipped, both in arms and horses. In
720. 1778 the Spaniards of New Mexico
"These seven Linages I have spoken could report only 84 serviceable mus-
of, came not forth altogether: the first kets and 8 guns, one of which had no
were the Suchimikos, which signifie a carriage.
Nation of the seeds of flowers. . . . To Gregg must be givên the credit of
Long time after came they of the second having introduced the reading public to
Linage called Chalcas, which signifies the Chaco. His "Commerce of the
people of mouthes, who also built a Prairies" was published in 1844, after
Citie of their name. he had had some nine years' experience
The same form appearsin Clavigero's in northern Mexico. Discussing various
Ilistoria A ntigiia
de Mejico in the name ruins of the southwest, he gives the
Chalcatzin, whom he lists as the second following with reference to Pueblo
of seven chiefs under whom the Toltecs Bonito and the other ruins of this area:
began, in 596 A. D., their migration "There is sufficient evidence in the ruins
from the "kingdom of Tollan, " lying that still exist to show that those
northeast of Nuevo Mejico; but unless regions were once inhabited by a far
the pueblo-builders of "Chacat" had more enlightened people than are now
some affinity with the ancient Uto- to be found among the aborigines. Of
Aztecans there can be no significance in such character are the ruins of Pueblo
these similarities. Bonito, in the direction of Navajo, on
The earliest reference to an actual the borders of the Cordilleras; the
visit to the Chaco may be that given in houses being generally built of slabs of
Brinton's " American Race " "When,
: fine-grit sand-stone, a material utterly
in 1735, Pedro de Ainza made an expe- unknown in the present architecture of
dition from vSanta Fe against the Nava- the North. Although some of these
jos, he discovered tribes dwelling in structures are very massive and spa-
stone houses 'built within the rocks,' cious, they are generally cut up into
and guarded by watch-towers of stone. small, irregular rooms, many of which
The Apaches still remember driving yet remain entire, being still covered
these cliff-dwellers from their homes, with the vigas or joists, remaining nearly
and one of the Apache gentes is yet sound under the azotcas of earth and yet ;
named from them, 'stone-house peo- their age is such that there is no tradi-
ple.'" This is more applicable to the tion which gives any account of their
buildings in the Canon de Che-gui (now origin. But there have been no images
[33]
ART AND ARCHAEOLOGY
or sculptured workjofrany kind found temerity of Capt. Reid's proceeding,
about them. Besides these, many other but the Navaho chief, Sandoval, proved
ruins (though none so perfect) are scat- a reliable guide; "besides, the New
tered over the plains and among the Mexicans have but a very limited
mountains. What is very remarkable knowledge of that mountain country,
is, that a portion of them are situated at never departing from their settlements
a great distance from any water; so that through fear of the Indians."
the inhabitants must have depended en- To Lieutenant James W. Simpson is
tirely upon lain, as is the case with the due the first account of the Chaco ruins
"
PueJalo of Acoma at the present day. in any official report, and it is worthy of
Col. A. W. Doniphan, in his expedi- mention also that he was the first to use
tion into the Navalio country in the the spelling "Chaco." He was con-
fall of 1846, seems to have traversed nected with the corps of topographical
what is now called "Chacra Mesa." engineers, and in August 1849 he accom-
After receiving advices from Major panied Governor John M. Washington
Gilpin who had ascended the Chama on an expedition to the Navaho country,
River and entered the Navaho country which started from Jemez and by way
from the north. Col. Doniphan started of the Nacimiento struck west to the
out from Cubero and marched for two head of Chaco Canyon. His descriptions
days toward the sources of the Puerco and illustrations of Pueblo Pintado, Wi-
River, into "a district of countr>^ occu- ji-ji, Una Vida, Hungo-Pavi, Pueblo
pied by that canton of Navajoes of Bonito, and others are not only interest-
whom Sandoval was chief." His coming but they are especially valuable be-
pany then traveled over "a valley cause of the data they give for compara-
—
country in a westerly direction gently tive study of the same ruins today.
At some time during the period
rolling hills, rocky bluffs, bench lands,
then crags and bleak knobs, and then 1850-57 occurred what may be con-
barren naked giant masses of gray sidered the first scientific reconnais-
granite and dark basalt rising on the sance of theChaco ruins. L'Abbe Em.
right, and a heavy forest of pines and Domenech, who was both an apostolic
cedars, always verdant, spreading over missionary and a member of the Geo-
the lowlands to the left. The surface of graphical and Ethnographical Societies
the country continued uniform for the of France, returned to that country to
next two days' march ... to interest others in his "beloved savages.
Bear Spring. " If this route took him One result of his seven years of travel
down the Chaco Wash, he must have and investigation in the United States
seen many of the ruins; it is probable, was the publication of two works, and
however, that he bore to the west before in "The Great Deserts of North Amer-
he had gone sufficiently to the north. ica" is reference to these ruins.
Shortly before this, Captain Reid, of This writer defines two roads from
Doniphan's command, had gone on a vSanta Fe to Zuni, diverging at Santo
mission into the Navaho country with Domingo: "one passes northwest, trav-
only thirty volunteers but the general
;
ersing the Navajos country." After
direction which he took was first west fording at vSanto Domingo, the traveler
and then north. The author of " Doni- goes down the Rio Grande to the mouth
phan's Expedition" states that the of the Jemez River, then up that stream
New Mexicans were amazed at the to Santa Ana, San Isidro, Jemez, and to
[34]
ART AND ARCHAEOLOGY
the thermal springs and ruined Spanish its ruins may be said to have emerged
mission 12 miles above that pueblo. from the oblivion of centuries. Since
"Going still deeper into the western their time, many have been the adven-
solitudes the ruins increase in number. turer, soldier, trader, and scientist who
The first are those of the Pueblo Pin- has either gazed on their walls with
tado, in the Sierra de los Mimbres, then merely curious eye or felt his imagina-
those of We-je-gi, from whence you also tion quicken as he stood before the
perceive magnificent mountains, rocks stilled heart, as it were, of a civilization
piled one above the other, truncated which had hushed into silence far out in
cones, natural columns broken, and pla- the plains, many miles from the hvury-
teaux overgrown with cedars and pines. ing, resounding world as he himself
It is there that the desert truly appears knew it. Merely to name over the
in all its grandeur. Northwest of the writings which have resulted from the
Pueblo of \\x-je-gi is situated the Mesa impressions thus received would neces-
Fachada, which is a very vast tableland, sitate a bibliography of considerable
as smooth as a lake, and whose bound- length; in addition to those already
less horizon reminds one of the immensity mentioned, it would needs include the
of the ocean. You next enter the canyon names of Bell, Bickford, Cope, Gushing,
of Chaco; on the northern summit of Hardacre, Hewett, Holtzinger, Jackson,
this deep glen are the ruins of eight Loew, Lummis, Matthews, Mindeleff,
other pueblos, lying at a distance of Morgan, Pepper, Powell, and Putnam.
nine miles and a half from each other; Once only since the coming of the
judging from their dimensions, the Spaniard has the busy, commercial
principal ones would be the pueblos world of today crowded in upon the
of Hungo, Parie, Chetro, Kettle, Bonito, Chaco. From 1896 to 1902 the Hyde
del Orroyo, and Penasca Blanca. The Exploration Expedition established at
heart saddens at the sight of so many Pueblo Bonito the headquarters of an
deserted towns which time is daily extensive trading enterprise. During
demolishing since their extinct popula- this period great lines of freighters were
tions lie smouldering in their silent constantly pulling in from Gallup or
graves. " The misrendering of some of Thoreau, and others went out to the
the above names must have been an minor trading posts over the Navaho
oversight in proof-reading, as they are country; and Bonito itself (or Putnam,
correctly given later in the same volume. as the post-office was called) was a
In the year 1858 several autographs swarming hive of traders, Navahoes and
by members of "Co. E, R. M. B. " were other Indians, cowboys, adventurers,
added to the pictographswhich had been and an occasional scientist or investi-
left on the walls of the canyon by its an- gator. But that time has long since
cient inhabitants. This was a year of past, and nothing remains of it all ex-
serious trouble with the Navahoes,whom cept a little store which is maintained
the Mormons were asserted to have sup- by its owner simply for the benefit of
plied with firearms, and troops were his sheep-herders who winter their
brought in from abroad but what unit
; flocks in that neighborhood. The Chaco
"R. M. B." represents cannot be stated. has dropped back into the brooding
With the printing of the accounts of silence of centuries, ready to welcome
Gregg, a prairie-trader, of Simpson, an those who come to learn the secrets
army officer, and of Domenech, mis- still hidden within its ruins.
sionary and scientist, Chaco Canyon and Santa Fe, N. M.
[35]
ECONOMIC RESOURCES OF CHACO CANYON
By Wesley Bradfield.
LS BELIEVED that the natural years. This Wash has become the great
ITeconomic resources of the Chaco drainage canal of the whole valley, and
Canyon region, available to the in- deprives the soil immediately adjacent
habitants of its prehistoric pueblos, to it on both sides of the canyon of a
varied materially from those of the great part of its underground seepage
present day. The water supply was water. The Russian thistle and other
the foundation of the whole economic desert plants abound. There are oc-
life. Upon the determination of the casional bunches of grass, and some-
source and quantity of this water sup- times wild sunflowers grow in the low
ply rests the solution of many problems shallow spots in the upper part of the
connected with the past history of these canyon.
people, of whom we have as yet but little The character and number of trees
knowledge. growing in the region is strikingly seen
Today, wells have to be dug to by going from the upper to the lower
furnish sufficient water to enable this parts of the canyon. They tell an
territory to be used as a winter range interesting story and are a valuable
for sheep. The fall of snow with what record of the change in water conditions
water is available, is insufficient. In through the succeeding centuries. In
spring and summer the rains are too the upper part of the canyon, there are
light to provide water enough for more scattered slow-growing yellow pines and
than a very small number of animals. a fair stand of cedar and pinon on some
There are five or six springs within the of the mesas. The cedars and pinons
region, each of which supplies only extend perhaps nine or ten miles down
enough water for as many Navaho the canyon, more especially on its
families. eastern mesas. Then, for four or five
The great Chaco Wash, which carries miles, one may find only scattered
water only after heavy rains, except in specimens, until, on the mesa's rim
an underground flow, and which drains south of Chettro Kettle, there remain
this fertile canyon, has been formed by two lonely yellow pine sentinels which
erosion within the last few generations. are barely able to exist. Below Chettro
It has broken through the deep clayey Kettle and Pueblo Bonito the last
soil of the canyon floor, into the under-
remnants of the stumps and roots of
lying sand stratum. It is from fifteen
once flourishing cedars are now care-
to thirty feet in depth, and from fifty
fully htmted for firewood. The last of
feet to one-fourth of a mile in width in
the poplars save one, which stood below
its lower course. At the present time
the erosion varies with the intensity of
Pueblo Bonito twenty years ago, has
the periodic rains throughout the upper disappeared, and one must go eight
drainage area and along its tributaries. miles above Chettro Kettle to find the
Visible effects of erosion have
this very last guard of poplars now slowly
greatly increased within the last twenty dying from lack of moisture.
[36]
ART AND ARCHAEOLOGY
Whether the present desert condition have been used for other purposes. At
of the region originated in a rapid de- the present time the Navahos of the
nudation of its tree growth, or was ac- same region gather a yellow-flowered
compHshed slowly by gradual denuda- plant, which matures in late summer,
tion accompanied by continual light tie the twigs and leaves into small bun-
rain-fall through a period of years can dles and use it throughout the year for
"
probably be determined by further brewing " Navaho Tea.
study throughout the whole territory From the character of the ashes, both
in question. However, the evidence in the great refuse heap to the east of
thus far obtained points to mesas Chettro Kettle and the debris removed
covered in centuries past with a reason- from the rooms, wood was the principal
ably good stand of cedar, pihon and fuel in common use. There are traces
yellow pine; to a canyon floor covered of coal ash but not enough has yet been
with abundant grass in its meadow-like found to warrant an assertion that the
openings among flourishing stands of people used coal for fuel to any great ex-
yellow pine and poplar; to a naturally tent. This point will be cleared up as
conserved abundance of soil moisture; excavation progresses. There is a heavy
to flowing springs; and to a small run- outcropping of coal on both sides of the
ning stream that had not yet formed canyon. One long used modem tunnel
the great Chaco Wash. It seems prob- which extends for over one hundred
able that in the centuries past water feet into the south canyon wall one mile
existed in plentiful supply for each of below Chettro Kettle runs through a
the fifteen pueblos of the region. vein seven feet thick. The coal used this
Today, with the exception of rabbits summer at the excavation camp was
and quail, the game animals which fur- obtained one-half mile nearer camp
nished a great part of the food of the from the exposed face of the same vein.
people are practically extinct, and one If the people of Chaco Canyon under-
must travel several days' journey on foot stood the use of coal there was enough
to find the natural feeding grounds of the within a stone's throw to last them for
larger game. Evidences of abundant centuries.
game, however, have been found in the Clothing material thus far obtained is
limited excavations of the past season. a negligible quantity. A
few strands of
Bones of the buffalo, elk, deer, moun- twisted yucca, rabbit fur entwined with
tain sheep and bear, together with twisted fibre; and one finely woven
those of the smaller animals, varying sandal with a cord to pass over the
in size from those of the dog or wolf to great toe and other cords to tie the sides
the squirrel have been found. Much of and heel to the ankle are the principal
the bone material obtained has not yet finds. Without doubt they practiced
been fully identified. weaving of fine fabrics and the use of
Of vegetable foods, a small-eared animal skins for clothing, but these
com must have been the staple. Squash inferences must be further developed.
seeds, pinon nuts and beans were There was great abundance of excel-
taken out of many of the rooms. Small lent building material. Massive sand-
bundles of plants and roots of various stone cliff's form the canyon walls. The
kinds, as yet unidentified, were recov- greater part of this is one solid mass
ered. These compactly tied bundles which is constantly weathering and
may have had a food value, or may falling to the canyon below. On top of
[37]
ART AND ARCHAEOLOGY
the mesa above Wijiji one may find clay which was often intermixed with
large quantities of weathered laminated cedar bark to form a good binding ele-
sandstone capping the canyon walls. ment. vSmall poles of pine, cedar or
This is identical with that used in the Cottonwood were used over the door-
greater part of the excellent masonry ways and window openings. For rein-
work of the Chaco Canyon pueblos, forcing, poles and small logs of pine or
and was abundant everywhere through- cedar were imbedded in the walls dur-
out the region. Adobe for mortar and ing the course of erection. One can but
plaster was found in every pueblo door conclude that the supply of timber for
yard. The ceiling beams or vigas were construction purposes, no matter where
principally of pine. These vary from its source, was indeed plentiful.
eight to fourteen inches in diameter at Clays of various degrees of purity,
the small end and also vary in length and of varying colors can be found on
with the sizes of the rooms in which the mesas nearby as well as in the can-
they were used. On the lower floor of yon. These will be ultimately tested
an excavated room in Chettro Kettle to determine their pottery making pos-
were found three large logs with sibilities. Red ochre is found in small
squarely cut ends, one of which meas- deposits throughout the region, but
ured nineteen inches. In this day more especially in the lower part of the
native timber of every kind with which canyon. Red pigments do not seem to
to build these pueblos could not be ob- have been used extensively in coloring
tained within thirty-five to forty miles, or decorating pottery though some red
and for the smooth, gradually tapering is found. Obsidian and flint flakes are
logs that are found in the ruins indica- not abundant, but material of this
tive of growth under most favorable character was used to make cutting
forest conditions, it would be necessary edges, arrows and spears. It may have
to go to the mountain forests many been obtained by barter, but probably
miles farther away. was derived from the mountains to the
In building floors smaller pine poles, northeast where it is to be had in un-
and in many cases poplar, were laid limited quantities.
across the heavy vigas. On these rested Such, briefly, were the natural re-
the split slabs of cedar often six inches sources of Chaco Canyon and the
wide to six or eight feet long, closely adjacent territory available for the uses
packed straight rods a half inch in of the people in the days of their great
diameter, or long grasses in a heavy activities.
thatch. Over this was placed the pure Sania Fe, N. M.
[38]
WHAT THE POTSHERDS TELL
Bv Kenneth M. Chapman
MUCH
mankind
of the
has
artistic impulse of
been expended
tain." Food bowls, whose rightful
place was upon the floor, must have
upon the making and decoration been even more liable to accident.
of useful objects so perishable or fragile But though the fragility of pottery
that they are often destroyed before gave it so little permanence, it tended
their service has well begun. Ever since to perfect the art by making necessary
the continual production of new ware
to replace this steady loss,and thus
ceramic art grew to be one of the
ancient Pueblo woman's highest accom-
Fig. 1.
primitive man added ceramics to his

list of accomplishments, the breakage
of pottery must have been one of the
household's most serious economic
problems.
One needs but walk over the shard-
strewn site of an ancient pueblo ruin to
realize fully the great waste of time and
effort in providing for the simple culinary
needs of a primitive community. Large
storage jars, hidden in some safe comer
of a room may have outlived the genera-
FlG. 3.
plishments. So breakage must have

been taken as a matter of course; the
fragments were gathered up in the day's
FlG. 2.
sweepings and thrown upon the com-
tion of their makers; but water jarsand munal refuse heap which grew to be a
canteens, pitchers and dippers must depository of countless shards repre-
soon have met the fate of the proverbial senting each successive period of the
pitcher "that goeth often to the foun- pueblo's growth.
[39]
ART AND ARCHAEOLOGY
mounds, for as the excavation of the
plaza proceeded it was found that many
abandoned kivas had served as pits for

the deposit of refuse in which shards
were strewn by thousands. At the close
of the season's work it seemed advisable
to make a test examination of the mate-
rialfrom one kiva. For this purpose the
large collectionfrom kiva No. 1 1 was
chosen. No appreciable difference was
found in the types of ware separated
from four successive levels, so this
deposit may be taken to represent but
one period in the life of Chettro Kettle.
The test may therefore be considered
as a study of the various types of ware
of that one period.
The potsherds were first separated
^ These shards taken from the stratified
i"to ten distinct classes and each of
deposits of refuse mounds afford the
these classes was then further subdi-
best evidence of the development of a
^'^ded. This process was contmued until
pueblo's ceramic art. Indeed, they may
be the only record of earlier types. The
custom of burying pottery with the
dead may not have prevailed, and the
ware recovered from the ruins of the
building itself may represent only the
period immediately preceding its aban-
donment.
Perhaps no group of ancient pueblo
ruins has a more extensive series of ^^^^
refusemounds than that of Chaco
Canyon. The large mound
Kettle, which
of Chettro
was trenched during the
i
• •
n |(| | | i | i i|jj j MMM I I I I U
excavation of 1920, proved to be made VJ ,!
^
1
^
up of a clearly stratified deposit fully
fifteen feet in depth. A
thorough test
an important
of its stratigraphy will be
factor in determining the nature of the
community's growth. However, this ^ V^'
"
study need not be confined entireh' to Fig. 5.
[40]
ART AND ARCHAEOLOGY
chosen for a detailed study. A restora-
tion of some of these is given in the ac-
companying figures.
not always possible to determine
It is
the nature of a design from the small por-
tion shown in one shard. An instance
is given in Fig. i a.
, This shard appears
to show a portion of a simple decora-
tive band placed just below the dotted
rim of a bowl. But hundreds of other
shards show that a hachure of oblique
Fig. 6.
the group finally chosen for special

study contained only the rim shards of
food bowls whose smoothed concave or
kkkkkkkkA
interior surface bore geometric designs
in black upon a whitish slip. Having
laid out hundreds of such specimens,
it was found that these geometric
designs could be subdivided into several
types. Of these only border bands were Fig. 7.
[41]
ART AND ARCHAEOLOGY
P^P
m^m
Fig. 8.
lines almost invariably used in mean-

is
der patterns or swastika figures such

as are shown in Figs. 2 and 3. Similar
designs are indicated in even such small
shards as those in Fig. i, b and c, so
that in the absence of other portions of
the rim of i a, we are justified in assum-
ing that what is apparently a part of a
simple border band is really but the
rim portion of a much more involved FlG. 9.
design. Portions of two border bands gree of certainty are shown in Fig. 4.
^\•hich cannot be restored with any de- In the first we are in doubt as to the
[42]
ART AND ARCHAEOLOGY
manner in which the design was ex-
tended at either end. In the second,
apparently a part of a zig-zag pattern
like those in Fig. 7, we have no means
of determining its full depth.
£3 ^
Having discarded all the shards
which presented such complications, the
collection was finally cut down'to forty,
each with a distinct form of border
design which could be readily de-
ciphered. The restoration of these
decorative bands, about one-third natu-
ral size, is given in Figs. 5 to 10 inclu-
sive. In Figs. 5 and 6, the relative size
and shape of the shard is indicated in
each design. In Figs. 7 to 10 inclusive,
only the restored designs are shown.
We find the simplest motives in Fig. 5
and the most complex in the fret pat-
terns of Fig. 10. Many variations of
the same motive were produced by the
use of hachure, dots, and even by slight
changes in the relative proportion of
black and white spaces. It will be
noticed that the favored direction for
oblique lines is upward from left to
right, probably the natural result of
drawing with the right hand. Having
determined something of the variety
of these border designs, it is also import-
ant that we know which^'were most
frequently used. Many other examples
^[M]@@
of some of these motives are found,
their varying size and proportions show-
ing that they were not parts of the same
bowl. We find, for instance, several
exact repetitions of the second band
from the top in Fig. 9. This simple and I'K
effective arrangement of black and vorite for it many times in

also ajipears
white spaces seems to have been a fa- other combinations with lines and dots.
[43]
ART AND ARCHAEOLOGY
The origin and significance of these r ecord the creative instinct which mani-
designs is yet to be determined. They fested itself in the modeling of birds,
represent but a small part of the decora- frogs and other animals to serve as
tive art that might be restored from the handles, lugs and spouts. A few show
shards of kiva 1 1 . But the collection by their composition, form and decora-
suffices to show one of the many things tion that they must have come from
that may be learned by working with other areas, thus giving a hint of Chet-
such fragmentary evidence. tro Kettle's intercourse with the outside
Potsherds tell of many other things: world.
of clays and tempering materials, of All this may be better learned later,
slipsand pigments. They record every on by the recovery of great quantities

process in theirmaking and every vari- of perfect or restorable pottery. But
ety in form. They show the individual by their numbers alone the hundreds of
touch of their makers; the crude work thousands of shards that must come to
of inexperienced hands or of hands light as the work of excavation pro-
grown old and infirm, as well as the ceeds will have great weight in deter-
deft touch of expert potters who sang mining the character and growth of the
as they moulded and painted, even as ceramic art at Chettro Kettle.
the Pueblo women of today. They Satila Fe, N. M.
TO SIPOPHH, THE GATE OF HEAVEN*

By John Peabodv Harrington
Not to the tomb, but to the H oinb

Moves on this pageant strange —
Sivept on, yet deeming that they guide
Down to the great world's Womb they ride.
The Womb of Change.
That Womb where start all things of heart
And all things else beside!

Unshadoived are the thoughts they wear.
And proud the visage that they bear;
Lightly they ride.
To Sipophe where all things stay.
Rally, and rearrange —

How lightly on the eternal tide
Down to the great world's Womb they ride.
The Womb of change!
•Inspired by Julius Rolshoven's famous painting. "To the Land

of Sipophe." for a reproduction of which see cover picture and full-
page plate p. 30 Art AND Archaeology, Vol. IX, No. i.(Jan 1920.)
[44]
THE EXCAVATION OF CHETTRO KETTLE,
CHACO CANTON, 1920
Bv Edgar L. Hewett
I. SCOPE AND METHOD OF THE activities —
conspicuously in the build-
FIELD WORK ing of great community structures and
religious sanctuaries which challenge
THE CHACO CANYON presents the admiration and constructive ability

a concentrated group of problems. of our modern civilization. One seems
Except for the necessary study of to be studying a people that matured
environmental conditions, the search its culture without serious interruption,
for traditions, and comparative culture that ran its course to the summit of its
studies among tribes in the surrounding civilization and then suddenly went
country the area of investigation is only into oblivion.
Evidences of decline
seven miles long and a mile wide. This such as one sees in modern towns or
omits three outposts, five, ten and fifteen pueblos in New Mexico and Arizona
miles distant respectively, none of are not visible. In the Rio Grande
which appears to be essential in the Valley we have actually seen com-
study. munities die a natural death, the popu-
There was naturally great homo- lation shrink down to the last man as at
geneity in culture throughout this little Pojoaque. Almost the same thing
district. Doubtless all the communi- occurred at Pecos where a once power-
ties spoke the same language. While ful and populous town dwindled in three
each had its own individuality, as shown centuries to seventeen people and was
in the building of the towns and prac- then abandoned. The same process is
tice of ceramic art, all evidence points now going on at Nambe and San Ilde-
to identity in religion, social structure, fonso. We are thus familiar with the
symbolism and ordinary customs of appearance of a decaying Indian town
life. No cross currents of alien culture and have a basis in actual experience for
are discernible. No indication of aban- believing that nothing of this kind oc-
donment, disuse or reoccupation by the curred at Chaco Canyon. It looks as
original stock or by other peoples are though abandonment came at the full
found. On the contrary one gains the tide of life, except that there are no signs
impression that a single tribe of people of sudden destruction.
occupied this little valley, grouped It must be understood that these im-
themselves in community centers, pressions gained after some years of
availed themselves with exceptional observation in this interesting region
intelligence of the resources about them, and comparison with other vSouth-
held their own against all invaders, western groups, ancient and modern,
developed through the stages of com- are by no means final but await the
munity life, with agriculture and hunt- convincing results of more intensive
ing as the chief occupations of subsist- study. They assist in determining
ence, grew physically and intellectually what shall be the scope and method of
vigorous, and manifested its virility in the investigation to be pursued. In the
unusual social, aesthetic and religious first place, what we have undertaken is
[45]
'/////
a
Chaco Canyon: Ground Plan of part of Chettro Kettle.
Excavated 1920,
Chettro Kettle Excavation
: of the Great Refuse Mound, showing stratification.
a study of an extinct tribe, its life and 1. Chaco Canyon: its location, place
achievements together with all the in the ancient southwestern world dis- ;
factors, natural and ethnological, by tribution of the communities and gen-

which these were influenced. For con- towns and other
eral description of their
venience this tribe will be called Cha- archaeological remains.
cones, for the same reason that we have 2. Natural conditions: topography,
called the ancient cliff and mesa dwell- geology, botany, zoology, climate.
ing people who inhabit the plateau 3. Economic resources: fuel, food,
between the Rio Grande and Jemez clothing material, clays, minerals,
mountains Pajaritans. It is simply a water supply, building material.
term employed to designate a people 4. The Art of Chaco Canyon com-
from the region inhabited, in the munities: cultural stratification, clas-
absence of any ethnological relation sification, design.
from which they might be correctly 5. Architecture: plans of community
named. The various lines of study houses, construction, masonr\', sanctu-
have been assigned to members of the aries, stairways.
scientific staff according to the follow- 6. Etlmic relations: traditions, leg-
ing plan: ends of the southwestern tribes (Pu-
[47]
CiiUTTRO Kettle; Kiva Area and Outer Wall and Defensive Trench, after excavation.
eblo, Navaho, Apache, Ute, Piute), rela- in the name of science. The pot hunter,
tive to the ancient inhabitants of Chaco both scientific and commercial, has been
Canyon. scouring the southwest for fifty years.
7. Archive and bibhographic work: His particular field has been the burial
a digest of everj-thing heretofore writ- places and refuse heaps about the great
ten on the ruins of Chaco Canyon, and community houses, and so industriously
search in Spanish archives for early has this nefarious work been carried on
references thereto. that no archaeologist of this generation
Of the methods of pursuing the has had the privilege of excavating an
various lines of research above out- important site that had not been pre-
lined nothing need be said except with viously looted. When it is considered
reference to excavation and treatment to what an extent vanished peoples
of archaeological remains. have left their records in burial places
The waste and destruction of antiq- and refuse heaps contiguous to their
uities in the old world is matched by dwellings the loss occasioned by the
the same kind of vandalism in the pot hunter can be understood. Along
southwest. There has been little ven- the important seven miles of the Chaco
eration for the ancient places. Build- Canyon with its great central group and
ings, shrines and sanctuaries have been a large community house on each mile
wrecked in the path of progress even — of the north side of the valley, not a
[48]
'^^-
Chettro Kettle: Wall and Ceiling Construction.
refuse heap is to be seen that has not they are related. In no other way can
been dug over, and across the valley to anything like a complete record be
the south where the dead from the obtained of any ancient site. Graves
great communities are supposed to have are likely to contain the most important
been buried, not a mound can be found articles of ceremonial and domestic use.
that has not been pitted over and over Refuse heaps are, theoretically at least,
in search for pottery. The principal composed of the waste of the town
museum collections in America have swept out from day to day, possibly for
been secured by purchase from unscien- centuries, building up in regular con-
tific collectors working in this way. secutive layers and thus embracing in
The Government has endeavoured to chronological arrangement, though in
establish a perpetual closed season on broken or worn out condition, remains
pot hunting but without success. Even of every description from every age of
on the lands owned and controlled by the existence of the place.
the United States the evil practice goes The complete excavation of a site
on. then includes the uncovering of the
It should be the rule that burial buildings and the exploration of all
places and refuse heaps shall not be contiguous mounds. vSince the latter
touched except in connection with the are likely to be so situated that some of
excavation of the buildings to which them will be in the way of the dump
[49]
ART AND ARCHAEOLOGY
from the main excavation, they
must be examined first. Such
mounds are usually covered
with shards which call for some
examination, but it must be
remembered that surface finds
have a very limited value.
Prairie dogs and pot hunters
have so disturbed the contents
of mounds that the original
place of surface shards is in-
determinable. The pitting of
mounds, so largely employed
by non-scientific excavators, is
reprehensible, spoiling the
mound for systematic exami-
nation and record, and serves
no purpose save the occasional
yield of specimens. As a
means of arriving at accurate
conclusions concerning the
stratification of mounds, pit-
ting isaltogether misleading.
A pit sunk
in one part of a
mound may reach the oldest
deposits of the mound within
a few feet of the surface, while
another pit ten feet away may
at the same depth penetrate
only recent refuse deposits.
The method is worthless and Chettro Kettle: Long Gallery, in process of excavation.
destructive. The use of short
and unrelated trenches is only slightly bered, however, that no one mound is
less so. likely to afford a record of continuous
A mound is not properly examined growth from its earliest to its latest
until it has been divided on both diam- deposits; that numerous other refuse
eters by broad trenches extending clear heaps were in process of formation
through the mound and down to native contemporaneously about the town,
undisturbed earth. The vertical sides probably none continuously used, there
of the trench then present perfect ex- being great irregularity in formation,
posures which are almost certain to periods of disuse, and periods of exces-
record the history of the building up of sive use; occasions of disturbance be-
the mound and possibly enable the cause of the extension of buildings at
observer to locate the specimens ob- which times refuse may have been so
tained with reference to their chronolog- handled as to cause a complete reversal
ical deposition. It must be remem- of its stratification. Many other con-
[SO]
Chettro Kettle: Interior of a Room,
ceivable circumstances would interfere Again the characteristic style of one

with the orderly arrangement of the pueblo may be engrafted upon another
material. temporarily or permanently by the
vSince the geographical and chronolog- change of residence of a single indi-
ical classification of pottery is being vidual. This will account for much of
made a basis for important generaliza- the so-called "trade pottery" found by
tions concerning the movements of excavation. On the whole, so many
southwestern peoples, and the relative probabilities of error exist in the use of
dating of the ancient centers of popula- this method of study that one can not
tion, it is proper to point out the ex- avoid the apprehension that there
tremely insecure foundation on which may be too ready an acceptance of the
the structure rests. In practice, ancient results by those who rely upon the re-
technique often survives alongside of searches of others. Therefore the limits
modem methods. In a single com- of the method must be frankly stated.
munity the art of one group of potters When it comes to the major task of
may be ascending and that of another the archaeologist, namely the uncover-
descending at the same moment. In ing of entire towns, one is confronted
two adjoining towns during the same with a multitude of problems. Chief
year pottery-making may be flourishing among them are the questions of pres-
in one and dying out in the other. erv'ation and interpretation of archaeo-
[51]
;
Chettro Kettle: Southeast corner, in process of excavation.
logical evidence. Archaeology, like spectator of activities proceeding over

every other phase of history, invites vast reaches of time, he will mislead by
conjecture and unwarranted conclu- his conjectures and restorations.
sions, which, announced with an ap- The vast literature of speculative
pearance of finality or made permanent archaeology and the amount of uncon-
by the restoration or reconstruction vincing interpretation and reconstruc-
of buildings, can only lead to the tion of past human achievements move
confusion of history. The archaeolo- one at the beginning of a new investiga-
gist, like other historians, best serves tion to adopt a procedure that will be as
his science by recovering, describing, free as possible from the danger of false
and preserving unaltered the evidences teaching. This calls for the careful
of human activity throughout the ages, recovery and description of buried
calling attention to possible interpreta- material; the laying bare of evidence
tions of the evidence and allowing it to for study by contemporary and later
teach what it will. He is the observer students; the preservation of archaeo-
of the mental processes of people of a logical remains as nearly as possible in
different age and usually of a different the state in which found, with only such
race from his own. Until he can detach repair as is necessary for preservation
himself from his own time and race and restoration to a very^ limited extent
attain the attitude of an impersonal after positive verification, and for the
[52]
-**» '•' "
"*w'*^.'' '*!
,'"'
^?
#', -
-', "^ ^*' ' ' y i ~, 1 "I'M, .
o^-:>«^^î^;jy»-
.••' J*r' ^...*--
CiiETiRo Kettue: TIk TrLiiclus tliruuKli the Great Refuse Mound and the beginning of
the excavation of the main building.
presentation of our own conclusions; ground and in the environment from

a liberal use of pictorial illustration which sprang the civilization that is
offered subject to amendment with the under investigation. They see vestiges
accumulation of new facts. A great which are hardly discernible to other
ruin is an object of veneration and may than Indian eyes, for they themselves
be a never-ending source of knowledge. are the product of many generations of
A restored building is likely to be a experience on this their home soil.
sealed book, or what is worse, a ghastly When it comes to interpretations, one
imitation, from which the spirit of its can not fail to see that the philosophy of
builders, to which is due whatever of the Indian of to-day is derived from the
greatness it ever had, has been driven same sources that shaped the beliefs
for ever. and activities of the ancients of his o\\ti
In the work in the Chaco Canyon we race. Indian psychology is peculiarly
have the incalculable advantage of definite, a development that has come
having the actual work of excavation through ages of life ordered to conform
done by Indians. They are not far re- to the great natural forces with which
moved in their cultural status from the the race has been so intimately in con-
people whose productions are being tact. These forces have been constant
recovered. Their minds run in the same for ages past and the human reaction
racial channels. Thev live on the has been identical in tlie ancient and
[53]
Chettro Kettle: Looking into excavated rooms.
modern of the same race. Therefore, the vidualists. With respect to vital and
Indian workman who readily becomes economic conditions, as well as for the
an observing student, is an invaluable development of personal initiative, the
aid in American archaeological re- latter mode has every advantage over
search. the former. The Navaho
are indus-
The Navaho, who have for some cen- trious, good natured, susceptible to
turies inhabited the region surrounding education, as honest as their white
the Chaco Canyon, are a numerous and neighbors, capable of acquiring habits
increasing tribe. They number approx- of thrift, and on the whole constitute
imately 32,000 at the present time, and a valuable element in our population.
are a people of great promise. They The expedition is extremely fortunate
have successfully met the conditions of in having them for workmen.
the desert. They have kept their blood
pure, are comparatively free from in- 1 1. THE EXCAVATION OF CHETTRO
fectious diseases and show a power of
KETTLE.
adaptation to changing conditions The step was to examine the area
first
which promises survival and progress. surrounding the ruin for refuse heaps
Unlike the Pueblos who are communal and burial places, which unless ex-
in mode of life, the Navalio are indi- cavated first, might be lost under the
[54]
ChEttro Kettle: An excavated area.
debris from the buildings. The large refuse of domestic life. Whatever has
oval mound a few yards to the east of been unconsciously recorded from
the walls was divided from end to end generation to generation by casting the
by a broad trench on its longer axis, waste of the community into common
going down to the undisturbed soil. A dumps, can here be disclosed by intel-
similar trench on the short diameter cut ligent, patient, persevering study. To
it into quarters. In addition to this, detect the gradual changes in culture,
large sections on the side of the mound advancing or retrograding; the accelera-
nearest the pueblo were completely ex- tions, retardations, dislocations, is pos-
cavated, minutely examined and re- sible but full of possibilities of error. I
moved. The stratification of the suppose a perfect refuse mound (which
mound from its beginning is thus laid
probably doesn't exist) would show the
bare, not only for ourown information
response of the human .group to chang-
but for study by anyone else who wishes
to undertake the reading of the story it ing conditions in much the same manner
has to tell. The successive layers are that the annular rings of forest trees tell
fairly clear, all carrying plentiful de- of the seasons of prosperity, adversity,
posits of cultural remains, bone im- well-being, disease, etc., that the forests
plements, potsherds and the usual have experienced.
[55]
-»^^m^.
Chettro Kettle: An excavated Kiva.
The great mound at Chettro Kettle to workmen from shattered walls. It

was not a place for the burial of the was at the end of one wing, presenting
dead. It yields much material
for the only clearly exposed corner of the
study but little that suitable for
is ruin. It was one point of origin of the
museum display. Other refuse places great ridge, formerly supposed to be a
and possibly cemeteries may be found buried wall, that sweeps in a bold curve
near, for no area will be used for dump- from this point to the west end of the
ing from the excavations, save low site seven hundred feet away. The
places which nature has laid bare, until examination of this corner then would
thorouglily trenched. probably reveal several important as-
In determining the procedure at pects of our problem.
Chettro Kettle, it was assumed that Therefore, an area ninety feet square
many unfamiliar factors must be was laid off for excavation. The surface
—
reckoned with an assumption that indication was that it would disclose the
was fully confirmed as the work ad- end of the east wing, the juncture of the
vanced. The most favorable approach curved front, and nine or ten living
seemed to be by way of the southeast rooms on the ground floor of the wing.
comer. It was almost completely What was found will be understood best
buried, suggesting a minimum of danger by referring to the photographs and
[56]
:
ART AMD ARCHAEOLOGY

architectural of the excavated
plan stones. The methods of timbering and
area. The curved front is a building flooring as well as of plastering may be
with a massive central axis and rooms clearly seen in the photographs. The
on either side. It may have been two views of some' of the cleared rooms
stories high in places. The central wall show a remarkable state of preservation
is pierced by doorways, all securely of both masonry and timbers. Many
closed with masonry, originally afford- rooms are unexpectedly large, being
ing communication between the rooms considerably more spacious than those
on the inner court and those facing wliich I have enjoyed in the National
outward. The exterior rooms are with- Arts Club in New York, the Cosmos
out outside openings on the level that Club in W'ashington, or even in the very
remains. Outside this series of exterior modem Alvarado Hotel in Albuquerque.
rooms is a trench eight feet deep, two Neither is the advantage as to fire
feet wide, between heavy walls of hazard, light, warmth and ventilation
masonry that for solidity could not be altogether with these hostelries of Gram-
excelled unless built of modem concrete. ercy Park and Lafayette vSquare.
The floor hard and smooth and
is The extension of the excavation into
shows much use. This trench, entirely the plaza or irmer court brought other
unexpected, is without precedent in surprises. The perfectly level surface
the ruins of the southwest. If it proves gave no sign of the labyrinth of kivas,
to be continuous with the curving ridge, shafts, cists and variously walled spaces
as seems almost certain, it afforded a that were uncovered. The views will
protected passage from the extreme partially explain it. Kivas crowding
southeast comer of the town to the one another, cutting into one another,
northwestern quarter seven hundred overlying one another are found as far
feet away. as the digging has gone. Each one is a
The excavation of the southern ex- variant from the conventional type of
tremity of the east wing of the building the San Juan culture area. The com-
disclosed two stories buried, instead of mon characteristic is that all are circu-
one as expected. The views looking lar and solidly walled.
down into the excavated rooms convey The excavation of Chettro Kettle is
a fair idea of the situation as we find it, at least well started. The pronounced
and reveal the knowledge of construc- impressions that one receives from the
tion possessed by these people. Parti- study of these ancient communities so
tion walls were sometimes reinforced by far are
imbedding timbers in the asmasonry 1. Exuberance in the building im-
we reinforce concrete walls with iron pulse.
rods. Floors and ceilings were con- 2. Predominance of domestic, com-
structed by first laying hea\y support- munity life.
ing logs (vigas) across from wall to wall. 3. Intense religious activity.
Upon these were laid, longitudinally, 4. Master}' in building in stone.
smaller logs or poles, placed closely side 5. Efficiency in ceramic art.
by side. Upon these were laid thin 6. Resourcefulness in meeting en-
cedar slabs and over this a layer of vironmental conditions,
cedar bark. Upon this was a solidly 7. Dependence upon agriculture,
packed layer of earth, kept hard and with hunting as the secondary means of
smooth by rubbing with smoothing subsistence.
[57]
at,--
î^^
CllLtllU KlUIc
•"-"''^•-'
^sss^
i^: --.'-, '"'
i:' '
^--vJt '^ /.,. . •
'. V, •
f" ;. .* '
*
^:^:^'... ><-''-'' ' •
L luttiM K. Ill,
CS7l.w<=-.-v
Chaco Canyon: Specimens of Walls.

NiHA, Syria: Ancient Baal Temple. Nippur: S. E. wing of Assurbanipal's Ziggurat.
Eryx, Sicily: Carthaginian walls. Mycenae: Circular Precinct and Shaft Graves.
Jericho: Crude Canaanitish wall in north anti Pkehi^toric Jericho: Living Room.
west sides of the German excavations.
Photographs by Frederick Bennett Wright
^
Gizeh: Mastaba of the reign of Cheops.
..i.-'
Trov: Section of one of the oldest walls.
Gizeh: Stone faced Mastaba with ruff-e cone.

IV dynasty.
Tkov: Ruins of the Citadel. Nippur; Drain in city wall of Naram Sin — 2750 b. c.
Photographs by'Frederick Bemiell Wright.

i%
Babylon: A wall iu Ancient Babylon.
Peru: Ruins of Pachacamac, Peru —entrance to the Municipal Palace of the town.
4(
— "
ART AND ARCHAEOLOGY

In closing this preliminary account of abject, servile, degraded humanity to
tlie ancient monuments of Chaco Can- be seen today in Egypt and the Near
yon, I have arranged a comparison of East. The great houses that have been
the achievements of these native Ameri- the subject of this article are an expres-
can builders with the much better- sion, first of all, of the domestic life of
known works of ancient civilizations of a race. They were built by free men,
the old world. Here are buildings which, of their own volition, in their own time
abandoned, unroofed, exposed to the and way, as homes for their fatriilies.
elements and vandals of centuries stand They represent the labor "of the peo-
as very few specimens of walls (we are ple, by the people,
for the people, " and
not comparing with pyramidal masses) they are not wanting in the qualities
in any land have withstood the ages. that make for endurance. They
In wall masonry the Chaco builders memorialize the lives of the people, not
were unsurpassed, and it may be of kings. This culture, too, is in ruins,
doubted if our modem masonry will be but the race survives; and whether its
as enduring. As to our reinforced con- survivors prove to be Navaho or Pueblo
crete, time has made no test. For the or Yaqui or Aztec, or any other Indian
purpose of comparison, typical Chaco tribe, it will be found that in spite of all
Canyon walls are shown in photo- the handicaps of conquest by a race of
graphs with illustrations of walls of superior material resources, there sur-
ancient Troy, Mycenae Babylon, Nip- vives a dignity, self-respect and poise
pur, Jericho, Carthage, Gizeh, Niha in of a people who developed their culture
Syria and Pachacamac in Peru. For —
under conditions of freedom a genuine
the present, the illustrations must be "nobility.
allowed to speak for themselves. At It is significant that only representa-
some future time it is hoped that a com- tive government existed among the
parative study of new world and old native American peoples. This fact is
world masonry may be made. not sufficiently recognized, partly due
Most interesting are the architectural to a misleading nomenclature that is
remains of ancient peoples in relation to
human life. Monuments
of the old
still —
even used by his-
tolerated —
torians. Such terms as "Indian prin-
world are chiefly memorials of kings, cess," "Aztec empire," "the Emperor
priests and a miscalled "nobility"
Montezuma," "Old Empire and New
palaces, fortresses, temples, tombs
Empire," (as applied to the epochs of
built by myriads whose sordid lives
were of no account, under the compul-
Maya "Inca kings," "cliflf
history),
sion of military and religious power. cities of the southwest," etc., are based
The common people whose hands made upon a false conception of the social and
the vast structures built little for political structure of the native Ameri-
their own use. Those dynasties, courts, can peoples which all Americanists
and priestly orders have been extinct should unite in correcting.
for ages, but the races survive in the School of American Research, Santa Fe. N. M.
[62]
A MARBLE VASE FROM THE ULMA RIVER
HONDURAS*
By Zelia Nuttall
THE
tended
following comments are in-
to serve as a supplement
recognisable in the carefully executed,
outline drawings. Figs, i and 2.
George Byron Gordon's
to Dr. To make this clear, the Mexican art-
articleon "A Marble Vase from the Ulna ist Jose Leon has made drawings
Sr.
River, Honduras," which appeared in from the published photographs in
Art and Archaeology (Vol. IX, No. 3) which the forms of the conventional-
in March 1920. ised serpents' heads and the peculiar
In his text he states that "the broad technique of the native sculptor who
central zone (surrounding the sculp- worked in low relief, are skilfully ren-
tured vase) corresponding to the main dered. In Fig. I, the upper half of the
field of decoration claims special atten- central band is seen to consist of the
tion;" that "it is entirely covered with front view of a serpents' head on either
ornament of elaborate and curious com- side ofwhich and facing each other are
position " that " in order to explain the
; other serpents' heads, seen in profile.
elements or units that enter into the Directly under the central head is the
composition of this ornament it is neces- composite figure of two serpents' heads
sary to have recourse to drawings and in profile, facing each other and so
subdivide the contour into two semi- closely joined that their upper and
cylindrical surfaces ." and that
. . .
lower jaws meet; their combined pro-
"What may be called the principal files appearing to form a single face
unit in the design is repeated with seen from the front. (Figs. 2, 3.)
striking alterations on the other side. This effect recalls the identical result,
The unit of design next in importance purposely obtained by the joining of
occurs eight times, yet in no case is it two serpents' heads so that a single one
repeated in the same form. The minor is formed in the famous statue pre-
units of design are manifestly three in served at the National Museum of

number, readily comprehended, each of Mexico, which symbolises the native
which again passes through its conjuga- ancient philosophical theme of the
tion on either side of the vessel in mak- Divine Twain or DuaHty, personified
ing the composition of the ornament." as "Quetzalcoatl."
In this analysis no allusion is made As in the Nahuatl language the
to the fact which is so vital and inter- word coatl is a homonym for serpent
esting, namely that the " principal units and twin, the name Quetzalcoatl liter-
of design" are conventionahsed ser- ally signified either the " precious twin "
pents' heads, front and side views of or " serpent." This fact must be borne
which are represented and combined in mind when the serpent is encountered
with marvellous ingenuity. These ser- in sculptured or painted native Mexican
pents' heads are clearly discernible in designs, which would be equally sig-
the photographic reproduction of the nificant to the Maya people as the name
vase which illustrates Dr. Gordon's of their deity,Kukulcan, also means
article, but curiously enough, are barely "the Divine Serpent."
•Comments on the article by Dr. George Byron Gordon, Both Mexicans and Mayas would
[63]
Examples of Sculptured Designs, Mexican and Mayan, to illustrate Mrs. Nuttall's paper.
ART AND ARCHAEOLOGY
probably have discerned in the narrow conveyed to the Ulna river by water or
bands above and below the central one land from the cultural region situated
the sculptor's intention to repeat the further north. On making a compari-
sacred theme in another form, as both son between the Honduras vase and the
bands consist of a series of overlapping finest of thetwo found on vSacrificios
scales, broken at intervals by a curious where the chief temple was dedicated
duplicate symbol which may well pass to Quetzalcoatl, it will be seen that
as an attempt to symbolise the dualities whereas in the first the band that en-
(the Above and Below, Light and Dark- circles the base is executed in open-
ness, Male and Female, etc.), and is work, the second displays an elaborate
repeated consecutively around the base ornamental band of the same technique
of the vase. around its rim. In the Sacrificios speci-
While the presence of the serpent men light is thrown on the purpose for
motif and its treatment by the ancient which it was fashioned by the unique
artist appear to reveal his familiarity and ingenuous contrivance consisting of
with the religious symbolism of the a tube made inside the vase and extend-
Mexican and Maya people, the shape ing up its side from within a short
and size of the sculptured vase link it distance from its bottom to the top of
to the sacrificial vessels of ancient the openwork rim (see figs. 4 and 5).
Mexico, such as were found on the It is obvious that as the ancient native
island of Sacrificios in 1827 by Sefior ritual exacted the offering of human
Luna and are now preserved in the hearts to the idols and the anointing
National Museum of Mexico (see figs. of the latter's mouths with the blood
4, 5 and6) . Both of the latter are made thereof, that in such a vessel as de-
of the tecali or Mexican onyx which scribed the prescribed offering could
Brantz Mayer and other writers have not only be made, but the blood be
referred to as "white marble " or "white poured from it without disturbing its
transparent marble," not realising that gruesome contents or soiling the open-
as yet no true marble has been found in work border.
Mexico or Central America. It may be safely inferred that the
The prehistoric quarries which fur- Honduras vase whose handles facili-
nished the tecali of different kinds, of tated the pouring out of its contents
which the numerous ancient vases and and the second one found at Sacrificios
vessels, unearthed in different parts of with a single handle in the form of an
Mexico and Central America, generally alligator or "lizard" (fig. 6) and others
at great depths, are made, have been of similar size and shape were planned
located about Etta, in the state of for ritualistic purposes.
Oaxaca. Until other ancient quarries It is hoped that the above comments,
are found and it is proven that a marble which throw additional light on the in-
was obtainable in the region of the teresting vase from Honduras, will be
Ulna River, Honduras, one may be per- found of sufficient interest to justify my
mitted to question Dr. Gordon's view objection to Dr. Gordon's statement that
that the vase in question is of marble "it would be as useless to speculate con-
and a product of Ulna culture. cerning the symbolism of all this orna-
It seems more probable that like ment as it would be to guess at the serv-
those found on the island of Sacrificios, ice for which the vessel was designed."
it and the others found with it were Casa AlvjradJ, Coyjacm, D. F. Mexico.
[65]
Drawn'J>y William Blake Detail of the Design
A SCULPTURED VASE FROM GUATEMALA

By Marshall H. Saville
THE truly splendid piece of ancient

American ceramic art here illus-
Cabrera.
month
It was obtained during the
September, 19 17, a piece of
of
trated was found a few years ago great good fortune for science, for a
in a tomb near the town of San August! little more than three months later
Acasaguastlan, in the western part of occurred the series of devastating earth-
the Department of El Progreso, central quakes which practically laid in ruin
Guatemala. This region is at present the entire city, and there is little doubt
occupied by people speaking Spanish, that this precious object would have
and the name of the particular branch been destroyed at that time.
of the Mayan family, builders of the The vase is without question the
now-ruined cities of Yucatan and Cen- most beautiful example of earthenware
tral America, who formerly lived here, ever found in either North or South
is unknown. America, and it is in a class by itself as
This vase was formerly in the collec- a triumph of Indian art. The deco-
tion of theGerman Consul-General in ration is sculptured, that is, the designs
Guatemala City, and its conservation were probably cut while the clay was
in the Museum of the American Indian, still plastic, and before firing. This
Heye Foundation, is due to the gener- type of decoration is exceedingly rare
osity of Harmon W. Hendricks, Esq., in the pottery of Mexico and Central
a Trustee of the Museum, who provided America. In technique it reminds us
purchase after special permission
for its of the great stone sculpture known as
had been granted for its exportation " The Turtle," at the ruins of Ouirigua,
from Guatemala by President Estrada Guatemala, which is only about fifty
[66]
Surrounding the Vase. Museum of the American Indian. Heye Foundation
miles distant in an air-line from the is a familiar one in Mayan art, and is
place where the vase was found. It a feature of the famous Calendar Stone
also resembles in concept the well- of the Aztecs of the Valley of Mexico.
known stucco reliefs of the ruins of Above the two heads in the serpents'
Palenque and the beautiful carved jaws is the figure of the Death God,
wooden lintels and altar plates of the shown by the sutured skull and the
ruins of Tikal. These examples, and ribs. The lower part of the figure is
the vase, belong to the best period of represented as human, with flesh. On
Mayan art. the other side of the vase, where tails
The striking feature of the involved of the serpents end, is another Sun God
designs on the vessel are the two ser- seated with the feet pressed flat against
pents which spread around the body of the hips. Each arm encloses a fold of
the vase in undulating folds, the tails a serpent. Intermingled and interlaced
terminating at the back, their tips being with the undulations of the serpents
hidden by elaborate masks of mytho- are mythological animal figures and
logical personages. In the open jaws of heads, notably the crocodile, and hu-
each serpent are heads, the larger of man figures and heads, and no surface
which represents the Sun God, charac- was left unadorned, featherwork and
terized by a Roman nose, and having a masks filling the space. This is a char-
kind of helmet covering the forehead,
. acteristic feature of a certain stage of
bearing a four-lobed design, which is
repeated on the protruding lower part
Mayan culture, the artists being loth
to leave plain surfaces.
of the eye it is a variant of the glyph
;
Kifi, the sun sign. Opposite is a human

The accompanying drawing shows
head in the jaw of the other serpent, the intricate interwoven designs spread
evidently representing a suppliant. The out in a panel. At some future time
motive of heads and figures in the open a comparative study and an analysis of
jaws of serpents or dragon-like figures the import of this vessel will be made.
[67]
A Ceramic Masterp iece from Salvador
A CERAMIC MASTERPIECE FROM SALVADOR
Bv W. H. Holmes.
THE sel
remarkable earthenware ves-
presented in the accompany-
filament loopings
lower margins, the third, in the middle,
at the upper and
ing figure was brought as a gift being inclosed in squarish fillet frames,
to the National Museum by vSeiior and these again by two strands which
Emilio Mosonyi, who obtained it from rise above and part around the glyph
a native in Salvador, Central America. frames joining again below. It is not
It is exceptionally attractive in appear- assumed that glyphs, even thus used
ance, taking as a work of art a high in the ancient time, are necessarily
place among ceramic masterpieces of significant for Dr. Spinden* states that
the region represented. "The hieroglyphs which so frequently
It is tubular in shape, twelve inches occur on vessels from {Salvador are
in height, biownish in color and uni- probably no more than meaningless
formly polished. It is embellished with decorations, but the same may be said
a broad encircling band of ornament of of many of those on vases from the heart
unusual complexity, which comprises of the Maya area. Learning was doubt-
four rows of human heads modeled in less in the hands of the priests and upper
bold relief and three lines of hiero- classes, and potters had to content
glyphs. The human heads are forty- themselves with outward forms. Some-
eight innumber and are inclosed in times a single face glyph, with or with-
sunken panels formed by interlooping out dot numerals, is repeated over and
and interwoven filaments, the arrange- over again around the rim of a bowl.
ment as a whole giving a somewhat At best such a glyph could only stand
textile suggestion to the embellished for a name or a day."
band. The heads are closely alike as if It should be mentioned that Prof.
formed by pressing the plastic clay into Marshall H. Saville, who is well ac-
a common mold, the eyes and mouths quainted with the fictile work of the
having been afterward emphasized with ancient Mayas as well as with certain
a pointed modeling tool. The heads are skillful imitations of the present period,
crowned in each case with a short has expressed a fear that the decorative
scroll-like fillet of clay coiled upward in band in this specimen may have been
front which appears to connect with the added to the manifestly ancient tubu-
plume fillets of the framewoik. The lar body but the most critical exami-
;
floors of the panels against which the nation of the specimen shows that this
heads are placed have been blackened cannot be the case. It is, however, not
and checkered with incised lines. readily determined whether the speci-
The three lines of glyphs are skil- men is of the period of greatest Maya
fully introduced, being inclosed in shal- development since it stands distinctly
low panels formed by the interlooped alone in its embellishment, or of some
strands. The panel surfaces have been later stage in the history of this
blackened and the glyphs incised on people but it is observed that the skill
;
these with a sharp point. The lines of shown in the modeling of the plastic
glyphs connect around the body of the design is nowhere surpassed.
vase and are inclosed in the border 'Spinden. Herbert
No. 3. p. 446.
J., Ameruati Atithropologist. (N. S.) Vol. 17,
[69]
Ralston Galleries, New York
"Portrait of Samuel Brandram, Esq.," by John Hoppner.

CURRENT MOTES AND COMMENTS
Old English Portraits at the Ralston Galleries.
Notable works by the English portraitists continue to come to America, despite the scarcity
of fine pictures on the London market, and the tenacity with which English collectors hold on
to their possessions. xVmong the latest arrivals are three typical examples obtained in England
last summer, by Mr. Louis Ralston, and which are now on view at the Ralston Galleries, in Xew
York. There is Hoppner's portrait of Samuel Brandram, (1743-1812), London color merchant,
which was obtained from Mr. Andrew Brandram, now head of the same ancient merchantile
—
establishment a most pleasing characterization, representing Hoppner at his best. The others
are Gainsborough's portrait of the Duke of Rutland, purchased from Lord Canterbury, and
Raeburn's portrait of Janet Mellville.
Mr. Ralston also brought to America three Corots, among them being "The Sacred Fountain,"
which is accorded a place by critics among the master works of the master of misty hours and
filtered light. It is in Corot's favorite mood, when, in late evening, the last rays of light from a
delicate violet sky form an atmospheric background. There are four figures of girls in the
foreground. The silence of the moment is enhanced by the many graceful trees glimpsed
behind the figures.
American admirers of the art of Lhermitte will be interested to know that the Ralston Galleries
have "The Reapers," which was the artist's salon picture of 1920.
Claude Lorrain's "Rape of Europa" at the Satinover Galleries.

Outside of one picture in the Metropolitan Museum of Art, America heretofore has had no
opportunity to study at home the works of Claude Lorrain, who ranks as one of the five greatest
landscapists among the old masters, the others being Ruysdael, Hobbema, Constable and Turner.
This has been due to the fact that Claude's works have been closely held by their possessors in
Europe. Ninety-two of them are in public galleries, where they will always remain. Recently
two superb examples have been brought to New York, and are being shown at the Satinover
Galleries.
They are "A Villa in Arcadia" and "The Rape of Europa." Their French owner sold them to
Joseph Satinover just eleven days before the French law laying an embargo on the exportation of
old masters went into effect. It is not likely that any more will ever cross the ocean; therefore it
is hoped that their ultimate possessor will be an American museum rather than a private collector.
These two works are fit companions for the group of Claude's in the Louvre and the eleven in
the British National Gallery. One of them is more than six feet wide and the other nearly five
feet. What is most important, however, is that they have never been marred by the restorer,
and have the beautiful limpid aerial blues that characterize Claude's art. In this they diff'er
from "A Seaport," in the Hearn collection at the Metropolitan, which is greatly darkened by
restorations.
Claude was the inspiration of Turner, who when he died provided that two of his own master-
pieces should hang by the side of two of Claude's in the National Gallery.
The Lawrence Collection of Gothic Stained Glass at the American Art Galleries.
One of the most important events of the present art season will be the dispersal by the American
Art Galleries, in New York, of the notable collection of Gothic stained glass and other medieval
objects of art formed by ihe late Henry C. Lawrence. The American art world owes a debt of
o-ratitude to this collector not only because of his ser\-ices in bringing so many rare and precious
things to this country, but also because of the example he set in connoisseurship. This lousiness
man (for he was one of the best known stock brokers in New York and a governor of the New
York Stock Exchange) was an ideal collector. He acquired art not merely for the sake of col-
its companionship every day.
lecting, but because he wanted to live with it and have
An instance of this is the way Mr. Lawrence arranged his collection of stained glass, of which he
had examples of every period from the thirteenth century to the seventeenth. These glasses
[71]
From the Lawrence Collection of Gothic Stained Glass.
were more difficult to assimilate into modern living conditions than were the furniture, the tapes-
tries, the wood cartings Mr. Lawrence assimilated them. He adjusted each
or the stuccoes, but
panel of the glass into a mount that fitted some particular window pane in the house, where he
could place it and remove it at will. On Sundays, or days when he could be at home to enjoy his
possessions, the glasses would be all in place, and then the house was one of glory. Connoisseurs
came from great distances to see and enjoy. It was an envied experience to hear Mr. Lawrence
talk of the glasses. A play was inspired by the story of some of them.
The Lawrence home was a repository of art throughout. From its front door, set with a fine
thirteenth century stained glass panel, to the remotest bedroom, where the walls were decorated
with Florentine and Italian polychrome stuccoes, everv'thing was part of the collection and the
collection made the home. In the living rooms the genius of the collector had its highest expres-
sion. The walls of the dining room were constructed as a background for his tapestries. Food
was served from a priory table of the sixteenth century, and there were chairs, chests and cup-
boards of the same period.
In the drawing room tapestries were hung a bit more formally and in every available corner
were wood carvings and dinanderies. The chairs were of various periods from the fourteenth to
the seventeenth centuries, and two choir stalls served as a couch. An old lectern supported a
table lamp which, with candles set about the room, provided a soft glow that brotight out the
beauty of each antique treasure. In one corner stood a marriage chest, and credences were con-
venient storage places.
The sitting room was similar, but in lighter vein. The principal bedroom was in some ways
the greatest room of all, the main tapestry being a mille-fleur frieze, with rabbits, dogs, deer and
—
birds playing among the flowers one of the finest of this type of tapestry in existence.
The dispersal of a beloved collection like this has in it an element of sadness, but it is the true
spirit of the connoisseur that provides a chance for others to taste the same joys of possession.
/. Stcivart Barney's Landscapes at the Ehrich Galleries.

For an architect to turn painter and do presentable work at his easel does not appear to be a
remarkable thing; in fact, it would be expected of such a man that, being already well founded in
draughtsmanship, he would be able to put upon canvas faithful presentments of facts. But for
an architect to take up painting and in the short period of two years produce landscapes that have
[73]
ART AND ARCHAEOLOGY
great breadth and freedom of handling, and that reflect the spirit of nature rather than merely her
lineaments, is an achievement that calls for more than passing comment. Such an accomplish-
ment has taken many artists the greater part of their lives, for it is almost the rule in the develop-
ment of a painter that he begins by representing things as he sees them and ends by revealing
things as he feels them.
That J. Stewart Barney, of New York and Newport, who first gained fame as a champion of
progressive ideas in American architecture, has come fully equipped into the ranks of painters is
proved by the collection of Scottish and Newport landscapes which the Ehrich Galleries, of New
York, will show during the week of January 23. A preliminary view of the group displays
for him both facility in his medium and a fine grasp of beauty, no matter whether seen in its rugged
or its more quiet aspects.
The paintings are about e\ enly divided between the Scottish highlands, where the artist has a
shooting moor in the Ben Nevis country, and the countryside and shore near Newport, where his
summer home is located. Of the latter series perhaps the finest is "Ofi' the Be?ten Track,"
which is remarkable for its breadth and synthesis. It is a glimpse of rocks and water and sky,
set down with reticence and with great structural integrity. Next in point of interest is "The
Piping Rock," in which Mr. Barney has accomplished brilliajitly the difficult technical feat of
interpreting the play of waters as they break on rocks. "Summer Afternoon" reveals a stretch
of sun-kissed pasture, extending over the crest of a hill, while in the foreground is a stream of
limpid water mirroring the coolness of trees on either side.
Of the Scottish series the most picturesque is "Old Ben's Nightcap," whose theme is Ben
Nevis, seen in the distance beneath a crown of clouds, while in the foreground is a mountain lake
and rugged slopes. This work breathes the verj- spirit of Scotland, as does also "Sunset Over the
Moors" and "The Burn," both of which are very characteristic of color.
Mr. Barney's career as a painter will be watched with much interest, both because of its great
promise and because of the debt the art world already owes him for his stand, almost alone,
against the adaptation of absurd old world styles to the steel and concrete of the American sky-
scraper. The struggle he made for truth as regards the skyscraper is now history, but it waged
fiercely more than a decade ago, when he denounced his brother architects for trying to make
New York's tall buildings look shorter by means of horizontal treatment. His contention was
that the skyscraper, by letting it look tall and adapting for it a Gothic treatment, could be made
very beautiful. Time has completely vindicated his position, and now foreign artists visiting
New York for the first time say that out of our modern steel and concrete has arisen an architec-
ture which has no superior for beauty anywhere in the world.
Among the interesting exhibitions of the month is the group of early Spanish paintings also
at the Ehrich Galleries. The outstanding feature of the show and one which is drawing crowds
of visitors to the galler>' is the superbly painted and exceedingly rare "vStill Life" by Velasquez
( 1 594-1 793). When one realizes that there are less than one hundred acknowledged original
paintings by this master, the interest in this example is easily understood. The composition is
simple, direct and dignified. Among other paintings worthy of note are two Spanish Primitives
of the 15th Century
— "St. Jerome" and "St. Michael" —highly decorative panels, beautiful in
color, rarely seen outside of Spain.
The Hankey Etchings on Exhibition at the Schwartz Galleries.

William Lee Hankey, whose work began to be known in this country only a few years ago,
seems definitely to have joined in popularity the group of famous modern British etchers whose
prints are so deeply appreciated by our collectors, and whose ranks include such men as D. Y.
Cameron, Hedley Fitton, Frank Brangwyn and Axel Haig. Beyond coming into rank with them,
however, there is no resemblance between Hankey's etchings and those of the four men just
mentioned. Their reputations are based mainly on the presentation of architectural beauty,
and, in the case of Brangwyn, the attainment of strength. Hankey is rather the interpreter of
human feelings. Mothers and children are his favorite subjects, and even when he essays land-
scape it is human feeling that guides his hand rather than abstract beauty.
Sixty-four of his etchings, now on exhibition at the Schwartz Galleries, New York, afford the
art lover opportunity for a comprehensive study of Hankey. Despite what has been said of the
[75]
Schwartz Galleries, New York
"Two Sisters," drypoint etching by William Lee Hankey.
preponderance of human emotion in his work, this collection presents a distinctly decorative
aspect. A delicious virtuosity in color and quahty is obtained in these black and white prints
because of the fact that Hankey used the drypoint method; that is he cuts his lines directly on
the metal with an instrument instead of tracing them through a fill-in of wax and letting acid
"etch" them on the burnished surface. The drypoint method leaves a "burr" where the metal
is "ploughed" with the instrument, and this either produces a shading by the ink or, in case of
masses, results in a rich, velvety black.

The most famous print in the collection is "The Flight from Belgium," which is so great
because the face of the woman bears in it a realization of all that has befallen and all that impends.
"Sole Possessions " is another notable subject. A Belgium woman in whose arms is her baby and
on whose back is a bundle. In depicting the normal feelings of motherhood and childhood, how-
ever, Hankey is most amiable. "Two Sisters" and "Maternite" are especially good, and "Con-
fession," which conveys the sense of spiritual control on the mother's part, is a remarkable
expression.
Of the landscapes the finest perhaps is 'Sur la Niege," a glimpse of a French farm in winter
so true that the weight of snow on the roofs is actually felt, and an illusion of dazzling luminosity
attained. "In Belgium" has the same sort of human appeal, with its group of slender trees, its
low-lying village beyond, and its white clouds billowing up in the distance.
General Meeting of the Archaeological Institute

The General Meeting of the Archaeological Institute of America and the Annual Meeting of
the Council were held at the Johns Hopkins University, Baltimore, Md., Dec. 28-30, 1920.
Some account of the papers presented of especial interest to Art .and Archaeology readers will
appear in our next number.
[76]
"
BOOK CRITIQUES
From Holbein to Whistler. Xotes on Drawing man, Lucas of Ley den. They all lived during
and Engraving, by Alfred Mansfield Brooks. the Renaissance, that period, of great art when
Neiv Haven, Yale University Press, ig20. architecture, painting and sculpture came to
"full bloom," an age which produced as well,
A most valuable and beautiful book has been great artist-draughtsm.en.
added to the large library of books upon
They were painter-engravers and interpreta-
engraving, by Alfred M. Brooks, of the Univer-
tive engravers, their remarkable creations of
sity of Indiana, Curator of Prints in the John
Christian art, their sacred subjects represented
Herron Institute of Indianapolis, therefore
with lovely landscape backgroimds, Diirer's
qualified to speak authoritatively on the sub-
manner in particular, are still the much sought
ject.
prints of Museums and Collectors.
From Hans Holbein in the early i6th cen-
Rem.brandt, Van Dyck and Claude Lorrain
tury to Whistler in the 19th century, there
are the great m.asters of etching, Rembrandt,
is a world of art, of which the real fundamentals
the greatest not only of the seventeenth cen-
are drawing and engraving. Mr. Brooks
tury but of all centuries. They are a story by
cleverly shows "the ways by which the
themselves.
engraver and his art, or the engraver and his
Turner's "Liber Studiorum" that wonderful
trade, have had a hand in the concerns of
collection of engraved, etched and mezzotinted
religion and the spread of knowledge, not to
landscapes which Mr. Brooks says surpass all
mention increasing the material and durable
and works of landscape which the world has seen,
satisfaction and delights of civilized culti-
forms another chapter with Wordsworth's
vated men."
poetry, both artist and poet possessing the
The object of the book, he says, is to make rom.antic point of view, seeing nature and
plain that engraving, which is but a kind of
representing it in picture and poem, that are to
drawing, is one of the noblest of all the arts
"the realities of this world as visions of another
and one not imderstood by the majority of
world." "They accepted every aspect of
persons who pretend to an interest in art, and
nature, from the calm of a summer's day to the
not regarded or understood at all by most
gale on a winter's sea."
persons. Beside the technicalities of engrav-
The making of the book technically is the
ing and etching, the time of their invention and
most finished product of the Yale University
discovery, he gives small sections showing the
Press and is the fourth work published by the
lines made by the burin and the etching needle,
Herbert A. Scheftel Memorial Publication
which will be of great value to the student of
Fund, which was established by the widow of
these graphic mediums.
Herbert A. Scheftel, of the Class of 1898, who
The introduction is a clear and interpretative
died in 19 14. The gift was made "in recogni-
discussion of what constitutes originality in
tion of the affection in which he always held
art, its understanding and appreciation and one
Yale and in order to perpetuate in the Univer-
is tempted to quote at length.
sity the memory of his particular interest in the
Mr. Brooks says that " to distinguish between
work of the Yale University Press."
good work and that which is downright excel-
lent, requires accurate powers of discrimina-
A beautiful and unusual memorial, that of
stimulating fine book making!
tion, firm and abiding fairness, a thoughtful
The illustrations, of which there are nearly
bent of mind, imagination and all the informa-
The result is one hundred, are the finest possible reproduc-
tion that possibly can be had.
tions of wood and line-engraving and etching.
true appreciation, another name for profound
The book is not only a contribution to art
understanding. It always implies sympathy.
history, but to literature. H. Wright.
The grouping of the subjects, of which the
book treats, is quite unlike that of other writers Attic Red-Figured Vases in Atnerican
and is all the more interesting and illuminating. Museums. By J. D. Beazley. Cambridge:
Line engraving and wood-engraving in Italy Harvard University Press; London: Humphrey
and in the North, is followed by a chapter on Milford, igi8. X+236 pp., 118 illustrations, $7.
the very important masters of engraving, two
Itahans, Mantegna and Marcantonio; two Mr. Beazley has done more than any other
Germans, Diirer and Holbein, and one Dutch- recent scholar m the way of identifying unsigned
[77]
vases. He has discovered more than fifty
new vase-painters and although certain scholars
such as Percy Gardner and Pettier have ques-
The Ehrich Galleries tioned his methods, there is no doubt that his
identifications, which often are the same as
those made independently by others (Hoppin,
Announce an Exhibition Swindler, Frickenhaus, myself, and others)
are in the majority of cases sound. He cer-
oj
tainly has an unusual knowledge of stylistic
details and aesthetics and a familiarity with
Scottish and Newport the original vases themselves, such as perhaps
no other living scholar has.
LANDSCAPES The present volume deals with a far greater

field than its title indicates and represents a
treatment of the whole red-figured style down
hy to Meidias. There are many new attributions
to artists already known, such as Epictetus,
Oltus, Macron, and to those created by Beazley
J. Stewart Barney such as the Achilles and Pan Painters. Several
new painters are identified, the best being the
Niobid Painter, an artist of first rank. Some
January 24—29 of the names of the artists such as the Flying
inclusive Angel Painter; The Providence Painter, The
See-saw Painter, The Painter of the Deepdene
Avenue, New York Amphora seem strange and the arrangement
1^1 Fifth
of the material might have been more practical.
But there are very few errors in the book, which
is one of the most important contributions ever
made to Greek ceramics. Many unpublished

vases in America and Europe are here illus-
trated for the first time and there are several
PAINTINGS better reproductions of vases already published.

D. M. R.
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Blakelock Murphy compass, " the archaeologist's handbook to Paris

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about $150,000 ART AND ARCHAEOLOGY
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but Sulla could have rented a flat for $150 a
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ART AND ARCHAEOLOGY

An Illustrated Monthly Magazine
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ART AND LIFE (NEW YORK) COMBINED WITH ART AND ARCHAEOLOGY
Volume XI MARCH, 1921 Number 3

BOARD OF EDITORS
Virgil Barker BOARD OF MANAGERS
Howard Crosby Butler Frank Springer. Chairman
Charles Upson Clark TowNSEND Russell. V ice-Chairman
J.
Albert T. Clay
Charles T. Currelly James C. Egbert
H. R. Fairclough Ex-o^cions President of the Institute
Edgar L. Hewett Burwell S. Cctlbr
Morris Jastrow
John B. Larner
Fiske Kimball
David M. Robinson Charles Colfax Long
COHTENTS
Martyred Monuments of France II: The Town Hall of Arras . Colonel Theodore Reinach . .
83
Eight Illustrations
Art's Demand Le Baron Cooke 94
What the War Cost France in Art Treasures Stephane Lausanne .... 95
Still Life: Today and Yesterday

Eight Illustrations
Horace Townsend .... 99
Armistice
Poem
Day /. B. Noel Wyatt .... 105
Playing Cards: Their History and Symbolism W. G. Bowdoin 106

Ten Illustrations

Five Illustrations
Book Critiques 123
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Copyright. 192 1, bv the Archaeological Institute of America.
n:. .:. lA,
o
ART &n3.
ARCHAEOLOGY
Volume XI MARCH, 1921 Number 3
MARTYRED MONUMENTS OF FRANCE

II: THE TOWN HALL OF ARRAS
B\' Colonel Theodore Reinach
Membre de rin<!lilnt de France
A former number of this periodical of ever-changing lordships. Artois, the

INI gave a short account of the wanton comte of which Arras is the chief town,
destruction by the Germans of the although of French tongue and culture
far-famed castle of Coucy. Hardly a and depending in feudal law from the
less odious crime against art, history realm of France, formed, as a matter of
and civilization was the annihilation of fact, during two centuries (i 180-1384),
the town hall of Arras. If Coucy was a semi-independent state, connected
the unparalleled specimen of military sometimes with Flanders, sometimes
architecture in the Middle ages, the with England. Later on, after the
Hotel de Ville of Arras was one of the ghastly ravages of the English hosts,
finest productions of civil architecture it became a part of Burgundy, the
in the early Renaissance. As the keep enterprisingbuffer-state, which had
of Coucy was the king of our Donjons, sprung up between France and Ger-
so was the clock-tower of Arras rightly many. After the dismemberment of
termed the king of our Beffrois. Burgundy, towards the end of the fif-
Northern France, of which Arras teenth century, it was French again for
marks about the center, is a singular a short time, only to become for about
compound of provinces and peoples, one hundred and forty years a Spanish
some of Teutonic, some of Romanic province, previous to its final reunion,
stock, little by little blended in that in 1640, to the French crown.
wonderful melting-pot of races, cus- It is a notable fact that Arras, not-
toms, traditions and civilizations, our withstanding it having thus been a

many-sided, but one-hearted, modern Spanish possession for a century and
France. Their story is a perfect maze a half, does not show in its outward
iArt and Archaeology. IX, No. 3, March 1920. aspect, in its architecture or sculpture.
[83]
Arras: The Town Hall.
—
ART AND ARCHAEOLOGY

the slightest trace of Spanish influence. Adam de La Halle, is the very first
The contrary has often been asserted by musical comedy in history, and more
romantic archaeologists and in our own than one fanciful invention of the old
days by the poet Verlaine, who prettily trouvere has crept by unknown chan-
described ."/a viUe anx toits foUets
. . nels from his jeu de la Feiiillee into the
Poignardant, espagnols, les dels cpais moonlit visions of a Midsummer Night's
de Flandre" But poets are not
. . . Dream.
bound always to say the truth. Now Hardly anything remains nowadays
the plain truth is that whatever here is of mediaeval Arras. The beautiful city
not purely French is decidedly of Flem- walls with their battlements, gates and
ish origin, for many and narrow were turrets, the public baths, the fine
the political and commercial ties be- private mansions, the huge abbey and
tween Artois and the neighboring cities Gothic cathedral, the carved tombstones
of Flanders which, under the mantle of and crosses, nay, the very altar screens,
republican freedom, developed, during almost everything has disappeared,
the last centuries of the middle ages, sometimes by brutal warfare, mostly
unequalled wealth and unrivalled splen- under the hammer and chisel of the
dor. so-called embellishers of later times.
Since Roman times there stood here For the modern visitor of Arras, the
a flourishing city, the chief mart of the most striking features are the two large
corn trade in a fertile country and the squares, about the middle of the old
seat of a renowned fabric of woolen town, known as Petite Place and Grande
stuffs, the luxury of which already Place. As they stand, or rather stood
scandalized the holy Jerome. In the of late, they are a work of the seven-
later middle ages, when Arras, detached teenth century executed soon after the
from the comte of Artois and nominally French reconquest of 1640; but their
a part of the king's own dominions, was ground plan was due to the emperor
practically a free city, a thriving indus- Charles V, and they show even some
try and a profitable trade developed remembrances of the old wooden dwel-
here, hand-in-hand with a fine literary lings of the XIHth century, one of
and artistic taste. Widely known was —
which la maison Deleau is still stand-
the the goldsmiths from "Arras
skill of ing on the Grand Place. Moreover, the
libiaus."^ The hangings or tapestries new houses have retained the old cel-
woven here were so highly valued that lars, the so-called boves, spacious, deep
the name of the town became in several and sometimes two-storied, which in
countries a generic denomination for the time of Guicciardino, as well as in
fine tapestries, like in later times the our own, afforded a priceless refuge
word Gobelins. Who does not remem- against the cannon of a barbarous foe.
ber the Galleria degli Arazzi in the Both of these squares, as well as the
Vatican, and in Hamlet, old Polonius wide —
street —
rue de la Taillerie which
Music and connects them, were lined with houses
'
hiding behind the " arras ? '
poetry were also at home among the of a uniform type, though allowing
"Arrageois;" they were a joyful, I may some variety of size and ornament. Be
even say a jolly people, and devoted itsaid to the praise of the mayors and
admirers of the fair sex. The Jeu de municipalities of the ancien regime:
Robin et de Marion, by a man of Arras, they never allowed any facade to be
i"Arras the handy one" in the vernacular dialect. repaired, unless brick was substituted
[85]
Arras: Insiik \ie\v of the Cathedral.
Arras: Inside view of the Cathedral (present state).
Auras: The Palace of St. Vaast — court yard of the Museum.
for brickand stone for stone. So these two, was formerly the animated centre
two huge places, with their hundred the burghers' life, the celebrated
of
and fifty-five houses, kept their char- forum of the town. In mediaeval days
acter unchanged and unblemished down a charming chapel, the so-called "lan-
to our own days. The ground-floor tern of the holy candle," had been
recedes behind an open gallery, the erected in the middle of the place as
narrow arcades of which are supported a sort of permanent record of the dead :
b}' monolith Doric sandstone columns. it fell a victim to the revolutionists of
Two two-storied mansions are built in 1793. And on one of the small sides of
stone and brick, their lofty roof facing the same place stood until yesterday
in the shape of a rounded gable, the the far-famed Hotel de Ville, the glory
base of which ends in a pair of heavy of old Arras, the chief subject of this
volutes; the facades, only two or three paper.
windows wide, are adorned with quaint Town halls were very scarce in Nor-
sign-boards, carved in stone, mostly thern France down to the end of the
copies of much older ones. All in all, fourteenth century. The cities were
says one of our best authorities in neither rich nor free enough to indulge
archaeology, you have here an ensemble in such luxuries; moreover the churches
unique in the world. sufficed as a rule for the accommodations
The Petite Place, the older of the of such few public services as existed
[88]
Arras: The Grande Place as it is.
and specially for the meetings of the a remarkable revival. No more than
burghers discussing their affairs. In the houses of Arras does the town hall
this, as in other respects, the cities of exhibit any trace of Spanish influence:
Flanders showed us the way. Gradu- it is a plant sprung from the native
ally our northern towns followed in soil. The designer of the main building,
their lead, one of the earliest and finest Mahieu Martin, was an Artesian by
specimens of this class of buildings birth, and so were his two most notable
being the town hall of Saint Quentin, successors, Jacques Le Caron, the com-
another victim of the recent war. pleter of the heMrj, and Mathieu Tes-
The present town hall of Arras, son, the architect of the left wing.
which replaced an older Halle des Martin's work, which forms now the
Echevins, was not erected before the nucleus of the aggregate, was to a cer-
first decade of the sixteenth century, in tain extent inspired by the aforesaid
the days of Arch-duke Maximilian. town-hall of Saint Quentin. The low
Chronologically it belongs already to ground floor is screened by a vaulted
the Renaissance, but artistically it is portico opening towards the place and
still a Gothic structure of pure flam- offering a shelter against sun and rain.
boyant style, a style which persisted The arches, of unequal sizes, alternately
very late in our Northern regions and round and pointed, rest on slender col-
celebrated here, in contemporary times, umns of sandstone; they are elegantly
[891
—
Arras: The Museum and Cathedral (present state).
decorated with flower-work. Then, of sky-lights,each of which was framed

above an elaborate cornice, rises the with elegant metal open-work and
ver>^ lofty upper story, lit up by eight crowned with gilt sundisks or with
beautiful Gothic windows in the style small quaint weather-cocks. The whole
of the later cathedrals and adorned facade, including the Gothic niches at
with delightful tracery. In front of the the angles, constituted a magnificent
two middle windows projects a hand- monument, the like of which was hardly
some balcony, originally of wrought iron to be found in any other French town.
and a work of the eighteenth centur^^, Unfortunately this fine building, in
but, in our own days, clumsily rebuilt its noble restraint, did not remain un-
in stone. Between the high gables of blemished throughout the centuries. In
the facade windows, ran a series of course of time, new wants, the ever
small round openings, so-called oeil-de- growing expansion of public services
boeuf, quaintly divided into segments caused many additions to be made to
by muUions of varied devices. An open the old Gothic town haU; not all of
balustrade, also of an ingenious design, these were felicitous, one of the last
ended the wall of the facade, and above —
the restoration of 1840 being by far
this balustrade, giving its peculiar char- the worst.
acter to the whole building, rose a high As early as 1572, a whole wing was
slated roof, enlivened with three rows erected to the left (speaking as one
[90]
Arras: Belfrey and Town Hall after the bombardment.
looks from the place) and somewhat in Grigny, one of the leaders of the Gothic
the rear of the main building. This revival: nowhere appears more glaring
work of Mathieu Tesson was, all-in-all, the mistake of Ruskin's formula "beauty
a good example of the Flemish Renais- in architecture ornament." The same
is
sance style, without any survival of architect and mate Mayeur planned
his
Gothic elements. The tvsfo lower stories the inner fittings of the town hall, in a
reminded of the Louvre with their profuse and exuberant style, flavoring
belted pilasters, their bossages and large of the so-called Alanoelic architecture
square windows. The "perron" had a in Portugal.
cupola which was removed in the eigh- I have still to mention what, in the
teenth century. A refined taste could opinion of many, was the most valuable
hardly approve of the gorgeous little pearl in the crown of the old city or,
niches and twisted columns of the third to use the phrase of Shakespeare, "the
feather in her cap " I mean the belfry
:
story nor of the massive intricate gables

above the windows of the attic. or clock-tower. Standing close behind
Still less satisfactory — I mean still the town hall, it was not, strictly speak-
more over-loaded with useless deco- ing, a part of it: so the campanile is
—
ration was the right wing, added distinct from an Italian Diiomo. Nay,
under Napoleon III, by the romantic the belfry was rather older than the
[91]
:
ART AND ARCHAEOLOGY

hall itself, having been built between guage, understood by all, to the civic
1463 and 1499. Its airy structure, its spirit of mediaeval burghers and to the
buttresses, bell-turrets, niches, high and refined taste of the Renaissance; they
pointed twin windows, made it very presided over the thriving life which in
like the tower of a Gothic cathedral. the nineteenth centur}' permeated and
Originally it ended, like those towers revived the time-honored capital of the
usually do, by a balustrade and a long Atrebates and of Countess Mahault, the
slender spire. However, towards the song-loving home of the trouveres and
middle of the sixteenth century, the of the Rosati, the native city of Jehan
spire was pulled down and in its stead Bodel and of Maximilien Robespierre.
were raised by Jacques Le Caron of Several times already in the history
—
Marchiennes the work was dedicated of Arras has a period of peaceful and
—
on July 2nd, 1554 two more stories of prosperous development been suc-
octagonal design, tapering as they rose, ceeded by the hurricane and havoc of
gorgeously clothed with lace-hke carv- invasion or civil war. The old capital
ing, and sheltering, among many mighty of the Atrebates was burnt in the fifth
bells,one of the most famous chimes or century by the Vandals and Attila;
carillons of northern France. The upper the new Arras of the holy Vaast was
story culminated in a large closed ransacked by the Normans in 881.
crown formerly of stone, lately restored Fearful were the ravages wrought by
in cast iron, on the top of which a big the wars of the fifteenth and sixteenth
heraldic lion of brass carried the glori- centuries from King Louis XI to Em-
ous pennon of Artois: a quaint device peror Charles. vStreams of blood were
inspired from the town hall of Aude- shed here in the time of the Revolution
narde, but here far more effective, be- and Terror. But none of these calami-
cause the belfry rises to more than ties was comparable in point of destruc-
twice the height of the hall. tion, to the ghastly doom which befell
Thus, this king of French beffrois, the old city in our own days.
shooting to the height of seventy-five The suddenness of the catastrophe
metres, has a giant sentry of the city added to its frightfulness. "Arras,"
lying below, towered above the pic- writes M. Enlart, "was extending and
turesque labyrinth of wide places, nar- developing her trade, confiding in a
now streets, houses squeezed together, peaceful future, enjoying the present
of the many churches, the huge un- welfare. Thus lives a harmless bird,
gainly cathedral of the eighteenth cen- chirping and pecking close to the jaw
tury, as a beacon beckoning from afar and claws of a treacherous cat, which
to the weary traveler, a herald of com- feigns to be friendly or asleep!" Who
fort, beauty and joy, reminding of the has forgotten what the waking of
lines of the French Heine the cat was like, in the first days of
Belle, tres au-dessus de toule la contree, August 1 9 14, the terrific leap of the
Se dresse eperdumenl la tour demesuree wild beast, the flood of carnage and
Attestant les devoirs et les droits du passe. destruction; or, to use the word of a
Hall and belfry happily completed German professor. Doctor Clemen, the
each other together they were the pride
: "measureless devastation" which
of Arras, as the famous Cloth Hall, like- spread for more than four years over
wise ill-fated, was the pride of Ypres. our flourishing northern provinces?
They testified, in a magnificent lan- Five towns, two hundred villages, num-
[92]
' "
ART AND ARCHAEOLOGY

berless churches and factories reduced structure tumbled to the ground; on the
to ashes, 172 works of art registered as helpless stump, the German batteries
historical monuments stolen from the continued to vent their fury. Later on,
sanctuaries where they were housed, came the turn of the railway station,
hundreds of mines flooded, thousands of the fine Gothic church of John the
of trees cut down, smiling fields and Baptist, of the clock-tower of Saint
orchards changed into hideous deserts, Nicholas. In the unwarrantable con-
the very earth turned out of its bowels flagration of the old people's hospital,
and mimicking the craters of the moon, thirty poor women were wantonly
five of our finest departments plunged slaughtered. The fine palace of Saint
into a state of miser>^ and ruin which Vaast sheltered the archives, the library
even now after two years of peace and and the museum this also fell a prey to
;
deliverance, they are strenuously en- the incendiary bombs. Some of the
deavoring to overcome such was the — most precious treasures had been
balance of the worst and, let us hope, brought into safety, but nearly all the
the last of the barbaric invasions. books and part of the provincial ar-
Arras, although an open town, was chives were burnt, including the valu-
one of the hinges of the gate, or rather able documents collected by Father
the network of trenches coated with Ignace and archivist Lavoine; also the
brave breasts, which, from the latter fine paintings of Tattegrain and many
end of September 1914, protected the pictures by local artists. Lastly the
heart of France against the advance disaster overwhelmed the cathedral,
of the German foe. After a short occu- formerly the abbey church of Saint
pation of four days, the Germans had Vaast. It was an unattractive build-
evacuated the city. Not a soldier was ing, of stone and plaster, in the Louis
within its walls, as Mr. Whitney War- XVI style, completed only in 1833, but
ren has testified, when the so-called remarkable for its colossal proportions
"preventive bombardment" began on and majestic regularity. Ripped up in
the 5th of October; it lasted, with short its turn, it became day by day a gigan-
interruptions until the month of Sep- tic ruin, more beautiful in its desolation
tember 1 9 18, and the final discomfiture than in its splendor. "Half over-
of the invaders. During these four thrown," writes an eye-witness, "it
years, the barbarians never ceased fir- shows the sky between its massive pil-
ing at buildings, none of which could be lars, reminding us of an etching by
of any military use public monuments
:
Piranesi. A few months have clothed
and private dwellings, churches and it in the forlorn grandeur which it took
hospitals, nothing was spared; they centuries to pour on the Baths of

went on blindly, as writes a witness,' Caracalla. Columns, capitals, frag-
"ruining ruins, reopening scars, killing ments of arches, everything glares
the dying.
'
with the whiteness of snow.

As early as the 7th of October 1914, What now about the private dwell-
the first and noblest victim, the beauti- ings? It is heart rending to look on the
ful town hall, went up in flames. On Grande Place and Petite Place with
the 2 1st of the same month, a shower of the hideous gaps torn everywhere,
high explosive shells was poured upon some of them gigantic in size one single
;
the belfry and at the 69th hit the proud volley threw down nine gables at a
•Potez, Arras, p. 43. time! In the center of the town not a
[93]
ART AND ARCHAEOLOGY
block has been spared; some streets two receding wings, buried among
have completely vanished. Seventy stretches of smouldering walls, heaps of
per cent of the houses haye been utterly crumbled stones and a perfect forest of
annihilated or reduced to their wooden wild herbs and plants shooting out
frame-work; even those that seem to from the thick layers of rubbish. On
be sound show, at a closer inspection,
the left, a few arches and noble columns
threatening wounds. Nor are pictur-
stand out in solitary majesty; on the
esque scenes wanting: here has a house
right, a shred of lace glittering among
crumbled to dust, while its roof remains
the ashes is all that subsists of Grigny's
suspended as by a miracle between the
projecting beams of its two neighbors; romantic tracery. Of the king of bel-
there an upper story shows, through fries, of that time-honored treasury of
the broken facade and shattered win- joy and song, nothing remains but a
dows the inner fittings and forlorn fur- shapeless stump, jagged and pallid as a
niture as on a film or on an uphol- ghost, pointing towards heaven with its
sterer's model. Strange to say, among mangled finger as if to protest against
so many corpses the little house of crime and appeal for retaliation. And
Robespierre remained untouched, neat the words of an old chronicler, quoted
and tidy, as was its master of yore, the by my friend Enlart revert to our
dandy of the guillotine. memory when, speaking of similar
However, in that field of desolation, outrages committed by German sol-
no sight is more dismal than that of the diery in the fourteenth century, he con-
late town-hall. So sweeping has been cludes thus: "Maudits soient-ils! ce sont
the blow, that an untrained visitor can gens sans pitie et sans honneur et aussi
hardly trace the outlines of the old n'en devrait mil prendre a merci."
fabric, with its central structure and its Pan's, France.
ART'S DEMAND
By IvE Baron Cooke.
Art an exacting mistress; she demands purity of conception in all her spheres:
is
Literature, Painting, Drama, Music, and Architecture; and if one proves himself
inadequate, she flaunts before him one truly fine and meritorious Achievement
worthy the privilege of sitting at her Board, thus implanting the Seed of Discontent
in the mind of the one having failed; the seed, which, after all, will determine if the
artist-spirit is an indwelling conviction in the ma?i by a renewal of consecration to the
one Thing by which his soul can truly live and flower.
True, the artist pays dearly for the aspirations for which he gropes, that is, of
course, if we consider material sacrifices and privations; but the inner, spiritual
satisfaction of the one -ivho proves himself the artist in his realization of Creation
makes the reivards that follow mundane pursuits seem trivial and ephemeral indeed.
[94]
:
WHAT THE WAR COST FRANCE

IN ART TREASURES
By St^phane Lausanne
Editor-in-Chief of the "Matin"
THE
one
world war cost France not only
million four hundred thou-
consequently are paid for by
citizens.
all the
sand human lives, entire cities, fac- Before the war almost a thousand
tories, mines, and buildings: it cost her monuments in France
artistic or historic
also a part of her magnificent store of were thus placed under the surveillance
art treasures. And that part can never and care of the Department of Fine
be restored to her. Houses are recon- Arts. Of these, two hundred and fifteen
structed, mines are reopened, factories during the war, have been either com-
are reorganized, and cities are rebuilt. pletely destroyed or seriously damaged
Other men are bom to take the place of there is, therefore, in considering only
those w^ho have disappeared. But we the figures, a decrease of more than a
cannot replace a cathedral ten centuries fifth in the art treasure of France; but
old, with the memories attached to it; the loss is even greater, for unfortu-
we cannot replace a chateau of the nately some of the works destroyed con-
middle ages, with the epoch that it tained what was of the highest value in
calls to mind; nor can we replace the art and in history.
stained glass which was the work of the Let us consider in the first place what
greatest artists of the Renaissance. has been totally wiped out, that which
Frightful is the list of ruins of French never be able to live again, that part
will
art— as frightful, perhaps, as that of which is definitely lost to the patrimony
Rome or of Athens when sacked by the of civilization.
Barbarians. It is this list which I wish To begin, we should cite the Chateau
to place before the eyes of the American de Coucy, in the department of the
public which, more than any other, has Aisne.'^
always shown an affectionate respect A great French architect, who was
and an enthusiastic admiration for the also a great historian, VioUet-le-Duc,
old historic monuments of France. called the Chateau of Coucy "a veri-
—
Almost a century ago in 1832, to be table city, conceived in its ensembleand
—
exact France officially, by law, put built by a dominated by a
single effort,
under the protection and the control of powerful will." This splendid chateau
the State, the most beautiful edifices of was in fact a whole little city, built in
which the nation was proud. A service the thirteenth century on a height from
was created, the service of historic which can be seen on the horizon Laon,
monuments, which under the direction Noyon, and Chaimy thirty miles of—
of the Minister of Fine Arts, was valley, of plain, and of forest. Behind
charged with the care of these edifices, the moat and the great towers there
with their upkeep, and with their repair. was a whole series of buildings a Gothic :
All the projects and all the expenses are chapel; a court house, called the hall of
inscribed on the budget each year, and 'Art and Archaeology, IX, No. 3, March, 1920.
[95]
;
ART AND ARCHAEOLOGY

the knights because it was ornamented de Ville of Arras and which was a
with the statues of nine vahant knights veritable artistic joy, with its carven
shops; stables; modest httle houses for colonnades, its wonderful chimes dating
the ofhcers and majordomos and finally
; from 1434, and its beautiful platform on
the dwelling of the master, he who was which stood a colossal lion? These
called the Sire de Coucy. All that was a belfries where of old, in the middle ages,
marvelous restoration of a unique corner guards were placed to watch over the
of the France of the middle ages, with countryside, and from which pealed a
its life, its habits, and its institutions. bell to summon to meeting the citizens
And all that has been annihilated, and notables, existed hardly anywhere
ploughed over, pulverized by the heavy except in the north of France and in
German shells that rained upon it there ; Belgium; practically speakhig, there
remain just one fragment of the great are none to be seen south of the Seine.
round tower and the ruins of the ram- Their destruction, therefore, is all the
parts. But inside, the wreck and chaos more to be regretted.
are such that the Department of Fine The Hotel de Ville of Noyon is
Arts has been forced to give up any another irreparable loss. Noyon, the
attempt even to clear away the debris. bridge city closest to Paris, (M. Clemen-
Of the Chateau of Coucy, whose princi- ceau kept repeating for three years,
pal parts were preserved during eight " We must not forget that the Germans
centiuies, posterity will know only the are still at Noyon"), prided herself on
enormous ashlers and the blocks of two works of art: her Gothic cathedral,^
stone heaped up on top of each other. constructed in the twelfth century,
The Chateau of Ham, in the depart- which resembled the basilica of St.
ment of Somme, older by a hundred Denis and was the first Gothic cathedral
years than the Chateau of Coucy, was built in France, with all its annexes, its
somewhat smaller, but was not less cloister, its treasure room, and its
glorious. It, also, was enclosed within library;and the Town Hall, which was
enormous towers, one of which measured part Gothic and part Renaissance. At
thirty-three meters in height and in the cost of great efforts, the cathedral
diameter, and was behind a fortified can perhaps be restored; but for the
French. It had resisted all the wars: Town Hall, which was reduced to bits,
against the English, against the Spanish allwork would be in vain: it must be
against the Austrians; but it could not considered dead forever more.
resist the German bombardment, which Gone also is the delightful House of
put it in the same staê as the Chateau the Musicians at Rheims, with its five
of Coucy. It also will remain a per- alcoves framing four high, wide win-
petual ruin. dows. Each alcove contained the sil-
The belfries of Comines and of Arras houette of a musician, larger than
The former dated
are also lost forever. nature. The first was playing a drum,
from the fourteenth century, and had the second a bagpipe, the third held a
a historic value great to every French- falcon in his hand, the fourth played a
man, for it belonged to the charming harp, and the fifth a violin. The five
chateau where was born the celebrated statues have been saved, but the charm-
historian, Philippe de Comines. But ing house, which belonged to the
how speak of the second, seventy-five brotherhood of fiddlers of Rheims, has
meters high, which dominated the Hotel '.\rt and Archaeology, Vin, No. 4. July-.A.ugust 1919.
[96]
;
ART AND ARCHAEOLOGY

been reduced to bits by the heavy fifteen months past has consisted prin-
shrapnel fire. Never again will the cipally in preventing the further de-
statues return to their alcoves. terioration of such parts as are still
To sum up, more than thirty standing. The basilicas have had to be
churches, all classed as historic monu- protected against the rain and the wind
ments, have been totally destroyed, the supports and the walls which threat-
and the Fine Arts administration has ened to crumble have had to be
given up even the consideration of their propped up; the scattered stones and
possible reconstruction: let us cite sculptures have had to be brought back,
notably the church of Ablain-Saint- catalogued, and labelled; in a word, it
Nazaire in Pas-de-Calais, the church of has been necessary to save the still
Tracy-le-Val in Oise, the church of healthy members of the glorious
Givry in the Ardennes, and the church wounded. The work of reconstruction
of Lafi"aux in Aisne. Particularly tragic properly speaking will hardly begin
is the fate of the church of Laffaux, before next year. But what should be
which, built in the twelfth century, was remarked, from now on, is that even
ornamented with ancient mural paint- when we shall have succeeded in re-
ings. Misfortune willed that it be storing completely the cathedral of
situated in the very centre of the plateau Rheims, the basilica of Noyon, or the
of the Chemin des Dames, and of it collegiate of vSaint-Ouentin, there will
there remains not the slightest vestige. always be lacking to these three historic
The grass and the weeds have grown marvels precious things, and things
over what once were the church, the which cannot be replaced. The sculp-
mill, and the village of Laffaux. And a tured figures and the carvings that
sign, stuck into the naked ground, bears decorated the facade of the cathedral
this simple and terrible inscription : of Rheims will always be lacking; for-
ever lacking will be the burned books
THLS WAvS LAFFAUX. Noyon;
of the library of the basilica of
Such is the list of the monuments that there will be lacking the paintings which
might be called the war's great dead: walled the Hotel de Ville of vSaint-
no trick of architecture will ever make Ouentin, and which were blackened,
them live again. soiled, discolored purposely by the
The list of the great injured is not Germans during the four years of their
less painful, for here are to be found the occupation; above all, there will be
most illustrious artistic glories of lacking a great part of the panes of
—
France and among them the five ——
colored glass perhaps the most beauti-
magnificent cathedrals of Rheims, ful in France of the cathedral and of
Soissons, Noyon, Verdun, and vSaint- the church of vSt. Remi at Rheims, of
Ouentin, the delightful Abbey of vSaint- the collegiate of Saint-Ouentin, and of
Vaast, the Gothic churches of Peronne, the church of St. Jean at Roye.
of Roye, of Etain, and of vSaint-Mihiel, The art of making colored glass was
and the town halls of Arras, of Verdun, an art essentially French and special
and of Saint-Ouentin. to the middle ages All the patience
At the disposition of the five cathe- of the monks and of the artisans of long
drals have been placed the most emi- ago was needed to give to this work th'j
nent architects of France and the best indespensable attention to detail and
crews of workmen. All of the work for long-continued efi"ort. In fact, from the
[97]
ART AND ARCHAEOLOGY
ei^q^hth centiin', all Europe came to Let us sum up. And, to recapitulate
France to admire the work in colored as well as possible, it is best to give the
glass, and the French glass workers were floor to the director of French Fine
in demand in England, in Germany, Arts himself, M. Paul Leon.
and even in vScandinavia. It was in "We must count," he told me,
the fourteenth century that the dis- "twenty years before the artistic ruins
covers* of silvered yellow, which allows of the north of France can be restored.
a brilliant yellow tone on a neutral And for that we will need five thousand
background, brought to its height the workmen, sculptors, molders, and ex-
art of making colored glass. The glass- perts. cost will be more than
The
workers then found new colorations a billion francs. Forty monuments
and new motifs for decoration; they never can be restored and are lost for
gave vigor to their figures, on back- all time. A
hundred and fifty cathe-
grounds ever clearer they dressed their
; drals, churches, and town halls will
people in garments bedizened, embroid- rem ain eternally mutilated The cathe-
.
ered, treated with a surprising skill; drals of Rheims and of vSoissons will
they tripled or quadrupled the panes of never again see some of their sculptures
glass in order to multiply the shades. and all of their colored glass. The
In a word, they obtained the effects of town hall of Arras will never again see
striking portraits. After that, the use its wainscoting, its chairs, its chandelier
of colored glass diminished or was lost. or its embossed chimneys. Three-
In the seventeenth century, there quarters of the work of eight centuries
remained hardly any ateliers except in Flanders, in Picardy, and in Artois
those of Troyes which still produced a can be considered as totally destroyed.
few interesting examples. In the eigh- France is poorer by four hundred chefs
teenth century these shops, too, were d'cFiivre, which nothing can ever re-
closed. Today, the artistic pane is still place."
produced, but there is nothing to com- M. Paul Leon told me this, one warm
pare with the religious glasswork of spring morning, while the sun gilded
four hundred years ago. We have not with its rays the Louvre, that other
the time, and machinery has killed artistic glor}^ of France. By the open
individual art. Thus, we understand window the birds were to be heard
what an irreparable loss is even the singing, and business men were to be
partial destruction of a rose-window seen reading the newspapers. Perhaps
such as that of the Apostles at Rheims, they were reading the latest important
or the pulverisation of the glasses of speeches of the principal statesmen of
Saint-Ouentin. This will never be re- Europe, assuring us that we must aid
placed, any more than we could replace
a picture by Titian or a canvas by
the rehabilitation of Germany of the —
Germany who has done allandthis,
Michael Angelo. The cathedral of
Rheims and the collegiate of Saint- who has not lost a pane from
of glass
Ouentin willnever be more than pal- one of her churches or a stone from one
aces without windows —
than bodies of of her monuments.
women without expression. Paris, France.
[981
Game, Fruit and \'egetablEs: Franz Snyders (1579-1657J.
STILL LIFE: TODAY AND YESTERDAY

Bv Horace Townsend
HANGING cheek by jowl with pic- life painting which the ages have to
tures by Ryder, Twachtman, and offer us. It is not difficult to realize
his own father, there is exposed when we regard it that the Academi-
to pubHc view in a New York gallery cians themselves, before the opening of
today a study in still life painted by each exhibition, are wont eagerly to
a boy who has hardly emerged from his contend for the canvasses signed by this
'teens. It is a little picture of a Brazier gifted boy or that one of them was
and Tea-kettle by Dines Carlsen, son among the artistic treasures chosen in
of the National Academician Emil most cases for their technical accom-
Carlsen, and its rich deep tones, its plishment which the late William M.
satisfying color and its picturesque ar- Chase gathered together and which
rangement unite to make it a truly were dispersed at his death.
remarkable painting. Here is a mere Though a still life in the ordinary
lad and yet he seems to be gifted with acceptation of the term, means a pic-
the secret of that imaginative realism ture which, like those of young Dines
which lies back of all the best still Carlsen, concerns itself entirely with
[99]
Dead Game: Jan Weenix (1640-1719).
Still Life; Jan Jansz Treck (1606-1652).
ART AND ARCHAEOLOGY
that the worthy Hans was the only
painter who so incorporated these
bits'fôf '^still life in his pictures for
his Flemish predecessors from Jan
van Eyck (i 380-1 440) and Memlinc
(1430-1494) to Gheeraert David

( 1 460-1 523) were all in the habit of
doing likewise. Perhaps, however, it

was in their portraits tl?at these early
painters particularly loved to bestow
their utmost technical skill on the
rendering of the still-life accessories
and whether it was a tall conical glass
Still Life: Jan Davidsy de Heem (1600-1674). of flowers, a money-weigher's scales,
a scrivener's inkstand, or some stray
the representation of metal-work, por- leather-bound books, each was limned
celains, potteries, fruits or other inani- with that loving meticulosity which is
mate objects, pretty nearly all paintings inseparable from the painter of still life.
and certainly all those which deal with Indeed the portrait and even the
interiors and all portraits are, to a subject painters of other schools, coun-
certain extent, pictures of still life. tries and ages were just as fond as
The primitives, who painted in the these old Flemings of introducing pas-
fifteenth and early sixteenth centuries, sages of inanimate nature into their
Italian as well as Flemish, were great
fellows for these still life attributes of
their pictures. They lavished at least
as much care and attention on the
embroidered draperies of their Ma-
donnas, and the carved, gilded and
inlaid thrones upon which they sat,
upon the shining armor of their war-
rior-saints, or upon the music instru-
ments carried by their angels, as upon
the faces and figures themselves.
Even in the elaborately worked gold
backgrounds they were so fond of
employing the decorative genius of
the painter is manifest.
still life
Advancing a handful of years the
fact that certain Asia-Minor rugs are
today known to collectors as "Hol-
bein" rugs, is significant. The use of
the term is due to their frequent
appearance in Hans Holbein's (1497-
1543) pictures, as for instance in that
masterpiece, the Meier INIadonna,
now in the Darmstadt Museum. Not Still Life: Dines Carlsen.
[102]
ART AND ARCHAEOLOGY
pictures. Murillo, for instance has
been called incomparable as a painter
of still life, and whether he was deal-
ing with a group of luscious peaches,
a cluster of purple-bloomed grapes,
some yellow oranges or fruits bursting
with ripeness, whether it was an
earthenware pitcher or a basket of
plaited rushes he had to reproduce,
he was wont to portray them with a
realism, and depth of tone that none
of his successors, save perhaps the
Frenchman Chardin, could equal.
It was in Holland and Flanders,
however, in the seventeenth cen-
tury that still life painting was ele- Fruits: Pieter Snyers (1681-1752).
vated into a distinct and definite

branch of the painter's art. In Flan- tirely to its pursuit. These are the men
ders, especially, encouragement
the whose work has proved of such abid-
given to its practitioners must have ing excellence that today it hangs in
been most cordial, for men of acknowl- favored positions on the walls of our
edged talent devoted themselves en- public museums or in the homes of our
leading collectors. There is the early
work, for instance, of Franz Snyders
(1579-1657) and of his favorite pupil
Paul de Vos (i 600-1 654), the dogs
and their inanimate rivals the " Dead
Game" of Jan Fyt (1609-1661), the
fruit, game and still life objects of
Adriaen van Utrecht (1599-1652) and
later the incomparable fruits of Pieter
vSnyers (1681-1752). It is curious by
the way to notice how these painters of
dead nature reflected the exuberance
of the full-blooded Flemish life of
their day. The most casual study of
the paintings of that day and country
impresses one with the feeling that
here was a community which delighted
above all things in the pure and un-
diluted joie de vivrc, and to this taste
the artists, headed by Peter Paul Ru-
bens (157 7-1 644), ministered to the
full. With an epicurean imagination
the still life painters did their best to
Still Life: Emil Carlsen, N. A. titillate the appetites of those for whom
[103]
Still Life Group: Jan Davidsz de Heem (1600-1674).
their pictures were painted and in pur- son of a distinguished father, found his
suance of this desire they crowded their chief pleasure in the deft arrangement
canvasses with artfully disposed dead and admirable presentation of fruits
game, interspersed with lobsters, oys- and flowers, gold and silver vases,
ters and other shell fish and backed musical instruments and richly mounted
with groups of luscious fruits, so that jewel caskets, while he was especially
even to this day one's mouth waters happy in his rendition of glass ware and
in their contemplation. crystal which he hardly ever failed to
Not altogether different was the atti- introduce into his pictures. vSimilar
tude of their rivalling neighbors the recorders of their generation, to pluck
Dutchmen. This was the hey-day of but a few from a crowded quiver-full,
Holland's political and material pros- were William Klaesz Heda (i 594-1 680),
perity and the almost ostentatious Jans Janszoon Treck (1606-1652), Jan
luxury of its wealthiest citizens domi- Baptist Weenix (i 621 -1660) and Bar-
nated the pictures painted for the decor- end van der Meer (1659- ? ). But
ation of the paneled rooms of their the Dutch of the seventeenth century
houses. Jan Davidsz de Heem (1600- were not only merchants and politi-
1674) among others, the noteworthy cians, they were theologians as well,
[104]
ART AND ARCHAEOLOGY
and this other side of their charac- let" are held in reverence in Paris col-
ters, its somewhat austere reUgiosity, lections, while his contemporary Jean
is to be seen in another group of stiU Baptiste Oudry (i 685-1 755), though
Hfe pictures. Prominent among the chiefly known as a Gobelin tapestry
painters of these was Pieter Potter designer, was also an accomplished
(1600-1652), the father of the better- painter of still life. Among the later
known and more capable Paul whose French painters may be picked out
"Bull" is one of the world's great pic-
that Chardin of his time Antoine Vollon,
tures. Potter gives us groups of skulls,
( 1 833-1 900) as well as Augustin Theo-
prayer-books, crucifixes and guttering
dule Rebot (182 3-1 891), Madeleine Le-
candles surcharged with an asceticism
maire and Fantin-Latour, while Eng-
which seems to suggest the title of
land has her William Hunt (i 790-1 864)
"Vanitas Vanitatum" to each of them.
and George Lance (i 802-1 864). In our
During the eighteenth century we
have to look to France for the most country besides the youthful Dines
notable of still life painters. Refer- Carlsen already referred to, perhaps the
ence has already been made to Jean most noteworthy modem painter of
vSimeon Chardin (1699-1779) whose still life is the late William M. Chase.
"Kitchen Utensils" and "Silver Gob- AViu York, N. Y.
ARMISTICE DAT
Paris, Nov. 11, 1920.
By J. B. Noel Wyatt.
H'liose tomb is this, who lies beneath this pile?
The arch that Art hath e'er conceived.
stateliest
Pointing to Heaven to tell each passing year
Of power and empire once by him achieved
If'hose dust, 'neath gilded dome, doth not rest here.
ff'hose tomb is this, who sleeps beneath this arch?

No need of carven letters to define;
Unnamed, unknown, but here before this shrine
The world bows doivn and brings its palm and ivreath
For him and those who passed the gate of Death
—
To give to men 'twas all they had their life. —
With legacy to earth of ending strife;
Where weeping mothers, kneeling here alone.
Rejoice for them that stand before the throne.
And know not only now of armistice.
But, past all understanding, God's own peace;
H'hile wondering still we wait the Mystery,
The "Arch of Triumph" looming to the sky.

Suggested by the Cnver Picture of "La Belle France" Number
of Art and Archaeology. A', No. 6. Dec. iq20
[105]
Xdliu'lal Library Prints
Cards of Lyons known under the name of "Jeu de Piquet de Charles VII." Attributed originally to the 15th
century, but published at Lyons at the beginning of the i6th century.
PLAYING CARDS: THEIR HISTORY

AMD SYMBOLISM
By W. G. BowDOiN.
PLAYING-CARDS have a history Various legendary accounts credit

both ancient and honor-
that is the introduction of playing-cards into
able. Certain writers have held Europe, to India or to China. A com-
that they were invented to divert mon origin for both cards and chess,
Charles VI of France, who had fallen has likewise sometimes been traced,
into melancholia. Other authorities and it has more than once been held
have ascribed an antiquity to the ear- that both games were jointly intended
liest playing-cards that, to the most to figure the contrasts between the
generally accepted present-day experts, different social orders, classes, or castes,
is extreme. An historic age of at least which compose a national state.
five hundred years may, however, be The originators of playing-cards,
conservatively assigned to them. So whoever they were, are said to have
far as our present knowledge extends, pondered upon life's significance and to
the definite historj' of playing-cards have decided that the symbolism of
certainly does not antedate the second existence could well be divided like a
half of the fourteenth century, other- disc into four quarters. Playing-cards
wise and more precisely, according to were, in the early days, harnessed to
W. H. Willshire, the year 1392. Other this symbolism; which, first, concerned
originating dates have also been ad- itself with the heart, the beginning of
vanced by different writers on the sub- life, in the quarter of love out of which
ject. Some of these trace a relationship life was evolved. Secondly, there was
between playing-cards and the inven- the quarter of knowledge, by means of
tion of wood-engraving. The Buxheim which man learned how to manage his
Saint Cliristopher of 1423, and some of life. Thirdly, the management and
the earlier known playing-cards, are regulation of life having been learned,
indeed almost contemporaneous. there came the time for accumulating
[106]
ART AND ARCHAEOLOGY
existence. The spade of the playing
l-^. .
card of today is, in consequence, merely
-^m^ a modification of the acorn, which per-
-.aT113S\lVWV aMlVHMO
aa xioMD Yi3a3M9i3SNaiv sonifies death and resurrection.
3 N lOHiN V s ^^ô>^<^ ,l\ vvi Aa wa a The most ancient cards that
aa n a zaj avjaod an S3 n la sa.i.MV3
have been preserved to us are those
which have been made by hand;
and various records still exist of
other early cards which were thus
produced, together with such de-
tails as the names of the artists
who designed them, as well as the
price paid them for their work.
Certain stencilled cards, now in the
British Museum collection, were found
in the covers (or boards) of an old book.
By chance they were used in the bind-
Muniiipat Anhives of Marseilles
Envelope by Goury Fuzelier,

master card-maker of Marseilles, 1676-1688.
the riches, the good things, the

worthwhile things of 1 if e That was
.
the quarter of affluence or weahh.

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

ing of life. The acorn on the oak,
once ripened, falls into the earth Departmental Archives of Vieytfta
and springs, like man, into a new I'rench card of the begimiing of the i6th century.
[107]
:
ART AND ARCHAEOLOGY

dred and four in other packs. The
writer has a pack of cards obtained
through the U. vS. Consul at Bom-
bay, from the interior of India, that
contains 120 cards, ornamented by
the natives, and showing most in-
teresting myth figures. These cards
are round and have perfectly plain
backs, and were placed in a square
native box with pictorial embellish-
ments.
The pack number of cards with
us, and with certain of the European
countries, which is now fixed at fifty-
two, has been subject to frequent
change. Toward the end of the
fourteenth century cards called Ta-
rots were produced in Italy. The
pack, or deck, then contained sev-
enty-eight cards, of which twenty-
two were emblematic, and fifty-six
were numbered pieces, divided into
four suits of fourteen cards each,
the several suits consisting of ten
pip cards, numbered as with us, from
one to ten and of four picture or
coat cards (subsequently corrupted
into court cards), viz King, Queen,
:
Cavalier, and Man-servant. In some

cases the Queen was wanting, the
introduction of feminine symbols
having been an afterthought. The
series of twenty-two cards, to which
the term Tarots applies, are charac-
Card of Lyons, end of 15th century. terized by whole-length figures, or
other designs, emblematic of various
ing, and thus were preserved to us, conditions of life, and of certain vicis-
becoming, indeed, museum treasures. situdes, to which humanity is subject.
The figures that appear upon cards These figures varj' somewhat according
vary considerably in difi"erent countries, to period, as well as in the various coun-
and the number in a standard pack is, tries where they occur, but taking an
similarly, not always the same. Some early, but lingering set, that was fre-
of the Mexico-Spanish inhabitants of quently found in Italy, some parts of
South and Central America, for exam- Switzerland, Germany and the South
ple, have sometimes eighty cards in of France, before the war, the symbol
the pack and again as many as one hun- figures may be tabulated as follows
[108]
.
ART AND ARCHAEOLOGY

I- A Juggler
2. (Juno) Female Pope
3. An Empress
4. An Emperor
5. (Jupiter) The Pope
6. The Lovers (or Alarriage)
7. A Chariot with warrior
8. Justice with the scales
9. A Cowled Hermit
10. The Wheel of Fortune
1 1 Force (Rending a Lion)
12. A man hanging by his foot,
head downward
13. Death (The unlucky 13 is thus
possibly explained
14. Temperance
15. The Devil
16. The Tower struck by Light-
ning
17. A Star (with nude female)
18. The Moon (with baying dogs)
19. The Sun
20. The Last Judgment
21. The World (Kosmos)
22. A Fool. Generally unnumber-
ed and sometimes placed first.
This emblematic series was, in the

Museum Ccrnavahl
process of time, withdrawn altogether,
A Revolutionary Playing Card.
except where it was required for the
old Tarots game, which still lingers in of theBohemians by Papus. The same
,
some corners of Europe. The complete author has tried to prove that the Tarot
pack of Tarots, with pip and emblem pack of Egypt was "the Bible of the
cards together, were part of the Egyp- Gypsies," and he has also stated that
tian mysteries, and particularly of the it was also the book of Thoth, Hermes
worship of Thoth. Court de Gebelin Trismegistus of ancient civilization.
who wrote on this subject in 1773, Others who have studied the Tarots
traces the resemblances of the figures believe that they are the key to for-
and the qualities or values attributed to gotten mysteries. All the early games
them to Isis, Maut, Anubis, or other for the Tarots were arranged for two
personages in the Eg>'ptian cosmogony. persons. Modifications that crept in
Confirmation of this appears in Tarots after 1400 allowed other players to
Suil Kings Queens Valets

Coeur (Hearts) Charles or Charlemagne Judith Lahire
Carreau (Diamonds) Caesar Rachel Hector
Trefle (Clubs) Alexander Argine Lancelot
Pique (Spades) David Pallas Hogier
[109]
ART AND ARCHAEOLOGY
join, when different names were
given to the newly invented games.
During the middle ages the play-
ing of cards attained tremendous
popularity in Europe, and the pas-
sion for gaming was greatly aided
and abetted by means of them. Not
even the clergy were in all cases im-
mune from the influence exerted by
them. The custom of giving names
to the figured cards is peculiar to
France those anciently conferred are
;
as given at bottom of page 109.

Though not uniformly observed,
these names have been reimposed
in modem times. The four kings
are supposed to represent the four
ancient monarchies, of the Jews,
Greeks, Romans, and Franks; and
the queens, Wisdom, Birth, Beauty,
and Fortitude. In some packs Es-
ther, as an impersonation of piety, is
substituted for Rachel.
The dresses now commonly repre-
sented on our court cards, are the
same as those which prevailed about
the time of Henr>' or Henry VH
\TII. The lappets which fall on
each side of the faces of the queens. Collection Henry d'A llemagne
Knave of Hearts and of Spades, of a revolutionary pack.
£}£ 9&WL S>S: ROY ,

in our standard packs, are in point of
.it I'uMifit Siu„m Sr, <4A<. Cnjttt, ijÔu«,
fact, a rude but faithful representation
of the dress of the females of that his-
toric period, or from 1 500-1 540. The
crown or coronet, as placed at the back
of the head, may be traced to a period
as late as the reign of Elizabeth or James.
iwvs^
^-^ «^- ^^-^^ .
Attempts have been made at various
times to change these familiar figures,
l)ut such attempts have never become
KMrtej JuperfincJ eL, trea coulant&j
popular. The same applies to ornate or
'our JilrnainiLc eL>-pcnir .Ja^ harlequin cards, for the reason that your
nco Tabtinueeapar ITloiidJin serious card player is against having
co&TmrdeJ his attention diverted from the game
Miintiipal Arihivcs of Xanles

in any possible manner. A quaint
Envelope for six packs, by Pierre Moussin, 1 760.
custom, it would appear from a passage
[110]
ART AND ARCHAEOLOGY
in the GuWs Hornbook, published dur-
ing the reign of James I was that the
spectators at the playhouse amused
themselves with playing cards while
waiting for the commencement of the
performance. The symbolism of the
cards is highly interesting. Diamonds
were, in the early days, used to typify
wealth; hearts, the affections; spades,
industr}-; and clubs, physical force.
Applying the symbolism directly to
the social grades as then organized,
diamonds stood for the tradespeople,
the merchants and others in gainful
occupations hearts were the personi-
;
fication of monks, priests and ecclesi-

astics; spades represented the nobility
and soldiers; while clubs or trefoils
signified the peasants or lower classes.
During the time of Charles II a
pack of Cavalier playing-cards was
issued that contemplated a complete
political satire of the Commonwealth.
The achievements of Cromwell as
Commander-in-Chief in Ireland, con-
stitutes the motif for the cards and
the illustrations they carry. Crom-
well's retainers and contemporaries
enter into the pictorial embellish-
ment of these cards, and they have German round-shaped cards with the monogram T. W.
much historical interest, altogether (i) King of Parrots. (2) Queen of Carnation. (3) Knave of Colum-
bine. (4) Knave of Horse. (5) Three of Parrots. (6) Ace of Carna-
aside from their value as playing- tion. Bibl. Imp. of Paris.
cards, pure and simple.

Napoleon whilcd away the tedious ed in black on yellow pasteboard. They
hours of his captivity at St. Helena were surrounded with Zodiacal signs
with playing-cards. His favorite games which had a cabalistic significance.
are said to have been Vingt-et-un, Each card was divided by a black line
Piquet and Whist. It is recorded that drawn through its center. Two little
even when he was at the zenith of his pictures were printed on every card,
fame and power he never entered upon one of which was above and the other
any enterprise or military operation below the line. Rings, Hearts, Roses,
without consulting a pecuhar pack of Cupids, Ladies, Kings, and Queens
cards, not provided with the custom- were thus displayed on the cards. They
ary m.arks or suits, in fact not divided were useful only for divination and not
into suits at all. These cards have been for gaming.
carefully preserved. They are smaller The British Museum has specialized
than those generallyused and were print- in playing-card collection and its Cata-
[111]
ART AND ARCHAEOLOGY
logue of Playing-Cards and other game want to play at cards; and that such
cards, issued in 1876, constitutes a as would willingly play at cards, might
bulky volume of nearly five hundred be blind to the blandishments of gram-
pages. The illustrations in this convey mar. Even were such not the case, it
an illuminating idea of the beauty of is extremely doubtful whether gram-
some of the old cards and of some of marian or card-player would be more
the very beautifully designed cards of confused in the double duty he under-
later periods. took to perform, since the definition of
In recent years many attempts have the "points" and figure cards was
been made to render playing-cards ca- generally so imperfect or so subser-
pable of communicating information vient to the other illustrations as to
and instruction, while ordinary games render ordinary play more of a penance
were being played. These attempts than a pleasure, while the grammatical
have uniformly been received with dis- or other knowledge was given in so
favor, their novelty alone temporarily concentrated, terse, or tabular a form
receiving attention. Packs of cards as not to be intellectually digestible at
having the ordinary suits and symbols a moment's notice. Be this as it may,
more or less distinctly marked have such cards have, as a finality, generally
been devised again and again by which, found a resting-place in the cabinets
through the addition to them of illus- of the curious, but little favor has been
trations and inscriptions, the most va- shown them by either the student or
ried fonns of knowledge were sought the player.
to be conveyed. Cards with such sec- In recent years playing-cards for the
ondary purpose may be met with, in- blind have been devised. The marks
tended to teach arithmetic, grammar, or pips of such cards are stamped
geography, history, heraldry, mythol- slightly in relief so that their distin-
ogy, astronomy, astrology, the use of guishing marks may be known through
mathematical instruments, and the the sense of touch. It is a matter of
principles of military science and en- incidental interest to know that the
gineering. Besides such cards as these, amount of capital invested in the manu-
others of a satirical, proverbial, carica-
facture of playing-cards in the United
ture, and amusing kind have been
vStates, is very large; some years ago
manufactured, provided with the marks
it exceeded $10,000,000 with yearly
of the usual suits so that they might
sales of more than 13,000,000 packs.
be employed in the ordinary way. In
all these endeavors it appears to have
It is quite certain that these figures
been forgotten that those persons who are largely increased by contemporary
desired to learn grammar, etc., did not production.
[112]
"
CURREKfT NOTES AND COMMENTS

Mile. Helene Diifau, the Great French Portraitist.
The first woman, after Rosa Bonheur, to be decorated by the French Government with the
Legion of Honor, Mile. Helene Dufau, perhaps the greatest living French portraitist and painter,
is now visiting America. Her work includes strong and beautiful portraits of men and women,
striking mural paintings, and studies of the nude out of doors, in which last she was an innovator,
being the first woman painter in France to essay the nude in the open air. Greeted at first by a
storm of protest, this work was accepted a little later, and she received many commissions from
the French Government, including four panel decorations for the Sorbonne.
Several of Mile. Dufau's pictures are in the Luxembourg, among them a self-portrait. Others
are in museums of Rouen, Bordeaux near her own early home in the south of France, in Buenos
Aires and Cuba, and scores of collections public and private in Europe including the magnifi-
cent villa Anagra of the French poet Rostand, of whose son, Maurice Rostand, she made several
fine portraits, besides mural decorations for the villa.
Mile. Dufau is at present in New York, engaged upon a portrait of Miss Anne Morgan. Another
American picture, of a young American girl, whom she met on the boat coming over, has been
exhibited at Knoedler's galleries. This will form the February cover page of the new French-
American magazine. La France, the editor of which, Madame Claude Riviere, is an intimate
friend of Mile. Dufau.
French reviewers speak in highest praise of Mile. Dufau's work and temperament. "The
beautiful women of the world flock to her studio, " says one writer, "anxious to have a portrait
by this poet of feminine splendor. " . . .
" Her portraits of men show rare penetration and
perfect execution.
When asked the secret of her painting. Mile. Dufau replied, "An artist's work is only the ex-
pression of his personality and of his life. I put into my pictures what I observed, my thoughts,
my reading."
The cover picture reproduces Mile. Dufau's portrait of Mme. Maubrac in the Luxembourg.
Perronneau Pastel Portraits at the Knoedler Galleries.

The Knoedler Galleries of New York have recently brought from France two beautiful and
typical pastel portraits by Jean-Baptiste Perronneau (1731-83), one of the most renowned por-
traitists of the eighteenth century. The subjects are Monsieur and Madame Braun, who lived
during the second half of the eighteenth century at Strasbourg. She was a lady of honor and he a
chamberlain at the court of Furstenberg. The portraits were obtained from their direct de-
scendents.
Perronneau's genius was never fully recognized until after his death. He never caught the
favor of the French court, either that of Louis XV
or Louis XVI, and his fine art of portraiture
was exercised among the middle class, "who have no history. " He flitted from city to city, living
in each as long as orders were plentiful. This makes his portraits invaluable commentaries on
the times.
"The Flower Seller," by George Hitchcock.
Last Autumn the French government bought a picture by a dead American artist for the Lux-
embourg Museum. The picture was "The Vanquished" and the artist was George Hitchcock,
who passed away in 1913. The subject was a Dutch soldier, wounded, astride a heavy horse that
picked its way unguided through fields of flowers, toward the home of its master. The picture
is remarkable for its representation of the bright flower culture and the gentle atmosphere of
Holland. It is thoroughly typical of the art of a painter who was better known in Europe than
at home, and who was the pioneer of the alien artists who went to Holland to paint that land.
—
America never got very well acquainted with Hitchcock not as well acquainted as Germany,
Austria, France and England. After his death the war came on and the world had no time for
artists' reputations. Now that peace has come, New York is soon to see a memorial exhibition of
George Hitchcock's paintings and the nation will have the opportunity to become better ac-
quainted with his gentle and picturesque art.
[113]
Conrlt'sy of (he Knocdler Gtilleries
'Mine Brauii." by Jean-Baptiste Perronneau.
Courtesy of Henry Reinhardt ^ Son
"The Flower Seller," by George Hitchcock.
The American museums, however, have not been unmindful of Hitchcock, and possess some of
his most beautiful pictures. The Metropolitan Museum has "The Hour of Vespers" the Chi- ;
cago Art Institute "The Last Moments of Sappho" and also the beautiful "Holland Morn; a
Dutch Flower Seller"; the Indianapolis Art Institute possesses "Calypso"; and other works
are in the public galleries of Providence, Buffalo, St. Louis, Savannah and Minneapolis. But
Hitchcock's best recognition came from the Central Empires. Berlin, Dresden and Munich
bestowed their medals on him, and Vienna, besides conferring its medal and its officer's cross
of the Franz Josef order, elected him a corresponding member of its Academy. He is the only
American who has received the last two distinctions. France, in turn, made him a chevalier of
the Legion of Honor. Pictures by him hang in the Imperial Collection of Vienna, in the Dresden
Gallery, in the Luxembourg and in the municipal galleries of Alkomaar and Egmond, Holland.
In England his works have places in distinguished private galleries, including Blenheim, the seat
of the Duke of Marlborough, and the McCulloch Gallery, which possesses his well known "Ma-
ternity, " Whistler and he being the only American representatives in that great house.
George Hitchcock was the seventh in direct line of descent from Roger Williams, and he was
born in 1850 in Providence, R. I., the city founded by Williams and his little band of five exiles
that were banished from Narragansett Bay. Destined for the legal profession, he was graduated
in law from Harvard in 1874. Going to Chicago to take up practice, he became interested in an
exhibition of water color paintings and forthwith turned artist. He struggled along by himself
[1151
Hay-Drummond, 9th Earl of KinnouII and
'Portrait of Robert Auriol of his next brother, Thomas
Drummond. " Painted by Benjamin West, P. R. A.
"
ART AND ARCHAEOLOGY

for a few years, but 1879 went to Paris to study at Julien's Academy; thence to Dusseldorf and
in
finally to the studio of Mesdag, at The Hague. By this time he had mastered the technicalities
of painting. Giving up entirely all instruction, he went to Egmond, a little village on the coast
of the North Sea, to work out his own salvation.
Here he cut loose from academicism and did the then extremely bold thing of painting peasants
and fisherfolk and a commonplace, though picturesque world. He produced picture after picture
characterized by sincerity, refinement and gentleness of color and a remarkable achievement of
atmosphere. The gentle Holland sunlight and the fields of flowers were his ever recurring themes.
Many of Hitchcock's paintings have been made familiar to the public through countless re-
productions. Among them are "Maternity, ""The Flight into Egypt," "Mary at the House
of Elizabeth," "Hagar and Ishmael," "St. George," "The Promise of March," "Hyacinths,"
" The Annunciation, " "Proserpina," "Ariadne" and "St. Genevieve, Patron Saint of Paris."
The latter four will be included in the memorial exhibition, together with others that are equally
typical and cover the artist's whole career.
Portrait of Robert A. Hay-Drummond and Brother by Benjamin West.

Although he left his native home in the colony of Pennsylvania while still a young man, never
to return, and became in all reality an Englishman, art lovers in America have always taken pride
in the career of Benjamin West and have somehow regarded him as an American painter. This
feeling will probably always exist, in spite of the fact that not the least American influence can be
traced in his work and that he was wholly a product of Italian and British training. Early in his
career in England he was so fortunate as to attract distinguished patronage. He was one of the
—
founders of the Royal Academy and succeeded to its presidency the most honored position in
—
English art on the death of Reynolds.
Because of the many reproductions made of them, Benjamin West has always been best known
for his representations of Biblical and mythological subjects. These have a picturesque and
decorative quality. They are noble illustrations, following Italian tradition, but have a gran-
diloquent and theatrical element that exclude them from consideration as the highest art expres-
sions. By his contemporaries he was adjudged to be a better portraitist than anything else.
Many of his portraits attain the beauty and high decorative quality one expects in the works of
the six immortals who were his contemporaries — Reynolds, Romney, Gainsborough, Raeburn,
Lawrence and Hoppner. This gives peculiar importance to the bringing to this coun'^ry of a
work which is one of his finest achievements, "Portrait of Robert Auriol Hay-Dn,mmond,
Ninth Earl of Kinnoull, and of His Next Brother, Thomas Drummond.
This picture, which is now on exhibition at the galleries of Scott & Fowles, in New York, has
additional interest because its subjects are the eldest two sons of the Archbishop of York, who,
as West's first great patron, was instrumental in obtaining for him the favor of Gejrge III, for
whom he painted "The Departure of Regulus from Rome." The archbishop wsi the soul of
old English hospitality, and such a great royal favorite that he preached the coronation sermon of
George III. Walpole referred to him as "a sensible, worldly man, but addicted to his bottle"
and Lecky as "a liberal patron of English artists."
Undoubtedly West sought to repay the kindness of his benefactor when he pai.ited in 1767 the
double portrait of his two sons, Robert, aged seventeen, and Thomas, aged sixteen. He put into
it the beautiful architectural treatment of the old English school. The two brothers are posed
before a green curtain at one side is a statue of Minerva and at the other an open window through
;
which the heir points to a classical building, probably the Pantheon. With his arm on his bro-
ther's shoulder, he seems to be discoursing to him on some lesson of the past. One is attired
in rich red, the other in scholastic black, which, taken with the green of the cuvtain and the blue
of the open sky, make an effective color scheme.
The elder lad succeeded to his uncle as the Ninth Earl of Kinnoull. The portrait has been in
the possession of the Kinnoull family until recently.
Portrait of Mme. Leopold Gravier by Henri Fantin-Latoiir.

"Portrait of Madame Leopold Gravier" by Henri Fantin-Latour (1836- 1904), on display at the
Kraushaar Galleries, in New York, is notable because it is one of the few portraits by this famous
artist that have made their way to this country. Americans are most familiar with Fantin-Latour
[117]
Courtesy of Kraushaar Gjller'.i
"Portrait of Mme. Leopold Gravier," by Henry Fantin-Latour.

—
ART AND ARCHAEOLOGY

through his idealistic landscape groups, those misty and mysterious compositions with their
charming nudes by the side of fountains that are as dream-like as glimpses of fairyland.
Himself the pupil of Couture, from whom he inherited his characteristic "scraped canvas"
technique, in which filmy effects are obtained through applying pigment, then removing part of
it, he was the friend and companion of Corot, Courbet, Legros and Whistler. He belongs in
art definitely to that group of artists who looked at nature through idealistic eyes and prepared
the world for the atmospheric vision of Impressionism.
As can be expected there is less of the fanciful in a Fantin portrait than in a Kantin landscape
group, but still in this example the substance is idealized and its quality of texture is the pic-
ture's supreme point for admiration. It was first shown at the Salon of 1890 and belongs to the
artist's ripest period. Madam Gravier, mature and pleasing of face, is seated in a square chair
of the Louis XIII tvpe, attired in evening dress, wearing bracelets and carrying a fan. The velvet
of the chair, the black panels of the waist, and the glimpse of tulle and mousseline figure in the
artist's gently decorative scheme.
America's Leadership in City Planning — Why Not Constantinople?

When Mr. Balfour was visiting New York he voiced, more or less unconsciously perhaps, but
nevertheless very accurately, the changed attitude of Europe toward our public art in so far as it
is expressed in current architecture, by referring in terms of unrestrained admiration to "these
great cathedrals which you call business buildings." Earlier Blasco Ibanez had declared that in
the presence of New York's skyline and the magnificence of its great structures he felt "a new
pride in the achievements of man." This is all very interesting, since it is a direct reversal of the
opinion usually expressed by the visiting foreigner a generation ago. For came he from Latin or
Teuton or Anglo-Saxon Europe, as a rule, he felt quite privileged to dismiss American archi-
tecture by asserting, before he even landed at New York, that he knew it was bad and that all
skyscrapers were "ugly" per se. But what are the facts today? Not only has America been
invited to plan the restoration of Rheims, but Whitney Warren, who built the Grand Central
depot. New York, has been asked to supervise the rebuilding of the University of Louvain, and,
more than this, the greatest problem of all that confronts European specialists, the planning of a
new Constantinople, has just been referred to American architects, who are asked by Professor
Francis W. Kelsey, of the University of Michigan, to come to the aid of a city that, next to Rome,
stands nearer to the great historic past of Western peoples than any other, and take the grave
issue of its replanning in hand.
So pressing does Professor Kelsey consider this Constantinople "commission" that his article
laying the issue before this country is printed in the current numbers of Art and Arch.ÊOLOGy
and The Journal of the American Institute of Architects. And in this article he asks that the
Institute, in association with the Archaeological Institute of America and the American Historical
Association, and possibly other kindred associations, shall send representatives "immediately"
to New York to join in a conference in order to attack the problem of Constantinople in an effective
way. Aside from the fact that part of the problem is to plan the rebuilding of a city one-fourth
of which has been burned over within the last twelve years and lies "unrestored and desolate,"
the dramatic thing is that it is to the American expert, the American architect, the American
city planner, that this most celebrated of cities turns in its present plight. What a revenge of
time is here! The Sydney Smiths of the European architectural world, who have been asking
for years who studies an American building or looks at an American plan, are routed horse,
foot and dragoons. They have been routed for years, but with a colossal impertinence until
very recently were fond of asserting the old superciliousness. But now, confronted with the
part America is to play in the replanning of Rheims. the rebuilding of the LTniversity of Louvain,
they must at least t)e respectful; while that the New World's artificers and architects should be
urged to take in hand the great archaeological prize of Europe and Asia Minor is something that
cannot be easily overestimated. Henry M. Watts, in Public Ledger, Philadelphia, Sunday Jan.
2, 1Q21.
[119]
x'^-aibiMifiUMi
A Sculptured Vase from Guatemala.

See Art and Archaeology XI. Nos. 1-2, Feb. 192 1. pp. 66, 67
—
ART AND ARCHAEOLOGY

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

Arts Club of Washington.
The Carillon Committee of the Arts Club, which is promoting the plan for the erection of a
National Peace Carillon in the Capital City, launched their movement in an effective manner
Thursday evening, February 12, 192 1, at a meeting in the auditorium of the Corcoran Gallery
of Art, when Colonel William Gorham Rice of Albany, N. Y., a recognized authority on the
carillon, gave an illustrated lecture on "Carillons in Holland and Belgium."
Colonel Rice urged the commemoration of a great epoch in our h'story by a memorial in which
the 48 states of the Union, and the 6 territories should be each represented by a bell attuned in
perfect unison with its fellows. These 54 bells would form a great carillon to be placed in a noble
tower that should be built in Washington.
He reassured the Arts Club of the cooperation of Mrs. Rice and himself in its plans and made
the promise to secure the funds for the bell that is to represent New York State. Mr. Rice then
gave an interesting description of his journey last August to Holland and Belgium, undertaken to
see how the Belgium carillons had stood the five years of war. He found that so great had been
Belgium's industry since the end of the World War, and so fearful were the Germans of the
penalty promised them by President Wilson if, when evacuating the great Belgion cities after the
—
Armistice, they destroyed any property, that all the finest carillon towers Bruges, Ghent,
— —
Antwerp, Malines had been spared. In fact, only two important ones Ypres and Louvain
had been destoryed.
An illustrated article on this subject by Mr. Rice will appear in a future number of Art and
Archaeology.
American Foundation in France for Prehistoric Studies.
At the meeting of the of the American Foundation in France for Preliistoric
Governing Board
Studies, held at the Hotel Plaza, New York, on February 3, 1921, Professor George Grant Mac-
Curdy was elected first Director of the Foundation. Dr. Charles Peabody is Chairman of the
Board and for the present will also serve as Treasurer of the Foundation.
The year's work will open at La Quina (Charente) on July ist. After a stay of some three
months at La Quina, there ^\-ill be excursions in the Dordogne, the French Pyrenees and to the
Grimaldi caves near Mentone. The winter term will be in Paris; and the work of the spring term
will include excursions to the important Chellean and Acheulian stations of the Somme valley,
to Neolithic sites of the Marne or other suitable locality, and to Brittany for a study of mega-
lithic monuments.
Students may enroll for an entire year orfor any part thereof. Those who contemplate enter-
ing either for the year or for the firstterm, should communicate immediately with the Director,
Museum, New
at Yale LTniversity Haven, Conn.; or with Dr. Charles Peabody, Peabody
Museum, Cambridge, Mass.
[1211
"
ART AND ARCHAEOLOGY

One Foundation scholarship of the value of 2,000 francs is available for the first year. The
special qualifications of the applicant, together with references should accompany each applica-
tion. The Foundation is open to both men and women students.
The address of the Director after June 15th will be care of Guaranty Trust Company, Paris.
General meeting of the Archaeological Institute of America.

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

The next meeting of the College Art Association will be held at the Corcoran Art Gallery in
Washington, D. C, March 24-26. A large attendance is expected and an attractive program is
being prepared which will include many papers in the field of art and also there will be much dis-
cussion of problems connected with the teaching of art and art history. Arrangements are being
made for visits to some of the important collections in Wasliington.
Some of the speakers who have already consented to present papers are as follows Professor:
Edgell of Harvard on "the American Academy in Rome"; Professor Churchill of Smith College
on "Post Impressionism"; Mr. Zantzinger of Philadelphia on " The Work which the Committee
on Education of the American Institute of Architects is doing"; Miss Harcum of the Royal
Ontario Museum on the "Statue of Aphrodite in Toronto"; Mrs. E. S. Kelley of Western College,
Ohio on "Creative Artists Fellowships"; Dr. Luce of the LTniversity Museum, Philadelphia, on
'
Mr. Kelsey of Philadelphia will give an illustrated address on That Spititual

'
Art at Newport.
'
' ' '
Craving which so few of our Colleges ever Try to Satisfy. " Other speakers will be Mr. Zolnay
the sculptor of Washington, Duncan Phillips, Dr. Kelley of Ohio State University, and Mrs.
Braun of the LTniversity of Tennessee. There will also be informal discussions of subjects to be
announced later.
Every one who is interested is cordially invited to attend the sessions. Headquarters will be
'
at the Powhatan Hotel. D. M. R.
[1221
— a '
BOOK CRITIQUES
Sketches and Designs by Stanford White, with painting, which branch of art he might have
an outline of his career, by his son Laivrence pursued with equal success. "The architecture
Grant White. Architectural Book Publishing and the old town are enough to set you wild;
Co., New York, igzo. but when you add to these the pictures, all
there is to do, is to gasp for breath and die
"To have grasped the spirit of the masters of
the Renaissance and brought the living flame
quietly. Here Hans Memling and his school
plied their handicraft and in one hospital alone
of their inspiration across the Atlantic to kindle
besides the shrine of St. Ursula, there is a whole
new fires on these shores," is a great achieve-
ment for any man. To have had the broad room crammed with pictures by him and them.
Full of lovely faces, simple and quiet, and all
understanding and appreciation of things
artistic and above all to have possessed an
modeled up in beautiful flesh tints without a
—
unbounded enthusiasm for them is an enviable shadow; hair that seems to blow in the wind,
and green embroidered gowns, that make the
possession for any man.
nails grow out of the ends of your fingers with
A sumptuous volume that records the
remarkable accomplishment of Stanford White
pleasure. To think they have so many, and
recently published by his son Lawrence
that we have none and that at Douai —
is
Grant White. It is made up of his sketches —

wretched little French town there could be a
portrait by Paul Veronese, that nearly squeezed
and designs and includes drawings made in
tears out of my eyes; And above all,
France (the frontispiece a lovely water-color of . . .
the Cathedral of Laon), charming bits of the —

Raphael's wax head at Lille the loveliest face
ever conceived by man. Architecture seems
old chateaux, doorways, courts and towers
but poor stuff compared with things like these.
'
some of them finished drawings, others the

briefest records for his note book.
The book is dedicated to William Rutherford
As a member of the great firm of architects, Mead, "my Father's Partner, Counselor and
McKim, Mead, and White, he designed some of Friend and Mine."
the most notable residences, clubs and churches Helen Wright.
in the country, principally in New York, a list
Dynamic Symmetry. The Greek Vase, by Jay
of which is given. His own house in New York
Hamhidge. New Haven: Yale University Press;
and the one on Long Island are beautifully London: Humphrey Milford, ig20. Pp. 161.
illustrated with large plates and innumerable
Illustrated. Plates and Figures. $6.00.
memorials are shown in monuments, fountains,
and windows. As a designer of picture frames This volum.e, the first published on the Trow-
he was unsurpassed. He knew just the proper bridge Mem.orial Publication Fund, is another
frame for each particular picture, whether very im.portant book in the field, of Greek ce-
portrait or landscape. ramics. Mr. Ham.bidge thinks that he has re-
Perhaps it is not generally known that covered the m.athem.atical principles under-
Stanford White made the designs for the covers lying the form.s of Greek Art and especially
of the well-known magazines. Century, Scribner Greek vases. He has rediscovered the laws
—
and Cosmopolitan those quiet, dignified and governing so-called Dynam.ic Sym.rr.etry. Dy-
thoroughly artistic covers, made to survive the nam.ic Sym.metry deals with com.mensurable
flaming colored covers of most of the periodicals areas which represent the projection of solids.
that scream from the news stands. The sym.m.etry of m.an and plant is dynam.ic;
Stanford White's influence upon art and the sym.m.etry of the entire fabric of classic art,
architecture in New York was very great and including buildings, statuary, and the crafts is
most of his wealthy clients gave him absolute dynam.ic. The sym.m.etry of all art since Greek
liberty not only in the architectural plans, but classic times according to Hambridge is static.
in the furnishings. Consequently he made But to prove this for even one design is almost
frequent trips abroad and brought back quanti- impossible since the number of figures to be
ties of beautiful material, doorways, carved examined is almost endless One of my mathe-
mantels, rugs, and furniture, combining these matical friends, Mr. Kdwin M. Blake, who will
acquisitions with the greatest skill and success. publish a review of the theory in The A rt Bulle-
A letter written to his mother from Bruges in tin, believes that any design whatever can be
1878, reveals his characteristic enthusiasm for analyzed by the Hambridge method. Most of
[123]
;
STfe"- the Greek vases in the Metropolitan and Bos-

ton Museums have been studied with the
assistance of Miss Richter and Dr. Caskey;
^1
OXFORD books and Oxford
scholarship are synony-
and Mr. Hambidge's book contains be-
sid.-s many photographs, many drawings of
mous. All bookmen know vases showing the Hambidgian principles.
this and unhesitatingly recom- Mr. Hambidge has certainly shown that the
mend them, confident that the best Greek vases are based on mathematical
principles such as the whirling square root,
reader will be pleased.
rectangles, etc. But the question is whether
c/1 selection of those recently issued.
the Greek potters really drew a plan of every
HELLENISTIC SCULPTURE vase before they fashioned it. Is it not pos-
By Guy Dickins f^t ^8.00 sible that the Greek's love of rhythm and
A scholarly monograph, beautifully illust- proportions and his knowledge of mathe-
rated, for the art lover and student.
matics were so innate that he could m.ake these
MEDALS OF THE RENAISSANCE beautiful shapes unconsciously? Otherwise
'By G. F. Hill '^t $25.00
why such infinite variety am.ong the Greek
Covers the entire field of medallic art in
the fifteenth and sixteenth centuries, valu- vases? If the principles were mathematical
able alike as a reference work and for its and the Greek potter had a drawn plan, we
fine illustrations which figure for the most
should expect to find exact duplicates in great
part pieces not previously illustrated.
num.bers and such is not the case, until the
MOSLEM ARCHITECTURE tim.e of such late and poor vases as the Faliscan
"By G. T. RiVOIRA "^t ^21.00
ware. These principles do seem., however, to
A pioneer work describing the develop-
ment of the Mosque in Syria, Egypt, exist in Greek art but there are so m.any possi-
Armenia and Spain from its birth down bilities that it doesn't follow that all works of
to the twelfth century. 158 plates.
art that have these principles are beautiful and
HISTORICAL PORTRAITS all that haven't, if there are such, are ugly.
1400-1850 A statue of Michelangelo is a work of art even
By C. R. Fletcher 4 vols. ^22.60 if not made on these principles. A
mod-
A splendid collection of 491 portraits by
ern coffee pot of no great beauty can be
masters of all periods selected by Mr. Emery
Walker, with an interesting biographical seen to have them, and some of the things,
sketch of each subject. including a Gothic clock, made recently by
RAJPUT PAINTING Tiffany and other artists on these princi-
'By Ananda Coomaraswamy ples, not great works of art. There is
are
2 vols. '=A(_e*^126.00 no doubt, however, that Ham.bidge has m.ade
Probably the greatest work on the subject, an important discovery and we m.ust conclude
with a large number of exceptionally fine
that one secret of Greek art is that the Greeks,
plates many of which are in color
unlike later races, were m,ainly geom.etricians
INTRODUCTION TO ENGLISH and did their arithm.etic in geom_etrical surfaces
CHURCH ARCHITECTURE in space instead of line, as Plato indicates in the
By Francis Bond 2 vols, '^f ^25.00
Theaetetus where the boys are working out
A standard work covering the subject
from the eleventh to the sixteenth centuries root-rectangles which seem, to have been
with upwards of 1400 illustrations. fam.iliar to the elder Socrates, who, before he
A HISTORY OF FINE ART IN becam.e a philosopher, was a stone-cutter.

INDIA AND CEYLON Whether these principles are based on nature
By V. A. Smith ^38.00 and phyllotaxis is doubtful, and I understand
The result of a lifetime of study both that many botanists are skeptical about Ham-
from the archaeological as well as the art
point of view with nearly 400 illustrations.
bidge's theories of phyllotaxis. So the aes-
S^j
thetic excellence claimed for them is not certain
c/lt all booksellers or from the publishers.
and I do not feel that the Greeks designed in
OXFORD UNTVERSITY PRESS the way Hambidge says. The number and
•Âmerican Branch variety of figures in geometry is so enormous
35 WEST 32nd STREET, HEW YORK that the same design may be analyzed in many
y-^^ ways; and we cannot be sure which design the
py
potter used, if he used any at all.
KinJIy Mi-tition Art and .Ircliaeology. [124]

The work is also a contribution of the very
first im.portance to the whole field of art and

offers valuable material for designers, crafts- DRESSING UP A ROOM WITH
men, advertising illustrators, and all interested
in artistic expression. Many such have adopted HERE-AND-THERES
the Hambidgian principles. They are being
tried with success for exam.ple by Howard Giles "VJ O T H I NG so enhances a room as the light
in the New York School of Fine and Applied touches of ornature or decoration, e.\emplified
Arts and if they are fully realized, will revolu- in those odd, occasional pieces of Furniture which
tionize the present methods of art instruction. we have christened Here-and-Theres.

Let us hope that Mr. Hambidge may soon pub- The selection of such pieces at Sloane's is a series
lish similar books for sculpture and architec- of progressive surprises. They have been incor-
ture, especially now that he is studying the porated into decorative units, by our own designers,
application of his principles in Europe and so that you may see how certain pieces fit into
especially Greece. Dr. Caskey is also abroad varying schemes of arrangement. And if none of
and will soon publish a voluro.e on The Geometry them appeals to you, we will improvise others while
of Greek Vases, treating of the Ham.bidgian you wait.
principles as applied to the vases in Boston
D. M. R.
By E. B. Havell.
New
32
The Ideals of Indian Art.
York: E. P. DiUton and Company, ig20.
plates. Pp. xx-\-i8S.
W. & J. SLOANE
Floor Coverings : : Fabrics : : Furniture
This is a new edition of a work by Mr. Havell,
formerly Principal of the Government School Fifth Avenue at 47th Street, New York
of Art and keeper of the Art Gallery, Calcutta,
Washington San Francisco
whose first book on the subject " Indian Sculp-
ture and Painting" is now out of print. Indian
art has now obtained a wider recognition and is
now treated respectfully by American and
European scholars and museums. London has
recently established a School of Oriental Studies
and a lectureship in Indian Art is to be endowed
in that school. In this book Mr. Havell reviews
the main achievements of Hindu art, especially
sculpture, and explains the leading ideas of the The Cliff Dwellers
mythology which inspired Indian art. Many
interesting problems which have troubled
archaeologists for many years are discussed and Four sepia half-tone pictures
solutions proposed. The art of India is spir- of typical prehistoric ruins in
itual and is still a living thing with vast poten-
Mesa Verde National Park,
tialities, of such unique value to India and all
the world that it should be regarded as a great Colorado, may be obtained
national trust which Great Britian is bound in by sending 25 cts. to Frank
honor and duty to guard and maintain. The A. Wadleigh, Passenger Traf-
book is a good one for the general reader as well fic Manager, Dept. B, Denver
as for the student and is illustrated with thirty
plates well-chosen and well reproduced.
& Rio Grande Railroad, Den-
D. M. R. ver Colo. The prints are
6x8 inches with wide mar-
Outlines of Chinese Art. By John C. Fergu- gins, and the subjects are of
son. Chicago: The University of Chicago Press, great archaeological and edu-
igig. Illustrated. Pp. .xi-\-26j.
cational interest.
In this book are published the Scammon lec-
tures given at the Art Institute of Chicago in
1918. The author, Dr. Ferguson, knows China
well. He has been president of Nanking
University and of Nanyang College in Shang-
[125] Kindly Mention Art and .-Irchaeology.

oa — Permanent
Prepared
hai, counsellor of the Chinese Department of
State, 1915-17, and in 191 7 adviser to the presi-
dent of China, and has held many other posi-
tions in China. The first chapter
duction, where the treasures of the government
museum at Peking are discussed and the art life
is an intro-
ARTISTS' OIL COLORS of China is said to have been determined by

In CollapsibleTubes
D;EV0E colors make your
China's devotion to ceremony family and —
achievements permanent records of
tribal. "China, therefore, must be studied as
faithful color interpretation. an artistic entity. The laws and principles
Krom carefully prepared pigments
ground to a firm consistency and which today control criticism or production
liiitness of texture and most thor-
(lu^'hly incorporated with the purest are those which have come down from the
earliest period of China's national life. Art
This embodiment creates an easy-
llowing, sympathetic medium that is now decadent in China, as far as products are
will meet all the requirements of the
most exacting artist.
concerned, but considered in the light of adher-
Whether applied generously or spar- ence to principles it flourishes with a strength
ingly their brilliance remain unim-
paired. equal to that which characterized it in the
The most minute details in color golden age of the T'ang dynasty. It is found
laboriously developed to produce in every man of culture and struggles to assert
Devoe Master Colors.
These painstaking efforts have been rewarded by every new collector. Its sway is not
itself in
the production of mediums recognized the world
—
over as Master Pigments Devoe Artists' Colors.
even distributed by the incoming of modern
It uill indeed be a pleasure to give such expert education. "•
—
injcrmation as may be aestred either theoretical,
'
The second chapter deals with Bronzes and

chemical, or pertaining to actual color application
— Krite us freely. Tades and much emphasis is laid on the de-
The Oldest Color Makers in America lights of jade to a sensitive touch, a form of
ESTABUISHIiD I754
artistic feeling new to our occidental con-
DEVOE &RAYNOLDS CO., Inc. sciousness. "The beauty of good specimens
New Vork-Chicaiio-Kausas City-New Orleans
of jade, especially of ancient jade, is not only
appreciated by the eye, but also, as has been
pointed out, by the sense of touch. It is unique
in making double appeal to the aesthetic
this
taste. It may
readily be granted that it is
not a branch of art that can become popular
with a large number of people. Its subtlety
PAINTINGS restricts its enjoyment to the few, but to them
it provides, in every sense, the refinement of
artistic feeling."
WANTED The third chapter discusses Stones and Ce-

ramics. " Whatever may be the position to which
China has relegated pottery and porcelain,
We Wish to Purchase Paintings they will always remain for the occidental the
most favorite field of Chinese art. The richness
hy of colors found in the Clitin Yao, the purity of
Inness Twachtman the Ting Yao, with its graceful incised decora-
Weir tions, the charm of the pale green of the Luiig-
Wyant
Ryder
ch'tian Yao —
these show an appreciation of
Martin color combined with skillful modeling which
Homer Whistler has never been equaled in pottery by any other
nation. The black-grounds, green-grounds,
Fuller Duveneck of porcelain, together with
and yellow-grounds
Blakelock Murphy the apple-greens, peach-blooms, clair-de-lunes,
sang-de-boeufs, and pure whites, are a splendid
exhibition of high artistic spirit."
GEORGE H. AINSLIE Chapter four is devoted to Calligraphy and
GALLERY Painting, and chapters five and six to Painting.
The book is well printed and makes interesting
615 Fifth Avenue, NEW YORK reading, though it does not give a history of
Chinese art such as one would like to have, and
On Exibition Fine American Paintings
D- M. R.
has many omissions.
[126]
"Wilderness: A Journal of Quiet Adventure
in Alaska," by Rockicell Kent. New York.
G. P. Putnam's Sons, iq20.
Because of this volume's essential character
one can write about it at a late date without
apology. In reviewing the ordinary book,
Printers
timeliness is admittedly an important factor,
for publisher and reviewer and reader all three.
The reader wants his liook fresh, the reviewer
wants to get on to something else, and the pub-
o F MAGAZINES,
HIGH-GRADE
lisher wants to sell while he can. But with SCIENTIFIC
"Wilderness" these considerations are for-
tunately not paramount; and while it is too
BOOKS, AND
late to write the i:sual review, it is not too late
COMMERCIAL
to write an appreciation. WORK
The book is of enduring stuff. The man is
not a mere painter mildly practising a pleasant
nnnnnn
profession, but an artist who has wrested some-
thing vital from life itself; and his book is not
just so many pages of text to accompany the
drawings, but a definitely original addition to
both literature and art.
Gibson Bros. INCORPORATED
It required a distinguished foreigner, Mr. i3i2EyeSt. N. W.
C. Lewis Hind, to call attention to the true
significance of Kent's sojourn in Alaska. He WASHINGTON, D. C.
did not hesitate to name one of the greatest Established 1S62
of all the sojourners in the wilderness, not by
way of placing Kent on a level with John of
Patmos, but by way of identifying the nature
of the experience. Kent went to that lonely
island impelled by an inner and compulsive g[iliiniiiiiiniiniiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiii»iiiiiuiiiiiiiiliniliiitiiiiiiiiiriiiiiiiiniiiiiiiiiiiiiiiii|i|[iH^
urge to contact with primary things. It is

not a new manifestation in this country;
indeed, this strain of wildness, this lure of the
further wilderness, has probably had about as
much to do with our westward growth as the
more easily detected push from behind of
crowded populations. The most notable pre-
vious expression in our literature of this hunger
for the elemental is, of course, "Walden;"
and it is not too much to say that this book of
Kent's has enough quality of its own to go on
the same shelf with that of Thoreau.
The book's appeal to the eye through its
drawings is quite as strong as its appeal to the
ear through its words. Most illustrations are
by other individuals than the writers of books, Our Specialty
and there is in such cases as inevitable differ- Is making the highest-grade Designs and Photo-En-
ence of personal interpretation. "Wilderness" gravings in one or more colors.
is in every detail emphatically Rockwell Kent
Half-Tones Line Plates
and no other. He reaches the same part of
Dullo-Tones Combination Line
us, by two ways, through two senses; and the
Color Process and Half-Tones
two-fold expression of the same experience
comes home with so much the more emphasis Ben Day
and sense of reality. It is pleasure to pay

STANDARD ENGRAVING CO.. Inc.
tribute to so splendid an achievement. It is 1212 G Street N. W., Washington. D. C.
a hearty gale of wildness that for a time dis- Phones - Franklin 1709, Franklin 17 10
perses the miasmas of a mercantile civilization.
Virgil Barker. iiiiiiiiuiiiiiiiiiiiiiiiiiimiiMiiiiiiiiiiiiii iiiiiiiiiiiiiiiniiiiiiiiiimiiiiiiiiiiii iiiiitiiiiiiiii«lii]iiiiiimiiiiiiiii
[127] Kindly Mention Ail and .Archaeology.

— —
The Sorceress of Rome. By Nathan Gallizier.

Pictures by the Kinneys. Decorated by Ever-
burg. The Page Company, Boston, Publishers.
ART AND ARCHAEOLOGY Second Impression, ig2o.
This historical romance of the Eternal City
at the close of the tenth century when men were
awaiting the End of Time, illumines a period
And many other high grade whose darkness dissipated by no contempo-
is
rary historian. The seat of empire had been
magazines, catalogues and
for several centureis transferred to the shores of
booklets are printed with the Bosporus, and the state of civilization in
old Rome had reached its lowest ebb. Rome
Doubldone INKS (registered
had become the prey of most terrible disorders.
The halo and prestige of the Papacy had de-
trade mark) made only by
parted. The German Kings, as Emperors of
the Holy Roman Empire, tried in vain to con-
trol the turbulent spirit of the nobles. The
story has to do with the third rebellion of Cres-
centius. Senator of Rome, and the doom of the
THE SIGMUND ULLMAN third Otto, gransdon of Otto the Great, of
whose love for Stephania, the beautiful wife of
COMPANY Crescentius, innumerable legends are told in
the old monkish chronicles.
Park Avenue and 146th Street
The author possesses historical imagination
NEW YORK CITY in high degree, He has used the love story of
the boy emperor and the fascinating woman
who drew him to his doom, as the main theme
about which he has grouped sumptuous word-
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of the city with its ruined grandeur, of the
POWELL ART GALLERIES gorgeous ceremonials of the Vatican and the
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New York congratulated on the beauty of the letter-
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announce an exhibition of editing of this volume. M. C.
PORTRAITS The Medallic Portraits of Christ. By G. F.

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ART AND ARCHAEOLOGY countenance of Christ. The volume exhibits
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ART AND ARCHAEOLOGY

Published at WASHINGTON. D. C. by

ART AND LIFE (new york) combined with ART AND ARCHAEOLOGY
Volume XI APRIL, 1921 Number 4

BOARD OF EDITORS
Charles Upson Clark J. Townsend Russell, Vice-Chairman
Albert T. Clay
James C. Egbert
Charles T. Currelly
Ex-officio as President of the Institute
H. R. Fairclough
Edgar L. Hewett Burwell S. Cutler
Morris Jastrow John B. Larnbr
FisKE Kimball
Charles Colfax Long
David M. Robinson
CONTENTS
The Memorials of Rome in the Italian Colonies Guido Calza 131
Nine Illustrations
Ave Roma Immortalis Henry S. Washington 144

Poem
Smyrna: "The Infidel City' George Horton 145

Eight Illustrations
The Diggers Harvey M. Watts .... 154

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

Six Illustrations
TUSCULUM, AND ThE ViLLA OF CiCERO Clara S. Streeter 163

Four Illustrations

Three Illustrations
Book Critiques 173
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All correspondence should be addressed and remittances made to Art and .\rchasology, the Octagon. Wa'^hington, D. C. Also
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provided for in section 1103, Act of October 3. 1917. authorized September 7, 191S.
Copyright, 1921. bv the Archaeological Institute of America.
Statue of Aphrodite discovered by the Italians at Cyrene in North Africa. Now in the Museo
delle Terme, Rome.
ART mx3
ARCHAEOLOGY
Volume XI APRIL, 1921 Number 4
THE MEMORIALS OF ROME IN THE

ITALIAN COLONIES
By GuiDO Calza,
Inspector of the Excavations and Monuments of Ancient Ostia.
LEAVE one's country without leav- making in the Italian colonies by means
ing one's fatherland! Yes, this of scientific missions. Though poorer
is what we Italian archaeologists than the others, Italy has been second
do when we climb mountains and cross to none; and, with that perfect good-
over seas in search of the memorials of fellowship, characteristic of Italian men
Rome. No joy can be more vital, no of letters, she has tried to carry her
pride more just, than that of tracing the scientific researches to places of which
foot-prints left by Rome during her none have yet thought. And I take
vast, world-wide dominion. A
Latin especial pleasure in describing to the
inscription that repeats names we hear readers of Art and Archaeology the,
even to-day a tomb that makes the soil
; for the most part unpublished, studies
of the most distant and most desert and and discoveries made by Italians in the
savage regions sacred to us an aqueduct
; Colonies of Libya, in the Êgean and
that, in the remotest parts of Africa or in Anatolia.
Asia, brings before our eyes long files of Libya, the new colony that Italian
arches in the Roman Campagna; the arms gave back to us ten years ago, was
paving-stones of a road that makes us the first field of exclusively Italian
re-live a thousand years of Latin con- archaeological exploration outside our
quests and Latin triumphs all these— peninsula. The actual conquest of
are discoveries having the double fasci- Libya was even hastened by this first
nation of scientific conquests and moral Italian mission, which was led by our
victories. Therefore, Italian archae- illustrious scientist Prof. Halbherr, the
ologists could not fail to be interested in successful explorer of the Island of
the historical and archaeological re- Crete, because the obstacles and perils
searches, which the nations have been encountered bv the Italian mission were
[131]
Tripoli: Marcus Aurelius'Arch, after the Italian restoration.
;
ART AND ARCHAEOLOGY

so manythat the Government deter- ture was found in the great hall of the
mined on the armed occupation of the recently excavated baths, along with
country. many other beautiful and interesting
As soon as the country had been statues: two groups of the Graces, an
conquered we continued the excavation Eros drawing his bow, a Satyr with the
and restoration of its most important child Bacchus, a Hermes in the manner
monuments, as well as the archaeolog- of PolycUtiis, and the colossal statue of
ical exploration of Tripolitania and Alexander the Great. This whole fig-
—
Cyrenaica already initiated by that ure, cast in a solemn mould, breathes
distinguished and lamented American, force and power, and is animated by
Mr. Richard Norton, whom Art and the genius of the hero. It is an inter-
Archaeology fittingly commemo- esting sculpture both because it may
rated in December 1919. Valuable perhaps be a copy of Alexander with
objects of art, that bear witness to the the lance by the sculptor Lysippus,
work accomplished by us, are now being and also because the face shows us the
collected in the two Italian museums at portrait, not of the idealized Alexander,
Tripoli and at Benghazi. One sole piece but of the great leader, thoughtful, yet
of sculpture, among the many found, daring in action, who meditates his
has been taken to Rome, carrying a great undertakings, his battles and
greeting from the ancient colony the— conquests.
statue, that alone, might, perhaps, suf- All these sculptures were overthrown
fice to re-pay the expenses and perils of by one of those earthquakes that were
our war. The beautiful Aphrodite among the causes of the decadence of
from Cyrene, now in the Museo delle Cyrenaica toward the close of the IV
Terme, is, perhaps, the most beautiful century b. c. The splendid Hall of
in the whole world —were it possible to the Thermae, which was divided in
draw a comparison between the god- three parts by beautiful Corinthian
desses of beauty. According to the columns with transenne formed by the
learned essay by Prof. L. Mariani, chief two groups of the Graces, must have
of the Italian Archaeological Office in been like a museum; and it was here
Libya, this masterpiece is an original by that the people loitered while waiting
a Greek artist of the IV century before for their baths.
Christ, perhaps Euphranor of Corinth. These excavations and discoveries
The goddess, carved in a block of the have thrown light upon every aspect of
choicest Parian marble, transparent history and life in ancient times, as well
and warm in color, is represented nude as upon art. An inscription tells of a
in the style of the Anadyoniene, rising road from Cyrene to ApoUonia that was
from the sea-waves at the moment of her re-built by the Emperor Hadrian in 1 18,
first appearance to moitals, and all wet because it had been tmnulto iudaico
and just pressing the water fiom her eversa et corrupta; that is: broken up
hair, and combing it. A sense of and destroyed by the Jews from Egypt
shame, a tremor of the body at contact and Cyrenaica during an insurrection
with the air because of its nakedness, when 220,000 Greeks and Romans were
makes the delicate form shiver a little massacred.
and it is this ingenuous movement that —
These excavations among them
renders the virgin nudity of the goddess that of a Temple of Jove with a beauti-
perfectly chaste. This exquisite sculp- ful statue of the god — have been sup-
[133]
;
Aghhk.mi> C iinaica;
'
\ : Roman Tombs.
plemented by scientific studies in the The

archaeological offices at Tripoli
City of Benghazi, the antique Berenice. and Tripolitania have not only
in
The vast necropoHs, rich in tombs and executed the more pleasing part of their
funeral ornaments, has been explored —
task that of searching out and exca-
with the result that the history of this vating monuments — but they have
city, which existed for ten centuries, also been active in restoring and pre-
may now be seen in the light of the serving those already existing. Thus,
various civilizations under which she the Arch of Marcus Aureliiis at Tripoli
—
developed the indigenous, Hellenic has been restored; considered as a
and Roman. Teuchira, the city on whole with its sculptures and its daring
which Anthony tried in vain to impose architectural form, it is the most
the name Cleopatris, after the Queen of beautiful and important monument in
Egypt whom he madly loved, and the colonies. It was built by the
which still displays her solid walls even municipal magistrates to celebrate the
to-day; Barce with her magnificent glory won by Marcus Aurelius and
tombs; Ptolemais with the imposing Lucius Verus in their recent victories
ruins of walls, gates and cisterns and over the Parthians. This arch was
the beautiful arcades of the Agora and earthed up to the height of three
harbor; Apollonia, which was also meters; the interior transformed into a
destroyed by an earthquake, yet, like cinematograph, and, to further dis-
the others, displays the ruins of an honor it, the niches used as vegetable
aqueduct, a theatre and a mole; and, stalls. However, it has now been freed
last of all, Cyrene, with rich tombs cut from all these barbarous disfigurements
in the rock and immense cisterns, and Apollo in his chariot drawn by
have been systematically investigated. griffins, and Athena in her car with the
Each and all illustrate for us the politi- winged sphinx surrounded by trophies
cal history and the life of the people of and arms, again tell the glory of the
these countries. Antonines. And the excavations in the
[134]
Rhodes: The Cavalieri's Hospital, after the ItaUan restorations
Christian cemetery of Ain Zara serve to imposing group of ruins. The mosaics
illustrate a whole period of religious found near Zliten are the most beautiful
history, limited until now to a simple yet discovered on the African coast.
list of bishops. Their variety of design and vivacious
But still more marvelous is the birth- coloring make the small squares with
place of the Emperor SeptimiusSeverus, fishes and scenes of animal life, the
Septis Magna, which, sepulchered in battles of dwarfs, and the larger com-
sand, has reserved for us the surprise of positions showing litdi gladiatorii and
discovering a city all of marble, with venationes worthy of having figured in
temples, a forum, a theatre, public the most splendid house of Imperial
baths and magnificent palaces, and Rome.
among them that of Septimius Severus The dominion of the Arabs over these
himself, built by him to commemorate countries has led to no artistic develop-
his good fortune. There are testi- ment, and has dimmed all this splendor
monials of ancient prosperity every- of life and art; but Latin civilization
where: Sabratha, the last of the three has returned, throwing light upon the
cities of Tripolis, was the grain market past and continuing the glorious tra-
of the coast of Sirtica, and presents an ditions of Rome.
[135]
Rhodes: The Castcllania.
RHODES. alive in the Orient. The old hospices

A new history has also begun for the of the various nations, which are in this
group of charming islands in the street, have recovered the lines of their
^gean, known as the Sporades, of original architectural style, an archi-
which the largest and most lovely is tecture that has, here at Rhodes, a
Rhodes. These islands were occupied typical local physiognomy, and indi-
by Italy in May 191 7, and we at once vidual characteristics which distinguish
began to restore that artistic beauty it from its parent-style, the French-
which is their greatest fascination. Gothic. It was chiefly the French,

The energy of a vital civilization has Spanish, and Italians who influenced
accomplished marvels in spite of the the special character of the public
traditional sluggishness of the Turkish buildings of the city; but the military
Government. The most beautiful and architecture of Rhodes is Italian,
interesting street of Rhodes, the via dei because it was directed and inspired by
Cavalieri, commemorates in its name, Italian military architects and based on
which has always been Italian, the Italian models. The hospital which
dominion of the Order of Knights of the Knights erected as worthy to
the principal Catholic States of Europe shelter their pious mission, undertaken
( 1 308-1 522), the object of which was to for the entire Christian world, is, with
keep the civilization of the Occident its grandiose proportions and indi-
[136]
; ;
ART AND ARCHAEOLOGY

vidual architectural style, the most open up another fruitful field of archae-
conspicuous public building in Rhodes ological exploration — Asia Minor, or,
and is also one of the most notable more precisely, Anatolia. An Italian
examples of that hospice-architecture commission had initiated active re-
which was transplanted into the Orient searches on this wide peninsula that
by the Latins. It was used as a juts out from the center of the Asiatic
military garrison by the Turks; but continent like a bridge between the
extensive and accurate restorations Occident and the Orient, under the
have now been completed, giving it direction of a scholar of high standing,
once more the architectural lines of the Prof. Roberto Paribeni, to whom I owe
XVI century. And our learned Prof. these interesting, unpublished details.
Maiuri has transformed it into a Not only were there memorials of Rome
historical and archaeological museum, to trace in this region, but all the long
in which all the material illustrating history of the peoples and kingdoms
the most antique civilizations of the that succeeded each other in the pos-
Sporades is being collected. This mu- session of this marvelously beautiful and
seum is divided into three sections the
: fertile land, from the almost fabulous
Classic for Greek and Roman pre- Empire of the Etheii to the kingdoms of
historic, artistic, numismatic, and epi- Lydia and Phrygia and Persia, and, last
graphic material the Mediaeval for the
; of all, the Greek and Roman colonies.
material belonging to the period of the This country, which saw the bloom of
Knights; and the Ethnographical for the first fruits of Hellenic ganius, repre-
the study of customs, art, and litera- sented to the Ancient World of the
ture, and the conditions of life down to Mediterranean what America is for
the present time. So, this splendid and Modern Europe. But it is after its
characteristic edifice has not only been conquest by Alexander the Great,
saved as an artistic whole, but a new that, open at last to Hellenic civiliza-
element of beauty has been lent to it. tion and culture, it enters the sphere of
This museum, which is being con- the Western World, and until the end
tinually enriched by the explorations of the Roman domination continues
and excavations at Rhodes and on the to be the land of wealth and happiness,
islands, is one of the most characteristic the land of pomp and splendor, that
and interesting museums in the Levant neither knows nor measures nor spares
it is, moreover a new beacon of Latin her inexhaustible gold-mines, the goal
civilization, signalizing the marvelous dreamed of by the Roman governors
energy of our race. who seek here the reward of the
Pindar's song may, indeed, be sung labors and fatigues of office. Very
again to-day: for Rhodes (the rose) beautiful cities flourish on every hand,
blooms once more in all her matchless springing up, innumerable and im-
beauty, that daughter of the Sea and mense either from the growth of the
the vSun, whom the Sun begged and capitals of the small native states, or
obtained from Jove, and who expanded from the new metropolis founded by
from the waters like a flower. new sovereigns. It is quite natural
that such a rich country should attract
ANATOLIA. the dominating power of Rome. The
Before the War absorbed all the most valorous generals try their arms
energy of the nations, we began to against it, Sulla and Marius, LucuUus
[137]
i7>i
ART AND ARCHAEOLOGY
and Pompey Caesar and Crassus and a
, ; the gilded letters of the inscription are
horde of Roman merchants and traders lacking, having emigrated to Constanti-
invade it. But one must trace all these nople some few years since. But the
glorious memorials of the Past through very first greeting one receives on land-
the misery and desolation of the ing at the little port of Adalia comes
Present; for the end of the Roman from another splendid memorial of
domination signalized, for these coun- Rome: the mausoleum of a Roman
tries, also ruin and desolation which the governor of the province, built on the
Turkish government has always more line of the walls, so that other explorers
and more accentuated. Though one have thought it a fortress. It has,
sees at every kilometer the richest instead, a well-known form and in
ruins of cities, and of castles and many respects, recalls the tomb of
fortresses, of churches and monasteries, Cecilia Metella on the Via Appia. A re-
it takes a whole day's hard walking to lief on the sides of this monument shows
find the few houses of a wretched the fasces of the lictors, symbols of the
village, or a loathsome camp of jurukJa empire attributed to Roman magis-
with only a cafe under a shelter built of trates. He was then a child of Rome,
branches. this un known magi strate who buried f ar
, ,
AD ALIA. from his country, wished that the very

The
researches of the Italian Archae- architecture of his tomb should at once
ological Mission were made in the awaken the memory of the fatherland
antique provinces of Pamphylia, Pisidia, in those who disembarked on this
Caria, Lycia, and Cilicia, that is: in the distant shore. Many interesting Greek
present vilayet of Konia and Adana. A and Latin inscriptions have also been
fertile field of work and study has been found at Adalia and our mission is now
;
found in these provinces, although they studying the mosque at Giumzin, an

were not the richest and most populous excellent example of Byzantine art, also
of Asia Minor. A base of operations a minaret covered with azure-colored
was established in the most important majolica which records the dominion of
center of this zone at Adalia, the the sultans of Iconium. There are also
antique Attalea, which looks out to sea beautiful ruins in the four other great
from the summit of a rock, like a antique cities of Pamphylia, which is
charmifig Haniim on the mysterious now a desolate, uncultivated plain,
balcony of her house. The beautiful although it has a wealth of water. At
walls, which were originally Roman, Perga, celebrated for a sanctuary of
have been partly demolished, in spite Artemis, there are the ruins of the walls
of protests from the Italian mission. and a theatre, and of a stadium that
still has its tiers of seats in position, and
There still remains, however, a monu-
mental gate, which the city built and of the vast necropolis with large carved
decorated in honor of the Emperor sarcophagi. Prof. Paribeni has found
Hadrian, with the towers that stand an interesting inscription here dedicat-
beside it. Since the wall that hid it has ed to a physician on whom Perga, his
been demolished, this monumental native city, and vSeleucia conferred high
record of Rome triumphs over the little honors, either for his unusual bravery or
Turkish city with the splendor of its for the lectures on health and public
architectuie and ornamentation; only hygiene that this follower of ^scul-
[1411
Adaua: Door of a Madrasa, or Moslem Seminary.
—
ART AND ARCHAEOLOGY

apius gave in the gymnasium. In this of theCestrus about ten hours northeast
way, Sillyum, now at last identified of Adalia in the center of a zone that has
beyond a doubt by numerous inscrip- been left desolate until now in the maps
tions,has been brought back to hfe, of ancient Asia Minor. The city was
and Aspendus with her splendid, well- divided into two parts: the lower city,
preserved theatre, carefully built after the only accessible portion in the whole
the Greek model. The floods of the area of the antique city and the upper
;
Cydnus, the impetuous river that put city with imposing ruins hidden by
Alexander the Great in peril of his life, thick, impenetrable undergrowth. The
have destroyed much in Cilicia, which city, which was fortified within a poly-
was the active center of study during gon of walls, built on the irregulatities
the Roman period. But mountainous of the soil, stiU preserves the double
Cilicia is beautiful and interesting circle of walls surrounding the acropolis;
beyond all others aspera, as it was for the towers and gates, the principal one
the Greeks, and as Cicero found it, for of which is buried in sand, show us the
he was its governor in his old age. defensive system of a Greek, not a
High up in these mountains, whence, Roman, city. The most important of
across low hills covered with flowering the existing edifices, and also the best
broom, the Island of Cyprus is seen preserved, is the Agora, which occupies
smiling on the horizon, an antique city a plateau in the highest part. It was
has been discovered near the modern converted into a church during the
village of Adana. This city, unknown Byzantine period; and there are still a
until to-day, is completely hidden in a few columns dividing it into three
thick wood, but numerous inscriptions naves. Adjoining it was an arcade,
have been found in the vast necrop- and a temple of which there remain
which are many small mortuary
olis, in beautiful architectural fragments.
temples and colossal sarcophagi with Further on is a Sacellam Lamm, a
inscriptions and carvings. This is shrine cut in the rock, and the ruins of a
Soli, afterwards called Pompeiopolis for temple built of stone blocks. Outside
Pompey, who repopulated it with the the city is what still exists of the Greek
pirates infesting the coast. vSimilar to necropolis: two Heroa, like little quad-
Cilicia in nature and appearance is rangular temples in an elegant style of
Lycia, characterized by tombs cut in architecture, and a few sarcophagi.
walls of rock like the cells in a bee-hive, Without the walls are a few cisterns and
and by tall sarcophagi of several stories the ruins of two Byzantine churches.
in imitation of the wocden houses of the Though no great work of art has yet
first inhabitants of this region. made the discovery of these ruins even
more gratifying, a beautiful stela in the
PISIDIA. Attic style of the IV century has,
The most important discovery has, however, been found, with a figure of
however, taken place in Pisidia; Pedne- Helios Apollo, and a large sarcophagus
Jissos, quite a large and wealthy city, with six columns, separating three
sought for in vain by former explorers, niches, each of which contains a statue.
has been found and identified by the The city, which must have sprung into
Italian mission. existence after the time ot Alexander,
The site of these ruins is on the top of that is, during the p.-riod of the greatest
a mountainous group in the high valley prosperity of this country, is built on a
[143]
ART AND ARCHAEOLOGY
plan corresponding exactly to that of great republics of Venice, Genoa and
the Hellenic fortified cities. After more Amalfi stamped on the walls and
than ten centuries of death, she has castles, and also on the maritime dia-
come back to life offering hospitality to lects, which, even among the Greeks
the representatives of the Latin race. and Turks, have always been Italian.
Our mission has, then, in the briefest It is, then, beautiful and holy that
space of time, opened quite a new
Italians should return to these lands,
horizon for history and for archaeology.
armed only with science and learning,
But it is not the Roman world alone
that re-awakens and reveals itself to
to protect the monuments and search
him who peruses these pages of a out and revivify the memorials of past
remote and glorious past the period of
;
civilizations. And it should be per-
the Crusades also returns to us that — missible even to preserve this, which is,
admirable expression of Latin energy perhaps, the most beautiful form of
and of Christian faith. Here, also, civilization, and to assure its triumph.
are found the maritime records of the Rome, Italy.
AVE ROMA IMMORTALIS.

(On seeing tixo butterflies in the Forum).
Around old Rome's most hallowed things,

Festalian court, Juturna's springs,
Eager to spread their yellow wings
Roam two small butterflies.
O'er Caesar's pyre they are at play,
Much as they were in Trajan's day,
All ignorant that their life so gay
Is gone with summer skies.
Musing within the historic place,
Methinks a symbol one can trace
Of what befell that lordly race
Rome nurtured in her youth.
Though people die the race persists,
And Romans, winning well the lists,
Let the world know Rome still exists
In deeds of valor that, forsooth,
Seem those of Rome in Rome's proud youth.
Henry S. Washington.
Rome, April, 1919.
[144]
SMYRNA: "THE INFIDEL CITY"
By George Horton,
American Consul General in Smyrna..
SMYRNA has been called Ghiaur,"

or "Infidel" by the Turks ever
" on the ^gean Sea, zigzaging through
the Cyclades islands, sprinkled like
sincecame into their possession,
it stars in the sky. North of vSmyrna, in
to denote its non-mussulman charac- the same sea lies Lesbos, (now Mity-
ter. The fact is that this ancient city lene) where Sappho loved and sung, and
is, and always has been, essentially to the south is Samos, whose wine Byron
Greek. counsels us to dash down.
I was somewhat surprised to learn, A learned treatise on Smyrna would
on a recent the United States,
visit to bristle with references to the classic
that many intelligent Americans do not poets and other writers. I believe that
know where Smyrna is. I was asked I can safely say, writing here from
the most extraordinary questions as to memory and without a library handy,
the route by which I expected to return that Smyrna is one of the oldest cities
there, and one charming lady who was in existence, in the sense that organized
well posted on most questions, acci- communities have inhabited the present
dentally disclosed to me that she was site, or sites in the immediate neighbor-
laboring under the illusion that Smyrna hood, since the dawn of history and
was the capital of Siam. Fortunately I before.
discovered her error, as my wife is look- The antiquity of vSmyrna is attested
ing forward to the pleasure of corre- by the fact that ancient legend gave as
sponding with her. its founder the mythical hero Tantalus,
Professional archaeologists have long whose memory is perpetuated by the
ago discovered that the laiety of the word "tantalize," recalling the punish-
Archaeological Institute are most ment to which he was condemned in the
familiar with places that are mentioned lower regions. It is said that the first
in Holy Writ. I shall begin then, by name of the city was Navlochon, or
remarking that Smyrna was one of the harbor for ships, and the same name
seven cities of the Apocalypse. Ephe- would apply equally well to the magnifi-
sus, where St. Paul fought with beasts, cent, land-locked harbor of the modern
is but a short journey from there by rail, city, in which the biggest merchant
and is a favorite excursion for Smyrni- craft and giant battleships find safe
otes. anchorage. Recently many American
I am writing this on board the
Megali merchant ships, as well as battle fleets
Hellas, aGreek steamer that makes the of the Entente, have been coming into
journey from Brooklyn to Piraeus, the this harbor. The American Arizona,
harbor of Athens, in 14 days. Inci- one of the largest warships in the world,
dentally, the Megali Hellas is rolling so sailed into Smyrna harbor not long ago,
that I am Corona with my
holding my and made an extended visit.
left hand to keep if from sliding off the The name of the mythical founder of
table while I pound it wnth my right. the city is still preserved at Smyrna.
From Piraeus to Smyrna is over night An ancient construction, not far from
[145]
Smyrna: The Grand Aqueduct. Photograph by Edmund Boissonnas, from the collection exhibited
by the Greek Government in New York.
Smyrna: Entrance to the harbor.
the town, is familiarly known as The have greatly changed since the days of
Tomb of Tantalus. Tantalus and Theseus.
The origin of the name " Smyrna " is During its long history Smyrna
a subject which might well give rise to passed through several periods of splen-
much interesting discussion. Tacitus dor and influence and decline, had its
mentions Theseus or one of the Amazons sieges, its changes of sovereignty, its
as the founder of Smyrna. The "Life massacres. For a long time the second
of Homer" affirms that Theseus gave city of the Byzantine Empire, it was
the name of Smyrna to the city which besieged by Tamerlane in 1402, who is
he founded, in honor of an Amazon who said to have built a sort of tower of
conquered him by her attractions. the skulls of the murdered inhabitants.
Those wishing to harmonize these two Later it passed definitely into the
legends can consider the city as having hands of the Turks, who have held it
been rebuilt and rechristened by the for nearly 500 years.
Attic hero. It is the boast of the inhabitants of
It is interesting to note that the Smyrna that the actual city of today,
word "Smyrna" is closely allied to situated on the slopes of Mount Pagos,
"myrrhe," or perfume, and that the was founded by Alexander the Great,
wise men offered to the infant Jesus who found in the vicinity various
"gifts, gold, frankincense and myrrh;" settlements, remnants of the ancient
{Smyrnan, in Greek). town, and collected them on the pres-
It would be difficult to convince a ent site. This contention is based on
visitor to the modern city that this statements of Pliny and Pausanias.
latter is the correct derivation of the A burning question in the Near East,
name, unless ideas about perfumes a really vital one, is that cf the place
[148]
Smyrna: Old Roman Aqueduct.
of the nativity of Homer. It will not at Smyrna

in which Homer wrote his
be difficult for our city rooters and poems; and various Latin authors,
boosters in America to understand how among them Cicero, who refer to the
live a question this is to the Greeks. author of the Iliad as a Smyrniote.
What better advertisement for a town On the whole, Smyrna seems to have
than the claim, once established, that the weight of the argument, and as I
the immortal bard was born there? remember having once heard the late
After the great name of Christ, there Herbert DeCou, one of the soundest
is none other better or more generally archaeologists that America has pro-
known than that of Homer. duced, say that the man who collected
We are told that in antiquity seven the ancient legends growing out of the
cities disputed this honor, but more re- Trojan war into the so-called "Poems
cently the contention seems to have of Homer," probably lived in Asia
narrowed down as between Chios and Minor, I am inclined to accept the
Smyrna. In support of their case, the statement that he was born in Smyrna,
partisans of Smyrna cite: a so-called and be done with the matter. It now
"Epigram of Homer;" the "Life of rests with our friends the Greeks to
Homer," attributed by some to Hero- resurrect the grotto where he wrote
dotus the Third Idyll of the poet Mos-
; his poems and show it to wondering
chos on the death of Bion, in which tourists. It should be an even greater
appears the line, "This is a second attraction than the "Prison of Soc-
grief for you, O River Meles, who rates," at Athens.
formerly lost Homer " Plutarch; vari-
;
Another burning question at Smyrna

ous inscriptions and medals for which is: which one of two streams is the
there is not space in an article of this rightful River Meles, sacred to the
kind Pausanias, who mentions a grotto
; great bard?
[149]
Smyrna: Amphitheatre where St. Polycarp was burned.
One of these streams, about 9 miles the heart of the East, laden with figs,
long, takes its source near the village tobacco, raisins and oriental carpets,
of Sevdikeui, flows the length of the have been passing for no one knows
beautiful Valley of Saint Anne, where how long, spans this river at its lower
it serves to irrigate numerous gardens, end.
and empties into the sea, after having I can easily imagine a poet writing
passed through one of the humbler in one of the gardens or in a grotto on
quarters of Smyrna. In summer its the banks of this stream, but it is sug-
pools are much frequented by naked gestive rather of the peaceful reveries
urchins, and its waters turn a pictur- of a Theocritus than the martial in-
esque mill or two. Unfortunately, a spiration of the author of the Iliad.
tannery has recently been erected on The other stream issues from a pow-
its banks. It should be mentioned in erful spring whose pure waters form
this connection that legend locates the the principal supply for Smyrna. Issu-
last resting place of St. Anne in this ing first in a large lake or basin, they
on what authority
valley, I know not. flow away into the sea in a clear river
Commuters from Smyrna to Paradise, about a mile in length. This spring
the village where the International and its lake are the so-called "Baths
College, an important American insti- of Diana" and there is much to be
tution, with imposing buildings erected said in favor of this little river as the
by money raised in the United States, veritable Meles of Homer. The ancient
is situated, skirt this delightful valley aqueducts shown in the illustrations
all the way. The ancient "Bridge of span the longer stream which flows
Caravans " over which countless strings through the valley of St. Anne. The
of camels, plodding patiently to and fro illustration with the leafless trees on its
between the great mart of Smyrna and bank, is from a photograph of the
[150]
Smyrna: Meles River.
stream which issues from the "Baths the time of his death as 86 years. The
of Diana." fact of his martyrdom at Smyrna and
I leave to the reader to pursue the the place appear to be matters of au-
investigation and decide for himself. thentic history. In the picture given
The patron saint of Smyrna is Poly- with the accompanying text, the author
carp, who was burned alive in the old of this article is shown sitting on the
stadium back of the town on the green slopes of the ancient stadium
slopes ofMount Pagos. His tomb, in a gazing at the spot where the agents
corner of a Turkish cemetery not far of an organized and highly civilized
from the place of his martyrdom, is government burned alive a venerable,
held in much veneration by Orthodox learned and holy man because he would
and other Christians. The situation, not deny his Christ. To the mind of
and the stone wall enclosing it, are one sitting in such a place, the centuries
shown in the photograph. Unfortu- roll up like a parchment, and Polycarp
nately, there has been a steadily grow- stands there again among his torment-
ing doubt of late years as to the authen- ing flames that robe him in immortal
ticity of this tomb, and even as to glory.
whether St. Polycarp was buried at all Mount Pagos was the acropolis of
at Smyrna. ancient and mediaeval Smyrna, and a
The martyrdom of St. Polycarp is considerable portion of the old walls
said by Rohrbacher, in his Histoire still exist, in a fairly good state of pres-
Universelle de I'Kglise Catholique to ervation. By a study of these walls
have taken place February 26, in the and foundations I am convinced that
year 156 a. d. Various authorities one could trace the existence of the
give the hour as half past two in the town from prehistoric times down to the
afternoon and the age of the Saint at days of the Turk.
[1511
ART AND ARCHAEOLOGY
which is now greatly in the ascendency,
and the population of the town has
increased by at least 100,000. The
city is now so congested that it is
practically impossible for a newcomer
to find a house, or even a room, and
rents have reached a New York scale.
To understand the Greek character
of Smyrna and indeed of the whole
Asia Minor coast and of many towns
one should not consider
in the interior,
the population solely from a numerical
point of view. The Turks are mostly
government officials, day laborers, por-
ters and small retail dealers in the
Turkish quarters. They have little
touch with the outside world and have
made no progress mentally or in their
style of living for 500 years. The
Greeks are bankers, exporters and im-
porters, architects, electricians, doctors,
cooks, domestic servants, employees
in business houses, ship builders, school
teachers. They travel continually and
bring home new ideas especially from
America. In the few months since
the Greeks occupied Smyrna, American
fc.MVKNA: I'ortion of AnciLiit Wall. automobiles have appeared in large
numbers in its streets—a thing hitherto
Reliable statistics as to the popula- unknown since the time of Tantalus.
tion of Smyrna in recent times are Many thousands of chilkd steel plows
difficult to obtain. The latest figures have been ordered in America to re-
given by the American Consulate Gen- place the wooden plows of the days
of Homer, and American tractor plows
eral, which are doubtless near the
truth, are as follows: are already humming in the Plain of
the Hermus. Up till the time of the
Greeks 155,000 Greek occupation only one tractor
Turks 165,000 plow had been brought to Smyrna
Jews 35.000
since the epoch of the Amazons, and
Armenians 25,000
Italians 10,000 that by a Greek naturalized American
French 3,000 from Washington, D. C. It was de-
British 2,000 stroyed by the Turks on the road to the
Americans 150 farm, and its ruins still lie by the side
of the highway a little distance out of
Total 395.150
Smyrna.
Since the Greek occupation there Whenever Greeks have been col-
has been a large influx of that element, lected in communities throughout the
[152]
ART AND ARCHAEOLOGY
Turkish Empire during the long years
of that subjection, they have formed
oases of European civiUzation of re-
markable excellence, when one takes
into consideration the difficulties under
which they have labored. These oases
have been characterized by houses of
better construction, hospitals, churches,
charitable organizations, and above all
schools, in which the light of that
Hellenic culture, to which the Western
world owes, in large measure, its own
civilization, was kept burning. In
this respect Smyrna has always been
well in the front rank.
The Hospital of Saint Charalambos,
supported by the Greek community,
would do credit to any town. It has
wards for surgery, pathology, gyne-
cology, ophthalmology, mental diseases,
besides an old peoples' asylum and a
maternity department. In the year
1916-1917 it had 2500 patients treated
within the hospital, and about 16,000
outside patients.
Among these were many Mussulmans
and Jews, as well as Greeks.
The most important schools of Smyrna Tomb
: of St. Polycarp.
Smyrna are those of the Evangel, for
boys; and St. Photeine and the Homer- of once populous and splendid Greek
eion, for girls. cities. History, that has a habit of
The Evangelical school has a re- repeating itself, has shown that Asia
markable library of over 30,000 vol- Minor is the natural soil of the Greek.
umes, which has fortunately come During the last quarter of a century
through the war intact. the Greeks had, up till the outbreak of
To keep up the Greek schools of the European war, made great progress
Smyrna costs about 150,000 dollars along the entire coast of Asia Minor,
annually, no small tax on a community and their civilization was gradually
of that size, but there is never any penetrating into the interior, building
difficulty in finding the money. schools, churches and hospitals, and
The hinterland of Smyrna, the terri- respectable and cleanly quarters in the
tory naturally tributary to it, is one of towns. They were dotting the whole
the richest regions in the world, and it country with pretty farm houses, and
has lain practically fallow since the were introducing European and more —
fall of Constantinople. Miserable especially, American up-to-date —
Turkish villages now occupy the sites methods of farming. The broad state-
[153]
!
ART AND ARCHAEOLOGY

menl that the Greek is a trader and the
, the walls of Pompeii. Vineyards have
Turk is a farmer, is an erroneous one. been uprooted for the wood of the roots,
The Greek is cmnipresent throughout or are overgrown with grass. But the
the Near East as a trader, it is true. Greek farmers are coming back. They
The Turk has no ability to speak of are living in the cellars of their de-
for commerce. He is a hard worker stroyed houses, or in rooms covered
in the country districts and it is hoped with boards or canvas, or in tents
that he will not emigrate in large num- furnished by the Greek government,
bers from the Greek occupied area. and they are working like bees at the
The Greek peasant, however, is just task of restoration.
as hard a worker as the Turk, and he What they have done in the fields
differs from the latter in that he is in a few months, is almost a miracle,
enterprising and progressive. He goes but it will take them a long time to
to America, gets new ideas about phyl- rebuild their farmhouses and villages
loxera, grafting, agricultural imple- torn down for the sake of the firewood
ments and comes home and applies —
they contained for the Mussulman
them. refugees were few and the houses
In 1914 practically all the Greek many.
farmers were driven out of the Smyrna What the return of the Greek to
district, and Turkish refugees, to the Smyrna means is that the vast and im-
number of 25,000 put in their place. mensely rich region tributary to it has
The amount of damage done by those been again thrown open to that civiliza-
25,000 Turks in so short a space of time tion which the Greek gave to the West-
is incredible to any one who has not ern world. Thus, the proud province
seen it. An extensive region that re- of the Roman and Byzantine empires,
sembled, in its intensive cultivation where flourished the cities of Sardis,
reaching even to the tops of the moun- Phocis, Colophon, Ephesus, Pergamum,
ains, the best parts of Italy, has been Thyatira, Laodacea, Philadelphia, and
laid in ruins. Villages, towns, farm- others, will again teem with industrious
houses, for miles, have been so thor- millions.
oughly destroyed that they look like Smyrna, Asia Minor
THE DIGGERS
TROY — MYCENAE — KNOSSOS
They seek the broken fragments of the past,
The wreck of palace and the loot of kings,
The jumbled heap of long forgotten things.
Aeon-encrusted, till the diggers cast
From la3'ered pit, after a lapse so vast
That memory halts, as spade thrust loudly rings,
The golden spoil of which blind Homer sings;
Tombs of the great, heroic to the last!
And lo, before the thrilled, astounded, gaze
Of those who delve beneath these massy quoins,
Atreus and Priam and their splendid line
Live once again! Famed Minos and his maze!
Yea from these sherds we may their ways divine
Proud of our rise from out these mighty loins
Harvey M. Watts.
[1541
—
—
THE ANGEL IN AMERICAN SCULPTURE

By Frank Owen Payne
PROBABLY there isno one theme the temples and royal palaces of Nine-
in all the realm of art which has vah and Memphis the sphinxes, —
figured more conspicuously than griffins, winged bulls and lions, and
the angel. Miracles of mediaeval various hybrid combinations of eagles,
stained glass in Gothic churches, mo- lions and bulls with men. It is the
saics that glow in Italian basilicas, last survivor of a race of monsters.
paintings of all the great masters of To the Arab, an angel is a dove; the
the brush, triumphs of the chisel in Babylonian conceived it as a winged
niche and sanctuary, and sombre bull. Christianity with characteristic
memorials on tombs and sarcophagi elevation of thought, has forsaken the
all these have contributed to the groveling traditions inherited from a
prominence of angelic forms in art. remote heathen ancestry and has given
That the angel is among the most to the angel the human form and super-
ancient conceptions is evidenced by human intelligence. Thus, beautiful
the golden cherubim wrought by the though it be in form and feature, and
inspired Bezaleel, which bent their hallowed as it is by the fervor of re-
wings above the mystic mercy seat ligious belief, the angel is none the less
on the Ark of the Covenant. Indeed, an absurdity. It is about the most

from that remote day until the present, incongruous creation of art. It defies
to every age and to every phase of the laws of biology and contemns the
human life has been granted its angelic most obvious principles of physics.
representatives. Angels of birth and To manage a pair of wings demands a
of death, guardian angels and minis- definite anatomical structure, namely
tering angels, bearers of comfort and a breast bone and a wishbone like a
messengers of love, rejoicing angels bird. It also demands a muscular de-
and mourning angels, angels of peace velopment quite out of all proportion
and of war, angels of darkness borne with that of human beings. Thus, no
on batty wings from the gloom of the matter how beautiful the idea of the
pit, and angels of light that bask with swiftness of angel ministrations, there
seraphim about the Throne Eternal is nevertheless an incongruity which
all these have been depicted by the naturalists and modern realists must
audacious pencil of sublime art. deplore. We
have yet to see an angel
And yet, beautiful as is the idea of anywhere in art where the wings seem
the angel so far as its spiritual signifi- to belong to the body. They invaria-
cance is concerned, and exquisitely as bly appear to be fastened on, and never
it has been delineated by all the imple- to be the property of the wearer, be-
ments of art, there is an incongruity coming, as Ruskin suggests, "A spe-
about it which does not make it articu- cies of decorative appendage," the
late in the groove of modern thought. mere sign of an angel as the halo is
The angel is the last of that race of symbolic of a saint.
hybrid monstrosities to survive the Not all need to be
angels, however,
centuries and milleniums. It belongs represented with wings, although artists
to the brood of monsters which adorned have usually seemed to think that they
[155]
ART AND ARCHAEOLOGY
can not be described either as soaring,
or hovering, or flitting. Their so-called
flight is in open defiance of the laws of
aerial navigation. Thus, contemplated
from any and every point of view,
whether it be the anatomical structure,
or the principles involved in aviation,
or from the yet more difficult problem
of picturing to mortal eyes the immortal
conception of a celestial being the —
angel in sculpture is manifestly absurd.
In short, the utter impossibility of giv-
ing to the world a convincing picture
of an angel, is evidenced in holy writ
where we read that "Eye hath not
Thus, it will appear
seen' these things.
'
that there are at least three insuperable

difficulties in the way of convincing
representations of the angel in sculp-
ture. These are its anatomical incon-
gruity, the absurdity of depicting a
terrestrial creature in flight, and the
futility of trying to portray to mortal
eye what eye hath not seen.
Yet, in spite of these incongruities
and these other difficulties, the angel
stands among the most popular sub-
Angel with
Memorial
scroll,
in
by Herbert Adams, on the Pratt
Emanuel Baptist Church, Brooklyn,
jects of delineation.
artistic What
New York more stimulating or fascinating theme
could be found for the artist than this
must be thus represented. Had the most ethereal subject? What else
three angels, who visited the tent of the could be moie appealing to the imagi-
Hebrew patriarch, been equipped with nation or more remote from the exhaust-
such accessories, their angelic nature ing cares and tensions of our nerve-
would have been promptly recognized racking generation? It is doubtless
by Abraham and his good wife Sarah for some such reason as this, together
during that momentous visitation. with the ever upward look of the human
Again, the human body is not well race, that the angel has always been a
adapted for representation as if in popular theme for artistic representa-
flight. When thus depicted, it is apt tion.
to present either a sprawling attitude Popular as is, there are but few
it
or else it appears to be merely sus- who have been able to give any thing
pended without visible support. When more or less than conventional forms.
shown in relief, it seems to be pressed Tradition has also hampered the artist
flat to the background like a specimen more probably, in this theme, than in
in an herbarium. The flight of angels any other for the belief in the nature
[156]
ART AND ARCHAEOLOGY
and offices of angels has descended to us
from the most remote antiquity and it
has moulded human thought and ham-
pered it. No one, not even Fra An-
gelico was able to escape the earthly
and present anything remotely sug-
—
gesting the unearthly the celestial
being. That is why most angels in art
are merely beautiful ladies or effeminate
gentlemen like the models who posed
for them, to whom the ubiquitous sym-
bol of flight has been attached. Even
the cherubs which accompany the Sis-
tine Madonna and those that fill the
background of Murillo's Immaculate
Conception are children well fed, hu-
man children quite earthly in face and
feature, and not more spiritual than
choir boys! In spite of all such facts
as these, the angel has commanded the
supreme genius of the world's greatest
artists. That justifies its consideration
here.
A theme which makes such appeal to
the heart of the ages and which has
been essayed by the foremost artists
of every age, can scarcely present any-
thing new or original in our day. Angel ofthe Resurrection, by Couper, in Chicago.
Note the beautifully modeled hands and graceful
American sculptors have in the main draperies.
followed tradition in their portrayal of
angels. That they should do so is without one whit of spiritual signifi-
obvious. The demand for traditional cance. Apart from the sacred charac-
angels for churches, and the almost ter of the angel, the idea of victory is
universal popularity of the angel as probably the most significant example
an ornament for tombstones will ex- of the winged figure in art. The preva-
plain the creation of about all the angels lence of the angel upon tombstones, the
in the plastic art of America. The laborious efforts of stone cutters, has
adaptability of the conventional angel cheapened such works to the extent of
form to fit into such spaces as spandrils making them ridiculous, if studied
over arches, and lunettes and tympani apart from the solemn sunoundings
over doors, have doubtless added where they are foimd.
greatly to the popularity of angels as a Let us consider a few of the works by
purely decorative feature on secular American sculptors on the angel theme.
buildings. MacMonnies' angel figures These examples are representative of
over the Washington Arch and the the best that has been done on this
Brooklyn Arch are purely decorative most venerable of all subjects of art.
[157]
ART AND ARCHAEOLOGY
aspects of angels and less to the archaic
and strictly conventional treatment of
the theme. There are certain symbols
such as the pen, the scroll, the trumpet,
and the sword which have been found
necessary for the proper interpretation
of certain angel forms in sculptural art.
Without such symbols there would be
nothing to signify the special function
of an angel in a work of art.
The angel with a scroll which Herbert
A-dams placed on the Pratt memorial
in Emanuel Baptist Church in Brook-
lyn, has been much admired. It
probably portrays the function of an
accusing angel or a herald who reads
from a scroll the deeds of some saintly
life. The expression on that sweet
uplifted face, the direct look in the eyes,
and the ineffable smile on the lips,
make this one of the most satisfactory
angels in American sculpture. It pre-
sents as near an approach to the spiri-
tual as we have yet seen in marble.
Many angelic forms have been de-
picted by the facile chisel of Daniel
Chester French. For the greater part,
all these angels have been modeled with
the same care for truth as regards
draperies and textures of flesh and
feather as that artist gives us in all his
works. They are all beautiful figures
but they are all with one exception
Guardian Angel, by William Couper, on a clock tower
in Methuen, Alass.
merely beautiful women. In one of his
angels, however, French has reached
Although for the most part these works the high- water mark of all his works.
have been conceived and executed in This is Death and the Yomig Sculptor,
strict accord with artistic conventions, which marks the tomb of Martin Mil-
it pleasing to note that our artists
is more, a young sculptor of great promise
here as elsewhere have not been ham- who died at the very beginning of his
pered as regards many details which artistic career. In Death and the
might otherwise make their works Young Sculptor, French has portrayed
stiff and uni)leasing to the beholder. a handsome youth in the act of carving
We believe that our artists have given a relief of the sphinx. The angel of
rather more attention to the human death heavily hooded, comes to arrest
[158]
ART AND ARCHAEOLOGY
the sculptor's hand. In her other hand
she holds a spray of poppy flowers,
emblematic of sleep. Upon her half-
concealed countenance there is an in-
scrutable expression. In its fine con-
ception, in its execution, and in its
forceful handling, this work deserves
to take rank as the greatest creation
of its versatile author. In its other-
worldliness approaches the Adams
it
Memorial by St. Gaudens, in Rock

Creek Cemetery, Washington, D. C.
Adolph A. Weinman has produced a
vast number of angels, most of which
belong to the purely decorative type.
Among these decorative angels are the
reliefs in white and blue formerly on
the pediment of the Madison Square
Presbyterian Church, now on the li-
brary of the Metropolitan Museum of
Art to which building they were re-
moved when White's masterpiece was
razed recently. Weinman's angels are
executed with the same masterly tech-
nique as characterizes all his sculptural
creations.
Reference has been made to the
Adams Memorial in Rock Creek Ceme-
tery by St. Gaudens. Although not
intended for an angel, surpasses all
it
other sculptural works in mystery and
spiritual feeling. It is the most spirit-
ual work in all the realm of American
sculpture. St. Gaudens was the
author of the splendid reredos figures
in the Church of St. Thomas which
represented angels adoring the Cross.
That superb work of art was destroyed
in the fire which laid waste that im-
Amor Caritas, by Augustus St. Gaudens, in the
posing Gothic building. No replica of gallery of the Luxemburg in Paris. It is one of the
it is known to exist. But the best best known renderings of the angel theme by the
greatest of American sculptors.
known of all St. Gauden's angels is
Amor Caritas which belongs to the For angels of the strictly conven-
Luxemburg, replicas of which are the tional type, the works of Lee Laurie are
property of many other art museums. probably most numerous. Laurie has
[159]
o
a
73
XI
JS
H
"3
ART AND ARCHAEOLOGY
specialized in ecclesiastic sculpture. cerning that most absurd of all con-
His latest, and by far the most pre- siderations. Forgetting that there is
tentious, work of its kind in America, neither marriage nor giving in marriage
if not in the world, is the new rere- in heaven, that angels were just created
dos of St. Thomas Church, New York to fulfill divine commissions, that they
City. never grow old but always remain ex-
The art of William Couper has dis- actly as they were created that the—
played itself to a greater degree in question of sex should ever have come
angel portrayal than in any other field up for consideration is preposterous.
of sculptural art. are permittedWe And yet because of that very discussion,
herewith to present examples of Gutzon Borglum was constrained to
Couper's work on the angel theme. demolish the angels which he had been
The Recording Angel is in Norfolk, Va., commissioned to carve for the Cathe-
of which there is a replica in marble dral of St. John the Divine in New
in the Montclair Art Museum. The York. We regret that no pictures of
Angel of the Resurrection is in Chicago, those much abused angels are available
and the great relief or rather applique, for presentation here.
known The Guardian Angel, is in
as Whether around about us all unseen
Methuen, Mass., where it ornaments by mortal eye these celestial creatures
the entrance of a memorial clock tower. minister to our needs, or whether on
Couper excels in the modeling of drap- tireless pinions they fathom empyrean
eries and the realistic rendering of abysses or wing their flight to supernal
hands. His works betray the influence altitudes, we may not know. Indeed,
of Italy where Couper spent many long whether they exist at all, or if existent,
years in study and work. whether they possess the form which
In portraying the angel there has has been attributed to them since the
often been a funny side. Serious as —
world began all this is of little moment
must ever be the theme, and sacred as to us. It is enough that as Clara Ers-
is its association with the sadder aspects kine Clement has well said "Angels and
:
of life, amusing to read of the

it is archangels, cherubim and seraphim,
absurd discussions which have from and all the glorious hosts of heaven,
time to time disturbed human thought were a fruitful source of inspiration to
regarding the nature of these sublime the oldest painters and sculptors whose
beings and their specific functions in works are known to us while the artists
;
the economy of human existence. Per- of our own morepractical, less dream-
haps there is no more amusing discus- ful age are from time to time inspired
sion than that concerning the sex of to produce their conceptions of the
angels and the acrimony with which guardian angels of our race."
polemical wars have been waged con- Brooklyn, N. Y.
[161]
- \
î
CI
.
1 ffn' '
K^^^^^^^^^^^^^l
1
"
TUSCULUM, AND THE VILLA OF CICERO

By Clara S. Streeter
IS MORE
than a thousand years "Why go there?" asked my Roman
ITsince the spiked helmets of the con- when I expressed a desire to see
friend,
querors of Rome first glistened in the Tusculum and the Villa of Cicero.
sunshine on the Campagna wastes, or "There's nothing to see! Are there
the tramp of their mailed feet sounded not ruins enough in Rome?"
along the old Roman roads. But their "If ruins were all, Rome would
pathways are still marked by half- suffice," I replied. "But now that we
buried ruins that stand like grim- are in Cicero's own land, both my
com-
visaged sentinels, keeping guard over a panion and I feel that we must gratify
mighty past, where, under the maul of our desire to look over the hills he loved
unappreciative power, "Temples and and frequented long ago, and to see the
towers went down," never again to spot where so many of his great works
rise. Lord Byron and other gifted were written.
writers have grown eloquent over that "My wife and I have called," he
"double night of ages" and Rome "in returned suavely, smiling at my en-
her voiceless woe," while over the thusiasm, but including both my com-
verdure-clothed debris on the Tusculum panion and me in his glance, "to invite
hills only the nightingale has told, you to go with us for a drive on the
through forgotten centuries, the story Aventine at four o'clock tomorrow
of life and of conquest in the lovely afternoon. Later we will have tea on
villas that once crowned those splendid the balcony of the Ristcronte dell Cas-
heights and gave bits of local color to tello die Cesari, overlooking the Pala-
the themes of classic writers who loved tine — a view of enchantment in the
to find seclusion there. light of the setting sun. On this popu-
After the fall of Rome, six centuries lar balcony you may indulge in a bit
of changing conditions and disintegrat- of sentiment over our renowned Cicero,
ing forces made the ancient city of if you wish. It will be a more com-
Tusculum an easy prey to the comfortable way than taking a long tire-
bined forces of the attacking Romans some ride out to the Tusculum hills
and Germans, and in the year 1191 it and wandering over the supposed re-
was razed to the ground. Then, with a mains of his once beautiful villa."
gentle hand, pitying Nature shrouded "A ride of fifteen miles will surely
its desolation with woods and tangled not be long and tiresome," my com-
thickets. Situated in a commanding panion laughingly affirmed, "and we
position on one of the eastern ridges of will enjoy our drive with you and our
the Alban hills, a mile and a half from tea far better if we have first been to
modern Frascati, and with Rome lying the hills."
fifteen miles to the northwest, Tuscu- It was arranged, therefore, that we
lum lures the traveler, not so much by should go to Tusculum as we had
its ruins as by its atmosphere, its vistas planned, and at an early hour the next
of memory, and its vivifying impres- morning we were a-top a double-
sions of buried greatness. decked tramcar, passing rapidly
[163]
•
—4«i^jl,
r holograph by Clara S. Streeter
On the Tusculum Hills, not far from the ruins of Tusculum and its famous villas.
through the Principe Umberto. We by wealthy Romans in going to their

caught gHmpses of the traffic along the country homes on the hill slopes, we
—
way of workmen hurrynng toward the passed through an arch of the Aqua
city, of women with prayer books Felice, called Porta Furba, thence
going to early mass, of vehicles rattling to the station of Ostria del Curato, six
over the cobblestones, of newsboys miles out from Rome, where the road
—
crying their papers until presently forks, and the tramway turns to the
our thoughts were turned from these right, proceeding the rest of the way
scenes to the magnificent basilica of along the still more ancient Via Latina.
San Giovanni in Laterno, founded by The imposing ruins of the great aque-
Constantine the Great, and around duct constructed by Claudius stand as
which so much of history and art have silent testimonials of the wealth and
centered. Bells from the campanile mechanical skill needed for such a stu-
pealed out, then grew fainter and pendous work, but cur modern tram-
fainter as our car sped on beyond the car, clanging its right of way over a
old Roman wall into the gardens and "no-man's-land" of tombs, crumbling
villas surrounding it. Here we lost the columns, and fragments of ancient
impressions of urban life with its noise walls, seemed in marked contrast to
and strife, for olive groves, vineyards the prevailing desolation; for the Cam-
and blossoming trees, still wet with pagna, except for a herdsman's cabin
morning dew, extended around us in a or a slow-moving train, was what
maze of refreshing beauty. Charles Dickens has aptly called it —
Following the V'ia Tusculana, the a graveyard; but a graveyard that
old road to Tusculum most frequented showed " the vanishing footprints of a
[164]
Photograph from Chicago Art Institute
The remains of the large amphitheatre, showing the wildness of the approach, and the desolation now
surrounding the ruins of the Villa of Cicero.
once mighty race that has left our earth needed our kaleidoscopic view of
for
forever.
'
Lifting our eyes to the Alban

' fair Italy in May time
and they helped
;
hills, banked snugly against the Sabine us to appreciate the extensive garden
mountains, with the azure sky and mel- operations of the Frascatese whose
low sunshine over all, we felt the very name seems the equivalent of
glorious springtime enfolding us, as it Garden girl. The gardens and the town
had enfolded the great and buried past itself we found alluring even at noon-
in its ever-living embrace. time, when we descended from our
As we ascended, however, the sense high seat and lofty thoughts into a
of desolation lessened and we found the throng of frantic cab drivers, all eager
approach to Frascati very beautiful. to take us to Tusculum. Eluding these,
There were little fields of grain and fine we went to the Plaza Romana to secure
orchards on the hillsides; hamlets with a permit to drive through the private
weather-stained cottages, and villas grounds by which the old road to
that nestled in rose gardens under large Tusculum now is reached. Afterward
beech trees. There were men and wo- we spent a pleasant half-hour noting the
men in bright-colored dress, toiling in interesting features of the place among
the sunshine or cultivating vineyards which are two old churches said to
where little children ran in and out have first been mentioned in the ninth
among the rude trellises. All were century, and to have been built on the
[165]
Photograph from Chicago Art histit:ite
A partial restoration of the theatre among the ruins of Tuscnhtm,
ruins of a Roman villa, overgrown with came to the ancient road that led to
underwood whence the name.
(frasche), Tusculum. A grey stone Capuchin
The Cathedral of San Pietro, founded church partly covered with vines stood
about 1700 by Innocent III, is com- on a green knoll, and a little farther we
paratively new. Like Tu senium of old, saw the historic Villa Ruffinella almost
however, the chief interest of Frascati hidden in a bit of shady woodland.
is due to its palatial villas, each of The air was filled with fragrance as we
which has its own historical setting and ascended by this unpaved road through
appeals to the traveler as a unique meadows flecked with daisies and red
blending of the antique with modern poppies, and dells where ferns and val-
conveniences of life. ley lilies seemed hiding in the cool
Finding a driver with a bright boyish mossy shade. Snowy clumps of bridal
face, who, also, was possessed of a clean wreath grew in the hedgerows and
carriage and a decent -looking horse, we mingled with the pink petal? of the
bartered with him to take us to Tus- wild roses, making a most delightsome
culum and back in two or three hours. harmony of color effects, and a charm-
And such a ride of delight as it was! ing nesting-place for the little birds
After leaving the shady highway and that flittered around us and sang in the
passing through the grounds of the joyous morning sunshine. Some shep-
Villa Aldobrandini, with its terraced herds driving their sheep toward; rich
gardens, grottos, and fountains, we pastures on the other side of a deep
1166]
ART AND ARCHAEOLOGY
ravine, seemed to complete the sweet on the way to Rome and close to Via
pastoral beauty of those quiet, verdant Latina, we know that Tiberius erected
hills a palace. But the most interesting
After we left our carriage, the road associations of this once famous city
was steep and lonely and a guide with cluster about the great orator, Cicero,
a pretty fox terrier went with us the whose favorite residence for study and
rest of the way. Following a footpath disputations was at Tusculum. Here
through woods of elm, ash, ilex, and many of his philosophical works were
chestnut trees, and creeping under written, and tire charming dialogues,
tangled thickets, we came to the re- so universally known and loved.
mains of a large amphitheatre, re- We knew that the location of his
cently excavated, but still partly filled villa is not definitely known, but we
with earth and overgrown by shrubs readily followed our guide for aborrt
and grasses. This amphitheatre with three-quarters of a mile to the left of the
its central arena and backward sloping amphitheatre where some extensive
seats, capable of seating three thousand ruins, largely concealed by brushwood,
people, we were told, was one of the most bears the name of Villa of Cicero. Our
remarkable remnants of the once proud friend was right. There was nothing
city of Tusculum. As we stood fDy its to see save bracken, turf and wildwood.
crumbling walls I remembered that But if this were the site, the environs as
Tusculum was noted for its command- well as the villa must have been an
ing position; that according to tradi- inspiration to the great scholar.
tion it was founded by Telegonus, the Near the ruins we found the remains
son of Ulysses and Circe; that histori- of the forum arrd a large open air
cally it was a prosperous and powerful theatre, excavated in 1839. Following
city in the days of Imperial Rome and a narrow footpath to the right and bend-
that, during the Republic, wealthy ing under tangled vines for a quarter
Romans had built their villas there, of a mile, we reached, on higher ground,
beautifying the grounds with gardens the site of the castle. It was built
and fountains, and adorning the walks on an artificially hewn rock, now sur-
and loggias with sculpture and art from mounted by a rude cross held in place
far-off Greece. I knew, too, that after by a pile of stones, half hidden in shrub-
the Western Empire fell, this city, safe bery. With difficulty we climbed this
on its height, survived until, at the pile of rocks, and, startling a thrush
close of the twelfth century, it, too, from her nest at the foot of the weather-
fell before its conquerors. I turned beaten cross, we looked out over an
suddenly, from the evidences I found of expansive and most magnificent view.
the tragic wreck of war, and tried to In the distance the purple shadows of
picture how the city looked in her first the Sabine mountains blended with the
pride and glory and wondered where depths of misty blue above and melted
the famous villas had been built. into the fresh green of the woodlands,
LucuUus, we are told, had a large and fields, and vineyards below. Against
very magnificent villa, here, with parks these Tivoli and Mintecelio seemed like
and gardens extending northward for cameos wrought on emerald. Soracte
miles. Similar country homes were arrd the Ciminian mourrtains shimmered
built by Cato, Julius Caesar, Crassus, in the scintillating rays of the rroonday
Brutus and others. Near Tusculum, sun; the wide Campagna, with its
[167]
;
ART AND ARCHAEOLOGY

aqueducts, stretched towards the sea; cero's bestknown works. It was under
and Rome, with the dome of St. Peter's the porticos of his gymnasium that he
shining above it, could be seen in the discussed with his friends the topics of
distance. At our left lay Grotta- wisdom, pain, good and evil, virtue,
ferrata, Marino, Castel Gandolfo, and and the meaning of death. These
Monte Cavo with Rocca de Papa below conversations he perpetuated in the
it. Close at hand, fertile valleys and charming dialogues known as Tuscidan
wooded hills shone resplendent in the Disputations. It was here that most
sunshine. of his philosophical works were written
But the sunshine on the hills is less here he sought letirement when his
subject to change than are the works tempestuous public career drew toward
of man. We may trace the scenic its close; here that he wrote the mas-
beauties of the natural world that must terly essays which everj^ student of
have charmed the eye of Cicero, but literature learns to love the De Senec-
:
only through the writings of himself tiitc in which he praises the worth of a
and his contemporaries may we know wise old age; and De Amicitia in which
the plan of his villa and its comparative he explains his ideas of friendship.
value and beauty. Cicero tells us that Surely Cicero must have loved this
it was not so large as that of his neigh- charming spot! Many of his writings
bor, Gabibius, the consul, but it must reflect the harmony and beauty of
have been of considerable size for it nature which he felt, and an atmosphere
had two gymnasiums with covered of retirement that reflection upon the
porticoes for exercise and discussion. ultimate issues of life requires.
One of these, on higher ground, was As we took a last lingering look from
called the Lycciuji and contained a the heights and turned to retrace our
library; the other, shaded by trees, steps, I tried to realize that nearly two
was called the Academy. The main thousand years had passed since Cicero
building contained a covered portico had sojourned there. I thought rever-
or cloister with recesses for seats. It ently of his life; his fine oratory, his
also had bath rooms and contained a statesmanship; his finished rhetoric;
number of works of art-pictures — and his many and varied works. I remem-
statues in bronze and marble. bered, too, that in his career he had
We like to think of Cicero as the fore- known the full gamut of public opinion,
most voice of the senate; to feel the having been exalted as a god a "Sav- —
passionate patriotism with which he ior of Rome" and having met enmity,
frustrates such conspirators as Catiline. proscription and death. The villa
But we knew, too, that his humane and where he lived is gone. The plaintive
scholarly life often seem unfitted to dove coos to her mate; the lark soars
the time in which his lot was cast — the and sings in the blue above the hills
wildest century in the grim annals of he loved; the city of Tusculum,
Rome. Cicero was pre-eminently a strong, prosperous and influential for
pleader, but when his ill-starred politi- centuries is a ruined waste; but, the
cal alliances forced him into retirement, great scholar's thoughts live on and
other literary activities were his em- many of his works are no more subject
ployment and his solace. The Villa to death and decay than are the moun-
and its environs are important because tains or the stars.
they furnish the background for Ci- Denver, Colorado.
[168]
CURRENT NOTES AND COMMENTS
An Underground Tomb With I)iiporta)it Fresco Decoration Recently Discovered in
Rome.
Medallion, representing different animals feeding near rustic cottages.

Below probably Ulysses after his return to Ithaca.
In November 1919, an important archaeological discovery was made in Rome near the Viale
Manzoni in the Esquihne region, about 300 meters from the Porta Maggiore, where is situated the
subterranean basilica of which an account was given by Mr. C. Densmore Curtis in Art and
Archaeology for June 1920.
As often happens in the case of striking and important archaeological discoveries, this, too,
was due to chance. During the construction of foimdations for a great auto-garage the workmen
came upon traces of early walls which were not thought worthy of preser\'ation. During their
demolition, however, they came upon the vault of an underground room covered with frescoed
decoration. At this juncture the government Bureau of Excavations took charge of the work
which was carried out under the direction of the author of the present article.
The discovery was soon found to be of much more importance than was at first supposed, and
in a short time the excavators disclosed a spacious room, nearly square in form, with sides 4.50
meters in length, covered with a vaulted roof in the center of which is a square opening com-
municating with the outer air. The walls and vault are entirely covered with fresco decoration.
In the walls on either side of the staircase which gives entrance to this room are arched niches,
or arcosolia, clear proof that the monument was used as a tomb, and still further evidence is
[169]
Fresco with a row of twelve human figures.
given by the inscription in the mosaic floor, formed on a white ground and giving
of black letters
the name of a certain Aurelius Felicissimiis who dedicated the tomb to others of the same family,
both brothers and fellow freedmen.
In the wall opposite the entrance a monumental doorway, built of cut bricks, with tympanum
and columns, was added at a later period. In its construction one of the arcosolia was destroyed
and also some of the original frescoes. The door gives access to a descending staircase from which
one enters into galleries formed as a result of successive enlargements of the tomb, with loculi
excavated in the tufa as in the catacombs. The entire tomb was plundered in ancient times.
The most important feature of the discovery consists of the frescoes on the walls of the main
sepulchral chamber. There we find executed on the low plinth a series of eleven (originally
twelve) standing male figures each clad in a long robe or pallium, and varying from 1.04 to 1.13
meters in height (Fig. 2). Some are bearded and some are of younger aspect with smooth face.
Some hold in the hand a roll or vohimen while others are speaking with animated gestures. The
preservation of the frescoes is good and shows the skill by means of which the artist with the use
of but few fines was able to give life and character to his figures. Later research may disclose
the identity and purpose of the individuals represented, but even now we can without hesitation
say that this portrait gallery is the most important Roman monument of its kind, and is therefore
of inestimable value.
Above the eleven male figures are numerous friezes and lunettes, and above these is the richly
frescoed vault in which we find four symmetrically arranged medallions each with a representation
of the "Good Shepherd." Surrounding these are masks, baskets, peacocks and other birds,
between garlands and other floral motives. On the wall to the left as one enters, within a
medallion, is represented a bearded sitting man with an open roll in his hands and at his feet a
[171]
ART AND ARCHAEOLOGY
flock of sheep. In the frieze below is a man on a prancing horse followed by a crowd of persons
and received near the gate of a city by a procession of citizens. The town is shown in most novel
manner in a bird's eye view. On the central wall is a crowded assemblage of persons within a
quadriporticus or forum. On the right as one enters is another medallion with a banquetting
scene, and a great lunette (Fig. i) in which is skillfully represented a large number of different
beasts such as oxen, horses, asses, and goats, feeding near several rustic cottages beneath the walls
of a city which appears in the background. Below the lunette is a scene which probably represents
Ulysses after his return to Ithaca but before he is recognized by Penelope. In the center is a
weaver's loom.
Still another staircase leading to the right from the one descending to the main chamber gives
access to still another sepulchral room with arcosolia. It has the same orientation as the main
chamber and is enriched with interesting pictures which are not, however, as important as
the first described. Figure 3 gives an example of these frescoes and represents the rear wall of an
arcosolium on which we see a row of twelve human figures. From this room also one can descend
to 'a still lower gallery which was excavated at a later period and furnished with loculi and frescoed
arcosolia.
The date of the tomb is in the second half of the II century A. D., about the time of Marcus
Aurelius. The meaning of certain of the frescoes is still in doubt. Was it a Christian cemetery?
Does the series of twelve figures represent the Apostles? The hypothesis most worthy of credence
is that we have a hypogeum belonging to the members of a Christian but heretic community.
Wliatever may be the final decision, however, as to the meaning of the different frescoes, it is
certain that we have in this tomb a most important example of the decorative art of Imperial
Rome. GoFFREDO Bendinelli,
Inspector of the Government Excavations, Rome, Italy.
An Apartment House of One Thousand Rooms.

Under the above caption. The Boston Evening Transcript, January 22, 1921 gives a full page
review, with reproductions of 7 illustrations of the Chaco Canyon Double Number of Art
AND Arch.veology (Jan.-Feb., 1921).
The writer of the review, Theodore G. Joslin, summarizes the account of the excavation of
Chettro Kettle by Dr. Hewett, in the opening paragraph as follows:
"Great community structures and religious sanctuaries, which challenge the admiration
and constructive ability of our modern civilization, are being slowly unearthed b)' archae-
ologists operating in what is known today as Chaco Canyon, New Mexico. Centuries
ago these buildings were occupied by a race which has attained complete obhvion. In
recent years the desert sands have been swept aside, revealing one wonder after another.
The greatest wonder of all, however, came to light only a few months ago, when forces
working at Chettro Kettle, under Edgar L. Hewett, director of the School of American
Research at Santa Fe, excavated an ancient apartment house containing one thousand
rooms. In enduring, residential architecture the unknown people who constructed the
building attained to levels not surpassed by the architects of the ancient world. The
apartment, which has been entirely buried for centuries, would occupy two average blocks
if set down in a modern American city. Its great curved front extends for seven hundred
feet. In its walls are fifty million pieces of quarried stone, not to mention thousands of
logs, poles and slabs, which were cut in distant forests, transported by man-power, and set
in their respective p'aces with the aid of implements of stone. The building, archaeologists
are satisfied, was erected, not by unwilling workers, who labored under the lash of priestly
or kingly taskmasters, but by a virile people, who took pleasure in what they were doing."
Annual Meeting of th3 College Art Association.

The Annual Meeting of the College Art Association of America was held at the Corcoran
Gallery of Art, Washington, D. C, March 24-26. An account of the papers of especial
interest to Art and Archaeoiôgy readers will appear in the next number.
[172]
BOOK CRITIQUES
The Metropolitan Museum of Art. Catalogue sentative covers the whole history of art.
of Engraved Gems of the Classical Style. By Here can be found an excellent treatment of
Gisela M. A. Richter. New York, iq20. Pp. gems as works of art and as seals (I miss a
Ixxiv, 2J2. Illustrations and plates. $j.oo. reference to Bonner's article on The Use and
Effect of Attic Seals in Classical Philology III,
This ideal catalogue continues the high 1908, pp. 399-408), of the choice of designs on
standard set by Miss Richter's catalogue of the gems, of gems as ornaments, as amulets, of the
Greek, Roman and Etruscan Bronzes and by appreciation of gems, of gem engravers, of
herHandbook of the Classical Collection (see forgeries, of the technique of gem engraving and
Art AND Archaeology, p. Ill, 24; VIII, p. 240). of materials used for ancient gems.
It is beautifully printed and beautifully illus- The Introduction is followed by a bibli-
trated with eighty-eight plates on which is ography and a list of collections and then comes
reproduced practically every one of the 464 the catalogue proper arranged according to
gems in the exact size of the original, the more periods from the Minoan to the Post-classical
important repeated in enlarged form and those of the eighteenth and nineteenth centuries.
especially attractive reproduced from enlarged For the Graeco-Roman, Later Imperial and
drawings. Post-classical periods the gems are divided into
Gems have had an interest for collectors intaglios and cameos and discussed under such
from the earliest times and even in the ancient subjects as deities, heroes, mythological animals
day as nowadays collectors deposited them in and monsters, portraits, scenes from daily life,
temples, which were really museums, for the animals, grylloi, objects, symbols, etc.
public to enjoy. Scaurus had a cabinet of The text is extremely accurate, though
gems. Pompey placed the collection of Mithri- scholars may dispute the genuineness of a few
dates in the Capitol at Rome. Julius Caesar, of the gems. There are very few misprints.
who was especially fond of collecting gems by Dio Cassius should be Cassius Dio (p. xxi).
old engravers, deposited as many as six cabinets P. XXXV Dexamenusis from Paros; p. xxxviii he
in the temple of Venus; and many other exis from Chios (which is correct). P. xxxix
amples might be cited. So it is a pleasure to the gems of Delon and Sosis are intaglios not
see an old custom revived today and many fine cameos. P. xlii Nicomacus should be Nicoma-
private collections going into museums, and we chus. P. 37 there is a mistake in the Greek
hope that the Lewes collection of which Mr. word for seal rings quoted from Aristophanes.
Beazley has published a catalogue simul- In no. 177 the forms of the letters in the inscrip-
taneously with Miss Richter's catalogue will tion are wrongly given and in no. 345 the last
be purchased for a public museum in America. letters of the inscription cannot be seen in the
Classical gems combine exquisite workmanship illustration. P. 54 for the mutilation of limbs
with beauty of material, and their artistic to prevent vengeance, a reference to Rohde's
excellence lifts them out of the class of decora- Psyche-, i, p. 326 and especially to Matthies,
tive objects and puts them on a par with the Die Praenestinischcn Spiegel, p. 23 would be
products of the higher arts. The study of profitable (cf. ApoUonius Rhodius, Argonaulica
Greek and Roman gems is the study of classical IV, 477 f.) P. 116 Adriasteia should be
art in miniature, since they reflect faithfully Adrasteia. D. M. R.
the styles of the various periods to which they
belong, giving an accurate picture of the de-
Fogg Art Museum, Harvard University. Col-
velopment, prime, and decadence of classical art.
Mediaeval and Renaissance Paintings.
lection of
The Introduction of seventy-five pages gives Harvard University Press, Cambridge.
the best short account of ancient gems of which
I know in English. This supplies a need which This, thefirst Fogg Catalogue of early paint-
is not supplied by Beazley's recent catalogue of more than a Catalogue, and sets a
ings, is far
the Lewes collection and makes Miss Richter's standard well worthy of emulation by other
catalogue much more than a catalogue of the Museums. It represents only one department
Metropolitan collection. It is a good general of the Fogg Museum's rich collections, but that
handbook for all interested in the subject of on which it has laid especial emphasis from the
gems and because the collection is so repre- start, namely, the gathering of masterpieces of
[173]
aa
early religious painting. This volume is con-
fined to pictures dated before 1700.
As the catalogue is designed, among other
purposes, to be a handbook for Harvard and
— Permanent
Prepared Radcliffe students, its plan is an exposition of
the various historic fchools Reproductions of
ARTISTS' OIL COLORS the sixty-seven paintings are divided into
In Collapsible Tubes eleven groups, each with an introduction and
DEVOE COLORS make your descriptive matter. Especially deserving of
arhieveraents permanent records of
Itithful color interpretation. mention are the accounts of Byzantine in-
Irom carefully prepared pigments fluence on later schools by the director Edward
KTimnd to a firm consistency and
iiiicness of texture and most thor- W. Forbes, that of Florentine painting by
uti^;hly incorporated with the purest
oil.
Arthur Pope, and that of the Sienese School bv
This embodiment creates an easy- George H. Edgell. The Umbrian, North
Ilciwing, sympathetic medium that
will meet all the requirements of the Italian and Venetian Schools, and Spanish,
most exacting artist.
Whether applied generously or spar- German, French, Flemish and English Painting
ingly their brilliance remain unim- are next discussed in the order mentioned.
paired.
The most minute details in color The paintings are described in unusual detail.
laboriously developed to produce Mention is made of examples of the work of
Devoe Master Colors. each of the painters in other American collec-
These painstaking efforts have been rewarded by
the production of mediums recognized the world tions, and the bibliographies make it possible
over as Master Pigments — Devoe Artists' Colors.
for the student to pursue the subject to his
It will indeed be a pleasure to give such expert
informalioji as may be desired — either theoretical. heart's content. Thus the volume is more than
chemical, or pertaining to actual color application
— wr lie Hs freely. a mere catalogue or handbook. It is a com-
The Oldest Color Makers in America prehensive and scholarly treatment of im-
EI^TABLISHED I754 portant schools of Mediaeval and Renaissance
DEVOE &RAYNOLDS CO., Inc. Painting based upon the study o;' the examples
New York-Chica£o-Kansas City-New in the Fogg Art Museum. M. C.
S
Orleajis
Decorated Wooden Ceilings in Spain. A

Collection of Photographs and Measured Draw-
ings with Descriptive Text. By Arthur Byne
and Mildred Stapley. The Hispanic Society of
PAINTINGS America. G. P. Putnam's Sons. igso. $ij.

Supplementary Volume of Text bv same authors.
$1.50.
WANTED This
volume
handsome portfolio with the
on "Decorated Wooden Ceilings
of text,
in Spain," is one of the series of publications
small
issued by the Hispanic Society of America, for

We Wish to Purchase Paintings
whom G. P. Putnam's Sons are the publishing
agents. The wooden ceilings of Spain are
h unique in Europe, save for a few Sicilian
Inness Twachtman
examples dating from the Saracenic occupation,
Wyant Weir and this is the first time that they have been
Martin Ryder presented in collected form.
The duodecimo volume with its 16 full-page
Homer Whistler il'ustrations, after an introduction giving some
Fuller Duveneck general facts about ceiling-making, devotes
single chapters to Mudejar Ceilings (the
Blakeiock Murphy
Mudejar style being that evolved by Moorish
artisans working for Christians) the Christian
;
GEORGE H. AINSLIE Ceiling and its History; Structural Classifi-

cation; the Renaissance Coffered Ceiling; and
GALLERY the Painted Decoration of Ceilings. The
615 Fifth Avenue, NEW YORK authentic history of this subject begins with
tlie Moorish occupation of Spain, and con-
On Exibition Fine American Paintings cludes with the latter part of the sixteenth
centurv.
Kindly Mention Art and .ircliaeology.
[174]
The Portfolio of Plates contains 56 repre-
sentative examples, both as to structural form
and applied decoration, of Spanish Ceilings.
Patrons and lovers of architecture are greatly
^XFORD books and Oxford
indebted to the Hispanic Society and the scholarship are synony-
publishers for the production of this rare and mous. All bookmen know
beautiful work, which places a comparatively this and unhesitatingly recom-
unknown field of art in the reach of all. mend them, confident that the
M. C.
cA selection of Aose recently issued.
Modern Greek Stories, translated from the
original by Demetra Vaka and Arislides Phoii- HELLENISTIC SCULPTURE
trides, with a foreword by Demetra Vaka. "By Guy Dickins fiet ^8.00
Duffield Company, New York. ig20. A scholarly monograph, beautifully illust-
"Take Greece to your heart and you will
MEDALS OF THE RENAISSANCE
feel grandeur quivering within you," says By G. F. Hill "êt ^25.00
Solomos. But it is only the "Glory that was Covers the entire field of medallic art in
Greece" that the world has taken to its heart. the fifteenth and sixteenth centuries, valu-
able alike as a reference work and for its
Byron and the Revolution awoke a momentary fine illustrations which figure for the most
interest but it remained for Venizelos to make part pieces not previously illustrated.
us think of Greece in the present tense. Per- MOSLEM ARCHITECTURE

haps the quickest way to know a people is not
through history but the contemporary fiction
%AG. T. RivoiRA
pioneer
^^H^t ^21.00
work describing the develop-
ment of the Mosque in Syria, Egypt,
which reflects its daily life. Those who have
Armenia and Spain from its birth down
had only a traveler's glimpse of the picturesque, to the twelfth century. 158 plates.
hospitable peasants among the golden hills of
HISTORICAL PORTRAITS
Hellas, will be grateful to Demetra Vaka and
1400-1850
Aristides Phoutrides for the opportunity of
'By C. R. Fletcher 4 vols. ^22.60
^
becoming better acquainted. The "Modern
Greek Stories" they have translated, tho
A splendid collection of 49 1 portraits by
masters of all periods selected by Mr. Emery
written by Intellectuals, are vivid pictures of Walker, with an interesting biographical
village life. One story, by Palamas, begins sketch of each subject.
with a dedication to his old nurse: "It was RAJPUT PAINTING

from your mouth that I heard it first and I 'By Ananda Coomaraswamy
tried to be just your echo. For when you talk, 2 vols. "^Vê/? 126.00
a whole people whispers your words, and tho Probably the greatest work on the subject,
you don't know it, every story you tell is a with a large number of exceptionally fine
poem of the race." It is interesting to see in plates many of which are in color
these modern peasant tales, racial traits of the INTRODUCTION TO ENGLISH

—
old classics the poetic personification of CHURCH ARCHITECTURE
Nature, and a melancholy sometimes carried to 'By Francis Bond 2 vols, "^t ^25.00 K]f
the point of fatalism but always lightened by A standard work covering the subject
the Greek love of beauty and joie de vivre. For from the eleventh to the sixteenth centuries
example, "Sea" by A. Karkarvitsas suggests with upwards of 1400 illustrations.
Sing's "Riders to the Sea" in its characteriza- A HISTORY OF FINE ART IN

tion of the ocean as man's tragic and irresistible INDIA AND CEYLON
fate. But there is none of the gray Celtic gloom 'By V. A. Smith ^38.00
in the Greek tale. The young sailor knows The result of a lifetime of study both
that the Sea "has no faith or mercy, " that her from the archaeological as well as the art
point of view with nearly 400 illustrations.
call may mean death. But she comes to him as
his first sweetheart, to lure him from home and c4t all booksellers or from the publishers.
human love, he sees her as "a young bride, OXFORD UNIVERSITY PRESS
clothed in blue, young, glad and tenderly;" American 'Branch
he remembers the touch of her waters "like 35 WEST 32nd STREET, HEW YORK
warm kisses;" he hears her call, "Come! come!"
And he goes to his fate with joy as well as
regret. AnxE Charlotte_D.\rlington.
Kindly Mention Art and .irchaeology.
[175]
— "
The Leopard Prince. A Romance of Venice

in the Fourteenth Century at the Period of the
Bosnian Conspiracy. By Nathan Gallizier.
The Page Company. Boston, igzo.
Printers This
Queen
is an historical romance of Venice, the
of the Adriatic, beginning with the year
1355. of which the central figure is the Prince of
Lepanto, Zuan Costello, known as the Leopard
r\Y HIGH-GRADE Prince from his coat of arms, a dramatic hero
MAGAZINES, who combats the conspiracy headed by Lucio
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nnnnnn artistic splendor and autocratic government of
Venice at this period. The book is of timely
interest because the author has chosen scenes
Gibson Bros. for his story which figured in the World War.
Modern European History by Button Webster.

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D. C. Heath Co. ig20.
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This school text book of Modern European
WASHINGTON, D. C. History is of value to art students because of
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X\TI Centun,' through the Peace Conference.
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[176]
{(\
ART AND ARCHAEOLOGY

Pdblishbd at WASHINGTON, D. C. by

ART AND LIFE (new York) combined with ART AND ARCHAEOLOGY
Volume XI MAY, 1921 Number 5

WILLIAM H HOLMES MITCHELL CARROLL
BOARD OF EDITORS
Virgil Bareer BOARD OF MANAGERS
Charles Upson Clark J. Townsend Russell. Vice-Chair man
Albert T. Clay
James C. Egbert
Charles T. Currelly
Edgar L- Hewbtt BuRwELL Cutler

S.
Morris Jastrow John Larnbr
B.
FiSKE Kimball
Charles Colfax Long
David M. Robinson
CONTENTS
THE ARTS OF CZECHOSLOVAKIA.
Planned and Edited by Ales Hrdlicka.
Art in Czechoslovakia Ales Hrdlicka . . . 179
Folk Art . Karel Chotek .... 185

Twenty-six Illustrations
Architecture Oldrich Heidrich . . 199

Three Illustrations
Sculpture Oldrich Heidrich . . 207

Four Illustrations
Painting Ales Hrdlicka . . .213

Six Illustrations '

Two Illustrations
Book Critiques 223
Terms: ?5.oo a year in advance: single numbers, 50 cents. Instructions for renewal, discontinuance, or change of address should be
AH correspondence should be addressed and remittances made to Art and Archaeology, the Octagon. Wa'^hington, D. C. Also
Advertisements should be sent to Chandler-Jennings, Inc., Advertising Managers, i Wêst 34th St., New York. N. Y, the New
York Office of Art and Archaeology.
Foreign subscriptions and advertisements should be sent to David H Bond. 407 Bank Chambers, Chancery Lane. London. W. C.-i.
Entered at the Post Office at Washington. D. C. as second-class raail matter Acceptance for mailing at special rate of postage
provided for in section 110.3. Act of October 3. 1917. authorized September 7, 1918.
Copyright. i92i.bv the Archaeological Institute qf America
u
<
ART dnS.
ARCHAEOLOGY
Volume XI MAY, 1921 Number 5
ART IN CZECHOSLOVAKIA
Introduction bv Ales Hrdlicka.
vSPEAKING of Art among mod- ideological proposition, no two scholars

INern peoples of the white stock, we can will achieve the same literary produc-
hardly do so any more in the com- tion, and the same applies to art and to
prehensively subjective sense and say nations. It is thus that art in America
American, or English, or even French, will some day be shaded "American,"
Russian or Czechoslovak Art; it is, that art in France is tinged by some-
rather, art in America, England, France thing distinctly "French," and that art
Russia, Czechoslovakia. The pristine in Czechoslovakia has acquired and
time, when
a people such as the Egyp- is developing the flavor of "Czecho-
tians, Assyrians or Greeks, could de- slovak," which might be difficult to

velop an art realm of their own, is past, define in so many words, but which is
and the more modern nations must be well appreciated by those of developed
content with a more or less secondary art knowledge and sense in other
role. For art however broadly we take
, countries.
it, is after all limited. It is limited by Artistic tendencies are inborn in all
our resources, but especially by the peoples, they are a pan-human quality,
scope of our senses and our intellect. but they differ from group to group in
Once the available field is fairly covered volume, warmth, color, directions and
and the main possibilities have been effects. Again, as with individuals,
utilized, there remains not much more there are peoples in whom artistic
for art than amplification and refine- tendencies on the whole are poorly de-
ment. Later historic nations develop veloped, or at best remain quite sec-
details, styles, peculiarities, "schools," ondary to the routine mental manifesta-
but, in the main, upon already well NoTE. —The Bohemian alphabet has a number of
letters not occurring in English they are pronounced as
known principles.
;
follows: c=ch in "child"; s = shin "she"; z =j in "jour"

However, as each people differs more or z in" azure ;"ch=ch in "Nacht";and r, which can
be approached by the combination of "rzh." The
or less in mentality from all others, so accent '
makes the letter long. \'owels are all pro-
will their art differ. Given the same nounced full, as in continental Latin.
[179]
ART AND ARCHAEOLOGY
tions, the routine life in others they are
; some cases of truly world reputation.
well represented in the mental complex, Names likeDvorak, Smetana, Fibbich,
but yield readily to a cool coordination Sevcik, Kubelik, Destinn, Manes,
with the rest of the intellectual pur- Brozik, Mucha and others are well
suits and then there are those in whom
;
known wherever art is cherished.
the love of beauty, of form, of live color, The innate qualities of the Czecho-
of sound, of rhythm, are of the strongest slovaks in relation to art are an in-
life attributes, and in whom art in some heritance of the far past, and have their
form or other is a constant efflorescence, source doubtless in the original Slav
at the expense even sometimes of the stock from which these tribes during the
more utilitarian functions. These are earlier part of the first millenium b. c.
the favored of the Muses, to whom ap- began to separate. In the course of
preciation and love of beauty in its their subsequent existence however, the
whole gamut are soul essentials. Such Czechs in all lines of intellectual pur-
people create in art, and in all directions suits are subjected to considerable out-
where creation is still possible; with side influences, especially in Bohemia;
nature's tools they embellish and intone but the effects of these influences may
more sober natuie, and if general con- always be traced and discounted. They
ditions are not forbidding, they give merely give another direction now and
from their plentiful cup to the rest of the then, and usually a general impetus, to
world; they produce painters, sculptors, the art pursuits in the country. There
architects, musicians of world reputa- are noticeable in Bohemia in turn strong
tion. Byzantine, Roman, Dutch, Italian, as
The Czechoslovaks must belong well as French and German influences.
somewhere near this last category of These influences introduce the classic
peoples. With the rest of the Slavs they styles and modernized art, and at times
are people of sentiment, of natural and prevail; in the end, however, their
pious idealism, of predominating love results are essentially always but a
of beauty in all its forms. Their stimulation and strengthening of the
villages blossom irrepressibly with folk native qualities; the new is largely as-
art ; their cities reflect the best arts of similated rather than grafted on. As
modern Europe; while music, a higher soon as the pressure of circumstances
than ordinary music, from ancient relaxes, the native artists, the native-
poetic folk song to modern powerful bred art begin to reassert themselves.
hymns and opera, pervades everything. Moreover the foreign influences remain
As a witness to their riches in just one limited to the cities and their spheres of
direction —
there is now in press a col- influence— the country, in the main,
lection of their folk chants, to the remains as it was. That there was
number of twenty thousand. They never respite enough, outside of folk art,
have given the world, notwithstanding fully to develop the native tendencies,
their relatively small numbers and their was wholly a matter of the vicissitudes
debacle during the Thirty Years' War, to which the country was subjected.
with the subsequent three paralyzing The history of art in Czechoslovakia
centuries under Austrian subjection, may be roughly divided into (i) the
many a composer, musician, painter and Early Historic; (2) the Mediaeval; and
others in art, not to speak of poetry and (3) the Modern. The Early period is
literature, of more than local and in that before the Christianization of the
[180]
ART AND ARCHAEOLOGY
rulers of Bohemia in 874 the Mediaeval
; foster art in all directions. Where
may well be conceived to begin with the native training does not suffice, they
year 874 and to end with the Thirty call in temporarily renowned architects
Years' War and the long prostration and other artists from other countiies.
that followed it; while the Modern The transitional or old, and then the
period, though beginning properly with true Gothic, follow upon the Byzantine
the commencing reawakening of the and Roman, exerting a profound and
nation towards the end of the XVIII, widespread influence. Prague the
does not actually set in before the capital, other large cities and the
middle of the XIX century. country, become studded with re-
The art of the Early Historic period markable churches, castles and man-
was the Czechoslovak art proper; but sions, many
of which (seme still well
it was perishable art which left little if some in ruins) exist to this
preservêd,
anything to posterity, except in sur- day in the "hundred-towered" city
vivals. It was the art of the frame above the Vltava and elsewhere in
dwelling, of the carved statue of the Bohemia. And the smaller towns, then
pagan deity, of possibly some carved or as later, reflect the prevailing art in the
painted utensils and furniture, and of fafades of their houses, in their roofs,
the woven, embroidered or painted their causeways and ceilings, their
decoration. There was also some art furniture, and in other particulars.
in pottery, weapons and jewelery, but Even the better class of rural houses
this was probably less truly native, and show the changing tendencies. The
belongs also more to the field of archae- prosperous period of art lasts from the
ology. There were surely abundant XIII to the XV
century. The time of
folk dances and folk songs with poetry Karel IV (1333-1378), in particular, is
and mimicry. Survivals of much of the " golden age " of art in all branches,
this can be traced, and that in wide in what then represented the Czech
distribution, to this day, but records are countries.
very fragmentary. The XV
century, however, brings a
Thechristening of the Czech Duke serious reversion. It is the time of the
Bofivoj in 874, by the Macedonian stern spirit of early Reformation, and
apostles, Cyril and Methodius, which engenders the terrible Hussite wars
was soon followed by the Christianiza- (141 9-1436) which are attended with
tion of the whole nation, makes a sharp vast destruction. Many of the castles
boundary in art development.Under are ruined, churches burned, much in
Byzantine and then Byzantine-Roman all forms of art destroyed, and but little
influence, characteristic church and constructed.
later on monastery and convent struc- The main work for many decades
tures arise, remnants of which may
be after theHussite wars is that of
found in Czechoslovakia to this day; repairs. With the gradual advent of
and architecture is soon followed by more peaceful times Art, however,
church painting, sculpture and carving. reasserts itself, and that with the so-
In the course of time as cities grow there called Vladislavian or late Gothic, and
is also a development of lay architec- then with the Renaissance (15 10 on-
ture with decoration and artistic work ward) and also in illumination. But
;
in metals. The Dukes and then Kings, the nation never fully recovers. It is
the nobles, the wealthy merchants, beset with increasing internal as well as
[181]
ART AND ARCHAEOLOGY
external difficulties of religious and Theatre, the ^sceneries of Mafak, the
political nature, which forcibly pre- portraits of Svabinsky, the exquisite
occupy the minds and which eventually, sketches of Marod, and the great
in 1620, culminate in the abrogation of historic tableaux of Brozik and Mucha.
Bohemia's independence, in the scourge The old "Fraternity of Painters,"
of the Thirty Years' War, the exile of established in 1348, is succeeded (1796)
nearly thirty thousand of the best by the "Association of Friends of Art,"
Czech families, the systematic destruc- which exists to this day. Art work in
tion under Jesuit- Austrian guidance of metals and carving rejuvenates, only
the literature of the "rebel," "heretic" however almost to yield later to modern
people, with a vast loss of life and ma- machinery. Sculpture assumes a
terial ruination. healthy, virile progress, and has reached
It is long after the Thirty Years' War already some striking composites, such
that Art in the Czechoslovak countries as Palacky's, St. Vaclav's and the Jan
really begins again to prosper, and little Hus monuments in Prague.
wonder that once more it is the subject Aroused by Manes the national
at first of considerable outside assist- spirit finds increasing favor and for a
ance, favored by the enriched enemies time it seems as if at last it would be
whom indebted Austria has rewarded at —
permitted to develop fully when at the
Bohemia's expense. Only slowly do the very end of the century it is temporarily
innate qualities of the people begin again no doubt, but seriously blighted once
to reassert themselves. Some of the more by the "official," made-to-order,
damage is repaired and some new work art "regulations" of Austria. Austria,
furthered. The baroque and rococo, increasingly jealous of its provinces,
introduced by the now dominant Cath- and controlling absolutely all art as well
olic church, are adopted, and are greatly as other instruction, abuses its position
modified into more pleasing forms for the introduction of regulations
which gain a wide dispersion. History, which do away on the part of the Czech
literature, poetry, painting, especially art scholars with national originality or
painting al fresco, and sculptuie begin tendency, replacing it forcibly by a
again to be cultivated. But on the banal, cold art of the Austrian "em-
whole, the nation is recuperating, and pire." This results in a progeny of
preparing for its future cultural as well "ex-nationalists" whose art is out of
as political liberation. sympathy wich the warm national Slav
The Revival or jSIodern art period is tendencies. Only the masters have
delayed until the XIX centur>^ When escaped, but their whole example and
it finally comes, it is characterized in influence, as well as time, will be re-
Bohemia as everywhere by a variety quired for undoing the harm done.
and mixture of styles, with adaptation Austria has left to Czechoslovakia
to modern requirements and resources. many a burden of malheritage, of which
Painting, which hitherto has been that in Art is not the least.
almost wholly church, portrait cr Notwithstanding all, to-day Art in
decorative and ilknninative painting, every branch, in the purely aesthetic as
extends now predominantly into the well as in the applied and the industrial
natural and humane spheres, to cul- arts, is once more fully alive in Czecho-
minate in the beautiful wall paintings slovakia, and as in the past so now, it is
of Zenisek and Ales in the National willingly or unwillingly modifying the
[182]
ART AND ARCHAEOLOGY
foreign, the weak " internationalistic " National and Ethnographic Museums
and the abnormal " hypermodern " ten- in Prague, and the vState Museum of
dencies, in accordance with the inherent Moravia in Brno. As to art schools,
poetic, sensitive individuahsm of the Prague has the Academy of Arts, the
people. If times are propitious, a rapid Schools of Architecture and Industiial
and fruitful development in all lines Arts, the Conservatorium of Music,
and a vSchool for Organ Music; in
addition to which there are the Govern-
ment School for Sculpture, the Govern-
ment School for Ceramics, a Govern-
ment School for Arts in Metal, a School
for Art Industries in Bronze, etc., and
additional ceramic schools also in other
large cities. Besides which Czecho-
slovak students are to be found in all the
most renowned art schools in Europe.
America itself is not wholly a stranger
to Czechoslovak art, even if we omit
music. There are several of Brozik's
Example of native ceramics —the plate on right
pictures in this country there are now
;
from 1770. In front, a dishful of "kraslice"

— Easter eggs decorated by country girls. being exhibited here a series of those of
may confidently be predicted, and it will

not be long before, in painting and
sculpture particularly, the Czecho-
slovak artists may give to the art world
new classics, radiating the pure spirit
of the nation's individuality.
Czechoslovakia is rich in art instruc-
tion, and rich in museums devoted ex-
clusively or partly to Art. It is a
country of museums, for there are over
350 of these scattered over the larger
and smaller cities, and established A painted linen chest from a village in Moravia.
mainly for the preservation of local folk
art and artistic antiquities. At the Mucha and ; there exist here already a
head of these stand the Modern Art number of noted young native-born or
Gallery with the older Art Gallery naturalized painters and sculptors of
"Rudolfinum," in Prague, the Art In- Czechoslovak derivation.
dustrial Museum in the same citV, the U. S. National Museum, Smilhsonian Institulion.
[183]
>.ORTHERN' I:i.o\-.\kia: a villagt; house with decorated gable.
— ;
FOLK ART
By Professor Karel Chotek,
In charge of the Ethnographic Museum, Prague.
pOLK ART, it is now generally re- tion, bounded by mountains on the

cognized, deserves a much greater north and facing openly towards the
attention by artists and art students south, is marked by a series of cross
than it has been receiving, for as far as valleys which divide it naturally into
it goes it is a faithful index of the men- a series of small districts.
tal qualities and endowments of the In addition the internal political
respective peoples. conditions of the two main portions of
Folk art of Czechoslovakia, though the territory differed for many centu-
as yet but little known outside of its ries. While Bohemia and Moravia con-
boundaries, is of the richest and most stituted, up to the XVII century, a
interesting in the whole of Europe and ; kingdom of their own whose history
it is interesting not only from the was deeply interwoven with that of
standpoint of antiquity and local dif- Europe in general, the land of the
ferentiations, but also from that of the Slovaks succumbed in the X century
results of various influences which, in to the Magyars and constituted since,
the course of time, have affected its until the termination of the World War,
evolutions. a part of Hungary.
These influences relate, in the first It may well be expected that dif-
place, to the nature of the habitat of ferences of such a weighty nature could
the Czech population. Their territory not but have had an important bearing
is long and narrow. From its western- on the life of the two portions of the
most portion, Bohemia, which forms Czechoslovak people and their culture
the heart of Europe, it stretches far and it is interesting to observe how the
eastward along the southern slopes of originally homogeneous tribes reacted
the Carpathians. In western parts to these agencies.
the people were surrounded by other The western portion of the nation,
neighbors than the eastern, and the the Czechs, subjected since the earliest
cultural differences of these neighbors time to all the cultural influence of
were of a radically different nature. western Europe, has come to reflect
Bohemia and Moravia, since the be- these in its folk as well as professional
ginning of their history, were in con- arts. Thus, it is possible for us to see
stant contact and struggle with the in the Czech folk art now the spiiit of
Germanic tribes, while eastern Czecho- Renaissance, now that of Baroque,
slovakia, the home of the Slovaks, had Rococo, Empire, etc. This, however,
for its neighbors the Carpathian Slavs, does not mean a mere thoughtless imi-
the Rumanians and the Magyars tation. On the contrary, the new styles
groups of different culture from that of were absorbed and made to subserve
the Germans. Even the natural en- the native needs and tendencies. They
vironment of the two main parts of assisted without changing the native
the territory is not the same. The artist.
western portion is represented by two In the more eastern parts of Czecho-
well-defined basins— the Bohemian and slovakia on the other harrd, where the
—
the Moravian while the eastern por- intense political and cultural currents
[1851
Bohemia: A frame house in a village, showing influence of the baroque style.
Bohemia: A strongly built large mIUik"-- 'l»t

Carved chairs, from rural Bohemia and Moravia.
were felt much less, the folk ait re- Before the separate lines of the
mained in a large part faithful to its Czechoslovak folk art are approached,
old Slav traditions; and its neighbors, it may be well to say a few words as to
Slav, or with a considerable Slav blood regional distribution. This, fortunately,

in their composition, tend in the main is still possible, though many of the
only to sustain it in these lines. That western parts of the country are already
there is no intellectual passiveness or quite modernized. It is possible,
inferiority is best seen from the fact through the fact that every larger, and
that these regions gave Czechoslovakia many even of the smaller towns in
already a whole line of noted writers Czechoslovakia, has its own museum in
and artists. which folk art finds the foremost repre-
The differences, of course, are no- sentation; in addition to which, there
where sudden, but show gradual transi- are a number of important private
tions. Even in a detailed study of the collections. This permits us to recog-
various units of native art, it is impos- nize that in Bohemia there existed
sible to find any
definite boundaries. about distinct territories of folk
five
The central portion of the territory, art. They were that of the centre,
comprising a large part of Moravia, not only the most fertile part of
forms a broad transitional belt between Bohemia but also the district con-
the west and east. Its folk art shows taining the capital; and the northern,
many archaic motives, and many con- western, southern and eastern regions.
nections with the more eastern regions, To the western district we may add the
but it also shows many reminders of the southwest, in and near the Bohemian
historic and western styles, especially Potest, the only place in Bohemia where
the renaissance and baroque. The the native dress still fully survives and
ethnic unity of the Czechoslovak people is worn as a sign of national and local
is, however, still indicated everywhere pride. This is the territory of the tribe
by the sameness of fundamentals, which of Chods, the age-long defenders and
increase in numbers and clearness as guardians of the important Sumava
we proceed backward. passes against German invaders.
[188]
ART AND ARCHAEOLOGY
In Moravia, the distribution of the
main varieties of folk art follows the
old tribal boundaries which are better
preserved than in Bohemia. As in
Bohemia, there may also here be dis-
tinguished four or five folk art regions.
As to Slovakia, which comprises the
eastern lands, there is no tribal dif-
ferentiation, but a series of geographi-
cal cultural districts. In fact, each
valley here constitutes a native cul-
tural district its own.
of They all,
however, may
be grouped into four
large areas: the northern, or Carpa-
thian; the western, extending into
Moravia the central and southern and
; ;
the easternmost, which already shows

a considerable Russian influence. How-
ever, the creative spirit of the people
is such that hardly two villages in the
better preserved regions show art of
exactly the same nature.
And new as to a few details.
The student of Czechoslovak folk
art, whether a stranger or a native, A painted wardrobe from Northern Bohemia;
the work of a village artisan.
can not but soon be forcibly impressed
by the extraordinary natural art en- Another striking quality, apparent
dowments of the rural people, as well everywhere, is good taste. It is safe to
as by their originality. They receive say, except where modern industrial
nothing, even of their predecessors or conditions have unfavorably affected
friends, without impressing upon it the people, we shall never find an object
their own character and elaborating it lacking in taste. The student will often
in their own manner. There is no mere be surprised by the venturesomeness in
imitation, but always more or less crea- the arrangements of the native dress,
tion. Aloreover, they are always logical in the figures of the ornamentation, and
and in harmony with their conditions especially in the choice of colors; but
and environment. In studying district the results are never eccentric or vulgar.
after district and locality after locality, Even in the choice of colors, the
it be seen even in the same cultural
will innate love of color is never misused.
territory, that definite variations stand In addition, one becomes conscious of
in direct relation with the material con- another constant phenomenon, which is
dition of the people and with their en- the absence of all effort at cheap effect.
vironment Thus, in the richer districts
. On the contrary, there are found in the
the folk art will be not only more profuse older pieces, and in the always deeper
but usually also richer in brighter and more serious work of the mountain
tones; while in the poorer districts it people, decorations so fine and thorough
is less abundant as well as more sober. that they cannot be viewed but in ad-
[189]
; ;;
ART AND ARCHAEOLOGY

miration. An aversion to superficiality vakia, at least, often grow up without
and looseness, together with a sort of the influence of even common schooling
artistic modesty, are traits met all over. and that their artistic work has often to
In connection with the above stands be done in the sparse whiles of freedom
frequently a high technical skill in the from hard farm and household work.
execution of the various decorations. We may now approach some of the
This is shown especially in the laces and special applications of the Czecho-
embroideries. In both of these lines slovak folk art. In the first place
the Czechoslovak folk art offers not should be named the dwelling. The
only all the known variations, but also fundamental type of dwelling is the
some that are not known elsewhere in type of central Europe in general. For
Europe. Occasionally, the skill rises the most part, the house is of but one
to the degree of virtuosity, and we see story, and subdivided into three rooms
plainly that the woman has intention- —
besides the antechamber the kitchen,
ally chosen the most difficult work just the living room and the store room.
to pride herself with her cleverness. In richer districts and with better social
An example or two will suffice. In the conditions of the owners, the living
western parts of Bohemia it is the fash- rooms may be more numerous, and the
ion to embroider with silk of one color house may rise to another story above
but the worker again and again will the ground floor. The building material
endeavor to pile the stitches so as to is both wood and stone. In the richer
give the figures a beautiful plastic or re- districts, the house, as a rule, is of stone
lief effect. Another exquisite but labo- in the mountain districts it is almost in-
rious process is the so-called "knot" variably of wood. The details show
(allied to "French knot") embroidery, many characteristic features. The
by which the surface of the cloth is country builder worked essentially in
covered with fine knotted stitches the spirit of native culture, and his
slightly different in color from the motives for detail and ornamentation
base fabric, leaving among them lines were generally taken from the native art.
which constitute a fine and complicated In the line of rural stone houses the
pattern. In such embroideries, the most interesting are those of the central
beauty of the ornamentation and the district of Bohemia. The palatial
difficulties that have to be overcome architecture of Prague did not remain
can often be appreciated only by a without a considerable influence on the
detailed inspection. In the eastern country styles, and it is exceedingly
parts of Czechoslovakia the women interesting to note how the rural builder
excel in native forms of the so-called was often able ingeniously to adapt or
au jour embroidery, producing pieces incorporate the styles he saw in the
up to three yards in length by one-half palaces and mansions of the capital to
broad with rich figures. As an acme the country constructions on which he
of technique, it may be mentioned was engaged. As a result there may be
that in some distiicts even the very found in the central districts of Bohe-
finest patterns are embroidered from mia, and even beyond, a whole series of
the obverse. And it is necessary handsome houses reflecting the Re-
to add that all this is done by women naissance, baroque, rococo or Empire
of the people who are not formally in- styles. In Moravia and Bohemia the
structed in these arts and who in Slo- influence of these western European
[190]
upper: A man from southern Slovakia on a holiday. Upper: A woodsman of the Carpathians on Sunday.
The broad heavy leather belt serves as a protection.
Lower: Type of a young country woman in ordinary
Bohemia. Lower: A young Moravian woman on Sunday.
dress,
X
ART AND ARCHAEOLOGY
Kmbroideries from western Slovakia.
especially about the doors and windows.

All this painted ornamentation is the
work of the ordinary countrywoman,
who imitates her friends and creates
here as she does in her embroideries;
and it is very interesting to note how in
A Slovak woman in her finery, from the vicinity

of Bratislava (Pressburg).
styles is much less; and the stone house,

in consequence, is in general much
simpler. But the simplicity of the
architecture in these territories is often
compensated for by the external as
well as internal painted ornamentation.
There may be noted a universal en-
Man's shirt richlyembroidered with yellow silk,
deavor to beautify the simple walls, western Slovakia.
fl94]
;
ART AND ARCHAEOLOGY

some cases the fine patterns of embroid- They are scattered over the Czecho-
all
ery may be adapted or applied to the slovak territory. In Bohemia they
room and the dwelhng. reflect mostly the various styles that
The wooden houses are even more changed Bohemian architecture in gen-
interesting than those of stone. They eral; but in vSlovakia they show onh'
are by no means Hmited to the small the earliest Byzantine influence. There
simple mountain dwelling, but the type may, also, be included in this category
may be found occasionally even in the some of the small wooden castles.
multiple structures of large estates. Modern architecture in Czechoslovakia
Such a cluster of dwellings, with per- appreciates highly the native art, and is
haps a two-story main house, reminds utilizing itsmotiveson many occasions.
one somewhat of the ancient wooden If the building of the houses received
fortresses. This variety of archi- so much care, it is natural that it was
tecture, which today is rapidly giving even more so with the finishing of the
way to more modern conditions, carries interior. The ornamentation of the
much more than the stone house the interiors consists especially of painting.
imprint of the native spirit. Except This is again all done by the women
among the very poor, the wooden the vSlovak women, in particular, deco-
dwelling is highly decorated. It is rate whole sections of the interior with
picturesque, partly on account of its bright ornaments. These ornaments
general plan and its main details, but are always tasteful, not loud, and in-
also because it usually shows parts crease greatly the coziness of the dwell-
where the village artisan endeavored ing. They are painted freehand, with-
especially to show his taste and in- out any preliminary pattern. And
genuity. This is particularly so in the these interiors are harmoniously fur-
gables where, by an artistic combina- nished with more or less carved, painted
tion of painted and carved laths, there or inlaid furniture. In the west, and
are produced nice geometrical figures. among the well-to-do, the furnituie is
On the gables, also, are found various essentially of hardwood with a rich
ornamental inscriptions, usually ex- inlay or rich decoration in paint. The
pressing the seriousness and deep piety more usual native furniture is generally
of the people. Furthermore, there are brightly colored and decorated with
various porches of more or less carved figures. In the east, the painted fur-
wood, frequently decorated also in niture is usually more simple.
colors, and supported by nicely modeled To supplement the house decoration,
posts. The doors and the windows some of the young women add, on
are also often surrounded by carvings holidays when weather conditions are
or paintings. It is interesting to note propitious, a form of sand painting in
that this frame architecture, which in front of the dwelling. Tasteful scrolls
these countries is much older than or figures are laid out in different col-
architecture in stone, shews many ored sands and the colors are freshened
similarities and identities from one end by water.
of the Czechoslovak territories to the As is natural, however, the greatest
other, pointing to the original identity variety and ingenuity of nativê art
of the people. is manifested in the dress. The various
A special chapter might be devoted fabrics and articles of dress give not
in this place to the old wooden churches. only ample opportunity for decoration,
[195]
Southern Bohemia: Embroidered head kerchief.
but also they are made at home by each ther we go from the capital and the
individual owner and afford the great- other large cities, the weaker the mod-
est field for individual variation. em influence becomes, and the more
The dress offers for consideration, on frequently we may note the presence
the one hand, the general composi- of the native elements, which in general
tion or style, and on the other the spe- show a fundamental similarity with
cial ornamentation of its parts, par- those of the largely rural and least
ticularly in embroideries and laces. affected eastern parts of Bohemia. As
In both, there may be noted in Czecho- we proceed into Moravia and then into
slovakia regional differences of which Slovakia, the variety of native dress and
we have already spoken. In the cen- native art in dresses increases, to
tral parts of Bohemia, the dress of the reach a climax in the more eastern parts
country people has already approached, of Slovakia, where every little valley
very considerably, that of the city peo- has its own style, every village its own
ple which is cosmopolitan; but even taste in dress.There are even instances
here we see that the countryman, and where the Catholics and the Protestants
particularly the countrywoman, are living in the same village have each a
not satisfied with a mere adaptation, native style of dress of their own.
but that they modify the city dress in The main decorative elements of the
many interesting details, which on the dress are the embroideries and the laces.
one hand serve practical purposes and Bohemian embroideries are in the
on the other demonstrate the innate main white and marked by fine tech-
artisljic taste of the people. The fur- nique. If the patterns or figures are
[196]
ART AND ARCHAEOLOGY
in Europe. The local museums pre-
serve many examples of dresses showing
how the choice and combination of
colors has intentionally produced a
special "tone" to the attire. Thus,
there are dresses for a cheerful and
—
dresses for a sad effect just as we have
among the same people cheerful and
sad folk songs.
Lace is common throughout the
Czechoslovak territory and, in its best
Embroidered winter coat, western Slovakia.
colored, as they are exceptionally,

they are as a rule in one color. Many-
colored embroideries are found only
along the outskirts of Bohemia, par-
ticularly in the north and in the south.
The products of both of these regions
show much similarity with the multi-
colored embroideries of Moravia.
Richly colored embroideries, however,
are found in Slovakia. Here the
countrywomen have reached sucn per-
fection in geometric as well as curved
line ornamentation, and such art in the
selection of colors, that they exceed in
these points anything else to be found
Native ceramics in Slovakia.
examples, reaches the limits of techni-

cal perfection. This, of course, does
not apply to the commercial lace-
making of northern Bohemia which is
regulated by the nature of demand.
A specialty to be mentioned are the
native multi-colored Slovak laces.
A component part of the folk art of
An example of native Czechoslovak ceramic. Czechoslovakia is also the native deco-
[197]
VariouN kitchen utensils nf wood ciecorated with carvings.
rated ceramic. The ornamental plates spiration of the art sense of these folk
and pitchers are of course not made by to whom beauty means so much.
the people at large but by native potters This brief survey shows that folk art
in the small towns; their ornamenta- in Czechoslovakia is, in general, both
tion, however, is that of the people in highly represented and highly de-
whose territory they are produced, and veloped. It belongs unquestionably
the better pieces form a part of the among the most important similar
interior decorations of the dwellings. manifestations in Europe. Its princi-
A real high-class specialty of Czecho- ples, which are the principles of Slav
slovak folk art is that of the so-called folk art in general, are reflected in the
"kraslice" ("beauties") or decorated art of the neighboring countries, par-
Easter eggs. Every country girl takes ticularly Hungary and Rumania, the
pride in decorating her own Easter blood of both of which, like that of
eggs, which are to be used as valued
Greece in the south, contains important
Slavic additions. It differs in many re-
gifts, and chooses her own designs and
spects from the folk art of the non-
color. A variety of ingenious methods
Slavic nations in Europe, particularly
is used for the decoration, such as en-
that of the Germans and other more or
graving, etching, painting, etc., and
less nordic nations. And it is an index,
many of the best class products are on the one hand, of the original unity
genuine works of art.
of the Czech population, and, on the
Finally, mention should be made of other, of the partial effects in the course
the flowers which, in season, decorate of centuries of differing foreign con-
everywhere the windows, and which tacts and introductions.
serve for both the satisfaction and in- Prague, Bohemia.
[198]
ARCHITECTURE
By Dr. Oldrich Heidrich,
Cultural Attache, Czechoslovak Legation, Washington.
'THE PAGAN Czechoslovaks built, of the X

century, brought to the
* so far as we can judge, exclusively firstBenedictine Monastery, located
in wood. Even fortifications were of near Prague; and they were doubtless
piles and logs. And as there were no strengthened through the voyages which
pretentious "temples," the cult of the the Czechoslovak Abbots carried out
old deities being essentially a cult in the from time to time for the purpose of
open, the ancient native architecture keeping up direct relations with their
must have been restricted to the dwell- Orders in France and Italy. The
ings. What it was, and that it was by church, and particularly the monaster-
no means devoid of the artistic element, ies and convents in Bohemia, as else-
may be safely judged from the prevail- where, must receive due credit for both
ing folk constructions of historic times, the introduction as well as the fostering
which doubtless perpetuate many of the of art in many branches, even though
older features. it was essentially church art in the
The first important outside archi- beginning.
tectural impulse that reached the As the Roman influence advanced,
Czechoslovak territories, was that of the originally simple rotund church
Byzantium. It came with the Mace- became enlarged by a semi-circular apse.
donian apostles who Christianized the The most typical and interesting ex-
nation towards the end of the IX cen- amples of this wider-spread style re-
tury and it soon manifested itself in a
;
maining in Czechoslovakia, are the
series of moderate-sized characteris- Chapel of the Holy Cross in Prague;
tic round churches, which remained a the Chapel of St. Martin on Vyse-
strict specialty of Bohemia and Moravia —
hrad the myth-clad fortress, religious
not extending farther westward. The centre and abode of the earliest Czech
earlier of these churches were still frame rulers; and the little church of St.
structures, but the usa of stone was not George on the hill Rip, standing on the
long delayed. Kosmas, the first Bo- old site where, tradition tells us, once
hemian historian, some of whose writ- stood with his people the patriarch
ings have been preserved to our times, Cech, who was leading his tribe " across
notes that already in the X
century the three rivers" into the Bohemian terri-
Czechs had structures of stone, and that tory, which from the Rip appeared all
these were built in the Roman style that could be desired.
(opere romano). This doubtless refers In course of time, the Byzantine-
to the gradual extension into Bohemia, Czech, later Roman-Byzantine-Czech
in the wake of the purely Byzantine, of rotunds, became supplemented by basil-
the more western Roman influences, icas with a single nave or a nave with
which may be well observed on the two and of a larger size. The
aisles,
regrettably only too scant architectural noblest reminder of this style is the
remains from these periods. These Church of St. George in Prague,
influences came in all likelihood with founded in 12 15 and reconstructed, in
the first Roman monks, whom
the the style of a Roman basilica, in the
bishop, St. Vojtech, toward the end middle of the XIII century.
[199]
ART AND ARCHAEOLOGY
The Roman architectural style in offering from all directions a view of
general reaches highest development
its beauty, remains to this day the foremost
in Bohemia during the XI and XII ornament, and almost a symbol of the
centuries, and is especially favored and capital city. The construction of the
furthered by Vladislav I, the first Czech cathedral was entrusted at first to a
ruler with the title of King. Frenchman, Mathias of Arras, and after
Towards the end of the XII century, his death to Petr Parlef and then to his
architectural construction begins to son, Jan Parlef, of Prague.
change in style. The simple harmoni- The establishment in Prague during
ous lines are affected by the approach- Karel's reign of a native archbishopric
ing "old" Gothicextending into Bohemia checked in a ver^^ large measure a
from western Europe. The pointed threatened German influence in church
—
arch appears a form destined to have a architecture. The people even then
powerful influence on further Bohemian were very suspicious of any such influ-
architecture. The transitional period ence, feeling well that it was liable to be
to a pure Gothic lasts from the end of only the forerunner of foreign meddling
the XII to about the middle of the in politics and national life in general.
XIII centuries; after that reigns the Petr Parlef built also the church
age of the Gothic. "Karlov" in Prague, whose great cupola
More or less artistic architecture by is arched so daringly and ingeniously
this time has extended to public struc- that it remains to this day an object of
tures, as well as to the richer dwellings; admiration. In the XIV century, when
but its main representatives are still built, the vault seemed so wonderful
the churches. These now become char- that before long the church became
acterized by inspiring high towers, woven about with superstition. It is
by rich ornamentation, and by beauti- told to this day that the builder suc-
ful, daringly vaulted roofs, characteriz- ceeded only by the aid of the infernal
ing so faithfully the contemporaneous powers and it is further said that even
;
powerful wave of religion feeling. In he himself finally lost faith in his suc-
Bohemia, the Gothic blossoms out cess, and at the termination, after hav-
especially during the reign of Karel IV, ing fired the scaffolding and hearing
culturally the most active of the Bo- from a distance its crash, took this for
hemian kings, and the one who to this the crash of the dome itself and com-
day is lovingly remembered by his mitted suicide in desperation.
people. Karel was educated largely in At the bidding of Karel IV there was
France; he there became deeply en- also built the castle "Karliiv Tyn,"
thused by the monumental, elevating, which an eminent professor of Art
pure art of the Gothic cathedrals, and History characterizes as "a monu-
his endeavor when he became King of mental construction in every' respect,
Bohemia, was to give his country works impregnable in its time and indestruc-
of the same nature. tible." The castle became the de-
Due largely to his fortunate, peaceful pository of art, of religious relics, of the
and long reign, Karel's intentions were most important state documents, and
realized in an abundant measure. In of the crown jewels. It stands well
1344, he laid the foundation of the cele- cared for to this day as one of the pearls
brated St. \'itus Cathedral of Prague, of architecture and decorative art of the
which, built on a high elevation and XIV century.
[201]
ART AND ARCHAEOLOGY
Karel's son, Madislav IV, was also a This century, as a whole, may be said
friend of art and of the Gothic style; to be marked by the influence of noted
but his reign is marked rather by atten- Italian architects, called into the
tion to luxurious detail in art than by country by the Bohemian nobility. The
monumental construction. A splendid Italian masters everywhere worked,
example of this tendency may be seen in however, hand-in-hand with those of
the gable of the old building of the native derivation, and after a more or
University. less temporary stay left architecture in
The Hussite wars of the XV century the hands of the latter. Moreover,
paralyzed architecture, as well as other the influence of the native builders
arts, and were attended by widespread resulted in such modifications of the
destruction. Amultitude of churches, Italian style, that we are justified in
monasteries, convents and castles fell some instances, at least, in speaking of
prey to the religious effervescence and the Renaissance of Bohemia. These
warlike operations. Vandalism was conditions persist until the end of the
severely punished, but a religious war is century, when some influences from the
a poor protector. There is a tradition northwest of Europe begin to manifest
that the incendiary of the beautiful themselves.
church in Sedlec was punished by the The best architectural remains of the
famous Hussite leader Zizka, by having XVI century comprise the Schwarzen-
melted metal poured into his throat. berg's castle in Prague; the castles in
The Gothic blossoms out once more Litomysl, Opocno and Krumlov, and
in its latest phases during the reign of the city halls in Plzefi and Prachatice.
Vladislav. It is largely limited to the Another remarkable construction repre-
repair and restoration of ruined senting the old Gothic is the Church of
churches, but in details produces St. Barbara in Hora Kutna, erected by
valuable and original innovations. The the proud inhabitants of that rich city
best examples of these are the complex, with the object of exceeding in both size
richly-ribbed vaulted ceilings. This and luxury the St. Vitus Cathedral of
period produced at least two noted Prague. Still other monumental struc-
architects whose names have been pre- tures from this period are the well-
served to our time, namely Benes of known Most Tower, erected for the
Loun, and Alatyas Rejsek. defence of the Karel Bridge; and the
The XVI century is essentially that great Vladislav Hall in the Prague
of the advent of the Renaissance. In Castle which used to serve for banquets
,
1534, under the direction of the Italian

and even for knights' combats. This
master Terrabosco, there is constructed remarkable hall and the equally re-
markable T5'n Church, are at the same
the wonderfully beautiful little castle
time the two structures which in Bo-
of Queen Anne, indisputably the finest
hemia show the first traces of the
example of Renaissance art north of the
coming Renaissance, which reaches Bo-
Alps. It is quite impossible in a few
hemia at least two decades earlier than
lines to describe the harmony, and the
itdoes any part of Germany.
attractive gentle elegance of this con- The XVII century is essentially that
struction, which fortunately remains to of the Thirty Years' War, with its
our day in an excellent state of pres- great destruction and paralyzing con-
ervation. sequences. Architecture as well as
[203]
ART AND ARCHAEOLOGY
the other arts were naturally among the became the prevailing style in the
pursuits that suffered most. As a country, and was eventually so de-
result there are but few noteworthy veloped and generalized that many of
architectural remains from this period. its remains may still be seen in the
The brightest is the castle constructed Bohemian Of the most notable
cities.
in Prague during the war for Valdstyn is the St. Nicholas Church in Prague
(Waldstein), the famous general. The which, with its picturesque dome,
palace encloses an admirable loggia, characterizes the whole part of the city
which is as if transplanted from the between the Vltava (Moldau) and the
very heart of sunny Italy. Hradcany, the present seat of the
After the Thirty Years' War and its Parliament and Government of the
immediate consequences, architecture Czechoslovak Republic. Another in-
in Bohemia begins again to revive, this teresting construction, belonging to
time through the influence of the this the so-called Russian
class,
is
Jesuits — the same Jesuits who did so Church in Prague; while a similar
much for the destruction of Czech structure, but a real jewel of archi-
literature and art during the war. The tectural art, is the little "Castle" now
role of the Jesuits in the Czechoslovak known under the name of "America."
countries was to recatholicize, to bring If we enter some of the crooked streets
back to the fold of Rome, the popula- of Mala Strana, in Prague, we are in a
tion. To further this purpose they now regular museum of baroque architec-
began to build new showy churches, the ture and similarly in parts of some of
;
form and riches of which were to in- the smaller cities.

fluence the mind of the people and Besides the baroque, later Prague
create due respect for the Catholic reflects also some of the cold "empire."
religion. In addition the estates of the This style was never sympathetic in
executed or exiled true Czech nobles and Czechoslovakia, and it remained es-
rich families, were during and at the end sentially an " official " style utilized by
of the war distributed by the victorious the Austrian Government for its own
Hapsburgs to foreign adventurers and constructions, which fact only added to
Austrian tools, who, finding themselves its unpopularity.
with valuable possessions were now, on The introduction of the empire left
the ruins of the old, building their new certain unfavorable effects which are
mansions and Whatever art
castles. perceptible to this day, and which mani-
was manifested in these movements was fest themselves in monotony. It is
outside art, generally more or less really a subjection of art. The only
mediocre and not connected with the objects of consideration are "practical
'
native population. The latter, crushed purposes and the results are unattrac-
'
politically,deprived of its best blood tive.

and reduced to little more than a It is only in the sixties of the XIX
remnant in numbers, had now no means century that a real turn to the better
or inclination for artistic pursuits in any may be noticed. There is, in a way, a
direction. revival of the Renaissance. This is
The essential contribution of the marked first on public structures. They
Jesuits to the architecture of Bohemia gradually reach their acme in the
was the introduction by them of the National Theatre a truly national insti-
baroque, which in the course of time tution built for the nation and by the
[204]
ART AND ARCHAEOLOGY
nation, as one of the means of pre- technique, material and requirements.
serving the Czech language and culture There is no definite, unique, national
and of combating German oppression. —
tendency there has been no time as
It was built by the Czech architect yet for its development; but the best
Zitek, and represents one of the finest minds are searching for a true way in
modem structures in all Europe. that direction.
Viewed from whatever direction it Of the most remarkable recent pro-
represents a pure, ideal art which productions in architecture may be men-
duces a deep impression. The stones tioned Panta's Station in Prague,
—
of its foundation as those of Washing- known since the armistice as the
—
ton's obelisk were brought from the —
"Wilson" Station in slight recogni-
various districts of the Czechoslovak tion of the aid extended to Czecho-
territory. The enormous cost was de- slovakia by the American President,
frayed wholly by voluntary contri- whose true greatness will perhaps only
butions of the Czech people, in which be appreciated by the historian; and
even the beggars participated; and also the "Representative Prague Hall,"
when during the finishing touches, due the work of Balsanek and Polivka.
to the carelessness of a plumber, the Both of these are structures that well
first building burned down, the whole deserve the attention of the art student
nation grieved and wept; but com- visiting the capital of Czechoslovakia.
menced at once new collections, and in On the whole, we see from this brief
a short time built even a better struc- and very incomplete survey that while
ture. (See cover picture.) the wars of the XV
and XVII centuries
Another monumental structure, dat- have brought about widespread de-
ing from the latter half of the XIX struction of architectural remains,
century, and showing the influence of Czechoslovakia, and in particular Bo-
the Renaissance, is the National Mus- hemia, with its capital Prague, still
eum, standing at the head of the square possesses many memorable and inter-
of St. Vaclav in Prague. esting structures, representing prac-
The Renaissance as modified in tically the whole evolution of European
Czechoslovakia has in the course of architecture, with native modifications.
time become very popular, and there is These tendencies are most marked in
hardly a small town in which either the the capital of the country, but they are
town hall or the Sokol Hall, or some of reflected all over in the larger and
the schools do not reflect this style smaller towns, and even in the higher
which dates back to the XVI century', class of rural constructions. Some of
but which during the XIX century has these structuresrepresent veritable
been modernized and still further de- jewels, dispersed over the country.
veloped. They are witnesses of the inherent
At the present time the Czecho- qualities of the people.
slovak architects are following the
Taking into consideration the relative
modem tendencies. As a rule, they smallness of the nation, Czechoslovakia
supplement their studies outside of
Czechoslovakia, more particularly in
may well be proud of its architectural
record.
France, and are applying their endow-
ments as well as possible under modern ]\'ashington, D. C.
[205]
"The Pastoral Madonna" bv B. Kafka.
— "
SCULPTURE
• B\ Dr. Oldrich Heidrich
CCULPTURE, in the proper sense Old Town Bridge Tower in Prague.
•^ of the term, was unknown in There is a beautiful piece of sculpture
Czechoslovakia before the introduction in the Tomb of Ste. Ludmila, in the
of Christianity in the IX century. Church of St. George. The expressive
According to the old chronicles, the reliefson the portal of the Tyn Cathe-
pagan Czechoslovaks had statues or dral in Prague are also from this period.
statuettes of their deities, which they The XVI century brings with it the
called "dedki;" but all these were beneficial influence of the Renaissance.
carved in wood. The first efforts at Italian builders and artists are called to
true sculpture date from about the Bohemia to introduce the style, and the
X and XI centuries, and were made by country is enriched by a number of
the monks of the famous Sazava Mon- masterpieces of architecture. With
astery, in which native church art, the builders come also prominent sculp-
in all forms, was fostered from the tors, whose places, however, are soon
beginnings of the establishment. filled by native scholars.
During these earlier centuries, sculp- This period marks, too, a high devel-
ture was intimately associated with opment in artistic sculpture in metal.
architecture, which it served, and can Unfortunately, much that was pro-
hardly be said to have existed as a duced during this and the earlier periods
separate art. It manifested itself par- was carried away or destroyed during
ticularly in bas-reliefs and decorations, the Thirty Years' War. Of the sur-
of which some interesting remains are viving works of plastic Renaissance art
preserved. one of the most interesting is the so-
With the advent of the Gothic, all called "Singing Fountain," the work of
plastic arts and sculpture in particular Jaros or Brno, located in the former
assumed a great development in Bohe- Emperor's garden in the Prague Castle.
mia. Petr Parlef, the builder of the Besides the handsome sculptured form
renowned St. Vitus Cathedral in of this fountain, as the water falls back
Prague, was also a famed "artist in on it, it emits a series of melodious
stone," who us the statue of St.
left tones, wherefore the term "Singing
Vaclav which preserved in the
is still Fountain.
cathedral, and participated in the sculp- The period of the baroque in Bohe-
"
tures of the " tombs of the Pfemysls mia and Moravia of the latter part of
the kings of the Pfemysl dynasty. the XVII and the XVIII centuries
A whole series of valuable sculptures left also, especially in the churches, a
remain from the period of Karel IV series of sculptural remains, both in
and his son Vaclav, in the XIV centur}'. the capital and in the smaller cities.
The triforium of the St. Vitus Cathe- But the end of the XVIII century,
dral bears a row of marble busts, under the influence of the Austrian
portraits of the kings, queens, notables Emperor, Joseph II, was very unpro-
and architects who patronized or as- pitious to art in general. Many of the
sisted in the construction. Somewhat monasteries, and convents in particular,
coarser are the stone statues of the were confiscated and turned into bar-
[207]
Can-ing in wood, "Weep not for Me," from the famous Via Dolorosa at Kolin by Bilek.
The "Second Fall," from Via Dolorosa by Bilek.
ART AND ARCHAEOLOGY
order that funds might be obtained by
the Austrian Government for more
" practical " purposes. It is little won-
der that this period is marked, in
sculpture as well as in other branches
of art, by mediocrity as well as scarcity
of production.
The modern revival of sculpture in
Czechoslovakia belongs to the XIX
century. During the earlier part of
this century there are still to be noted
the depressing and binding influences
of the old traditions and conven-
tionality, but before long and simulta-
neously with the cultural revival of the
nation in all directions, a number of
young sculptors appear who gradually
raise the art to the level of other
contemporaneous standards. The
cold empire style, as well as the baroque
sculptures of the saints and of church
decorations, are gradually abandoned.
That progress was not even more
marked and rapid was due wholly to the
repressive influence of the Austrian
Government which, in the characteriza-
tion of Gen. Marlborough, "was always
behind the rest of Europe by one army,
one thought, and one century." We
-— -"-'^^cr
•^- ] . J know that, so far as thoughts and ideas
are concerned, Austria was behind by
far more than one; only a future im-
Kamciiy Dum (the "Stone House"), XIV Century. partial study of the baneful influence
Kutna Hora.
of Austria on its "provinces" will
racks or used for other purposes, which show how unwholesome, not to sav para-
was attended by extensive dispersion, lyzing, this influence was in the direc-
if not destruction, of art objects of tion of a free inspiration and unfet-
every nature. The nobihty of Bohemia tered development of all branches of
who up to this time, outside of the fine arts as well as of literature.
churches and monasteries, constituted Among the modern pioneers of sculp-
the main support of art in all its ture, in Czechoslovakia, may be men-
branches lost temporarily, under the tioned Vaclav Levy (820-1 870), whose
1
influence of the Court, interest in these teacher, Schwanthaler of Munich, wrote

directions. And the renowned art that he was "his best scholar, but
collections of Bohemia, brought to- without a hair of his (Schwanthaler's),
gether particularly under the Emperor being just his own and original. " Levy-
Rudolph II, were in the main sold in also spent twelve years in Rome, where
[210]
"
ART AND ARCHAEOLOGY

his fame grew so that some of his works
were purchased by Pope Pius IX. His
sculptures, largely of a religious nature,
show a sincere piety with a deep appre-
ciation of antique beauty and harmony.
It would be difficult in this place to
mention the individual Czechoslovak
sculptors of the transitional and modern
—
periods they have mainly a local
significance. One who rises considera-
bly above this is Josef Vaclav Myslbek
( 1 848-1 909), for many years a profes-
sor of the Prague Academy of Arts.

Myslbek was a sculptor of high indi-
viduality, fine technique and origi-
nality. Breaking away from all that
was oppressive in the tradition of
sculpture, he blazed his own way. His
statues breathe with freshness, whole-
someness and inspiring heroism. The
realities and beauties of nature are his
teachers and models. His love of
faithfulness is such that when he
modeled the great monument of vSt.
Vaclav, the patron of Bohemia, he lay
on the ground and had a horse repeat-
edly pass over him in order that he The Woundi'd Soldier, by Jan Stursa.
might properly study the action of the
animal's muscles also from that direc- knights of St. Vaclav. The monument
tion. The monument in question, in question is a symbol of the more
standing now in the foremost square of fortunate future of the Czechoslovak
Prague, is his most popular production, nation; the statue itself exhales
for outside of the high artistic value of strength, confidence and hope in the
the work, its subject St. Vaclav, is a events to come.
national hero. It is St. Vaclav, who The latter part of the XIX century
the people believed up to the World marks the emancipation of the Czecho-
War, slept with his knights in the hill slovaks' sculpture from the art of Ger-
"Blanik," from which, when Bohemia many and German Austria. The ideals
was in direst straits, he would emerge are now French, besides the best of old
for its salvation. When the Czecho- Greece, Rome and Italy. Rodin, in
slovak army, led by the Sokols, ap- particular, exerts a marked influence.
peared suddenly in Siberia and Russia But throughout allthere is manifest
and did wonders which contrilsuted in a desire of the sculptors of "being
so large a degree to the liberation of their own.
Czechoslovakia, many of the common Among the most noted of the later
unsophisticated people were inclined to generation are Josef Mouder, whose
accept that these were the Blanik works embellish the Vysehrad Pan-
[211]
" ;
ART AND ARCHAEOLOGY

theon; Antonin Prochazka, a sculptor within the scope of this paper. And
of eminent technique devoted to slavic the progress of the art of sculpture in
types; and others. The foremost after Czechoslovakia, with minor exceptions,
Myslbek, however is, Stanislav Su- is a healthy progress full of promise for
charda. His statues, for the ideals of the future.

which he delves into folk lore and folk Notwithstanding the vicissitudes of
life, are full of warmth and gentleness. time, and the serious disadvantages
Sucharda is a poet-sculptor, but a poet under which sculpture labored in
who does not slight faithful technique Czechoslovakia until the latter part of
also, he may be strong dramatically. the XIX century, the appreciative
His chef (Toeuvre is the granite and visitor to Prague can not but be
bronze composite monument of Palacky pleasurably, and here and there deeply,
the "father of Bohemian history," surprised at what remains. The
in Prague. This striking and symbolic churches, the cemeteries, the squares,
monument, to which illustrations do the museums, the castles, many of the
scant justice, is justly a j^ride of the old rich mansions, the ancient Gothic
Czech capital. It represents Palacky towers, and last but not least the
the historian, listening to the voice of Karel's Bridge, show far more in the
the historic current of events; while line of sculpture than can be found in
some of the subsidiary figures point to any modern city of similar size to the
the nation's subjection and hope for Czech capital. They are the accumula-
liberation. tions of art remains of ten centuries,
Still another living Czechoslovak and they represent a book of the history
sculptor of note is Ladislav Saloun. of sculpture and related arts which
He is the sculptor of the third greatest deserve a much more attentive perusal
monument in Prague, that of Jan Hus, than it has yet received from outsiders.
standing in the memorable square of
Some day, we may hope, these and the
the "Old Town.
other art treasures of Bohemia, to which
In addition, the present generation
these scant few lines can barely call at-
of Czechoslovak sculptors is represented
tention, will be suitably described in the
by a whole series of names, some of
which are already well known beyond English language and shown in illustra-
the boundaries of the new Republic, tions which are not yet available.
but which it is impossible to mention Washington, D. C.
[212]
PAINTING
By Ales Hrdlicka.
.4 Honeymoon in Hand (rich district of Moravia), by Joseph Manes.
•yHE HISTORY of the art of paint- The long old period is characterized
^ ing in Czechoslovakia has really but especially by church art. The first
two subdivisions, the old and the mod- painters mentioned in Czech history
ern, the latter beginning strictly only are the first two abbots of the Sazava
with the later half of the XIX
cen- Monastery. The art is partly orna-
tury. mental, partly representative; and the
1213]
ART AND ARCHAEOLOGY
Fraternity. It was, also, during this
time that painters and other artists
were elevated to a'special dignity at the
Court.
It is of interest to note that the
Painters Fraternity embraced painters
in general and the heraldry painters,
batween whom there was kept a clear
distinction which is not now fully
understood. The patron saint of the
fraternity was St. Lucas.
During this century there is an in-
flux Bohemia of painters from
into
Germany, some of whom remain tempo-
rarily, while others settle permanently
in thenew country and with these new-
;
comers are brought in German and

Dutch influences which are very per-
ceptible in the Bohemian art remains
of the period.In conformity with the
spirit the time, and the piety of
of
Karel IV, the sphere of painting re-
mains still very largely religious, but
there is som.e
also portrait and
" worldly " painting. There is a marked
development of painting "al fresco."

J,
tu-cty JprocK^-VWd-l". *
The survivals of painting from this
period are quite numerous and afford
_^J2>"'<'^>^»I^
interesting material for study. Besides
the western there are noticed seme
Italian and even still some Byzantine
influences. The quality of work reaches
PTACEK.
in some instances a high standard with-
Illustration to the Folk Song "A Birdie."
out, however, constituting masterpieces
By Mikulas Ales
which would equal the best Flemish or
latter appears for a long time restricted Italian. It is plain that circumstances
or almost so, to paintings on cloth, wall have as yet not been sufficiently pro-
or wood, or religious scenes, of saints pitious to develop a school of charac-
and of madonnas. Of the earlier pro- teristic painters of Bohemia itself.
ductions but very little remains to Simultaneously with the develop-
our day, and we are unable to judge of m.ent of painting at large, a very con-
their standards. siderable progress has also been realized
As for all arts, so for painting in during these earlier centuries in the
Czechoslovakia, the "golden days" development of miniature paintings
are those of the XIV century. In 1348 and especially in the illumination of
the painters are already numerous and bibles, breviaries, psalters, and books
important enough to associate into a of the gospels. An effort was also made
[216]
;
ART AND ARCHAEOLOGY

during the reign of Karel IV in art ing in the Bohemian territories. A
mosaic. number of the foremost native artists
During this period the painting of were among the exiles from the countrv
church interiors reached its maximum and there was no incentive for the de-
development, and there are accounts of velopment of others. In addition to
whole series of churches and castles which there was a wide destruction.
that were filled with paintings in this After the Thirty Years' War the new
manner. Unfortunately a large ma- nobility and new rich owners, mostly
jority of this painting has, in the course of foreign extraction, in repairing the
of time, been destroyed. Some good partly ruined and in building new
examples have been accidentally re- mansions, called in again numbers of
covered in recent times during repairs foreign painters, the foremost of whom
to old churches. was Peter. Brandl, whose paintings were
During the reign of Vaclav IV, the characterized by unusual power. The
son of Karel, the favorable period for
the development of art and painting
continues, but the latter is now marked
by more boisterousness and less re-
striction. The art of illumination has
progressed extensively, and has left a
series cf valuable examples.
The Reformation and the Hussite
wars of the XV century not only
stopped art progress, but resulted in
widespread destruction. What this
produced follows very largely old tra-
ditions. The art of illumination, how-
ever, shows a decided advance still
further, as witnessedby the number of
precious remaining examples, some of
which begin already to show the in-
fluence cf the Renaissance.
In the XVI century painting is
especially favored during the reign of
Rudolf II. AsaHapsburg, Rudolf called
in a number of Dutch and German mas-
ters, the foremost of whom is Bartholo-
mew Sprangher of Antwerp, who even- -'<5j^^ .vcjcAcn. iy.Âcc^ u fcbe ?a.l>y*vff.
tually settles in Prague for the rest of

>vJJJd..,a wuiKiTia J^«»;ka tawt ,fraiC
his life. The new impetus given to the 5Tj3.hxH.cL J,y,Ulli.i>.^ >fitfUAl. brAtn<:^l^
art of painting extended, however, all
over the country^ and resulted in the ap-
pearance of a series of native painters,
some of whom become especially noted.
BITVA U KOLI.N'A
The XVII century and the Thirty
Years' War were on the whole a most Illustration to Folk Song relating to Battle of Kolin.
unfavorable period for the art of paint- By MikulaS AleS
[217]
,
ART AND ARCHAEOLOGY

art thatshowed the most rapid advance trations from old Czech history have
toward recovery was painting al fresco, exerted a strong infli'jsnce on a line of
represented by a new progeny of native followers. Jaroslav Cermak (181 1-78)
painters, among whom excelled especial- devotes himself to scenes from the life
ly Vaclav Reiner (died 1745). The de- and environment of Slavs in the Bal-
velopment in this direction is such that kans. F. Zenisek and Mikulas Ales
it is possible to speak of a Czech School follow ingeniously and originally in
of fresco paintings of the XVIII cen- the same direction (in Bohemia and
tury. The subjects of the paintings Moravia). It is these two who pro-
were partly religious, partly battle duced in the main the exquisite wall
scenes, either historical or allegorical, paintings of the National Theatre.
besides which there appear also land- Historic painting is represented fore-
scapes, paintings of flowers, etc. most by Vaclav Brozik (1851-1900),
The reign of Joseph II, as a complete known the world over by his great tab-
antithesis to that of Rudolf II, directly leaux "Jan Hus before the Council of
interfered with all progress in art, in- Constance," "Columbus before the
cluding painting. By the decree of Court of Isabella," etc. and at the pres-
;
1782, the Painters Fraternity was dis- ent time by A. Mucha who, since 1890,
solved. Rudolf's art gallery, and many is working on twenty great tableaux that
privately owned pictures were sold are to illustrate the main events of vSlavic
abroad and nothing was now produced.
; history. Eleven of these huge tableaux
This curious state of affairs can only be 18 X 28 feet, have been completed and
regarded as one of the manifestations of a number of them have, within the last
abnormality which here and there have two years, been shown in the Art Insti-
been observed in the different Haps- tute of Chicago and the Brooklyn
burgs. Fortunately, in 1796 conditions Museum. Scenery in all its forms,
have so changed that the establishment genre, and all other forms of the art of
of an "Association of the Patiintic painting, have today in Czechoslovakia
Friends of became possible,
Art" able and noted representatives.
which was soon followed by the founda- The older national collections of art
tion of a permanent Art Gallery and are housed since 1882 in the beautiful
Art School. This, properly speaking, and extensive Rudolfinum in Prague,
was the beginning of the modern period while the more recent art treasures are
of the art of painting in Bohemia, housed in the "Modern Gallery." Also,
though for a long time yet the art was
there are a number of important private
laboring under foreign influence.
collections, and, taking the arts to-
The rest of the history of painting in
gether, the great old churches and man-
Czechoslovakia is that of a steadily
accelerating development toward the
sions of Prague, and the old churches,
best of modern standards and an monasteries, castles and mansions scat-
equally augmenting emancipation from tered over the country, are similarly
traditional and foreign influences. The as in Holland, Belgium, France and
main pioneer in this direction is J. Italy, so many parts of one vast art
Manes (1821-71), whose excellent museum.
studies of the native types and illus- U. S. National Museum.
[219]
"Death snd Resurrection," Group in Bronze, by Ettore Cadorin.
"Death cuid Resurrection," by Ettore Cadorin.
This photograph represents the bronze group "Death and Resurrection" by the sculptor
Ettore Cadorin. It will shortly be erected for the Karagheusian family of New York Citv, in
Woodlawn cemetery.
The group represents the symbol of the Christian belief, according to which death is considered
but a passage from this life to the Eternal Life, through the resurrection of the spirit.
The two figures emerge from the massive block with a calm and large movement, especially of
the torsos, while a part of the bodies remain enveloped and melted in the block. One of the
figures expresses a complete attitude of lethargic sleep like death, which is not the end of every-
thing, but a temporary rest. The other figure is animated by a movement of deliverance and life
and the face expresses a rapture of serenity and beatitude.
The hair of the two figures descends along the bodies in floating masses which further down
shapes themselves into the block so as to envelope the figures and add to the poetic mystery of
the ensemble. The artist aims with this work to give a new character to the sculpture of ceme-
teries less conventional, and with a deeper and more symbolic meaning. A number of his works
done in the same style, stand in the cemeteries of France and Italy.
Athenian Nights at Toledo Art Museum.

Would you like tospend some time back in old Athens with the filleted maidens and bronzed
athlete of the Parthenon frieze ? Would you care to see a play of Sophocles or Aeschylus given just
as the ancients viewed it? Would you catch a bit of the real flavor of Greek art and civilization?
Impossible! you say. Not at all! Toledo is doing it through her Museum of Art and it is one
of the many things which mark this museum as no mausoleum, but a living, pulsating community
center of art appreciation.
It all began when someone realized the possibilities of the steps of the museum as a stage for a
Greek play. The dancers were members of a High School gymnasium class, and the actors came
from a class in Public iSpeaking. The play chosen was Sophocles' Antigone, so different from the
problem-plays of today, yet containing the world-old and ever-new conflict between duty and
desire, and bringing home the truth of that truth the world seems able to learn through individual
experience, "What a man sows, that shall he also reap."
It was a perfect June night. A silver thread of a moon in a real Aegean blue sky floated over
the dark tree-tops and hung, poised, over the Ionic columns which form the stately entrance to
the museum. Seats for the spectators were placed along the broad, flagged portico, while the
actors played their parts on the marble steps. The Parthenon itself could not have formed a
more classic background.
Between the acts, a group of girls, their white tunics caught with silver bands, danced as the
old Greek chorus used to do. Girls of the twentieth century were they? Oh, no! They were
devotees of Athene, once more offering their gifts to their patron goddess, and delighting to do
her homage.
When the spectators demanded an encore, the dancers became gleeful children, dancing in the
courtyard of their home, and bounding balls to the accompaniment of their delight. Finally,
running dov\'n to the fountain in the middle of the square, where the waters of the pool flashed
in the mellow moonlight, they raised graceful arms in adoration of Artemis, the moon-goddess.
It was the scene, in the flesh, that is to be found on many a Greek urn. The entire performance
had that elusive charm which marked it as "a thing of beauty," and the remembrance of it in
the minds of the audience will be a "joy forever." C. L. Pray.
Annual Convention of American Federation of Arts.

The twelfth Annual Convention of the American Federation of Arts will be held at the
Corcoran Gallery of Art, Washington, D. C, May i8, 19, 20. Special sessions will be devoted
to "Art and the People," "The Artist's Point of View," "Professional Art Problems," "Educa-
tional Work" and "The Art Museum."
[221]
Courlesy of Vose Galleries, Boston
'Fete Champetre," by Adulphe Monticelli.
Monticelli Exhibition at the Vose Galleries, Boston.

The Vose Galleries, of Boston, on March 1 7, celebrated the eightieth anniversary of the founding
of the house by opening one of the most remarkable exhibitions that has ever been held in this
countr}'— a display of twenty-one paintings by the immortal French colorist and romanticist,
Adolphe Monticelli (1824-1886). Professor Churchill, of Smith College, delivered a lecture on
Monticelli before a notable assemblage of connoisseurs.
vSuch another exhibition, for brilliancy and beauty of color, has probably never been seen in
this country. Critics have come to accept MonticeUi as the leader in his field, as richer and more
vibrating than Watteau, and as the superior of Diaz both in color and in composition. The Vose
display ser\-ed to confirm this estimation of the master.
The outstanding picture in the exhibition was "A Summer's Day; Idyl," which is regarded by
many as Monticelli's greatest work. It was lent by R. B. Angus, of Montreal, who is one of
Canada's biggest collectors. Cool, joyous and lightsome, in it the artist reached the very heights
of idyllic painting, with its group of happy figures surging like music amid a wood, under a
romantic sky. Another masterpiece, also from the Angus collection, "A Garden Fete: Sunset,"
is in some ways the antithesis of the other, because it is intensely warm and glowing.
Monticelli's pictures all have the qualities of precious gems, but especially jewel-like is
" Romantic Scene," also in the exhibition. This work has the beauty of rubies, emeralds and gold.
Another extremely fine subject, "Woodland Dance," lent by the Hillyer Gallery of Smith College,
was a prized possession of the late George Fuller. Other superlative examples in the display was
"Fete Champetre," brilliant and positive; "In the Woods," cool and exquisite with its cameo-like
faces, and "The Star of Bethlehem," with oriental splendor flaming through the duskiness of
night. "The Pet Dove" and "The Peacock Garden " were large subjects belonging to the series
that Monticelli painted for the Empress Eugenie, and that introduce her portrait. Earliest of all
in point ol date, was "The Lark," that reminded one more of Watteau than any of the others.
[222]
BOOK CRITIQUES
The Outline of History, by H. G. Wells. "History of Civilization," Bryce's "Holy
Being a Plain History of Life and Mankind. Roman Empire," Henry Adams' "Mont iSt.
New York : The Macmillan Co. ipso. 2 vols. Michel and Chartres, '' Jebbs' "Primer of
$10.50. Greek Literature," the best parts of Mackails"
It is obvious that so clever and calligraphic "History of Roman Literature," equivalent
a ready writer as Mr. Wells can, if he shuts sketches of the chief modern literatures, and a
himself in his study with thirty or forty recent brief authentic history of science. But where
in such a collection would be the unity, the
books and a stock of reference works, compile
in a few months a history of the world, inferior stamp of Mr. Wells' demiurgic mind? There
as a history to the book that any one of a score would be quite as much real unity as there is
of historians, if unhampered by scholarly now. For what complaisant reviewers call the
inhibitions, could produce, but more likely unity of this book, is an illusion created by
to be read by the man in the street. repetition and cross references and the reitera-
As
the reverend William Sunday wins souls, so tion of Mr. Wells' prepossessions and prejudices:
Mr. Wells issaid to be winning to the study of his socialism; his affectation of a Tolstoian
history many hitherto innocent readers. And Christianity, which his way of life gives him no
timid preachers, and scholars who can be right to preach; his disdain for the past; his
intimidated by Mr. Wells' denunciations of exultation in the progress that has substituted
"the bent scholarly man as intolerant as a the conveniences of his study for the defective
priest, as obscurantist as a physician," will library of Alexandria; his Shelleyan prophecies
fear to criticize the methods of either. of the dawn of happiness and science on the
But
there is no reason why any serious critic should world his uneasy contempt for scholarship and
;
take seriously this propagandist pamphlet and culture; his antipathies to patriotism, the
book-making enterprise, except as a symptom University of Oxford, the Romans, Demos-
of the intellectual decadence that threatens our thenes, Rudyard Kipling and Gladstone.
civilization. It is for Anglo-American post- There is no unity, either, of artistic composi-
bellum culture what the sale of forty thousand tion or of critical apprehension of the causal
copies of Spengel's " Downfa'l of the West, or sequences and interrelations of history. The
Morphology of World History" is for the more separate chapters were obviously composed by
pessimistic reading public of Germany. And, the method of diluting a capricious abstract
if European civilization really were fore- of whatever modern book on the subject pleased
doomed to another secular eclipse, prophecy Mr. Wells best, with the reflections and happy
might salute Mr. Wells' work as the Orosius of thoughts that flowed into his pen as he wrote.
the New Dark Ages. The chief hindrance to His nominal coadjutors, Mr. Ernest Barker,
such an unenviable immortality would be its Professor Gilbert Murray, and the rest, profess
bulk. Mr. Wells calls it an Outline, and it is to discuss these happy thoughts seriously with
made a very meagre and spotty sketch by the the author in the foot notes. But why should
space wasted in explanation of its choices and any other scholar concern himself with Mr.
apology for its rejections; or on those thumb Wells' prejudiced estimates of literatures,
sucking disquisitions of cosmic introspection, which he has not read, and his jaunty pro-
with which we are already too familiar in "The nouncements on historical problems which he
Research Magnificent," "Anticipations" and knows from the hand books open before him?
other of Mr. Wells' eleven "books on social, A professor in a great American University pro-
religiousand political questions. " But thirteen fesses to be awe struck by Mr. Wells' accuracy,
hundred large pages economically used would and says that, though he himself is a life-long
hold more history than Mr. Wells had time to student of history, he can detect no errors. If
get up, or than his shrewdness would inflict he will find an arena for joint debate, I will
upon the reader who wants "plain statements begin by presenting him with a score of
that he can take hold of comfortably." With "howlers." Or does he merely mean that Mr.
no larger expenditure of paper, the publishers Wells and his corps of experts have succeeded
could have reprinted an orderly presentation of in spelling most of the proper names, and have
three or four times the amount of historical correctly copied out the comparati\-ely few
facts given by Mr. Wells; and, in addition, dates given?
Macaulay's, Carlyle's and Frederick Harrison's But the chief defects of the book are the
essays on history. Mill's review of Guizot's faulty perspective and proportions, and the
[223]
ART AND ARCHAEOLOGY
preposterous valuations. Nearly three hundred The author begins with a brief, though com-
pages are wasted on geologic aeons and con- prehensive, review of the types of man appear-
jectural prehistoric human histor>% for which a ing on earth prior to the Neolithic Period, with
brief chapter would have sufficed. More space which those interested in primitive mankind
is given to Philip and Alexander of Macedon have been made delightfully familiar by Pro-
than to the civilization and literature of Greece fessor Osborn in his Men of the Old Stone Age.
from Salamis to Chaeroneia. The literature Dr. Tyler, after devoting a chapter to the
and law of Rome and their influence are alto- transition between these two periods and the ge-
gether ignored. The Renaissance is lost to ological changes affecting the European fauna
sight and the entire political history of modem and flora, takes up in orderly sequence the re-
Europe from 1400 to 1800 muddled and skimped, mains, which have been unearthed, throwing
in two confused and confusing chapters on the light on the life and industry of the New Stone
"Renascence of Western Civilization" and Age. Through undetermined and undetermin-
"Princes, Parliaments and Powers." The able millenia the reader is led from one stage
two chief topics of 19th century history for Mr. of culture to another, up from the crude state
Wells seem to be the scholarship of Karl Marx of the cave-dwelling hunter to the community
and the bad education of Gladstone. life and tribal organization resulting from agri-
WTiile professing to write a history of the culture and to the nomadic life which came later
ideas and the mind of man, he omits the pre- with the domestication of herbiverous animals.
Socratics, and Thucj'dides; is ludicrously in- The migration routes of prehistoric peoples
adequate about Plato and Aristotle; says under the pressure of populations and the relig-
nothing of stoics, epicureans and neo-Platonists, ious concepts bom of new and changing condi-
does not mention Chaucer, Dante, Shakespeare, tions are treated in an attractive way. The
Alilton, Spinoza and Kant; has for Demos- reader sees a continual progress in the indus-
thenes only a sneer has nothing to say of Grotius
; trial, social and intellectual life of these ancient
Burke, Alexander Hamilton and Lincoln. races. He sees the rudiments of modern
To make up, he has eleven references each to civilizations gradually take form and develop.
Nabonidus and to the Neanderthal man; is He is led on and on, step b}' step, through
copious on Roger Bacon, Loyola, Machiavelli thousands of years until he at last emerges into
and Confucius; praises the erudition of Karl the dim twilight, which we term "the dawn of
Marx and the scatological psychology of history," when man invented the means of re-
Freud and Jung; gossips for several pages each cording events for future ages.
on the stor}- of Croesus, the scandals of the Taken as a whole The New Stone Age in
Alacedonian court and the abdication of Northern Europe is, to use a paradoxical term,
Charles V, and quotes three pages from an a fascinating history of a prehistoric period.
essay on modern Hindu life by one Mr. Basu. It is a story which, when one begins to read
Such are the proportions and the estimates it, he will find it hard to lay aside. The
of value in the Philosophic History on which attractive nature and the sustained interest
the reconstruction of our civilization is to be are due in large measure to the skillful treat-
based. Paul Shorey. ment of the subject and the author's talent as
a writer. Eliminating the scientific value of
The New Stone Age in Northern Europe. By the analysis of collected data, and the years
evidently given to the comparative study of
John M. Tyler. New York. Charles Scrihner's
authorities, the excellence of the literary style
Sons. jgsi. would make the book well worth the reading.
It one thing to collect facts concerning pre-
is There is a deftness of touch which clothes the
historic times and to draw the true deductions driest facts with a charm which holds the atten-
from them, and quite another thing to present tion and gives them life. The work is a fitting
the information in an interesting way so that a sequel to The Men of the Old Stone Age which
man, who has not specialized on the subject, brought to its writer so much favorable com-
finds pleasure as well as profit in perusing the ment a few years ago.
student's writings. To combine the two is an Professor Tyler has enhanced the value of
art. Professor John I\L Tyler has exhibited this decided contribution to archaeological
this art in his recent book. The New Stone Age literature by appending to the work an excel-
in Northern Europe. lent bibliography. Robert Lansing.
1224]
$5.00 THE YEAR SO CENTS THE COPY
ART AND ARCHAEOLOGY

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ART AND LIFE Cnbw york) combined with ART AND ARCHAEOLOGY
Volume XI JUNE, 1921 Number 6

BOARD OF EDITORS
Howard Crosby Butler Frank Springer, Chairman
Charles Upson Clark J. TowNSEND Russell, V ice-Chairman
Albert T. Clay
James C. Egbert
Charles T. Currelly
H. R. Fairclough Ex-ojicio as President of the Institute
Edgar L- Hewett BuRWELL S. Cutler
Morris Jastrow John B. Larnbr
Fiske Kimball
Charlbs Colfax Long
David M. Robinson
CONTENTS
Sir Moses Ezekiel, American Sculptor Henry K. Bush-Brown . . 225
Nine Illustrations
The Alban Lakes Mary Mendenhal/ Perkins .

235
Two Illustrations
Some Literary Bookplates
Nine Illustrations
Alfred Fowler .... 239
William Rush, the Earliest Native Born American Sculptor

Three Illustrations
. . IVilfred Jordon .... 245
Rus IN Urbe (Poem) Harvey M. Watts . . . 247

Glimpses Into Greek Art Frederick Paulsen . . 248
One Illustration
On a Sarouk Rug (Poem) H. H. Bellaman . . 250

Caricature and the Grotesque in Art ... Alfred J. Lotka 251
PiERo Di CosiMO (Poem) Robert Hillyer .... 253
Creators of Costume Kathryn Rucker .... 255
Three Illustrations
Six Illustrations
Book Critiques . '

267
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Entered at the Post Office at Washington. D. C, as second-class mail matter Acceptance for mailing at special rate of postage
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Copyright. 1921, bv the Archaeoloiical Institute op America.
Confederate Soldiers' Monument by Sir Moses Ezekiel in the Arlington National Ctmetery
Washington, D. C.
ART mid.
ARCHAEOLOGY
Volume XI JUNE, 1921 Number 6
SIR MOSES EZEKIEL: AMERICAN SCULPTOR

By Henry K. Bush-Brown.^
WE ARE assembled this day to do

honor to one who by his own
genius has gained the recogni-
gave expression to his innate talent in the
painting of panoramas and making mov-
ing figures and scenic dioramas, for the
tion of the world and the love of many amusement of his family and friends.
friends, and we naturally pause to in- At the age of fourteen he had received
quire on what food was this man nour- an ordinary common school education,
ished that he became so great. Born having devoted his spare time day and
of a family of trades people there was night in drawing, painting and writing
certainly a vision in his mind as a poetry, and some of these early effusions
child, and it is the vision of childhood were quite remarkable for such a mere
when coupled with courage which youth. About this time he stopped
makes for greatness. school and determined to follow a
Moses Jacob Ezekiel (known as mercantile life, but after a few years he
SirMoses Ezekiel), American Sculptor, tired of the monotony and usual routine
was born in Richmond, Virginia, on of business affairs. In the year 1861,
October 28th 1844, the son of Jacob and becoming imbued with the military
Catherine de Castro Ezekiel. The first spirit of that period, he entered the
of the family in America was Ezekiel Virginia Military Institute at Lexington
Jacob Ezekiel and Rebecca Israel Ezek- as a cadet, remaining there until the
iel, who came to this country from Institute was burned by the Union
Amsterdam, Holland, and settled at General Hunter in 1864 when he left
Philadelphia, Pa., in 1808. These were with the Corps of Cadets for the field
the parents of Jacob Ezekiel, the father of action in the valley of Virginia and
of Sir Moses Ezekiel. In early boy- participated with them in the Battle of
hood Moses Ezekiel manifested the Newmarket, remaining in the Con-
greatest interest in the primary fields of federate Army until the close of the
art and when scarcely ten years of age Civil War. In 1865 he again returned
'Address made on Wednesday evening, March 30th. 192 1. at to the Institute and graduated with
the Memorial Services in the Scottish Rite Temple. Washington,
D. C. honors the following year. The re-
[227]
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famous corner of the studio of Sir Moses Ezekul m tlK- Hath-> dl liuaiLtian,Rome, Italy, Con-
spicuous are the "Homer" group, the statue of "David" and the bust of "Longfellow."
.
ART AND ARCHAEOLOGY

father and an ideal composition of
"Cain, or, The Offering Rejected,"
His knowledge of anatomy being in-
adequate to the necessities of his future
requirements for the study of art he
entered the Medical College of Virginia
for the regular course of lectures and
study in "Anatomy and Dissection of
the Human Body."
His removal to Cincinnati, Ohio,
in 1868 gave his purpose a new oppor-
tunity. There he studied drawing at
an art school for a short period and
worked in the studio of a local sculptor
where he made a statuette entitled
"Industry," which was publicly ex-
hibited and favorably criticized.
It was but natural that his aspira-
tions should direct his steps to Europe
for his further training in what he in-
tended as a profession and in the spring
of 1869 we find him sailing for Germany,
for it was in Berlin at the Royal Art
Academy that his study and success
brought him honor and a still broader
opportunity. In the summer of 1873,
at the age of 29 years, he gained the
Michael- Beer Prize of Rome, which
Bust of the composer Franz Liszt, by Sir Moses Ezekiel had never before been awarded to a
foreigner, for his basso-relievo of
verses met with by his family on "Israel," giving him two years study
account of the Civil War induced him in the "Eternal City. "He thereafter
again to re-commence his mercantile made Rome his home, with an occa-
profession. On returning to Richmond sional visit to Berlin his foster mother,
in 1866 he soon tired of commercial to Paris where he had a studio also,
affairs. He determined to adopt paint- and to America his native land.
ing as a profession and executed some While in Berlin, during his four years
very creditable canvasses, among which of study he executed several ideal works
was the "Prisoner's Wife" for Mrs. in marble for patrons there and also
Mary Custis Lee, wife of the leader of a number of commissions
fulfilled quite
the vSouthern armies, whose friendship for America. Thus, it may be said,
and encouragement he had enjoyed he was the product of American free-
while studying at Lexington where dom of thought and purpose plus the
General Lee and his family resided. patronage of Germany and the inspi-
He soon, however, turned from the ration of Italy.
study of painting to that of sculpture, It was then but natural that his
his first efforts being a bust of his art should follow the choicest classical
[229]
Colossal Marble Group of "Religious Liberty", by Sir Moses Ezekiel 'in front of Horticultural Hall,
Fairmont Park, Philadelphia. Unveiled at the Centennial Exposition in 1876.
Recumbent Marble Statue of "Christ In The Tomb," in the Chapel of the Consolation, Rue Goujon, Paris,
France, by Sir Moses Ezekiel. Deeply religious in his nature, it is quite synificant that he, an Israelite, should
give to the world one of the best interpretations of Christ.
lines and find its best and noblest ex- Her Dead" at the Virginia Military
pression in ideal subjects. The first Institute at Lexington; the "Con-
and greatest one was the incarnation federate Outlook" at Johnson's Island,
of an abstract idea as exemplified in Lake Erie; the Lord Sherbrooke Mem-
the colossal marble group of "Religious orial in Westminster Abbey, London,
Liberty" for the Centennial Exposi- England; bronze seated public sta-
tion of 1876, which was permanently tues of Anthony J. Drexel inFairmount
erected inFairmount Park, Philadelphia. Park, Philadelphia, of Senator Daniels
His other most important works of this at Lynchburg, Virginia of Edgar Allan
,
;"
character are "Eve Hearing the Voice Poe (his last work) for Baltimore,
" Homer Reciting the Ihad; " "Apollo Maryland, and others.
Listening to Mercury;" "David Re- He excelled in portrait busts and
turning from Victory;" "Art and Na- executed many of them in marble and
ture;" "The Fountain of Neptune;" bronze; that of "Washington," now in
"Christ in the Tomb;" "Napoleon at the Cincinnati Art Museum, giving
St. Helena;" "The Martyr, or Christ him his professional start in Berlin.
Bound to the Cross;" "Pan and Amor;" Those of Franz Liszt and Cardinal
"Ecce Homo;" "David vSinging his Gustave von Hohenlohe gained for
Song of Glory;" "Judith vSlaying Holo- him the Knighthood for "Science and
fernes;" "Jessica;" "Portia," and Art," and many other very notable
others. He made eleven decorative men and women sat to him for por-
heroic portrait statues of the greatest trait busts and relievos. He was ac-
painters and sculptors for the old corded the rank of "Chevalier" by
Corcoran Art Gallery building of Wash- King Victor Emmanuel and later re-
ington; the "Stonewall Jackson" ceived the title of "Officer of the Crown
statue for Charleston, West Virginia, of Italy" from King Humbert. He re-
and a replica for Lexington, Virginia; ceived medals from the Royal Art Asso-
the allegorical Jefferson Monument for ciation of Palermo, the Raphael Medal
Louisville, Kentucky, and a replica of Urbino, medals of honor and honor-
in front of the University of Virginia at ary membership from many other Art
Charlottesville; "Virginia Mourning Institutions, Societies, and Expositions.
[231]
Thomas Jefferson Monument by Sir Moses Ezekiel, in front of the University of Virginia, at Char-
lottesville. A replica of this monument isalso in front of the City Hall at Louisville, Ky.
ART AND ARCHAEOLOGY
his friends and here one heard
the finest music by the great-
est talent and met not only
the best people of Rome,
but also eminent strangers
who might be visiting the
city from all parts of the
world. Therefore, an invita-
tion from him was one of the
prized artistic opportunities
of Rome. Here the Queen
Mother and other members of
the Royal Household were
frequent visitors. It was in
this quaint and unique abode
that he liked to show to his
friends and visitors remark-
able rare examples of ancient
art, including many Greek
and Roman fragments, which,
together with this part of the
Marble relievo— "Confession. " M. Ezekiel, Berlin, 873. Roman Baths themselves,
Professor Leo's Collection, Potsdam, Germany.
contributed in no little degree
While these successes
brought him deserving recog-
nition from the highest art
authorities, it is nevertheless
the man and the artist to
whom we are paying tribute
today, for what he was is
quite as important as what
he did.
He established his studio
in the ruins of the Baths of
Diocletian, a most spacious
place, and the simplicity and
greatness of the man was
manifest everywhere in the
Eternal City. Here he wel-
comed all alike whether great
or lowly,and he was always
ready to give aid and en-
couragement to young stu-
dents who came to him for
advice.
Every Friday afternoon Marble relievo
—"Consolation." M. Ezekiel, Berlin, 1873.
Ezekiel kept open house for Professor Leo's Collection, Potsdam, Germany.
[233]
ART AND ARCHAEOLOGY
which lasted throughout their lives.
They formed in themselves a lovely
trinity of Art, Music and Religion, as
between man and man, and it is quite
natural that his portrait busts of these
two notables should be among his best
works. Besides the winters in "The
Eternal City" these three famous
friends had frequently their summers in
the Villa d'Este at Tivoli, that sump-
tuous palace and home of the Cardinal.
In such a soil and in such an atmos-
phere was the sensitive soul of Ezekiel
nourished. What more could a pro-
found artist ask, greater than these, for
the growth of the spirit?
After a residence of over thirty years
in the Baths of Diocletian it nearly
broke his heart to have the Govern-
ment demand the possession of this
part of the ruins as an adjunct to the
National Museum. On leaving there
he was given by the municipal author-
ities the Tower of Belisarius on the
Pincian Hill overlooking the Borghese
Gardens, which furnished him a home
for the rest of his years, while he took
a studio and work rooms in the Via
Fausta just off the Piazza del Populo.
However, this disappointment had
its redeeming side, for in consequence
Virginia Mourning Her Dead. at this time he took occasion to visit
Colossal bronze statue by Sir Moses Ezekiel, Rome, America and while in his native country
erected on campus in front of main building of the received the commission to execute
Virginia Military Institute at Lexington in memory of
the Cadets of the V. M. I. who fell at the battle of New- the Confederate Soldiers Monument,
market, Va. in 1864. which has served today, in a measure,
as his tomb, in the Arlington National
to the nobility of the setting in which —
Cemetery this monument and that of
art, music, and beauty were most hap- Edgar Allan Poe,' for Baltimore, being
pily combined with living forms of his last important works.
foliage, flowersand birds. Ezekiel was helpful and generous to
Early in this Roman life he made the the poor, a friend to everyone, and by
acquaintance of Franz Liszt, the emi- his works calls all who follow after
nent musical composer, and Cardinal him to the service of man for better and
Gustave von Hohenlohe, the Papal higher ideals.
representative of Austria. An intimate Washi'iiglon, D. C.
•See Art and Archaeology, vol. V no. 5 (May 191 7) pp. ^06-
friendship grew up between these three jios.
[234]
Lake of Nemi in the Alban Hills. It was in the bottom of this lake that the ruiiiams of the two ships
belonging to the time of the Roman Emperor Caligula were found. The banks are 330 feet in height
and the waters of the lake are over 100 feet in depth.
THE ALBAN LAKES

By Mary Mendenhall Perkins.
SAW something in the Museo "Agreed," I replied gladly.
I delle Terme yesterday, of singular The Alban Mountains, with their

observed my compan-
interest," extinct volcano of Monte Cavo, are
ion, as we chatted about our recent still frequently reminded of their vol-
respective Roman wanderings. canic origin through the medium of an
"What was it?" I asked. occasional earthquake, while the two
"Those bronze mooring rings and lakes, Albano and Nemi, without doubt,
ornaments from the two ships which occupy the beds of two craters.
were discovered in the bottom of Lake The region about Frascati, has
Nemi, in the Alban Hills." always, owing to its height and situa-
"Yes, I saw those, and I saw, too, tion, been a healthful district, abound-
some heavy beams of larchwood, one ing in springs, and enjoying the benefits
of them eight)'-five feet long, which of luxuriant cultivation. Alban wine,
came from one of these same as we know, was famous even in antiq-
ships." uity. Both Frascati and Albano, near
" Let's take a day off from museums these lakes, have been surrounded since
and churches and the visit Alban the most ancient times, with the coun-
lakes tomorrow," she suggested. try houses of wealthy Romans.
[235]
ART AND ARCHAEOLOGY
flowering banks, rich, green ilex and
cypress trees made a picture of endur-
ing beauty. We passed Castel Gon-
dolfo, the pope's summer residence,
which he never visits now, and entered
Albano by a long avenue of noble ilex
trees. It is said there is no more re-
markable antiquity in the world than
the emissarium, or outlet of the Alban
lakes. This was made four hundred
years before the Christian era. It is a
tunnel a mile and a half long, bored
through solid rock of the mountain of
Albano, and built of masonry. It was
made to carry off the waters of the lake
which had risen to such a height that
they threatened the whole plain of
Latium, and Rome itself, with in-
undation.
At this time Rome was besieging the
Etruscan city of Veii, twelve miles to
Bronze mooring-ring from one of the ships sunk in the north. The Delphic oracle being
the bottom of Lake Nemi in the time of Caligula. consulted, said that Rome would never
It is of perfect workmanship and may be seen today
in the Museo delle Terme, in Rome. be safe or Veii conquered, 'til the waters
of the Alban were made to flow into the
"No wonder the region is so full of sea. As it occupied the bed of an old
fascination for the student," I said. "It volcanic crater, it had, up to this time,
is the human interest, after all, that adds no visibleoutlet. So the Romans
the greatest charm to these scenes." inspired fear of defeat and destruc-
by
"Yes," replied my friend, "it makes tion, undertook, and carried through,
very real the great men who once were a the gigantic work within a year. After
part of it all, who belonged to this very the lapse of twenty-three hundred
soil." years, it still carries the surplus waters
As we left Frascati behind us and of the Alban lakes to the sea. As the
took the road to Lake Albano, we channel is only six feet high and three
passed a fountain with a large reservoir, and a half wide, it is said but three men
at which a number of the country could work in it at one time. Piranesi
women, wearing the picturesque Alban says they must have bored deep pits, in
costume, were washing and beating their several places in the mountain, to the
clothes, talking, laughing, exchanging proper level and let men down to work
the gossip of the day, and making a at it. The strong arch of masonry at
pleasure of their labor. its mouth is a proof that the structure
We drove along this beautiful road, of the arch was known to the Romans
in the early spring-time, with Monte as early as 400 B. c.
Cavo towering above us, and came sud- A little farther on we saw along the
denly into full view of the Lake of shore of the lake, some high artificial
Albano. Its deep, clear, oval basin, caves or grottoes, hollowed out of the
1236]
;
ART AND ARCHAEOLOGY

rocky, steep banks, called by the Albano and Ariccia, two hundred feet
natives, the "Bagni di Diana" or the to the bottom of it! Ariccia was the
"Baths of Diana." They are thought fifth station on the Appian Way, which
to be the remains of a nymphaeum, or is remembered as the place where
summer retreat, constructed by the Horace spent the first night of his
Emperor Domitian. journey to Brundusium. The women
The nymphae of ancient times were of Ariccia and Genzano, on Lake Nemi,
usually made in the sides of steep hills are famed for their beauty.
certainly no more delightful place for The beautiful little Lake of Nemi,
one could be found than the shore of was once the crater of an active vol-
the Alban Lake. cano. It is somewhat smaller than the
The Emperor Domitian had a magni- Lake of Albano, more nearly round,
ficient villa on this lake portions of its
;
and sunk more deeply in its woody
ruins being visible yet in the extensive banks; so deeply indeed that it is said
grounds of the Villa Barberini. The no wind ever ruffles its glossy surface.
villa of Domitian included those of The ancient poets called Diana's
it, "
Clodius and Pompey. The most curi- Mirror"; this from a temple to the
ous part to be seen today is a long Scythian Diana, on the north side of
crypto-portico, or underground pas- the lake, where, at that time, was only
sage-way. Cicero called the villa, a dense forest. Of this temple only
'Clodius's insane structure." ruins remain.
The present Villa Barberini follows, The rule of this sanctuary by the Lake
in its general plan, the outline of the of Nemi, was truly barbaric, and worthy
glorious villa of Domitian. Many of the of the Scythians, for no one could be
ancient walls, terraces and other ruins elected High Priest of the Temple,
are so concealed by a thick growth of unless he had slain, in single combat,
ivy, ferns and evergieens, that one feels with hisown hands, his predecessor,
rather than sees, the antiquity of the who had won the office in the same
place. It is said that no tree, flower or manner. Imagine the state of terror in
bird that is not purely of classic times which the pagan priests must have
seems to be allowed to live in this once lived. This dreadful rite was con-
imperial domain. No flowers adorn tinued down to the time of Marcus
the emerald green of the lawns, except Aurelius, in the second century of the
the classic rose and violet. Christian era.
Lanciani, the greatest archaeologist Archaeologists tellus that this lake
in Rome today, says that the view was formed hundreds of years before
from the Villa Barljerini, commands the extinction of the last volcano in the
more classic history "as it stretches far Alban Mountains. One can imagine
away from the foot of the Alban Hills what an awe-inspiring place it must
to the Mediterranean, from the pro- have been to the worshippers in the
montory of Circe to Mt. Soracte, Temple of Diana. The borders of the
from Ostia to the Tiber and Rome, lake, covered with its thick forest
than in all other districts of Italy must have echoed and re-echoed to the
together." rumbling and frightful outbursts of the
To reach Lake Nemi, we followed an nearby Monte Pila. We are told that
ancient road which led over an impos- the ashes and smoke filled the sky and
ing viaduct spanning the gorge betwene the echoes from cliff to cliff and from
[237]
ART AND ARCHAEOLOGY
mountain to mountain were heard as gilded the lead pipes which had carried
;
far as Rome. the water to the fountain on deck, were

Perhaps the most interesting thing inscribed with the name of Caligula,
connected with this lake today, was the Roman Emperor. The beautiful
discovery some years ago, of the two bronze mooring-rings from the first
ships at the bottom of the lake which is ship, to be seen in the Museo delle
over one hundred feet deep. The Terme today, include lions, wolves and
ships, relics of which had formed the tiger's heads, also a fine head of Medusa,
immediate cause of this pilgrimage of in bronze. A large number of Larch-
ours, are of great size and rich in va- wood beams, which we saw in the same
rious kinds of ornament. They were museum, were brought up partially
doubtless launched in the luxurious broken.
time of Caligula, nearly two thousand On the second ship, marble terraces,
years ago. Many attempts have been enameled decks, shrines and fountains,
made during the last five hundred years were discovered, with what had once
to bring them to the surface, but so far, been hanging gardens.
without success, as they are deeply "How," asked my friend, "were two
imbedded in the silt and mud of the such large ships ever launched on this
lake. By aningenious arrangement of small lake, with its steep banks,
strong cords, the other
floaters, tied to hundreds of feet to the waters'
ends of the latter fastened around the edge?"
sides of the sunken ship, the exact "No one, even among our learned
shape and outline of these boats were archaeologists, has answered that ques-
obtained. One of the ships was thus tion yet," I replied.
found to be two hundred, the other two "Of course there are many opinions
hundred and fifty feet long. and theories, but thus far they are only
For the fourth time, the raising of the surmises. The wisest of them all,
submerged craft was tried in 1895, with Lanciani, says he believes the ships
better results than formerly. The were used for religious ceremonies con-
decks of the first boat examined by the nected with the Temple of Diana, and
divers must have been a marvelous for combined processions on land and
sight; evidently money had not been water."
spared to make them wonderfully When these ships are floated again,
beautiful. They were paved with disks if they ever are, perhaps discoveries will
of porphyry, and serpentine, two of the be made, then, which will reveal to us
rarest marbles, about a quarter of an the mystery of their origin and, it may
inch thick, framed in lines of white, be, tell us, too, what fates conspired to
gold, red and green enamel. The bring about their end.
parapet and railings were all heavily Los A ngeles, California.
[238]
SOME LITERARY BOOKPLATES
By Alfred Fowler.
THE HIGHWAYS
have been
plates
of Literary Book-
well and truly ex-
plored but many byways of untold
charm and happiness are still uncharted.
The bookplates of literary people are
usually "association copies" but some of
them bear more clearly than others the
sign manual of individuality. Tower-
ing head and shoulders above the
—
majority of its fellows always pro-
vided a bookplate may have head and
—
shoulders may be found the design
used by A. Edward Newton of Ameni-
ties of Book-Collecting fame.
For bookplates some people choose
posters, others choose engravings after
the fashion of their silver plate, whilst
still others seem to prefer merely to
enhance the decoration of their books
by adding some conventional ornament.
But, whatever the motif, whatever the
mode, a wise man like Mr. Newton
chooses a design he will always cherish. The bookplate of Algernon Charles
The wise man's bookplate has an in- Swinburne is typical of his attitude
dividuality and permanency which, like toward his books during those last
his choice of books, reflects his own years "the little old genius and his
character. little old acolyte" (Watts-Dun ton) spent
As one would expect, Mr. Newton's in their "dull little villa" in Putney.
bookplate is of Johnsonian interest and When Fitzmaurice-Kelly complimented
depicts an incident in Boswell. John- the poet on his collection of Elizabethan
son and Goldsmith were standing in the and Jacobean dramatists Swinburne
Poet's Corner of Westminster Abbey said, "Yes! not bad for a poor man,"
when Johnson quoted, " Forsitan et and so it was with his bookplate except
nostrum fjonien miscebitur istis." (Per- the bookplate would not have been bad
haps some day our names will mingle for a rich man who really loved his
with these.) On their way home they books.
noticed the heads of some traitors Being a severely simple typographical
spiked on Temple Bar and, probably label, the bookplate's interest lies purely
with thoughts of their own Jacobite in its association with its genius owner
tendencies in mind, Goldsmith para- who withdrew more and more into his
phrased the quotation, "Perhaps some books as deafness and the beneficent
day our heads will mingle with those!" tyrarmy of Watts-Dunton overwhelmed
[239]
—
ART AND ARCHAEOLOGY
•:• Fr6m tfie CiBfary of"
aginary bookplate in existence which
Hugo never saw or used and which
depicts a frog on a ledge over the water,
looking at the setting sun in which
appears the name "Hugo."
vSpeaking of Shakespeare calls to
Mgefhon Chaffes SwinGuihe
mind the two superb bookplates the
late C. W. Sherborn, R. E-, engraved
for the Shakespeare Memorial Library
him at "The Pines." No far stretch of
the imagination is required to visuaUze
and the Shakespeare's Birthplace Li-
brary at Stratford-upon-Avon. These
the poet pasting his emblem of esteem
for was he not giving it his own name ?
two bookplates were engraved by Mr.
into a newly acquired and much be-
Sherborn in his best style, that for the
Birthplace Library reproducing the
loved Elizabethan quarto just added to
interior of the room in which the bard
that select company which had become
is said to have been born whilst the
such a real part of himself in those last
bookplate for the Alemorial Library
years of seclusion.
reproduces the Droeshout portrait per-
That Swinburne was a great admirer
fectly in a space less than an inch and a
of Victor Hugo is attested by the fact
half high!
that he called Hugo "the greatest man
bom since the death of Shakespeare." Around the portrait is a frame of
beautiful roses and leaves from the forest
Whether or not we fully agree with that
of Arden and just above the portrait are
opinion, most of us will admit being
the Shakespeare arms with the old
very much interested in Hugo's life and
motto, " Non sans droict." A Baconian
work, although all too few of us are
acquainted with his bookplate made in
with fair degree of confidence m
July, 1870, by Aglaiis Bouvenne and
sent to him as one of the countless gifts
received during his "glorious exile" in
Guernsey. Wemay well believe that
such a staunch advocate of the utilty
of the beautiful made good use of the
bookplate in the small but select work-
ing library of "The Lookout" on the
roof of Hauteville House. Here the
red-robed figure worked incessantly,
standing before a little shelf high on the
wall, magically transmuting bottles of
ink into golden fruit.
The bookplate is a result of the
artist's admiration for Les Chatiments,
"a book written in lightning" as Swin-
burne says, and shows Notre Dame de
Paris in a storm-shadowed background
with a streak of lightning flashing across
the foreground and bearing the name
"Victor Hugo." There is also an im-
[240]
ART AND ARCHAEOLOGY
symbolical of life and of its fullness and
emptiness at once. A vignette in the
center recalls the Rose of Shadow where
"suddenly the thatch at one end of
the roof rolled up, and the rushing
clouds . . seemed to be lost inâ
.
formless mass of flame which roared but

gave no heat, and had in the midst of
it the shape of a man crouching on the
storm."
The bookplate Mr. vSturge Moore has
made for Campbell Dodgson is another
particularly fine creation, this time com-
bining the ideas of two ardent enthu-
siasts of wood-engraving with the happy
resultsone might justly expect. Mr.
Dodgson, who is the Keeper of Prints
and Drawings at the British Museum,
has written a great deal about wood-
engraving and other branches of art,
especially the work of Albrecht Diirer.
" Diligence Taming the Passions " is the
Shakespeare's integrity must find con- subject of the design in which the poet-
food for thought in that artist has given full play to his mastery
—
siderable
motto " Nothing without Right " !
Mr. T. Sturge Moore, that genius so

talented in poesy as well as art, has
, ^^^^^SS^.
made only a few bookplates but all of
them are rare examples of what a vital
piece of art a bookplate can be in the
hands of a master. Mr. Moore always
combines his own ideas with those of
his friends in making bookplates for
them. Thus the bookplate of W. B.
Yeats is doubly interesting as a literary
bookplate since it combines in a "sweet
wedding of simplicity" the ideas of its
poet owner and its poet-artist maker.
The design has precisely the feeling one
would expect to find in the personal
mark of the author of Deirdre and The
Host of the Air.
On one side we see a full-formed
maiden reaching for the overflowing
flagon of whilst, on the other side,
life
the empty bowl is being reluctantly put
down by a hooded, wasted figure of age,
[241]
ART AND ARCHAEOLOGY
reflected a hidden strength which drove
him to wrestle with Commerce to gain
the leisure to woo the Muses. When
he sought refuge at Kelp Rock from the
stormy existence at the Stock Exchange
it is easy to believe that he derived an
immense amount of satisfaction from a

possession which so constantly re-
minded him of his ideal. On opening
a book, even a glance at the little book-
plate would do much toward establish-
ing that peaceful state of mind he
sought.
Stedman's verse and criticism testify
to his abihty as a man of letters whilst
his popularity with his business asso-
ciates led them, after his death, to
subscribe a fund to furnish a room in the
Keats-Shelley house at Rome in per-
petuation of his memory. The Keats-
Shelley Memorial, in this connection,
has an unusual bookplate engraved on
wood by Timothy Cole after a design
by Howard Pyle which is one of only
eight designs for bookplates by that
artist.
A comprehensive paper on Literary
of design and of the art of engraving on Bookplates would include an almost
wood, resulting in a little masterpiece endless list of authors' bookplates and
that will rank with the chosen few as
time goes on. The lettering and border
were added when the bookplates were
printed at the Eragny Press.
A shepherd in a leafy bower whiling
away the dreamy noontide charmed by
the piping of Pan was Edmund Clarence
Stedman's idea of an idyllic existence.
The motto on the bookplate of this
anomalous genius who once character-
ized himself as " a man of letters among
men of the world, and a man of the
world among men of letters," gives
another interesting glimpse of his real
character. The motto " Le coeiir an
metier," which may be freely translated
"With your heart in your work" tt?TÊX/LIBRIS CAMPBELL DODGSON»>^
echoed his heartfelt sentiments and
[242]
ART AND ARCHAEOLOGY
EX BRIS B — i.E COEUR'
STEDMAN
hearts of collectors.In this small space
the attempt has been to deal with a few
exceptional devices which stand out
from their fellows as affording otherwise
closed vistas of their owners' lives and
characters. The field has not been
exhausted —
indeed the surface has
^_ . . -
.^^^_—-—-----_ barely been scratched
!
—
and it may be
possible to deal with additional ex-
Fr'AT ^"SHF LLrniFTIORlAL
f^t.^l_^^rmJû^î^_i:^Ll-
' \
)
^^pi^g ^^ ^^^ future if the subject
would be about as useless as those should be found of sufficient interest,

check-lists which are so dear to the Kansas City, Mo.
[243]
WILLIAM RUSH
THE EARLIEST NATIVE-BORN AMERICAN SCULPTOR
By Wilfred Jordan.
WHEN OUR ancestors

America they brought with them
came to is mentioned, the name? of his parents
or descendants are not given. "The
only a few essential household son of a ship carpenter," "Third child
goods and for a considerable period were of a family," "The only child of a ship
unable to supplement these, except with carpenter," so his biographers state;
the plainest and most necessary things agreeing, however, that he was bom in
of their own manufacture. Later, as Philadelphia July 4, 1756, and died there
conditions became more settled our
early craftsmen found opportunity to
beautify their work and these efforts
mark the beginning of American Art.
The craft of the wood carver in early
times being a luxury rather than a
necessity, its development was slow,
and only became stabilized when our
cities began to grow and general pros-
perity was established.
The names of the most of these
artists in wood have long been forgotten
but one stands out preeminent as the
master of them all, William Rush.
Bom in Philadelphia, in 1756, he was
apprenticed while a mere lad to Edward
Cutbush, a carver from London, and
developed such remarkable aptitude
that it was not long before he was
"rewarded by a large and lucrative
business in the designing of figureheads
for ships."
In such times as Rush could snatch
from his occupation, he executed a
creditable number of pieces of sculpture.
Of these the best known are his figures
of "George Washington" and "Leda
and the vSwan" (sometimes called the
"Nymph and the Bittern" and "The
vSpirit of the vSchuylkill. ") Both of
these examples of his work are in the
National Museum collection at Inde-
pendence Hall.
Liberty cruvvning Washington the latest Rush find.
In more than forty biographical and Now on exhibition in the Metropolitan Museum of
historical works in which William Rush Art, New York City.
[245]
ART AND ARCHAEOLOGY
Januan' 17, 1833. Few of the details
of Rush's life have been preserved in
any form. The best sketch of him,
though very brief is to be found in
William Dunlap's Arts of Design.
To see any of the work of Cutbush,
to whom Rush was apprenticed, is to
realize that he was chiefly self-taught,
and in spite of his limitations his work
displays a depth and breadth of artistic
feeling and understanding that are truly
remarkable in view of his restricted
opportunities.
His figurehead of the "Indian
Trader" for the ship William Penn was
so true to life that the wood carvers of
London would come in row boats and
lay near the vessel and sketch designs
from it, they even made plaster casts of
the head. His figure of "The Genius
of the United States" for the frigate
United States, his "Nature" on the
frigate Constellation, and his
"America," a female figure crowned Original head of Leda from the wood carved figure of
Leda and the swan by WiUiam Rush. The rest of the
with laurel decorating the frigate figure has been destroyed.
America launched in 1782. All were
of chaste design and of great strength. Freed," "Comedy," "Tragedy," "The
Of his "River God" on the ship American Eagle," "Commerce," "La-
Ganges, Charles Willson Peale said, bor," "Peace," "War," and "Liberty
" Its beautifully proportioned moulding
—
Crowning Washington" a recent dis-
forms a face that seems 'petrified by the covery, now on exhibition at the Metro-
sentiment of the Infinite;' one is im- politan Museum of Art, New York City.
pelled to reverence." The biggest group of these is at the
Besides numerous real and mythical Old Fairmount Water Works, Phila-
characters. Rush also executed ad- delphia, now the New Municipal Aqua-
mirable busts. rium. Here repose "Wisdom" and
What is interesting and not generally "Justice," both colossal figures carved
known is that many of his works are for the occasion of Lafayette's visit to
still preserved, and in a remarkable Philadelphia in 1824. Originally these
state of preservation, considering the were placed on a triumphal arch in
usage many have received. front of Independence Hall. "Justice"
A list of his carvings which have been leans on a shield with balance and
identified by the writer and not already scales; "Wisdom" looks into a mirror,
mentioned, follows: which she holds in her right hand, a
Full-length figures of "Wisdom," serpent coils down her left arm its head
"Justice," "Winter," "The Schuylkill" within the grasp of her half-closed
(river), "Chained," "The Schuylkill hand.
[246]
ART AND ARCHAEOLOGY
Rush gave an exhibition of his work carefully fitted with long wooden dowels
at the Philadelphia Academy of the and then glued together. There is
Fine Arts, in 1812, which included busts evidence that he treated the hollow
of Linnaeus, William Bartram, Henr}' parts of his figures to help preserve
Muhlenberg, two busts of William Penn, them, using cedar oil or bees' wax for
a bust of himself, and busts of Voltaire, that purpose.
Franklin, Rousseau and Lafayette also, ;
Dunlap tells us: "His time would
statues of ideal figures: "Architecture," never permit or he would have worked
"Exhortation," "Praise," "Cherubim," in marble. He used to say it was im-
"Agriculture," and "Christ on the
material what the substance was, the
ross.
artist must see distinctly the figure in
It is very easy to analyze Rush's
the block."
style and to pick hall-marks for identi-
It is impossible to find in America
fication; he had his favorite motifs and
designs; his proportions were nearly better expressions of the woodworker's
perfect, his details fine. In almost art than the work of this genius who
every case his figures were hollow, where- may be truthfully called the earliest
ever the proportions admitted, even in native-bom American sculptor.
the arms and feet and each section was
; Independence Hall, Philadelphia.
RU5 IN URBE
Song for City Folk in tKe Spring-time.
/4nd, oh, "where'er the Sunset trails

Beauty inheres,
Whether o'er land the daylight fails
Or on shimmering meres;
E'en these small squares of city grass,
Emerald and gold.
In magery of web surpass
Famed meads of old.
And, oh, where'er Youth doth abound
Love hath delight,
Whether of low, near to the ground,
or of the height!
Humble, indeed, who, hand in hand,
Walk through the streets;
Yet glance and touch make fairyland
As the heart beats!
H.ARVEY M. Watts.
[247 J
GLIMPSES INTO GREEK ART
By Frederick Poulsen.
N ONE of the cabinets of the Met- ciation of the art of antiquity, study
I ropoHtan Museum Art in New

of aimed not at imitation, but pursued
York is exhibited a gold ring with an for inspiration in art, and for the adorn-
engraved bezel, representing a young ment of everyday life And to this very
.
woman who has thrown her dress over a day intellectual Europe is living on that
chair and now stands, lifting her arms in inheritance. Its historians are the
sheer joy of the pliant strength of her enemies of corruption, the servants of
young body. Judging by its style it immortality, the steadfast, chivalrous
was executed century b.
in the fifth c. guard of the great memories of life and
by a Greek artist, art.
but there is some- But the muse of history is like the
thing so fresh and en- fairy who lures her knight deeper and
gaging in the figure deeper into the charmed mountain.
that after two thou- Imperceptibly it leads the inquirer from
sand years its charm art to life, from the great events and
is still felt by the persons of the past to the common-
spectator. I wonder places of everyday life. In this
its
how many persons in change of view the excavation and re-
the busy and rest- discovery of the lost ancient cities Her-
less crowds of New York knowof the culaneum and Pompeii formed the turn-
existence of this little work of art which ing-point, by bringing to the investiga-
after many travels has come to rest in tors of the eighteenth century the prob-
the heart of their city, reminding them lem of interpreting life as lived in these
of the joys to be gained from the old towns, in the artistic dwellings of the
memory of their past. No one can aristocracy as well as in the mean gar-
escape sorrow, but it in the power
is rets of the common people. The dis-
of everyone to fill his leisure hours with coveries did away with the erroneous
the pleasure to be found in the artistic conception of the Greeks as a chosen
creations of man. It is the dream of the people, endowed by the gods with
artist that his work shall lighten the superiority both in art and in science.
daily life of the generations to come. And how much has been added by later
But the artist is powerless without the investigation, how much both of light
help of others who guard and transmit and shade has been brought out in the
what he has made. A poet's songs will picture? What when,
a revelation it is
not be remembered and treasured by through the inscriptions from the tem-
generation after generation unless ple of Asklepios in Epidauros, we learn
lovers of poetry, year by year, bear of a popular ignorance and superstition
witness to the worth of their treasures. against which the contemporary works
As with poetry, so it is with painting. of a Plato and an Aristotle are thrown
During the period of the Renaissance it into strong relief. That students have
was seen that life became more vivid, sometimes gone too far in recording
that new sources of pleasure were commonplace facts must be admitted,
opened through the study and appre- but the final decision in this matter does
[248]
;
ART AND ARCHAEOLOGY

not rest with the layman. He must void of statues and paintings. He
content himself with the assurance that would not consciously either
suffer
not all secrets, not all peccadillos are in his spiritual or his bodily well-
recorded, and it is possible to commit being. Even in the time of the Re-
even a great many follies which will naissance, which was much keener in
disappear into the common grave of its enthusiasm for art than the present
time, leaving no trace behind. But time, it did not make any difference in
does anything remain of special and a man's emotional attitude toward
exclusive value in the Greeks and in life whether he lived in a town full of
Greek art when the soul of their peo- paintings or in one where there were
ple is thus placed under the microscope only a few, for even paintings, which
of scientific investigation? Greek the present time understands far better
sculpture cannot be denoted simply as than sculpture, are only considered a
classical and contrasted with realism handsome supplement to good furni-
and romanticism. Art was only classi- ture, not as a vital necessity. Art is a
cal in the fifth century and during a beautiful by-product of human activity,
small part of the fourth century b. c. but can be dispensed with in modem
During the remainder of the fourth opinion. But to the ancient Greeks
century and the whole of the Hellenis- art was more than a luxury and an
tic period we see Greek art pass through ornament of life and even to a common
;
all stages from extreme realism to Greek exile to a city without statues
romantic pathos, from charming, often would have been a terrible punishment.
superficial, conventionality to the ex- It would have meant to him banishment
pression of the most intense feeling, to a desert of ungodliness, and a life
thus including as many living and in- without religion. The religious feelings
dividual forms as are possible within of the Greeks were not satisfied by
the limits of the art of sculpture. ceremonies and edifying speeches. The
Hellenistic art embraces not only rep- temples of the gods and their glorious
resentations of street characters and images were to him the real edification.
intoxicated crones but also the theatri- Again the local patriotism of the Greek
cal contortion of Laocoon. The con- demanded statues of the heroes of
trast between ancient and modem the city, the strong and mighty men
sculpture lies not in the style or tech- whose power endured even after death
nique, since we find styles ranging from and how could the city's pride, the
the baroque to dry classicism, and we victors in the games, be remembered
find great variety both in the treatment unless there were statues representing
of material and in the employment of them in their triumphant youth? The
tools. The contrast, as the English Nike of Samothrace was to the Greek
archaeologist Guy Dickins, who lost not only a masterpiece of sculpture,
his life in the World War, has so well but victory itself which produced in his
said, lies only in the psychological rela- mind the emotion which prayers and
tion of the people to art. In modern hymns bring to the mind of a Christian.
times, which we may consider as be- There is, then, in Greek art a nucleus
ginning with ancient Rome, the mass of of deep seriousness. Of course, one
the people are indifferent to works of smiled at caricature, just as one laughed
art. It would be no punishment to in the theatre at the misfortunes of
exile a man of the people to a town de- Herakles and Dionysos in a comedy of
[249]
ART AND ARCHAEOLOGY
Aristophanes. What could not be tion of this exhibition. " For this rea-
endured was frivolity in the deeper son Greek art is like a spacious and
sense. There were dogmas in Greek cool temple free from the contamination
art which were just as Httle shaken by
of the people as well as from the scented
caricature as the dogmas of the Middle
Ages were touched by satires or comedies
air of the boudoir. Good and evil were
in which the devil played a comic part.
to the Greek equivalent to beauty and
ugliness, and there was no good taste,
But just as the Church showed a stern
face if too many liberties were taken, because bad taste was altogether un-
so the Greek would havê felt the known. And that is why we shall
modern pursuit of various styles, from always fall back upon Greek art, how-
impressionism to futurism and cubism, ever much modern art may strive and
to be blasphemy, and would have heard experiment to the farthest bounds of
with anger the constantly recurring extravagance.
phrase of modern critics: "the sensa- Ny-Carlsberg Glypiothek, Copenhagen.
ON A 5AROUK RUG
Rose and blue and ffold/ Gleams the white flutter
It liesunder the lamps Of ardent feet
And carpets my room Like seeking butterflies
Jf itii the evocation In the soft rose and gold
Of gardens long dust Of this Sarouk garden place.
And hours long dark. O lotus-white and pink,
Rose: O breeze-bloivn curve of open arms!
. Edge of dawn The Eastern sun
Above black trees. Slants thru palace ivindows
Blue and gold: Lights your siveet, child mouth.
If hiie-starred midnights Your rose-tipped hands;
And smoke of desert fires Lights your ivaving grace
Lance-straight on guard As you sivay
By sleeping caravans. Like some wondrous passion-flower
Pottiegranates forever out of reach Sprung from the glowing garden
Of gilded tortoise, Of this ancient Sarouk rug. "
Roses of Iran * * * » # *
—
*****
And ghost-pale almond branch
Forever
Thrum,
Thrum.
still in a breezeless close.
O Persian love of mine
Hoiv long ago your little feet
Pressed this rose and blue and gold!
And
And
still you answer dream with dream
keep your nightly tryst
The sitar's empty voice in tune — W hen an imagined sitar
Thru the dissolving years Thrums its fevered beat
Breaks the high, thin tinkle In the heart of your IJ'estern lover.
Of many bracelets. Come too late.
H. H. Bellamann.
[250]
CARICATURE AND THE GROTESQUE IN ART
By Alfred J. Lotka.
HAS been remarked that most dis- decide. The fact is, the line between
ITquisitions on humor bear the stamp the tragic and the comic is not so very
of having been written by persons clearly defined, and for this reason the
themselves somewhat lacking in the playwright or actor who seeks to appeal
sense of humor. Schopenhauer, to to our sense of the tragic is always in
whom we owe a classic on the subject, danger of breaking through thin ice and
cites, as an example of the ludicrous, the calling forth laughter out of season.
appearance presented by the tangent The descent from the sublime to the
meeting the circumference of a circle. ridiculous perilously easy.
is Even in
Having delivered himself of this bril- real life weoccasionally meet with
hant example of the ludicrous, he pro- terrible illustrations of the close neigh-
ceeds to analyse why it should be so borly relation between the emotions
funny. In justice to Schopenhauer be associated with the comic and the tragic.
it said that some of the other examples There is an instance on record of an
which he condescendingly adduces "in entire funeral procession being con-
order to come to the assistance of the vulsed with laughter started by one of
mental inertness of the reader," are gen- the mourners recalling a witty saying of
uinely funny and elicit a hearty laugh. the deceased and history related how a
;
The fact, of course, is that the comic certain frontiersman, returning to his
is one of those things which it is difficult home, and finding his wife and children
to analyze or define, though most of us murdered, burst into a fit of uncontrol-
have no difficulty in recognizing it when lable laughter, exclaiming again and
we meet it. Not that the sense of humor and again "It is the funniest thing I
is at all uniform. The musical "comedy" ever heard of"; and so he laughed on
which draws a large and seemingly much convulsively until he died from a
amused audience may arouse, in one ruptured blood-vessel.
critically disposed, nothing more than In the graphic arts the comic finds
a smile of pity for the feeble attempt at its most marked expression in the carica-
humor, and perhaps some resentment of ture and the grotesque. Here also we
the insult offered to his intelligence in find a mixture of the solemn and the
expecting him to laugh at such in- ludicrous. In his characteristic style,
anities. On the other hand, some of us which is singularly adapted to this
who lately attended the rendering of topic, G. K. Chesterton remarks:
John Ferguson, were much annoyed by "Caricature is a serious thing; it is
the malformed sense of humor of certain almost blasphemously serious. Cari-
persons in the audience a correspondent
; cature really means making a pig
writing to one of our daily papers and more like a pig than even God has
commenting on this, suggested the made him. But anyone can make him
founding of a "Society for Extermi- not like a pig at all; anyone can create
nating Audiences Who Laugh at the a weird impression by giving him the
Wrong Time " Of course in such cases
.
, beard of a goat."
the fault may not lie wholly with the We are accustomed not to take
—
audience but as to this let the critic Chesterton too seriouslv. Yet there
[251]
ART AND ARCHAEOLOGY
is always an element of truth in his art is something of a riddle. We com-
over-statements. And that there is monly conceive of the beautiful and the
some quite serious motive behind the true as the theme and essence of crea-
frolics of the artist let loose, venting tive art. But in the grotesque we fre-
his humor in caricature, is evidenced quently have the hideous, and always
by the sketches of such great masters as an exaggeration, distortion, or a curious
Leonardo da Vinci. Vasary tells us jumble of the truth. In gargoyles, for
that Leonardo, if he chanced to meet a example, the stonecutters seem to vie
face of extraordinary character, would with each other to see just how ugly a
follow its owner for a day at a time, thing each can produce. Speaking of
until the features were thoroughly the gargoyles of Weatherby church,
impressed upon his mind on his return
; Thomas Hardy, in the novel "Far from
home he would then draw his model from the Madding Crowd," says: "A be-
memory as if he were present to view. holder was convinced that nothing on
Lomazzo tells an amusing story, which earth could be more hideous than those
shows how keen was da Vinci's interest on the south side, until he went round
in the humorous side of life, and which to the north."
at the same time illustrates the origi- So far as the element of the terrible
nality of method of this wonderful in the grotesque is concerned, its
genius. Leonardo on the occasion nar- raison d'etre is probably seen in the same
rated gave a dinner to which he invited instinct which causes children to take a
a number of peasants. He amused his peculiar delight in terrifying masks and
guests by telling them funny stories, in stories of witches, blue-beards and
until he had them all convulsed with ogres; the same instinct which lends
laughter. He then withdrew, and when even for grown-ups a peculiar attraction
he returned to his company he brought to ghost stories and spiritualistic
with him a collection of sketches of his seances. We
like to be frightened just
guests which, by their grotesqueness, a little. We enjoy that "creepy feel-
only renewed the merriment. A little ing" of the graveyard atmosphere. In
gruesome is the report that da Vinci like manner the element of danger is the
made a custom of attending executions spice of sport —
whether it take the form
to watch the facial contortions of of scaling the precipitous side of a
criminals in their death-throes. It is towering mountain peak, or the more
supposed that his interest here was commonplace form of automobile speed-
largely anatomical. ing.
Next of kin to caricature is the In the more extreme forms of the
grotesque. The term has been some- terrible grotesque it seems likely that
what variously used. Without enter- another instinct plays a part the —
ing into a discussion of its history, or instinct of cruelty, a survival of our
attempting a precise definition, we may primitive animal nature. The reader
accept Ruskin's statement that the will readily call to mind figures of
grotesque is composed of two ele- eastern idols which have this character-
—
ments the ludicrous, and the fearful. istic strongly marked. But it would
"As either of these elements prevails, it not be difficult to find striking examples
becomes the sportive or the terrible of this class also among modern pro-
grotesque." ductions of the Occident.
The psychology of the grotesque in If the grotesque is related on the one
[252]
ART AND ARCHAEOLOGY
side to the caricature, its relative on none us would choose Dickens for our
of
the other side is the mystic. Art draws any more than one
sole literary- diet,
its themes in part from the real world, in should attempt to live on salt alone;
part from fictions of the mind. Not yet, like the pepper and salt in our
only the furniture of earth, but the food, a judicious seasoning of humor
choirs of heaven and hell also have and caricature adds zest to life. Often
inspired the artist. The great master- it may serve to point a serious lesson
piece in this field of art is surely that where the solemn preacher has striven
wonderful prose poem, the Revelation in vain. Laughter has proved one of
of Saint John the Divine. Its popula- the most powerful allies of the reformer.
tion of strange creatures, uncouth in Ridicule will pierce many a hide too
their mixed anatomy, forcibly brings thick to yield to more gentle persuasion.
out the relation of this type of artistic With one dart from his acid quiver
creation to the grotesque, where, also, Dickens found the vulnerable spot of a
hybrid monsters are of constant oc- multitude of Squeers. Caricature in
currence. this case proved indeed a serious thing,
What Saint John, Dante, Milton and for the benefit of many a British school-
many others have done in this field with boy of that day.
the pen, has been rendered for us with But that caricature is not wholly
pencil and brush in unsurpassed excel- serious, that it has its refreshingly amus-
lence by Dore and Blake. ing side, for this we, living in a world
As for caricature in secular fiction, it not devoid of much real sadness, are
is impossible to frame these words even duly thankful. For, most of us agree
without thinking of Charles Dickens with Robert Louis Stevenson in that we
and his inimitable illustrator, Cruik- do not want to pay for tears anywhere
shank. And though life in a world but on the stage; though we are "pre-
peopled wholly with caricature would pared to deal largely with the opposite
be an unendurable nightmare; though commodity."
PIERO DI COSIMO
Piero di Cosimo,
Your unicorns and afterglow,
Your black leaves cut against the sky,
Black crosses where the young gods die,
Black horizons where the sea

And clouds contend perpetually,
And hanging low,

The menace of the night.
They called you madman. Were they right,
Piero di Cosimo?
Robert Hillyer.
[253]
Pamleil by Hans Holbein.
An English Lady of Fashion. Probably Margaret Wyat, Lady Lee.

—
CREATORS OF COSTUMES
By Kathryn Rucker.
CHANGEvS in the social and politi- Majesties' wardrobes. They sum-

cal structure that followed one moned to their service the best sartorial
after another in mediaeval times, talent, expertest jewelers, most skilled
growth of wealth and power, and the hairdressers and finest bootmakers.
development of the industrial arts of With these, crowned heads conspired
weaving, embroidering, and jewel-craft, to create attire suited to their tastes,
created not only alone a love of luxury, their times and their high estate.
but new intellectual vigor and alert- Inspiration came not always from
—
ness a broadening of the mental hori- Beauty; personal and princely Pride it
zon. was that prompted those ancient auto-
All theminor expansions of art that crats of style to clothe themselves in
preceded the high tide of culture of the splendor. Feminine coquetry has
Renaissance exhibited an increase of usually acted to enhance natural
individuality. The possibilities for its charms or conceal physical defects by
expression in costume gave opportunity dress; but masculine vanity often dis-
to the rulers of men to attract atten- played no such wisdom. Bow legs and
tion, to win new admiration and social gros ventre are as boldly paraded in knee
conquests, or inspire awe. Lords and breeches and short jerkin as though
ladies of the court were ever ready to Apollo strode within them.
practice that art of sincerest flattery, It must be admitted, however, that
imitation, and innovations in dress were scrawny necks and corpulent arms and
eagerly adopted. The trick of invent- ankles are today no deterrent to decol-
ing new modes eventually became so letage or brief skirts. But the graceful,
desirable to leaders of fashion and so trailing robes of the thirteenth cen-
profitable to costumiers that strange tury were created to effectively hide
novelties succeeded each other with unshapely limbs, the unfortunate pos-
such swiftness that the fickle goddess sessions of daughters of Louis VIII;
exhausted her treasure houses, and while, later in the period, Philip Ill's
soon had to metamorphose old into wife adopted the genuine because of
new. her long throat and flat chest.
Sponsoring Fashion, each new royal Among early arbiters of dress in
head thought to ring in her changes merry England was one Robert, who
with greater eclat than had yet been earned the epithet of "Cornadu" for
known. Favorites, too, were given to setting the fashion by wearing shoes
sway the magic wand; and by high having their points stuffed till they
patronage artists in numbers and arti- curled like a ram's horn. Henry II of
sans galore played their part in the the succeeding epoch was dubbed
creation of costumes until theirs was "Short Cloak" according to his de-
the prerogative to determine the mode parture from previous styles in mantles.
and dictate Fashion's mandate to less Pronounced types of dress had been
mighty sovereigns. chosen by vivid personalities, and it is
The king's chamberlain and queen's these that are the crescendos in the
inaitresse de la robe had in charge Their song of fashion. Queen Elizabeth was
[255]
;
ART AND ARCHAEOLOGY

surely one of the noblest. She was a
clever adaptor, exaggerating all the
foreign details of her mode into cos-
tumes strictly Elizabethan. But did
not Fashion play a prank upon the
virgin queen when captivating her with
that evil device, the hooped skirt? It
was originated by a wicked Spanish
Senora as a means of adroitly con-
cealing her lover when need be. Eliza-
beth was truly a creator of costumes,
and no more characteristic dress is Cartoon, of unknown authorship, caricaturing the
crinoline.
vouchsafed in all Fashion's category.
The maiden queen died possessed of no
fewer than eight thousand gowns. ments. Unwittingly Rose did her bit,
The King Charles costume, in which to the extent of millions, toward taking
king and cavalier of the seventeenth France to the guillotine.
century were so picturesque, bore all She it was who conceived and directed
the stamp of him who gave it vogue. the minutiae of the Queen's dress, out-
It was elegant, gallant, debonnaire; rivalling all competitors in the origina-
it gathered ornament from Flanders tion of extravaganzas, she retained the
and Spain, from Rome and Geneva, Queen's patronage until that hapless
representing cosmopolitan culture and lady paid France for her follies with her
refinement. Van Dyck painted so frivolous head, leaving Rose's account
many portraits of these brave figures, unsettled.
that the style of dress often is spoken So extraordinary a personage was
of as "Van Dyck." Mile. Bertin that she not only suc-
Louis XIV and XV each left his ceeded in pleasing the Queen and Court
mark upon the world of fashion, and with her creations, but in writing her
their various feminine favorites made own name indelibly in annals of suffi-
no small stir by their surpassing cos- cient importance to be preservedin the
tumes. De Montespan, de Pompa- archives of the nation. And to her we
dour, and even du Barry, one time doubtless owe our thanks for establish-
midiuette, wore the diadem of Vanity —
ing a precedent for records of later
Fair. But not until Louis XVI gave creators of costume. None before her
Marie Antoinette to the French Court had attained equal prominence, and
as queen, had beau monde beheld such none after quite echpsed her fame.
marvels in modes, nor had the heads of Rose Bertin's success was not wholly
women been so turned by dress. a matter of taste and talent. Tact she
The real creator of the Marie Antoin- frequently ignored, but she knew the
ette fantasies was but a country lass value of advertising, and she was by no
who one day took a notion to find her means content with but a single queen
way to Paris. Quick of eye and ready of she drew from all Europe, and had luck
hand, the captivating garden Rose be- with queens. According to a custom
came the famous Mile. Bertin, milliner prevailing in Paris after the fifteenth
and dressmaker to the Queen, with easy century. Rose sent dolls dressed to
access to Her Majesty's private apart- show the Bertin modes to every Euro-
[256]
ART AND ARCHAEOLOGY
pean court, subsequently receiving or- of shreds and patches." She it was who
ders for entire wardrobes for queens and inspired and personified the mad Mer-
princesses. veilleuses.
Later, the younger ]\Ioreau, a notable The time was ever ready to acclaim
artist, collaborated with the milliner new fashions with new favorites, and
and dressmaker in the production of Josephine's gowns were soon the models
engraved fashion plates which por- for all Europe. Leroi replaced the
trayed her creations together with Bertin shawl with a sho alder drapery of
Beaulaud's. Fredin, Ouentin and Picot rich brocade, and the Directoire folds
were among her distinguished rivals, with the straight narrow Empire skirt.
but Bertin's star waned only with the Though so largely adopting French
passing of the ancien regime, when she and Continental styles, English sover-
saw the rise of the new star that was to eigns and social elite have originated
—
shine in her place the celebrated Leroi, native fashions that likewise found
costumier for the Court of Napoleon. their way across the Channel. Bucking-
During the brief period before Jose- ham, Beau Brummel, Spencer and
phine rose to supremacy, Madame Chesterfield afforded some rather last-
Tallien, that unscrupulous beauty who ing models,' and the Byron collar and
won for herself the title of "Queen of Prince Albert coat still are being copied.
the Directoire," was high priestess at The renowned artists, Watteau and
the pagan shrine of Fashion, offering Gainsborough, are claimed by Fashion
upon its altar her bewitching charms in the name of a pleat and a hat, and our
unhidden by her neo-Greek garment of own worthy Gibson may be known to
Egyptian gauziness. some chiefly through the medium of a
"It was in no inaccessible Olympus shirt waist. In Titian's incomparable
that she held her court, but in public blondes we may behold one reason for the
places amid the throng and press of the perpetual vogue for red hair, while Velas-
common herd. She was the Aphrodite quez, Goya and Rembrandt gave life
of the people," says her biographer, without end to the fashions of their days.
Gastine, who further styles her "Queen New York, N. Y.
"America Enters The War" by Mme. Anie Mouroux.

[257]
Madame An ic Mouroii.w French Medal is!.
"Fraternity uu the Battlefield" by Mme. Anie Mouroux who won the I'l ;\ u^ 1;i,i:.l, October, 1919.
The first woman to win the Prix de Rome, Madame Anie Mouroux, designed a striking com-
position for the subject assigned, " Fralernile sur le champ de bataillc." The five other contestants
were all men. It was the first time that a woman had even been admitted to the competition,
since 1666, when the Prix de Rome was established. The successful design of Madame Mouroux,
which won for her the Prix, a year's travel and study in Rome, was an ideal and classic interpre-
tation of "Fraternity on the Battlefield." This was bought by the French Government and
presented to Madame Mouroux's home town of Cosne, not far from Paris.
As is well known, those who compete for this historic prize are secluded during ninety-six days,
each in a little cell-like room alone, where they must prove their ability for original creation.
In France Madame Mouroux has made many medals to commemorate anniversaries. An
idealistic delineation of Jeanne d'Arc portrays the young peasant girl as a symbol of patriotism
and suff'ering.
"More than any other event of the war," we are told in La France for March, "the coming
of the Americans inspired Madame Mouroux. She began to make studies of Americans.
. . .
To this period belong: 'Medal dedicated to the American Soldiers: The hour has come (obverse),
To save humanity' (reverse), 'Medal dedicated to the American Mothers,' 'Medal to honor the
"
American Soldiers killed in France,' and 'The Guardian Angel of the United States.'
General Pershing, who saw Madame Mouroux's portrait of Colonel H. H. Whitney, chief of
the general staff, expressed a wish to have his own made by the same artist. He gave several
sittings to Madame Mouroux, the only medalist thus honored, and she completed a very suc-
cessful medal of the General, and another of his son Warren. General Pershing's letter of
appreciation is one which Madame Mouroux prizes most highly. On the reverse of the Pershing
portrait is the General's masterly phrase, "LaFayette, nous voila," with dates 1917-191S.
Madame Mouroux is now visiting America and has recently completed a portrait cf the
Honorable Maurice Casenave, Minister Plenipotentian,' and Director General of the French
Services in the United States, a strong and impressive face. Her medals have attracted much
favorable attention at the Wildenstein Galleries. She has now taken a studio on the top of the
Woman's Exchange at Madison Avenue and Fifty-fourth Street, New York, where she adds
interior decoration to her many other achievements. Madame Mouroux's thoroughness in
everything she undertakes is illustrated bv her exceptional master}^ of the English language
G. R. Brigham. —
[258]
ART AND ARCHAEOLOGY
A John Burroughs Art, Exhibition at The Ehrich Galleries.
Artistic Fifth Avenue has seldom ever before enjoyed an individual exhibition exactlv
if
comparable to the one now installed at the Ehrich Galleries. This is a gathering of portraits of,
and sketches of scenes intimately associated with the poet-naturalist John Burroughs, author of
,
"Winter Sunshine," "Birds and Poets," and countless others writings that for more than a genera-
tion already have helped make the great heart of Nature literally an open book to men, women
and children wherever the English language is read. All these pictures, from the academic pre-
sentment lent by Yale University to the fragmentary pencil notes of some fleeting characteristic
pose or gesture, are by one artist, Orlando Rouland, a portrait painter of national reputation,
Thus we have in a double sense an individual or "one-man" show, yet full or varietv and interest.
There is a literary tang to it, as attractive as unusual. Burroughs the man, quite independently
of the literary savant, was a lovable and picturesque person, and no one knew him better in
such engaging aspect than did Orlando Rouland. (See cover picture.)
The artist was a neighbor and intimate companion of Burroughs during almost a score of years.
He lived beside him in the log cabin, "vSlabsides" by the soft-flowing Esopus in the foothills of
the Catskill Mountains, and entertained him on return visits at his New York home and studio,
or in the Long Island "Fish-house," which the naturalist re-christened "Slabsides-by-the-Sea."
More than once the two roamed together around Washington, the National Capital, where in
Ci\'il War days Burroughs and Walt Whitman worked together in the Treasury Department,
and where "Wake Robin" was written. During a hundred walks and talks, in woods and fields,
in library and studio, the "documents" were gathered for these serial portraits, so to speak, of
—
John Burroughs in his habit as he lived and talked and wrote. For nearly every one of Rou-
land's portraits, some of which were brushed in at a single sitting, others sketched surreptitiously
without the genial or meditative philosopher knowing of it at the time, carries some special note
of reminiscence or comment.
One of the finest of the finished oil studies, quite the peer of the standard Yale portrait, and
which ought to find a Museum niche as companion to Alexander's Walt Whitman, is the contem-
plative pose bearing date of 191 1. Burroughs specially favored it, and wrote: "It sums me up
pretty well. That's how I feel most of the time."
Further back (1903), and reflecting more relaxed moods, are: "Seated in Log Cabin, Twilight
Park, Catskills
—"Telling of Trip Through the Yellowstone with Colonel Roosevelt," and "Painted
at Slabsides —Discussing and Cussing Nature Fakirs." The picture-record of 1907 shows Bur-
roughs as a convalescent, visiting in the artist's home in New York, on which occasion he wrote
a letter to President Roosevelt expressing his joy at the recovery of his friend's son, Archie:
"When such a danger as that threatens one's child, how vain and empty seems all the applause
of the world. Your affectionate, OOM JOHN."
There is a homely view of the bouldered field at Roxbury, N. Y., showing Woodchuck Lodge
and the old gray barn where "Barndoor Studies" were written, and the farmer-vagabond coming
up the road is Burroughs himself. Then we have a view of the old Burroughs farm, his birth-
place, with the veritable "little red schoolhouse" over the brow of the hill in the middle distance,
and on the right the "Maplebush" of many sugared passages in his writings.
Henry Ttorell.
The American School in France for Prehistoric Studies.
Professor George Grant MacCurdy has leave of absence from Yale University for the academic
year of 1921-22. With Mrs. MacCurdy he sails for Europe on June i8th as the first Director
of the American School in France for Prehistoric Studies. The School opens at the rock shelter
of La Quina near Villebois-Lavalette (Charente) on July ist.
An Unpublished Verestchagin.
Among the Russian "purpose painters" of the nineteenth century Verestchagin stands supreme.
The great Tretiakoff Gallery in Moscow contains three rooms devoted to his works. There are
many of his canvasses in the Gallery of Alexander III at Petrograd and numerous examples of his
work in private collections in Europe and this country. Among them all there are few in which
he does not indict the old Russian regime and in most of them he portrays the horrors of war as
they are nowhere else painted. His pyramid of grisly skulls from which the sated vultures rise,
[259]
An unpublished Verestchagin, "The Morning Cloud", Toledo Art Museum, L. E. Lord.
entitled, "The Apotheosis of War dedicated to all conquerors, past, present and to come," is but
a single example of his well known st\-le.
"The Morning Cloud," reproduced here for the first time, is an example of this Russian artist's
work in an entirely new field. It is the property of the Toledo Museum of Art. To the artist's
signature is added the date, 1903. In 1904 Verestchagin went to the Japanese front to secure
material for a new series of war pictures. He was killed that same j-ear when the Russian battle-
ship to which he was assigned was sunk by the Japanese. This picture is, then, one of his last
works if not the final canvass.
The dawn is breaking and from the embrace of the rugged mountain rises the cloud which has
rested there during the night. The spirit of the mountain is the drowsy giant whose immobilitv
seems to unite him indissolubly with the crag on which he sits. The Cloud Spirit floats upward
on the "wings of the morning" wrapped in all the delicate color that the "rosy fingered dawn"
flings forth. From the abyss below where sable night still lingers, an eagle rises up to greet the
dawn and join the Spirit of the Clouds as she drifts lightlj' from her couch on the breath of the
morning wind. The drawing may not satisfy at every point but the harmony of colors, shading
from the heavy black of the rocks to the delicate blues and pinks of the clouds that half envelope
and half expose the figure, is masterly. The whole spirit of the painting is indeed new for the
painter of the horrors of war. Louis E. Lord.'
Sir Moses Ezekiel, American Sculptor.
Wepublish as our leading article this month the address of Mr. Henr\- K. Bush-Brown, de-
livered at the memorial service in honor of the late Sir Moses Ezekiel by the Arlington Confederate
Monument Association and the Daughters of the Confederacy at the House of the Temple,
Washington, D. C, March 30, 192 1. This service followed in the evening the Commitment
Ceremonies in the afternoon when the body of Sir Moses Ezekiel was laid to rest in Arlington
Cemetery close by the base of the Confederate Soldiers Monument, Ezekiel's own masterpiece,
and the Secretarj' of War delivered the principal address, reviewing the life of the American
artist and a letter from President Harding was read h\ Mrs. Marion Butler, representing the United
,
—
Daughters of the Confederacy "Ezekiel will be remembered," said the President, "as one who
knew how to translate the glories of his own time into the language of art w-hich is common to
all peoples and all times." The occasion was notable as being the first time an American artist
has been interred with military honors in the National Cemetery.
1This note is supplementary to Professor Lord's article on "Some Modern Russian Painters" in Art and Arcbaeouogy, vii. pp.
301-12, Sept. -Oct. 1918.]
[260]
.
ART AND ARCHAEOLOGY

Whistler iana i)i the Library of Co>igress.
A rare and unique exhibition has lately been installed in the Galleries of the Print Division of
the Library of Congress by Mr. and Mrs. Joseph Pennell.
It consists of a part of their great collection of Whistleriana which they have generously
presented to the Government and which has been thirty years, a large part of their lives, in its
accumulation.
It is very unusual that so much of a man's history, the artistic, as well as the personal side of his
life, can be set forth in so comprehensive, so sympathetic a manner, as this has been done by Mr.
Whistler's biographers and close personal friends. The Catalogue which is issued of this exhi-
bition is very skillfully arranged as to case and numbered items, enabling one to follow the artist's
checkered, exciting and picturesque career.
There is a beautiful showing of Whistler's etchings, lithographs and pastels, books containing
illustrations bv him, various editions of his own publications, the famous "Ten O'Clock" and the
"Gentle Art of Making Enemies," catalogues of his exhibitions, letters to friends, original docu-
ments in the Whistler-Ruskin Trial, the Eden Case and the Greaves affair, photographs of his
paintings and of himself, caricatures, posters, the Rodin Memorial photographs, and the letters
—
from the subscribers thereto the whole an intimate and interesting history of an accomplished
artist and a peculiar personality —
that can rarely be gathered together.
The Collection reveals the tireless and exhaustless work of the Master's biographers, whose own
accomplishment exceeds that of the artist whose dramatic life they so cleverly portray.
Their gift to the Government is a generous one and will supplement that made by Mr. Freer,
whose Gallery contains Whistler's paintings and drawings, thus making Washington the Mecca
for students of Whistler's Art. H. W.
A Rare Effigy Pipe From Tennessee.

Primitive man took to sculpture earlier than to any other form of the fine arts. This was true
of the cave man in Europe and was no doubt also true of the American Indian. Figures in the
round of animals were the favorite models. The impulse to reproduce figures of animals familiar
to man was so strong that utilitarian objects in general were made to take on effig>' forms.
It is not known when the American Indian first made use of tobacco as a narcotic. We know
that its use had become a fixed habit before the advent of the European as indicated by the
remains of elaborate apparatus for utilizing tobacco smoke. Any one who has come under the
spell of this narcotic can understand why the red man should have se'ected his pipe as a special
object of ornamentation. Moreover, its uses were ceremonial as well as personal.
An unusually fine example of what is evidently a ceremonial pipe recently came into the posses-
sion of Mr. W. O. Whittle of Knoxville, Tennessee. It had been ploughed up in the bottom land
not far from the ]McBee Mound (explored nearly fifty years ago by the Rev. E. O. Dunning and
described in a recent publication by the author *)
This bird eflfigy pipe is remarkable not only for its artistic form and finish, but also for its
great size. Its length is i8 inches (45.75 cm.) and it weighs 7 pounds (3.18 kilograms). The
material of which it is made is a compact, fine-grained greenish-gray steatite, blackened and
polished by long usage, except for the slight scars made by the plow. The effigy is that of a
water bird, presumably the duck. In representing the wings, the short feathers are differen-
tiated from the quill feathers and the tips of the wings overlap. The legs are cut in relief and the
feet are brought together in a median ventral plane. It is difficult to account for the lump on the
breast and the longitudinal ridge on the throat. The eye is indicated by a shallow round de-
pression. Mr. Whittle has just located another effigy pipe from the same locality and almost
identical in shape with, but only about one-third as large as, the one here figured.
The art of the mound builder reached a high stage in the shaping of effigy pipes. These are
particularly fine and numerous in certain Ohio mounds, for example the Tremper Mound and
Mound No. 8 of the Mound City group, near Chillicothe. From a cache in the latter, the early
explorers, Squier and Davis, took about a hundred examples which were later sold to the Black-
more Museum at Salisbury, England. In the Tremper Mound, Mills and Shetrone took 136 pipes
G. G. MacCurdy, Some Moun is of EastL-rn Tennessee. Proc. XlXth Intern. Congress of Americanists. Washington. 1917.
[261]
ART AND ARCHAEOLOGY
from one cache and 9 from another. All the pipes from the first cache were intentionally broken
on the occasion of their deposition; those in the second cache had been deposited in a perfect
condition. The pipes from the Mound City depository had likewise been broken intentionally.
All these broken pipes have been skillfully repaired. Those found by IMills and Shetrone
may be seen at the Museum in Columbus, Ohio. George Grant MacCurdy.
Mrs. Nuttall and The Ulna River.

In Art and Archaeology, Vol. XI, No. 1-2, Mrs. Nuttall offers some comments on a vase
from Honduras described and illustrated by me in the Holmes Anniversary Volume (Washington,
19 16), and afterwards reprinted with some verbal changes and with the omission of five explana-
tory' drawings in this magazine. Asa sincere friend of Mrs. Nuttall I must express my regret
that she did not consult the original article, for the volume in which it appeared is one of a serious
character, with which Mrs. Nuttall cannot be unacquainted. On the other hand, it would
appear that the article, even in its original form, was not sufficiently explicit to forestall the
errors into which Mrs. Nuttall has imfortunately fallen. These errors are indeed quite natural
for they are based in the main on misconceptions that are ver}- prevalent and on methods that
find much favor.
Mrs. Nuttall obser\-es that I made no allusion "to the fact which is so vital and interesting"
that the principal units of design which I described "are conventionalized serpents' heads."
It is true that I made no such allusion for I was under the impression that these units of design
are something quite different. So clear was this impression in my mind that I contented myself
with giving accurate drawings, together with a photograph of the vase and the statement that
the units of design are abstractions borrowed from one of the animal forms represented on the
handles. Mv thought was that anyone who would be likely to read my article would need no
further help in identifying the units of design with these animal forms.
Mrs. Nuttall proceeds with this statement: "These serpents' heads are clearly discernible in
the photographic reproduction of the vase which illustrates Dr. Gordon's article, but curiously
enough, are barely recognizable in the carefully executed outline drawings." She then offers
as a substitute for some of the drawings that accompanied my article certain other drawings to
which she refers as follows: "To make this clear, the Mexican Artist, Sr. Jose Leon has made
drawings from the published photographs in which the forms of the conventionalized serpents'
heads and the peculiar technique of the native sculptor . . .are skilfully rendered."
Now, only one photograph has been published, and this, the one that accompanied my article,
was the only one to which Sr. Leon could have had access. It shows one aspect of a cylindrical
surface. The drawings published by me were made from the original object by ]Miss M. Louise
Baker under my direct supervision and criticism. They are accurate and strictly literal. More-
[262]
ART AND ARCHAEOLOGY
over, they reproduce faithfully the character of the can-ing which is vigorous, free and sponta-
neous.
On the other hand the illustrations that Airs. Xuttall reproduces are inaccurate in drawing and
fail to show the character of the original workmanship. The fact is that there are no serpent
heads at all on the Honduras vase. The devices that Mrs. Nuttall calls serpents' heads are
different ways of showing the heads of the animals that are represented with more realism in the
handles of the vessel. These animals are quadrupeds and the whole design on the body of the
vase is made up of parts of one or the other of these animals as follows: the front face, the profile,
the paw, the ear and the jaw.
Having started with a wrong identification, Mrs. Nuttall was quite naturally led into an erro-
neous interpretation, for being subject to this correction the meaning which she ascribes to the
design loses its only support.
In her next argument, Mrs. Nuttall makes the statement that no true marble has been found
in IMexico or Central America. It is evident that Mrs. Nuttall has been generally misled on the
subject of marble for she claims that the substance found in the State of Oaxaca and locally
called tecali is not marble but onyx and that this is the material from which "numerous ancient
vases and vessels unearthed in different parts of Mexico and Central America .... are
made .
Therefore, the argument runs, the vase which I call marble is in reality made of onyx, and
since that material comes only from Oaxaca it follows that the vase itself cannot be a product of
Ulua culture, and must have been imported from Mexico.
Here are three fallacies combined to support each other. First, that the material found in
Oaxaca and locally called tecali is onyx; second, that there is no marble in Honduras; and third,
that the object of which I wrote is made of onyx.
As these errors of Mrs. Nuttall are based on popular notions and a habitual looseness in the
use of language by writers generally, and on a confusion of terms, they had better be set right
for the sake of general accuracy. The substance called tecali found in Oaxaca, and used bv the
ancient Mexicans in the practice of their arts and industries, is marble and not onyx. It is popu-
larly called Mexican onyx and also onyx marble on account of the banded appearance that gives
it a superficial resemblance to onyx. It is a carbonate of lime with a compact crystalline structure
and a true marble. Onyx is a hard silicious mineral quite distinct from marble and unrelated
thereto
Geologists tell us that the Mexican marble found at Tecali in Oaxaca was deposited in the form
of stalagmite and belongs in the same class of marbles as the socalled onyx marble of Algeria,
the stone that was largely used in the building of ancient Rome.
I repeat that the stone found in the Tecali district in the State of Oaxaca in Mexico is marble
and not on^'x. Mrs. Nuttall's statement that it is onyx and not marble evidently arises frojii the
popular practice of calling it on}'x marble or IVIexican onyx on account of its supposed resemblance
to onyx. But these facts do not fully disclose the error of Mrs. Nuttall's statement that "as
yet no true marble has been found in Mexico or Central America. " True marble has been known
within these regions for a long time. Besides the deposits of marble in Mexico alread}' men-
tioned, there is a well known deposit in Honduras near Omoa, adjacent to the Ulua River. This
deposit was described by E. G. Squier in his book, "The vStates of Central America," published
in 1858, in the following words:
"The hills and mountains back of Omoa have exhaustless quarries of a fine compact white
marble remarkably free from faults and stains and well adapted for statuary and ornamental
use." (Page 189.)
The same words are repeated in Squier's book on Honduras, published in 1S70. (Page 125.)
The deposit of marble at Omoa is not of the banded variety found in Oaxaca and is easily dis-
tinguished therefrom. The material from which the Ulua marble vases are made is identical
with the marble of Omoa.
These considerations would seem to dispose of ]\Irs. Nuttall's contention that "Until other
ancient quarries are found and it is proven that a marble was obtainable in the region of the Ulua
River, Honduras, one may be permitted to question Dr. Gordon's view that the vase in question
isof marble and a product of Ulua culture."
[2631
"
ART AND ARCHAEOLOGY

The following facts are quite clear: namely, that Mrs. Nuttall's identification of the figures on
the body of the vase fails to be supported by an appeal to the figures themselves; that her drawings
of these figures are incorrect and indicate an entire want of comprehension; that her interpreta-
tion of these figures is without foundation; that her proposals about the material of the vase are
made regardless of the facts; that her suggestion as to the origin of the vessel is inadmissible in
view of these facts, and .finally since her description of the use of the vessel is based on a com-
bination of the foregoing errors, it is clear that her ideas on that subject must also be rejected.
In short, Mrs. Nuttall's article has confirmed in my mind the conviction that I formerly expressed
in the following words:
" It would be useless to speculate concerning the symbolism of all this ornament as it would be
to guess at the ser\-ice for which the vessel was designed. We are at liberty to assume that so
elaborate and refined an object had a ceremonial function and that its symbolism corresponds to
ideas associated with its use, but its interpretation is quite beyond our reach.
George Byrox Gordon.
The Arts Cliih of Washington.

The Arts Club of Washington whose activities are attaining national importance showed its
approval of last year's administration by re-electing at its annual meeting Mr. George Julian
Zolnay, President, Dr. Mitchell Carroll, Vice-President, Dr. W. E. Safford, Corresponding
Secretary, Mr. Roy L. Neuhauser, Treasurer, with Mr. George H. Dawson, Recording Secretary.
The reports of the various committees evidenced that never in the history of the club had its
activities been so manifold and it is doubtful if any other club in the countrs' provides functions
equal in number and quality.
There were 37 concerts during the year in which 69 artists took part. Eight plays, in addition
to several scenes from Shakespeare presented in costume, were produced by the Arts Club
Players. Exhibitions of paintings, sculpture, architecture, and the applied arts succeeded each
other in which many of the foremost artists of the country were represented.
Among the innovations initiated during the year, the most noteworthy were the Saturday
evening Forums which provide the broadest opportunity for open discussion and interchange of
id«as concerning the great fundamental questions in art, of interest to the laymen no less than to
the artist.
Through the regular Tuesday Salons and Thursday discussions the Club has heard messages
from many American and foreign speakers and the almost unlimited range of artistic and intellec-
tual subjects touched upon may best be gathered from the following partial list of addresses, most
of them illustrated by slides.
Modern English Poetr}-, by Charles Edward Russell; The Arts of China and Japan, Dr. A.
Hrdlicka of the Smithsonian Institution; ]Music and Drama of the American Indian, Miss Alice C.
Fletcher and Mr. La Flesche; "In A Persian Garden," song cycle by Elsa Lehman, under direction
of Mr. Paul Bleyden; The Reconstruction of the Parthenon^ Mr. G. J. Zolnay; The Architecture
of India, Mr. R. B. Prendergast; The Spirit of Gauginism, Mrs. F. E. Farrington; Hawaii, Dr.
W. E. Safford; The Vale of Cashmere, Rev. F. Ward Denys; Shakespeare as a Philosopher, Dean
W. A. Wilbur, George Washington University; Problems of Journalism, Geo. P. Morris; The
History- of the Cartoon, C. K. Berryman; The Bell Towers of Belgium, Mr. W. G. Rice; The Lure
of the South Seas, Dr. L. A. Bauer; How to Build and Judge a Play, Dr. G. W. Johnston; How to
Appreciate Sculpture, G. J. Zolnay; How to Appreciate Architecture, Mr. A. B. Bibb; What is
Interesting? W. A. DuPuy; The Hopi Indians of Arizona, Mr. Will C. Barnes; China Past and
Present, Dr. Paul Reinsch (U. S. IMinister to China) What is Beauty? by G. J. Zolnay What is
; ;
the Important Thing in Art? by Prince Bibesco (Roumanian ^Minister) Czecho-Slovakia, Dr.
;
Bedrick Stepanek (Czecho-Slovaikian Minister) The Psychology of the Aesthetic Judgment, Dr.
;
Tom Williams; The Island of Yap, Mr. Claude N. Bennett.

In lighter vein was the Spring Carnival, in which a street in the old Latin Quarter of Paris was
built in the club rooms, and in which ever\-one appeared in costume; it was an unqualified success
and has demonstrated that such a carnival, conceived and carried out artistically in the best sense
of the word, could and should be made a yearly event in the life of the National Capital.
[264]
BOOK CRITIQUES
Venizelos, by Herbert Adams Gibbons. Hough- irivariably becomes so intensely partisan that
ton Mifflin Company, Boston and Xew York. his judgment is clouded and his utterances
The Riverside Press, ig20. grow to be as intemperate as those of the
All those who love Greece willread this book native politicians and writers, which is saving
with the same thrill they experienced in learn- a great deal!
ing the Classics. The adventures of Jason and Mr. Gibbons has not fallen into this Scylla
Theseus live again in the personality of the nor been shipwrecked on that Charvbdis.
Cretan hero of modern times who is silhouetted His book reveals clearly the mainspring of his
against the sky of history like some ancient hero's high purpose, his ardent desire for free-
God on the apex of his own temple albeit no
;
dom of every Greek community from alien
Medean magic, no desertion of Ariadne led domination. It was against the intolerable
or marred the clear vision which pierced thralldom of the Great Powers quite as much
through difficulties to prophesy results which as against the Turks that Venizelos was chosen
it would bring about without the aid as leader.
of the
machinery of the Gods on which the ancient In 1 909 the Royal Family of Greece including
sooth-sayers relied. The labors of Hercules, Prince George of Crete were little more than
the agony of Prometheus Bound seem but alle- the executors of the Great Powers who sent
gories of his undertakings, and remind one them orders and instructions as openly, if more
that the Greek dramatists and artists ever diplomatically, as ever Rome did its Consul
employed their mj-thological scenery as a Herodes Atticus after whom was named the
setting for actual events. No where on the street on which stands the palace of King
Earth has human character and political pas- Constantine.
sions remained so true to types as in Greece. The Balkan Accord of 191 2 was an un-
Mr. Gibbons has outlined the biography and pleasant surprise to the Great Powers. Russia
described the stages in the life of a remarkable guided by one of her ablest diplomats merelv
rnan— one of the greatest statesmen of modern looked over the agreement, reserving the right
times He has told us everything about him to restrict territorial changes and arbitrate dif-
except why he was unable to hold the Greeks ferences. But of this not even Bulgaria took
at the altitude of patriotism to which he had any real heed. Serbia and Greece in the second
led them. For about the time Mr. Gibbons' war acted on their own judgment for their
book was issuing from the printing press common safety and aspirations. Germanv
M. Venizelos stepped down from power, went was the first to recognize that these cadets
—
out from Greece an exile \\-ithout personal among the nations had attained their majoritv.
stain still beloved of his own party, admired by She sought the alliance of Greece and Bulgaria
the whole world, and openlv venerated by even the better to make war on Serbia and Rou-
thousands of those who voted against him in mania. Russia already tottering in the dotage
the elections which restored King Constantine of her institutions began to lean upon her now
to the Greek throne. grown up daughters for whom she had sought
It has been always a fatality of the Balkan to obtain popular liberties greater than those
peoples to overthrow at repeated intervals she had accorded to her own subjects. Onlv
whatever of real progress they have acquired the Latin and Anglo-Saxon States still treated
through their own prowess or' the luck of cir- the Balkans as inferiors who were not to be
cumstances, in which their geographical posi- allowed a voice even in their own aflfairs.
tion is the prize they are allowed to keep be- It was with the ready consent of the Greek
cause its possession by any other one nation, people that Venizelos led them to war in 19 12.
or group of nations, would upset world equi- At his bidding they forgave the Royal Princes
librium. One reason why so few even of the their previously bad stewardship, delighted to
closest observers of Balkan events can grasp find them conscious at last that they were
the paradoxes of volte-face which result from Greeks. This idea became the slogan of the
the pressure of any strong outside influences Greek Court. Even Queen Sophia hurled it at
on these intensely democratic peoples is be- her brother the German Emperor when hastily
cause whoever studies them closely enough to departing from Berlin in July, 1914. For
be drawn into association with them almost nearly a year King Constantine endeavored in
[265]
vain to wrest from the Entente a treaty of
alliance on equal terms. Indignation at being
Do YOU TIRE cialthings you read about

of the superfi= treated like a vassal drove him to accept the
contract with the Germans and to dissent
the theatre? Do you want from the policy of Venizelos who urged patience
with the Allies and good faith with Serbia.
something better, something more
Venizelos' opponents declared that an inde-
entertaining, yet something that
pendent Greece was a greater glory than the
instructs? Then read most brilUant alliances. When King Con-
THE DRAMA A monthly review of the

stantine arose as the champion of that inde-
pendence, even against Venizelos himself, he
took that place in the hearts of his people re-
allied arts of the threatre, served for the high priest of their creed of
beautifully illustrated. Liberty. His mistakes and weaknesses were
Here is a magazine that is not packed with forgiven, his helplessness except for their
press-agent puffs or back-stair gossip about lovalty and acclaim appealed to them a
vamps and scandals. thousand times more than Venizelos' title of
The Drama edited for people who like to
is the Just.
think, for folkswhose brains haven't yet lost As to the principle of the thing, dislike of
their nimbleness. For eleven years it has
pioneered, bringing to its audience the best
Constantine and Sophia's pro-Germanism, it
from all lands. must be understood that only the merest
minority of Greeks ever detested the Germans.
It has talks about and talks by some of the
foremost actors, play-wrights, and scenic Turkey and Bulgaria had been restrained by
revolutionists; yet it never hesitates to give Germanv alone from massacring Greeks as they
space to the brilliant articles of unknown never had been by the whole Concert of the
authors.
Powers. Of the security which the Entente
Each issue contains one or two plays in might give them there was little guarantee
reading form. They're more fascinating
after Serbia had been left undefended and her
than short stories because they retain the
dramatic punch. whole population delivered over to martyr-
can compare with The Drama. dom and pillage for three years.
No magazine
It occupies a unique position in the world of The victorv of the Allies and Greece's share
the theatre. Once you begin to read it, in the spoils of war should have confirmed their
you'll become one of its devoted admirers.
confidence in Venizelos' leadership. The faults
You'll enjoy its stimulating contents. You'll
each a of the partisans and appointees of his regime
keep each issue on file, for is like
valuable book. were the active cause of its defeat. The perse-
cution of anti-Venizelists and finally the
To introduce The Drama to new readers,
we make a special offer. Send only $1 and assassination of Jean Dragoumis, a rival Liberal
The Drama will come to you for Five leader, in August of last year, for which bar-
Months. You will also receive your mem- barous crime M. Venizelos was in no wise per-
bership card in The Drama League of
sonal! vresponsible, horrified and outraged
America.
Peloponnesian and Athenian public opinion as
$1 is so little for so much. So why not tear
much as the murder of Agamemnon must have
out the coupon below NOW? Pin a dollar
bill to it and mail it today.
provoked the anger of the Argive people. The
younger leader's brothers and sisters, his aged
statesman father, and the wide public to
which his books (written in the popular tongue)
appealed cried for vengeance. The story calls
for a new Euripides or Sophocles to paint its
TRIAL SLBSCRIPTION FOR $1 horror and sadness. No real account of it ca.n
be given in the space of a book re\new, but it
The Drama Corporation-
59 East Van Buren Street Chicago was an event which future historians cannot
failto give note in any analysis of the causes
Attached herewith is $1 for which send me The The return of Con-
of the fall of Venizelos.
Drama for Five Months. stantine was the only alternative that could
give peace to the nation. Mr. Gibbons himself
Name
compared the murder of Jean Dragoumis to
Street .
that of the Duke d'Enghien which was the

City.- State beginning of the end for Napoleon.
[266]
Kindly Mention Art and Archaeology,
The tragedy unnerved Venizelos more than
anything his opponents could have done. He
rebuked all those who were even indirectly
responsible, and ordered the punishment of the
assassins. Thenceforth he refused any show
of authority, submitting his party and himself
to the people's judgment at the polls. No cen-
sure of the result has come from his lips or pen.
In exile he has pleaded for Greece as earnestly
as when he was in oflice. Venizelos the man
will be honored in himself wherever he goes.
Venizelos' form will be the shadow in which
Constantine must walk unless his own can
THE BISHOP'S LODGE
surpass it by superior dimensions. Is there Santa Fe, New Mexico
place in Greece for both? Jean Dragoumis'
heresy was to declare that there could be a
CITUATED three miles north of the city, this unique
liberal policy in Greece without Venizelos. '^ resort offers its hospitality both to the leisure-loving
His aspirations to lead that policy committed tourist, and to the archaeological investigator.
him to two years of exile before his death. Readily accessible are all of the points comprised
Conscious of the failure of his Cabinet to within what has been called. "The most interesting 50-
mile circle in America."
govern well in his absence, Venizelos preferred
Because of 6o-guest capacity. The Lodge necessalily
to make no real effort to gain a new victory at
caters to a limited clientele. It appeals especially to
the polls. Spiritually listless he acquiesced for those who appreciate the good things of life, and is
himself and refused to lend his sanction to any totally unlike any "hotel."
revolt of his party. Socrates himself can have Open the year around. To insure accommodations
drunk the cup of hemlock with no steadier reservations should be made well in advance.
hand. M. G. D. G. Rates and other information upon request.
Discovery in Greek Lands. A Sketch of the

Principal Excavations and Discoveries of the last
Fifty Years. By F. H. Marshall. Cambridge:
at the University Press, igzo. Pp. xi isy. +
Illustrated. 8s 6d.
This is an attractive sketch, with well
little
Czecho -Slovak Art & Craft
selected illustrations of the results of excava-
tions since 1870, written for the Cambridge
PaintitJgS
Manuals of Science and Literature. It gives
much information about vases, sculpture, and Photographs
other art finds, as well as about archaeology' and Slides
topography. The specialist will probably turn
to Michaelis, "A Century of Archaeological Costume Cards
Discoveries" (translated by Miss Kahnweiler) Pictures 1
and to the detailed reports in the journals, but

the general reader who would like to know
B li s
something of the progress of discovery in Greece M u s i c

and Greek lands will find this a very useful Embroideries
book; but even the archaeologist will profit by
this good brief resume and find it a useful intro- Hand Carved Articles
duction to the subject. The material is
arranged chronologically and the main sites are
treated under an earlier (before 1000 B.C.) and
later prehistoric period (1000-700 B. C), an
earlier (700-500 B. C.) and later historic period
RAF. D. SZALATNAY
(500-150 B. C.). There are special chapters on IMPORTER
Temple Sites and the Great Centers of Greek
Life, Delphi, Olympia, etc. There is a useful 542 East 79th Street. R-llO
bibliography and a list of the more important NEW YORK CITY.
excavations in chronological and topographical
order. D. M. R. '
[267] Kindly Mention Art and .4rchaeology.

The Greek Theatre of the Fifth Century before
Christ. By James Turner Allen. Berkeley:
ANNOUNCEMENT The University of California Press. ig20.
x-\- iig. Illustrated. $1.25.
Pp.
Many books and articles have been appearing

Messrs. Winsor & Newton on the Greek theater and drama in the last few
the well-known manufacturers of years, the most important being Flickinger's
"The Greek Theatre and its Drama." Pro-
ARTISTS' COLOURS fessor Allen has been interested in the Greek
AND MATERIALS drama for many years and has already pub-
lished several articles and reviews on literarv
have frequently had their attention drawn and archaeological problems connected with
to a rumor which would appear to have been
the Greek drama. But the problem of the
widely circulated, to the effect that the Own-
ership of their business has changed hands.
reconstruction of the fifth century theatre at
Athens has had for him a strange fascination
This announcement is to and he has devoted many hours to it and finally
emphasize the fact that got a clue to its solution in the spring of 19 18
when he published his short article "The Key
No Change Whatever to the Reconstruction of the Fifth Century
has been made in Ihc Ownership and thai
Theatre at Athens." The nature of this clue
is set forth in Chapterlll, and illustrated by Fig.
the business is still being carried on as
heretofore, their various products being 20 on page 30. Here the inner corners of the
manufactured by them at their London paraskenia of the Lycurgean scene-building,
nearest the orchestra, coincide exactly with the
factory, as in the past.
inner edge of the retaining wall of the old
LONDON NEW YORK orchestra terrace, and it is shown that the inner
38 Rathbone Place 31 East 17th Street sides of the paraskenia and the wall connecting
them at the rear exactly fit the circle of the old
terrace. The north-south diameter of the
remaining portion of this terrace is the
NOTICE same as that of the fourth-century orchestra,
Owing to the rapid growth of the mailing list of for if a line be drawn between the paraskenia
Art and Archaeology, and the unusual demand and at the same distance back from their front
for special numbers, our stock almost exhausted
line as the Hellenistic proskenion stood back
is
of the following:
of the Hellenistic paraskenia (about four feet)
V, No. I (Tanuarv, 1917);
V, No. 4 (.April, 19:7); this line is an exact chord of the outer circle of
VI, Nc. 6 (December, 1917); the old terrace wall. These certainly are
VIII, No. 5 (September-October, 1919) striking coincidences, so that it would seem
25 cents per copy will be paid for any of these that Professor Allen has really made an im-
numbers upon delivery at this office. portant discovery. He draws the conclusion
ART AND ARCHAEOLOGY that before the position of the theatre was
moved, the scene building had been erected
both on and about the orchestra terrace.
In other words the Lycurgean orchestra was
merely a counterpart of the Sophoclean and
Euripidean orchestra, which was probably used
also for the last plays of Aeschylus. Professor
The Cliff Dwellers Allen further thinks (see especially Chapter
\'III. "The Origin of the Proskenion") that
Four sepia half-tone pictures of typical pre- the fifth-century scene building served as a
historic ruins in Mesa Verde National Park, model for the building which replaced it later.
Colorado, may be obtained by sending 25 cts. to
He thinks (Chapter IV, "The Evidence of
Frank A. Wadleigh, Passenger Traffic Manager, the Dramas") that the skeîe (hut or booth)
Dept. B, Denver & Rio Grande Railroad, Denver, which was at first a flimsy structure, came
Colo. The wide mar-
prints are 6x8 inches with in the fifth century to be a substantial building,
gins, and the subjects are of great archaeological two stories high. The book is written in a
and educational interest. readable, interesting and attractive style.
D. M. R.
Kindly Mention Art and Archaeology. [268J
/O
1
>
ART AND ARCHAEOLOGY
Published by
THE ARCHAEOLOGICAL SOCIETY

OF WASHINGTON
Affiliated With
THE ARCHAEOLOGICAL INSTITUTE

OF AMERICA
VOLUME XII
JULY— DECEMBER, 192
ART EDITOR DIRECTOR AND EDITOR

William H. Holmes Mitchell Carroll
EDITORIAL STAFF BOARD OF DIRECTORS

Virgil Barker J.Townsend Russell, President
Peyton Boswell Frank Springer, Vice-President
Howard Crosby Butler Mitchell Carroll, Secretary
Charles Upson Clark
Albert T. Clay John B. Earner, Treasurer
H. R. Fairclough Ex-Officio as President of the Institute
Edgar L. Hewett Robert Woods Bliss
Fiske Kimball Mrs. B. H. Warder
David M. Robinson
Helen Wright H. B. F. MacFarland, Counsel*
•Died October 14, 1921
VOLUME XII (Nos. 1-6, JULY-DECEMBER, 192 1)
CONTENTS
The High Priest of the Lost Temple B. Harvey Carroll
A Study of the "Sarcophage Anthropoide" of Cadiz"
(Twelve Illustrations.)
The Investigations at Assos Howard Crosby Butler 17

The Broadmoor Art Academy Theo. Merrill Fisher .

27
The Czars Summer Palace
(One Illustration.)
in Warsaw (Poem) John Finley .... 32
The Marble Bath of Jerome Bonaparte Mary Mendenhall Perkins 33

The Carillons of Belgium after the Great War
(Eleven Illustrations.)
.... William Gorham Rice . 51
The Reconstruction of the Nashville Parthenon

(Seven Illustrations.)
.... George Julian Zolnay .
75
Home of the Arts Club of Washington Susan Hunter Walker 82

Activities of the Arts Club of Washington 85
Prologue — Ideals of the Arts Club —Exhibitions —Tuesdays and Thnrs-
days^Musical Evenings — The Arts Club Players — The Club in
Lighter Vein.
The National Peace Carillon 94
Promoted by the Carillon Committee of the Arts Club.
Chicago as an Art Center:
Introduction George William Eggers 99
—
The Plan of Chicago Its Purpose and Development Charles H. Wacker lOI
Architectltre in Chicago Thomas E. Tallmadge
The Monu-ments of Chicago Lorado Taft 121
Chicago Painters, Past and Present Ralph Clarkson 129
The Art Institute of Chicago Clarence A. Hough 145

Some Collectors of Paintings Lena M. McCauley 155
(Fifteen Illustrations.)
Friends of American Art . Lena M. McCauley 173
Field Museum of Natural History Fay -Cooper Cole . 179
(One Illustration.)
Art at the University of Chicago David A . Robertson 181

Art at Northwestern University Stella Skinner . 187

(One Illustration.)
Municipal Art I,eague of Chicago Everett L. Millard . 189

Eagle's Next Camp, Barbizon of Chicago Artists .... Josephine Craven Chandler 195
Artistic Nature (Poem) John H. D. Btanke 204
Housekeeping in Primitive Hawaii . Ernest Irving Freese 205
(Seven Illsutrations.)
The Aesthetics of the Antique City Guido Calza
Sappho to Her Slave (Poem) Agnes Kendrick Gray
The Debt of Modern Sculpture to Ancient Greece .... Herbert Adams 218
Philip A. de Laszlo Helen Wright . .
-2i
(Five Illustrations.)
Lorado Taft, Dean of Chicago Sculptors Robert H. Moulton 243
The Fountain of Time (Poem) Emma Schrader 252
Motherhood in American Sculpture Frank Owen Payne 253
Madonna and Child by Luini (Poem) Agnes Kendrick Gray 263

The Shepherds and the Kings Georgiana Goddard King 265
Notes from the New York Galleries Peyton Boswell 273
Current Notes and Comments
An Exhibition of American Art Objects 37
Incorporation of "American Schools of Oriental Research" 37
Addition to the Whistler Collection in the Library of Congress 37
National Gallery of Art Commission Formed 38
Discovery of a New Prehistoric Site in Greece at Zvoouries 38
Investigations at Assos • • • 39
The Aztec Studio. San Francisco 40
American Classical League 40
The Votive Hand of Avenches 41
Louis Comfort Tiffany Foundation 42
Summer Galleries and Summer Exhibitions 43
Summer Program of the School of American Research. Santa Fe. N. M 44
The Chicago Academy of Fine Arts 190
Sir George Frederick Watts' Picture "Love and Life" 223
—
When Critics Disagree The Metropolitan's French Exhibition 225
The Congress on THE History OF Art AT Paris 226
The Adventure of A Painting 228
Winter Exhibition of the National Academy of Design 273
Annual Exhibition of the New Society of Artists 274
Hay*' Water Colors AND Prints AT the Brown-Robertson Galleries 275
The Two "Blue Boys" 275
Frans Hals' "Portrait of A Man" 278
Sir John Watson Gordon's Contemplation at the Fearon Galleries 278
General Meeting of the Archaeological Institute OF America 279
The American School IN France for Prehistoric Studies 279
University OF Pennsylvania Excavations at Beisan 279
Stonehenge 279
The National Peace Carillon Proposed by Arts Club of Washington 280
Biennial Exhibition of the Corcoran Gallery of Art 28c;
The Benjamin West Exhibition at the Art Alliance, Philadelphia 280
Book Critiques:
The Empire of the Amorites. By Albert T. Clay 25
Delphi by Frederick Poulsen. Tran'Ûted by G. C. Richards with a Preface by Percy Gardner 45
The Charm of Kashmir. By V. C. Scott O'Connor 46
Albert Pinkham Ryder. By Frederick Fairchlld Sherman 47
Daniel H. Burnham; Architect, Planner OF Cities. By Charles Moore 229
J. J. I.ANKEs; Painter-Graver ON wood. By Bolton Brown 230
—
College Teaching Studies in Methods of Teaching in the College. Edited by Paul Klapper 230
—
"When Turkey was Turkey In and Around Constantinople." By Mary A. Poynter, with an introduction by the
late Sir Edwin Pears 230
Macedonia: A Plea for the Primitive. By A. Goff and Hugh A. Fawcett. with illustrations by Hugh A. Fawcett . . 231
"The Spell op Alsace." By Andr6 Hallays. Translated by Frank Roy Fraprie 232
Art Principles with Special Reference to Painting. By Ernest Govett 281
Furniture of the Pilgrim Century. By Wallace Nutting 282
THE ARCHAEOLOGICAL SOCIETY
OF WASHINGTON, AFFILIATED WITH THE
ARCHAEOLOGICAL INSTITUTE OF AMERICA

Offices: The Octagon, 1741 New York Ave., Washington, D. C.
OFFICERS, 1921
President
Hon. Robert Lansing
Vice-Presidents
Col. Robert M. Thompson Miss Mabel T. Boardman
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Secretary and Director Treasurer
Mitchell Carroll John B. Larner
BOARD OF TRUSTEES
The above-named officers and
Charles Henry Butler Gilbert H. Grosvenor James Parmelee
Wilbur J. Carr William H. Holmes J. Townsend Russell
F. Ward Denys Martin A. Knapp George O. Totten, Jr.
Albert Douglas Charles Colfax Long Mrs. B. H. Warder
W. P. Eno H. B. F. Macfarland Miss Helen Wright
THE ARCHAEOLOGICAL SOCIETY of Washington was organized as the Washington
Society of the Archaeological Institute of America in April, 1902, and was incorporated January
18, 1921. It is first in point of membership of all the Affiliated Societies of the Institute, and has
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couraging every form of archaeological, historical and artistic endeavor." It contributed to the
American Expedition to Cyrene in 1910, 11, and during 1919 conducted the Mallery Southwest
Expedition in New Mexico. The Annual Meeting of the Society is held in November, and six
regular meetings at the homes of members are held from November to April, when illu; rated
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ART AND ARCHAEOLOGY PRESS,

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Members are classified as Life, $200; Sustaining, $15, Annual, $10, and Associate, $5 per
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ART AND ARCHAEOLOGY

PuUisKed by THE ARCHAEOLOGICAL SOCIETY
OF WASHINGTON. AFFILIATED WITH THE
ARCHAEOLOGICAL INSTITUTE OF AMERICA.

ART AND ARCHAEOLOGY PRESS, Inc.
Volume XII JULY, 1921 Number 1

Virgil Barker J. TowNSEND Russell, President
Nathan Boswell Frank Springer, Vice-President
Howard Crosby Butler
Mitchell Carroll. Secretary
Charles Upson Clark
Albert T. Clay John B. Earner, Treasurer
H. R. Fairclough Ex-o^cio as President of the Institute
Edgar L. Hewett Robert Woods Bliss
FisKE Kimball Mrs. B. H. Warder
David M. Robinson
Helen Wright H. B. F. Macfarland, Counsel
CONTENTS
The High Priest of the Lost Temple B. Harvey Carroll .... 3
A Study of the "Sarcophage Anthropoide" of Cadiz
Twelve Illustrations
The Investig.\tions at Assos Howard Crosby Sutler . . . 17

Ten Illustrations
The Broadmoor Art Academy Theo Merrill Fisher . 27

Three Illustrations
The Czar's Summer Palace in Warsaw (Poem) John Finley 32

One Illustration
The Marble Bath of Jerome Bonaparte Mary Mendenhall Perkins . . 33

Three Illustrations

Three Illustrations
Book Critiques 45
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provided for in section 1103. Act of October 3 iQt7. authorized -September 7. 1918.
Copyright. 1921, by the Art and Archaeology Press,
ART mxB.
ARCHAEOLOGY
The Arts Throughout theA^
Volume XII JULY, 1921 Number 1
THE HIGH PRIEST OF THE LOST TEMPLE

A Study of the "Sarcophage Anthropoide" of Cadiz in its Relation to the Phoenician Temple of Hercules.
By B. Harvey Carroll,
Consul of the United States at Cadiz, Spain, with original Pencil Drawing Illustrations
By Carl N. Werntz,
President of the Chicago Academy of Fine Arts.
PONCE DE LEON the name of is after Columbus had discovered a new

the island peninsula whose rocky world.
promontory, projected into the Perhaps is best not to smile too
it
Atlantic, is crowned by the white city quickly the claim.

at Nothing is
of Cadiz. In early modern times the wholly false, not even tradition, and
island was a part of the ancestral estate back of the myths are the great deeds of
of that family which sent a son adven- great men.
turing into the everglades of Florida in Modern Cadiz is the great Atlantic
search of the fountain of youth. port of Spain, especially for its trade
Back through many a brilliant page with South America. The island pe-
flutters the history of the city itself ninsula is an arm that makes a land
until history merged into tradition
is locked port of the Bay of Cadiz, the
and tradition illumined with myth.
is first port of Europe outside the straits
Cadiz claims Hercules as founder. of Gibraltar. The city is now sur-
Its coat of arms shows Hercules be- rounded by high walls, walls that served
tween the columns, equipped with mace to keep out the armies of Napoleon, and
and mantle of lion skin and subduing a within the walls of resistant and defiant
rampant lion with either hand. Its Cadiz were formulated and uttered in
motto is "Cadium Dominator qve i8i2 the brilliant paragraphs of the
Hercules Eundator" while the inscrip- Constitution that is a Charter of
tion that twines around the pillars is the Spanish Liberties until today. The
famous "Non Plus Ultra" that Charles stor>" of that period would make
V. amended by ehminating the "non," pleasant and patriotic reading and a
[3]
r^ ^{
^4Z^*
'••'».-.-^^
F^
•» ,^r*-
The "Puerta de Tierra", City Gate of Cadiz.

ART AND ARCHAEOLOGY
huge painting in the Municipal Art fans, and, inevitably accompanying the
GaUery of Cadiz, by Ramon Rodri- beauties, prim duehas in black silk and
guez, shows how the summons to sur- black lace rebosas; coaches filled with
render, sent by Joseph Bonaparte in foreign sailors, drunk and happy, with
19 ID, was received and answered. legs swinging over the sides of the
Cadiz has but two entrances, the gats vehicle and raucous voices singing some
of the sea and the great gate that opens chanty meant to accompany a pull on
through the walls known as the Puerta the halliards; military motorcycles
de Tierra, the gate of the land. Through carrying hurrying orderlies; cowled
this land gate all who approach Cadiz friars; beggars and mendicants of both
other than by boat must enter for there sexes all ages; peasants of Anda-
and
is only one road. Under the great lusia wearing the big, broad and stiff
portal pass the endless streams of brimmed hats that mark them as being
donkeys whose panniers are filled with of the caste of bullfighters, friends, some-
fruit and garden produce or with what- times a bullfighter in person, distin-
ever wares the country offers to the guished, when not in costume, by the
town. Shawled women and barefooted little pig tail or coleta which he ap-
children often top the load. Some- parently tries to keep concealed under
times the donkey seems to have about his hat but which always artlessly
two cords of wood upon his back but it manages to reveal itself; silk hatted
is only the rough bark of the quercus and prosperous gamblers going to try' a
that we know as cork. Besides the turn at the roulette wheel at the casino
donkeys there flows in and out of the on the beach; concave young dandies
big gate all the picturesque life of with modish garments; a group of
vSpain, pleasure-seekers in honking auto- priests, acolytes and choir boys with
mobiles wedding parties complete as to
; church banners, gilded ecclesiastical
veils, flowers and costumes occupying emblems, candles and incense lamps;
the handsome "coaches" whose horses fishermen, with trousers turned up
have their harness adorned with scores above the knees revealing corded mus-
of silver bells; brown gypsies, barefoot; cular brown legs; officers on prancing
trim soldiers on horseback, their scab- Andalusian chargers; goat herds pre-
bards or gun barrels gleaming and their ceding and following their flocks of
red and yellow trappings lending color; milch goats entering the city to deliver
naval officers in blue and gold braid, milk direct from goat to consumer;
uniforms almost identical with those wooden wheeled carts, with hoods of
worn by officers of the United States plaited straw bulging out like the
Navy; civil guards, in pairs, on foot and canvas tops of the American prairie
on horseback, distinguished by their schooner, drawn by patient oxen with
triangular cocked hats of patent leather, heads sagging beneath the yoke;
and by their readiness to shoot; work- "Gitana" fortune tellers garbed in
men in blue smocks and red sashes; bright colored rags, their necks encircled
carriages with bevies of Andalusian with strings of gold and silver coins;
beauties wearing characteristic gaily porters; peddlers; mules, and more
colored, embroidered shawls, pinettas "burricos," all showing at pack saddle
or high combs of tortoise shell and or bridle latchet.a silver half moon, or a
creamy lace mantillas and manipu- colored tassel or a bit of wolf or badger
lating brightly painted or feathered skin, as charms against the evil eye;
[S]
,p£I2fepl
The Cathedral of Cadiz, sketched from the Atlantic side of the island.
;
ART AND ARCHAEOLOGY

hawkers of fish, their wares displayed in heeding the days when the Duke of
flat baskets, burricos loaded with pot- Albuquerque defended the city against
tery visible under rope woven panniers Marshal Soult until the Duke of Wel-
venders of pink shrimp, ware that lington came and lifted the siege in
appeal loudly to eye and nose holy men
; August, 1812, until we reach the time in
and unholy women unwittingly jostling 1596 when Elizabeth's favorite, the Earl
each other at the barriers; in short all of Essex, destroyed a Spanish fleet, 40
the color-rich life of leisurely Spain, treasure galleons and looted the city
prince, peasant and pauper converging only 9 years after Drake had "singed
to and congesting the city's gate. the beard of the King of Spain" by
Mr. Carl N. Wemtz, head of the burning the shipping in the harbor. It
Academy of Fine Arts in Chicago, has was then that the present walls began
caught the spirit of that flow of life into to be constructed about the town and its
the portal as well as the beautiful pro- prosperity returned until it was richer
portions of the old gate tower itself and than London, the wealth of Mexico,
his wonderful pencil sketch, (repro- Peru and the West Indies pouring an
duced on page 4) suggests the color average shipment of $25,000,000 a year
which is the one thing lacking. Outside into its coffers.
the gate, a hundred yards on either side, Before the discovery of the New
one sees the blue of the Atlantic and World, Cadiz, under the Arabs, had
the blue of the bay and down the sand sunk to slight importance and was
spit the white ribbon of road that is the plundered by the corsairs of Barbary
only avenue to the main land 10 miles but it was one of the early conquests of
away. This road is the old Avenue of the vSpanish arms, Alonso the Learned
Hercules that led to the temple in pre- capturing it in 1262. R. Balaca, a
historic days. modern painter has a large picture in
Equally characteristic as a glimpse of the Cadiz Academy of Fine Arts show-
Cadiz is the sketch of the Cathedral ing the entry of Alonso.
whose twin towers dominate the city Before the Arabs it had languished
whether viewed from land or sea. The under the Vandals who, coming about
sketch is made from the parapet of the 410 A. D., remained in power until 711,
city's wall on the Atlantic side and over leaving little trace beyond the beautiful
the wall the eternal casual fishermen name of Andalusia and a strain of fair
watch their lines and the eternal gulls hair and blue eyes in the population.
maneuver about them. Here as elsewhere the Vandals drove
With gate and cathedral one sees the out the Romans who had named the city
heart of the present city, and Spanish Gades. Csesar and Pompey had fought
cities change their customs and out- for it. Scipio Africanus had used it as a
lines so slowly that a matter of a base of operations and supplies in the
hundred years or so makes but little Second Punic war as Hamilcar and
difference, but Archeology gropes back Hannibal had done in the first war
not through the cycles but through the between Rome and Carthage. The
millenniums, and, sifting out sagas and Carthaginians had held the town since
myths and the dust of dead men, reads about 500 years before Christ, and ruled
its stories amid the stones and bones of it nearly 300 years.
the prehistoric past. But a thousand years before the

Reversing the centuries we pass un- Carthaginians came, their mother
[7]
Metropolis ol Cadiz: Group of Tombs, discovered July 1914.
country of Phoenicia had sent ex- Now there is no trace and the leading
plorers and
colonists and these sun archaeologist of Cadiz, Don Pelayo
worshippers, finding already a race of Ouintero Atauri, Director of the Acad-
sun worshippers, had erected a temple emy of Fine Arts, who as delegate of the
to Hercules Melkarte or Hercules, the Junta vSuperior Excavations in Spain
of
city god. has supervised the excavations that
all
•
So far as history goes we are told that have been made in Cadiz under scienti-
the Greek Pytheas had studied its fic observation and who had discovered
tides in the days of Alexander the two groups out of the five discovered
Great. As the Mediterranean is tide- groups of ancient tombs, and who has
less (but not the Adriatic) it may be carefully excavated and studied many
that this was the first time in the history tombs of the Ibero-Roman period, is of
of man that this disconcerting pheno- the opinion that this temple was not at
menon was ever studied. On the light- Cadiz but at the other extremity of the
house reef at Cadiz there is still a peninsula, that is at its base near San
modern hydrometer and hydrographic Fernando.
station. In company with Don Pelayo I have
Of the early Carthaginian period visited and studied the tombs that re-
and of the Phoenician period little is main and with .great appreciation I have
known. It is not even known when the read his scholarly book "Cadiz Primitive
famous temple to Hercules disappeared. Primeros Plobadores Hallazgos Arqueo-
One of Murillo's great paintings at logicos" (Primitive Cadiz, Its First
Cadiz shows Caesar visitin? this temple. Inhabitants and Archaeological Sur-
[8]
ART AND ARCHAEOLOGY
vivals) in which he makes an exposition of the Greek writers held that the pillars
of the facts and the theories, and if I were at the entrance of the Straits but
modestly venture to differ with him on the Iberians and the Libyans held that
some of his important conclusions it is the true columns were at Cadiz, and
yet largely on the basis of scholarly Pindar and others seem to hold with
evidence adduced by him. them.
The testimeny of Strabo shows that Strabo's geography and topography
in the days of Augustus this temple was would fit the present island peninsula
flourishing. Strabo's evidence seems like aglove but there is a most interest-
clear enough as to the location of the ing reference in Pliny the Younger (78
temple of Hercules. A free translation A. D.) which describes a small island
would be "There is much to say of the
: between Cadiz and the continent at. a
Gaditaneans since it is they who send out distance of one hundred steps from the
ships many and beautiful, who navigate main island and about a mile long in
not only our sea (the Mediterranean) which was the primitive city of Cadiz.
but also the ocean. ... At the This small island, he says, was called
extremity of this island (the island Erytrea by certain Greek writers and
peninsula of Cadiz) there is a temple Aphrodisia by others, but the primitive
dedicated to Saturn, and at the opposite inhabitants named it after Juno.
part, that is to say toward the East, is While Strabo does not mention this
the temple of Hercules, and this is the island by name he incidentally confirms
point where the island is nearest to the its existence. After describing how
continent in such a manner that it is flourishing Cadiz is and how it numbers
only separated from it by a canal of the among its inhabitants by a recent census
sea of only a stadium. There are those 500 patrician knights, a number greater
who say the temple is distant from the than any other cities except Rome and
city 1 2 miles so that the number of the Padua, he adds that the city in ancient
miles may equal the tasks of the god, times was small but Balbus the Gadita-
but in fact the distance is the length of nean (Balbus the younger who had
the island from West to East." been granted a triumph and was the
After a reference to the fable of son of L. Cornelius Balbus) had built
Geryon, Strabo recites in detail the near it another city called Neapolis and
tradition held in Cadiz at that time the two, united into one, called itself
according to which an oracle gave the Didyma (the twin). Many, he said, in-
Tyrians instruction to send a colony to habited the nearby coast and many
the columns of Hercules. After two more inhabited a little neighboring
expeditions, which by the disapproval island where there had been built
of the auguries were shown to have another city that competed with the
failed to locate the columns of Hercu- "twin" and where one might live with
les, a third expedition finally settled at great pleasure because its soil was of
Cadiz (Gadir), the mountains at the great fertility. He tells later how
Straits of Gibraltar and an island near Phericidas thinks that Cadiz was called
Huelva being the places tried and Er>'thia and narra tes how there occurred
rejected by the first expeditions. These in it the fable of Geryon and says others
expeditions had, however, found a well suppose that Geryon inhabited an
established cult of the primitive Iberian island near to Cadiz and separate from
Hercules. According to Strabo most it by only a narrow canal of the sea one
[9]
ART AND ARCHAEOLOGY
At the present time there is no island,
the railroad now following the low sandy
stretch that represents the fiUed-in
canal between the island and the main
land but the projection that on modern
maps is represented as the ship yard
of the Astilleros Gaditanos is, I think,
without doubt the core of the former
island, the site of the oldest civilization
and settlement near Cadiz and the
natural place at which one might expect
to encounter remains of the pre-Roman
period.
There is a large, unexplored mound
within the limits of the ship yard and it
was near this mound where the first and
most important archaeological findwas
made in Cadiz, to-wit, the tomb with
the marble sarcophagus known as the
anthropoid sarcophagus, and near this
first tomb and also within the limits of
the former island were found other
tombs while across the railroad and on
what were once the terraced slopes of the
the coast line of the main peninsula,
distant a stadium, were found the other
groups of prehistoric tombs.
In June, 1887, while levelling the
ground for a Maritime Exposition- it
was necessary to remove a little emi-
nence that jutted into the waters of the
Necropolis of Cadiz: Front of the Anthropoid bay, and there was uncovered a .group
Sarcophagus. of three sepulchres one of which con-
tained the beautiful marble sarcopha-
stadium in width, in which island such gus, apparently made of the white
was the abundance and quahty of the marble ol Almeria or a marble similar to
grass that when the sheep ate it their a marble found there. In the sarco-
milk became so rich that much water phagus was the well preserved and
had to be added before cheese could be perfectly articulated skeleton of a man
made from it, and after 30 days pas- while of the two sepulchres at the feet
turaee on it cattle had to be bled to of the one containing the marble casket,
keep them from suffocating. one was found to contain the bones of a
There seems to be no room for doubt man and the remains of iron weapons
that on this little island was the legend- and the other the bones of a woman.
ary site of the ninth labor of Hercules The marble casket was apparently that
and that it represented a primeval cult of a priest so that the strange group ap-
of Hercules. parently gave the triangle of priest,
[10]
The Sculptured head on the Anthropoid Sarcophagus. Detail by Carl N. Werntz.
warrior and woman. Some of the embalmed. The cover of the case sug-
trinkets, jewelsand weapons in these gests the outlines of an heroic figure and
tombs passed into the hands of indi- the head is perfectly modelled and
viduals and have never been recovered. presents an appearance so striking that
The tombs themselves were destroyed one cannot resist the impression that it
but the sarcoghagus and its content is a portrait. The coiffure oi hair and
constitute one of the archaeologist's beard is Chaldean or strikingly suggests
greatest discoveries. the curls of Assyrian heads. The cast
The sarcophagus follows the general of featuresis Semitic. So Abraham
outlines of amummy case but there is might have looked. The face is full of
no reason to believe that the body dignity and power, high cheek bones,
whose bones remain had ever been curved (but not hooked) nose, beard
[11]
ART AND ARCHAEOLOGY
exuberant and long, down drooping position of the feet and the general
mustachios curled, as if by a barber of form of the sarcophagus and cover as
Babylon. The lips are full, sensual and well as the attitude of the figure carved
arrogant. Once in real life I have seen thereon clearly indicate that this casket
such a face, and it was that of the was intended to be placed not hori-
Samaritan high priest who still on zontally, as it was found in the primi-
Alount Ebal sacrifices annually in full tive tomb, but upright, perhaps in a
accord with the Mosaic ritual. These niche in the temple.
Samaritans are lineal descendants oi The right arm is dropped full length
the colony that Nebuchadnezzar down the side of the figure and the
planted in Samaria which were Juda- fingers of the hand are closed as if
ized to the extent of accepting the upon the hilt of a sword or knife, th?
Pentateuch alone of the Hebrew Holy back of the hand being to the front.
Books. The faces of these Samaritan Don Pelayo think'; that this closed
priests as I saw them nearly 20 years hand held a wreath of laurel which was
ago, brought vividly to my mind the painted on but I think that in such a
faces of Assyrian sculpture, hair, beard case the palm would have been turned
and features the same. These vSamari- hah way outward and the last two
tans are the closest living kin perhaps of fingers would have been more relaxed
the Ninevite and Phoenician race and and not tensed in a grip as they are. A
it is one of their faces that appears on laurel wreath would have been held
this sarcophagus lid. between the thumb and the first two
\\'hilethe head and face are in almost fingers. The knife or sword is only
the three dimensions of complete sculp- indicated, as, carved at right angles to
ture the outlines of the body are indi- the body, the beauty of the lines would
cated by light bas-relief scarcely a have been affected, or perhaps the
quarter of an inch high. The figure is dimensions of the marble did not admit.
shown wearing a short sleeved tunic The left hand is brought forward to
that drops to the instep but leaves the the center of the body and holds a
shoulders and arms bare. In those human heart. The significance of this
almost suggested lines of arms and seems not to have been appreciated
shoulders, as in the structure of the face although the sacerdotal character of
there is, however, shown a perfect the figure is conceded by all. But to
knowledge of anatomy as well as a fine my mind it seems clear that we have
command of art. The muscles of the here not only a priest but a high priest
neck, shoulder and arms are not only depicted in the supreme moment of his
beautifully but correctly indicated, career and at the climax of his ritual,
sterno-mastoid, trapezius, deltoid and when, having torn open the breast of a
biceps showing beauty and strength. human sacrifice with the curved knife
The feet, shown from the insteps down, that he held in his right hand, he lifts,
are bare and are firmly planted, the wide as an offering to the Sun God, the
interval between the first two toes sug- bleeding, smoking heart that he has
gesting that the feet had been accus- plucked out with his left hand.
tomed to sandals, although no sandals This would not be out of accord with
are shown. Silius Italicus says that the what we know of Canaanite, Hittite,
priests of Hercules wore white tunics Chaldee or Phoenician. Even Abra-
and that the feet were bare. The ham approached to the very verge of
[121
Amulet of the Lioness Amulet of a Ram Headed Funeral seal ring with Scarabaeus and Fragment
Headed Goddess, with God. Found in a prehis- of Sidereal collar showing agate, gold and bone
Moon Disc. Found in toric tomb. beads with golden sun emblem.
a primitive tomb.
human when he was ready to

sacrifice phagus, unquestionably Phoenician
offer and Jahveh's method of
up Isaac, found in Sidon and now in the
seaUng a promise to man was by 'cut- '
Louvre.
ting a covenant." Moreover it would Only the shape of the sarcophagus
chime perfectly with the sun worship in reminds one of the sarcophagus of
the new world as Cortes found it and as Echmunezar which is as Egyptian in
Lew Wallace describes it in "The Fair sculpture style as the Cadiz tomb is
God .
The Samaritans have continued

'
' Greek. (See sketch of head of the

until the present time to offer living figure carved on the Sidon sarcophagus.)
sacrifices of animals in accord with the The statue sarcophagus of Echmunezar
instructions given by Jahveh to Abra- however, besides being found in vSyria,
ham that animals should substitute contains an inscription in Phcenician
human beings. that pronounces a curse against the
The and garments of the statue
feet profaners of tombs.
recall and resemble those of the As- These differences in the sculpture
syrian king taken from Nimrud that is lead one to believe that the Phoenicians
found in the British Museum, the slop- ordered their tombs in advance and
ing projection on which the feet rest invoked the aid of famous artists who
being identical. This foot rest and carved, each according to his art,
the shape of the sarcophagus as well traditions, and nationality.
as the coiffure of head and beard are I can not agree with my friend Don
markedly like those of the sarco- Pelayo that the Sarcophagus is Hittite
[13]
ART AND ARCHAEOLOGY
Articles found in the first group of
tombs were lost or passed into private
possession. It is probable, however,
that a sidereal collar emblematic of sun
worship, a scarabeus set in a liturgical
ring so as to revolve and having the
underside engraved, and two rings or
ear rings of soft pure gold were in
this tomb. No inscription and no
written word was found save the as yet
Sketch from Sarcophagus of Echmunezar, untranslated engraving on the scara-
Phoenician Tomb in Egyptian Style of
Sculpture. beous seal ring. The absence of money
in these early tombs is significant that
and precedes the Phoenician period but the period was still one of barter. In
I think it more likely that when the
Phoenicians set up the temple to the
worship of the sun in honor of Hercules
^
they possibly left some great high priest
to serve it and that this priest imported
hip monument which was carved by a
Greek artist in accordance, or in partial
accordance, with Assyrian traditions.
The excellent anatomy, the fore-
shortening of the left arm and hand,
and the suggestion of Greek art, despite
the lightness of the bas-relief of the
figure are impressive. I am most
fortunate in being able to present che
detail sketches of feet and left hand by
Mr. C. N. Wemtz made ac the Archseo-
logical Museum in Cadiz, especially
to accompany this study.
Light Bas-Relief Sculpture Drawing of the Left Hand
of the High Priest, holding a Heart. Detail.
other tombs of the period were found

similar objects such as sidereal collars
adorned with sun emblems, the petals
of the sun medallion varying from 8 to
12 and the beads of the collars being
* 1
alternate agate and pure gold, some-
times also alternating with bits of
enamel and sections of finger bones.
The agate beads are not rounded but
J are short sections of drilled cylinders.
There is shown a sketch of a section of a
collar, of a scarabeus and of two of the
Bas-Relief Sculpture Drawing of the Feet of the
High Priest. Detail. four amulets or funeral emblems that
ART AND ARCHAEOLOGY
seem almost purely Egyptian but that while laying out the shipyard now
are connected with the worship of the known as the Astilleros Gaditanos. In
sun and moon. One is that of a lioness Jan. 1 89 1 another group of four was
headed god and the other is of a ram found but this time on what was once
headed god. The disc over the head of the shore of the island peninsula and
the lioness, the huntress of the night, is across what was the canal of a stadium
the moon disc, with the cobra in front, in width. In April 1891 another
and the vertical rays of the sun form double group, verj^ near, and in 1892
the disc over the head of the ram, another group of four. All of these save
emblem of vigor and fertility. It does the 1887 group were perfectly oriented
not seem necessary to identify these and all contained skeletons that
two meticulously with the funeral crumbled on being touched. The
genii of the Egyptians although amulets measurements of the skeleton in the
with the head of the hawk and of the sarcophagus have been very accurately
jackal were also found and in one tomb taken in detail. A sketch showing the
a golden bee, one of the fecundity contour of the skull is given. I think
emblems of Diana of the Ephesians. all three of the tombs in the first group
The many breasted ancient statue of were priestly, two priests and a
Diana at Naples shows the mantle priestess. The rusted weapons in one
covered with bees. The heads of these of the tombs were sacrificial knives.
amulets are of purest gold modelled Beginning with September, 191 2,
with a skill that the expert jewelers of orderly excavations have been made
today could not surpass. The shafts under the direction of Don Pelayo
of the amulets are of copper, now badly Ouintero Atauri who has uncovered
corroded but once hollow and filled twenty-three prehistoric tombs and
with some substance now indistin- many of the Carthaginian and Roman
guishable, perhaps a tiny cylinder of period. The Roman cemetery was on
inscribed papyrus or parchment. the Atlantic side of the island and just
Perhaps over the subterranean tombs outside of the present walls of the city,
there were originally inscribed tablets and the tombs are pottery funeral urns
but at present one has to lament the containing the cremated remains of the
complete lack of inscriptions whether dead and other objects such as coins,
in Hebrew, Aramaic or Phoenician, amulets of clay, small clay masks, idols
hieroglyphs or Greek. Of these primi- and vessels, which discoveries, valuable
tive tombs a number have been found, as they are, lie outside the scope of this
clearly distinguishable from the Cartha- stor}\
ginian and Ibero-Roman periods. The story that seems to coincide with
Suarez de Salazar, writing in 1610, the tombs and with the traditions is
describes 3 classes of sepulchres, (one that long before the dawn of recorded
of them corresponding to these ancient history some Syrian tribe of sun wor-
tombs,) which were found while build- shippers, coming perhaps from near
ing the walls of Cadiz. Tarsus, perhaps from the shores of the
The discovery of the group contain- Red Sea, but having traversed Eg>'pt
ing the carvêd sarcophagus took place and Northern Africa en route, arrived
in June 1887. In 1890 a group of four at the bay ol Cadiz and found inside the
similar sepulchres but without sarco- island peninsula a small sheltered island
phagi was found very near this group of great fertility separated by the stad-
[15]
ART AND ARCHAEOLOGY
ium wide canal from the island and by galleys of Phoenicia to Cadiz the
the bay from the mainland, and used as history of Spain began. I think the
an enclosed pasture by some mainland sarcophagus is that of the first high
aboriginal chief. The migration was priest of Hercules introduced by the
led by some sturdy hero whom tra- Phoenicians. I would expect to find the
dition has identified as Tubal Cain. remains of the old temple of Hercules
The newcomers dispossessed the original within the hmits of that smaller island
inhabitants, after a struggle, perhaps a perhaps in the unexplored and un-
duel, between the old chief and the new, explained mound that exists in the ship-
and we have a reminiscence of that yard crowned with a few fragments of a
combat in the story of the ninth (some- far later edifice were it not for the
times listed as the tenth) labor of explicit testimony of Strabo. Perhaps
Hercules in taking the huge red bulls of when the temple was destroyed the
the Giant Geryon, by the significant sarcophagus of the high priest was taken
aid of the ocean nymph Callirrhoe. from its niche to the safety of the
With the lapse of years hero became smaller island or perhaps on that
demi-god and demi-god became deity island a smaller temple was erected.
and along the Atlantic coast of Spain Certainly within its limits will be found
there was a well developed worship of other objects going back to the most
Hercules, a primitive temple begin primitive period of Spanish history.
located at what is now known as the The ruins of the temple of Hercules
Punta Canteras in the Bay of Cadiz and itself should be found at the base of the
another near Huelva, which facts were present island peninsula near the canal
discovered by the two abortive Phoeni- that unites at that poin<" ocean and bay.
cian expeditions sent out to locate the That bayou-like canal has no doubt
pillars of Hercules. The third expe- shifted its location somewhat in the
dition found in the bay of Cadiz a centuries but the ruins should still be
protected harbor and a shelter for their easy to find and when they are found
boats under the lee of the little island. there will no doubt be found with
They no doubt also found the settle- them the great stone altar of human
ment there at war with the shore tribes sacrifice. For the rest one can only
and the)' found a welcome by announc- quote the words of Emil Huebner,
ing that they had come to seek the written prior to any of these dis-
pillared shrine of Hercules and to coveries: "The discovery of the treas-
found a temple to that god, now ele- ured riches in the famous temple of
vated by Egyptian influence to a sun Melkarte, the Tyrian Hercules, in the
god. They were welcomed and took island of Cadiz, is the opus magnum
possession. The time was perhaps 1400 reserved without doubt to a Schliemann
B.C. of the future."
With the coming of the high carved Cadiz, Spain.
[16]
THE INVESTIGATIONS AT ASSOS
CONDUCTED BY THE ARCHAEOLOGICAL INSTITUTE OF AMERICA
B\ Howard Crosby Butler.
EVERYONE who is interested in stylewhich is one of the most, if not the

Classical archaeology, everyone most, satisfactory that has ever been
who cares about Greek architec- attempted for the rendering and in-
ture,and many others who have only a terpretation of ancient Classical archi-
love of Art in general will hail with tecture. is by his brother, Henry
One
enthusiasm the long delayed appear- Bacon, gifted architect of the
the
ance of the final parts of the publica- Lincoln Memorial in Washington. No
tions of the Investigations at Assos. picture or word description could be
These investigations, which were the more illuminating to the youthful or to
first of the kind undertaken by Amer- the experienced student of Greek archi-
icans in the field of Classical archae- tecture and of Greek life than Mr.
ology, were begun forty years ago under Bacon's Restoration of the Agora at
the auspices of the Archaeological In- Assos, a cut of which is presented here-
stitute of America, as the result of the with. No rendering of any sort, or in
untiring energy and skill of the late any medium, could better depict the
Joseph Thatcher Clarke, and with the delicate, artistic charm, and the logical
cordial cooperation at home of the late constructional processes of the archi-
Professor Charles Eliot Norton. The tecture of Greece than the accompany-
first installments of these publications ing pen-drawing of the Vaulted Tomb.
appeared twenty years after the exca- These drawings give us not only a
vations had been undertaken, and sense of the refined and dignified beauty
vicissitudes such as the absorption of of the monuments of Greek and Hel-
the architect of the expedition in the lenistic architecture; but are proof in
business of his profession, lack of funds themselves of the accuracy and fidelity
for publication, and a world war, have to truth with which they were executed.
delayed the completion of the work Nodetail, however minute, is lostin these
until now. The earlier parts of the restorations, and the large-scale draw-
publications have been of great scien- ings of various details will be of great
tific value and interest; now we are to value, not only to the architect, but to
have a folio containing carefully meas- all students of Greek architectural
ured map-plans of ancient Assos, re- ornament. The verbal descriptions
storations in perspective of parts of the which accompany the drawings are con-
city, scale-drawings of plans, elevations cise, clear and to the point. The in-
and details, and restorations of the scriptions have been drawn and edited
principal monuments, together with a with great care. The coin types have
wealth of large reproductions of photo- been published by Mr. H. W. Bell with
graphs of the ruins. ]Most of the plans his usual pains and accuracy. The
and drawings of elevations, details and publications throughout are of such a
restorations are the work of Mr. high quality of scholarship, technical
Francis H. Bacon, in his peculiar and presentation, and artistic execution,
most beautiful style as a draftsman, a that American archaeologists and
[171
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Western Transverse Wall, showing a high grade of stone-work, and a Gateway with a corbelled arch.
lovers of art may well be proud of fragments. Assos was a provincial

them. Greek city in the southern part of the
Thi s work so long in preparation is at
, , Troad, built on terraces around a steep
last completed and a short account of hill directly on the sea and facing the
the book may interest our readers. island of Lesbos. Along the narrow
The first part of the work was issued in paved streets that ran around the sides
1902, but owing to various delays the of the Acropolis were the dwellings and
final parts have only been completed public buildings placed in picturesque
this year. The expedition to Assos was relation to each other, the whole en-
sent out by the Archaeological Institute closed by massive fortification walls.
of America in 1881 and carried on High above all was the Temple of
excavations during 1881-1882 and 1883. Athena which formed here, like the
The present work is intended to be a Parthenon at Athens, a quiet sanctuary
book of plates giving exact drawings of far removed from the bustle of the city
all the buildings investigated including below. Its pavement is nearly eight
the Temple, Gymnasium, Agora with hundred feet above the sea level, and so
the adjoining Stoa, Bouleuterion and steep is the ascent that from the edge
Bazaar or Market building, the Forti- of thecliff one can look into the holds of
fication Walls and gateways and the the small vessels clustered in the port
interesting street of Tombs with its below. The temple, a very early Doric
many Sarcophagi and Monuments; building of the VI Century B.C. has
brief descriptions accompany the plates long been of interest to archaeologists on
with exact drawings and measures of all account of the sculptured epistyle
[20]
-
'
J-
Large Urnamented Sarcophagus, No. XV'l, raistd upon a high Podium. Paved Street in foreground.
blocks which had been noticed by early as well as for others. An interesting
travelers. In 1838 the French Govern- passage in Strabo illustrates this use
ment removed eleven of these blocks to of the Stoa in the life of the Greeks, and
Paris. Eleven more fragments were also the fact that all jokes are old. In
found by the American expedition. speaking of Cyme, a city fifty miles
The plan of the temple was definitely south of Assos, he says:
established and enough fragments found "And another storv^ is that they
to make drawings of the elevations borrowed the money to build their Stoa,
possible. The Agora was on a terrace and, not paying up on the appointed
below the temple. An arched gateway day, were shut out from the building.
formed the Western entrance, at the But, when it rained, the money-
North was the Stoa, a long, open, two- lenders, for very shame, sent out the
storied portico, over three hundred feet crier to bid them come under; and, as
long, with the Bouleuterion at the East. the crier made proclamation, 'Come
On the South was the Bazaar or Market under the Stoa,' the story got abroad
building with a row of small rooms for that the Cymaeans did not know
shops on the lower floor; the second enough to go in when it rained, unless
floor was probably for store-rooms; they were notified by the herald."
while the upper story formed an open The principal Avenue of Tombs was
portico entered from the Agora level. evidently laid out with great care. A
The Stoa formed a shelter from the rain level unpaved terrace about 13 m.
and sun and, being in the public square, wide and 250 m. long extended from the
was a place of general resort for the city wall to the paved road leading to
merchants and business men of the city the upper gates. This avenue was
[21]
^3
A Vaulted Tomb, partly restored, showing perfection of construction and high finish. On all sides
Sarcophagi and Stelae are crowded together.
^r
Li-irj^^^
'i Its --If; 4^/^ -•--A-ft^^-?-r^S^
.^.- T
.^/l -.I.---,-— :;— -^
j
.S':'-V " "^-
HENRY BACON DEL /
Tomb of Publius Varius, outside the western gate of the city, facing down the long Street of Tombs.
ART AND ARCHAEOLOGY
Most of the larger monuments had
seats or exedras in front and, owing to
the proximity to the main gate, the
place must have been one of general
resort, as there is a beautiful view of the
sea and of the island of Lesbos opposite.
It is especially pleasant at sunset, for
at this time the wind which generally
blows steadily all day ceases, the
laborers come in from the fields, the
goat bells tinkle and the shepherds are
heard calling to their flocks in the valley
below.
A graphic picture of the neglected
condition of a Greek Street of Tombs
as early as 75 B. C. is given by Cicero
in his Tusculan Disputations, Book V.
He went to Sicily as Quaestor and when
Mcirljlc IVduital from Tomb of Publius Varius. at Syracuse endeavored to find the
lined with monuments on each side, the

large Tomb of Publius Varius facing the
center. Between the monuments were
many buried sarcophagi. In several
places were found small jars containing
charred bones, the ground thus used
through successive ages became full of
graves and later comers had difficulty in
finding places not already occupied.
Ever}^ available space was filled and
later sarcophagi were placed in the
exedras and many tombs were re-
appropriated. It seemed to be against
their scruples to remove any buried jar
or sarcophagus, and in several instances
buried sarcophagi were found around
which walls had been built as a founda-
tion for a later tomb. Altogether in
different parts of the Necropolis were
found over a hundred buried sarcophagi
with the lids still on. These were
simple stone coffins, large enough to
contain a human body. Most of them
had been opened in later times and
other bodies placed inside. In some
were the remains of five or six skeletons,
one over another in as many layers.
Capital from the very early Doric Temple of
Athena at Assos.
[25]
a
f
^'âifmmfmmmmmm wniiwi
Dog Inscription from Mytilene.
tomb of Archimedes, which no one seen that an illustrious Grecian city,

remembered, and some even denied its formerly eminent in science, had for-
existence. Cicero's account of its dis- gotten the tomb of its one most
covery is as follows: learned citizen, and must learn its
"I searched out the tomb, shut in on existence from a man of little and
all sides and enveloped in briars and remote Arpinum."
brushwood for I held in my hand some
; One of the last illustrations in the
iambic verses which I had heard were book is that of a figure of a dog cut on a
carved on his monument, and which marble slab, above an inscription —
showed that it had at the top a sphere touching tribute of a Lesbian youth
and a cylinder. When I had personally named Anaxeos to the memory^ of his
inspected that great throng of grave- dog Parthenope. The stone was found
monuments just outside of the Agri- in Mytilene in 1880 and is now in the
gentine gate of Syracuse, at last I Museum at Constantinople. A free
noticed a small column, a little rising translation of the inscription is as
above the brushwood, on which were follows.
carved the figures of sphere and cylinder. "Parthenope his dog, with whom in life
It was his wont to play, Anaxeos here
Sending there a squad of men with axes Hath buried; for the pleasure that she gave
and pruning knives, I soon had the place Bestowing this return. Affection, then,
opened and cleared; then we went to Even in a dog, possesseth its reward.
Such as she hath who, ever in her life
the base of the shaft, and there was the Kind to her master, now receives this tomb.
See, then, thou make some friend, who in thy life
epitaph, though the ends of the verses Will love thee well, and care for thee when dead."
were almost half eaten off. Thus it was Princeton University. H. G. C. Jr.
[26]
THE BROADMOOR ART ACADEMY
By Theo Merrill Fisher.
THE Broadmoor Art Academy at standpoint of the country at large is

INColorado Springs the West boasts found too in this connection. The
an art institution which in the brief amazing response which immediately
span of a year has estabUshed itself as followed its initial announcement last
one of really national consequence. spring, is largely accounted for, it
This is possibly a daring verdict to appears, in the attractiveness which art
offer as the judgment of only a twelve- students in all sections found in the
month's activity but consideration of summer art school program. The com-
the record herewith presented will, we bination of instruction of unsurpassable
are confident, bear it out. quality in an environment of rare
The organization of the Academy in climatic and scenic charm was the
the fall of 19 19 was in reality the coming magnet wisely calculated to draw, and
true of Mr. and Mrs. Spencer Penrose's draw it did more powerfully than
long cherished dream of giving their fondest anticipations had deemed pos-
attractivê and spacious town house as sible. John F. Carlson, one of
the foundation for and the center of an America's most eminent painters and
art institution for the city where they long known as one of the country's
resided. At the same time they pro- foremost teachers, especially through
vided the nucleus of a five year main- his work at Woodstock, New York, was
tenance and development fund which presented as the instructor in land-
will insure financial needs. The name scape painting and for study of the
"Broadmoor," it might be noted, is that figure and portrait painting, Robert
of the dehghtful residential suburb Reid, member of the National Academy
where these donors now have their and Society of Ten American Painters,
home. who besides holding a very high place
In true western spirit the organizers as a portraitist and mural decorator
of the Academy decided against the also has been distinguished as a teacher.
usual policy of small beginnings and The summer school opened June
half hearted programs, concluding that 1920 for a three months' term. Be-
—
the fate of this altruistic venture be it fore its conclusion eighty were attend-
—
happy or dismal were determinable ing its adult classes with an additional
quickly and surely if boldness in at- fifteen to twenty youngsters enrolled
tempting the realization of their pur- for instruction under Alice Craig, a
poses was their guiding principle. pupil of William Chase, Robert Henri
Although the central idea is to make the and Robert Reid.
Academy in everj^ possible way a com- The Great West is just coming into
—
munity center for all the arts really its own as a field for the landscapist,
an "Akademeia" in the original Greek needing but acquaintance to become
sense, as we shall presently see — the established, as it is now doing, as one of
focal point of its interests is found in the charms peculiar to itself; a land of
field of the line arts and particularly in infinitely varied aspects, color and
what it offers as a school of art. The atmosphere.The hope of making the
significance of the institution from the Broadmoor Academy of vastly more
[27]
-• :-
4 " '^-'"
Photograph of H. L. Standley, Colorado Springs
Broadmoor Art Academy, from Monument Valley Park.
than local consequence, aside from the The Academy itself is most at-
place that first class instruction alone tractively situated, just off of one of the
would give found then in what we
it, is town's principal residential thorough-
may term strategic position. Colo-
its fares, its grounds whch cover half of a
rado vSprings as it happens, is in the city block and its frontage on the rim of
exact railroad center of the United Alonument Valley Park across whose
States, being by fast train service just meadows and tiny lakes it looks to the
forty-eight hours from both coasts and far-flung panorama of Pikes Peak and
the Canadian and Mexican borders. many lesser summits, give it seclusion
More important than convenience of and rare setting.
access though, is its pictorial resources, To the new uses the dwelling and
for situated as it is, where the Great other buildings were readily adapted.
Plains in their westward rise abruptly What was formerly the green houses
terminate in the tremendous upthrust having been metamorphosed into
of the Front Range Rockies, the art studios for the two principal instruc-
student, novice or adept, here has the tors, lecture and class rooms and a
choice of and ready access to these two small exhibition gallery. The second
fields of work widely different in char- and third floors of the residence and the
acter, and each in its way offering him loft of the garage are now living apart-
a superb challenge and inspiration. ments and studios for local and visiting
[29]
Photograph of Theo M. Fisher
Broadmoor Art Academy, Colorado Springs Galleries, Art Society Exhibitions of Gorham Bronzes and display.
artists.The salon, conservatory and studio for Mrs. Grace Milone's classes
dining room that were, have been in interpretative, classical and other
thrown together to make a large as- dancing.
sembly room, —
the setting for many Aliss Laura Gilpin, a graduate of the
delightful affairs, including the meet- Clarence White School of pictorial
ings of the several organizations which, photography of New York City, one
through its purpose to serve as a center of whose pictures we are privileged to
for so many as possible of the com- reproduce herewith, has her work rooms
munity's artistic groups, the Academy in the building.
affiliated with. Among
others The The summer session is of course at
American Music Society and the the outset the chief feature of the art
Musical Club, to name the two most school phase of the Academy's activi-
important of musical interests, and the ties, at least in point of popularity.
Drama League, now enjoy this hos- Teaching during the winter was, how-
pitality, the latter on occasion of its ever, continued by Mr. Reid and JNIiss
performances, with curtains and port- Craig and new courses in design, in-
manteau stage, converting the room terior decoration and various crafts
into a little theatre that comfortably were offered under ISIiss Helen Finch, a
seats two hundred. It is used also as a graduate of the Chicago Art Institute.
[30]
—
ART AND ARCHAEOLOGY

As the intention of the directors
it is Broadmoor Academy the Society felt
to have an art exhibition of some kind than in the interest of the objects it had
on display at all times, the past year has at heart and because of greater achieve-
seen in its gallery one interesting col- ment possible through the newer organi-
lection after another and all available zation, it were wise to give place to it.
for visitors' enjoyment without ad- In reality the two have been amalga-
mission charge. mated, the executive committee of the
These have included decorative de- former becoming the latter's exhibition
signs by Leon Bakst; monotypes by committee and its members the active
John Anson James two of old masters
; or artist members of the Academy.
one group a small but choice assemblage One of the most valuable and inter-
from local, private homes and another esting of collateral activities is the free
from the Ehrich Galleries of New musical study available for young
York —pastels and oil paintings
William P. Henderson; examples of
by people. Edwin A. Dietrich directs a
junior symphony orchestra which at-
Henry Golden Dearth's work; bronzes tracts forty or more every Saturday
by noted American sculptors, through morning during the school year and
the courtesy of the Gorham Galleries; Mrs. H. Howard Brown's instruction in
during the summer a showing of Mr. musical appreciation and choral singing
Carlson's landscapes including a num- draws at least an equal number.
ber of his first depictions of far western The Academy has recently been
themes which, although the artist given what promises to be an important
named them but experimental sketches impetus and enlargement of scope
were so appealing as to make one im- through the arrangement whereby it
patient of the time when he will offer has been made one of the centers for
more ambitious work from this vicinity. the artistic, vocational training of
More recently art lovers were favored former service men. This has neces-
with the chance of seeing Mr. Reid's sitated the organization of a distinct
studies of the mountains and plains department of industrial arts, compre-
near Colorado Springs, with a group of hending the courses formerly in Miss
his "moonlight motives" in the Garden Finch's charge, other craft instruction,
of the Gods, confirming the impression particularly in pottery together with
that in taking up permanent residence commercial illustration and photogra-
in Colorado as he has done, the far west phy. C. P. da Costa Andrade, formerly
has gained a great addition to its of Philadelphia, has been made director
artistic assets and art the enrichment of this new division with Lloyd Moylan
that has come from such attractive and Wilfred Stedman his immediate
canvasses, representing a new and assistants and Miss Gilpin in charge of
radically different phase of his interests. photographic instruction.
For many years the Colorado Springs An initial assignment of twenty men
Art Society served its community un- was made by the Government in April
selfislily and effectively, bringing to the and it is anticipated that before fall the
city art collections of the highest rank, number will have increased to fifty or
most of which are rarely shown this far more. Because of the unusually favor-
from eastern art centers, and too able climatic conditions, men desiring
always offering them without admission industrial art training will be sent here
fee. With the inauguration of the not only from the states of the Rocky
[31]
ART AND ARCHAEOLOGY
Mountain "division" but as well from be imperative for the work afield. Mr.
all sections of the country. Reid will of course continue his classes
The second year of the Academy's as in time past" '-^t
active history began June 15th with the For an insignia the Academy has
return of Mr. Carlson from the east for adapted an antique seal which was once
the opening of the summer school. He probably used by some ecclesiastical
will remain for a year and continue his organization in Old Mexico the device ;
classes through the school's winter showing an angel with torch and globe,
term. in this latter connection appropriately
The enrollment forthe summer signifying Art's supernal meaning to
school at this writing is so greatly the world.
ahead of that of the same time a year
ago it is anticipated an assistant will Colorado Springs, Colo.
The Czur'i iMuniiiLT I'alacL- lit Wurs.iw.
THE CZAR'S SUMMER PALACE IN WARSAW.
The great ivhite palace waits in vain

The host ivho ne'er will come again
To Varsovie; —
To Varsovie, To Varsovie,
The great ivhite Czar
Journeys afar
And sleeps no more in Varsovie.
Warsaw (Varsovie), Poland. JOHX FiXLEY.

May 14, 1921.
[32]
The Lowenburg: the small castle built by Jerome Bonaparte in the grounds of the Castle Wilhelmshohe,
at Cassel, Germany.
THE MARBLE BATH OF JEROME NAPOLEON

By Mary Mendenhall Perkins.
with a high command in the navy, later
THE youngest
Napoleon can
brother of the great
truly be said to
I, being made a brigadier-general in the
have had an exceptional career, army. But the highest honor remained
from almost the very beginning to the to be bestowed upon him by his royal
end of his life. benefactor, Napoleon I, when he was
Whenever his name is mentioned we handed the crown of the Kingdom of
naturally recall his famous — or shall I Westphalia in Germany.
say infamous? —American romance, the With the crown went the hand of the
result of which reflects but little credit daughter of Frederick, King of Wûer-
on either Jerome or his illustrious temburg. There is but little doubt
brother. that he left his heart in America, in the
After Napoleon I, who was greatly keeping of the beautiful Miss Patterson
displeased with his brother's marriage of Baltimore, as he is said to have led
to Miss Elizabeth Patterson, had passed a rather reckless, dissolute life ever
a decree annulling the marriage, Jerome after his return to France. It is cer-
returned to France in submission to his tain that he cared little for the happi-
brother's wishes. He was rewarded ness of his German wife.
[33]
ART AND ARCHAEOLOGY
While King of Westphalia he made
Cassel, the lovely old town on the
Fulda, in the province of Hesse, his
place of residence. He built a fine
opera-house on the Friedrichsplatz, a
small but very beautiful castle, perfect
in every detail, in the grounds of the
great castle of Wilhelmshohe, where
he spent much of his time. This later
became famous as the prison, for seven
months, of the ill-starred Napoleon IH,
after the debacle of Sedan.
But what clings closest to the name
and fame of Jerome Bonaparte in the
Cassel of today is his Marble Bath.
This was a wonderful creation, wholly
of white Carrara marble, with a flight of
steps leading down to the great sunken
pool. In Cassel they say that the dis-
sipated Jerome used to have this filled
with wine in which he bathed to re-
store his depleted energies. Report
says further that he afterward gave the
wine to his valet, who bottled and sold
it for his own profit. The walls were
Uiie of the bas-reliefs in Carrara marble on the wall of
covered with fine bas-reliefs of myth-
Jerome Bonaparte's Marble Bath at Cassel, Germany.
ological subjects suggested by the
Metamorphoses of Ovid, and wrought the nymph Daphne, the daughter of
out by the French sculptor Monnot, all the river-god Peneus, and with the
in Carrara marble. There were ten of other one he struck Apollo through the
these large allegorical groups done in heart. At once Apollo was seized with
bas-relief. The accompanying illustra- love for Daphne, but she abhorred the
tion of one of these will serve to give an idea of loving him. Her delight was in
idea of their artistic value. It repre- woodland sports and in the spoils of the
sents Daphne and Apollo. In the chase. Apollo saw the charming dis-
legend it appears that Apollo, seeing order of her hair; he saw her eyes as
Cupid playing with his bow and arrows, bright as stars; he saw her lovely lips;
taunted him, saying he should leave he longed for Daphne. He followed
warlike weapons for hands worthy of her, but she fled. She heeded not his
them and content himself with the entreaties, but ran as swiftly as the
torch of love. At this Cupid replied, wind. He called to her that it was
"Thine arrows may strike all things for love that he fallowed her, but still
else, Apollo, but mine shall strike thee." she would not listen. Even as she ran
So saying he took his stand on a rock of she charmed him. The wind caught
Parnassus and drew from his quiver two her hair and unbound it so that it fell
arrows, one to excite love and one to in streams behind her. At last her
repel it. With the latter he struck strength began to fail; ready to sink,
[34]
ART AND ARCHAEOLOGY
and with Apollo's breath upon her, she bowed its head in grateful acknowledg-
called out to her father: "Help me, ment.
Peneus! Open the earth to enclose The sculptor shows us Daphne at the
me, or change ?ny form, which has moment Apollo has overtaken her.
brought me into this danger!" Im- Peneus, the river-god, is seated on the
mediately a stiffness came upon her bank. The metamorphosis is taking
limbs, and gradually she took on the place slowly in the foreground, the
appearance of a laurel tree. Apollo nymph's lower limbs becoming encased
embraced the branches; they shrank in bark, her long lovely fingers trans-
from his lips. Kissing the wood, he forming into leaf-covered twigs, while
said: "Since thou canst not be my wife, in the distance stands the laurel tree
thou shalt be my tree. I will wear which represents her completed change
thee for my crown. I will decorate of form.
with thee my harp and my quiver. Jerome Bonaparte and his whole
When the Roman conquerors conduct dynasty have long since passed away,
the triumphal pomp to the Capitol thou but the lovely Marble Bath, with its
shalt be woven into wreaths for their charming allegories in snowy stone,
brows. And as eternal youth is mine, remains to tell us of the glories of his
thou shalt be always green, and thy fitful reign.
leaf know no decay." The laurel tree Los Angeles, California.
MORRIS JASTROIV, JR.
Morris Jastrozv, Jr., of the University of Pennsylvania,

one of the Board of Editors of ART AND ARCHAE-
OLOGY, died in Philadelphia, June 22, 1921. Of Profes-
sor Jastrow's academic career and important contributions
in the fields of scholarship and letters, other periodicals have
spoken at length. To his breadth of vision, his devotion

to the humanities, his wide sympathies, his helpful coopera-
tion as an editorial colleague, we wish to give brief testi-
mony. Probably no scholar of the present day in America

was -more familiar with the entire field of Oriental culture
than Morris Jastrow. These gifts, combined with great-
ness of soul and charm of personality, made him most help-
ful in his relations with ART AND ARCHAEOLOGY and

other activities of the Archaeological Institute, and won for
him the abiding affection of those zvho came in contact with
him.
[35]
An Exhibition of American Art Objects.
The Burlington Fine Arts Club of London has recently held an exhibition of objects of indig-
enous American art. The pieces on view were selected from the collections of forty-one private
individuals and from the museums at Oxford, Cambridge, Liverpool, and Warrington. An
elaborate catalogue, containing a useful summary of the archaeolog}' of Middle America and
western South America by Mr. T. A. Joyce, has already been published, and an illustrated edition
is contemplated in the near future.
Of special importance were the Maya and Peruvian exhibits. The former included objects
from the remarkable collection of Mr. C. L. Fenton, who for many years was British consul in
Guatemala, and also Mayan ceramics collected by Dr. Gann and now in the Li^ erpool Museum.
Tliis institution also loaned the Mexican Manuscript known as the Codex Fyervary-Mayer.
The Peruvian exhibit, which contained many fine specimens of Nasca ware, was based largely on
the collections of Mr. J. Guthrie Reid and Mr. L. C. G. Clarke.
The American visitor was impressed not only by the importance of the specinfens shown but
also by the fact that the greater part of these objects were in private hands. That the Burlington
Fine Arts Club should undertake such a show may be regarded as mute testimony to the growing
appreciation of the artistic value of American antiquities among lovers of the beautiful.
Incorporation of "American Schools of Oriental Research."

The American School of Otiental Research in Jerusalem, which was founded in 1900, has
followed the example of thfe sister Schools affiliated with the .•^.rchaeological Institute by securing
legal incorporation. This was effected on June 14 under the laws of the District of Columbia
under the name of the "A.merican Schools of Oriental Research." This broad title was adopted
so that the institution may plant schools in other regions of the Near Orient than Palestine, and
with special thought of the proposed school in Bagdad, plans for which are in active progress.
The new corporation will definitely continue its long established work and also its former rela-
tions of closest affiliation with the Institute. The first meeting of the new Board of Trustees
was held in New York, June 17, and organization was effected. The Trustees, numbering
fifteen, are as follows:
James A. Montgomery, University of Pennsylvania, and Philadelphia Divinity School, Presi-
dent; James C. Egbert, Columbia University, e.x-officio member as President of the Institute,
Vice-President; George A. Barton, Br>'n Mawr College, and Philadelphia Di\-inity School,
Secretary and Treasurer; Wilfred H. Schoff, Commercial Museum, Philadelphia, representative
of the American Oriental Society, Associate Treasurer; Cynis Adler, President of Dropsie College;
Benjamin W. Bacon, Yale University; Howard Crosby Butler, Princeton University; Albert T.
Clay, Yale University; A. V. Wilhams Jackson, Columbia University; Morris Jastrow, Jr.,*
University of Pennsylvania; Warren J. Moulton, Bangor Theological Seminary, representing the
Society of Biblical Literature and Exegesis; Edward T. Newell, of the American Numismatic
Society, New York; Dr. James B.Nies,of New York, President of the .Ajrierican Oriental Society;
James H. Ropes, Har\'ard University; Charles C. Torrey, Yale University. Dr. W. F. Albright
who has been ser\-ing as i^.cting Director of the School was appointed Director for the coming
year. With him will be associated next year Prof. Wm. J. Hinke, Auburn Theological
Seminary, as Annual Professor, and W. E. Staples, of Toronto University, as Thayer Fellow.
Addition to the Whistler Collection in the Library of Congress.
Mr. and Mrs. Joseph Pennell, ha\'« recently obtained all of thfe Whistler papers in the suit
of Whistler vs. Ruskin, and deposited them in their Whistler Collection in the Library of Con-
gress. Extracts and facsimilies will be published in The Wliisilcr Journal, which the J. B. Lippin-
cott Company will issue in the autumn. The Whistler Journal will also contain photographs
of the proposed memorial by Rodin to Whistler.
•Died June 22, 1921.
[37]
ART AND ARCHAEOLOGY
National Gallery of Art Commission Formed.
The board of regents of the Smithsonian Institution at a special meeting held May 27 created
the National Gallery of Art Commission, whose primary functions "shall be to promote the
administration, development, and utilization of the National Gallery of Art at Washington,
including the acquisition of material of high quality representing the fine arts, and the study of
the beet methods of exhibiting material to the public and its utilization for instruction."
The National Galler>- of Art, administered by the Smithsonian Institution, is the legal reposi-
tory' of all art works belonging to the United States not legally assigned to other departments of
the Government. The collections already acquired by the Gallery have a value of about seven
million dollars and with reasonable encouragement the development of Washington as a great
art center is assured. The work of the Commission should meet with earnest support on every
hand.
The Commission as constituted by the Smithsonian Regents consists of five public men inter-
ested in fine arts, five experts, five artists, ajnd the Secretary of the Smithsonian Institution, who
will be ex-officio a member of the Commission. The five public men interested in the arts named
are W. K. Bixby of St. Louis, Joseph H. Gest of Cincinnati, Charles Moore of Detroit, James
Parmelee of Cleveland, and Herbert L- Pratt of New York; the five experts are John E. Lodge of
Boston, Frank Jewett Mather, Jr., of Princeton, Charles A. Piatt of New York, Edward Willis
Redfield of Center Bridge, Pa., and Denman W. Ross of Cambridge; the artists named for the
Commission are Herbert Adams of New York, Edwin H. Blashfield of New York, Daniel Chester
French of New York, William H. Holmes of Washington, Director of the National Gallery', and
Gari Melchers of Falmouth, Va.; and the Secretary of the Smithsonian Institution, Charles D.
Walcott.
At the meeting of the Commission on June 8, special committees were appointed to take up
various phases of art, as follows American painting, modern European painting, ancient European
:
art. Oriental art, sculpture, architecture, ceramics, textiles, prints, mural painting, and the
portrait gallery. The chairmen of these committees will be ex-officio members of the Advisory
Committee.
The Commission will at once proceed with its work of developing and increasing the usefulness
of the National Gallery of Art, and one of the very important matters which will receive attention
is the provision of a suitable building to house the valuable art works already in the custody of
the Nation, and to provide for the future expansion of the collections. The Gallery is a present
inadequately installed on the first floor of the Natural History Building of the National Museum.
The National Gallery of Art is an institution in which every American citizen should take
interest and pride. Its proper development and utilization will insure America's standing among
nations in the field of art.
Discovery of a New Prehistoric Site in Greece at Zygouries.

Last autumn the members of the America^. School in Athens, on one of their trips, were lunch-
ing on a hill which interested Mr. Blegen as a prehistoric site, when two of the members discovered
that they were sitting on a small prehistoric marble idol such as have been found in the islands
but never before on the mainland. An examination of the site disclosed Helladic potsherds
and remains of early walls. So it was decided to excavate, especially as there was a village near,
and the excavators could live in a villa put at their disposal by the monks who owned it. Work
began in April and continued to the end ot May under the direction of Mr. Blegen assisted by Mr.
Wace, director of the British School in Athens, Dr. Harland, Mr. Holland and Mr. Young, the
son of Professor Young of Columbia University. This natural mound is called Zygouries from
a bush named Zygouria which grows on it in places. It is about 125 metres by 50 metres, and
is on an average eight to ten metres above the surrounding plain, a short distance from the
modern village of Hagios Basilios (St. Basil) about 10 miles north of Mycenae, near the ancient
site of Cleonae, a mound to which Baedeker probably refers, but which curiously has been
neglected hitherto by archaeological explorers. The excavations have brought to light an early
Helladic settlement, "(about 2500 B. C. or earher) clearly labelled by the pottery, where in some
cases the early Helladic house walls appeared less than half a meter below the surface and had
never been built upon in later times. There was also a Middle Helladic settlement and a late
[38]
ART AND ARCHAEOLOGY
Helladic town, which as at Tiryns and Mycenae, was below the mound to the east. Here are
many Mycenaean house-walls which had been revealed by a stream which had cut through the
soil that "had been washed down from Mt. Fretos. From the period of Late Helladic HI (about
I loo B. C.) the site was uninhabited till Mediaeval times, from which time dates also a so-called
Venetian castle with Mediaeval towers and walls on a crag above St. Basil. The most interesting
discover)- was a two-roomed pottery shop on the east slope of the mound, loaded with Late
Helladic HI cylices, jugs, saucers, cooking-pots shaped like craters, and pithoi which have never
been used. Some ii entire cooking-pots, 12 jars, 30 cups, and 20 painted cylices were found and
fragments of more than 250 cooking vessels. There are good examples of Early, Middle and
Late Helladic wares and many new shapes, and our knowledge of Early Helladic vases has been
greatly increased. Many houses of this early period were unearthed and several Middle Helladic
graves, two of which were infant burials. Another, enclosed in an irregular ring of stones was
almost complete with the corpse in the bent up contracted position. In the grave were found
beads, bronze circles and spirals of wire about the head of the corpse, two Middle- Helladic
matt-painted vases, a whorl, and a bone pin. Some Mediaeval graves with their skeletons were
also opened. This site of Zygouries ought to be uncovered entirely so that it would serve as
as example of an early Helladic site, as Tirvns does for a late Helladic or Mycenaean site.
D. M. R.
Investigations at Assos.
The first American excavations on Greek soil were made by a little expedition sent out in 1881.
They were conducted by Joseph T. Clarke, Francis Bacon, and Robert Koldewey, but a great
number of men who have since made their mark in American scholarship had connection of
longer or briefer duration with the site. The excavations were conducted with a care and skill
that makes them even after the lapse of many years the admiration of archaeologists.
The work and the publication will always be associated with the memory of Charles Eliot
Norton. The founding of the Archaeological Institute of America and of the American School at
Athens, as well as our first excavation on Greek soil were all made possible by him his foresight,
;
his zeal, the great influence he possessed through his large body of friends, were forces of invaluable
strength. He was ably seconded by John Williams White. The two of them would take an
honest pride in the appearance of the long delaj'ed book on Assos. They both knew of the many
obstacles to its publication, and they would be the first to congratulate Francis Bacon on the
splendid and patient work he has done. To carry on the occupations of a busy life, and in hours
which most men would devote to pleasure and relaxation to decipher notes taken by others many
years ago, to edit a great book which he never dreamed would be his task, to find the time to
make repeated visits to Assos in order to solve puzzling questions, confirm new theories, and to
—
verify or correct old ones these Bacon has done. And he has created a book of beauty such as
those who have seen it and have a right to an opinion pronounce a work of art. His modesty
everyA\'here conceals his own part, but archaeologists, architects, scholars, and lovers of beauty
are under deep debt to him. He has been prodigal of his own time, money, and ability.
There are many others to whom the great publication owes a debt of gratitude, for advice, for
encouragement, and for work contributed, as well as for financial aid. I want to thank those
many friends of scholarship who have already subscribed for the book and paid their score in
whole or in part these many years, and waited patiently all the time. They have a slight reward
in the fact that while their cost was but twenty-five dollars, it is necessary to charge forty dollars
to the subscribers for the few remaining copies. They will doubtless receive still further reward
from the value which bibliophiles will shortly be putting on this imique example of archaeological
research.
I must add the gratitude which his friends Norton and White felt towards James Loeb for his
financial support of the undertaking, in which he has been equalled by Francis Bacon.
For the two remaining members of the committee I take a smiling farewell of a task that has
covered many vears, brought a great deal of work, some reproaches, a large amount of bantering,
a lot of solid'pleasure and many friends. William Fenwick H.\rris.
Cambridge, Massachusetts, July IQ21.
[39]
ART AND ARCHAEOLOGY
The Aztec Studio, San Francisco.
On one of the busiest streets in San Francisco, lined with stately buildings and filled with the
rush and noise of commercial life, stands the Aztec Studio. The name alone recalls visions of
races and cities whose origin is lost in the night of time and to the searcher after the artistic,
the curious or exotic, this studio will prove a mine of interest.
Entering and ascending the stairs we find that we are indeed in a new realm of ideals and
projects far removed from the busy world outside. The walls of the hall are covered with
strange and mysterious decorations which hold the gazer's attention with the strength and beauty
of the design. These are copies of the famous tablets of Palenque, that mysterious city which
was old before the discovery of America. They are one of the finest achievements of primitive
American Art, in which the strength and beauty of their work is well illustrated. These won-
derful colored drawings of priestly figures surrounded by strange symbolic designs strike the
beholder with a feeling of awe. This hall decorated in every detail with motives derived from
Mayan Art impresses one with the wonderful advancement made by that race.
Entering the main hall we find it a veritable museum in itself. Replicas from the most famous
monuments found in ancient America, original carvings, and superb pieces of antique and modern
Mexican pottery, textiles and interesting curios adorn the shelves or repose in the cases. The
walls are covered with strong and brilliant designs which are different from any seen before.
They are not Egyptian nor Chinese, nor do they bear any resemblance to any other ancient
nation. They are purely American in origin, a legacy we inherit from that pre-Columbian Art
and culture which once flourished in the new world.
This truly wonderful studio with its splendid collection is the work of Francigco Cornejo, the
Mexican artist, who has devoted fifteen years of study and toil to illustrate and further his ideals
in reviving these arts of the ancient civilization of this continent. Gifted with a fine artistic
sense, and having access to the splendid public and private collections in the City of Mexico,
he was powerfully influenced by the treasures of art and architectural relics to be found in that
land of romance and mystery, and early in his career he came to the conclusion that the works
of these ancient people would be an inspiration for the development of a pure American Art.
Though these arts were known to the scientific world, yet no artist had made use of them to an
extent before. If American artists would be influenced by any form of Art, why not make use
of the wealth of decoration inherited from our primitive sources?
To carry out his ideals and to illustrate them more graphically, Mr. Cornejo planned that the
large room in the studio should be the apex of the whole decorative scheme. This room he
calls the Temple of the Sun, and his motive was to impress one with all the strength and force
combined with line and color to be found in Aztec and Mayan art. This is felt immediately
upon entering the room. The subdued lighting effects, the richly harmonious color schemes and
subtle combinations, interposed with symbolic designs, all have a solemn influence. The main
motive is the famous Aztec calendar stone, reproduced for the first time in its original colors.
This combined with the unique furniture, hangings and rugs, all show the artist's fine use of
color design and proportion.
Let us hope that the artists and decorators of today wnll take a deeper interest in the encour-
agement and development of this movement, as it is likely to form the impetus for a genuine
renaissance in American Arts and Crafts. D. Cartuel.
American Classical League.
The Second Annual Meeting of the i\.merican Classical League was held at the University
Museum, Philadelphia, July 6 and 7. Dean West's Annual Report as President on the organi-
zation of classical investigation authorized by the General Education Board, and Vice-President
Coolidge's address on the value of classical studies, were events of national significance.
Professor Gonzalez Lodge's paper on "A six-year secondary school course in its bearing on
Latin and Greek" emphasized the importance of an archaeological background as a factor in
classical teaching.
[40]
ART AND ARCHAEOLOGY
V- f
-'^'.^1
^ '^
li
The Votive
'îfi^^*^H^M
1
Hand of Avenches.
Avenches lies on the old road leading from
Berne to Lausanne. It was a very flourishing
Roman colony in the first and second centuries
and there is still a Roman theatre to be seen in
the village today.
Avenches was raided and the theatre closed
definitely in the second and third centuries,
by the hordes of the Alemans sweeping down
into Switzerland and laying cities and countr\--
side to waste. One single column still stands
in Avenches, all that remains of the Temple of
Apollo, and of this column Bvron writes in
Childe Harold:
1 ^^Mf 1
"By
A grey
a lone wall a lonelier column rose,
and grief -worn aspect of old days."
But although the Roman colony disap-

peared; although the country round about lay
^^~,îJ>^B|^^â| ruined and uninhabited for two centuries or
/l nB^lB more; although a new culture finally grew up

on the ruins of the old, certain objects belong-
ing to the Romans and speaking of intimate
details in the lives of those far-off settlers, lay
deep in the ground, patiently awaiting the
^^ll^fflBH
^^|y ^^^^^HB^^Î
imoment when the pick of a workman and the
%i
trained eye and pen of the scientist should
-r,^H reveal them to an interested world. The mu-
.Mr
^3E
'"'"^ seum at Avenches is full of such treasure-trove
The Votive Hand of Aw

1in various stages of preservation. But the
pearl of the collection is a little bronze Roman
votive hand, dug up in the year 1854 and per-
fect in every detail.
If other archaeological finds in Avenches point to certain details in the housing of the Roman
colony there, in the shape of their household utensils, in the manner of setting hobnails in the
Legionaries' sandals, this little hand goes much deeper and reveals the maternal love of some
young Roman mother for her baby and the steps she took to propitiate the Phrygian and Roman
gods to whom she prayed to look after her child. It has been my good fortune to get hold of a
description of the hand written shortly after it had been found. The explanation of the man
of science of the various symbols with which the hand is covered seem so interesting, coming from
aji eye witness of its resurrection, that I hesitate to consult a later authority, and will stick to
his conclusions.
The hand is of bronze and stands aljout four inches high. It is the right hand, and the hand
of a woman, presumably that of the baby's mother. In size it is smaller than life, but it is a
lovely hand, well-groomed, and with dainty tapering fingers. Two of these fingers, the little
one and the ring finger, are bent down into the cushioned palm. The thumb, first and
middle fingers are standing. This is the gesture of the oath or blessing.
The little hand is ornamented with tiny busts of gods and their attributes. Every one of
these gods has been called upon by the young mother to protect her child, and she herself is
portrayed on the back of the wrist, nursing the little fellow in question. Around the wrist is
coiled a snake, his head reaching to the palm. The serpent means health, as everybody knows.
On the tip of the thumb there stands a pine-comb. On the knuckles of the two bent fingers there
is a youthful head of Mercury. Just behind, and also on the back of the same two fingers, a
ram's head. Asmall bust of Bacchus with his arm flung over his head is placed on the outside
of the two standing fingers, and just inside is a bearded bust of Sabazius, wearing a Phrygian
[41]
:
ART AND ARCHAEOLOGY

cap. The object directly under this last-named god looks like a cake and is often seen on decor-
ated vases. Almost nose to nose with the ram, a frog is seen creeping up the outer rim of the
hand, and behind him a tortoise. Next to the tortoise, on the back, is a vase with two handles,
and below this vase, to the left, is a lizard. On the outside of the thumb near the wrist is the
bust of Cybele, easily recognized by her crenelated crown, and above this Asiatic goddess hangs
her tambourine. Below the serpent's head one sees a bell and next to the climbing tortoise an
oak branch waves its leaves and acorns.
At the time the hand was made, somewhere in the first century, the religion of the Romans
was sadly confused. Some were sticking to the old gods, some were for taking up the new, others
had given up all religion entirely or were timidly turning towards Christianity. The young
Roman matron whose hand is upheld in blessing of her child was unwilling to take any chances.
The Christian religion was too new and untried, but there were two kinds of gods to choose from.
She therefore picked out a couple of Roman and a couple of Phrygian gods, and assembled them
on the votive hand she was having constructed.
Cybele and Sabazius were the mysterious gods of nature worshiped by the Phrygians. Cybele
was the creator of the earth and all earth's treasure, while Sabazius was the god of the sun and
his life-giving rays. The Phrygians believed that these gods slept in winter and awakened in
summer. It was in the late spring, therefore, that the great festivals took place, like, yet far
more gorgeous than the Bacchus and Mercury festivals of the Romans. Bacchus was worshiped
as a god who poured down the wine of pleasure on mankind, while Rlercurj' meant good crops,
healthy herds and freedom from care.
These four gods, united in one little hand to bring all good things to the child, were accom-
panied by the attributes of their godhead. The tambourine, the bell and the pine-cone belonged
to Cybele, and probably too the oak branch. The pine tree was the special tree of this goddess
and on its branches her devotees hung gifts and offerings. Sabazius is recognized by his beard,
his Phrygian cap and his serious expression. His attribute is the sacrificial cake above referred
to. Bacchus, crowned with grapes and dra,ped in his supple chlamys is characteristically
accompanied by a huge two-handled beaker. Mercury is accompanied by the ram's head to
indicate the fact of his being the patron of the herds. The other figures, the lizard, the frog
and the tortoise, are all identical with the creatures with which the Romans decked arms,
neck, breast and fingers to keep off the evil eye.
Thus we can attempt today to reconstruct the prayer of that mother almost twenty centuries
ago, and I think it would go somewhat like this
"I lift my hand in blessing on my little son, and I call on you, Mercury, Bacchus, Cybele
and Sabazius, to take him under your special care.
O Mercury, give him worldly goods!
O Bacchus, give him pleasures!
O Cybele, let the earth yield him her treasures!
O Sabazius, let the sun pour on him his life-giving rays!
O Serpent, grant him health!
O Frog, O Tortoise, O Lizard, keep him from the power of the evil eye!
Amen."
As we look at this touching ex voto in the museum at Avenches we cannot help hoping that
the owner of the taper fingers and the plump little palm was safely landed on the other side of
the Styx before the savage hordes rushed down from the north, destroying her lovely home in
"Aventicum," the capital of Helvetia, and perhaps her baby too, and buryang in the ashes of
her ravaged city for a sleep of twenty centuries the beautiful little bronze votive hand.
Ethel Hugh-Camp.
Louis Comfort Tiffany Foundation.
The Third Annual Meeting of the Louis Comfort Tiffany Foundation was held at the home of
Mr. Louis C. Tiffany, Laurelton Hall, Oyster Bay, L. L, on Sunday, June 19th, 1921. The
members present were Louis Comfort Tiffany, Founder; Daniel Chester French, Vice-President;
Francis C. Jones, George F. Kunz, and A. Douglas Nash, Trustees; Gurdon S. Parker, Mrs.
W. A. W. Stewart, Robert Vonnoh and Harry W. Watrous of the Advisory Art Committee;
Stanley Lothrop, Director of the Foundation; and Gegrge F. Heydt, Secretary.
[42]
ART AND ARCHAEOLOGY
Besides the routine matters discussed, Mr. Edwin H. Blashfield was elected a Trustee of the
Foundation, and Daniel Garber, Philip Hale and Frederic C. Clayter were elected members of
the Advisory Art Committee. It was resolved to supplement the seal of the Foundation with
the words Art Guild to better explain the nature of the Institution. The Foundation aims to
bring together artists and craftsmen, and it is proposed that in the same way the alumni should
grow into an association or guild to help each other in art endeavor and to bind the various arts
more closely.
The Director reported that with the concurrence and advice of the Founder a gallery had
been acquired for the purpose of the exhibition and sale of the work done by the present and
former resident artists, in the building secured by the Art Centre Inc., at 65-67 East 56th^Street,
New York City.
It was also resolved to include as resident artists in the Foundation, a small number of women
on the same terms and conditions as the men. For this purpose a separate dormitory has already
been prepared in the wang of the main building of Laurelton Hall. It was further voted to limit
the residence of artists in the Foundation to a period of two months with the understanding that
in case their work meets the approval of the Advisory Art Committee they will be granted extra
time.
Summer Galleries ajid Siunmer Exhibitions.

Summer Galleries and Summer exhibitions have become quite important in the Art world.
Good juries, good prices and a large leisure audience makes them worth while and artists can
transfer pictures from their studios to these galleries with very flattering chances of sales.
The little Gallery on the Moors at East Gloucester, Massachusetts, with the big, altruistic
purpose, has a rare program of activities for this summer. The whole general plan of the Gallery
—
work is primarily Art Art Exhibitions, talks, theatre, literature and music.
The Art Exhibitions are not held for Gloucester exclusively, but for the whole North Shore
region; not for the benefit of the artist alone although great pleasure is felt over the sales that
are made, but the purchaser is considered fortunate too. It is believed that the individual
effort, however small, manifsted in Art Galleries and Exhibitions, love of pictures, small theatres
—
with high ideals, people's pageants, fused into a living current by community spirit in these
lie the great, perhaps onlv hope, of inculcating a love of Art in the younger generation.
Another aim of the Gallery is that it shall be entirely free from favoritism or even friendly
preference. Each picture is admitted solely on its merit and not because of the artist's name or
reputation. Last year the exhibitors chose their own jury and a very successful exhibition was
hung. This year a new plan is to be adopted, a Committee will be appointed consisting of five
people, two from out of town to judge the paintings, and two to judge the sculpture. The
Exhibition is held from August 3rd to August 21st. Opening day for artists and press, in which
they are invited to meet the Jury, is August 2nd.
Ever\-one who has been fortunate enough to be in Gloucester during these Exhibits, knows
that they represent work as fine as any shown in the larger and more pretentious exhibitions and
many of the pictures are to be seen later in the New York Museum shows.
The Gallery on the Moors is also the scene of the Plays given by the "Community Dramatic
School," being equipped with stage, scenery, dressing rooms, excellent lighting, and all the neces-
sarv'theatre requirements.
This School and the "Boston School of Public Speaking" at Gloucester, offer rare advantages
this year. The course of instruction includes Acting, Play Directing, Interpretation, Public
Speaking, Voice, Physical Training, Dancing and Delcroze Eurythmics.
Miss Florence Cunningham, the theatre Director, spent last winter in Paris studying at Copeau's
theatre. She found there very earnest, sincere work that is beginning to show results which are
recognized by all Paris.
Others on the Staff are Mrs. Florence Evans, Principal of the Boston School of Public Speaking,
also instructor for Boston Business Corporations; Miss Ester V. vShultz, Leon Sturtevant and
others.
The first group of plays will be given from July 20th to the 26th. The second group from
August 25th to the 31st. The School opens the first of July and continues until August 29th.
[43]
ART AND ARCHAEOLOGY
Some special performance for the children is planned, which has an educational basis, as a protest
against the poorer class of "Mo\nes."
Lyme, Connecticut, another artist colon}', has now a fine Gallen,^ which has been built through
the generous subscriptions from artists and public spirited citizens cos-ting $20,000. Charles
H. Piatt is the architect which insures the perfection of arrangement for the purpose. The sale
of pictures last year amounted to $8,000 and the location of the Gallery on the Boston Post Road
must attract the many automobihsts who daily pass on their way to Xew London, Newport and
the resorts in the neighborhood.
The Newport Gallery also has summer exhibitions held this year during July. Prizes are
offered for the best picture and there is a "People's prize," for the picture receiving the popular
vote.
This new summer interest may be a wholesome diversion, an up-lift from the summer hotel
piazza rocking chair, resulting in an art fashion that may develop into an art enthusiasm that
will work to the great advantage of artists. H. W.
Summer Program of the School of American Research, Santa Fe, N. M.

Archaeological Survey of Jcmez Mesas.
I.
An archaeological sur\-ey of the little known, forested mesas lying between the Jemez mountains
and the Navaho Desert will occupy the time of a party of six men during July and August. The
School has previously conducted excavations at two sites in this region, in collaboration with the
Royal Ontario Museum of Toronto and the Bureau of American Ethnologv'. The ruins of this
area are prehistoric sites of the Jemez people, now reduced to one pueblo, but formerly occupying
numerous towns and villages. Sites in the \-alley are particularly valuable on account of yielding
evidences of the consequences of first contact with the European race. The staff for the survey
will include Lansing Bloom and Wesley Bradfield of the School; Roger Goodland, Peabody
Museum; Major C. Troutman, Military Institute of Roswell; Randolph Carroll, University of
J.
Virginia; Anderson Hill, Pomona College, California.
2. Studies in Chaco Canyon.

It is expected that a fall will be put on in Chaco Canyon from September ist to
campaign
December, working conditions are agreeable. The January-February number of Art and
if
Archaeology caused the previous work of the School on this great group of ruins to become
widely known. Publication by the American Museum of Natural History of the long delayed
reports of the Hyde Exploring Expedition's excavation of Pueblo Bonito is now going through the
press, and several recent magazine articles by earlier investigators here have brought these ruins
to the fore. The work that the School has set itself to do has already been made known in detail.
The School has its headquarters in the seven room stone residence built years ago by the late
Richard Wetherill. Its equipment here for scientific field work, including drafting, photo-
graphing, cataloguing, color work, librar\' and conference rooms, with commissary and living
quarters, will soon be the most complete that any archaeological expedition has been able to
establish. It will be to some extent a realization of an early dream of the late Dr. F. \V. Putnam
of Har^-ard University, who often expressed a hope to see a well equipped training school in
ethnolog}' and archaeology established in Chaco Canyon.
J. Worli on tlie Early Franciscan Missions.

The School and Museum Fe are coming into possession of the principal ancient mis-
at Santa
sion sites of New Mexico, for preservation and custodianship. These great structures are approxi-
mately a hundred and fifty years older than the oldest Californian Missions, and their massive,
archaic style of architecture make them priceless landmarks of the early civilization of the South-
west. Pecos (1617) is in process of excavation under the direction of Dr. Kidder of Andover. It
is the property of the School of American Research. Jemez (161 7 has recently been deeded
now )
to the School and wih be fenced and cleared during the present summer. A custodian has been
employed and put in charge. Gran Quivira (1629) around which clusters so much early romance
of the days of the Spanish conquest, belongs in the main to the School, but in part to the U. S.
Government. Steps are being taken to fence this site and place it under proper custodianship
during the present year. These three great monuments, contemporaneous in settlement by
Europeans with Plvmouth Rock, are to be developed into small archaeological parks.
[44]
BOOK CRITIQUES
The Empire of the Amorites, by Albert T. Clay. non-Semitic Sumerians entered Babylonia as
New Haven: Yale University Press, igig. 192 eariy as 7000 B. C. and attained a high civiliza-
pages. tion. As early as 3500 B. C. waves of Semitic
Archaeology is bringing to light long lost nomads from Arabia gradually entered Baby-
nations. How true this has been of the
Egypt- lonia, conquered the vSumerians and appro-
ian,Babylonian, Assyrian, and Hittite empires. priated their high ci\'ilization. From Baby-
Our foremost American assyriologist, Prof. A. lonia this civilization then spread west to
T. Clay, of Yale University, has now put upon Mesopotamia, Syria and Palestine. Dr. Clay's
the map, Amurru, the empire of the Amorites. researches show that a high civilization, from
Formerly our knowledge of this people was the northwest, that of the Amorites, entered
limited to scattered references in the Old Babylonia at a very early period and pervaded
Testament. By the scholarly researches of Dr. this land. The difficult problem of Sumerian
Clay we now know the territon,', culture and civilization is not discussed.
religion of the Amorites as far back as the Dr. Clay's book is a most valuable contribu-
third, fourth and fifth millenniums. tion to the early history-, religion and geog-
The empire of the Amorites, at its greatest raphy of Syria, Palestine, Babj'lonia and
extent, included Syria, Palestine and Meso- Assyria. The Biblical student will find much
— —
potamia. The capital was Amurru Ur prob- matter of great interest. Thus the name
ably Mari on the Euphrates some 400 miles Jerusalem is shown to be from Uru-salim, i.e.,
northwest of Ur in south Babylonia and about "the god Uru is appeased." Bethlehem is
220 southeast of Harran. This site. Dr. Clay derived from Beth-Lahamu, i.e., "the shrine
regards as Abraham's Ur of the Chaldees. of the god Lahamu." Bethany comes from
The Amorites were a vSemitic people and seem Beth-Anu, i.e., "the shrine of the god Anu."
to have inhabited Amurru as far back as pre- Uru, Lahamu and Anu were Amorite gods.
historic times. They reached their highest Abram is a shortened form of Abraham, and
civilization about the fourth millennium B.C. both forms are found on tablets.
From Amurru they radiated in many direc- The whole volume is a masterly contribution
tions. Long before 3000 B.C. the Amorites to American oriental learning. The paper,
entered Babylonia, settled there and gradually printing and binding are of that high standard
absorbed the non-Semitic Sumerians. An which we always expect from the Yale Uni-
Amorite civilization per\-aded Babylonia. Even versity Press. George S. Duxc.'^n.
the traditions of creation, flood, sabbath, and
Delphi by Frederick Paulsen. Translated by
ante-diluvian kings came from the Amorite
G. C. Richards, with a Preface by Percy Gardner.
land into Babylonia.
London, Glydendal, igzo. Pp. x/-|-jjr?. 21
Prof. Clay's argument rests upon an exhaus-
sh. net. Illustrated.
tive study of the names of deities, persons,
countries, cities and temples. In these names The famous firm of Gyldendal, established in
he finds Amorite elements and so he rightly Copenhagen as long ago as 1770, has recently
infers that where such names abound it betrays established a London branch and is making an
the influence of an Amorite civilization. Thus excellent start as well as rendering an im-
in regard to most of the gods of the Semitic portant service to archaeology^ and the classics
Babylonians, Dr. Clay shows that they had by issuing an English translation of Dr.
their origin in the empire of the Amorites. The Poulsen's book on Delphi, which appeared in
supreme god of the Amorites was Amurru- its Danish form in 1909. The book is beauti-
Amar-Ur, which by certain modifications be- fully printed on fine paper in large type with
came in Babylon the supreme god Marduk. 164 excellent illustrations, at the very reason-
The first Babylon dynasty was Amorite as well able price of a guinea. Delphi was one of the
as the dynasties of Opis, Kish, Nisan, Larsa most important places in Greece and in many
and perhaps Erech. The famous Hammurabi ways the history of the oracle and the shrine of
code goes back to Amorite sources. Apollo is the history of Greece. Plato
Prof. Clay's volume is of great value in believed in the oracle's great influence on
showing that the prevalent opinion of Assyri- religion and morality. Aristotle and Plutarch
ologists regarding early Babylonian civilization were in the service of the oracle. Even in
must be modified. The common view is that Roman times Cicero consulted the oracle and
[45]
Hadrian placed his favorite Antinous among
the statues of gods in the precinct where one of
Do YOU TIRE
cial
of the superfi=
things you read about
the most stately statues of Antinous has
actually been found. Delphi was a colossal
the theatre? Do j'ou want intelligence bureau, a permanent court of
something better, something more arbitration of a league of nations, the guiding
spirit in Greek politics, active in numerous in-
centives to colonization, fostering art, giving
instructs? Then read strong impulses to great men to echo her words,
THE DRAMAA monthly review of the

planting in the human mind the universal
yearning for the lofty and supernatural and
showing to all mankind the way to honorable
allied arts of the threatre, effort in the arena of life. It was a foregone
beautifully illustrated. conclusion that the excavation of Delphi in view
Here is a magazine that is not packed with of the enormous catalogue of treasures men-
press-agent puffs or back-stair gossip about tioned by Pausanias, even after Nero's plunder
vamps and scandals. of 500 bronze statues, would yield many im-
The Drama is edited for people who like to portant results, and so the Germans (one of
think, for folks whose brains haven't yet lost whom Ottfried MuJler in 1840 suffered a fatal
their nimbleness. For eleven years it has sunstroke copying the manumission inscrip-
pioneered, bringing to its audience the best
tion, vengeance of Apollo perhaps for his denial
from all lands.
that he was a sun-god), Americans, and French
all vied with one another to get the firman to
foremost actors, play-wrights, and scenic
revolutionists; yet it never hesitates to give undertake the work. The French finally got
space to the brilliant articles of unknown the grant, though delayed by the Greek demand
authors. for a lowering of the duty on Greek cmrants,
Each issue contains one or two plays In and excavations began in 1892, after removal of
reading form. They're more fascinating the village of Kastri, which covered the site, to
than short stories because they retain the
its modern location. The villagers, fearing
dramatic punch.
they would not get the money for their homes,
No magazine can compare with The Drama. attacked the workmen, but finally the riot was
occupies a unique position in the world of
It
the theatre. Once you begin to read it, quelled by soldiers and excavations continued
you'll become one of its devoted admirers. every spring and summer from 1893 to 1900,
You'll enjoy its stimulating contents. You'll under the direction of Homolle. The publica-
keep each issue on file, for each is like a tion has been very slow and while many hand-
valuable book.
some important volumes of plates of the
To Introduce The Drama to new readers, "Fouilles de Delphes" appeared before the war,
we make a special offer. Send only $1 and
only a few volumes of text have been published.
The Drama will come to you for Five
Months. You will also receive your mem- The "Fouilles de Delphes" is an expensive
bership card in The Drama League of publication, for specialists, so that we are very
America. glad to have a comprehensive and interesting
$1 is so little for so much. So why not tear account of the excavations in readable form in
out the coupon below NOW? Pin a dollar a single volume, well documented and beauti-
fully illustrated. It is the first good account in
English of Delphi and will long remain the best
treatise on the aesthetic appreciation of
Delphi, for the book is full of the most fasci-
nating and suggestive and original observations
on Greek art, and lays more stress on that side
TRIAL SUBSCRIPTION FOR $1
than on topography or history. D. M. R.
The Drama Corporation
59 East Van Buren Street Chicago The Charm of Kashmir, by V. C. Scott O'Connor.
London, New York, Bombay, Calcutta, and
Attached herewith is $1 for which send me Ths
Madras: Longmans, Green and Co. igzo. 16
Drama for Five Months.
colored plates and 24 illustrations from photo-
Name graphs. Pp. 182. $2J.§0.
In this book the charm of one of the most
Street .
beautiful spots in the world is pictured with

City State- beautiful illustrations, and with a text that is
Kindly Mention Art and Archaeology. [46]

exquisitely printed on the very best of paper.
The place of honor is assigned to the paintings
of Abanindro Nath Tagore who was the founder
of the modem school of Indian art at Calcutta.
The softness and beauty of line that character-
ize his paintings have made him well known not
only in India but also in Europe and America.
There are included colored interpretations of
the very soul of Kashmir; there are also re-
productions of the paintings of Mrs. Sultan
Ahmad, and Miss Hadenfeldt and the late
Colonel Strahan. The many colored plates
and the photographs really illustrate the text,
THE BISHOPS LODGE
and help make the country known in a very Santa Fe. New Mexico
original and entertaining manner. The pic-
tures are all symbolic of the East and any one CITUATED three miles north of the city, this unique
who is interested in this very important and ^ resort offers its hospitality both to the leisure-loving
charming section of the world will do well to tourist, and to the archaeological investigator.
look through this volume which, in every way, Readily accessible are all of the points comprised
within what has been called, "The most interesting 50-
is a work of art in itself. It is no wonder that
the Queen of England allowed the book to be
Because of 60-guest capacity. The Lodge necessarily
dedicated to her. D. M. R. caters to a limited clientele. It appeals especially to
those who appreciate the good things of life, and is
totally unlike any "hotel."

Albert Pinkham Ryder. By Frederick Fairchild
Open the year around. To insure accommodations
Sherman. New York: privately printed, iq20. reservations should be made well in advance.
Simply as a material possession, this mono- Rates and other information upon request.
graph is a thing to treasure. The maroon
binding, the texture of the paper, the type and
margins, the quality of the illustrations, the
very proportions of length and breadth and
—
thickness all these things render the book a
delight to hand and eye. Charm of format has FINE PRINTS
all along been a characteristic of Mr. Sherman's
For the collector
privately printed volumes, and in these days of For wall decoration
costly production it is no little merit in a
publisher to maintain an established high
standard of workmanship.
But surface beauty is in this case fortunately
subordinate to both subject and treatment.
The real significance of this volume consists in
itsbeing an adequate tribute to a great artist.
The scale of the book is nicely proportioned
to Ryder's peculiar position in the history of
our painting. For Ryder, whatever his essen-
tial originality and true genius, is too limited in
appeal and influence to require a tribute in
folio. The panel on which his name is carved
in the temple of our culture is in the first rank
of honor, but it is neither large nor striking
enough to attract the attention of the majority.
f Color wood block by Charles W. Bartlett,
The modest five divisions of Mr. vSherman's "The Hawaiian Fisherman," published in
essay sufficiently set forth all the important limited edition. Each proof signed, price
aspects of his subject, and any further con- $25.00. Portfolios sent for inspection.
sideration of Ryder must be what Mr. Frank
Jewett Mather, in The Weekly Review for Janu- Brown-Robertson Gallery
ary 26, justly terms ". variations
. upon . .
415 Madison Avenue, New York.
the critical themes announced by Mr. Sher-
[47] Kindly Mention Art and Archaeology.

— ;;
In one instance, indeed, he seems somewhat

too liberal; for the section on Ryder's poetry,
INVESTIGATIONS brief as it is, might well have been spared. All
of the painter's literary productions are flawed
AT by traces, sometimes whole paragraphs, of the
"polite " writing of a bygone era. The mistress,
ASSOS whose lover constantly lifted her "in and out of
conveyances and over objects that destroy the
Drawings and Photographs of the Buildings grace and harmony of woman's movements,"
and Objects Discovered During the can not be made poetic by any device of words
Excavations of 1881, 1882, 1883 and the mature man who thought to accom-
plish that by the extraneous quality of high-
BY
flown language could never have become, as Mr.
Joseph T. Clarke Sherman claims, "a poet or a philosopher."
Francis H. Bacon Let Ryder be left secure in his fame as a painter
Robert Koi.dewey his occasional literary felicities remain unim-
Edited with explanatory notes, by portant. His limitations and deficiencies as a
Francis H. Bacon writer are such as ought to preclude any
separate consideration in that capacity.
Published for The Archaeological Insti-
tute of America The biographical section is thoroughly
Committee originally consisting of adequate to the uneventfulness, the simplicity,
By a
and the dignity of Ryder's outward life. He
Charles Eliot Norton was one of the rare few who have no biography.
John Williams White The nearest he came to making something hap-
Francis H. Bacon pen was when he proposed marriage to a pre-
William Fenwick Harris viously unintroduced violinist neighbor, and
TABLE OF CONTEXTS was, in consequence, carried off to Europe by a
friend. His life was not a series of incidents so
History of Assos.
Account of the Expedition. much as a continuous artistic effort. A true
Agora. account of it is not a narrative, but a descrip-
Mos.-Mcs Below Agora.
Theatre Photographs and Plans.
—
tion a description such as he himself once
Greek Bridge.
made in impersonal and inspiring language:
Roman Atrium. "The artist must buckle himself with infinite
Acropolis — Plan. patience. His ears must be deaf to the clamor
Turkish Mosque. of his insistent friends who would quicken his
Gy.mnasium. pace. His eyes must see naught but the
Byzantine Church.
FoRTiFicAi'iON Walls.
vision beyond. He must await the season of
Street of Tombs —
General Plan. fruitage without haste, without worldly am-
Dog Inscription from Mytilene. bitions, without vexation of spirit." A life
Inscription from Pashakieui. thus barren of outward occurrences requires no
Coins from Assos.
formal chronicle; it is enough to indicate
The magnificent volume is now ready in sympathetically its mental attitude and spirit-
a portfolio, the five parts together. ual atmosphere. And this JMr. Sherman has
Five hundred and twenty-five copies have and successfully done.
discreetly
been printed. Subscriptions for the remain- However, since his volume is professedl}' a
ing two hundred and forty copies will be re- critical one, must stand or fall mainly by the
it
ceived at sections on Ryder as an artist and it is by the

;
last three parts of his study that the author

FORTY DOLLARS EACH. justifies himself. Just as Ryder's own literary
The rate to original subscribers remains efforts do not show a real mastery of words, so
twenty-five dollars. The book will not be Mr. Sherman's writing lacks that final con-
reprinted. Cheques should be sent to densation of style which marks the writer
foreordained. But his comments on the indi-
WILLIAM FENWICK HARRIS, vidual pictures are helpful, even to those who
8 Mercer Circle, may occasionally doubt or disagree; and his
CAMBRIDGE, MASSACHUSETTS. "estimate of the Artist and his Art " is sane and
well balanced, emphasizing just the right
ciualities. Virgil Barker.

—
15.00 THE YEAR SO CENTS THE COPY
ART AND ARCHAEOLOGY

Published by THE ARCHAEOLOGICAL SOCIETY

Volume XII AUGUST, 1921 Number 2

Virgil Barker J. TowNSEND Russell, President
Peyton Boswell Frank Springer, Vice-President
Howard Crosby Butler
Mitchell Carroll, Secretary
Charles Upson Clark
Albert T. Clay John B. Larner, Treasurer
Charles T. Currellv James C. Egbert
H. R. Fairclough Ex-o£icio as President of the Institute
Edgar L. Hkwett Robbrt Woods Bliss
FiSKE Kimball Mrs. B. H. Warder
David M. Robinson
Helen Wright H. B. F. Macfarland, Counsel
CONTENTS
ARTS CLUB OF WASHINGTON NUMBER
Cover Picture: Ghent, with Cathedral and Bell-Tower
Colored Aquatint in Library of Congress. Engraver, Anonymous, 19th Century; Artist, S. Prout,
1783-1852.
The Carillons of Belgium after the Great War . . . William Gorham Rice .... 51
Eleven Illustrations
The Reconstruction of the Nashville Parthenon .... George Julian Zolnay .... 75
Seven Illustrations
Home of the Arts Club of Washington Susan Hunter Walker ... 82
Four Illustrations
Activities of the Arts Club of Washington 85

Three Illustrations
Prologue —
Ideals of the Arts Club —
Exhibitions Tuesdays and —
— —
Thursdays Musical Evenings The Arts Club Players
The Club in Lighter Vein
The National Peace Carillon 94
Promoted by the Carillon Committee of the Arts Club
TSRMS: ffs.oo a year in advance; single numbers, .so cents. Instructions for renewal, discontinuance, or change of address should be
All correspondence should be addressed and remittances marie to .\rt Arao Arch \30t,0GV. the Octagon. Washington, D. C. Also
Advertisements should be sent to S. W. Frankel. Advertising Manager, 786 Sixth Ave., New York, N. Y., the New York Office o
Art and Archaeology,
provided for in section iio,^. Act of October 3 1017. authorized September 7, 1918.
Copyright, 1921, by the Art and Archaeouogv Press.
i^-O
Home of the Arts Clib of Washington

(See pp. 81-84)
y[
ART mxd
ARCHAEOLOGY
Volume XII AUGUST, 1921 Number 2
THE CARILLONS OF BELGIUM AFTER

THE GREAT WAR
By William Gorham Rice,
Author of " Carillons of Belgium and Holland" and" The Carillon in Literature."
Prologue
COMMEMORATION of a great epoch in our history and of the service

thousands of patriotic men and women, is proposed by a memorial
of
carillon at the National Capital, in which all the states, the District of
Columbia, and afhliated territorial possessions would be represented, each by
a bell tuned in perfect accord with its fellows. The bells thought of would crown
—
a noble tower a tower which, following Ruskin's idea of architectural sugges-
tion, would recall, but not rival, the neighboring Washington monument. This
new structure possibly might be placed at one terminal of the axis about which
some space along the Potomac levels south of the White House could be sys-
tematically arranged. Or it might be on some height in Rock Creek Park where
already existing natural beauty and peaceful surroundings make appropriate
setting. Not only would such a memorial celebrate days of national rejoicing
but awakening deep emotion it would bear a part in days of national sorrow.
The tower would be enduring and dignified yet democratic would be the appeal
;
of the music.
The Arts Club of Washington has been a pioneer in promoting the idea of a
carillon as a truly noble and distinguished tribute to those of the United States
who gave their best to the contest for the preservation of civiHzation. Honor
is due that organization for the energy and intelligence with which its members
are devoting themselves thus to the setting up in Washington of a memorial
which shall justly and fittingly record in majestic and satisfying artistic form
the aspirations of our people in the Great War.
Lecture delivered at the Corcoran Gallcrv of Art under the auspices of the Carillon Committee of the Arts Club of Washington, Feb-
ruary 10, 1921.
[51]
Antwerp: The Cathedral from the Grand' Place.
In the Spire is a great Carillon of 47 bells.
'
ART AND ARCHAEOLOGY

seemed strangely linked with the
T DREAMT that people from the land of chimes present, for had not Tromp and De
Arrived one autumn morning with their bells Ruyter been inspired by such music,
To hoist them on the towers and citadels
Of my own country, that the musical rhymes had not Grotius felt its benediction, had
Rung by them into space at measured times not Vermeer and Rembrandt, and Van
Amid the market's daily stir and stress.
And the night's empty starlit silentness. Dyck and Rubens, listened to it as they
Might solace souls of this and kindred climes. painted the life of their time? Travelers
Then I awoke: and lo, before me stood
The visioned ones, but pale and full of fear; from other lands return again and again
From Bruges they came, and Antwerp, and Ostend, to the Low Countries, attracted by
No carillons in their train. Vicissitude
Had left these tinkling to the invaders' ear. picturesque scenes of market-place and
And ravaged street, and smouldering gable-end. busy harbor, of civic hsll and church
Thus Thomas Hardy wrote in his tower, of quiet canal and lush field, but
Sonnet on the Belgian Expatriation. only when the music of bells is heard
And it was with thoughts awakened by over all does the charm become com-
these verses that we sailed on a Dutch plete.
ship at the end of last July for a brief j our- Very early Saturday morning we were
ney chiefly through the Low Countries. at the Rotterdam docks and, after the
In Holland, in Belgium, in England, usual custom house delay and confus-
the countries visited in our 29 days ion, found ourselves by 1 1 o'clock ready
abroad, deep as have been the changes again to explore a Netherlandish city.
in aspects political, overwhelming as
have been in England and Belgium grief
n
and loss, yet, except in the immediate De Amicis, the Italian traveler,
battle line and in some few places along reaching Rotterdam, climbed St. Law-
the path of the invaders' march, on the rence's tower there and, looking out,
surface, scarcely a scar appears. discovered "ships scattered among
Our ship touched at old Plymouth houses and all about the city a vast
and at Boulogne, and then, on a Friday green plain sprinkled with windmills,
night, about nine o'clock, we found our- and villages hidden in masses of verdure
selves at the mouth of the River Maas,
'
showing only the tops of their steeples.

waiting for the high tide at two in the And he says, "For the first time I felt
morning, to make it possible for the that indefininable sentiment inspired by
great ship to steam slowly up to Rotter- the Dutch landscape, which is neither
dam. pleasure nor sadness, but which holds
The night was mild and clear, and as one for a long time silent and motion-
we lay at anchor with the coast lights of less." Then he heard strange music
the Province of Zeeland glimmering in coming from he knew not where, and
the distance, all the mystery and charm this he tells us, "was from a chime of
of the Netherlands anew asserted them- bells ringing a lively air, the silvery
selves. Truly we felt that, if we notes now falling slowly one by one, and
listened attentively, we might hear over now coming in groups, in strange
the space of waters between us and the flourishes, in trills, in sonorous chords,
land, a song of welcome from some a quaint dancing strain, somewhat
carillon, which, among dikes and dunes, primitive, like the many-colored city,
looked down from its tower upon the red on which its notes hovered like a flock
roofs of an ancient town. And the past of wild birds, or like the city's natural
[53]
Louvain: Church of St. Gertrude.
This church with its Carillon of 46 bells still exists. St. Peter's Church with its Carillon of 40 bells
was destroyed, 1914, in the Great War.
ART AND ARCHAEOLOGY
voice, the echo of the antique hfe of her prosperous community. And today,
people, recalhng the sea, the soUtudes, wherever the carillon may hang, its
the huts, and making one smile and bells belong to the town and the bell-
sigh at the same moment. And finally
'
' master is a municipal officer.

he meditates: "Thus in Holland the My story is one of discovery and ex-
passing hour sings, as if to distract the ploration exploration leading often into
;
mind from sad thoughts of flying time, fascinating fields, and discovery, for
and its song is of country, faith and love many Americans at least, of a new kind
floating in harmony above the sordid of music. Yet the land of which I
noises of the earth." speak is not far off and the music has
Many travelers besides De Amicis long been heard. Winter and summer
have sought to comprehend the secret it sounds from that Fifteenth Century
of the attractiveness of the Low Coun- New Church at Delft, where William of
tries. Complex and elusive that secret Orange victorious but assassinated for-
doubtless is, yet I believe a clue for the ever rests; and night and day it floats
search will be found in knowledge of the down from St. Catherine's tower at
distinctive music we are considering Brief, on the island of Voorne, where
together. Surely the long-continued first "The Beggars of the Sea" rose up
hold of this musfc upon the people of against the power of Spain. From the
Holland and Belgium; its association belfry of Ghent the bells ring in con-
with stirring events in their history its ; cord now as they did when the Treaty
touch with prosaic duties; its demo- of 8 14 first
1 was proclaimed, and from
cratic spirit; its companionship with the belfry of Bruges yet come the songs,
time; seat in lofty towers, and its
its "Low at times and loud at times,"
maintenance at the public charge; all which inspired Longfellow when he first
give suggestions of racial temperament journeyed through Flanders.
well worth thought. vSo tower after tower might be named,
The towers themselves were indeed each a part of this chain of melody.
symbols of municipal freedom and Assuredly no music joins more perfectly
represented to the eye and ear the idea in celebration of days of national re-
of civic solidarity. Grant Allen, in joicing; but, better stih, it sends out
"The European Tour," analyzing the from an influence which
aerial heights
character of the art of Belgium, re- lightens routine and to happy occupa-
marks : tion adds enchanting accompaniment.
These Flemish belfries are in themselves very inter-
esting relics, because they were the first symbols of
HI
corporate existence and municipal power which every "The secret —which is also the
town wished to erect in the Middle Ages. The use of
the bell was to summon the citizens to arms in defence
reward —of all study lies in the passion
of their rights, or to counsel for their common liberties. for the search," declares Sir Arthur
Every Teutonic burgher community desired to wring
the right of erecting such a belfry from its feudal lord;
Ouiller-Couch. To discover exactly
and those of Bruges and Ghent are still majestic what a carillon was, and its origin and
memorials of the freedom-loving wool-staplers of the
thirteenth century. By the side of the Belfry stands development, was indeed my passion
the Cloth Hall, representing the trade from which the through several of the years just before
town derived its wealth.
the War, and its indulgence consumed
The crown belfry was a
of every many delightful hours.
carillon. The belfry and its carillon The tale in brief, as it gradually un-
were the proud possession of every folded in my search, seems to be that in
[55]
ART AND ARCHAEOLOGY
Holland and Belgium in the distant young and old. For he could give, with
years when clocks and watches were expression, the folk songs and patriotic
much more rare than now and the airs they loved to sing, and could play
people were much more dependent in accurate rythm the lively tunes to
upon the town clock for knowledge of which they danced at the Kermess and
the time of day, or night, it became the on every other occasion of merry-
custom to precede the striking of the making. And the mid-day and the
hour by a short automatic chiming on summer evening concerts appealed par-
three or four small bells in the clock ticularly to the Netherlander for they
tcwer as a premonitory signal. were something which he could frugally
As this town and that sought to enjoy in the quiet of his own home or
surpass its neighbors, the bells were in the jovial companionship of neighbor
increased in number, and the musical and friends, many or few, assembled
scale of tones and half tones became together in the Grande Place.
complete. Brief melodies began to be Today as one wanders in some old
heard at the hour and half hour, and town of the Low Countries, he may
with still more bells came, at these meet, as I did, a baker's boy carrying
divisions, whole tunes. All this play- his tray, who without slackening his
ing was automatic. pace, had time to hear that quarter
Then came the point of greatest hour sheaf of notes from the bells high
advance. The keyboard was just be- above him, and then reminded, whistled
ginning to be used with stringed in- the local song of the traditional duty of
struments. What was more natural the carillon to play,
than that bells should have their key- Saturday for the country folk
board, or clavier, and so be made ready And Monday for the city,
Sunday for girls who charm the boys
to respond to the art of the aspiring And make themselves so pretty.
musician? Soon pedals were employed
with the heavier bells. By these im- Saturday, there, through centuries,
provements rapid and quite complicated has been the market day; while on
playing was possible and almost any Monday, likewise, the city council has
composition could be fairly interpreted always met. And Sunday well, Sun- —
by a skillful executant and so regular- day, as a courting day, is affectionately
carillon recitals or concerts came into regarded even in regions distant from
being. carillon clime!
Thus in the course of two or three
centuries, was developed the carillon, a
IV
musical instrument of distinct char- Elsewhere I have described in detail
acteristics and possessing wide possi- the gigantic musical instrument whose
bilities for community service. Not development has just been traced.
only did the carillon have, by auto- Here it will suffice to repeat in con-
matic play, constant companionship densed form a few words about the
with time, but beyond this the master bells themselves. These in Belgium
of its clavier could make the town are always hung in tiers while in
council meeting hour enjoyable, and the Holland they are often arranged in
market (ever a feature of the life of the circles. In a carillon of the first order,
Low Countries) additionally gay for one having three or four octaves of
[57]
ART AND ARCHAEOLOGY
chromatically attuned bells, the deepest are gone through with. Change ring-
bass bells are very large, each bass bell ing and pealing while interesting from
weighing from four to eight tons, while certain points of view can hardly come
the lightest bells in the highest octave of within the definition of music as that
the same carillon will weigh not over word is generally understood.
twenty pounds each. To compare a To reiterate; a carillon is played
carillon with a chime (the arrangement automatically by a revolving cvlinder
of bells best known to people outside of in connection with a tower clock or by
Belgium and Holland) it may be said, a carillonneur seated at a clavier. The
that a chime has perhaps eight or ten automatic playing is what the traveler
diatonically attuned bells and that all constantly hears as he wanders through
of these are fairly heavy, the biggest old towns of Belgium and Holland.
weighing two or three tons and the The clavier playing takes place at a
smallest 300 or 400 pounds. For in- fixed time on the market day, and on
stance in the Cornell University Chime each Sunday, and in the greater cities
at Ithaca the biggest bell weighs 4,830 on some regular week day evening in
pounds and the smallest 310 pounds. summer. The last mentioned playing
At Mechlin the biggest bell of the Caril- is known as the carillon program con-
lon, Salvator by name, weighs 17,768 cert. Recitals of this kind are an-
pounds while the smallest weighs about nounced by widely distributed posters
18 pounds. In the Mechlin carillon the and the music to be given and the
biggest bell is thus in round numbers carillonneurs who are to play are
1,000 times the weight of the smallest announced, months in advance by
while in the Ithaca chime the biggest means of quite elaborately printed and
bell is only about 16 times the weight of illustrated booklets.
the smallest. A chime has been some- Nine carillons, —those of Audenarde,
times described as a "slice" of about ten Dinant, Dixmude, Nieuport, Ostende,
bells taken approximately from the Roulers, Termonde, Ypres and (St.
middle of the range of a carillon but Peter's) Louvain, — out of the fifty-three
including only such bells as are neces- I have listed elsewhere for Belgium
sary to form the diatonic scale upon were destioyed in the great war. But
which the chime is based. of those destroyed, only two, that of
Where the bells of a chime are hung (St. Peter's) Louvain, and that of (the
"fixed," or so as not to swing, the chime Cloth Hall) Ypres, were of the first
may be played by a small clavier or importance. The four finest, those of
drum in manner similar to a carillon. Malines, Bruges, Antwerp and Ghent,
English change ringing and pealing is are today more than ever perfect.
done upon swinging bells few or many
tuned to the diatonic scale. Each bell V
in such playing is operated by a rope My story here does not concern
assigned to a particular man—one man itself with the tower music of Holland,
for each bell. The bells are rung in a though the carillons there are as many
more or less complete mathematical as those in Belgium. Yet before we
order or sequence. The result is a leave Rotterdam something ought to be
kaleidoscopic mosaic of sounds, rapidly said about the carillon just installed in
and regularly continued sometimes for the new city hall there, a public spirited
several hours before all the "changes" gift to the municipality from Mr. P. J.
[59]
ART AND ARCHAEOLOGY
Van Ommercn. This is the largest
completely chromatic carillon existing.
Its bells are tuned to equal tempera-
ment, being accurate to a single vibra-
tion in a second. Thus it is considered
the most accurately attuned of any
carillon known, while in quality of tone
its bells are believed to equal the best
anywhere heretofore made. The Taylor
bell foundry at Loughborough, Eng-
land, produced this fine example of the
perfected carillon.
The bass bell at Rotterdam is A flat
in pitch and weighs lo, loo pounds. The
total weight of the 49 bells constituting
the carillon there is 62,730 pounds, and
the cost was a little over $53,000. The
carillon of 25 bells such as that which it
is just announced is soon to be possessed
by the Church of Our Lady of Good

Voyage at Gloucester, Massachusetts,
will have a bass bell of about 2,240
pounds, will weigh in total 1 4, 500 pounds
and will cost in England something like
$1 2,000 complete. The Gloucester car-
illon is to be made at the Taylor foundry
above mentioned and it will be the first
accurately tuned carillon in America.
Mr. Williaim Wooding Starmer, Fel-
low of the Royal Academy of Music in
London, who is a musician of genius
with an amazingly accurate ear, will
test the Gloucester carillon before it is
shipped to the United vStates. Present
practice in England requires that all
bells should be thus carefully adjudged
as to their compliance with specifica-
tions and be approved by some com-
petent musical authority before they are
—
accepted for public use a procedure
wisely to be followed everywhere.
Mr. Starmer who has specialized for
many years on bells and bell music, has
been the first to set forth a complete and
consistent theory as to the musical
wtm
possibilities of bells and the conditions
which govern them. Thanks to him it ('athedhal Spire at .-Vntwerp.
is now possible to say how and why one In tliis Spire is a great Carillon of 47 bells.
[60]
ART AND ARCHAEOLOGY
bell is better than another and often to carillon music the clapper strikes^the
remedy inaccuracy of tone. bells from a very small distance one —
Mr. Starmer has also shown that quarter to half an inch, and therefore
ceteris paribus modern bells should be there is no intense amount of sound at
better than ancient ones because of the any time. Ther? is an element in
latter-day improvements in melting the carillon music to which, so far as I
alloy so as to secure a perfect admix- know, attention has never heretofore
ture, in casting, and in the form of the been called. That element is the varia-
bell. tion in expression which results from
Notwithstanding Longfellow's "heart the influence that air currents, always
of iron" and Poe's "golden molten present more or less in the open, have
bells" and the "silver bells" of many in curving and deflecting sound waves.
other poets, the only metals used in By thus apparently varying the volume
founding bells of the most perfect of the tones,nature conspires with man
timbre are copper and tin. The addi- and makes clavier play additionally
tion of gold, silver, antimony, bismuth, pleasing and likewise modifies agreeably
or any other metal impairs the quality the sometimes rigid effect of tunes given
of tone. The proportion of tin used automatically.
is from 21% to 25%. A recent chemi- The carihon is indeed a very beautiful
cal analysis by Dr. Euwes of some of and majestic m.usical instrument. Only
the Hemony bells in
the Zuider Kerk at those who have heard Chopin's Funeral
Amsterdam shows that the alloy used March on this instrument can conceive
consists exclusively of copper and lin, how impressive that music can be. The
but not in fixed proportions. carillon can reach, and instruct and
At the present time bells can be give joy to thousands assembled out of
tuned, a set of tuning forks, 1,500 in doors and in this it surpasses any other
number being employed, with greater instrument.
exactness than the piano. Principles,
Says Van der Straeten,
however, have had to be dealt with, all
A good bell is not made by chance but is the result
kinds of complicated ratios discovered, of a wise combination of qualities and thought, and a
and machines invented to accomplish fine carillon is as precious as a violin by Stradivarius.
the very fine work necessary. When I first became interested in

In days gone by the highest tone of tower music, the Assistant Keeper of
bells was the only one that any attempt the British Museum wrote me, "I know
was made to tune, and the other tones of no work on carillons." His declara-
were left to fate, a conglomerate mass tion was confirmed by my own careful
of noise! Poor bells ought to be a search in libraries of the United vStates,
nuisance everywhere, but it is impos- and in those of Antwerp and Brussels,
sible for good bells to be a nuisance to The Hague, Amsterdam, and the Bib-
anyone. But observe they murt be liotheque Nationale of Paris. How-
good bells. The u?es of bells must be ever, one curious book I found in the
understood and the difference between University Library at Amsterdam. It
change ringing cr chiming or pealing, is by Picter Hemony, an octavo of but
on the one hand, and music plajêd on a eight leaves in all, published at Delft
carillon keyboard on the other. In the in 1678, and has this imposing title:
former, there is an intense blow, but in "De On-Noodsaakelijkheid van Cis en
[61]
-
ART AND ARCHAEOLOGY

Dis in de Bassen der Klokken. Ver-
toont uyt verscheyde advysen van
ervaren ende klokken
speelders,"
—
organisten
"The Uselessness of C
sharp and D sharp in the Bass of
Carillons. vShown by various opinions
of skilful organistsand carillonneurs."
No copy known, except the one at
is
Amsterdam. Hemony treats his theme

with vigour and decided partisanship,
his decision being sustained and en-
dorsed by the signatures of the city
carillonneurs of Briel, Delft and Am-
sterdam. The book ends with these
lively verses by Dirck vScholl of Delft
directed against Ouiryn van Blanken-
burgh, carillonneur of the Hague
official
who, appears, had strongly argued
it
that C sharp, Flemish "Cis," and D

sharp, Flemish "Dis," were necessary:
Those bells Cis and Dis of old Gouda's big Chime,
In truth were they bought to make melody fine?
Quirinus says: Yes, that their music is rare.
To us it were better they'd never hung there. St. Rombold's Tower at Mechlin.
For the was cheated and wrongly induced
city In the Tower i.s a great Carillon of 45 bells.
To purchase what scarcely could ever be used.
Each stroke of these bells costs a pound, so 'tis
Pretending they're living, in fact they are dead!
said;
—
miles not quite twice the size of New
Jersey, which state it resembles in shape
VI and in having the sea coast on its longer
The Seventeen United Pro-
historical side.
vinces over which Charles V once ruled, There are in Belgium about 30 caril-
had boundaries which coincide with lons of importance and about 20 in
those of Belgium and Holland and the Holland. If those of lesser consequence
part of France known as French Flan- in both these countries and in French
ders as they exist today. The carillon Flanders are included, the number is
region in general terms is substantially over 100.
the territor^^ within these boundaries, Here and there in other countries,
except that no carillons are found in the carillons exist —Great Britain now has
extreme southeastern portion, that several fine ones and the number there
which constitutes the Province of Lux- is increasing—but until quite recently
emberg, the smallest of the nine prov- tower music was scarcely to be found
inces which now make up Belgium. outside the land where four centuries
On the eastern border of the region, ago it had its birth.
carillons are few and scattered, but in Paths leading into the literary field
the central and western portion are also those who would explore
invite
many. This area of many carillons tower music. Ambassadors, and
covers approximately 15,000 square travelers, and poets have listened to the
]62]
:;;
ART AND ARCHAEOLOGY

carillon and in different centuries, in Francesco Belli in Relazione Veneziane
different languages, with charm, with Maurice Donnay, the French dramatist
pathos, with humor even, have ex- in King Albert's Book; Jean Loredan
pressed the thoughts awakened by its who writesof the bells of Armen-
melodies. The reflections of De Amicis tieres; and Dominque Bonnaud, the
and the vSonnet of Hardy have already Parisian chansonnier, whose carillon
been given. Verses from Rossetti and song has been translated by Lord
Victor Hugo will later appear. And the Curzon of Kedleston.
sentiments of not a few other well In such a survey particularly to be
known authors will come also into the recalled are the names of those
story. Particularly will the vision of authors who have made the carillon
Longfellow bring us into the atmos- theme a feattire of considerable import
phere of the land where the influence of in some of their writings, as Charles
this music has oftenest been felt. Burney, 1773, in that quaint book.
Many writers have spoken more or Music of the Netherlands; the Rever-
less incidentally of the carillon. Else- end H. R. Haweis, 1875, in Music and
where have referred to these at some
I Morals (though statements therein
length. Here there can be little more about bells are at times fanciful)
than the mention of their names. Such E. G. J. Gregoire, 1877, of Brussels, in
a list recalls the allusions of James the Library of Popular Music; Thack-
Howell, 1622, in Familiar Letters; John eray in one of his Round-about-
Evelyn, 1641, in his Diary; Sir John Papers Macdonald in Robert Falconer
;
Carr, 1806, in his Travels; Edward Robert Chambers in The Barbarians;

Dowden in his Southey; Hilaire Belloc and D. J. Van Der Ven and A. Loosjes
in describing Delft's Tower; Dr. Chat- of Amsterdam in quite recently pub-
terton-Hall in reviewing the novels of lished books about Holland's Towers.
Rodenbach; George Wharton Edwards Specially should be mentioned William
in Old Flemish Towns; the Reverend Wooding Starmer of Tunbridge Wells,
William Harmon Van Allen in Travel England, whose extensive researches
vSketches; John Finley in The Road to concerning Bells, Chimes, and Carillons,
Dieppe; and William De Morgan in a it is hoped are soon to be published.
Visit to Louvain.
To be remembered also are other vn
authors as: J. P. A. Fischer, 1737, of Appreciation of some phases of tower
Utrecht, who requires for a carillon- music come to us best as we read the
neur "good hands and good feet and no very words of authors themselves.
gout" A. Schaepkens, 1857, of Brussels,
;
Almost three hundred years ago Am-
who discusses bell making contracts; sterdam's most famous carillon was
the old Dutch versifier Poot; Marie celebrated in many joyous stanzas by
Boddaert in the Middelburg Children's Joost Van den Vondel. Therein is
Song; G. van Dorslaer, W. P. H. this tribute to the carillonneur Verbeek
Jansen, D. F. vScheurleer, F. A. Hoefer, His music surpasses
bell
The finest organ tones,
J. W. Enschede, Prosper Verheyden He plays with bells as with cymbals
and others in archeological annals; Heaven's choirs are looking out.
Georgio Georgi, 1626, Marcantonio Well has a recent reviewer called
Correr, Guiseppi Garampi, 1764, and this a bold yet true figure of speech.
[63]
: :
Antwerp: The Carillon Clavier or Ivey-board.
recalling the painting of some Italian and finding almost beyond belief the
master with angels half concealed be- appeal of its bell-music exclaims
hind the clouds. A later stanza of Bruges was to me incredible in its lofty and mellow
Vondel's poem is devoted to Franz completness. It was a town in a story; its inhabitants
were characters out of unread novels; its chimes were
Hemony, perhaps the most distin- magic from the skies.
guished of ancient bell makers, and he
is described as: Wicked was the destruction in 19 14
One who so skillfully found his bells
of the carillon at Termonde and pa-
That their notes charm our ear. thetic is the scene Grace Hazard Conk-
And make us wish to dance a bell-dance ling gives:
On the airy tower galleries!
The bells thatwe have always known,
It Antwerp that Arethusa and
was at War broke their hearts today,
* * * *
Cigarette began their voyage, and in
They used to call the morning
that delightful chapter The Oise in Along the gilded street,
Flood, Stevenson tells us how a new And then their rhymes were laughter
And all their notes were sweet.
sensation of sound revealed itself. I * * * *
give but one sentence: The Termonde bells are gone, are gone,
And what is left to say ?
There was something very sweet and taking in the air
he played, and we thought we had never heard bells
speak so intelligently or sing so melodiously as these.
And as war overwhelms all the land
Henry Van Dyke in The Bells of Ma-
Arnold Bennett writing of Belgium lines declares in prophetic verse
[65]
a
ART AND ARCHAEOLOGY

O brave bell-music of Malines VIII
In this dark hour how much you mean'
The dreadful night of blood and tears When we came to Antwerp and
Sweeps down on Belgium, but she hears
Deep in her soul the melody entered the great railway station, where
Of songs she learned when she was free. trains were rolling in and out, and the
high keyed little whistles of the engines
Shewill not falter, faint, nor fail
But fight until her rights prevail. were signaling sharply, and crowds of
And all her ancient belfries ring people were hurrying up and down the
"The Flemish Lion," "God Save the King.'
many platforms, we felt that this active
city was just as we had left it seven
The lives of the great founders and years before. Outside the station, the
their rivalries, the exactions of con- same atmosphere continued. As we
tracts, the public competitions and drove to the hotel we passed along the
private quarrels of carrillonneurs, the great avenue of shops and patisseries,
holidays decreed and the elaborate and the crowds went their busy ways
ceremonies at the dedication and first just as in 1913.
official playing of a carillon, the tales Looking out over the trees of the
of capture and ransom of carillons in Place Verte from the open windows of
war, and many other phases of the art our rooms, we saw the cathedral, now-
are full of romance. These all appeal close enough to us to reveal the delicate
to the interest and the imagination, and details of its beauty and, above the con-
those that ar? curious will find much to
fusion of the flower market and tram
repay study therein. Nor is humor cars in the busy square below, we heard,
lacking from the story. before the great bell Karolus struck the
John V, of Portugal, visited the Neth- hour, a lightly falling carillon melody.
erlands about 1730 and was so delighted Every few minutes of the day —
with the bell music that he deter- background to the animated market
mined to have a carillon for his sump- scene —the rippling notes came floating
tuous palace then building. The price down from the lace -like spire above and ;
having been ascertained, the suggestion at night it was a delight to fall asleep
was guardedly made by his treasurer, listening to the soft, exquisite music.
the Marquis of Abrantes, that, in view Full of poetic association are the
of the financial burdens upon the King's nearby river banks, for it is "on the
purse, this was a large expenditure. Scheldt near Antwerp" that the scene
The implied criticism is said to have so of Lohengrin is laid. And majestic is
offended the self-esteem of the monarch the sweep of space and time and the
that he replied: "Nao suppunha fosse silence of night, with this music domi-
tao barato; quero dois"
—
"I did not nating aU, that Rossetti has conceived
think it would be so cheap I wish two.";
and embodied in his Antwerp and
And these he got, for two carillons, one Biuges:
of 47 bells in the south towêr and one In Antwerp harbour on the Scheldt
I stood alone, a certain space
of 46 bells in the north tower, each
Of night. The mist was near my face;
played by clavier and clockwork still Deep on, the flow was heard and felt.
exist, so the Portugese Department of The carillon kept pause, and dwelt
In music through the silent place.
State informs me, in the twin towers of
the convent, formerly the palace chapel I went to the carillonneur's house to
at Mafra. recaU myself to him after seven years'
[66]
The bells of the Cahillon' at Mechlix.
This shows the bells hung in straight rows, and tiers, the best arrangement.
absence, and he walked back with me have the carillon wound daily, and thus
to the hotel. As we sat in the small kept playing, the answer was always
parlor looking out on the flower market, the same: "He has gone away." "But
he told us in French oi the carillon's I really did not go away at all, except
fate during the war. He said that from the tower," said Mr. Brees, smil-
when the city officials decided to let the ing; "I stayed in Antwerp all those
Germans enter Antwerp, and thus save years and, what is more, I played the
their splendid buildings from destnic- organ in the Cathedral for all the chief
tion, the Burgomaster sent for him and services, for I am both organist and
told him to lock the outside door of the carillonneur. When the armistice was
tower and to bring the great key to him. signed, the Burgomaster again sent for
This command the carrillonneur, Mr. me, gave me back the great key and
Brees, carried out. told me to unlock the tower door. Then,
When the enemy later asked for the after four years, I again climbed the
carillonneur, saying they wished to 405 steps of the tower staircase, and
[67]
ART AND ARCHAEOLOGY
once more found myself in the little their beloved countrx'. In less than a
room among my bells. In a short time fortnight the Germans marched into
all was again in order, and with wild Belgium, and the Great War began.
demonstrations from the crowd below The invaders soon occupied Ghent,
in the Place Verte, who sang as I and insisted that the clock work of the
played, I gave La Brabanconne. It carillon should be regularly wound,
was a great moment!" so that the bells should continue to
ring over the city. The custodian
IX said that he was always accompanied on
At Ghent, where the bells hang in a this round of work by a German soldier.
separate structure. The Belfry, there is The Carillon of Ghent rang out a
at present no city carillonneur, that century ago when, on December 24th,
official having grown too old to play. 1 8 14, was completed there the treaty of
But an intelligent custodian took us up peace between Great Britain and the
the tower in a modern electric lift. No United States. That Christmas Eve
where else is a carillon tower so equipped agreement was the work of J. O.
and to those who would gain the Adams, Gallatin, Clay, Bayard, and
height and see for themselves, near at Russell, representatives at Ghent on
hand, the bells of a carillon of the first the part of the United States, aided by
order, and its mechanism and the the wisdom of Madison and Monroe at
carillonneur 's cabin, and yet would home. On the part of England it was
avoid an arduous climb, Ghent is com- due to Castlereagh, Bathurst, Liver-
mended. pool, and Wellington, though none of
The action of the Ghent clavier is these men were actually Peace Com-
easy and permission having been ob- missioners. No accomplishment of the
tained, my wife who has been compan- treaty was more important than that
ion and inspiration in all my carillon which provided for the arbitration of the
exploration, took her place on the caril- boundary' between the United States
lonneur's seat and "Fair Harvard" and Canada; a line, with its subsequent
sounded over the surprised town below. extensions, running by land and water
So may anyone of musical taste who is nearly 4,000 miles. Since the signing of
familiar with the piano or organ play the treaty, not a few irritating contro-
acceptably the modem clavier, though versies have arisen between the two
to develop a fine technique of course nations who were parties to it, and great
requires faithful practice. INIr. Denyn's populations active in trade rivalries
daughter Madelaine is able to play have come to exist on either side of the
even Mechlin's carillon where the dividing line, yet through all, that line
—
action is difficult and heavy quite a
feat for a woman to accomplish.
has continued unfortified, unguarded,
and unpatroUed. Both adjacent peoples
\Mienever anything happens to have maintained their rights, both have
—
Roland the biggest and most fa- advanced in prosperity and, as fixed by
—
mous bell it is an ill omen to "les arbitration, that boundary has re-
Gantois.
'
So, when in July 1914a great

' mained secure with neither forts, nor
crack appeared in Roland, hundreds, soldiers, nor ships of war upon it to
day after day, came to look at the bell keep a threatening or even a protective
and to wonder what evil was to fall on watch.
[68]
: .
ART AND ARCHAEOLOGY

vSurmounting the topmost spire of In C'etait I'Ete Camille Lemonier
Ghent's belfry is the gilded copper dwells peacefully in the atmosphere of
dragon which has looked down upon this tower music while Georges Roden-
many stirring scenes in Flemish history. bach seems to be constantly haunted
There is a legend that the Crusaders and possessed by the carillon, for its
brought this dragon from Constanti- appeal echoes through almost every-
nople to crown the belfry of Bruges and thing he writes. Both in Bruges-la-
that there it remained until Artevelde, Alorte and in Le Carrillonneur, Bruges'
victorious, carried it a prized trophy to Belfry is made a part of his story and in
Ghent where it was again set high above Le Miroir du Ciel Natal his verses em-
bells. As we ascend to the upper levels body most delicate imagery:
of this ancient tower and meditate, and
Les cloches ont de vastes hymnes.
gaze upon the vast expanse below, does Si legeres dans I'aube.
there not come vividly to mind that day Qu'on les croirait en robes
when 'tis said Charles V, likewise be- De mousseline;
Robes des cloches balancees,
holding the splendid panorama from Cloches en joie et qui epanchent
Une musique blanche.
this same great eminence, met Alva's Ne sont-ce pas des mariees
cruel suggestion that the city should be Ou des Premieres Communiantes
Qui chantent?
destroyed, with the question " Combien
faudrait-il de peaux d'Espagne pour (The bells are like majestic hymns,
So light at break of day.
faire un Gant de cette grandeur?"
That robed in sheerest lawn they seem
Or clad in flowing sound
Poured out from joyous bells
In purest melody.
"O la plaisante ville aux carillons Is it not blest married ones, in truth, who sing;
Or white-robed first communicants?)
si doux," Paul Verlaine writes of
Bruges. And Baudelaire as he listens all these writers and others
But while
to the carillon on a winter night finds
that have mentioned earlier or shall
I
sadness and joy mingled and he muses.
mention in later chapters here have
II est amer et doux, more or less briefly touched upon the
pendent les nuits d'hivei,
D'ecouter, pres du feu qui carillon it is an American poet who first
palpite et qui fume, makes it the subject of extended verse
Les souvenirs lointains
lentement s'elever Longfellow early came under the spell
Au bruit des carillons qui of be Us in the Low Countries and in the
chantent dans !a brume.
diary of his student-day wanderings in
(Bitter and sweet it is on winter nights,
Before the fluttering, smouldering fire. Europe we read
Gently to dream of a long-distant past
Led on by songs of mist-hid carillon.) May 30, 1842. In the evening took the railway from
Ghent to Bruges. Stopped at La Kleur de file,
Even deeper are the thoughts that attracted by the name, and found it a good hotel. It
was not yet night; and I strcUed through the fine old
Theophile Gautier brings to us in his streets and felt myself a hundred years old. The
Noel: chimes seemed to be ringing incessantly; and the air of
repose and antiquity was delightful.
Le ciel est noir, la terre est blanche,
May 31. Rose before five and climbed the high
Cloches, carillonnez gaiment! belfry. The carillon of forty-.seven bells; the little
Jesus est ne; la Vierge penche chamber in the tower; the machinery, with keys like a
Sur lui son visage charmant. musical instrument for the carillonneur; the view from
(The heavens are dark, the earth is white, the tower; the singing of swallows with the chimes; the
O carillon ring gaily! fresh morning air; the mist in the horizon; the red roofs
Jesus is born; the Virgin bends far below; the canal, like a silver clasp, linking the city
O'er Him her face so lovely.) —
with the sea how much to remember.
[69]
—
ART AND ARCHAEOLOGY

These impressions soon ripened into
a poem of importance and wonderfully
does the genius of Longfellow give the
scene at night when silence perfects the
sound of the bells.
Thus dreamed I, as by night I lay
In Bruges, at the Fleur de Ble,

Listening with a wild delight I
To the chimes that, through the night.
Rang their changes from the belfry
Of that quaint old Flemish city.
As we read the second part of the

Belfry of Bruges, its daytime images
conceived as Longfellow stood on the
lofty balcony near the carillon, his art
leads us into his own mood, and living
become the scenes and stirring events
associated with bell-tower after bell-
tower of the ancient Low Countries.
Visions of the days departed, shadowy phantoms filled
my brain;
They who live in history only, seemed to walk the earth
again;
All the Foresters of Flanders, —mighty Baldwin Bras

de Fer, Belfry of Bruges.
Lyderick du Bucq and Cressy, Philip, Guy de Dam- From the Quai Verte.
pierre.
I beheld the pageants splendid that adorned those days Here all was silent except for the steps
of old;
Stately dames, like queens attended, knights who bore
of an infrequent passer and the hum of
the Fleece of Gold. faint music and voices issuing from the
estaminets that form the north side of
XI the Groote Market. From somewhere
It was evening when we reached came the plaintive notes of a zither, the
Bruges. As wa took a late supper we only distinguishable sound. At the foot
could hear at frequent intervals the of the monument in the center of the
agreeable jangling of distant bells and square, we waited for the hour. Pres-
after finishing our meal we went out ently there was a ripple and then a burst
into the dusky street. Then the mys- of tune, inaccurate of tone and Hme,
tery and the music enticed us forth. but mysteriously beautiful, coming from
As we wandered through the windings the dark tower and floating into every
of the narrow echoing pavements, now nook of the silent city. The tune over,
a flourish, now an irregular snatch of the deep bell struck eleven and we
song was wafted to us. The notes came turned homeward.
so clear that at every moment we looked The morning following I ascended the
to see the belfry. Thus led by the tower, and saw and heard the sights and
broken melodies we at length found sounds of which Longfellow writes,
ourselves in a great moonlit square. the coming of dawn over the great plain
170]
! !
ART AND ARCHAEOLOGY

below, the canal like a silver clasp link- Nearby on another tablet, hung about
ing the city with the sea. when we were there with a fresh garland
Four men, two at a time, remain in of laurel, is this inscription:
the tower day and night and keep To THE Vanguard, Ypres- 1914.
watch over the town. When I gained
Oh Little Mighty Force That Stood For England.
the carillonneur's cabin, after a climb of
400 steps, one of these men was on Oh little force that in your agony,
Stood fast while England got her armour on.
duty as watchman, and the second was Held high our honour in your wounded hands,
cobbling shoes. A cobbler's shop 250 Carried our honour safe with bleeding feet,
We have no glory great enough for you
feet in the air
Anton Nauwelaerts of Bruges, the XIII
most promising of the younger genera-
Ralph Adams Cram, says of the old
tion of carillonneurs, was of age to serve
city and cathedral at Mechlin, often
in the army and, so, his wife and child
having been sent to England, the caril-
known as Malines,
lon was left to its fate. When the war It is a town of old houses and still canals, a strangely
poetic combination, a little Bruges with a finer church,
was ending, Nauwelaerts found himself vSt. Rombold's Cathedral, than any the perfect Flemish
near Bruges and asked permission to go city could boast. The church itself is of a vigorous type
of earliest 14th century architecture, but the great
and see how his home had fared. tower which was planned as the highest and most
Finding all was well there, he ascended splendid spire in the world, though it completed only
320 of its projected 550 feet, is 15th century, and as
the tower and sought out his beloved perfect an example of late Gothic as may be found any-
bells. There he discovered the wires where in the world. It is really indescribable in its
combination of majesty, brilliancy in its combination
had been cut but quickly mending these of majesty, brilliancy of design and inconceivable
he was able, when the King and Queen intricacy of detail. The exuberance that makes the
flamboyant art of France is here controlled and directed
rode into the city a few hours later, to into most excellent channels, and if ever it had been
play upon the bells La Brabanqonne. completed it must have taken its place as the most
beautiful tower in the world. As it is it ranks in its
XII own way with the Southern Fleche of Chartres and
Giotto's Tower in Florence, and more one cannot say.
Seven years ago, Ypres and its set-
ting was one of the garden spots of In this noble structure hangs the
Belgium. Now the city itself has been most renowned of carillons. Close by
battered down, and the once superbly we found the carillonneur, our dear old
cultivated fields and propserous vil-
only as shelltorn
—
friend Josef Denyn Jef Denyn as he is
He is again in his
lages about it exist affectionately called.
remnants. Long before its site is pleasant home, with his family about
reached, the still majestic base of the him, and is giving his beautiful Mon-
tower of the destroyed magnificent day evening concerts, just as before
Cloth Hall stands out in many shades the war. Except for its clavier, the
of gray, pathetic and sublime. The carillon was little damaged, although
carillon that hung in that towerf the tower in which it hangs was scarred,
perished with it, and its carillonneur, i, and part of the cathedral itself, was
not killed, has departed to make another demolished by shells.
home. When the Germans approached,
At one end of the ruin stands a large D?nyn being too enter the
old to
framed tablet of white painted wood. Belgian army, and having six young
On it, in black, are these words: children to consider, decided to go with
This is Holy Ground. his family to England, and there they
No stone of this fabric may
be taken away.
It is a heritage for all civilized people.
all lived until peace came.
[71]
ART AND ARCHAEOLOGY
The invaders after bombarding Monday evening recitals that occurred
Mechlin, entered it and marching im- during our nine days' stay in Belgium.
mediately to the Cathedral, placed one The first Monday as Mr. Denyn
of their men at
the organ. Then moving climbed to his cabin, while crowds were
the chairs from the nave, they danced to gathering in the great square, we were
the organ's tunes. Then they demanded sitting in a quiet courtyard of a convent
that the cariljonneur should appear and school looking toward the majestic
play. When they learned that he had tower rising in the distance and listen-
departed, they broke the clavier and ing eagerly for the delicate notes of the
left the carillon unplayable and thus it opening prelude.
remained as long as war continued.
But the year 19 14 did not bring its XIV
first experience of war to Mechlin's The second Monday, we heard the
ancient and famous carillon for more evening music as we sat with Cardinal
than a century before, at the time of the Mercier in the garden of the Arch-
French Revolution in 1792, it had been Episcopal palace. The beauty of the
in even greater danger. Then it was scene with the stars gradually filling the
saved from destruction by the diplo- sky, the sentiments awakened by
macy of Gerard Gommaire Haverals, thought of what Belgium had experi-
the carillonneur at the time. The enced since we were before within her
revolutionary council had decreed that borders, the presence of the great
all the Mechlin bells should be melted Cardinal, and the art of a master
and made into cannon, when Haverals musician, made the evening one never
by his eloquence and cleverness per- to be forgotten.
suaded the French authorities that at As the wide gates of the palace
least this carillon should be preserved. opened to admit us, the guardian
Otherwise, he asked, how properly could sounded a bell, and we passed through
be celebrated "la gloire de la Re- an ample entrance hall, and found
pubUque?" A few years later the ourselves in a pathway of tall white
reaction came, and he was given a sharp flowers. Again the bell sounded,
reprimand by the town coimcil because and then from out of the dusk in the
of the republican songs he had played. distance, appeared the benign and im-
His beloved bells, though, were safe, and pressive form of the cardinal himself,
so again he changed his tunes to suit followed by a group of priests. He
changed times and endured patiently welcomed us in French and English,
the municipal castigation. Happily and led the way, in the deepening
his devotion and skill were so compell- twilight, to seats far back in the
ing that even political passions were mysterious depths of a tree-shaded
subdued, and he continued as carillon- lawn. There in perfect quiet, we
neur until he died in 1841, being on the listened to Denyn's prelude, to a
verge of fcur-srcore years, and having vSonata by Pleyel, to Haendel's "O
played the bells in vS. Rombold's tower Lord Correct Me," and to old Flemish
continuously since he was seventeen. —
Folk songs simple and exquisite, all
We went twice to Mechlin, last of them given forth from the lofty and
;
August, for we did not feel that we massive tower dominating the southern
could afford to miss either of the two horizon. Here was a splendid master-
[72]
ART AND ARCHAEOLOGY
hand bringing out from his mighty Rayons et les ombres, bears the legend.
instrument not alone grand and sub- Ecrit siir la vitre d'une fcnetre flamande:
hme effects, but also the tenderest J'aime le carillon dans tes cites antiques,
shades of feeling, and awakening both O vieux pays gardien de tes moeurs domestiques.
memory and aspiration. Indeed, the Noble Flandre, oil le nord se rechauffe engourdi
Au sok'il de Castille et s'accouple au midi!
tower seemed a living being, opening its Le carillon, c'est I'heure inattendue et foUe,
lips in the mysterious night to pour out Que I'oeil croit voir, vetue en danseuse espagnole,
Apparaitre soudain par le trou vif et clair
a great and noble message to all man- Que ferait en s'ouvrant une porte de I'air;
kind. Elle vient, secouant sur les toits lethargiques
Son tablier d'argent plein de notes magiques,
As the hour passed, daylight died. Reveillant sans pitie les dormeurs ennuyeux,
If there was occasion to speak, we spoke Sautant a petits pas comme un oiseau joyeux,
Vibrant, ainsi qu'un dard qui tremble dans la cible;
in whispers. It seemed that if we Par un frele escalier de cristal invisible,
moved or spoke aloud, the tower, the Effaree et dansante. elle descend des cieux;
Et I'esprit, ce veilleur fait d'oreilles et d'yeux
far away light, and the music might all Tandis qu'elle va, vient, monte et descend encore,
vanish. Nothing we had ever experi- Entend de marche en marche errer son pied sonore!
enced had been like this. vSometimes
the sounds seemed to come from an Translation always is inadequate and
infinite distance, so faint and delicate yet I venture thus to end my story:
were they. Then at other times, great
I love the carillon in thine ancient towns,
chords, in the volume of many organs, O Flanders, guardian of a noble race.
burst forth rapturously. Where the cold North, a glow of warmth has found.
Reflected from the sun of bright Castile.
As the night grew cooler, the Cardinal
arose and walked slowly back and forth The carillon with starry melodies
Adorns the unawaited midnight hour.
in the shadows. Just before the close of Till faint above, in shimmering azure fields.
the playing, he came to each one of us in Imagination sees the mystic gleam
Of form most like a Spanish dancing maid.
turn and said a few words of parting; In raiment music-filled and silvery.
words which in his voice spoke hope, Which then, down-coming through the nearer air.
Appears a being, radiant and gay.
bestowed a blessing, expressed farewell. On glittering wing she sweeps o'er drowsy roofs.
Then as we continued listening to And strewing wide her magic rippling notes.
Awakes without remorse earth's weary ones.
the carillon's majestic music but with Now rising, falling, as a joyous bird.
our eyes fixed upon him, he took Now quivering as a dart that strikes the targe.
Now touching the transparent crystal stair
his way quietly down a path leading That frail depends from heights Elysian,
toward the palace. And, though his tall Behold this spirit quick, this soul of sound.
This elf aerial from another sphere.
form soon to us was lost in the darkness, Bold, glad, extravagant of motion, free!
yet, his presence remained to our inner
Anon she mounts, anon descends the skies.
vision, radiantly alive. step by step, with tinklings delicate.
Then
In distance far, tlie vision fades away.
XV
A silent space. Then Time on deep-toned bell.
To
Victor Hugo, awakened at night With stroke on stroke, compelling, tranquil, slow.
in Mechlin, a vision appeared which he Anew to man declares mortality.
put in verse exquisite in imagery and in
/J5 Washington Avenue
native cadence. His poem in Les Albany. N. V.
[73]
2
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THE RECONSTRUCTION OF THE NASHVILLE
PARTHENON
By George Julian Zolnay,
President of the Arts Club*
WHEN Phidias, the sculptor,

the architect,
Ictinus, and
And
cream
yet the general effect of that
colored staff structure with
Pericles, the statesman, con- brilliant colors in the frieze and gables
ceived and built the Athenian Parthe- so over-shadowed all the other build-
non they little thought that after a ings that when the Exposition was
lapse of twenty-four hundred years a over the people demanded its preserva-
new people on a then undreamed of tion and it became a shrine to the
continent would, from the remnants of residents and visitors of Nashville.
their creation, reconstruct that great It was only a few years, however,
masterpiece in a more enduring form until the exterior began to lose its
than was theirs. But that is what takes brilliancy, the plaster statues to disin-
place today at Nashville, Tenn., where tegrate and the necessity of demolish-
the great temple of Athena is being ing the building became apparent.
rebuilt for the glory of art and the But the mysterious power of the
greater happiness of the people. masterpiece, even in its incomplete
The history of this reconstruction form, had cast its spell and the people
goes back twenty-four years when demanded that it remain.
Tennessee celebrated its hundredth At great expense the necessary re-
anniversary of statehood by an Inter- pairs were made and the entire struc-
national Exposition. To house the art ture was repainted which prolonged its
exhibit Major E. C. Lewis, Director of life for the time being; but soon the
the Exposition conceived the idea to ravages of time again threatened its
tangibly bear out Nashville's claim of existence and once more it had to be
being the "Athens of the South," renovated.
and built in temporary form what Three years ago, however, when the
remains even today the only exact-to- disintegration had progressed to the
the-inch replica of the Parthenon in point where some of the large statues
the world; the so-called Parthenon at of the pediments began to fall down, the
Regensburg being merely an adaptation building had to be closed for public
of the great Athenian temple. safety, and the Board of Park Com-
Although the measurements of the missioners was at last confronted with
original Parthenon were strictly ad- the inevitable alternative of either
hered to, the haste in which this tem- dem.olishing or reconstructing it in
porary structure had to be built and permanent form.
the comparatively small amount of By mental association with the origi-
money available for the work, natu- nal the first thought naturally centered
rally left much to be desired in the upon marble; when it was calculated,
execution of the delicate ornamentation however, that such an undertaking
and of the many of statues which had would run into millions, marble had to
to be reconstructed from the in- be discarded, particularly because of
adequate drawings then in existence. carving the two hundred odd statues
"Illustrated lecture given at the Club Dinner in honor of President Zolnay upon his return from Nashville. Oct. 7, 1920.
[75]
Present condition of the Nashville Parthenon.
and ornamentation of the frieze and statues and ornaments. But if con-
gable. crete possesses all these material vir-
Another draw-back which the use of tues it also has a number of serious
marble presented was the color prob- drawbacks. First of all there is what is
lem, for it is definitely established that technically known as "lifeless appear-
in its original form the Parthenon was ance" due to its opaque nature. Stone
polychrome. To apply pigments to the and marble are more or less translucent
surface of marble as was done by the and therefore reflect a certain amount
Greeks, would be as impermanent as it of light which is what gives life and
was twenty-four hundred years ago, charm to all stone and marble buildings.
in fact, in the more severe climate of vStill, there being no other choice, con-
Nashville, with the inevitable smoke crete was decided upon as the only
and gases of a modern city, the coloring available material and the Park Board
would have to be renewed every few commissioned Mr. Russell E. Hart, a
years at a cost which the Park Com- New York architect living in Nashville
missioners did not wish to saddle on the to make the necessary drawings and
people in perpetuity. study the problem from every angle.
There remained, therefore, the in- Mr. Hart, whose admirable training
expensive concrete used by the Romans has made him an authority on classic
which has stayed intact for two thous- architecture in general and the Parthe-
and years, thus obviously considered non in particular, enthusiastically en-
the most durable as well as the least tered into this work and after exhaus-
expensive material known. More- tive investigations of the most modern
over, since concrete can be cast into methods of concrete construction finally
moulds very successfully it also does recommended the method known as
away with the great cost of carving the "Mosaic vSurface" developed by John
[76]
Opening the Mould of the Capitals.
Early of Washington, D. C, who was practically non-absorbent, permanent

entrusted with that part of the work. in color, gives it a texture on which the
The essential difference between ordi- play of light is far more beautiful than
nary concrete and the mosaic method is it is on a smooth surface and finally
that in the former the surface is brought it gives sufficient translucency to com-
about by the combination of cement pare favorably with stone.
and sand whereas in the latter it is But even with this problem solved
composed of stone fragments. The there still remained the great question
modus operandi consists, roughly of the red background of the metopes
speaking, in carefully selecting stone and gables, the blue of the triglyphs as
of the desired color and translucency, agreed upon by the majority of authori-
crushing and screening it to a uniform ties on Greek architecture. To merely
size varying from one eighth to a apply pigments to the surface of these
quarter of an inch in diameter. These cement casts would have involved the
stone fragments, called aggregate, are same periodical expense of renewing
then mixed with Portland cement and the colors as it would have on marble.
water and poured into the forms or Thus once more the project seemed
trowelled as the case may be. Then blocked.
instead of allowing the aggregate to About that time the writer was ex-
remain covered by the cement as is the perimenting with the production of a
case with ordinary concrete, that sur- durable material other than the costly
plus cement is removed with acids and stone and bronze, realizing that not
brush until the stone fragments arc until the sculptor's work can be suc-
exposed yet firmly cemented in the wall. cessfully reproduced in less expensivê
This process at once gives the struc- yet durable materials will sculpture
ture four cardinal virtiies: it makes it become a trulv democratic art.
[7/1
ART AND ARCHAEOLOGY
The result of these experiments was however, that among the thirty-two
a synthetic stone, which not only remaining metopes about a dozen are
"poured," but can be made of any so well preserved that they remain a
color. And when through the columns perfect guide in the restoration of
of the press this matter came to the those even seriously damaged.
attention of the Nashville Park Com- It is the intention of the Park Board
missioners and their investigation to preserve these reconstructed models
proved that at last a satisfactory solu- for the benefit of those who wish to
tion of the problem had been found, study them at close range, for it must
the writer was commissioned to recon- be remembered that when set in place
struct the figures of the great temple they will be fifty feet from the ground.
and then reproduce them in this arti- The necessarily careful study of these
stone. The task of reconstructing
ficial remnants have convinced the writer
these figures may well be approached that while Phidias did supervise the
with reverence not only because of
; its work in general, none of the exterior
magnitude but also because of the re- sculpture is his own individual work.
sponsibility assumed by the sculptor Not only is the treatment and charac-
in the translating to posterity a truth- ter of the metopes entirely different
ful representation of the creations of from that of the pediment groups repre-
these masters of the past. Thanks senting the contest between Athena
to the camera, however, the present and Poseidon over the fields of Attica,
day facilities for a correct interpreta- but also both are so unlike the Athenian
tion of these works are infinitely bet- frieze that they could not be the work
ter than they were twenty-three years of the same man. This frieze five hun-
ago when the only material at our dis- dred and twenty feet long by three
posal were unsatisfactory wood cuts feet four inches high, set on the exterior
made from the Elgin marbles in the walk of the cella is unquestionably the
British Museum. Now with photo- highest example of that most difficult
graphs of every fragment preserved in form of sculpture, the relief. It is
the great museums of the world and of indeed the work of a great genius such
what remains standing on the Acropolis as Phidias must have been and the only
these reconstructions are no longer a sculpture of the Parthenon preserved in
matter of guess work but one of logical its entirety and almost intact.
deduction even in cases where the On the other hand some of the me-
greater part of the figures has disap- topes are veritable masterpieces
peared. whereas others are of rather inferior
The original ninety-two metopes of quality, which justifies the assumption
the frieze in which the legendary bat- that they are the work of several
tles between the centaurs and lapithae sculptors of varying degrees of ability.
are represented in high relief, have been As for the pediment groups the uni-
so injured in the course of time that formity of treatment points to their
only about one third can be restored to being the work of one man of extra-
their original form; of the other two ordinary ability. The nudes reveal an
thirds nothing remains but bare slabs almost incomparable knowledge of the
with insufficient traces to even attempt human body and the draperies, next to
reconstruction. It is very fortunate, the famous Victory of Samothrace, are
[78]
Reproductions uV MukjI'i;.^ icK the Nasiuillu I'arthu.nu.x,
George Julian Zolnaj', Sculptor.
ART AND ARCHAEOLOGY
perhaps the most perfect example of different from those in the diffused
treatment and technique of all times. light of the interior, all of which can be
To what extent the Greek sculptor car- summed up in what is so aptly ex-
ried the execution of his work is well pressed by "fitness of things" which is
illustrated in these pediment groups the fundamental basis of all good art.
where even the backs of the figures are The same superior qualities are evi-
carefully finished, even though they denced in their technical skill so
lean against the wall so that under no well illustrated in the handling of the
circumstances could these backs be forty-six columns. These colossal sup-
seen. While such seemingly useless ports of the entablature measuring
expenditure of time and energy appears over six feet in diameter at the base
utterly absurd to the modern mind, to and thirty-four feet high were built of
the Greek who slighted nothing it was nine superimposed sections technically
a matter of course and must have had called drums and were so closely fitted
its share in developing that astound- together that even today the joints are
ing perfection found in the Greek work. barely visible.
While most of the theories and princi- The mooted question as to how the
ples established by architects and original roof might have been con-
archaeologists find their confirmation structed is entirelv eliminated in this
in this work, there are some which work, since the demands which will
must be discarded when ])ut to the acid eventuallv be made on this structure
test of actual reconstruction, and this require a definite treatment of its
sifting of accumulated hypotheses and covering. While the reconstruction of
speculations cannot fail to prove bene- the interior is not included in the
ficial in the long run. present plans, it is certain that the
That the architectural and artistic ultimate destination of the building
principles of the Parthenon were pri- will be that of housing the Art Museum
marily an intellectual triumph of sym- which will eventually result from the
metry, balance and mathematical inter- efforts of the Nashville Art Associa-
relation of parts is self-evident, but tion. Therefore the first consideration
it might be profitably stated that is that of having the best possible
while the unification of these principles light which will be obtained by a flat
was due to a sense of beauty such as no sky-light following the slope of the roof,
other race has displayed before or since, the ground glass ceiling below which
the emotional element was rather neg- will create an air chamber for the
ligible compared with the reasoning regulation of the temperature. The
power of the Greek. rest of the roof will be covered with
If the long horizontal lines were light asbestos tiles to harmonize with
curved upwards it was to prevent the the rest of the structure.
appearance of "sagging" for the same Whether the original Parthenon had
optical reason that the columns were an open roof or whether there was
not equidistant, those near the corner some structural arrangement with side
being nearer together and inclined lights masked by the cornice has never
toward the center which gave the ap- been definitely established. Certain it
pearance of greater strength. For simi- is that unless the roof was open which
lar reasons outside mouldings were is quite doubtful, there was not much
[80]
ART AND ARCHAEOLOGY
light in the interiorwhich would be in tirely independent of politics, these
perfect keeping with the fact that, like men can fill such vacancies as occur
all pagan temples, the Parthenon was from time to time with men of their
not designed to hold a congregation as own calibre and thus insure the best
does the Christian church, but was interests of thecommunity against any
essentially the abode of the Deity, a possible deterioration of its personnel.
mysterious shrine in front of which the The law assigns to the commission a
people worshipped. certain per cent of the city's revenues
At the rate at which the work has for the maintenance, extension and
been progressing the exterior of the improvement of the city parks over
building will probably be completed which it has complete and absolute
in the fall of 1922 and will stand jurisdiction with discretionary power
forth as a monument to man's innate to expend these funds as they deem
craving for beauty which was the sole best.
factor in this reconstruction. It will No park commission differently con-
also be a demonstration of what ade- stituted could have responded to the
quate laws can do for a community. needs of the community as readily as
^^'hen the Tennessee legislature cre- it did when it decided to add to its
ated a Nashville Park Commission a former achievements this replica of

few years ago, it gave it a form which so man's highest creation in art; and,
stimulated the highest instincts of good whatever the cost of this work will be
citizenship that it at once enlisted the it ismoney well spent for it is another
interest of the very best element of the step toward the realization of the fact
city; it made the position of a Park that art is and must be part and parcel
Commissioner one of such honor that it of our life, the most tangible expression
obtained the free services of five of its of the human mind and cannot be
most prominent citizens whose only separated from our intellectual exis-
desire it is to serve their fellow man. tence.
Being a self-perpetuating body en- Washington, D. C.
THE NASHVILLE PARTHENON

"A POSSESSION FOREVER."
When we build, let us think that ice build forever. Let it not
be for present delight nor for present use alone — let it be such work
as our descendants will thank us for, and let us think as we lay stone
on stone, that a timeis to come when those stones will be held sacred
because our hands have touched them, and that tnen will say as they
look upon the labor and wrought substance of them: "See! This
—
our fathers did for us!" John Ruskin.
[81]
THE HOME OF THE ARTS CLUB OF
WASHINGTOM
By Susan Hunter Walker
WHEREIN
Arts Club
lies
of
the charm of the
Washington? Why
and soul, with the not-to-be-forgotten
flow of philosophy and humor that has
is it its members are not as a coursed freely round its well-spread
whole enthusiastic when the question of tables. These are some of the things
removal to larger quarters is broached ? which have become a part of its atmos-
What alluring quality does the Club phere and bind it with bonds of firmest
possess which makes its guests happy to loyalty to its members.
receive repeated invitations to its af- The tall, handsome Georgian house
fairs ? These are oft-repeated questions. at 2017 I Street, which is the home of
The home of the Arts Club, situated the Arts Club of Washington, has the
as it is a bit too far west of the heart of good fortune to be a genuine home of
the Capital to be wholly convenient and
, the spacious and gracious type of
too far south to claim connection with Colonial days. Its lunette-topped,
the region of fashion, and by no means knockered, blue-green door offers its
adequate as to dimensions, yet holds a first pleasing note, while the wide
charm so irresistible to its members that entrance hall with fluted arch relieving
they are loath to consider its relin- the bare length and the mahogany-
quishment and are more likely to follow railed staircase carr'>' on the favorable
the scheme which favors the extension impression. The reception room and
of the building over its own ground the dining room on the right, these also
space, thereby providing adequate room divided by a wide arch, continue the
for its growing needs, than give up the idea of old-time dignity accompanied
club home of five years of happy by hospitality, the cheerful open fire-
occupancy. place in both, the well-chosen pictures,
It is not alone the history of more the old English mahogany, the flowers
than ordinary intrinsic interest adher- always in evidence, further enhancing
ing to the picturesque home of the Arts the atmosphere of leisurely dignity.
Club of Washington which holds the These main first floor rooms are for
allegiance of its members, nor can it the reception of members and guests, for
truthfully be said to be its entire con- the regular formal dinners given every
venience, for the latter is at times con- Thursday for members and their guests,
spicuous by its absence. But there is a when the two rooms thrown into one are
charm which holds the club where it is, filled to overflowing and when an an-
and which most of its members fear that nounced program is always part of the
any change of residence might break. function; for the less formal Tuesday
It is the atmosphere of the Arts Club and Saturday dinners with their ac-
which endears it to its members the — companiment of spontaneous wit and
invisible, intangible spirit of goodwill, wisdom; for the comfortable little
of gracious fellowship, of stimulus to the Sunday suppers that may be ordered a
spirit through the high and fine things few hours ahead for luncheons and for
;
expressed there thathave fed the mind afternoon teas of large and small
[83]
A Summer Evening in the Garden
dimensions of any and every day. One of the chief prides of the Arts
Back of these dignified first floor rooms Club of Washington is its garden. This
is the Arts Club grill room, with a high, garden contains a long stretch of grass
pipe-flanked chimneypiece, a big crafts bordered on one side by a vine-covered
table with benches on either side, pergola and on the other by a high
curiously decorated walls, all suggestive green-draped fence, with shrubs, roses,
of intimacy, good cheer and much old-fashioned flowers and ferns planted
tobacco smoke. wherever carefully tending hands might
Two large communicating rooms oc- place them, but so that they do not
cupy most of the space of the second interfere with the groups of tables and
floor of the home of the Arts Club of chairs which must be set there through-
Washington. It in these that the
is out the summer, for the garden is used
club's many art exhibitions are pre- for dinners, teas and other forms of
sented and in which are given its entertainment on every possible oc-
musicales and other set forms of enter- casion. These grounds are lighted at
tainment; its famous talks on every night by a clear, electric moon which
variety of subject touching art in any shines down from the top of the house,
form, and where on days of especial and is so fitted that it can be made to
festivity the club members hold high throw adjusted lights on the movable
carnival. Studios available to artists, stage, which is a part of its equipment.
and other rooms, fill the third floor, and The history of the Arts Club house is
the fourth floor rooms are occupied by notable. Among its early owners and
part of the resident staff. tenants were many famous men, among
[84]
Music Room of the Arts Club
them, James Maccubin Lingan, a revo- A still later distinguished line of

lutionary officer and friend of George tenants included the Right Honorable
:
Washington; General Uriah Forrest, Stratford Canning, Envoy Extraordi-

aide to General Washington; Benjamin nary and Minister Plenipotentiary from
Stoddert, first Secretary of the Navy; Great Britain; Baron de Mareschal,
Robert Morris, financier of the Revo- Envoy Extraordinary- and Minister
lution; and, most distinguished of all, Plenipotentiary from Austria; United
James Monroe, who owned and occupied States Senator Charles Francis Adams,
the mansion while Secretary of State of Massachusetts, son of John Ouincy
and who also bequeathed to it further Adams and father of Henry Adams, the
distinction by using it as the Executive historian; General Silas Casey; Virgil
Mansion between the time of his Maxcy, Solicitor of the Treasury, and
inauguration in March, 1817, and his Professor Cleveland Abbe, founder of
departure on a tour of the then United the United States Weather Bureau,
States in June of the same year, while from whose heirs the Arts Club of
the White House was in the hands of Washington purchased the property
workmen. which is now its home.
[85]
.
ACTIVITIES OF THE ARTS CLUB OF

WASHINGTON
Prologue.
The Arts Club of Washington was organized April 7, 1916, at a meeting of Washington artists
held in the studio of Mr. H. K. Bush-Brown, 1736 G
Street N. W. The Constitution and By-
Laws were adopted and officers and a board of governors were elected for the ensuing year, as
published in the Arts Club Booklet of 1916-17. It was voted to secure, if possible, a colonial
house for the home of the Club. For this purpose the President named a special committee, who
were so fortunate as to secure the old Monroe residence on I Street, just described.
From the proceeds of a sale of pictures, statuary and books generously donated by members and
friends, the house was renovated and furnished so that it became a most congenial home for the
Club. Also the neglected back yard was transformed into an attractive garden. Owing to the
attractiveness of its new home and the interesting features provided for its gatherings, the Club
grew within the course of the first year from less than fifty to more than four hundred members.
The work of the Club is now well under way, its activities guided by competent committees, its
bulletins and announcements telling their own story. Mr. Henry K. Bush-Brown, the first Presi-
dent, was reelected annually until April, 1920, when he was succeeded by Mr. George Julian
Zolnay, who is now ser\-ing his second term.
The art of right living is the one great fine art. The application of what is finest and best in
art to our daily life is an essential element of culture. Human happiness depends not on bread
alone, but on the satisfaction of spiritual hunger by the pursuit of arts and letters. These con-
tribute both to the right enjoyment of business and the true employment of leisure. All the arts
which pertain to humanity have a certain common bond, and are held together by an intimate
relationship.
Such ideals have inspired the Arts Club in the four years of its history. It has presented to its
members and guests the work of architects, sculptors, painters, musicians, dramatists, poets and
writers. By these activities it has sought to demonstrate that art is not for the few but for the
many; not for the pleasure of the moment, but for the joy of every-day life; not merely for
recreation, but also for one's daily pursuits.
One great advantage which the Arts Club offers is the promotion of intercourse between artists,
art lovers and laymen, the effect of which is the cultivation of the aesthetic sense and the enhance-
ment of the joy of li\-ing. Another advantage is the furnishing of a forum where each may con-
tribute the best in himself for the welfare of others. It strives to fill the waste places of life wich
joy and mutual helpfulness, that more people may direct their pursuit of happiness to its best
fulfillment. The Club is in fact the true home of art where a welcome awaits kindred spirits who
seek association with their fellows in the pursuit of the True and the Beautiful.
The Club attains these ends by frequent gatherings in its halls and in its garden, through the
medium of exhibitions and lectures and concerts, and in receptions to distinguished guests. It
offers its facilities to all organizations which seek to promote the arts and the humanities, and
aspires to become the national center for the development of the Nation's Capital, and the higher
Hfe of the country.
Mitchell Carroll.
Ideals of the Arts Club.

The ideals of the Arts Club may, perhaps, be fairly summarized as follows:
1 To secure
a constant inflow of fruitful entertainment, of specialized knowledge, and of artistic
inspiration from without the Club;
2. To stimulate all worthy forms of art-expression and productivity within it;
3. To encourage good-fellowship, and to promote a spirit of friendly cooperation and generous

rivalry among its members, and,
4. To extend a sympathetic, helpful and energizing influence wherever and whenever such seems
needed for the public good.
[86]
Board of Governors © Underwood if Underwood.
From to right: Neuhauser, Treasurer; Deming, Chairman House Committee; Carroll, Vice-President;
left
Dawson, Recording Secretary; Zolnay, President; Safford, Corresponding Secretary; Bush-Brown, former
President; Akers, Mahoney. Absent: Mrs. Charles Fairfax and E. W. Donn.
These ideals have been largely realized. But, it having become evident that they could not be
achieved in their entirety save through a broader extension, a nicer adjustment, and a more
zealous and widespread participation in the Club's activities, certain changes, especially designed
to attain these ends, have recently been introduced therein.
Amongst these may be mentioned a new committee, called, for lack of a better name, the
Committee on Hospitahty and Cooperation. Its minor purpose is to be a social one; its major
and essential function is the making of a sur\-ey of the club-membership, and wherever the willing-
ness and capacity to serve the Club in any way are discovered, to provide outlet and opportunity
therefor. Its work will be intensive in character— to invigorate the whole organization by causing
each member to become as interested, as active and as useful a unit therein as is possible.
The field to be tilled by the newly-created Civic Committee, lies not within, but without the
Club. Its membership includes representatives of all the arts, and it is intended that it shall
concern itself with every phase of art that touches the life of the citizen, primarily of Washington,
and secondly of the nation. It has already obtained decisive results in matters of this kind; and
it is expected that as a leader among other organizations interested generally in civic welfare, it
will become a power in the community, and will thus be enabled to create and sway a large and
influential body of public opinion, with an ultimate improvement in public taste and enhance-
ment of civic beauty. Some twelve or fifteen members of this Committee, accustomed to public
speaking, constitute a Free Lecture Bureau, which is prepared to supply local organizations with
addresses, illustrated by slides, upon various subjects of art interest.
Lastly, the Art Forums, inaugurated in February 1921, have for their principal object, like the
Committee on Cooperation, developmental work within the club-membership. They have been
held weekly for the free discussion of selected subjects dealing with varied forms of art-expression.
Their success has been unqualified; attendance upon them has steadily increased, and, what is of
even greater importance, the number of active participants in the discussions carried on has grown
appreciably larger. A list of some of the questions mooted may not be out of place here. These
were: What is beauty? The psychology of the aesthetic judgment. The spirit of revolt in
modem literature. The American school of art. How to judge architecture. Wliy is music?
How to appreciate classic sculpture. What is the viewpoint of modem art? How to build and
judge a play. Etc.
[87]
HKNKY K. BUSH-BROWN IN HIS STUDIO COHarris Ewing
First President of the Arts Club (1916-1920)
Studied art at National Academy of Design, pupil of Henry Kirke Brown; studied art in Paris and Italy.
1886-9. Prominent works: Equestrian statues Gen. G. G. Meade and Gen. John F. Reynolds, Gettysburg.
Pa.; statues Justinian, Appellate Court, New York; Indian Buffalo Hunt, Chicago Exposition, 1893; group
representing Truth. Buffalo Exposition, 1901; memorial tablet Relief, Union League Club. Philadelphia;
decorative figures. Hall of Records, New York; equestrian statue Gen. Antony Wayne for Valley Forge. Pa.;
memorial arch. Stony Point. N. Y.. memorial fountain, Hudson, N. Y.. Gray reserve statue, Union League
Club, Philadelphia; Mary Jemison statue, Letchworth Park. N. Y.; the Spirit of "61. Philadelphia; the Lincoln
Memorial. Gettysburg; Union Soldiers Monument. Charlestown, West \'irginia; equestrian statue. Gen.
John Sedgwick, Gettysburg, etc.
ART AND ARCHAEOLOGY
This brief sur\'ey of the ideals and more recent activities of the Arts Club of Washington is
published here in the hope that it may contain suggestions helpful to kindred organizations
elsewhere, and may elicit from them suggestions likely to be of aid to us.
George W. Johnston.
Exhibitions at the Arts Club.
With a record of fifty-five Exhibitions, in addition to several hundred concerts, recitals,
lectures, dramatic performances, etc., all within the five years of its existence, the Arts Club of
Washington may well be reckoned as one of the most active art associations in the countrs-.
This large number of exhibitions was made possible by eliminating the large annual and periodi-
cal shows in favor of small, specialized exhibits of about one month duration and following each
other at a few days interval. It is this new exhibition policy which has enabled the Club to give
Washington an extraordinary variety of carefully selected works of virtually every branch of
Art, in keeping with the principles on which the Club was founded and will be made the center
and rallying point of every art manifestation, be it painting, sculpture, architecture, music,
drama, literature and the arts and crafts in every form.
Of these 55 exhibitions, nine were oils, largely one-man shows in which the tendency and
temperament of the individual artist is always brought out more forcibly than it is possible with
mixed exhibitions. Among the group displays the lithographs of the Sennefelder Club of London,
England, the wood block prints by the Provincetown Artists and a series of drawings by the
Handicraft Guild were of particular interest, not only because of their very high quality but
because they gave a most comprehensive view of the range and possibilities of these special
mediums. These exhibitions were arranged by the Art Committee, Miss Perrie, Chairman.
A retrospective exhibition of works by the late Hopkinson Smith proved that the art of that
versatile veteran has lost nothing of its appeal to the general public as well as to the discriminating
connoisseur; the Club was fortunate enough to acquire for its permanent collection one of his
choicest works in black and white.
A large collection of Cartoons, and exhibition of textiles and batiks, one of American and one
of foreign war posters, a group exhibit by ten Sculptors of Baltimore, one by ten Washington
Architects, etc, show the wide range covered by these Arts Club exhibitions and as it has been
made a fixed policy to give every school and tendency an equal opportunity, provided the works
come up to a recognized standard of excellence, it can legitimately be assumed that the Arts Club
of Washington will soon be a recognized center of our national art expression.
George Julian Zolnay.
Tuesdays and Thursdays at the Arts Club.

In the history of the Arts Club of Washington, Thursday defied the calendar and preceded
Tuesday, for the first established function was the Thursday dinner. No Thesaurus affords a
word that adequately describes this particular feature of the Arts Club life. It has maintained
its popularity with the growth of the membership, and, since the walls of the dining rooms, despite
the ingenuity of the House Committee, refuse to become elastic, every week many members are
unable to secure coveted places. As Carlyle said of Bums's poetry, there must be some rare
excellence to account for this popularity. What is that excellence?
It may be explained in part by the setting. Although even the most partial soul admits the
need of new wall-coverings and paint, its charm is felt by everyone. From the little brass
knocker on the wide entrance door, with its fan-light above radiating hospitality, to the tiniest
fireplace in the topmost dormer room, the spell of the old house is upon us.
This may lend a glamor to the food, which the mundane mind inevitably associates with the
word "dinner." All that need be said on this score is that it is always abundant, cooked to the
taste, and served at just the right tempo to make possible pleasant and stimulating conversation
with the worthwhile people who are sure to be found at every one of the small, compactly placed
tables, as well as among the guests of honor at the larger table. Here the host and hostess of the
evening preside and a greater degree of formality is observable in the matter of dress. At other
tables the visitor may note a wide diversity in the dress of the women, and the dress of the men is
equally in accordance with individual preference. Whether this is to be considered one of the
[89]
GEORGE JULIAN ZOLNAY IN HIS STUDIO ^.Harris Ewing
President of the Arts Club (1920- )
Honor graduate Royal Art Institute. Bucliarest and Imperial Academy of Fine Arts, Vienna, 1890;
lived in New York 1902-03; removed to St. Louis, 1903, in charge of sculpture. Art Department, World's
Fair, and instructor St. Louis School of Fine Arts, Washington University, (1903-1909); has lived in
Washington since 1910. Principal works abroad: Vienna. St. Poelten. Bucharest and Budapest; in
America: E. A. Poe and Tympanum. University of Virginia; Jefferson Davis. Hayes and Winnie Davis
memorials. Richmond; Gen. McLaws and Gen. Barton monuments. Savannah; Duncan Jacobs
memorial, Louisville; groups in U. S. Courthouse. San Francisco; Pierre Laclede monument. Colossal
Lions. University City Gates and Confederate monument. St. Louis; Sam Davis and Confederate
Soldiers monuments. Nashville; Education, frieze on new Central High School. Washington; statue of
Sequoya. Statuary Hall. etc. Portrait Busts: Francis Joseph. Victor Hugo. Stonewall Jackson. Fitz
Hugh Lee. etc. In charge reconstruction Parthenon Sculptures. Nashville Parthenon.
ART AND ARCHAEOLOGY
special virtues of our club life or not is a question of personal judgment, but certain it is that this
liberty of choice leaves the mind of a guest unburdened by the eternal problem of clothes. In
this as in other respects, simplicity is the keynote of all Arts Club functions.
The real significance of the Thursday dinners, however, is to be found neither in the setting nor
in the lack of uncomfortable formality, but in the program offered for the evening. In the early
days of the club, it began with the coffee and cigars, and the talks were more in the nature of
after-dinner speeches. But this custom was discontinued during the War when the ser\'ant
question became acute, and now we adjourn to the music room and the adjoining library for the
program.
A survey of the Bulletins for the past year will disclose a great variety in the character of these
popular evenings. They range from dignified occasions graced by the presence of a prince and
princess, members of the diplomatic corps and other foreigners of distinction, public officials,
army officers,and representatives of practically all the arts, to now-and-then merry-makings that
suggest the nonsensical refrain of an Elizabethan song.
A few concrete illustrations of the themes and speakers for the year beginning in April 1920 may
not be amiss. Some of the most interesting were the following: Artistic Photography by Dr.
William Radford of the British Embassy; The Experience in London of a U. S. Scientific Attache,
by Henry A. Bumstead, Chairman of the National Research Council; The City of the Violet Crown,
by Dr. Mitchell Carroll; The Lure of the South Seas by Dr. L. A. Bauer of the Carnegie Institution;
Child Welfare Work in Paris by Dr. William J. French; Modern English Poetry by Dr. Charles
Edward Russell; France in Town and Country by Mr. Frederick E. Partington; The Arts of China
by Dr. Paul Reinsch; The American Army on the Rhine by Colonel Irving S. Hunt; a sparkling
after-dinner speech by the Princess Bibesco, formerly Miss Asquith, wife of Prince Bibesco, the
new Roumanian Minister. Such a fragmentary list does not do justice to the excellent work of
the Entertainment Committee, Dr. Mitchell Carroll, Chairman, nor to the speakers themselves,
for mere names, even when a list is complete, lack the vital essence of personality.
Two of the Thursday evening frolics deser\'e more than a passing word. One of these was
marked by the appearance, in counterfeit presentment, of the Prince of Monaco, Einstein, and
IMadame Curie, their hair, masks, and costumes beggaring description. The actors were dis-
tinguished for their supreme display of self-sacrifice, as the masks necessitated total abstinence
from food during the entire dinner.
In the late spring and summer the Thursday dinners, in fact most of the club functions, are held
in the garden, when the weather-man is kindly disposed. The first out-of-door affair this year
was in May, a beach-combers' dinner. The tables were arranged in the shape of a ship's prow.
Appropriate costumes, lanterns, and candles set in cork floats lent a rough picturesqueness to the
scene. The dinner was of the variety familiarly known as a shore-dinner. A ship's bell heralded
the speakers. This was one of the merriest and most unique of the season's events.
But there is no more charming feature of club life than the garden dinners when the carnival
spirit is in abeyance and the members and guests, in quieter mood, enjoy the beauty of the little
garden and the old walls, illumined by the ready-to-serve moon, an electric substitute for the genuine
article, perched so high that the illusion is very satisfying.
The Tuesday Fortnightly Salon has become almost as famous as the Thursday dinner. The
talks by eminent men and women during the past year have been many. It was on one of these
Tuesday evenings in IÎarch that the club was presented by the Japanese Embassy with a valuable
set of books containing Japanese prints. An attache of the embassy, acting for the Japanese
Ambassador, made the presentation speech, following an illustrated lecture on "The Arts of
Japan" by Dr. W. E. Safford. Another evening was devoted to the Arts of Bohemia, when
the Czecho-Slovak Minister, Mr. Stepanek, gave us moving pictures of Prague and other cities, and
delighted us with the rendition of many Czecho-Slovak folk-songs.
Within the year the Entertainment Committee has provided interesting programs for the
remaining Tuesdays of each month. Music, the drama, poetry, the short-story, and subjects of
national and international appeal have furnished material for the discussions.
The Tuesday dinners were instituted last autumn for the accommodation of members and
their guests who wished to attend the evening's entertainment. These are not so largely patron-
ized as the Thursday dinners, but some of those who have formed the Tuesday habit find them even
more delightful.
[91]
— :
ART AND ARCHAEOLOGY

The Arts Club of Washington not a rich club —
is from Our guest rooms lack elegance
far it.
and perhaps certain necessary comforts, but out-of-town guests and non-resident members
accustomed to more luxurious clubs and more elaborate feasts than our Thursday dirmers are
usually enthusiastic in their praise, and depart reluctantly. Such unbiased commendation should
convince anv who need convincing that the Arts Club has an atmosphere all its own
We feel it as we enter at the door,
And tread the wide boards of the ancient floor,
And add our footsteps to the peopled stair
Above, below, we breathe it everywhere.
Clem Irwin Orr.
The Arts Club Players.
From the beginning the Arts Club has been interested in and its home has been the scene of
dramatic performances, by members of the Club. Regarding the drama as one of the fine arts,
it has been sought to cultivate expression on this plane, by readings and staged plays, with increas-
ino- success. At first only occasional short plays were given, in the parlors and when the season
was suitable in the garden of the Club. A committee was placed in charge of such efi"orts and
during the Club year 1918-19 several excellent renditions were achieved. It was not imtil the
season of 1919-20, however, that the development reached the point of systematic dramatic
productions. A group of talented performers, most of them members of the Ck:b, was organized
into a company known as the "Arts Club Players" and under the direction of C. W. O'Connor
and Dr. George W. Johnston, several artistic productions were given, mainly in the little theater
in the Post Office Department building, and also in some of the public schools.
It was finally concluded that the Arts Club should present its dramatic productions within
the Club premises, similarly to its art exhibits, its lectures, its musicales and its other activities.
The practical obstacles to such a procedure were difficult, inasmuch as the Club has no auditorium
and it was necessary to use the parlors as the setting for the plays. To adjust to this condition
plays were chosen that could be given in such circumstances, at first without scenery or back-
ground, and on the same level as the audience. With no curtain, no wings for entrances and
exits, no accessories for proper lighting, a series of programs was produced during the season of
1920-21 that proved to be interesting to the members, who on these occasions, with their guests,
completely filled the rooms.
It is the hope of the Dramatic Committee to foster interest in the literary drama, to arouse a
cooperative spirit on the part of the writer members to provide original plays, and to develop the
latent dramatic talents of members so that "Arts Club plays" may eventually be wholly of Club
production, in every particular. Plans are in contemplation for the development of a small
practical stage in the parlors, which will permit a more effective presentation of the dramatic
offerings. If in the course of time the Club equips itself with an auditorium, its dramatic pro-
ductions may be given an adequate setting that will fully express the artistic talents of members,
in the provision of scener\' and stage equipment.
In the choice of plays care has been exercised to present representative drama, not of any
particular school, but calculated to arouse the interest of all members, however variant their
tastes. But many attractive plays have of necessity been rejected because of the limitations of
space and the lack of scenic settings. In their offerings the "players" have been greatly aided
by the sympathetic adjustment of the audiences to the conditions. When asked to consider the
comer of the Club parlor as a bit of woods in Maine, for one of two plays on a double bill, and
half an hour later to regard the same comer as a modem apartment, for the succeeding play, the
members of the Club and their friends have readily accepted the suggestion. The intimacy of
the performances, furthermore, has aided in the establishment of a cordial spirit of cooperation,
which isone of the vital necessities of successful dramatic rendition.
way the Arts Club is helping to keep alight a flame that has at times during
It is felt that in this
the past few years of American stage decadence seemed to be flickering into extinguishment. The
ideal of the "little theater" in which dramatic experiments can be tried with freedom and with
abundant talent and proper setting inspires those who are working in the present difficulties to
maintain the drama as one of the arts which the Club fosters.
G. A. Lyon.
[921
ART AND ARCHAEOLOGY
Musical Evenings at the Arts Club.
There was a'time when the statement that Washington was not a musical city, and thatTher
citizenshad httle or no appreciation of, or love for really good music carried with it some bit of
truth.
That time, however, has passed and if one is to judge by the audiences that pack to the doors
the largest of our theatres and concert halls at all the many high grade musical affairs during
the season, including the series of concerts by three or four of the country's greatest orchestras,
then Washington stands at the very head of the list in its appreciation of good music.
Certainly there is no other city of its size in this country where as many high grade musical
affairs are given each season to capacity audiences as here in Washington. Visitors to the city
invariably comment on this fact and especially the novelty of the time of day they are generally
given, for probably 95*/c of these musical events begin at 4.45 in the afternoon, a time which give^
the music loving government employees a chance to attend just after the close of office hours.
Doubtless much of the change in musical appreciation has come through the presence in the city
of the 80 or 90 thousand government employees permanently located here who are of an unusually
high grade in their artistic likings. Their subscriptions to the many series of concerts year after
year at high prices guarantees to the managers of such entertainments a very substantial backing.
As befitting its location in the nation's capital the Arts Club of Washington must continue to
be in the future as it has been in the past, the very fountain head of things musical, not only of
the city but of the nation as a whole.
As such, it offers to the musical and artistic people of this country a most attractive place in
which to meet others with similar interests who, more and more are finding in the Capital City
a most congenial and inspiring artistic environment.
Perhaps no single feature of the many attractions the Arts Club has offered during the past
year, has given as much pleasure to the members and their invited guests as the series of concerts
held in the club parlors everj^ Sunday evening beginning November 7th, 1920 and ending May
29th, 1 92 1.
During this period 30 recitals were presented by the Chairman of the Music Committee, Mrs.
Charles W. Fairfax, whose wide acquaintance among musicians not only of Washington but
throughout the entire East made it possible to offer programs of wide diversity as to their character
as well as of unusually high grade.
One of the most interesting features of these Sunday evening musicales has been the fine oppor-
tunity it has given a number of ambitious young musicians from other cities to be heard by the
very pick of Washington's musical circles. To this end the Music Committee of the Arts Club
makes most sincere and earnest effort to discover and bring before its members these young
musicians who through this splendid medium are thus enabled to get into close touch with musical
people from all over the country.
Will C. Barnes.
The Arts Club in Lighter Vein.
It must not be inferred from these pages that the Arts Club is given only to serious pursuits,
and cultivates only the more conservâtive arts. In fact we know how to turn with amazing
agility from grand opera to jazz, from .Shakespeare to Amy Lowell, from Michael Angelo to
Gauguin, especially in these hot summer months when the garden and the great out-doors beckon
us. Thus the Club celebrated its lifth anniversary last April with a Carnival when the rooms
were decorated to resemble the Latin quarter of Paris, and the members appeared in variegated
costumes to celebrate in true carnival spirit the remarkable growth of a few short years.
Also the Arts Club Follies have become an annual event of the summer months, following a
moonlight supper, on the hospitable lawn of Dr. and Mrs. Farrington in Chevy Chase.
Likewise the Summer Amusement Committee, Mrs. William James Monro, Chairman, has
provided a series of Tuesday evening entertainments in the Garden, replete with dancing, song
a*id jollity, with wit, wisdom and wickedness. Who can forget the pageant, "A Tribute to
Beauty," with its rhythmic dances, the "Evening in a Persian Garden," the moving picture
rehearsals, the shadowgraph shows, and other "Midsummer Night's Screams" that have added
to the joy of life?
[93]
ERECTION OF A NATIONAL PEACE CARILLON
promoted by
The Carillon Committee of the Arts Club.
An announcement of great interest to the city of Washington and to the country at large has
just been made. The General Federation of Women's Clubs at its June meeting in Salt Lake
City, unanimously and enthusiastically endorsed the report of a special committee approving
the National Peace Carillon proposed by the Arts Club of Washington, and authorized the
representatives of the Federation to join in the incorporation of the association to bring about the
erection of the memorial.
This announcement means that the forty-seven thousand clubs and the two million five
hundred thousand members of the General Federation of Women's Clubs will be active in the
Carillon movement and that the Carillon will take on the character of a national woman's
memorial to the valor of those who died defending the cause of liberty in the late war.
The Carillon Project had its inception at a meeting of the Arts Club of Washington nearly two
years ago, when J- Marion ShuU, the artist, read a paper on the subject. So much enthusiasm
was aroused that it was immediately voted that the Arts Club undertake to bring about the erec-
tion of a Carillon in Washington.
The board of governors approved the plans and a special committee consisting of W. B. West-
lake, Chairman, H. K. Bush-Brown, Capt. W. I. Chambers, U. S. N., E. H. Droop, Miss Marv
A. Crs'der, Miss Dick Root, Mrs. L. MacD. Sleeth, Col. J. F. Reynolds Landis, J. Marion Shull,
Secretary, and Dr. Erwin F. Smith, Treasurer, was appointed to devise ways and means to carry
out the plans.
The committee began a systematic propaganda to create interest throughout the United States.
The Governors of all the states were communicated with and the majority of them expressed
hearty approval. Through newspapers, magazines and music publications, wide publicity was
secured. The National Music Dealers Association took up the question and approved the
project. Many local organizations throughout the United States have had the matter presented
to them and have also approved it.
Under the direction of the committee several lectures have been given in Washington by William
Gorham Rice, an eminent writer and authority on the subject, and the entire board of directors of
the Federation of Women's Clubs was the guest of the Arts Club at a dinner last October, at which
the plan was proposed and discussed A special committee of the Federation was appointed,
which has since investigated the plans of the Arts Club thoroughly and has communicated with
most of the state organizations of Women's Clubs and the proposal has been enthusiastically
approved.
Immediate steps will be taken to make the necessary legal incorporation and the active work of
preparing for the erection of memorial will be carried on vigorously.
Paul Cret, the eminent architect who designed the Pan American Building, has made the pre-
liminarv' sketches for the tower and the finished design, which will soon be completed, is expected
to be the most distinctive in the United States and one of the finest in the world. It will rise to a
height exceeding three hundred feet and in its upper chambers will carry fifty -four bells with a
combined weight of 154,000 pounds. These bells will be tuned chromatically so that music can
be played upon them in any key and practically any composition that can be rendered upon the
piano or organ can be played on the bells. Recent developments have perfected the tuning of
bells scientifically to the fineness of a single vibration, so that the bells will be more harmoniously
tuned than the strings of a piano.
Bell makers say the National Peace Carillon will be one of tlie wonders of the world; that the
music will have a grandeur never before heard and that music lovers from all over the world will
travel to Washington to hear the Carillon concerts just as in Europe it is common for thirty or
forty thousand people to travel to Mechlin to hear Joseph Denyn, the world's greatest carillon-
neur, play upon his beloved bells in Saint Rombold's tower.
The site for the Carillon was selected by John Taylor of the great bell founders' firm of Taylor
Bros., Loughborough, England, who recently visited Washington for that purpose. Preliminary
steps to obtain the site have already been taken. It will require two years to make and tune the
bells and it is hoped that the plan may be carried to completion as quickly as the actual work can
be done. W. B. Westlake.
[94]
—
INVESTIGATIONS
— AT
AS505
Drawings and Photographs of the Buildings
and Objects Discovered During the
Excavations of 1881, 1882, 1883
BY — THE BISHOPS LODGE
Joseph T. Clarke Santa Fe. New Mexico
Francis H. Bacon
Robert Koldewey SITUATED three miles north of the city, this unique
resort offers its hospitality both to the leisure-loving
Edited with explanatory notes, by
tourist, and to the archaeological investigator.
Francis H. Bacon Readily accessible are all of the points comprised
Published for The Arcliaeological Insti- within what has been called, "The most interesting 50-
tute of America
By a Committee originally consisting of
caters to a limited clientele. It appeals especially to
Charles Eliot Norton those who appreciate the good things of life, and is
any "hotel."
John Williams White totally unlike
Open the year around. To insure accommodations

Francis H. Bacon made well in advance.
reservations should be
William Fenwick Harris
Rates and other information upon request.
table of contents
History of Assos.
Account of the Expedition.
Agora.
Mosaics Below Agora.
Theatre Photographs and Plans.
Greek Bridge. FINE PRINTS
Roman Atrium.
Acropolis — Plan. For the collector
Turkish Mosque. For wall decoration
Gymnasium.
Byzantine Church.
Fortification Walls.
Street of Tombs — General Plan.
Doc Inscription from Mytilene.
Inscription from Pashakieui.
Coins from Assos.
The magnificent volume is now ready in

a portfolio, the five parts together.
Five hundred and twenty-five copies have
been printed. Subscriptions for the remain-
ing two hundred and forty copies will be re-
ceived at
FORTY DOLLARS EACH.

Therate to original subscribers remains
twenty-five dollars. The book will not be (rColor wood block by Charles W. Bartlett,
reprinted. Cheques should be sent to "The Hawaiian Fisherman," published in
limited edition. Each proof signed, price
WILLIAM FENWICK HARRIS, $25.00. Portfolios sent for inspection.
8 Mercer Circle,
CAMBRIDGE, MASSACHUSETTS.
Brown-Robertson Gallery
415 Madison Avenue, New York.

XFORD books and Oxford
scholarship are synony- 1
DO YOU TIREcial
of the superfi=
the theatre? Do you want
mous. All bookmen know
this and unhesitatingly recom-
mend them, confident that the
instructs? Then read
cA selection
HELLENISTIC SCULPTURE
of those recently issued. THE DRAMA A monthlyrevieiv of the
"By Guy Dickins fêt ^8.00 of the threatre,
allied arts
A scholarly monograph, beautifully illust- beautifully illustrated.

Here is a magazine that is not packed with
MEDALS OF THE RENAISSANCE press-agent puffs or back-stair gossip about
"^t vamps and scandals.
By G. F. Hill ^25.00
of medallic in The Drama is edited for people who like to
Covers the entire field art
the fifteenth and sixteenth centuries, valu- think, for folks whose brains haven't yet lost
able alike as a reference work and for its their nimbleness. For eleven years it has
fine illustrations which figure for the most pioneered, bringing to its audience the best
part pieces not previously illustrated. from all lands.
MOSLEM ARCHITECTURE It has talks about and talks by some of the

foremost actors, play-wrights, and scenic
-By G. T. RiVOIRA "^t ^21.00 revolutionists; yet it never hesitates to give
A pioneer work describing the develop- space to the brilliant articles of unknown
ment of the Mosque in Syria, Egypt, authors.
Armenia and Spain from its birth down
to the twelfth century. 158 plates. Each issue contains one or two plays in
reading form. They're more fascinating
HISTORICAL PORTRAITS than short stories because they retain the
1400-1850 dramatic punch.
By C. R. Fletcher 4 vols. ^22.60 No magazine can compare with The Drama.
A splendid collection of 491 portraits by It occupies a unique position in the world of
mastersof all periods selected by Mr. Emery the theatre. Once you begin to read it,
Walker, with an interesting biographical you'll become one of its devoted admirers.
sketch of each subject. You'll enjoy its stimulating contents. You'll
keep each issue on file, for each is like a
RAJPUT PAINTING valuable book.
By Ananda Coomaraswamy
To introduce The Drama to new readers,
2 vols, "êt^] 26. 00 Send only $1 and
we make a special offer.
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with a large number of exceptionally fine Months. You will also receive your mem-
plates many of which are in color bership card in The Drama League of
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INTRODUCTION TO ENGLISH
CHURCH ARCHITECTURE $1 is so little for so much. So why not tear
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out the coupon below Pin a dollar
By Francis Bond 2 vols. TSlet ^25.00
A standard work covering the subject
from the eleventh to the sixteenth centuries
with upwards of 1400 illustrations.
A HISTORY OF FINE ART IN

INDIA AND CEYLON
•By
The
V. A. Smith
result of a lifetime of study both
^38.00 ^ TRIAL SUBSCRIPTION FOR $1
from the archaeological as well as the art The Drama Corporation

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c/il all booksellers or from the publishers. Attached herewith is $1 for which send me The
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ART AND ARCHAEOLOGY


Volume XII SEPTEMBER-OCTOBER, 1921 NUMBEI^S 3^

ART EDITOR _a^SS^te6» DIRECTOR AND EDITOR
WILLIAM H HOLMES VJJJji^SFi^^^û MITCHELL CARROLL
EDITORIAL STAFF ^^^"^^^^^^^^^^^ BOARD OF DIRECTORS
Virgil Barker Townsend Russeul, President
Peyton Boswell
iS^/I^^'^ri^ i^'^t ^'
W^^/ J^^jjafumT'î, FRank Springer, Vice-President

Howard Crosby Butler W?, '
ll^^^^îsi \\3Wn
Charles Upson Clark U^' vI^F' J^MFM ol Mitchell Carroll, S«««iry
'
Albert T. Clay ^""^ ^' ^*'''"'''' Treasurer

W, '
i^'^-^^T^ * fu
H. R. Fairclough
toO ^^^HTPRtO "^
Edgar L. Hkwett
^.*^ ^^^KiRVM
""^^^ > -^jS
Ex-officio as President of the Institute
FisKE Kimball ^<b-\ -^M Robert Woods Bliss

^^JS^'IT^r.^v^'^^^ Mrs. B. H. Warder
David M. Robinson ^%^^;M«0R>^^^
Helen Wright ^**ô,*,^^>-*^ H B. F. Macfarland. Counsel
CONTENTS
CHICAGO AS AN ART CENTER.
Introduction George William Eggers 99
The Plan of Chicago
Six Illustrations
— Irs Purpose and Development Charles H. Wacker loi
Architecture in Chicago Thomas E. Tallmadge 1 1
Eight Illustrations
The Monuments OF Chicago Lorado Tafi 121
Seven Illustrations
Chicago Painters. Past and Present Ralph Clarkson 129
Ten Illustrations
The Art Institute of Chicago Clarence A. Hough 145

Nine Illustrations
Some Collectors of Paintings Lena M. McCauley 155

Fifteen Illustrations
Friends OF American Art Lena M. McCauley 173
Four Illustrations
Field-Museum of Natural History Fay-Cooper Cole 179
One Illustration
Art AT THE University OF Chicago David A. Robertson 181
Two Illustrations
Art AT Northwestern University Stella Skinner 187
One Illustration
Municipal Art League of Chicago . ,
Everett L. Millard 189
Terms: $5.00 a year in advance: single numbers, so cents. Instructions for renewal, discontinuance, or change of address should be
AH correspondence should be addressed and remittance? made to .\rT and ,\rch.\BOl,ogy. the Octagon, Washingtoa. D. C- AUo
manuscripts, photographs, material for notes anj news, books for review, and exchanges, should be sent to this address.
Advertisements should be sent to S. W. Frankel. Advertising Manager. 7S6 Sixth Ave,, New York. N. Y., the New York Office of
Art and Archaeology.
Entered at the Post Office at Washington. D. C, as second-class mail matter. Acceptance for mailing at special rate of postage
provided for in section 1103. Act of October 3 1Q17, authorized September 7. 1918.
Copyright, 192 1, by the Art and ArchaBology Press.
Abraham Lincoln by Augustus Saint-Gaudens, in Lincoln lark, CliKayo.
—
ART micl
ARCHAEOLOGY
Volume XII SEPTEMBER-OCTOBER, 1921 Numbers 3^
CHICAGO AS AM ART CENTER

INTRODUCTION, hy GEORGE WiLLIAM EggERS,
Director 0} the Art Institute.
THE STORY —mankind of

some gradual and
of migrations
is a story thriving station for supplies,
packs were shifted from one shoulder
where
deliberate, some swift and violent; to the other, so to speak, intelligence

unopposed invasions and stern col- exchanged as to the outward trails, and
lisions, enterprises and escapes. The a place of shelter found when war
little crossed swords on a map of Europe clouds came too low upon the land-
show how men have clashed century scape. —
This was and this is Chicago. —
after century on the same old battle- In the outward aspect the Chicago
fields — and the grass grows greener in of today is simply an enlargement of
many a place because these mountains, the Chicago of the beginning of the
those rivers, these valleys, those defiles nineteenth century. Its high walls
have forced the travels of the human still suggest the stockade of its old fort
race into the same old pathways on the upon the flat broad plain. Its parks
long road to the millennium. reiterate the unbroken levels of lake
The history of Chicago is the history and prairie which surround it. Its
of the world in miniature — it is a meet- grandeur is fundamentally the grandeur
ing place of Odysseys. Its earliest great of horizontals. Its people are still
figure is the prodigious traveler LaSalle, peculiarly addicted to the habit of
who is at once a myth with seven- travel, and peculiarly free from pro-
league boots, a local hero, and an vinciality. The trails of other days
historic fact. The city's location is at have been made smooth and straighter,
the crossing of transcontinental trails and they have been shod with iron, but
by land and by water; it marked an they bring in the explorers as of yore
important portage and was early a and lead forth the pioneers to the still
[99]
ART AND ARCHAEOLOGY
romantic, still not wholly tamed, trious group of names. Chicago was
"Great West." Chicago's past is the nearest metropolis and here was
vivid in its present. found an objective and here was built
And the city's past is richly pic- up a literary and esthetic life whose
turesque both as history and as legend. impulse is still felt.
It is a matter of historic record that on The city's outstanding esthetic
the day that its ill fated garrison passed achievement is the Chicago plan. To
from the fort to perish in Chicago's its twenty-five odd projects contem-
first great tragedy, it moved out to the plated fifteen years ago when the plan
music of the Dead March from Saul. was first made public, and which, it was
Chicago has its local genius as New vaguely said, "would require a century
York has Father Knickerbocker but — or so" for realization, this community
"Dad Dearborn" wâs an actual has addressed itself with such energy
personage, and his portrait may be that approximately half are completed.
seen today in the Art Institute, painted The city's art life, and that of a great
by Gilbert Stuart. Almost on the very part of the countr}' round, focuses in the
day that these words are before the Art Institute, where collections, ex-
reader's eyes Chicago will be celebrating hibitions, schools, libraries, lecture
the fiftieth anniversary of the Great courses, and meeting places for societies
Fire, and even this has its legend in the of artists and lovers of art, are under one
story of Mrs. O'Leary's cow that kicked ample rambling roof. From here too,
over the lamp, now so much a part of is projected the extension work which
Chicago's folk-lore that it deserves to carries theArt Institute into towns and
be marked by a monument commemo- everywhere on this continent. In
cities
rating the site and episode The World's general the tendency of art in Chicago
Fair of 1 893 seemed to have achieved a has been one of health. Art has been
climax of beauty in its creation, but it seen in to the life of the
its relation
was destined to have a final moment people. characteristic works
Its most
—
even more spectacular for on a winter have been public works: its parks, its
night soon after its close, its classic mass playgrounds, its recently established
went up like ancient Troy "in one red girdle of forest lands. Its first and
roaring coal." largest beauty is democratic in its
Thus runs the city's histor\-, sil- impulse.
houetted against a background of flame vSuch, then, the huge adolescent
is
and quest. The art which it has thus city, careless for the moment of its own
far produced is chiefly lyrical and ugliness but even in the midst of this,
narrative, but with the passing of time scheming, and indeed creating, a future
such material as this will have its epic, of true splendor; unregardful today of
rubricated in the colors of fire and the the safety of its people, but developing
blood of striving men. beautiful forested spaces for the welfare
Chicago has recieved the benefit of of its unborn children still with its face
;
two cultural streams, one from New to the West, and clinging to the title
England on the route along the Great "mid-western city," but slipping in-
Lakes, the other by the Cumberland evitably, for better or for worse, into
Trail, Braddock's old line of march, the habits and manners of the East as —
from Virginia. These two streams first the slow invasion of cosmopolitanism,
mingled in Indiana and left in the moving as the sun, overtakes it and
history of American letters an illus- envelopes it.
[100]
: .
THE PLAN OF CHICAGO-ITS PURPOSE

AND DEVELOPMENT
By Charles H. \\\\ckER, Chairman Chicago Phui Commission.
THEbookPlanunderChicago
a
of
that
is
title,
set forth in
which was
to draw those who seek
pleasing surroundings.
to live amid
The very
presented by The Commercial beauty that attracts him who has
Club Chicago to the City in 1909.
of money makes pleasant the life of those
This book is recognized as the best and among whom he lives, while anchoring
most comprehensive book on City him and his wealth to the city. The
Planning ever published in the United prosperity aimed at is for all Chicago."
States. The Commercial Club of Chicago, a
It was prepared by a corps of the group of one hundred hard-headed suc-
best experts obtainable, under the cessful business men, realized from the
direction of the late, lamented Daniel beginning that our city was an entity
H. Burnham and Edward H. Bennett, and that whatever was done would
the present City Planning expert, have to be done skilfully and com-
after a most thorough study of the pletely and that the Plan of Chicago
physical conditions in Chicago and must stand for the improvement of
environs. living conditions on a large scale, for
It is the basis of all the improvements the reclaiming of our lake front for the
contemplated in the City of Chicago in use of the people, for increasing our
connection with the Chicago Plan. park areas and public playgrounds, for
When this book was presented the Club creating additional bathing beaches and
requested that a Plan Commission be pleasure piers, for acquiring forest pre-
created by the City Council, which was serves, and for a scientific development
done in 1909. of railway terminals, harbors, and water-
The goal which the creators of the ways, and for the adequate develop-
Chicago Plan ever kept in mind is comment of street facilities connecting the
prehensively set forth in the Plan book different sections of the city.
as follows The first necessary step for success
"In creating the ideal arrangement, in City Planning had been taken in
everyone who lives here is better presenting the Plan of Chicago to the
accommodated in his business and his City in definite form, carefully and
social activities. In bringing about scientifically worked out, covering the
better freight and passenger facilities, whole City and its environs as fully and
every merchant and manufacturer is as completely as the skill of the engin-
helped. In establishing a complete eer and the architect could make it.
park and parkway system, the life of The Plan was made definite with posi-
the wage earner and of his family is tive qualities; it became our ideal and
made healthier and pleasanter; while we dared to recognize it and work for
the greater attractiveness thus pro- it. There is no question in the minds
duced keeps at home the people of of the people of Chicago in regard to
means and taste, and acts as a magnet the sanity, wisdom, and ultimate sue-
[101]
Michigan Avenue Improvemt-nt.
This new north-and-south connection across the Chicago River gives Chicago a continuous boulevard drive
extending for forty miles along the shore of Lake Michigan.
New Union Station under construction at Canal Street and Jackson Boulevard just west of Chicago River. The
low building on the right is the present Chicago & Northwestern Depot and the central building occupies the
recommended two block site for Chicago's new post office
cess of the Plan. Indefiniteness and schools the City Planning Manual
incompleteness are the causes leading which is being used as a text by 30,000
to the failure of City Planning in many Chicago school children every year.
cities in this country. Having estab- This also has a reflex influence upon the
lished a right plan what was the next parents of these school children, who
step? carry their enthusiasm and inspiration
The next step was the promotion of home with them.
the Plan. In our country public opin- Through a course of stereopticon lec-
ion rules. Therefore, the promotional tures we have been able to râch every
work very important. How did we
is civic, commercial, improvement, fra-
go about this? First of all, we enlisted ternal, and religious organization in
the cooperation of the city government Chicago. These lectures have been so
and then we began to sell the Plan to popular that it has kept us busy to
the City of Chicago. We inaugurated meet all the requests which have come
an educational and promotional cam- to us to speak on the Chicago Plan.
paign along the most scientific lines. We have maintained from the begin-
We proved to our people that the Plan ning that the people must become en-
of Chicago is basically sound, that it is thusiastically devoted to their Plan;
in the interest of the commercial and and that in doing so, doubt, suspicion,
industrial future of our city and that pessimism, and unjust criticism must
its adoption and completion v ould be eliminated. Selfishness, always pres-
benefit every citizen. ent and unavoidable, when public
For the purpose of enlisting and improvements are undertaken, must be
establishing the interest of the citizens routed. No private interest must be
of tomorrow, we introduced in the allowed to stand in the way of what is
[103]
^mm
„„rfiliU*
:î?'V,
't. ^7iii,kkiikX.1
M^Mi -^^ — ^tf^fi
iS:^^''-^4mjM'^^"'"^\^^S^^ ^"niM
r/77
Proposed new Illinois Central Terminal, Chicago, fronting upon Grant Park at Roosevelt Road, alongside
New Field Museum and Stadium at entrance to new five mile park along the shore of Lake Michigan.
for the good of all the people. We al- etc., which in the most public-spirited
ways try remember that the health,
to manner have used our material through
happiness, and general prosperity of their advertising mediums.
the people are of far greater importance The result of this and many other
than the petty whims and bickerings of promotional methods adopted which I
any class or the selfishness of any in- cannot here enumerate, has been that
dividual. every Chicago Plan bond issue pre-
We maintain that public spirit is a sented to the people has been passed by
fundamental, and that Chicago possesses increasing majorities.
that public spirit to a very marked In all of our work we have cooperated
degree, which the history of Chicago closely with our city officials. Every
shows in clearly defined epochs prior plan recommended so far has had the
to the establishment of the Chicago unanimous approval of the Board of
Plan. Local Improvements and its technical
To arouse this public spirit we ap- staff and of the Chicago Plan Commis-
pealed to the press of Chicago. Our sion and engineers and architects.
its
success in this direction has been The administrations of Mayor Busse,
phenomenal and I dare say that the Mayor Harrison, and Mayor Thomp-
unprecedented support continuously son, have been in sympathetic accord
given to the Chicago Plan Commission with the Chicago Plan Commission and
and its efforts during the past eleven have been composed of men big enough
years has never been equaled in any and broad enough to understand the
other city of the world. We are also vital importance of City Planning.
greatly indebted for our success to These administrations have given us
magazines, trade journals, the publica- continuous support, without which we
tions of numerous important societies, could not have been successful. We
and the large business houses, banks. have placed trust in public officials and
[104]
:
CHICAGO PLAN COMMLSSION

PEOPQSED IMPROVEMENT AND DEVELOPMENT
OF
30UTH WATER JTEEET
VTEW LOOKIr-'C JOUTH VvTJT
South Water Street Improvement.

The upper and lower streets connect with the two levels of Michigan Avenue and the improvement marks the
first step towards making the banks of the Chicago River attractive as well as useful.
found that we could secure their full Canal Street on the west, and South
cooperation by laying our cards upon on the north.
\^'ater Street
the table, convincing them that we are Michigan Avenue: The last details
non-partisan, non-sectional, and that of this great improvement will be com-
we have no axes to grind nor private pleated early in 192 1. With the lower
interests to serve. level now in use for heax'y' traffic, the
In these few words I have attempted old Rush vStreet bridge has been re-
to show how the Chicago Plan came moved.
into how the Commission
existence, Roosevelt Road: Construction of
was created and how it operates. Now the viaduct be continued as rapidly
will
comes the natural question, "What has as possible, and it is hoped that the
been accomplished?" new bridge will be under construction
Today twelve basic features have before the end of the year.
been provided for by bond issues where West Side Terminal Develop-
necessary, and are either under con- ment Notable progress should be made
:
struction or advanced in procedure in this year in building the new Union

the Board of Local Improvements or in station on Canal street and Jackson
the courts. Projects in the making Boulevard; in widening Canal street,
embrace and in connecting it with Orleans
Quadrangle: The creation of a cir- street via the two-level Kinzie street
cuit of wide streets around the heart of bridge. Many features of the terminal
the city to relieve traffic congestion and ordinance are now completed.
allow the central business district to Lake Front Park Development:
expand normally. This quadrangle is This project should progress rapidly,
composed of Michigan Avenue on the now that $20,000,000 of bonds have
east, Roosevelt Road on the south, been voted. The bond issue will enable
[105]
Stadium, Soldiers Memorial, and New Field Museum of Natural Histor>, a part of the Great Lake Front
Development.
the South Park commissioners to start bor facilities. The City Council has
constructing the park lands between passed the necessary ordinance for an
Sixteenth and Thirty-ninth streets, to industrial harbor in the Calumet dis-
build the stadium, and to widen South trict, where still can be had adequate
Park avenue in order to extend Grand land at reasonable prices, and where
Boulevard from Thirty-fifth street north water, rail and industries can be brought
to Randolph street. This development together, which is essential for economi-
will add 1,138 acres of parklands along cal operation. In addition a mammoth
the city's waterfront, containing a transfer harbor, called Illiana, along
lagoon 600 feet wide and five miles long. the shore of Lake Michigan, partly in
There will be nine large bathing beaches Illinois and partly in Indiana, as sug-
and ample provision for all sorts of out- gested by Col. W. V. Judson, U. S. A.,
door sports, such as baseball, tennis, is being considered by both states.
golf and the like. Facilities bring business. Chicago
Outer Connection Between must offer the best or lose its trade to
Grant and Lincoln Parks: The Lin- competing cities which are today mak-
coln and Park boards have
vSouth ing improvements on a very large scale
agreed to a plan for an outer drive for the purpose of improving their com-
between Grant and Lincoln parks, mercial and industrial conditions.
which will greatly relieve loop conges- Illinois Central Plans: This ter-
tion. minal development, including the elec-
Harbor and Waterway Develop- trification of that system, was made
ment: The Chicago Plan Commission possible by an extremely impoitant
from its inception has realized the in- city ordinance, accepted by the rail-
adequacy of our industrial harbor de- road company and the South Paik
velopment and has fully understood Commissioners.
the necessity for creating adequate har- South Water Street: The widen-
[106]
ART AND ARCHAEOLOGY
ing ordinance has already been passed been made, and negotiations are now
by the City Council, and the Board of pending between the city and the rail-
Local Improvements is now preparing road companies tending to the accom-
the ordinance for a two-level street. plishment of this imperatively needed
The importance of this improvement is development.
not yet fully appreciated. It will re- Area Between Polk, State and
claim an east-and-west artery, now Sixteenth Streets and the Chicago
absorbed by private interests, and will River: The conditions in this "pocket"
open north-and-south arteries now con- are deplorable and most harmful to the
gested by produce market trafHc. It
business interests of the city. This
will connect the freight terminals on problem must be solved in an accept-
the lake front with those on the west able manner. The widening of Polk
side, via INIarket street, with a lower vStreet from State to Clark Streets, now
level street, uninterrupted by cross being done, is a part of the plan to im-
traffic.The upper street will facilitate prove conditions.
trafficbetween the north, west and
West Side vStreETs Western avenue
:
south sides and will remove fully six- The Board

is now being widened. of
teen per cent of the present traffic con-
Local Improvements has taken all neces-
gestion in the loop. The yearly savirig
sary action and the City Council has
to the merchants and consumers will
passed a number of ordinances neces-
amount to almost as much as the total
sary for the widening, opening and
cost of the improvement.
extension of Ogden and Ashland ave-
West Side PostofficE: The Plan nues. Court proceedings will soon be
Commission has started anew to insist started. Much progress should be
upon the acquisition of the two-block made in opening and widening these
site on Canal street for a new post-
office,so imperatively necessary to pro-
—
highly important arteries two of them
extending from city limits to city
tect the future business interests not
only of Chicago and its tributary terri-
limits —during the year. Robey street,
offering many difficult problems, is now
tory, but also of the entire nation. being studied, and will soon be ready
Postal conditions in Chicago are daily for consideration by the Board of
growing worse, and if the postoffice is Local Improvements.
to continue to function at all, adequate
postal facilities must be created. Pershing Road (39th street) The:
technical staff of the Plan Commission

Straightening of the Chicago
is now making a careful study of Persh-
River: The Illinois State Legislature
ing Road, which will connect Lake
has just recently passed the necessary
Michigan with the McCormick zoo-
enactments to enable the City of Chi-
logical gardens, and will give Chicago
cago to straighten the Chicago river
another very greatly needed east-and-
between Polk and vSixteenth vStreets.
west through artery.
The value of this improvement cannot
be overestimated. It will permit Wells, Outer Circuit: The City Council
Market, Franklin, LaSalle and Dear- has already passed an ordinance for
born streets to be opened through the the widening and opening of Peterson
now closed terminal area and connected avenue. This is part of an important
with the great southwest diagonal encircling highway which will extend
Archer avenue. Already progress has from Lake Michigan on the east along
[107]
NEW GArwm
The Michigan Avenue and South Water Street two-level improvements and the new Wrigley Building at the
new gateway of the greater Chicago.
Peterson and Rogers avenues to the in the county. The recommendation

Desplaines river on the west, thence of this Board to purchase over 2,000
south through forest preserves return- acres in the Skokie valley undoubtedly
ing again to the lake on the south near will be consummated during the year.
134th street. The necessary preliminaries to the
Forest Preserves: The Board of establishment of the McCormick zoo-
Forest Preserve Commissioners of Cook logical garden, which is to be patterned
county has already purchased over after the best zoological garden in the
20,000 acres of forests, more than world, are already under way. These
one-half of the total acreage available forest preserves are to be connected
[108]
—
ART AND ARCHAEOLOGY

with one another by good roads, and and deeper motive in planning for the
when completed will produce the finest future greatness of our city than its
natural park system in the world. splendid material upbuilding. This is
Housing Better housing is an inter-
: the social, intellectual, and moral up-
national problem. People are no longer building of the people. City building
satisfied to live in slums. Better hous- means man building.
ing facilities are necessary to maintain Who is there among us who is not
the virility and strength of our people. lifted above mere sordid industrial
Zoning It has been well said by
: existence into the realm of the beautiful
Edward H. Bennett, our consultant: and ennobling things of life by attrac-
"Zoning is fundamentally connected tive surroundings? Beautiful parks,
with all other features of city planning. fine monuments, well laid out streets,
Coordination in the various features of relief from noise, dirt, and confusion
city planning results in work of the all these things, and many others con-
highest value. Zoning, if well schemed, templated in the Plan of Chicago, are
more than any other agency, will give agencies that make not only for the
quality to the growth of a city. It will future greatness of the city but the
bind all ether plans in a harmonious happiness and prosperity of its people.
whole." Fully realizing the importance of
Civic Center: A concentration of object lessons, we are now undertaking
public buildings would mean a great to make the four bridge houses on the
convenience to the public and a tre- Michigan avenue bridge between the
mendous saving of time, so important two plazas as attractive, as archi-
in the economical transaction of busi- tecturally correct, and as historically
ness. In the words of the Chicago significant, as it is possible to make
Plan book: "The city has a dignity to them. The location of the plazas
be maintained, and good order is lends itself to such treatment, the north
essential to material advancement. plaza being the site of John Kinzie's
Consequently the Plan provides for house, the first white man's dwelling
impressive grouping of public buildings built in Chicago, and the south plaza
and reciprocal relations among such being the site of old Fort Dearborn.
groups." To make this possible, Wm. Wrigley,
All these improvements should b^ Jr., and the Ferguson Fund Trustees
completed within the next five years, each gave $50,000 to be used in em-
excepting the entire electrification of bellishing the bridge houses.
the Illinois Central Railroad and the Thus the bridge houses will give an
completion of the Lake Front Park artistic setting to the junction of the
plans south of Thirty-ninth vStreet to upper level of South Water Street with
Jackson Park. the south Michigan Avenue plaza.
There are numerous items as to the When these plazas and the bridge are
cost of Plan projects, the increase in developed in this way, no public author-
property values, city revenue increase, ity hereafter will think of permitting
and the result and benefit of improve- anything to be attached to them of an
ments which I have not space to inferior nature. An artistic character
mention. will become impressed upon the Michi-
While the Chicago Plan is a practical gan Avenue improvement, which will
and commercial one, there is another undoubtedly elevate to a very marked
[109]
:
ART AND ARCHAEOLOGY

degree the character of future improve- and upon each of our fellows. Chicago
ments, and will be of incalculable aid —
has a good citizenry a patriotic citi-
in embellishing South Water street —
zenry it is proud of its citizens and its
from the bridge to Market Street, a citizens are proud of their city. They
distance of about a mile, with appro-
know that attractive development and
and in mak- good citizenship go hand in hand and
priate decorative features,
they want to see their city made the
ing of the Chicago River an attractive
best it can be made."
water-course, similar to European
Not only should our art museums
water-courses. Michigan Avenue, and receive the widest possible support,
South Water Street in the City of both public and private, but art should
Chicago should then become as import- become a part of our daily life, which
ant and widely known as are the Place could be accomplished by adorning our
de la Concorde in Paris, Trafalgar parks and public places and buildings
Square and Hyde Park in London, with originals and copies of the master-
Ringstrasse in Vienna, and Unter den pieces of sculpture of all times. Thus
Linden in Berlin. The nature of the could be created an atmosphere, now
improvement will have a very decisive lacking, which would stimulate an
elevating influence on the character of interest in art, inspire latent genius,
the buildings that will be erected along and ultimately bring out the best
Michigan avenue from Randolph Street there is in the spiritual forces of our
to Chicago Avenue, as well as along the nation.
entire north side of the River, and To maintain the strength and virility
eventually throughout the city. of the people, it has become imperative
From the Reconstruction Platform of the world over immediately to in-
the Chicago Plan Commission, ad- augurate and speedily carry out hy-
dressed to his Honor the Mayor and gienic, economic, and humanitarian
the City Council of Chicago, I quote projects. We could afford to spend
the following paragraph Ijillions for war: why not millions for
"There is eloquence in stone and peace and contentment? The war
steel; there is inspiration in good archi- taught us many lessons, but nons was
tecture; there is character-building in greater than the result obtained by
artistic and good surroundings. Our unity of action. Nation-wide unity of
city as our larger home does much to action in upbuilding our great country
mould our character. Unknown and will lead to a patriotic devotion to it
unrealized by us the silent forces of that will make of us a people both
our environement are working upon us prosperous and happy.
[Oh account of lack of space the articles by Jens Jensen and Dwight H.
Perkins on the Parks, Playgrounds and Forest Preserves, of Chicago,
and of Cook County, have been reserved for a later number, when Mr.
Jensen will discuss Landscape Art in its relation to the Park System.]
UlOl
ARCHITECTURE IN CHICAGO
By Thomas E. Tallmadge, A. I. A.
WHEN in the
a history of Architecture
United States have
shall
fashion, and just before the Civil
appeared a new mode. This curious
War
been written, it will be found mixture of mansard roofs, of wax

that Chicago, synonymous in many flowers, of hoop skirts, of Dundreary
minds with materialism, has been more whiskers, of English Gothic tracery, of
potent in the development of architec- cast iron deer, I am calling here for the
ture in this country than any other firsttime the Parvenue Style.
City. The plague continued in Chicago for
First: She was the mother of the thirty years or more, and the Phoenix
skyscraper, whose steel skeletons and that rose from its ashes in '72 was the
cliflf-like forms have filled our urban same ugly bird it was before. There
scenery with canyons and mountain are many examples of this Parvenue
ranges. Style still standing in decayed splendor,
Second: She furnished the site and the Palmer House, for instance, and
her sons directed the great World's the Board of Trade, while the most out-
Columbian Exposition, an artistic ex- standing examples were the old County
pression which, in our architectural Building and the City Hall, destroyed
history, ended one epoch and began some fourteen years ago.
another. William Morris in England and H.
Third She alone has had the courage
: H. Richardson in the United States
to offer to a suspicious and highly were the knights that overthrew this
skeptical world an American style. dragon of bad taste. Richardson's
Architectural history in Chicago did Romanesque Revival spread over the
not begin until long after that fair entire country in the '8o's. We have
flower which we call the Colonial Style many noble examples from Richard-
had been laid away and for the time son's own hand, such as the Field
forgotten. When Chicago was fight- Wholesale Building, the Chicago Club,
ing for her life in the black mud bogs the MacVeagh house. By some ot his
of the Thirties, the style known as brilliant young disciples were the Rook-
the Greek Revival was in high favor. the Woman's Temple, the Monad-
ery,'
The columns of the Parthenon and of nock Block, all by Burnham & Root.
the Erectheon were resurrected to The Auditorium by Adler & Sullivan,
express the ideals of a new democracy, and the Higgenbotham House by
and the acanthus bloomed again on the Henry Whitehouse.
prairies of Illinois and on the shores of In the midst of the Romanesque
Lake Michigan. These buildings, for Revival came the invention of the high
the most part of wood, with their speed passenger elevator and the skele-
Greek porticoes and Roman domes, ton steel frame. The Tacoma Build-
have almost all disappeared, chiefly in ing on La vSalle and Madison Streets by
the great conflagration of 1872. Holabird & Roche is the first skeleton
The Classic Revival, dignified if steel frame building in the world, and
somewhat pompous and illogical, in its consequently is one of the most im-
turn fell a victim to the caprice of portant architectural monuments in
[111]
Transportation Building, East Entrance, Wdrld's Columbian Exposition. The great work of Louis H. Sullivan.
Critics, especially those from abroad, saw in these rainbow arches the promise of an American Style
this country. It revolutionized the said the most beautiful building in the
building of many storied structures. world. It stands now beautiful in its
Its ornament, you might note, is in the ruin, which is the final test of beauty.
Romanesque style. A Damoclean pick and shovel hang
In 1893 came the World's Fair. Its over its exquisite head, and a year from
classic peristyks and measured beauty now unless Chicago raises the money
gave the coupe de grace to the already to restore and maintain it, we will stare
tottering Romantic movement inaug- at an ugly wound in the earth, and
urated by Richardson. Its overwhelm- curse the day that we allowed our
ing beauty turned a nation's eyes loveliest flower of architecture to be
back to Greece, Rome and the Renais- uprooted and destroyed.
sance, and it officially opened the The "World's Fair" is still with us
architectural epoch in which we now in the presence of its offspring. Its
live, an epoch of Artistic Eclecticism. larger, healthier and vastly more popu-
The Fine Arts Building from the lar child is our present Architectural
magic hand of Charles Atwood, was Eclecticism. In this frame of mind our
the most beautiful building of the buildings may be of any style, though
Exposition, and Daniel Burnham has some adaptation of the Italian Renais-
[113]
The Tacoma Building. A Milestone in American architecture. The first building in the world of skeleton
steel construction
Holahird and Roche, Architects.
OJ
j3 a
.2W
2"
c
c:5
Ov o
^5
—
r..i i_
4
U
US'
Auditorium Hotel.
The "Palazzo Vecchio" of Chicago — Designed by Louis H. Sullivan in the Romanesque style.
sance is the favorite. Most of the wan and feeble as yet, is our creative
great buildings since the World's Fair movement, sometimes called the
express this new found right to choose Chicago School; a direct attempt to
and ability to execute in any style. found an American vStyle by an ex-
The Gas Building, The Art Institute, pression in architecture of the rela-
The Field Museum, The Continental tions of form and function, a recogni-
and Commercial Bank, The Wrigley tion of materials employed and the use
Building, are classic in style. The of indigenous forms for ornament. It
University Club, the Harper Memorial, owes existence to the genius of Louis
its
the Fourth Presbyterian Church, are Sullivan, whose Transportation Build-
Gothic. The Monroe Building and ing at the World's Fair marks its first
the Crerar Library are Italian Roman- appearance, and whose Gage Building
esque. However much such an eclec- isthe most logical expression that the
ticism may lack conviction and unity skeleton steel frame building has ever
of purpose, it certainly adds variety and received.
piquancy to our architectural ensemble, Chicago's interesting past is but the
and technically it reaches a high level period of her youth and tutelage. She
of excellence in its individual expres- stands on the threshold of a glorious
sion. maturity. The completion of her boule-
The other child of the World's Fair, vard link will bring in its train a series
1117]
£^
t^
1^
IE. %^\^^
EC^
a^xt-tr era g-i£j pg i
n
-^
The Pcoi^lcs Gas —

uas Building a brilliant example of modern eclecticism. The Roman detail forms an ;
interesting texture
sture. —
The first story granite columns are a solecism they support nothing but themselv-es.
Graham Anderson, Probst and White, Architects.
University Club and Monroe Building, the former Gothic in style, the latter Italian Romanesque.
of magnificent buildings of which the approach and setting in the world, and
Wrigley, nearing completion, is the the next generation will see the City
first; the consummation of the Grant stretch in an almost unbroken line
Park and South Park outer boulevard along the shore of Lake Michigan from
plans will give her the most beautiful Indiana to Wisconsin.
[119]
THE MONUMENTS OF CHICAGO
B\ LoRADO Taft.
CHICAGO'vS sculptured memorials corners of the pedestal. Who they are

comparatively few but are
are no one asks.
already sufficient to mark the Remote as is this work of another
changing tastes of a primitive, sturdy century, one pauses to thank its creator
people. Something like the waves of for reminding our fathers that there was
our great inland sea which build and such a thing as sculpture. His was not
destroy, the incessant surge of the years an easy task but it had its reward. His
has begxin to leave upon Lake Michi- bust of the living Lincoln is of inesti-
gan's sandy shores its records of western mable value. His statue of Lincoln in
enthusiasms. tlie capital at vSpringfield may have
Such records are of profound sig- furnished the motif for our great
nificance. Sculpture is a difficult and "Lincoln," standing before the chair
expensive craft; monuments are not of state.
erected by a community without good not attempt to trace our prog-
I shall
and sufficient reason. How unfailingly ress through the years. A chronological
expressive they are of their time how — catalogue of our sculpture would be of
unerringly they mark the average of little public interest. To those un-
culture ! It cannot be said as ot privileged to live in our modest town
Grecian art that our sculpture and the subject "Monuments of Chicago"
architecture embody the ideals of the connotes just one work and to this I
people, for on these lines we have as yet gladly turn.
no ideals at all ; it is their absence which It was in 1887 that Augustus vSaint-
is vividly suggested by our early Gaiidens' "Lincoln" came to dwell
monuments. among us.* Its welcome was enthusias-
Nothing for instance could be more tic although we did not at first realize
representative of the fashion of its day how precious a treasure was ours.
than the Douglas monument at the Then we began to hear it proclaimed
lake end of 39th Street. When in 1861 the finest portrait statue in America.
Stephen A. Douglas died in Chicago, —
So the critics have told us and we like
his fellow citizens promptly undertook to think it so today. The standard of
the erection of a suitable memorial. the nation's monuments has been vastly
The result, the work of the pioneer raised in these thirty-four years but
sculptor Leonard Volk, marks the this figure is yet to be surpassed. It
location of the Douglas home. The was a labor of reverent love upon which
passengers of the Illinois Central ex- the master expended much time and
press trains catch a glimpse of a high study. As in many of his greatest
shaft from the top of which the in- achievements he enjoyed in this case
credibly short and yet more fore- the collaboration of Stanford White,
shortened "Little Giant" looks down with the result that the setting is in
upon the metropolis which he helped to perfect taste and perfect harmony with
create. Four low-seated bronze women its surroundings. It is well placed.
of non-committal aspect occupy the The monument is no "accident" in the
•See Frontispiece.
[120]
'
ART AND ARCHAEOLOGY

park; its location was carefully con-
sidered and broad roads converge to it.
The wide platform and long, low granite
steps, flanked with bronze globes, are in
themselves impressive. The curving
walls have a generous sweep of sixty
feet and bear, in the perfection of Saint-
Gaudens' lettering, these two utter-
ances of the martyred president: "With
malice toward none, with charity for
all, with firmness in the right as God
gives us to know the right, let us strive
on," and "Let us have faith that right
makes might, and in that faith let us
to the end dare to do our duty as we
understand it."
The massive block on which the
figure stands is raised so little above the
height of the wall that at a distance the
various members work together for a
solidity of effect, one might almost say
an inevitableness of structure, which is
rare indeed in the monumental archi-
tecture of this country. From the side
the bold separation of figure and chair
may appear at first odd and even un-
pleasant, but one soon becomes ac-
customed to it. From the front, the "George Washington" (front view) by Daniel C.
cooperation of the mass and lines of the French and Edward R. Potter. Presented to
chair very grateful to the eye, espe-
is
France by D. A. R. Copy in Washington Park,
Chicago.
where the silhouette
cially at a distance
o^ the slender unaided statue would be ventionally dramatic or sculpturesque
'
meagre. It gives the volume and the as from the baldly commonplace.
"color" which the old-time sculptors Neither physical facts nor facts
sought to gain by hanging cloaks on of costume are palliated or adorned
their figures and by piling improbable and the figure is idealized
.
accessories about them. Upon nearer only by refinement and breadth and
approach the chair fades out of focus; vigor in treatment. . . This
.
the magnificent head holds the entire 'Lincoln,' with his firmly planted feet,
attention. his erect body, and his squared
How fine this work is my poor pen shoulders, stands as a man accustomed
could never tell you I turn with grati-
; to face the people and sway them at his
tude to Mrs. Van Rensselaer who years will, while the slightly drooped head
ago expressed her admiration in the and the quiet, yet not passive, hands
following eloquent words: "The pose is express the meditativeness, the self-
simple, natural, individually character- control, the conscientiousness of the
—
istic as far removed from the con- philosopher who reflected well before he
[1211
—!
ART AND ARCHAEOLOGY

spoke, of the moralist who realized to
the full the responsibilities of utter-
ance. The dignity of the man and his
simplicity; his strength, his inflexi-
bility and his tenderness; his goodness
and his courage; his intellectual con-
fidence and his humility of soul; the
poetic cast of his thought, the homely
rigor of his manner, and the underlying
—
sadness of his spirit, all these may be
read in the wonderfully real yet ideal
portrait which the sculptor has created."
I feel strongly today, as I have
written in the past, that the value of so
high an example of the monumental
art can scarcely be overestimated. Its
workmanship will be a canon and a
guide for generations of sculptors to
come; the serene dignity of the con-
ception has already had its marked in-
fluence on the side of gravity and dis-
tinction in public works. Strange, is it
not, that this quiet figure which lifts
not a hand nor even looks at you, should
have within it a power to thrill which
is denied the most dramatic works
planned expressly for emotional appeal
Already a generation of men have
lived and departed since that statue was
erected in Lincoln Park. Continue to
come and go they will, like the surf
which curls about a mighty cliff". He
remains unchanged. Wonderful the
genius which so charged with emotion
this bronze that it gives forth today of a
potency undiminished by the years
enhanced, rather, by accumulating asso-
ciations! Of it might one well say as
did Lowell at Chartres: "Be reverent,
ye who flit and are forgot, of faith so
nobly realized as this."
Besides the "Lincoln" which wel-
comes to the park and is so grandly and
overpoweringly the genius of the place,
there are two or three other admirable
works most fittingly bestowed ap- —
Abraham
paritions which one does not resent
Linculn, "The Rail Splitter" l.\ Charles
J. Mulligan, in Garfield Park.
[122]
ART AND ARCHAEOLOGY
amid the shrubbery and trees. "The
Signal of Peace" by Cyrus DalHn, was,
if I remember right, the earUest of that
impressive series of quiet Indian figures

upon patient horses which has culmi-
nated in the masterly "Appeal to the
Great Spirit" of Boston. Rodin used
to tell us that his task was " to find the
latent heroic in everyday actions" Mr.
;
Dallin finds it without difficulty in his

favorite subjects and our cities are
enriched through his sympathetic in-
terpretations. Another echo of primi-
tive life we find in the group called
"The Alarm." My old-time friend
John J. Boyle, while still a student in
Paris received from the late Martin
Ryerson an order for a memorial to the
Ottawa Indians; the result was the
massive and thoroughly admirable com-
position which we illustrate, a work
which the eager sculptor never sur-
passed in his too-brief career.
Related likewise to the story of other
days and happily placed in the edge of
the park, at the head of La Salle Ave-
nue, is the statue of the intrepid vSieur
de La Salle, one of the earliest of our
distinguished visitors. This work by
Jacques Lalaine, a Belgian sculptor, is
suavely modeled and in spite of the
elevation of the right foot upon a high
stone, with resultant square angles in
the silhouette, is a sufficiently dignified
presentment. Statue of the Republic, erected in Jackson Park,
Our equestrian statue of General Chicago. By Daniel Chester French.
Grant by Louis Rebisso is perched upon
a nondescript pile of masonry which Appomattox. General Fred Grant
rests in turn upon a bridge. The once told me that to his mind the
it was
sculpture harmonizes with the archi- miost satisfactory portrait of his father
tecture in its complete absence of artis- in existence.
tic distinction. However, despite the In Leonard Crunelle's "Governor
fact that we look in vain for felicities of Oglesby" we have a statue worthy to
modeling and that never in the world be in the same park with Saint Gaudens'
would this bronze "make the heart leap "Lincoln." The sincerity and power of
as to a war chant," the figure is without this work are instantly apparent. The
question that of the silent hero of the physical adequacy of the fine old leader,
[123]
—
ART AND ARCHAEOLOGY

and receives annual homage from the
school children of Chicago. Here, too,
is a bust of Beethoven by John Gelert
and a statue of Hans Christian Ander-

sen from the same conscientious artist.
To most people it is a surprise to learn
what manner of man was the great
story-teller. Gelert shows him seated
in formal, long-tailed coat amid his
swans, ascetic and dreary in face and
form. Gherardi's "Garibaldi" has
always been a little uncertain as to his
center of gravity, but is a thoughtful
and sincere characterization.
Of this statue as of most of these
effigies, foreigners and governors alike,
and particularly of the dentist glorified
by Frederick Hibbard, one asks in
perplexity, \Miy are they here? The
one spot on the North side where one
hopes to find a glimpse of nature, the
joy of flowers and trees, is encumbered
with metal coats and trou.sers. Every
eligible site and vista culminates in
something which you do not wish to see.
The impulse to erect memorials is
worthy and indeed irrepressible, but
Miner and Child, By Charles J. MulHgan, why not put the formal bronzes in
Humboldt Park, Chicago.
formal places, along avenues and against
his bonhomie and his homely grace are —
buildings anywhere but here where
completely realized in a figure which is greensward and sky-line are so in-
sculptural by first intention. Gutzon finitely precious?
Borglum in his statue of Gov'ernor The same mistake has been made in
—
Altgeld another public man of marked our West side parks. Instead of works
—
individuality has followed an opposite of imagination and themes harmonious
method, summarizing his theme in a with sylvan beauty we find there
sketchy mass which however pleasingly another petrified congress of nations, a
facile in treatment lacks the qualities sculptural card-index of the peoples
of incisive characterization. The un- represented in Chicago's mighty melt-
mistakable features and picturesque ing pot. From his pedestal Alexander
garb of Benjamin Franklin mark a com- von Humboldt beams upon Kosciusko's
petent work by Richard M. Parke. prancing steed, the while Leif Ericson
Its silhouette is not an unpleasant one and stodgy Fritz Reuter exchange the
against the sky. —
time of day. Robert Burns in the form
A seated "Shakespeare " is one of the of the stock figure to be seen in Mil-
best achievements of that: cultivâted waukee, Denver and way-stations
sculptor, William Ordway Partridge, waves distant greetings to Bohemia's
[124]
ART AND ARCHAEOLOGY
vehement representative, Karel Hav-
licek, whose uphfted arm is usually
adorned with a series of wreaths. They
are all very much at home; all are
welcome in Chicago, but the parks
would be better without them and their
own dignity would be enhanced by a
more formal setting. That was a true
word spoken by the Municipal Art Com-
mission of New York: "Most of our
monuments look as if they had been
carried about by some giant and drop-
ped wherever he happened to be when
he became fatigued." The casual way
in which memorials are planted in our
parks is a fault to be corrected; it will
be when they are not permitted there
at all.
Very appropriate on the other hand

are Crunelle's four youthful figures at
the corners of the Rose Garden pool in
Humboldt Park, and the small bronzes
by French and Potter The last named
were made from the working models of
certain admirable groups of the Colum-
bian Exposition and while hardly large
enough to satisfy the eye in their pres-
ent location are among the finest of our The Alarm, by John J. Boyle, Lincoln Park, Chicago.
possession.
I quite forgot in my enthusiasm to tell How is that for an official publication of
you who did all of these brave works. "the sixth largest German city"? If
The "Chicago City Manual", con- your German is rusty just ask some
veniently at hand, is rich in misin- scholarly friend who "Gegossen" was!
formation. Perhaps we can straighten "Burns" is by the clever Edinburgh
some of it out. "Humboldt" is attri- sculptor, W. Grant Stevenson; and the
buted, we hope correctly, to F. Garling, strenuous "Havlicek," a really admir-
of somewhere, who may however, have able piece of modeling, is by Joseph
been the bronze founder. "Kosciusko" Strachovsky of Prague.
was modeled in Chicago by the Polish Charles J. Mulligan, an enthusiastic
sculptor, Casimir Chodinski. "Eric- and inost likable young Irishman, de-
son," the book tells us, was made by voted himself with untiring zeal to the
"Asbor Jornson;" which is a neat adornment of the great West side.
camouflage for our Chicago sculptor, Its park system offers a series of works
Sigvald Asbjornsen. I like best what from his untiring hand. He never was
we are about honest "Fritz
told adequately paid and most of these
Renter:" "Franz Renter, bronze, by monuments bear unhappy evidence of
Gegossen von Ch. Lens, Nurnberg!" the haste in which they were conceived
[1251
:
ART AND ARCHAEOLOGY

and executed. At the time of his death them crowd into the other parks of
to
Mr. Mulhgan had orders which would the city. Perhaps it was the weird
have enabled him to demonstrate the "Drexel" at the head of Drexel Ave-
talent which he possessed, but his nue which saved the day. This Un-
hand was suddenly stayed. It does known, perched on his queer fountain,
not seem quite fair. Among his pro- was an inheritance from a forgotten
ductions may be mentioned the " Presi- past; having tried him they will have
dent McKinley" in McKinley Park; no other. vSculpture is not entirely
"Fourth of July Fountain," Inde- banished however; Washington Park
pendence Square; Colonel Finerty Me- is made significant by a copy of that fine
morial and "The Rail-splitter" (Lin- equestrian "Washington" which the
coln) in Garfield Park " The Miner and
; Daughters of the Revolution presented
Child" in Humboldt Park. to France, the work of those two
A monument on the west side which masters, Daniel C. French and Edward
is not to be overlooked is the Illinois C. Potter. Wrote Wm. A. Coffin of it
Centennial Memorial, a stately column "Washington, in Mr. French's statue,
designed by Henrv' Bacon and happily is represented as taking command of the
decorated by Evelyn Longman. The army at Cambridge, dedicating his
reliefs at the base and the conventional sword to the service of his country, and
eagle which crowns this chaste tribute, appealing to Heaven for the justice of
are exquisitely carved in mellow Ten- his cause. With the head thrown
nessee marble. slightly backward, the figure holds with
In Union Park, we are told by our the left hand and arm the military hat
invaluable "Manual," we shall find and the bridle reins, and, the other arm
"Carter H. Harrison, stone, by W. being extended perpendicularly, the
Grant Stephenson" which to the in- right hand holds the sword exactly
formed means that the portrait of our upright. The pose is heroic and dra-
picturesque World's Fair mayor is in matic. The spirit of the motive is
bronze and by Frederick K. Hibbard of admirably expressed in the action of the
Chicago. It is one of Hibbard's early figure, and the head is noble and com-
works but remains one of his best, a manding in aspect." It may be said
simple dignified figure. The next item that the Father of His Country looks
in our guide is "Policeman's Monu- just as noble at the entrance of Wash-
ment, bronze by J. Gilbert, erected ington Park as he does in the Parisian
after the Haymarket riot, with the "Place."
legend, 'In tlae name of the People I Another appropriate work, to be
command Peace,' " which is all right found in Jackson Park, is the one
excepting the fact that this inexorable sculptural record of the Columbian
representative of the law was made by Exposition. Dominant among the ivory
our old-time friend John Gelert. palaces of the White City stood the
The Park Commissioners of the vSouth majestic golden figure of the "Re-
Side have from the first held a different public." I admired greatly that monu-
view regarding portrait statues in their mental creation and wrote my enjoy-
domain. All wistful candidates have ment of it in a book, but here is no space
been shown the door and with this to quote. The original was some sixty
tradition well established it is as easy feet high; we now have in permanent
now to keep them out as it is easy for material a reduction twenty-four feet
[126]
;
ART AND ARCHAEOLOGY

high, a tiny descendent of the one we ander Hamilton by the late Bela L.
loved. It is upon a fine pedestal not too Pratt of Boston. This bronze stands in
far removed from the vanished Court of Grant Park near Monroe vStreet and is
Honor and serves to recall past glories. admirably backed by an architectural
Returning city-ward one passes at setting designed by Charles A. Coolidge
the foot of 1 8th vStreet a strange com- of Boston.
position which from the train is a mere The third purchase was the Illinois
tangle of bronze figures. It is Carl Centennial Column already referred to.
Rohl-Smith's Indian group commemo- Others promised are a memorial to
rating the Fort Dearborn massacre and Marquette to be placed upon a historic
its great significance lies in the fact that site near the Chicago River on the West
it marks the very spot where the ill- side;and an elaborate monument to
fated caravan met its doom. A con- Theodore Thomas, our great musical
scientious and skilful work, its realism leader. This work, in exedra form, is
is enjoyed by many. already far advanced under the skil-
Back to the "Lake Front" once ful hands of Albin Polasek of this city,
more. We observe upon a considerable and will be one of our most valued
artificialelevation the restless silhouette possessions. A recent experiment in
of Saint-Gaudens' "General Logan." location on the Michigan Avenue border
The hero is shown bareheaded, grasping of Grant Park, opposite Orchestra Hall,
a flag which he has seized from a falling was very successful; "Music" personi-
color bearer. All is excitement and ten- fied by a large female figure of unusual
sion. It is the most agitated of all of beauty was shown standing before an
Saint-Gaudens' works and is to me the architectural mass of dark granite upon
least satisfactory.However, it has the which in almost Egyptian simplicity
beauty of modeling which never failed are to be outlined the forms of Theodore
our greatest master and Grant Park Thomas and his players. To those who
would be poorer without it. have watched the development of the
Some fifteen years ago it was found work and who know what those compo-
that Benjamin F. Ferguson, a lumber- board silhouettes represented the
man of Chicago, had left in his will a promise was great.
large sum as a trust fund, the in- From month to month we hear of
come of which was to be devoted to the other projects: fountains, decorations
embellishment of the city with statues, of bridges, etc., are being considered.
fountains and other forms of memorials The Ferguson Fund works all the time
in commemoration of individuals and its beneficient returns have but begun
historic events. The money carefully to appear. Imagine what twenty years
invested soon reached the desired will give us — a hundred! In regard to
amount ofone million dollars and its our monuments as well as other things,
income became available in 1907. The we reveal Chicago's usual irritating
first of these purchases was the writer's optimism which in spite of disorder and
" Fountain of the Great Lakes, " agroup obvious deficiencies persists in pro-
of five figures erected in Grant Park, at claiming: " Our Chicago is not what you
the south end of the Art Institute, and see, but the city that is to be, the city of
dedicated to the memory of Mr. Fergu- destiny !" We bahold her wreathed with
son himself. The second was a grace- flowers and begirt with monumental
ful if not robust presentment of Alex- jewels of wonderful artistry.
[127]
G. P. A. Healy, Self-portrait. Collection of the Art Institute.
CHICAGO PAINTERS, PAST AND PRESENT
By Ralph Clarkson.
TO understand and appreciate the

growth of the individual
artistic
can place the work and influence of the
painters of the past three score years.
one must place him against the The Art history' of Chicago up to the
background of the economic, political time when G. P. A. Healy was enticed
and social life of his time. A great from painting noted personages of
artist like Michael Angelo becomes Europe in 1855 practically negligible,
is
more real when we know the conditions but her citizens were then traveling
that surrounded him during his best abroad and coming in contact with the
creative period, the reign of Juhus II. cultural influences of art, and they
He produced his masterpieces, torn by showed sound judgment in inducing a
internal struggles, willing to relinquish native painter of such talent and suc-
his work many times, yet urged on by cess to make a "frontier town," as
his patron. He finally completed the Chicago was then rated, his temporary
Sistine Chapel, convinced that "the home. That they asked him to portray
times were not in sympathy with art them instead of importing some foreign
production." How like today! One artist is greatly to their credit. His
wonders whether his development was visit lasted some two years, but it was
entirely from within, uninfluenced by cut short by the business depression of
precedent, or was the culmination of 1857. He returned from Europe from
tradition and example. However, Mich- time to time to paint noted Americans
ael Angelo did have before him some of in public life, and eminent Chicagoans,
the most beautiful statues of ancient finally coming back with his family,
times, as several were uncovered during members of which still live here, to pass
this period of his sojourn in Rome and his remaining years. He died in 1892.
he was big enough to profit by their It may be said that the traditions of
proximity. the art of the City were more or less
Velasquez developed his incompar- founded upon the ideals of a mind
able art amid political and social dis- saturated with the ideas of the early
tractions. He had duties that would American painters, and it seems most
have overwhelmed a weaker spirit, but fortunate that its great men during the
he was in constant contact with the most critical period of the nation's
best examples of the Renaissance which life should have been portrayed by one
gave him a background and standard thoroughly American in spirit and
that none but a great talent could have adequate technically.
surpassed. I am
reverting to these Healy, though not native to the
artists to callattention to the truth State, was given freedom of practice
that the work of these geniuses culmin- through the patronage of its citizens
ated after a long period of growth and he has bequeathed to the country
that had established high standards of an invaluable heritage of characteriza-
craftsmanship and individuality of ex- tions of many of its greatest statesmen
pression. And now I wish to construct and citizens. It has been the fashion
a simple background against which I to speak of his work as "overmodeled
11291
La Vacherie, By Chas. Francis Browne
and photographic," yet his best work cerned with this venture, except as it
will stand in the first rank with his was the first home of the Arts, the place
contemporaries. where the Academy of Design held its
No was made in the civil
progress exhibitions and where, in the lottery,
war and the foundation for all
period, a number of important pictures were
that the present day holds may be said drawn, "including the masterpiece of
to have been laid in 1866, when a group the collection, The Yosemite Valley,"
of earnest artists founded the Academy by Bierstadt. This building was re-
of Design. decorated in time to be opened on
The year previous the Crosby Opera October 9, 1871, only to be destroyed
House, intended to be the home of the by the great fire.
arts, and planned to surpass anything I understand also that it was here
in the West in architectural beauty, was that the first classes in drawing and
opened at the end of the week on which painting were held in 1866 under the
Lincoln was assassinated, but from the auspices of the Academy of Design.
first it was a
financial failure. Soon Chicago was the third city in the coun-
after the "Crosby Art Association" was try. New York and Philadelphia being
formed and an arrangement was made the others, to give such instruction.
to dispose of the Art treasures, and the At this time it was a place of 250,000
Opera House itself, by lotterv'. inhabitants, and there were those among
This article is not especially con- her citizens who had the audacity to
[130]
Geese, By Jesse Arms Botke. Collection of the Art Institute.
predict that "some time in the distant and who, after studying in Germany,
future it would number a miUion souls." returned to New
York, where he be-
It is almost incredible that there are came one of the most important of our
many who have seen her reach nearly painters. His work was imaginative,
three times that number and who have decorative and suave. Associated with
lived, as mature men, through her him was J. F. Gookins, a thorough
entire artistic life. American, who made a deep impression
During the period from the organiza- upon his students and who was a cap-
tion of the Academy of Design to the able painter, both in landscape and
fire of 1 87 1, the success and influence figure. Probably the best known at
of the society were unusual. The lead- this time was Heniy W. Elkins, who
ing American painters exhibited at its showed in his landscapes, a daring, both
shows, and among its members were in importance of subject and bigness of
men already well known and others canvas. His popularity was emphasized
destined to be among our foremost by the fact that he looked the typical
artists. Leonard Volk was its first artist with his long hair and other
president and H. C. Ford, a landscape expected signs of his profession.
painter, its vice-president. On the D. F. Bigelow painted a most able
Council was Walter Shirlaw, a vScotch- landscape and remained for many years
man, who was a copper-plate engraver the highly esteemed dean of his craft,
for the American Bank Note Company, and Theo. Pine executed some import-
[131]
Mrs. Charles L. Hutchinson, By Oliver Dennett Grover
ART AND ARCHAEOLOGY
ant portrait groups which show both gether from life and had been managed
abiHty and knowledge. The produc- and controlled entirely by artists. It
tion in various fields of A. J. Pickering possessed a valuable charter and had a
was well known and bought. Frederick bright future before it, but the fire
S. Church, among the early associates, —
swept all hopes away the calamity
who afterwards settled in New York, proved too great. After an attempt
has given to our art a charming, fanci- at a revival, lack of funds and want of
ful and decorative note through many interest caused bankruptcy. The school
years of endeavor, and C. G. Dyer, who, continued, except for the interruption
after these early days, lived mostly in caused by the fire, after which it was
Munich, Venice and Paris, has left some transferred to the site now occupied by
worthy pictures. It is interesting to the Chicago Club, where it finally
note that a beautiful small portrait of expired. In 1878 a number of wealthy
Mrs. Dyer, by Sargent, painted in citizens interested in Art matters in-
Venice in 1882, is owned by the Art corporated the Academy of Fine Arts,
Institute. and all its possessions, except its char-
Probably the best portrait painter of ter, passed into their hands. When the
his time resident here was Henry Academy of Fine Arts was formed it
Peterson, and J. Antrobus painted an was located for three years at the cor-
excellent portrait in the Holbein manner of State and Monroe Streets, where
ner. As I look over the namas of a school was maintained and occasional
the members of the Academy of Design exhibitions were given. Then, for a
of 1868, I notice only one whose begin- while, it functioned in the old Exposi-
nings go back to that far-off time and tion Building, finally locating on Van
who is still actively at work. C. Buren Street, and there it remained
Pebbles, a portrait painter, has sus- until the Art Institute was organized
tained a meritorious reputation during and the building at the corner of Michi-
half a century. Joining this group, gan Avenue and Van Buren Street con-
after service in the Civil War, came structed in 1882-3.
Alden F. Brooks, who painted praise- While not the story of the Art
this is
worthy figures and portraitsand whose Institute,enough must be known of it
activities still continue. Frank Bromly, to show the conditions under which our
a pupil of Elkins, achieved great facility, artists were educated. This new locale
but died before his talent had matured. on Van Buren Street was really the
The still life of C. P. Ream has been home of the influences that were to
favorably known through many years. shape the careers of our future artists,
In the exhibitions of the Academy, and it was fortunate that, at the begin-
one recognizes the names of practically ning, there were devoted and superior
all of the leading Americans of the craftsmen to guide them.
period and can well understand that H. F. Spread, was the leading in-
these early shows aroused an enthusi- structor, well grounded in his art, an
asm and a patronage that has not been indefatigable worker, in every instinct
surpassed until quite recently. Of and feeling an educator and an artist,
course the fire of 1871 and the panic of and interested in public aff'airs. He
1873 nearly extinguished the art life. brought to his students enthusiasm and
The Academy of Design was the out- the application needed for their work.
growth of a group that worked to- By birth and education he was eminent-
[133]
The Blue Rafter, by Frederic Clay Bartlett. Collection of Art Institute
ly English. In portraiture, he painted and for many years, until he moved to

some admirable heads, and in land- the East, was prominent in the Art life
scapes, in depicting certain phases of of the city, where he left many can-
nature, he was true and sympathetic. vases that show marked ability.
His fine influence and advice formed At this period, the early eighties, we
the careers of the men who were not begin to have a new state of affairs.
only to achieve prominence as artists, The former students are either return-
but to occupy leading places as teachers. ing from abroad to take up their pro-
Through hisenthusiasm and eflfort was fession, or settling in New York, some
formed the first Chicago Society of remaining in Europe. This coming
Artists in 1888, which held its weekly home America to gain one's living
to
meetings in his studio and aided in 'the '
has always been the most trying epoch
advancement and cultivation of social in an artist's life. He has probably had
relations among its members." L. C. wonderful years abroad, surroimded by
Earle was among these early teachers beauty and bohemian freedom, un-
[134]
r
Indians of Taos, New Mexico, By Victor Higgins.
mindful of earning money, and his re- it would be difficult to compile, but
turn to the bald realities of necessity among whom may be named: Douglas
amid an unattractive environment has Volk, Walter Shirlaw, Carroll Beck-
always been a deep discouragement. with, Walter Blackman, C. G. Dyer,
The truth about most successful Ameri- L. C. Earle, Albert Sterner, George
can artists is that they found, on their Hitchcock, Robert McCameron, Henry
return, that they must either teach or S. Hubbell, Lawrence Mazzanovich,
illustrate, for the demand for their out- Karl Anderson, Gustave Bauman, Louis
put was limited. So we have the situa- Betts, Alson Skinner Clark, Arthur S.
tion of our young men going into fields Covey, Dean Comwell, Arthur B.
where the demand for their product Davies, Helena Dunlap, Will H. Foote,
was greater. Thus many have sought Frederick C. Frieseke, Jules Guerin,
New York, not to live by painting Oliver Herford, John C. Johansen, Troy
alone, but by some form of art practice. Kinney, Margaret West Kinney, Mabel
In this way we have lost many a Key, F. X. and J. C. Leyendecker, Orson
talented one, the complete list of which Lowell, Fred Dana Marsh, Jean Mc-
[135]
Provincetown, Mass., By Pauline Palmer.
Lane (Johansen) Meysa McMein, Ross

, our schools
realize that the students of
E. Moflfett, Lawton S. Parker, Jane are among the most honored in the larger
Peterson, Bertha Menzler Peyton, world of art. Of course Chicago could
Grace Ravlin, Frederick Richardson, not keep them, even America has not
Ralph Holmes, Hovsep T. Pushman, been, early in their careers, appreciative
Harriet Blackstone, Frank Werner, Will enough to hold and give them their
Howe Foote, Wm. P. Henderson, Chas. maximum development, yet many still
Abel Corwin, E. A. Burbank, Mrs. Mar- depend upon this city for their patron-
shall Clark, Walter Goldbeck, Henry age.
Hutt, Abram Poole, Edgar Payne, Dud- Among the very first to return from
ley Crafts Watson, W. D. Stevens, Louis study abroad, an Illinoisian by birth
Ritman, Chauncey F. Ryder, Gardner and one whose art instruction began in
Symons, Harry Townsend, Harry Solo- the Academy of Design, was Oliver
mon, S. B. Linder, Ruth Townsend, Dennett Grover. At this time, 1884,
Thos. Wood Stevens, Walter Ufer, he had already studied in Munich and,
William Wendt, J. Laurie Wallace, J. fresh from Duveneck's class in Florence,
Francis Murphy, Wilson Irvine, Hard- and the JuHan Academy in Paris, im-
esty G. Maratta, Walter Burridge, pressed himself quickly upon the stu-
Frank Green and Alexander Schilling. dents of the Art Institute by his
It is only sufficient to read this list to vigorous handling of the head and the
[136]
ART AND ARCHAEOLOGY
human figure. A portrait of his grand- edly his high standard of achievement
mother, painted about this time, at- and earnest endeavor were inheritances
tracted much attention, combining as from his Dutch ancestry, and we are
it did strength with great dehcacy and fortunate indeed to have had at the
refinement. His work as chief instruc- beginning of our instructive and con-
tor of the Art Institute did much to structive period an influence so neces-
raise the character of that schooL sary in laying a firm foundation and so
Even his interest in civic work and helpful as a tradition.
enthusiasm in building up the art life The next Chicagoan to return and
of a city added to the necessity of place his talent at the disposal of the
earning a livelihood, neither stunted Art Institute school was Frederick W.
him nor prevented his developing Freer, who at the early age of 17, in
into the high artistic position that he 1866, had gone abroad to study in
now occupies. Well grounded, as a Munich and Paris and who, on his
young man in the fundamentals of his return, had settled in New York, where
art, he shows what superior craftsman- he won honors in both watercolors and
ship can accomplish, for his successes oils, making a decided impression in
have been nearly equal in the realm of his paintings of figure and landscape.
decoration, landscape, scenes of Venice His admiration for color was great, and
and the Italian lakes and portraiture. he was a thoroughly trained draftsman,
Although he has lived much abroad, he who loved the actual use of paint, enjoy-
has never stayed away long enough to ing both the process and the result and
detach himself from the life of the city, whose stimulus in this direction at this
but has brought back with him each time was most valuable. For more
time, beautiful canvases, new ideas, than fifteen years his influence was
greater development in his art and an important in the school, not by aggres-
intense desire to be of service. sive means, but by his helpful profes-
Numbered among the returning stu- sional and personal qualifications.
dents of the Academy, whose foreign During this same period an English-
experience had been entirely French man, Charles E. Boutwood, a student
was John H. Vanderpoel, who was of the Royal Academy in London and
destined to bring a new note to the later a pupil of Bouguereau and Fleury,
school, the emphasis on draftsmanship, one of the organizers of the Chicago
and through whose hands were to pass Society of Artists in 1888, a fine drafts-
most of the students who have made man, a painter of excellent portraits
their fame as artists during the past and genre pictures, was a member of
forty years. He loved form and its the teaching staff of the Art Insti-
analysis and insisted on its careful tute.
study, combined with appreciation for During the period up to the time of
the beauty of outline. the World's Fair, the city was continu-
The lasting impression that he has ally exerting an artistic influence that
left upon those who were fortunate brought forth movements which made
enough to study under him was that possible the success of the Art Institute,
of thoroughness, and this of course, the triumph of the Fair and the forma-
implies industry, two things essential tion of the "Friends of American Art."
to the life and success of the individual The advance of Chicago toward a com-
as well as of the school. Undoubt- manding position in shaping the art of
[137]
;
ART AND ARCHAEOLOGY

the country has been powerful and per- ing new ideas realm of art expres-
in the
sistent. sion. At the end it could
of the trip,
When Chicago was designated as the truthfully be said that during previous
place in which to hold the celebration years there had been displayed on the
commemorating the discovery of Amer- walls of the Art Institute all the achieve-
ica, it was felt by many that it might be ments and experiments of the various
a success from a business standpoint, branches of the art of the world. Thus
but that it would fail in its large artistic examples of the best and latest had been
conception. Yet those who doubted for years before the eyes of those who
that anything epoch-making could could see and appreciate, creating a
come out of the West lived to see a background against which it was more
standard set for international exposi- or less easy to build a venture like the
tions that had never been achieved Columbian exposition.
before. Those citizens in control of The architectural director, practi-
its destiny were farsighted enough to cal in his idealism, surrounded himself
call to their aid the best talent of the with men who could materialize their
city and placed at the head, men whose visions. One does not feel that it is
visions were worldwide, whose ideals too much to assert that Chicago was
led into the realm of the imagination, the inspiration and impetus needed for
and whose power for organization was the development of decorative painting
great enough to make practical their in America. Of the twelve men known
plans for a "Dream City." as the "domists," the greater number
For a long time the annual exhibition were awaiting the opportunity that
of works of art had drawn to the Windy came at this moment, and they made
City the best and highest things pro- good. Their accomplishment here led
duced by American and foreign painters. to their employment in many national
During many years agents had selected and state buildings and established on
from studios and salons abroad and in a firm basis the perception of beauty
the East the best things to be found, that comes from co-operation of painter
and were so liberal in forwarding and and architect.
returning the objects solicited that, even Itwas the same with sculpture.
in the early days, the exhibitions con- These far-sighted men, realizing how
ained works of the highest quality. much external features were enhanced
It is recalled that Whistler's portrait of by groups, fountains, bas-reliefs, and
his mother and Sargent's Carmencita, symbolic called to their aid
figures,
now masterpieces of the Luxembourg many of our sculptors, giving them an
gallery, were brought here. This big opportunity, which made the exterior
generous policy has continued and has ensemble a thing of enchantment. The
not been stultified by the personal likes people of this country and the world
or dislikes of any individual. On the were given an example of artistic unity
contrary, the aim has been to place that had hardly existed before, a prod-
before the public the many phases, uct of the idealism of a distinctly
"styles" and movements that during material city.
the past fifty years the art world has The reaction from the World's Fair
given forth. was in appearance distinctly retrograde
In the summer of 1914, we visited yet this was not true, for the level of
the principal countries of Europe, seek- public interest was much higher and
[138]
ART AND ARCHAEOLOGY
soon movements took place that showed the basic principles of art practice, and
how deeply rooted had become the yet she has, from time to time, shown
desire to possess art knowledge. Many interesting pictures. Like Alice Kel-
societies were formed to promote all logg, Martha Baker was taken away at
kinds of artistic endeavor too numerous the height of her achievement wheu
to write about here. These gave pres- she had won general recognition in
sure and influencein the right direc- painting easel pictures and miniatures.
tion. Finally the most important In this latter art few have excelled
Society of the past quarter of a century Virginia Reynolds in breadth of treat-
came into being, the "Friends of ment and beauty of color. We have
American Art." been dealing with women, up to now,
From the earliest days of the Acad- who for one reason or another have
emy and the Art Institute schools there ceased to produce but have held fore-
have always been women students of most positions in our art world. Had
exceptional talent. Some, like Annie I space I would like to write of those
C. Shaw and Alice Kellogg, were cut of whose fame we are proud, like M.
off by death when nearing the goal of Jane McLane (Johansen), and whose
notable careers. Annie Shaw was successes we applaud; but the number
greatly influenced by the Barbizon of active workers still remaining here
school, which was very much in vogue is ver>^ considerable. Pauline Pal-
at that moment, but she gave promise mer, whose effervescent personality
of the development of a strong personal pervades and enlivens all wherever
point ofview. Her landscapes had she appears, expresses herself in
freedom execution and beauty of
of spontaneous canvases, be it figure
color. Alice Kellogg possessed an ap- or landscape. The signal honor of
preciation of character backed by solid being twice made president of the
technical training that was surpassed Chicago vSociety of Artists has been
by few of the men. She had, added to hers. Entirely a product of the School,
her schooling here, the advantages Anna L. Stacey paints attractive figures
of Paris and undoubtedly would have and portraits that are in constant
continued to be one of the leaders demand and show a high degree of
in our local art circle. Marie Koupal technical ability. To develop an in-
(Lusk), endowed with keen intelligence, dividual style is the aim of all painters
talent and application, gave promise and its recognition brings added joy
of a future second to none of her sex, to the beholder. This accomplishment
and Pauline Dohn (Rudolph) had is denied the many but not to Jessie
achieved an enviable position in her Arms Botke whose decorative inter-
art when they entered a matrimonial pretations possess a charm of detail that
career. Although one may feel in these does not detract from but rather adds
cases that fine talent has been denied interest to her artistic expression. It is
complete expression, yet the power of probably fortunate for her many pupils
such individuals may have had its great that Ethel Coe devotes so much time
influence in guiding the taste of many to teaching, but we should be much
into art channels. richer artistically if her talent were
Miss Caroline D. Wade's life has been allowed free rein. Lucie Hartrath paints
devoted to the cause of teaching and excellent Sunny landscapes and Eugenie
her pupils have had inculcated in them F. Glaman depicts faithfully the "home
[139J
a
o
o
o
V
n
•3
o
J
>.
M
ART AND ARCHAEOLOGY
life" of sheep and cows. Cecil Clark life was neither long nor brilliant and
Davis has gained an enviable reputa- which eventually ran out. A little over
tion in portraits of eminent people from twenty years ago a new Chicago
Paris to Buenos Aires. Delightful mini- Society of Artists came into existence
atures have come from the hand of which has continued to grow until its
Mary Hess Buehr, and Marie Gelon influence has become one of the greatest
Cameron, an adopted daughter from in the city. Contemporary with it were
France, has painted many creditable the Art Association and Municipal Art
portraits and genre subjects. The ap- League, the latter finally absorbing the
peal of maternity is found in the well
former. The League has leavened and
done pictures of Ada Schultz, and Jessie
related large groups of people with art
Benton Evans loosely interprets inter-
activities and has had a hand in initiat-
esting Western wastes. Flora I. Schoen-
ing many of the civic beauty move-
feld adequately interprets what she
ments. Closely related to it in its
considers the modern point of view.
The studio of Elizabeth K. Peyraud functions is the Chicago Public School
produces too few canvases when one Art Society. It possesses a fine col-
realizes her ability, and Caroline D. lection of paintings and prints which are
Tyler's miniatures are sympathetic in- loaned in rotation to the various schools
terpretations. and which help to elevate and direct
This list of our women painters is by the taste of the thousands of pupils.
no means complete, containing as it does And there are various Women's Clubs
only some of the names of those seen which have their art committees and
regularly in our exhibitions, yet it which hold exhibitions and receptions
shows how important they are in our to give their members contact with
art life in numbers and quality. There what is taking place in the art world.
are a few, like Bertha E. Jaques, who, During this period of formative art
with distinction and charm in her work, life we have been fortunate in some of
and unusual executive ability, has been our writers who have shown sympathy
the leader in making the Chicago and appreciation of our efforts. A lay-
Society of Etchers a pronounced suc- man, J. Spencer Dickerson, wrote for a
cess. Hazel Frazee has designed charm- long time discriminating and entertain-
ing book-covers and decorative illus- ing reviews for various periodicals and
trations, and there are numerous others he undoubtedly had much influence in
who are doing excellent work in different guiding the taste of many people. Prob-
fields of artistic endeavor. The Bohe- ably James William Pattison, who was
mian Club, in the eighties, and the for years the vSecretary' of the Municipal
Palette Club, later, were strong women's Art League, helped materially by his
organizations. They are now but kindly and effective criticism. He was
memories. an artist of ability and a fluent writer
The Chicago Society of Artists, and talker. While sympathetic with all
formed in 1888, after the Art League ideas his convictions were grounded in
and the Western Art Association had belief in highest craftsmanship. Isabel
outlived their usefulness, eventually McDougall of the Post appreciated and
subsided into inefTectiveness. It was upheld local accomplishment and Lena
weakened by members who seceded to McCauley of the same journal has
organize the Cosmopolitan Club whose shown a keen understanding of our work
[141]
ART AND ARCHAEOLOGY
and the province of the newspaper in and one them a group that has
finds in
art criticism. Harriet Monroe, the made their impress not only in the
editor of "Poetry," for a long period modeling of young art life but in our
wrote interestingly for various journals exhibitions. Charles Francis Browne,
and stirred us up with "rough electric a Massachusetts man, came here in
shocks." 1892, entering into the art life of the
Some ten years ago Kenyon Cox city whole heartedly and into compan-
wrote of another important factor as fol- ionship with its workers. During the
lows in the New York EveningPost, May period of his activities he taught in the
3rd, 191 1 :"The hearty cooperation of school, lectured, wrote, and produced
allthose in any way interested in art is landscapes of a high order. The Bos-
generally facilitated by the existence of ton and Philadelphia art schools gave
another institution, the Cliff Dwellers. him a basis of craftsmanship to which
Perched upon the top of the Orchestra was added the influence of various
building, overlooking the lake and trips abroad. Many well designed,
almost opposite the Institute, is this tender and richly toned pictures came
*
artistic and literary Club * * from his brush. An annual exhibitor
where, apparently, almost every one in the National Academy of Design,
who is any one in Chicago may be met Adam E. Albright, has contributed to
on any day but Sunday between twelve the joy of those who love real children
and two o'clock. There come the at play, sunny and pleasing in their
painters, the sculptors, and the archi- presentation. Karl Buehr, bom in
tects, the writers and the musicians, Germany, but owing more in his art to
and there also come the bankers and France, shows much clever invention,
the officials of the Institute; there, over pleasing color, and fine drawing in his
the coffee-cups, many a scheme is dis- figure arrangements, both in and out
cussed, and those schemes that survive of doors.
such discussion are finally launched. Psychology is not often depicted, yet
If such a club existed in New York it Wellington J. Reynolds has displayed a
would not be such weary work trying to number of canvases that exhibit a
procure adequate exhibition facilities for thorough technique and well illustrate
the National Academy of Design and his ideas. Sunlight, with strong con-
the other artistic societies centered in trasts of warm and cold color, appeals
that city. Because such a club exists to Frederick F. Fursman and F. De-
in Chicago they have the 'Friends of Forrest Schook is happy with delicate,
American Art.' " luminous effects, while John W. Norton
I have written of those men who makes beautiful somber decorations.
were active in the early days before the Albert H. Krchbiel has painted some
Columbian Exposition and of whom scholarly decorations and refined land-
some have carried on to the present scapes. Walter M. Clute taught and
time, and of the women painters before painted well, dying with expectation
and since, but there are still a number of greater accomplishments. Men-
that should be adequately characterized tion should be made of Leon Roec-
and whose participation in our field ker, Walter Sargent, Cornelius Botke,
of art is important. There is a large Adolph R.Shultz, Antonin Sterba.A. H.
body of teachers who have sacrified Schmidt, Albert H. Ullrich, Dr. G. E.
something in accepting the vocation Colburn, Wm. Clusman, J. Jeffrey
[142]
ART AND ARCHAEOLOGY
Grant, L. O. Griffith, Oscar Gross, Art Club has been organized with some
Beatrice Levy, E. Martin Hennings, fifty members where regular students'
Edward J. Holslag, Alfred Juergens, work goes on.
Arvid Ny'holm, Fred V. Poole and Allan The Commission for the Encourage-
E. Philbrick, as constant contributors ment of Local Art to purchase works of
and upholders of our exhibitions. art to be placed in the City Hall, the
A native son, Frederic Clay Bartlett, public schools and other public build-
has gone far in developing a distinctly ings of the city was the creation of
personal expression of artistic beauty Mayor Harrison who has always been a
and Frederic M. Grant has opened up sympathetic and knowing friend in
a delightful field of decorative imagin- aesthetic matters. The Arts Club,
ings. Frank V. Dudley makes the pic- during the social season, holds frequent
turesqueness of the Dunes sympathe- and varied exhibitions.
tically alluring in its various seasons. In this article I have not attempted
Etching and painting are equally suc- to give even the names of many that
cessful in the handling of Charles W. might well be included nor have I
Dahlgreen, and Carl R. Kraft is achiev- written about those who no longer con-
ing reputation through landscapes of a sider Chicago their home. Some of
highly meritorious quality. Rudolph these return from time to time to
Ingerle depicts with appreciative in- exhibit or execute commissions. In
sight the hills and dales of the Ozarks. most cases the mere mention of their
It is through the doors of the Palette names whould be enough to recall their
and Chisel Club that many of these men successes. I think I have shown how
have come out into larger fields and it alive we are and that we have been most
should be counted one of the big in- vital in the development and life of
fluences in assisting and shaping the American art. I believe that the ad-
careers of our artists. vancement of today would not exist
For years Edgar S. Cameron has con- upon the high plane that it does had
tributed pictures of undoubted merit it not been for the deep-rooted idealism
to our exhibitions and has painted a of the West that nurtured Lincoln.
number of successful decorations. That Our art schools are founded upon
John F. Stacey teaches more than he ideas that seek to promote the develop-
paints is our loss, for he knows his craft. ment of craftsmanship and individual-
Victor Higgins' art has developed into ity and they are largely attended.
a synthetic rendering in lovely color That of the Art Institute alone numbers
arrangements of New Mexico subjects. some 3,000 students each year, who
Between illustrating and teaching Allan come from all parts of the world.
vSt. John finds time to execute some Chicago wishes to stand solidly for the
clever canvases. encouragement, development and pa-
The art impetus is so strong that tronage of American art. As in 1855,
several of our business men have when her citizens asked Healy to make
achieved prominence enough to be this city his home, so today she wants
made professional members of our art the best that our own art can create.
societies and are among the regular That this hope will eventually be ful-
exhibitors. They are Edward B. But- filled there is no doubt since the organ-
ler, Charles H. Dewey and Wallace ization of the Friends of American
DeWolf. Recently the Business Men's Art, whose function is to that end.
[1431
Overlooking the Grand Staircase, Art Institute of Chicago.
West Front Art Institute of Chicago.
THE ART INSTITUTE OF CHICAGO

By Clarence A. Hough
THE Art Institute of Chicago was

incorporated on May 24, 1879,
followed quickly. In less than four
years the Institute opened its own
"for the founding and mainte- building on Van Buren Street and with-
nance of schools of art and design, the in the next half decade erected an ad-
formation and exhibition of art col- dition and then added the adjoining
lections" and, with the still wider fine four-story stone Romanesque build-
purpose of cultivating and extending ing on Michigan Boulevard at the
knowledge and appreciation of the fine corner of Van Buren Street, the present
arts. home of the Chicago Club.
While the Institute was, in a measure, The next event of consequence, and
the outgrowth of previous art im- the one which first gave the Art In-
pulses or associations in Chicago yet it stitute international importance, was
possessed an immediate individuality the purchase in 1890 of fifteen of the
that distinguished it at once from all choicest Old Dutch Masters from the
former organizations. For several years famous collection of the Princess Demi-
following its incorporation in '79, its doff of Florence. These paintings, with
possessions, visitors and art school were other important canvasses of their
cared for in modest rented quarters in school, now hang in the Charles Law-
the business heart of the city. Interest rence Hutchinson Gallery of Old
in the institution grew with remarkable Masters. This gallery has been named
rapidity and a corresponding expansion in honor of Mr. Hutchinson, who has
[145]
^
> *^^
ART AND ARCHAEOLOGY
been the president of the Institute for In later years the Ryerson Library,
nearly forty years. Rembrandt, FuUerton Hall and the large East Wing
Rubens, Van Dyck, Hals, Hobbema, were added to the main building, giving
Van Ostade, Ter Borch, Jan Steen, a total floor space of 120,000 square feet,
Teniers, Ruysdael, Van de Velde and devoted to about 150 galleries, school-
other masters are finely represented in rooms, studios and offices. The Ryer-
this gallery. son Library contains 14,000 volumes
The next step of importance in the and is one of the few libraries in the
history of the Institute followed soon world devoted exclusively to art. Im-
and was closely connected with the mediately adjoining the Ryerson is the
Chicago World's Fair of 1893. There Burnham Library with 2,500 volumes
was a general sentiment in Chicago that on architectural subjects. Fullerton
some permanent building should be Hall is an auditorium seating 500
erected in connection with the Fair people. Here are held most of the im-
which should remain as a memorial of portant lectures and entertainments of
the great exposition. This sentiment the Institute.
soon crystallized into the proposition The museum possesses more than 750
that there should be an art temple on paintings i ,000 pieces of sculpture, in-
;
the Lake Front, and that this structure, cludingcasts, originals and antique frag-
at the close of the Fair, should become ments; thousands of prints, etchings,
the permanent home of the Art Insti- engravings and lithographs; 1,500 tex-
tute. By a three party agreement be- tiles of ancient and modern times, in-
tween the City of Chicago, the direc- cluding Egyptian and Peruvian ex-
tors of theWorld'sFair and the Trustees amples to the 1 8th century; collections
of the Art Institute, the city granted the of china, potteries, porcelains, etc.,
use of 400 feet of frontage on Michigan among them the Blanxius collection of
Boulevard at the foot of Adams Street English potteries and porcelains, one of
on which a building should be erected the most complete extant. Among the
at the expense of the Art Institute and well known collections, in addition to
the World's Fair, the former to bear the the Old Masters mentioned above, are
greater part of the cost, the latter to the Henry Field, A. A. Munger and
have the use of the building for the Nickerson memorial collections which
World's Congresses, and the Institute include canvasses by painters of the
to have permanent possession and Barbizon school and early American
occupancy after the termination of the landscape and figure painters. Modem
Fair. The principal condition of oc- art is well represented by a group of
cupancy by the Art Institute, as de- nearly 100 paintings presented to the
fined in the agreement, was that the Institute by the Friends of American
museum should be free to the public Art, an association organized ten years
on Wednesdays, Saturdays, Sundays ago for the purpose of purchasing and
and public holidays. Immediately fol- presenting to the Institute works by
lowing the close of the exposition the American artists. One gallery in the
museum collections were installed, and Institute is occupied entirely by paint-
on December 8, 1893, the permanent ings by George Inness, the gift of Ed-
home of the Institute was formerly ward B. Butler of Chicago. The col-
opened to the public and its doors have lection of paintings in the museum has
never since been closed for a single day. been greatly enriched within late
[149]
Rembrandt's portrait of "Young Girl at Half Open Door." One ul l1i^ iii.ai\ lrca:,uicN ol tliu Art In-,Uuite
of Chicago.
'The Song of the Lark," By Jules Breton. The most popular painting in the Art Institute of Chicago.
\ Ti
Assumption of the Virgin, By EI Greco. Art Institute of Chicago.
ART AND ARCHAEOLOGY
months by the addition of the im- galleries, libraries, school and audi-
portant Kimball and Palmer bequests. torium; the annual attendance has
These two collections contain important usually passed the million mark and at
examples of the work of some of the the present writing the Institute's
world's greatest painters. Among the membership stands at about 13,000.
painters represented are Rembrandt,
Three years ago the Institute, in con-
Turner, Reynolds, Gainsborough,
formity with its purpose to spread the
Romney, Millet, Delacroix, Corot,
Renoir, Zorn, Monet, Degas and Puvis
knowledge and appreciation of art,
de Chavannes. widened its field of endeavor through
The museum contains a large number the mediimi of an extension department
of interesting and important art objects which carries the message of art in the
of antiquity, many of which have been home to cities and towns far and near.
presented by The Antiquarian vSociety This intimate and rather specific propa-
of the Art Institute. ganda is called "The Better Homes
The permanent collections of the Institute." A lecturer with an elabo-
Institute are of great value to the stu- rate equipment, consisting of oil paint-
dent and the general pubHc but they ings, a collapsible room, movable fire-
constitute only a part of what is offered place, windows and doors, draperies,
to both. Each year there are about house and garden plans, photographs,
sixty temporary exhibitions of paint- etc., conducts a five day series of lec-
and apphed
ings, sculpture, architecture tures and practical demonstrations on
arts consisting of group collections, how to build, decorate and furnish the
"one man shows" and loans from pri- home.
vate collections. A
number of these The school of the Art Institute is
exhibitions are conducted under the cosmopolitan. It draws a patronage of
auspices of art societies and organiza- 3,000 students a year from many states
tions. At the close of each school year and nations. Many of the graduates
there is a large and interesting exhibi- and former students of the school have
tion of the work of the students. There won fame and success in the art world.
are literally hundreds of other passing The faculty of the school is composed of
attractions during the year in the form about forty instructors and teachers.
of lectures, association meetings, con- Eminent painters from the world over
certs, pageants and other entertain- are from time to time secured as tem-
ments in Fullerton Hall and the Club porary instructors— among them have
Room. These affairs are of vital im- been such men as vSoroUa, Mucha,
portance to the Institute in its mission Chase, Hawthorne, Melchers, Carlsen
of carrying art to the people. The and Bellows.
patrons, visitors and students are thus The ever increasing support of the
kept constantly informed of current people, the constant vigilance and care
achievement and thought in the art of officers and trustees, and the be-
world and the increasing thousands of quests from philantliropic citizens have
citizens who constantly are drawn to combined to make The Art Institute of
the exhibits during the year, are evi- —
Chicago what it is today an educator
dence of what the Institute is doing for of professional artists and art instruc-
art among the people. vSince the open- tors, and an active, militant and effec-
ing of the present home of the Institute tive agent in disseminating the appre-
twenty million people have visited the ciation of art among all classes of people.
[153]
Portrait of George Washington, By Gilbert Stewart. Collection of Arthur Meeker.
The Sacred Grove, Bv Pierre Puvis de Chavaiiiies. Collection of Mrs. Potter Palmer.
SOME COLLECTORS OF PAINTINGS

By Lena M. McCaulEy.
LEvSvS than a century since its ing backward, it is believed that the
settlement, and but half a cen- unusual number of painters of land-
tury rising Phoenix-like from the scape of the middle west and Lake
flames of the Great Fire of 1871 that Alichigan region, and the preponder-
burned out its heart and veiled in ance of paintings of landscape in private
gloom the ambitions of its founders, collections may in some measure be
Chicago in these short years has estab- due to the influence of the woodlands
lished itself as a stronghold of the fine of the Desplaines and Chicago Rivers
arts in America with an enthusiastic and the Dunes of Lake Michigan with
spirit of enterprise that is stimulating prairie lands and their sunset skies
to the energies of producers and col- between.
lectors alike. With a background of nature and un-
Among the pioneer city fathers were limited opportunity for expansion and
men of vision who inherited culture business advantage, the democratic
from their homes in older cities. In social leaders of Chicago accepted an
the early thirties the village was named artistic illumination in ways peculiarly
the "Garden City" because of the their own. The owners of stately
tasteful home grounds and the subur- homes on the North vSide, on Michigan
l)an groves of native oaks, willows, Avenue south of the river, and on the
dogwoods and wealth of prairie flora at west side of the stream — tliree colonies
the head of Lake Michigan, a condition of individuality, had own house-
their
of natural beauty which in later years hold gods in ancestral portraits, some
gave a park system and the Forest of the schools of Sir Joshua Reynolds,
Preserves to the metropolis. In look- Sir Thomas Lawrence, Romney, Hop-
;i5S]
The Sea, By William Ritschel. Collection of Paul Schulze.
ner and Raebum and others proud of (1855) had seventeen portraits in a col-
Colonial inheritance from Stuart and lection of 305 canvases of European
Copley. That collectors of the ear'y origin. Col. Graham loaned paintings
time had public spirit appears in the by Da Vinci, Van Ostade, Salvator
catalogue of the "First Exhibition of Rosa and Titian, and thus is among the
Statuary, Paintings, etc." which opened first private collectors of Chicago. In
at Burch's Building, Wabash avenue the meantime Martin O'Brien had come
and Lake Street May
9, 1959. Lieut. from New York to sell prints to col-
Col. James D. Graham U. S. A. was lectors and in 1855 opened the first Art
chairman of the committee and Leonard Dealers' Gallery. When the Academy
W. Volk the Curator. Mr. Volk of Design was organized in 1866 by
executed five pieces of the fifteen L. W. Volk, Walter Shirlaw and F. S.
pieces of sculpture, one of these being Church, Martin O'Brien was a Fellow
a life size statue of Stephen A. Douglas. and John La Farge, G. P. A. Healy and
G. P. A. Healy, the portrait painter, in- Elkins, the landscape painter, ex-
vited west to execute commissions hibitors.
[156]
-..- *^;
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S^^lh- $
^
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if " V
£
f-^
i 'i.-^^m^^^'"^ '^:<' . .
PBgK't?''" . ^în^HS^HI
7,V
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Interior of Forest, By Diaz. Collection of C. Bai Lihme.
The influence of G. P. A. Healy, Art Institute possess examples of the

painting 575 portraits of eminent men original collection owned by the artist.
and women of Illinois in the years be- While the Great Fire of 1871 had
tween 1855 and 1867, laid the founda- wiped out homes, art galleries in the
tions for a general interest in portrait- making, the public library and what-
ure. Mr. Healy's presentments of ever art treasure the city had acquired,
statesmen of the Civil War period and in less than eight years on May 24, 1 879,
prominent citizens are highly regarded the Art Institute was incorporated, the
today. The devastating Great Fire of school opened and in 1883 the first ex-
1 87 1 which wiped out the handsome hibition held in the Art Institute
homes on the north side destroyed Galleries. Like the initial display of
many portraits by Mr. Healy. At his 1859, it was a loan collection, and is
death not long ago he bequeathed his evidence that lovers of the fine arts
own private collection of portraits to had begun to acquire works of art.
the Newberry Library where they hang The World's Columbian Exposition
today. The Historical vSociety and the of 1893 gave the greatest impetus of all
[157]
ART AND ARCHAEOLOGY
tute museum testifies to the private
collectors of that era, the Henry
Field
Memorial Room, the Elizabeth Ham-
mond Stickney Room, the A. A. Mun-
ger and the Nickerson Collections of
paintings, prints and oriental anti-
ciuities. It was the private collector
who laid the stones of the institution
that today welcomes over 1,000,000 of
visitorsannually to its galleries.
To Charles L. Hutchinson the presi-
dent, and to Martin A. Ryerson, vice-
president, of the Art Institute, Chicago
and the present generation of private
collectors in particular, owes a debt of
gratitude. They have added treasure
generously and have persuaded others
to give to the exhibits. The hospitality
of the institution leads to educational
influences among citizens at large, and
there is not a collector to be named who
does not feel responsive to the purposes
of the museum and who does not realize
the power it has to elevate taste and to
satisfy a hunger for the solace of art
among the people. Hence, Chicago's
private collectors do not stand apart,
but are bound up with the civic inter-
Beata Beatrix, By Dante Gabriel Rossetti. Col-
ests in art matters.
lection of Chas. L. Hutchinson. Mr. Alartin A. Ryerson, vice-presi-
dent of the Art Institute, is first in
to a curiosity concerning the arts of honors as a private collector. Mr.
lands and the opportunity to
diflferent Ryerson is a persistent traveler, a stu-
purchase paintings. Artists came from dent of art and a keen observer of the
abroad. Anders Zorn of vSweden, Blom- changing fashions in technique and the
mers of Holland and his companions, conditions that rule the periods of art
painters from France and England production. His taste has a liberal
directly contributed to the Chicago range from the early Primitives of
collectors. Italy to the transitional styles of today.
Many private collections of paintings While his purchase of the "Old Masters"
date their beginnings to the artistic of the fifteenth and sixteenth centuries,
awakening of the World's Fair. With Perugino, Hans Memlinc, Ghirlandajo,
that era Chicago became more cosmo- Maitre de Moulins, School of the
politan, its wealth growing rapidly, and Amienois, Arentino vSpinello, Jacopo
great fortunes were accumulated in the del Sellaio, Giovanni Battista Tiepolo,
"Golden Age" preceding the "World Allegretto Nuzi, Neroccio di Bartolom-
War" just at an end. The Art Insti- meo, Alessandro Magnasco, Giovanni
[158]
Rembrandt with a Steel Gurgct, By Rembrandt. Collection of Frank G. Logan.
I T'?
Landscape, By Cuiot. Collection of Charles L. Hutchinson.
di Paolo, and Colijn de Coter and "Loan Collection" at the Art Institute
Bartholomeus de Bruyn and their kin- to discover that he has made recent
dred, might lead the viewer to believe additions to his collections of modem
that Mr. Ryerson preferred to choose French and secured unusual examples
among these and the Flemish and Dutch of American art.
of this and later periods —
Gheraerd In time, the collection of canvases
David, Gerard Ter Borch, Jan Breughel which Mr. Ryerson is gathering from
the Younger, Joos van der Beke, Jan the studios as well as the markets of
van Goyen, Pieter de Hooch, Adriaen modern French painters, will be monu-
van Ostade, Casper Netscher, Jacob mental of the era ushered in by Claude
van Ruisdael, David Teniers the Monet and Pierre August Renoir. His
Younger, Rogier van der Weyden and French Impressionists galler>' contains
Lucas van Leyden, together with the paintings of Monet's "Garden at Ar-
Spaniards, Lucientes y Goya, and genteul," "Poplars at Givemy," "The
"Spanish Artist Unknown," the Vene- Coast Guard," "vSea and Cliffs," "Chff
tian Guardi, the Genoese Alessandro Road," "Misty Morning" executed in
Magnasco, the German Sebastian Scheel, different years, his Venice "L'Eglise
one has but to turn from the doorway San Gorgio" and from Monet's English
of the gallery in which he houses a tour the paintings of "Waterloo" and
[160]
Dutch Fishing Boats, By J. M. W. Turner Collection of Mrs. W. W. Kimball.
"Westminster" —and in yet another chosen with care as speaking for its
mood a study in color ofan arrange- master who is working overseas today.
ment of fruit. Thus there is a compre- Mr. Ryerson's twenty-two water-
hensive representation of phases of the colors by Winslow Homer belong to the
life work of the great Frenchman. years of the noblest powers of this
The canvases by Renoir hanging in celebrated American. Such a group of
the same gallery, illustrate his in- drawings is convincing of the direct
dividuality beside the productions of methods of a great painter in which
his brother artist. Mr. Ryerson's Re- technique and poetry are equally bal-
noirs including the figure paintings of a anced. The catalogue includes studies
"Child in a White Dress" and "The from Winslow Homer's excursion to the
Sisters" with happy arrangements of Bahamas, his months in England and
fruit and flowers suggest the growth of his period at the Atlantic
fruitful
a particular collection with a definite Coast. Among
the subjects from the
purpose. Contributing to the larger Bahamas are "The Gulf Stream,"
general collection of French painting "Stowing vSail" and "After the Tor-
since Monet and of the present are —
nado" themes that developed into
nearly one hundred canvases each great compositions later. From over
[1611
—
ART AND ARCHAEOLOGY

Prout's Neck," "Breakers," "Evening
Calm" and "Breaking Wave Prout's—
Neck."
Mr. Ryerson is an insatiable col-
lector of the arts of all time, but as yet
chiefly of the painters of Europe. His
example as a discriminating collector
has inspired his associates, and should
the day ever come when his private
collections will be displayed in their
entirety, the feast and all its surprises
will be for the public and Chicago
greatly benefit thereby.
The Mrs. W. W. Kimball Collection
of paintings assembled year after year
under the most exacting scrutiny of
every canvas and its history, gave her
home, 1 80 1 Prairie avenue, the quality
of a small art gallery of the noblest
order. Mrs. Kimball had traveled and
acquainted herself with art collections
of the first rank and when she decided
to acquire for herself, she had the
wisdom to ask the service of con-
scientious art dealers with knowledge
of the paintings on the market and the
means of obtaining them. Her draw-
ing room and library adorned with
bronzes and art objects, each with its
romance, the walls hung with paintings
rare in the world's history of two
centuries, was a Mecca to which only
the few could make pilgrimages, al-
Altar Piecu, ii\ Gii)\aiiiii HaUisla Tit'iiulu. Collection
though the doors were thrown open to
of Martin A. Ryerson. the American Federation of Arts in
Convention in Chicago some ten years
seascame "Scarboro, England," "The ago.
Watcher," "The Return," "Tyne- At the death of Mrs. Kimball, June
mouth Priory" and "Flamboro Head." 1 92 1, her will bequeathed the paintings,
Adventures in the Adirondacks resulted about twenty in all, valued at $1,-
in"Northwoods Club," "The Rapids- 000,000 to the Art Institute, in which
Hudson River," "End of the Day," thc}^ are hanging today. Her last
"Camp Fire," "The Lone Boat" and acquisition was "The Keeper of the
"The Guide," and at his favorite Herd" by Jean Francois Millet, the
studio on the Atlantic coast he painted finest example of the Barbizon master's
"Breaking vStorm Coast of Maine," — work in the west. The portrait of Rem-
brandt's father, "Harmen Gerritz van
'
" Marblehead, '
" Sunshine and Shade
[162]
;
ART AND ARCHAEOLOGY

Rijn" painted in 1631 and signed in
monogram by Rembrandt, is a valued
canvas. The Sir Joshua Reynolds
portrait "Lady Sarah Bunbury sacri-
ficing to the Graces" is famous in its
school, and "Dutch Fishing Boats" by
J. M. W. Turner commands regard as a
thrilling example of the spectacular
compositions by this eminent English-
man.
"vStoke-by-Nayland" (Suffolk) a
richly luxuriant landscape by
liued
John Constable (1776-1837) the por- ;
trait of the Countess of Bristol and a

landscape by Thomas Gainsborough
(172 7-1 788), portrait of Mrs. Wolff
(18 15) by Sir Thomas Lawrence, por-
trait Lady Francis Russell (Anne Ker-
shaw) painted by George Romney
( 1 785-1 787) and an Italian Landscape
with white cliff and castle by Richard

Wilson of the same period, constitute a
worthy representation of the British
painters of the eighteenth century of
which the Lady Sarah Bunbury of Sir
Joshua Reynolds is the brightest star in
the galaxy of the arts assembled.
In addition to the lovely canvas, "The
Keeper of the Herd", by Millet, Mrs.
Kimball's group of French masters in-
Madonna with Angels, By Colyn de Coter. Collec-
cludes, "Bathing Nymphs and Child", tion of Martin A. Ryerson.
(landscape) by Corot, "Pond in the
Woods," by Diaz, Landscape by Jules Horseman" by Hobbema (i 638-1 709)
Dupre, and of the modern impression- and a "Waterfall near a Castle" by
istic painters the compositions, " Woods Jacob van Ruisdael, strikingly char-
Village Church in Background, "by acteristic of the masters. All canvases
Georges d'Espagnat (1870); "Nym- in this collection bear the signatures of
phaea," Waterscape (1907), Bordighera the artists.
(1884) and "A Field of Flowers in The private collection of paintings
France," by Claude Monet (1840-); by French masters of the nineteenth
"Banks of River" (1877) by Camille century made by the late Mrs. Potter
Pisarro; "The Stout Poplar" (1891) Palmer and long housed in a gallery
by Alfred Sisley and "Cattle in a Hilly built for them adjoining her residence on
Country" by Emile Van Marcke (1827- the Lake vShore Drive stands alone in its
185 1). Of the Dutch School there is a importance. Mrs. Palmer traveled ex-
"Wooded Landscape with Cottage and tensively, visiting artists in their studios
[163]
Landscape, By George Inness. Collection of Cyrus H. McCormick.
Lady Bunbury, By Sir Joshua Reynolds, Kimball Collection.
Its'
Clouds ami Miiishine, By A. H Cresmer.
and acquainting herself with the arriv- exercised in mural paintings of greater
ing styles and the younger painters size. The eight examples of Jean
making themselves famous in and near Charles Cazin are illuminating of the
Paris. Her private gallery to which breadth of vision of this master. Here
she made additions until the time of her is the "Adam and Eve Driven from
death a few years ago, was open to the Eden," "Magdalen in the Desert,"
public and a knowledge of the cele- "Judith Leaving the Walls of Bethuha,"
brated group of men of the Barbizon "Bathers' Breakfast," "Harvest Field"
School and those after them, Monet, and "Cafe de la Paix" and a "Night
A-Ianet, Renoir, Sisley, Pissaro, Raf- Scene."
faelli and Puvis de Chavannes was From Camille Corot, there is a
brought into the educational field of variety of compositions to surprise the
art in the western city. By a generous average viewer building his knowledge
agreement of her heirs, the Art Insti- on the typical museum landscapes
tute has the privilege of selection of the known to all. The six Corots present
most desirable paintings without limit- "Amalfi Italy," "Evening Landscape,"
ing their choice to the $100,000, named "Ville d'Avray," "Fisherwoman of Zuy-
in the bequest. decote-op-Zee," "Interrupted Reading"
Mrs. Potter Palmer's gallery includes and the notable "Orpheus Saluting the
"The Sacred Grove" by Puvis de Cha- Light." The four canvases by Jean
vannes, a composition that embodies Francois Millet maintain the popular
the peculiar characteristics of this poetic ideal in "Hilltop, Shepherdess and
Frenchman whose special gifts were Sheep," "Little Shepherdess," "The
fl66]
,
Morning, By Blakelock. Collection of Ralph L. Cudney.
vSheep Shearers," and "Rail vSplitter." Hitchcock, Gari Melchers and the well
There is a "Wood Interior," by Diaz, known "SouthamptonWater," by James
"Lion Hunt," by Delacroix, "Reverie," McNeill Whistler. To these must be
by Bastien-Lepage, two paintings of added the distinguished portrait of Mrs.
women by Besnard, and a "Cattle Palmer by Anders Zorn.
Scene" by Troy on. As President of the Art Institute
By means of the striking figure paint- longer than three decades, the first
ings, "The Dancer," "The Morning interest of Mr. Charles L. Hutchinson

Bath" and "On the Stage," Mrs. Palmer in the matter of collecting, is not for
introduced Edgar Degas to the art himself but for the museum and its
public of Chicago. Claude Monet's galleries.Mr. Hutchinson has an inde-
four typical canvases, as many by pendent taste cultivated by travel
Camille Pissarro, "Horse Racing and which has led to an intimacy with the
Regattas on the Mediterranean," by famous collections abroad and in Amer-
Edouard Manet, a trio of studies of ica, and the producing artists of the
Paris by Jean Francois RaffacUi, and present. His liberal point of view ac-
four canvases by August Renoir, "Cat- cepts the worthy expressions of the day,
tle Scene," by Troyon, "Le Bretonne," while the private gathering of paintings
by Dagnan-Bouveret, "Village Street that he loans to the Art Institute from
Moret,"bySisley ."Twilight "by Lerolle
, time to time, indicates that he has
two water color sketches by Anton bought the pictures of all periods be-
Mauve and a "Harbor Scene at Sunset," cause he liked them for one reason or
by Jongkind, both from Holland are — another, the gallery being a museum
exceptional works. W'ith these is an exposition of periods and masters on a
effective selection from American paint- small scale.
ers —George Forest Brush, Mary
De "Beata Beatrix," by Dante Gabriel
Cassatt, Eastman Johnson, George Rossetti of the Pre-Raphaelites, is the
[167]
J mm l<P
^^
,;
mM H^^^^^^^^^^^^^B' j^^V^' ^1
m
4 mdMo
-
P^l '
^ '> • '?!
r Mk'/i
^^ttSw^^'mm /^
^<Û
"'
-": M.
-»,
^^^Bi^ffi^' 'û'^ '^K ''M^B'^Ss*& *.;

5^
i.:...
1
w^ ^ !
f vf ^^^^^^B:
^^^^1
1^
îp'**
Maj. Andr6, Attributed to Sir Thomas Lawrence. Collection of Charles F. Gunther, now at the Chicago
Historical Society.
ART AND ARCHAEOLOGY
brilliant canvas of this collection. The the studios of the nineteenth century
portrait of Joachim by George Freder- and after.
ick Watts is notable. There are repre- The Edward B. Butler Collection of
sentative works by Corot, Daubigny, paintings by George Inness, one of the
Dupre, Diaz and Fromentin. "The most valued galleries at the Art In-
Laughing Boy" by Hals, "Skaters" by stitute, was the outcome of that gentle-
Van derNeer, small paintings by man's increasing devotion to the ac-
Teniers, Baron de Leys, Thomas de complishments of this masterly artist
Keyser, Netscher, Palamedes, and mod- who had the appreciation of Europe and
ern canvases by Ranger and Henri, Great Britain as well as the praise of his
with examples of the Early Italian and own countrymen. Mr. Butler's twenty
a number of unsigned works, make a canvases by George Inness were pur-
pleasing exhibition rather for the sake chased for a sum approaching $150,000.
of what pictures ofTer than from the Mr. Inness' periods are represented in
point of view of the specialist collector. pictures from the Catskills dated 1867
Mr. Frank G. Logan's home has and 1870, a season in Italy, and France
congenial wall spaces for the enshrining and that most fruitful period in the
of his portrait of " Rembrandt Wearing nineties when the "Sunset in the
a Steel Gorget," by the immortal Valley," "Moonrise," "The Home of
Dutchman. In association with it are the Heron," "Early Morning Tarpon
"Seamen" and "Peasant Interior," Springs," "Threatening" and "The
by Josef Israels, superior landscapes by Afterglow" were painted with other
Weissenbruch, De Bock and Mauve, memorable canvases of the gallery
" Cattle, " by Troyon, " Landscape with As might be expected, in the interest-
Figures," by Corot, and choice coming collection at Mr, Butler's home
positions from Dupre, Diaz, Jacque and there is a "Silver Morning" by Inness.
Rousseau, and by way of variation in a And characteristic of the American col-
somewhat extensive gathering admir- lector who rarely specializes on century
able portraits by Hoppner and Opie of old canvases but who is alive to his
the English school of over a century ago. generation, Mr. Butler has acquired
William O. Goodman, associated with fine examples of the Dutch masters at
Mr. Logan as trustee of the Art Insti- the height of their powers not so long
tute, is first of all interested in the larger —
ago Israels, Weissenbruch and Mauve,
collections of the Friends of American of Thaulow, eminent in his time, and
Art. In his home is the result of many Le Sidaner of France. He owns a
years intimate interest in the contem- dramatic western landscape by William
porary art of Europe with work of Wendt, a marine by Paul Dougherty,
Americans who have arrived at dis- and "In the Firelight" by Frank
tinction. Mr. Goodman's refined selec- Benson of Boston with other works of
tion is shown in his assembly of the interest.
paintings by Cazin (3), Jacque, Diaz, Mr. C. Bai Lihme's less than a
Van Marcke, Harpignies, L'Sidaner, dozen paintings familiar to the public
Israels (2),Blommers, Mauve, Schreyer, includes "Sunrise in the Orchard," by
Bouguereau, and the Americans Keith, George Inness (1892), a composition of
Inness, Dewing, Murphy, Tryon and the first rank. This and the land-
Benson and J. Francis Murphy, with scapes by Corot, Rousseau and Diaz
a liberal choice of as many more from and an A. H. Wyant, constitute one of
[169]
Dr. Welsh Tennent, By Sir Henry Raeburn. Collection of the Art Institute, formerly of
the R. Hall McCormick Collection.
ART AND ARCHAEOLOGY
the most carefully selected of the per- Diaz, Dupre, Harpignies, Corot, Jacque,
sonal collections known in the city. All Rousseau, Troyon, Van Marcke, Dau-
the canvases are of goodly size, all of chez Henner, Sanchez Penier,and more
exquisite charm in spirit and the magic artists, the limited space at command
of color. in this article forbidding the descrip-
The Mrs. Francis Nielson gallery of tion and details that the subject well
twenty seven canvases is extraordinary deserves.
because of the distinguished portraits of English portraiture of the eighteenth
beautiful women of the family —
that of century has won the attention of Mrs.
JMrs. Neilson painted by J. J- vShannon Arthur J. Meeker, whose choice of three
and of Isabel and Alarion Neilson and portraits byvStuart, two by Peele, and
of Ruth Morris, painted by Ruth von others by Inman, Trumbull and Copley,
SchoUey, together with the portraits of comprise an exceptional gallery.
Mrs. Veitsch and Jane Nesbit by Sir The late James Viles collected paint-
Henry Raeburn, Captain Porter by ings by Claude Monet at the height of
Sir Joshua Re3'nolds, "Master Tucker" the brilliant career of the French Im-
and "Lady Bernard as Psyche," by pressionist. This group of rare beauty
Sir William Beechy. It is one of those hangs in the family residence at Lake
galleries in which attention has been Forest. Mr. Arthur Aldis has a small
given to attractive subject material. but interesting collection in its begin-
Great names are represented from the nings in modern art in his home at
Dutch, French and English Schools, Lake Forest.
while the eye at once recognizes that Paul Schulze's gallery of American
exceptional care was exercised in the paintings has reached an importance
choice. Among the paintings are "Old entitling it to particular regard. Mr.
Age" and "A Labor of Love" by Schulze's home in Kenilworth, Illinois,
Israels, "The Harvest Wagon," by was a veritable museum of paintings
Gainsborough, "The vSeiners" and a and sketches by contemporary painters.
landscape by Corot, landscapes by He has become a selective collector
Daubigny, Dupre, Diaz and Richard rejecting many canvases that formerly
Park Bonington, a "Golden Sunset" by interested him, to found a gallery in
Inness and representative canvases by which only the best of Ben Foster,
Monet, Wyant and Alillais. Gardner Symons, Redfield, Henri, Oct-
Mr. and Mrs. Cyrus Hall McCor- man, Bruce Crane, William Ritschel
mick's paintings illustrate the interest and contemporaries appear in large,
of art lovers at the beginning of the striking canvases.
twentieth century. The enthusiasm for The late Dr. F. W. Gunsaulus was
George Inness finds expression in five not only a collector of paintings and
landscapes of the best period of the art objects but one whose enthusiasm
great American. A. H. Wyant, his con- stimulated others to acquire in special
temporary, is represented by "Keene directions.
Valley. The English School appears in
'
' Among active collectors Ralph Cud-

the works of Sir Thomas Lawrence, ney is known for a keen discrimination
John Constable, Old Crom2, Gains- in his purchase of canvases for a private
borogh, Nasmyth and Hogarth. From gallery, jealously guarded from the
the continent came a fine Bouguereau, public. He enjoys the elusive and
and the works of Schreyer, Israels, Ziem, poetic. The landscapes painted by
[171]
ART AND ARCHAEOLOGY
Blakelock, Wyant, J. Francis Murphy canvas being purchased every year.
and a rare figure painting by Fuller The Chicago Woman's Club, the Arche
have histories in the records of dealers Club, the Chicago Woman's Aid and
and museums. They hang on his half a dozen more organizations af-
walls with companion pictures of a filiated with the Municipal Art League,
kindred aristocracy. have private collections housed in their
William T. Ciesmer is a leader among meeting rooms and estimated as worthy
the younger collectors constructing in- in art andof considerable value.
dependent group? of the best works of An extensive survey of the field
American painters. Unlike the first recalls notable collections that left
Chicago collectors who went to Euro- their impression on artistic tastes in the
pean art centers eagerly, Mr. Cudney, west, and galleries of paintings in their
Mr. Cresmer, and Mr. Valentine show beginnings in private homes which have
faith in the standards of American art. taken root and promise much for the
The six most important canvases in Mr. future. In view of the place of the
Cresmer's home where forty well chosen family in our social life, it is permissible
pictures are the foundations of a larger to speak of the R. Hall McCormick col-
gallery, are "The Winding Path" by lection of paintings, principally of the
J. H. Twatchman (one of the very best English School which was recently dis-
,
Twachtmans)," Clouds and Sunshine," persed on the death of Mr. McCormick

by Alexander H. Wyant, "Morning but of which there remains the Sir
Englewood," by George Inness, "To the Henry Raeburn portrait of "Dr. Welsh
Rescue," by Winslow Homer, "Aloon- Tennent of Tennent House, Fife" a fine,
light-Enchanted Pool," by R. A. Blake- well preserved example of the art of the
lock, and "Edge of the Swamp," by J. English master.
Francis Murphy. The Gunther Collection, made by
Mr. and Mrs. L. L. Valentine's Charles Gunther, a man of varied in-
private gallery possesses a number of terests in a life time included much
small jewel like canvases including Americana in books, manuscripts,
Blakelocks as well as a score of paint- prints, antiquities and curious articles
ings by contemporary Americans. Mr. of historical value as well as paintings.
Valentine is an eager collector and his The portrait of Maj. John Andre by Sir
gallery is on the way to importance. Thomas Lawrence, chosen from a vast
Charles W. Dilworth gives his atten- number of canvases of British and
tion to a collection of American painters American origin, hangs in the rooms of
owning compositions of his personal the Chicago Historical Society which is
choice painted by J. Francis Murphy, slowly but surely assembling an interest-
H. O. Tanner, Ralph Blakelock,William ing gallery. The Newberry Library in-
Wendt, William Ritschel and Paul herited paintings by G. P. A. Healy.
Dougherty and others of the period. The Chicago Club has its collection of
Unique to the west is the practice of portraits of its officers and eminent
women's clubs and social organizations members by equally great painters.
in establishing art galleries of the works Anders Zorn is represented here by one
of local painters. The Municipal Art of his best portraits. The Union League
League has a growing collection of Club owns over 200 well chosen can-
paintings by artists of Chicago, one vases by living American painters.
[172]
—
FRIENDS OF AMERICAN ART

By Lena M. AIcCauley
ORGANIZATION man Fund
THE society,
of the
"The Friends of American
of $50,000 provides
come which when added to the annual
an in-
Art," came from an inspiration of revenue of the organization insures its

a Chicago artist, who beheved that the continued purchasing power.
hour had arrived for a practical recog- The stranger unaware of the progress
nition of the achievements of our of American painting is amazed at the
national painters and sculptors, by beauty, individuality and strength of
means of the acquisition of examples of the canvases hung in the exhibitions.
their works worthy to be preserved in It is possible to study the best periods,
the Art Institute. Thus it happened although the Colonial and the work of
that about 1909, some 150 members of the last twenty years in contemporary
the Art Institute and art patrons, painting and sculpture are more con-
united in a society agreeing each to spicuous. The chief aim of the society
pay $200 annually, creating a fund of has been to acquire, so far as its re-
^30.000 for the purchase of works of sources allow, a collection of modern
art deemed suitable for the gallery. Mr. American works of art representative
William O. Goodman, a trustee of the of the best that is now being done and
Art Institute, was elected president and also of the present standard of art and
a board of directors including con- taste. In addition to owning works by
noisseurs and artists, controlled the artists of established reputation, it
activities. As a result, The Friends of seeks to encourage younger artists
American Art have purchased nearly to recognize them early by purchasing
100 canvases, pieces of sculpture and their works. This has had a whole-
engravings, constituting a collection some effect on the production of the
that in a measure surveys the field of year, painters executing more import-
production by American artists from ant and larger canvases with the hope
colonial days through the 120 years of of their being purchased for the collec-
the republic, and redounds to the honors tion. Although the majority of pur-
of our national art. Not least, the chases are made in Chicago, there is no
example of the Friends of American rule to prevent other buying.
Art has been followed by museum While the whole spirit of the Friends
associates east and west and has given of American Art is the encouragement
an impetus to the formation of similar of the contemporary painter, sculptor
collections and engraver, it is believed that the
Since the enlargement of the Museum assembly of the best of early American
by the opening of the new East Wing, portrait painters will add value to the
the Art Institute has been able to keep collection. Thus far there have been
the Friends of American Art collection acquired attractive canvases Thomas—
on exhibition continuously. As in all Sully's "Mrs. Lingen," Gilbert Stuart's
human affairs, the list of subscribers "Maj. Gen. Henry Dearborn," John
changes, but the interest continues "Thomas Vawdrey,"
Singleton Copley's
unabated, new friends taking the place Henry Inman's "William Inman," and
of those who have been obliged to sever Benjamin West's "Portrait of a Man."
connections, while the gift of the Good- "Psyche" and "Examination for Wit-
[173]
Thomas William Vawdrey, By Juiin Singleton Copley.
Mrs. Charles Clifford Dyer, by John Singer Sargent.
17 r
"He Who Is Without Sin," By Benjamin West.
nn
,
ART AND ARCHAEOLOGY

nesses in a Trial for Witchcraft" by KroU, William M. Chase, Frank Duve-
George Fuller are desirable reminders neck, Robert Henri, John C. Johansen,
of the early nineteenth century. Katherine Dudley, Frank C. Peyraud,
In the majority of modern pictures, T. W. Dewing, Jonas Lie, Lawrence
the names of the National Academi- Mazzonovich, Grace Ravkin, George
cians and standard bearers of ideals are Bellows, Elliot Torrey, William Wendt,
affixed to the canvases. The gracious Frederick J. Waugh, L. H. Meakin, M.
figure painting," Sunlight," by John W. Jean McLane, Elihu Vedder, Everett
Alexander contributes distinction to the L. Warner, Lawton Parker, Gardner
gallery. Ralph Clarkson's "A Daughter Symons, W. Elmer Schofield, Randall
of Armenia" is a stately piece of por- Davey, Arthur B. Davies, Mary Foote,
traiture. Louis Betts' "Milady" is William P. Henderson, James R. Hop-
notable in graciousness with a record of kins, Guy C. Wiggins, Wilson Irvine,
prize winning honors at the National Howard Giles, Wâlter Ufer, Edgar Cam-
Academy. And the signatures of J. eron,Abram Poole, Elizabeth vSpar-
McNeill Whistler, Winslow Homer and hawk Jones, Henry Golden Dearth,
John Singer Sargent on their com- and others, making a truly catholic
positions have an unquestioned value gathering.
to the seeker for important names in "The Solitude of the Soul," an im-
the catalogues. pressive marble group of larger than life
To name pictures would not convey figures by Lorado Taft, was the first
the vision of the walls of this brilliant purchase in sculpture by The Friends.
The committee acknowl- " The Sower, " a gigantic male figure in
collection.
edges that it has made mistakes in bronze, startling in its superb quality,
purchases, errors of judgment possible by Albin Polasek, is an important
to any collector, as every work of art is acquisition. " FightingBoys, " a bronze
dependent upon the test of time and the fountain by Janet Scudder, "Dancing
rivalry of its environment. Yet as a Girl and Fauns" and "Indian and
whole the Friends of American art have Pronghorn Antelope " by Paul Manship
,
succeeded in their altruistic aims of (bronze) and "Eleanor" (marble) by

encouragement and assembled a dis- Chester Beach are in the class of the well
play of works reflecting the progress of chosen.
the times, and good to look upon. American sculptors and
painters,
Purchases are made from the annual artists in media have sub-
various
exhibition of American Oils of every stantial encouragement continually be-
autumn, the Chicago Artists Exhibition fore them in the many collections under
and special shows during the year. the auspicies of the different societies
Among the painters represented are on the plan of the Friends of American
Frank W. Benson, W. Elmer Schofield, Art which had its beginnings at the Art
John H. Twachtman, J. Alden Weir, Institute of Chicago. StiU animated
Robert Spencer, Ben Foster, George
by enthusiasm, the original Friends are
Elmer Browne, William Ritschel, J.
adding to a gallery which is historical
Francis Murphy, Oliver Dennett
of national progress, and which is one
Grover, Daniel Garber, Childe Has-
of the most inviting as well as the
sam, Charles W. Hawthorne, Richard
proudest possessions of the art
Miller, Carl F. Frieseke, Emil Carlsen,
Gifford Beal, William Keith, Leon museum.
[178]
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FIELD HUStUU OFNATUPA
THE FIELD MUSEUM OF NATURAL HISTORY

Bv Fay-Cooper Cole.
WITH the opening of the new

building of Field Museum of
Inside the bronze portals one enters
the Stanley Field Hall with its great
Natural History another great white arches and simple but effective
step was taken toward justifying Chi- decorations. It is an immense hall,
cago's claim to being a center of art. seventy feet wide, three hundred long,
The building itself, a massive marble and is lighted from the roof seventy-
structure of Greek Ionic type, rises five feet above the floor. Entrance
eighty feet above the park and is sur- from north or south is through an arch
rounded by a forty foot terrace of on either side of which is a tall column
similar material. It has been pro- supporting a symbolic figure suggest-
nounced a master-piece of architecture ing some activity of the institution;
but it is more than that for it represents Natural vScience and the Dissemination
a distinct advance in construction and of Knowledge appear at one archway,
lighting of exhibition halls, of work Research and Record at the other.
rooms and laboratories. From the Another notable group, not yet
Museum broad boulevards will lead finished in the marble, is to appear
through Grant Park on the north, and to against the attic of the portico. Above
the outer drive on the south Roosevelt ;
the four columns are colossal figures
Road, when completed, will pass representing Fire, Earth, Air, and
directly in front, while on the east is Water, while flanking them are an equal
the lake, so that an unrivaled setting is number typifying the points of the
assured. compass. Here the sculptor has had
As one ascends the broad steps lead- greater freedom in the characterization
ing to the portico, with its flanking bays, of his subjects and has, perhaps,
he is at once impressed with the achieved his greatest success, yet each
strength and beauty of the car^-atid figure and the whole group fits perfectly
figures, four monumental sculptures, into the decorative scheme. Seldom,
similar yet absolutely individual. These in this country, has the opportunity
are duplicated on the south side of the been presented to create a group of
building, while above each caryatid architectural sculptures of such magni-
porch is a horizontal panel, in low tude, and seldom has such a task been
relief, representing one of the four main entrusted to a single man. To the
departments of the Museum. American artist, Henry Hering, must
[179]
ART AND ARCHAEOLOGY
be given the credit of having produced formalism and geometric symbolism of
one of the most important contributions the early archaic period, to the idealis-
to the sculpture of our land. tic productions which characterize the
As the visitor enters the east ex- Han. From the graves of the T'ang
hibition halls, which extend at right dynasty comes a large series of clay
angles to Stanley Field Hall, he dis- figures representing the warriors, acro-
covers at once that the claims of the bats, and other classes of that era; an
student of art have not been neglected. invaluable series for the enthnologist
The first objects here displayed are but equally of value to the sculp-
from the Eskimo and the Indians of the tor, as an evidence of the high devel-
Northwest Coast of America, and, as an opment of the modeler's art of that
introduction, there are shown three period.
cases describing the artistic ideas and Adjoining the main exhibit is a room
accomplishments of these primitive devoted to the pictorial art of China, in
folk. One case shows typical features which are to be found rubbings from
of Eskimo art, ranging from the rather stone engravings of the 12th century;
simple forms of Hudson Bay and Smith paintings from the Sung period done on
Sound to the elaborately carved and long rolls of silk and depicting such sub-
etched utensils of Alaska. The pattern jects as the games of a hundred boys at
boards and utensils used in the pro- play, or a journey up the river in spring.
duction of the totemic art of the Tlingit, Here too are silk tapestries and a screen
Haida, and neighboring tribes, are fully of twelve panels done in feathers and
demonstrated, and then follow cases carving, which brings us up to the i8th
showing how this art is adapted to century. It might seem, at first glance,
various forms and types of objects. that the Museum of Natural History is
The basket ornamentation of the encroaching on the field of the Art
Tlingit is given in drawings and in the Institute, but a closer study shows that
basketry itself, while the story of the these are veritable textbooks, depicting
Chilkat blanket is made plain even to the life of town and country in the China
the child. of bye goneages.
In the more advanced cultures of A
similar hall, devoted, to Japanese
classical times, of Mexico, ancient Peru, art, displays a painted screen of the
China, and India the decorative motifs Tosa school, and a selection of prints,
on pottery and fabric, in stone and principally Surimono, cards of greeting.
wood carvings, and in ceremonial para- From China and Japan the visitor is
phernalia are at once an inspiration and led into collections from Tibet, India,
a textbook. The collections of Egyp- Java, and Africa; past cases devoted to
tian and classical archaeology are the textiles, to clothing on costumed figures,
first of this classto receive attention. to jewelr>^ to images, paintings, musical
Here are offered pottery, bronzes, marble instruments, and finally to the wonder-
and alabaster vases, figures in bronze ful carvings on ivory and the metal
and stone, portrait tablets, charms and castings from the ancient city of Benin.
jewehy as well a collection of mum- The Field INIuseum is first of all a
mies and coffins ranging from the pre- museum of Natural History; but as
dynastic to the Roman periods. such it is offering its rich collections
In the Chinese exhibits is shown the toward giving Chicago its rightful
transition of the art of China from the place as an art center.
[180]
ART AT THE UNIVERSITY OF CHICAGO
By David Allan Robertson.
Dean of the Colleges 0} Arts, Literature and Science and President of the Renaissance Society.
THEChicago
of
architecture of the University
has been of interest ever
the gates of Trinity College, Cambridge,
and the east tower of the Harper Li-
since the far-sighted trustees of the brary is like the tower above the stair-
new foundation decreed that there case leading to Christ Church Hall.
must be a well considered building plan The same care for tradition is dis-
and engaged Heiuy Ives Cobb to coverable within these buildings, es-
draught a sketch for a complete in- pecially in Hutchinson Hall and the
stitution to occupy the four city blocks Reynolds Club. Greater freedom, but
which in 1892 comprised the original the same attention to tradition is to be
site. The trustees decided to have a noted in the Classics Building, Ida
lateform of English Gothic expressed in Noyes Hall, the Harper Library, and
Bedford limestone and tile roof. It was Leon Mandel Assembly Hall. This
Mr. Cobb who designed the earUest last was an especially interesting prob-
structures, the residence halls for men lem, inasmuch as there is of course no
and women, the principal recitation precedent for an English Gothic theater.
building, Cobb Hall, Kent Chemical The richness of architectural detail in
Laboratory and Kent Theater, Walker all of the buildings by vShepley, Rutan
Museum, and Ryerson Physical Labora- & Coolidge and by Coolidge & Hodg-
tory. In 1897 he planned the four Hull don merits study such as the Uni-
Biological Laboratories which, with a versity Guide Book affords. The same
graceful iron entrance and an im- richness of accurate detail marks the
pressive stone gateway, enclose Hull plans for the Theological Building, the
Court. The Decennial Celebration of Bond Chapel, the cloister connecting
1 90 1 was marked by the laying of these two, and the bridge connecting
cornerstones of structures, for which Haskell with the Theology Building.
Shepley, Rutan & Coolidge were archi- The same firm has made the drawings
tects. These buildings and the later for the Billings Memorial Hospital and
designs by this firm have been marked Epstein Dispensary. Another build-
by a delicate adherence to the traditions ing begun in 1901 was Charles Hitch-
of English collegiate Gothic. Hutch- cock Hall by Dwight H. Perkins. Ad-
inson Hall was erected after careful hering to the general plan for the Uni-
measurement of Christ Church Hall, versity, Mr. Perkins yet gave to this
Oxford the Mitchell Tower was studied
; restful lines and used Illinois plant
from the tower of Magdalen, differing forms in place of the usual gargoyles
only two feet in height a difference — and other decorations. Because Charles
chiefly due to the absence of the pointed Hitchcock was so closely associated
finials of the original; and the Uni- with the early history of Illinois,
versity Avenue side of the Reynolds Indian corn and other familiar forms
Club is a shortened form of the garden may be noted as a meander above the
front of another Oxford college St. — main door and in the low stucco en-
John's. Even the stark Bartlett Gym- richment of the library. A French
nasium is in its entrance reminiscent of touch has been given to Emmons
[181]
ART AND ARCHAEOLOGY
Blaine Hall and the other buildings of Tiffany window in Leon Mandel As-
the vSchool of Education by James sembly Hall and in Hutchinson Hall
Gamble Rogers. Holabird & Roche, and the Reynolds Club are some
the designers of Julius Rosenwald Hall, heraldic medallions. The walls in the
have expressed the purpose of the build- Reynolds Club were painted by Fred-
ing, not only structurally, but in the eric Bartlett, who is the painter also of
stone carvings of eminent men repre- very rich presentations of medieval
senting aspects of the earth sciences and sports in the main entrance to Bartlett
in the representations of fossils and the Gymnasium, the memorial to the paint-
use of restorations of Limnoscelis and er's brother. Many of the ornaments
Lepidosauriel as gargoyles. The new are in gesso and gilded in antique gold
Quadrangle Club will be a domestic leaf after the manner of early English
Tudor brick structure, designed by and Italian decorations. Air. Bartlett
Howard Van Doren Shaw. The crown- designed also the curtain in the Reynolds
ing architectural feature of the Univer- —
Club Theater a fete in a medieval town.
sity is to be the chapel with its auxiliary In the theater of Ida Noyes Hall the
structures occupying an entire block at —
mural paintings a record of the Mas-
Woodlawn Avenue and the Midway. que of Youth, performed by the women
The chapel has been entrusted to of the University when the Hall '.vas
Bertram Goodhue of New York, whose —
dedicated were painted by Jessie Arms
preliminary sketch shows an imposing Botke. This hall contains also a col-
masculine church with an impressive lection of rare oriental rugs and other
tower at the crossing, a tower 216 feet furnishings deserving study.
high. The spirit of Gothic rather In addition to the very large amount
than meticulous devotion to tra- of architectural carving there are sever-
ditional measurements is to be found al works of sculpture. Lorado Taft is
in Mr. Goodhue's designs —
notably in represented by a dedicatory tablet in
theglorious tower and windows. Itmust Kent Chemical Laboratory, the Stephen
be obvious, then, that the University of A. Douglas memorial tablet, and the
Chicago, in preparing a general building memorial to Belfield in Belfield Hall.
scheme and determining on a general Silas B. Cobb in Cobb Hall, George
type of architecture has yet been able Washington Northup in Haskell,
to secure unity with variety —
one of the Thomas Chrowder Chamberlin in Rosen-
few American Universities to use the wald are also by Mr. Taft. Daniel
foresight which Thomas Jefferson ex- Chester French did the memorial to
hibited when he projected the design of Alice Freeman Palmer in the Mitchell
the University of Virginia. Tower. The bust of John D. Rocke-
Within the buildings of the Uni- feller above the south fireplace in
versity are opportunities to study the Hutchinson Hall is by William Couper
arts allied to architecture. The most of New York. Paul Fjelde of New York
notable glass is in Bartlett Gymnasium, designed the bas-relief of Joseph Rey-
designed by Edward D. Sperry, of nolds in the Reynolds Club. The bust
New York, and executed in 15,000 of Francis W. Parker in the main en-
pieces by the American Church Glass & trance of Emmons Blaine Hall is by
Decorating —
Company the crowning Charles J. Mulligan.
of Ivanhoe by Rowena after the Portrait painters are represented in
tournament at Ashby. There is a several buildings, but chiefly in Hutch-
[1S3]
The Mitchell Tower, University of Chicago.
ART AND ARCHAEOLOGY
inson Hall. In this beautiful room lection is that of the lithographic
are placed the portraits of trustees and portraits of English and French men
members of the faculties. The founder of letters, arts, and statesmen by Will
of the University, Mr. John D. Rocke- Rothenstein. The collection includes
feller, by Eastman Johnson, occupies one of the twenty-five copies of the
the principal place. Gari Melchers' —
famous "Oxford Portraits" the only
portrait of President Harper hangs to copy sent to the United vStates. This
the left of the Founder's picture. Law- collection of about one hundred prints
ton Parker is represented by portraits of was selected by the artist for a dis-
Martin A. Ryerson, the president of the tinguished American collector, and
Board of Trustees and by one of Presi- makes an interesting display of litho-
dent Harry Pratt Judson Ralph Clark-
; graphic art, as well as a series of
son by A. C. Bartlett, E. B. WiUiams, portraits as important for the 1890's
H. N. WiUiams, S. B. Cobb, Leon and the early years of the present
Mandel, Professor T. C. Chamberlin century as George Frederick Watts'
(in Rosenwald Hall) and Dean R. D. paintings are for the Browning-
Salisbury (in Rosenwald Hall.) Louis Tennyson period.
Betts painted the portraits of Dr. T. W. The museums of the University are
Goodspeed, Dean George E. Vincent, primarily for teaching purposes. This
Dr. F. W. Gunsaulus, Charles L. is true not only of the extremely im-
Hutchinson, LaVeme Noyes, and the portant paleontological collections in
portraits in Ida Noyes Hall of LaVerne Walker Museum, but also of those in
Noyes and Ida Noyes. The portrait of Classics, Harper, and Haskell. The
Professor Von Hoist is by John C. Classics museum contains the Lowen-
Johanson. There is another in the stein collection of Greek and Roman
Harper Library by Karl Marr of coins, some terra cotta, glass, and
Munich. The
picture of Galusha An- marble fragments. In Harper Library
derson is by
Frederic P. Vinton of the Erskine M. Phelps collection of
Boston and that of Dean Marion Napoleonana contains portraits, busts,
Talbot by Walter D. Goldbeck. In the medals, orders and personal relics of
library of Hitchcock Hall the portrait Napoleon. In Haskell Oriental Mu-
of Mr. Hitchcock is by Wellington J. seum is the Babylonian-Assyrian col-
Reynolds, and Mrs. Hitchcock's por- lection, and a very important Egyp-
trait is by Henry 55. Hubbell. In the tian collection of over 14,000 original
trophy room of Bartlett Gymnasium is monuments from all the great ejochs
a portrait of A. A. Stagg, Director of of —
Egyptian history many of them of
Physical Culture and Athletics, by great artistic importance. These have
Oskar Gross. The portrait of Mrs. been collected by Professor James H.
Nancy Foster in Foster Hall is by Anna Breasted, Director of the Haskell Ori-
Klumpke, and in the same hall is a ental Museum and of the Oriental
portrait of the head of the house, Pro- Institute of the University of Chicago.
fessor Myra Reynolds, by William M. The Department of the History of
Chase. In the President's office is Art was organized by Frank Bigelow
placed temporarily a copy of John S. Tarbell, who for years was professor
Sargent's painting of John D. Rocke- of Classical archaeology. Professor
feller. Tarbell died in 1920. Courses have
Of prints the most interesting col- been given in former years by Pro-
[185]
ART AND ARCHAEOLOGY
fessor Tarbell, George Breed Zug, now Gunsaulus and the Art Institute of
of Dartmouth, Richard Offner, and Chicago came choice specimens of
professors from other institutions who Degas, Forain, Monet, Renoir, Picasso,
conducted courses during the summer Cazin, Pissaro, Sisley, Le vSidaner,
quarter. Lorado Taft is professorial Andre and others. An exhibition of the
lecturer on art. Since Professor Tar- works of Albin Polasek was opened by a
bell's death there has been no instruction lecture given by the sculptor. Alfeo
in the department. An
administrative Faggi's works were exhibited in 1920
committee comprising Professors Henry and presented in an opening lecture by
W. Prescott, W. Sargent, Gordon J. Richard Offner. The members of the
Laing, Ernest H. Wilkins and David A. vSociety have been guests at special ex-
Robertson has formulated a plan for a hibitions in the Art Institute, in the
balanced and fully developed depart- homes and studios of art collectors and
ment. The purpose of this department artists. Lectures at the University have
definitely includes cooperation, rather been given by Frank Jewett Mather, Jay
than rivalry, with the Art Institute of Hambidge, Ananda K. Coomaraswamy
Chicago — an understanding which has and other critics and artists. vSuch ex-
strengthened both institutions. hibitions and lectures have enlisted the
There is another department of art in sympathetic interest of numerous pro-
the School of Education with Professor fessors and students and have won an
Walter Sargent at the head of the work. important place for the Renaissance
In addition to Mr. Sargent's classes, vSociety in the life of the University
courses are conducted by Antoinette of Chicago.
HoUister, a pupil of Rodin, and by Ethel This compilation of the art influences
Coe, a pupil of SoroUa. The works of at the University of Chicago emphasizes
Mr. Sargent, Miss Coe, and Miss the great power for good taste exerted
HoUister are to be found in the national during the life of the institution by two
exhibitions. connoisseurs, who, as trustees from the
Until a full development of the beginning, have given freely of their
Department of the History of Art is ability and energy: Martin A. Ryerson
possible the work of a society or- and Charles L. Hutchinson. The record
ganized in 19 16 will be especially im- of positive good, it must be remem-
portant. The Renaissance Society of bered, implies also a record of evaded
the University of Chicago was formed evil. The coat-of-arms of the Univer-
to foster an interest in the arts among sity of Chicago, for instance, is a posi-
members of the University community, tively good heraldic device the heraldry
;
especially among students. In 1916, in avoided can be guessed at by considera-

connection with the Quarter centennial tion of the seals of many American col-
Celebration the Society arranged for an leges. For the choice of good and the
exhibition of French impressionistic avoidance of bad the University, like
paintings. From the collections of the City of Chicago which they have
M. A. Ryerson, A. J. Eddy, Mrs. C. T- likewise served, must always be grateful
Blair, Mrs. W. W. Kimball, Dr. F. W. to these men of taste.
[186)
,
Gymnasium of Northwestern University, Geo. W. Maner, Architect.
ART AT NORTHWESTERN UNIVERSITY

Bv Stella Skinner.
NATURE has been gracious to
Northwestern. Her campus,
would have been gained, certain in-
dividual and local flavor would have
lying in a natural grove of oaks, been sacrificed. Furthermore, the
maples, and elms, borders on the buildings are so arranged that each is
shores of Lake Michigan for nearly a more or less isolated in its own grouping
mile in extent. An ever varying pan- of trees, and thereby somewhat inde-
orama of sky, water, ahd trees is pendent of the others. As it is, a very
spread out before the student as he catholic expression prevails, ranging
passes to and from classes. A walk through the fine Romanesque of Gar-
at early twilight through the campus rett Biblical Institute, the Venetian
or under the arching elms of Sheridan Gothic of the School of Oratory, the
Road bordering it on the west, with exquisite Greek Renaissance of Lunt
glimpses of the moon between the tree Library, the French Renaissance of
tops, has much of the solemnity and Harris Hall to the modern rendition of
beauty of a cathedral service. vSwift Engineering Hall and the Patten
Seventy years of history are bound Gymnasium.
up in the buildings on Northwestem's The latter is, perhaps, the most
Evanston campus, each of them typical unique building on the campus, and
of some epoch in the University's serves many university and community
growth. At the center of the group enterprises. The extensive indoor track
stands University Hall in gray stone, a under an arching roof of metal and
modern adaptation of Early English in glass,not only affords a practice field
style. Some would have preferred this throughout the season, but may readily
type carried out in subsequent build- be turned into a vast auditorium for
ings; but, while unity of expression community gatherings. Once a year
[187]
ART AND ARCHAEOLOGY
transformed into a thing of beauty
it is forated marble screens are on exhibi-
for theannual Festival of the North tion, and many other interesting fea-
Shore Music Association which, under tures which cannot be enumerated for
the leadership of Dean Peter Christian lack of space. This museum enjoys a
Lutkin, of the School of Music, ranks more than local reputation, and visiting
artists and lecturers are keen in their
among the foremost in the country.
interest and appreciation of it^.
The approach to the gymnasium is
At about the time of the World's
flanked on each side by a group of
Columbian Exposition in Chicago, a
statuary in bronze by Hermon Mac
body of Evanston women organized the
Neil, symbolizing the twofold char- University Guild, "to promote in every
acter of university education, physical way the development of art in the
and mental, the latter subject especially University and Evanston." The art
fine in conception and treatment. collection of the Guild is exhibited in
Not all of Northwestern's activities its reception room in Lunt Library,
are confined to the Evanston campus, which also serves as a class room for the
her Schools of Law, Medicine, Dentis- Art Department of the University.
try and Commerce being located in the The Guild collection includes valuable
heart of Chicago. Extensive plans are specimens of pottery, porcelain, glass-
under way whereby all of the "down- ware and bronze, many of them ac-
town" departments will be brought to- quired from the World's Fair; also the
gether on one ample campus, finely nucleus of a collection of prints, engrav-
located on the North Side in Chicago. ings, etchings, textiles, and paintings
The property has been acquired, and in water color and oil among the latter
;
architectural plans are under considera- a charming sketch by Zorn.

tion for a group of buildings which will In 1908 the Guild inaugurated art
be an honor to the University and to classes in the University, contributing
Chicago. generously to their support so long as
Northwestern has several museum vSuch help was needed. The depart-
collections of interest: that of the Col- ment has steadily expanded, and is
lege of Liberal Arts contains remark- influencing a greater number of stu-
able specimens of aboriginal ceramic dents each year. Lecture courses are
art of great educational value. given in Art Appreciation and in
The Bennett Museum of Christian History of Art, also in Historic Styles
Archaeology located in the library of in domestic architecture, furniture and
the Garrett Biblical Institute, is the decoration. Studio practice supple-
finest example of its kind in the coun- ments the lecture courses. The depart-
try. Under the direction of Dr. Alfred ment is well equipped with lantern
Emerson, formerly connected with the slides, photographs and a good working
Art Institute of Chicago, the ceiling library,which is growing yearly.
and side walls have been decorated It is the aim of the art courses to
with mural paintings copied from ori- relate Art to Life, to interpret it as a
ginals found in the catacombs. Fine principle permeating life, rendering the
replicas of ivory carvings, glass and commonplace significant, and daily
metal vessels, of sarcophagi and per- living beautiful.
1188]
THE MUNICIPAL ART LEAGUE OF CHICAGO
By KvERETT L. Millard.
A RECENT
Atlantic
contributor
Monthly wrote that
to
Chicago was the city of ugliness,

and worse still, that no one cared. A
the pioneer in Chicago in the movement
against the smoke nuisance and the
obnoxious billboard, and it has never
ceased its active efforts to have these
few notable exceptions proved the rule, two nuisances abated. The first effi-
but Mr. and Mrs. Average Citizen cient smoke prevention law ever enacted
were satisfied with city ant hills to by the City Council of Chicago was
work and to live in, and streets of utili- formulated by the League, and the
tarian dreariness to pass along. first public attention drawn to the
This number of Art and Archae- nuisance. In connection with the Muni-
ology is an informing ray of sunshine cipal Art Committee of the City Club,
in this dark picture. We are all too the League succeeded against strong
used to the monstrous congestions of opposition in having the present bill-
modern civilizations, but the subcon- board ordinance passed in 1 9 1 1 which
,
scious popularity of beauty is finding was quite progressive for that time,
expression here as elsewhere, or this and since then it has interested itself
number could not have been written. in itsenforcement and legal interpreta-
The Municipal Art League of Chi- tion. The United States vSupreme
cago has for its function the conscious Court has sustained the validity of this
development of civic beauty. There ordinance, in the matter of requiring
has been and still lingers an apologetic frontage consents in residence dis-
attitude in anyone who submits beauty tricts, in the case of Cusack vs. City of
to municipal consideration, and a feel- Chicago, and by that decision has
ing that some relation must be shown made it possible to prohibit boards in
to the pocketbook before anyone cares. residence districts. This represents a
If the League has shared in the work great step forward in the legal protec-
of making people conscious oi their tion of our home areas, and is a decision
natural pleasure in attractiveness in of national importance in zoning as well
their man made surroundings, it is ful- as in billboard regulation, which has
filling its function. For twenty years, been more availed of by some other
it has sought to do so in the twofold cities in cleaning up this nuisance than
field of civic adornment and making by Chicago.
popular the work of painter and sculp- The League has shared in the work
tor. of securing legislative authority for the
The League is a society composed of creation of our state and municipal art
individuals and clubs represented by commissions, having drafted the ori-
delegates. There are 275 members and ginal Municipal Art Commission act.
58 affiliated clubs, which have a total The powers of this Commission have
membership of over 15,000. been since broadened by statutory
Under the leadership of Franklin amendment, making it mandatory that
MacVeagh, a devoted friend of all that the city secure its approval of the de-
betters his city, the League was the signs of public structures, and the
[189]
ART AND ARCHAEOLOGY
personnel of the Commission has been the Municipal Art Gallery of the
reorganized. The state Art Commis- League, the purchase being made at
sion has done effective work whenever the annual Exhibition by Artists of
called upon by the state authorities to Chicago and vicinity, from a fund sub-
pass upon matters of art in relation to scribed by the clubs affiliated with the
public structures. League. This gallery was established
The League has taken an active part in 1901, and now contains twenty-five
in the agitation and legislation for zon- paintings and one bronze. It is hung
ing in Chicago, and has always inter- part of each year at the Art Institute
ested itself in extending the park, forest and in the past three seasons has been
preserve and recreational facilities of hung in Harper Library (University of
the city. Chicago), Helen C. Pierce School, the
We conducted for two seasons a City Club of Chicago, Eckhart Park
series of tours of the Art Institute, for and for three summers at the Municipal
the older school children, a work which Pier, Chicago being the first city in this
grew to such size and importance that country to hang a collection of valuable
it has been taken over by the Art paintings in a great public recreation
Institute. center such as this. The formation of
Last year the League completed an this gallery by the League has set a pre-
endowment fund of two thousand cedent whicia has been followed by
dollars, the interest from which goes other organizations.
for an annual prize for portraiture in The affiliated clubs, by their view
any medium to a painter exhibiting in days at the Art Institute, have in-
the Chicago Artists' show. Each fall fluenced a great number of people to
prizes have been awarded to industrial acquaint themselves with the artists
art workers in the vState of Illinois for and their work. The League is a
examples shown in the annual Indus- democratic organization, and its func-
trial Arts Exhibition, and each spring tion of popularizing and extending the
prizes have been donated for work at influence of art and beauty in both civic
the Art Students' League Exhibition. and individual life has proved neces-
Each winter a work of art is added to sary in a great city.
THE CHICAGO ACADEMY OF FINE ARTS

The Chicago Academy of Fine Arts awarded the painting Prize of Rome
at No. 81 EastMadison Street, with three times, and the only one awarded
an annual enrollment of seven hundred a Gold Medal for the unique combina-
pupils, isan unendowed Art School of tion of Painting and Commercial Illus-
the practical Arts. Carl N. Werntz tration at the Panama-Pacific Interna-
founded this school in 1902 and is still tional Exposition.
its director, a period of successful serv- These are, however, merely inciden-
ice exceeded by few of this profession. tal to its main business of training thou-
Under direction the Academy
his sands of men and women for success
aims to make its classes as much like in a most needed, practical, and paying
real professional life as possible. It profession such Com-
as Illustration,
glances at the stars now and then, and mercial Art, Interior Decorator, Car-
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ART AND ARCHAEOLOGY

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—
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ART AND ARCHAEOLOGY
An Illustrated, Monthly Magazine
OP WASHINGTON, AFFILIATED WITH THE

Volume XII NOVEMBER, 1921 Number 5
ART EDITOR „£Sa^**?â!&v

DIRECTOR AND EDITOR
WILLIAM H. HOLMES -Jji^fJiNsfT^^^ MITCHELL CARROLL
^^''^^^^^^^û
Virgil Barker
M^ ^ '^^£'^r^ V'^S, ^'Townsend Russell, President
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Howard Crosby Butler Af/t I {Y^^^^%\/ 'Vfflft
n„.„,„^ Upson
Charles n, .„,-
TT„o„., Clark JUBc v r^ ;3|V aSli Mitchell Carroll, Secretary
î«M PM OW
i
iP*- \/l /
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)
'j^^TA ^V
I
•'°'"' ^' ^*'""^''' Treasurer

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H. R. Fairclough
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^^
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'^/g
ô /^
£:.r-o#i:io
„
as President of the Institute
_ NCvV) - <yAf Robert îr

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- /{/^ n^ t, tr -m
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Helen Wright
^^ ^»*^*'*^^ H. B. F. Macfarland, Coutisel*
CONTENTS
Eagle's Nest Camp, Barbizon of Chicago Artists Josephine Craven Chandler 195
Six Illustrations
Artistic Nature (Poem) John II. D. Btanhe 204
Housekeeping In Primitive Hawaii Ernest Irving Freese 205

Seven Illustrations
The Aesthetics OF THE Antique City Guido Calza 211

Three Illustrations
Sapptio to Her Slave (Poem) Agnes Kendrick Gray 217
The Debt of Modern Sculpture To Ancient Greece Herbert Adams 218
Currents Notes and Comments 223

Four Illustrations
1. Sir George Frederick Watts' Picture "Love and Life"

2. When Critics Disagree— The Metropolitan's French Exhibition
3. International Congress of the History of Art in Paris
4. The Adventure of a Painting
Book Critiques 225
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provided for in section no.?. Act of October .? 1017. authorized September 7. 1918.
Copyright. 192 1. by the Art and Archaeology Press.
•Died Oct. 14. 1921.
Black Hawk, by Lorado Taft, located on the bluff just above Eagle's Nest Tree, near Oregon, Illinois.
ART mwi
ARCHAEOLOGY
Volume XII NOVEMBER, 1921 Number 5
EAGLE'S NEST CAMP, BARBIZON OF CHICAGO

ARTISTS
By Josephine Craven Chandler.
SINCE the great precedent at Bar- camp on the Rock River — the Indian
bizon men have gone into the open " Sinnissippi" —near the little town of
to paint, and the movement ac- Oregon, in Ilhnois.
claimed with derision has come into Though a small community, holding
such general acceptance that not only some thirteen acres in lease and boast-
in Europe but over the whole of ing less than a dozen buildings, cottages
America, from Provincetown to La- and studios, it is doubtful if any similar
guna Beach, artist folks, fused into group has, in proportion to its number,
groups by the affinity of taste and the so many names of real distinction.
sympathy which a common interest Lorado Taft, the sculptor, is its official
implies, have possessed themselves of head, and Ralph Clarkson, Oliver Den-
certain beauty spots and there, in nett Grover and Nellie Walker make up
seasons hospitable to the purpose, have the artist body; while Horace Spencer
been able to work free from the noise Fiske, James Spencer Dickerson and
and dreariness of city streets. visiting writers lend a literary atmos-
Seashore and desert and mountain phere to the place.
have proved their allurement, but of Eagle's Nest Camp is located on
those who have sought the forest none ground which may claim, in its occu-
have been more fortunate in the find- pancy, to have witnessed the whole
ing of natural loveliness of wood and —
gamut of civilization from savage to
rock and river, together with the utili- artist — within the century. And yet,
tarian aspect of richly-fruited fields, recalling the association of the red man
than that Chicago group of painters with this place, one is loath to think him
and sculptors who have their summer wholly devoid of that aspiration which
[195]
Home of Nellie V. Walker, at Eagle Nest's Camp.
allies him to the higher orders, or of an but recently accomplished, had not yet
ethic quite ignoble. Margaret Fuller, passed into romance; the Pottawato-
who visited this region in 1843, wrote mies were regarded less as " the children
'
of an Indian village site in this neigh- of the forests and the prairies than as
'
borhood: "They may blacken Indian the children of his majesty, the Devil;
life as they will, talk of its dirt, its and one may guess that the devout
brutality, I will ever believe that the hope of the pioneers was that these,
men who chose this dwelling place were together with their brothers, the Win-
able to feel emotions of noble happiness nebagoes, the Ottawas and the Chip-
as they returned to it and so were the pewas, might hold inviolate their re-
women who received them. Neither tirement beyond the Mississippi where,
were the children sad nor dull who lived in the language of the treaty effecting
so familiarly with deer and bird. . . . their removal, the bear, the beaver, the
The whole scene suggested to me a bison and the deer invited them.
Greek splendor, a Greek sweetness, and The praise of Margaret Fuller for the
I can believe that an Indian brave, loveliness of this spot may be said to
accustomed to ramble in such paths have a flavor of patriotism in its highest
and be bathed in such sun-beams, might sense, for she continues:
be mistaken for Apollo, as Apollo was "Two of the boldest walks were
for him by West." called Deer's Walk . . . and the
It is doubtful if such sentiment found Eagle's Nest. The latter I visited one
sympathetic reception among the resi- glorious morning; it was that of the
dents of this section at that time, for fourth of July, and certainly I think I
the memory of the Black Hawk War was never so happy that I was born in
was still fresh and the Sac and Fox America. Woe to all country folks that
tribes, whose reluctant exodus had been never saw this spot, never swept an
[196]
ART AND ARCHAEOLOGY
enraptured gaze over the prospect that others would walk along the bluff and
stretched beneath. I do beUeve that stop at that particular spot, folding
Florence and Rome are suburbs com- their arms as they looked at the beauti-
pared to this capital of Nature's art. ful prospect. "And it came to me,"
"The Bluffs were decked with great he said, "that those of generations
bunches of a scarlet variety of the milk- before us had done so, and the figure
weed, like cut coral, and all starred grew out of that attitude." The sta-
with a mysterious looking dark flower tue, which was executed almost en-
whose cup rose lonely on a dark stem. tirely at his own expense, is a gift from
This had, for two or three days, dis- him to the people of Illinois. Though
puted the ground with the lupine and familiar with the history of the region,
phlox. he tells us that he had in mind no parti-
"Here, I thought, or rather saw, cular individual of the race he sought to
what the Greek expresses under the commemorate but so indelibly was the
;
form of Jove's darling, Ganymede, and genius of the great Indian brave fas-
the following stanzas took place. .
."
. tened upon the country he loved that
The stanzas which "took place" by common consent it has come to be
make up the rather quaint, early called Black Hawk.
Victorian effusion called " Ganymede to The statue rises fifty feet from the
his Eagle," and the sources of her in- bluff and may be seen from almost any
spiration are not far to seek, for she —
point along the country side a pro-
sat at the place on the bluff side where foundly moving and significant figure;
a spring of crystal water gushes up and beholding the effigy of the noble,
(named, since, in honor of the pcem, brooding Indian and its expression of
"Ganymede Spring"), while just above stoical resignation one recalls the de-
her stood the old cedar tree, its roots fense which Black Hawk offered shortly
firmly clutching a great rock, its gauntly before his death, for his action in going
twisted arms upbearing, as to this day, into war with the whites: "Rock River
in a strangely cruel and Chinese simili- was a beautiful country. I loved my
tude of dragon's wings, a phantom towns, my cornfields, and the home of
eagle's nest! my people. I fought for it."
That Lorado Taft shared with Mar- It is a bit of irony consistent with the
garet Fuller a sympathy for the van- personal history of the two men that
quished race and a belief in its nobler Keokuk, the ancient enemy of Black
qualities is attested by his tribute to the Hawk, also should be immortalized by a
red man in the great statue which he member of the Oregon colony, Miss
placed upon the bluff just above Eagle's Nellie Walker. The statue of the great
Nest Tree. It represents the gigantic chief was erected by the local chapter of
figure of an Indian, wrapped in his the D. A. R. at Keokuk, Iowa, and
blanket, his arms folded as if in con- stands on the spot where he is buried.
templation, the head a little lifted, the Keokuk, who was a Sac chief, was a
eyes fixed upon the gracious country friend to the white man and always
spread below him. The conception for faithful in his allegiance. It was into
the piece came to Mr. Taft through a his hands that the government authori-
subjective experience. He has told ties gave Black Hawk for safe keeping
how, often, at evening, when the after his last, fatal uprising against the
shadows began to turn to blue, he and whites, an insult over which the latter
[197]
Road to Ganymede Spring, Eagle Nest's Camp.
ART AND ARCHAEOLOGY
brooded until his death. Keokuk was of in the broadest sense of the term, a
of noble bearing and Schoolcraft, in his cosmopolite and his wide culture, his
"Thirty Years with Indian Tribes," refinement and sensitiveness combine
how, at the great Treaty of Prairie
tells with his great reserve and strength to
du Chien, he " stood with his war lance, affirm a personality that is strikingly
high crest of feathers and daring eye, reflected in his art. A New England
like another Coriolanus." It is with man by birth —a
neighbor of the be-
peace pipe rather than with war lance loved Quaker Poet at Amesbury, Mas-
that Miss Walker has given him to —
sachusetts his work under Grudeman
posterity, but his noble posture, fine and Crowinshield at the Boston Mus-
carriage of the head and the graceful eum, under Dannant, under Boulanger
folds of his blanket, carried over the and Lefebvre of the Julian School,
left arm, do somewhat suggest the great Paris, all contributed to the mastery,
Roman patrician warrior. but little to that individual expression
Miss Walker has a number of fine of his work which is known as style.
pieces to her mostly private
credit, Something, perhaps, of the Japanese
memorials. They may be found in influence which laid its magic on Whist-
Colorado Springs, in Cadillac, Michigan, lerand the whole of the Impressionistic
in Battle Creek and in Chicago, be- Movement, touched him an appre- —
sides three or four public monuments, ciation of blacks and grays and a recog-
portrait statues principally; but it is nition of that new principle of composi-
probable that she has nowhere so com- tion which comprehended the inter-
pletely given expression to her genius pretation of the spirit rather than the
as in this ideal conception of Keokuk. form but the most important aesthetic
;
Unlike other artists of the Oregon episode of his life was doubtless his
group Miss Walker has never been able visit to Spain for the purpose of giving
to do any work at Camp but regards it himself to the study of Velasquez. His
rather as a summer home and recrea- debt to this master is acknowledged in
tion point. amusing to think that
It is many subtle ways. His subordination
the great brooding spirit of Black of detail to emphasis of structure; his
Hawk forbids, but she herself lays it to occasional use of the "grand line"; his
the physical difhculties of moving heavy interpretation of personality by means
materials about. Mr. Taft, on the other than the overstressing of char-
other hand, has designed and modeled acteristic —
the mere Surface rendering
some of his best pieces there. Besides of the subject —
are all tribute to this
the colossal Black Hawk he has done great spiritually developmental period.
The Solitude of the Soul, one of his The constant comparison of the work
greatest groups, which won him a gold of Clarkson to Sargent, a comparison
medal at the Louisiana Purchase Ex- which he has never consciously sought
position, and now at the Art Institute, nor coveted, had its beginning in the
Chicago; Despair; and best known, episode which Mr. James William Patti-
perhaps of all his sculptures. The Blind. son, the art critic, has related. It is an
Immediate neighbor to Mr. Taft and incident connected with a Portrait
Miss Walker at the Camp is Ralph Exhibit held by the Chicago Art In-
Clarkson whose distinction as a por- stitute. "A certain wall," says Mr.
trait painter is inseparable from his Pattison, "was set apart for the show-
distinction as a man. Mr. Clarkson is, ing of Sargent's works, but they failed
[199]
—
ART AND ARCHAEOLOGY

to cover all the line. At the end re- this article admirably represents him
mained one empty space. Nothing his Grand Canal, Venice, owned by the
could be found to occupy this vacancy Art Association of Winona, Minnesota.
beside the wonderful man but Mr. His several Italian pictures are account-
Clarkson's portrait of E. G. Keith, ed by critics as among his strongest
Esq., because of its directness of hand- work, though he is perhaps more gen-
ling, force and clearness of color. It erally known through his canvasses por-
stood the test of comparison so well traying the beauty of the Canadian
that most people imagined that this was Rockies. His fine color synthesis and
another Sargent, thus nearly robbing the subtle but insistant employment of
the artist of his due credit." rhythm are amonghis outstanding
When this portrait appeared, a little characteristics. He
was, for five years,
later, at the Corcoran Art Gallery in a teacher in the Art Institute, Chicago.
Washington it was the subject of much The thesis may be hazarded that
interest and of highly favorable com- even Max Nordau would have found
ment from its critics, professional and in a study of this —
group of
all artists
lay. This exhibit contained a notable proven genius —no "morbid symptom."
range of contemporary American por- They are of that splendid fraternity
trait work. There were the five can- whose shaping force has made the Art
vasses by Sargent, four by Chase, Institute a greater thing than a mere
besides portraits by De Camp, Vinton, museum in which pictures and sculp-
Beckwith, Melchers, Wiles and Benson; tures are hung and kept. " These men,"
yet Charles M. Kurtz, Ph. D., Director says a writer in the Chicago Tribune,
of the Buffalo Fine Arts Academy, "have builded themselves into its very
declared in speaking of the Keith structure and today our art center is one
portrait in his "Academy Notes," "It of the greatest community houses in the
is scarcely too much to say that no finer world with a widening welcome which
portrait than this had been painted in ever grows more cordial and more in-
this country." dividual."
Oliver Dennet Grover, like Mr. Taft, " Community " is the key -word which
is a native of Illinois, but the statement describes the group at Eagle's Nest
should be amended, as Elbert Hubbard —
Camp. They live these artist folk
once did his acknowledgment to his in happy country fashion, in pleasant
birthplace by saying that he has "lived cottages of wood, stone or mortar,
other places." Indeed the history of looking, always, toward the river which
his professional training is impressive. lies in lovely hnes below them, its
After leaving the Chicago Academy of current frequently divided by the little
Design he studied in the Royal Acad- verdant islands that dot its surface.
emy at Munich, with Duveneck in Their meals are served in a common
Venice and Florence, with Boulanger dining-house with wide windows and
n Paris and later with Jean Paul commodious porch. Over them great
Laurens. He is a painter of portraits, forest trees spread their protecting
landscapes and murals. Almost every arms, weaving soft shadows for the
distinction that America can bestow peace of souls. These are good neigh-
upon her artists has been shown him bors, too, as the folks at the little town
and the list of his honors is imposing. of Oregon, four miles distant, will tell
The illustration of his work given in you. They will point with more than
[201]
Portrait of E. G. Keith, Esq., by Ralph Clarkson.
Portrait of Miss Sallie, by Ralph Clarksou.
•
ART AND ARCHAEOLOGY

mere civic pride to the little gallery in the Camp, on arriving
dark, after
their public library, which the artists found his way through
the dense
have stocked with their best expressions forest illumined by lamps held rigidly
on canvas and in clay and marble; to between the feet of Egyptian mum-
their Community House, largely the mies placed two by two on either side
gift of the same friends to the town, and of the road, seated on canvas covered
to the memorial to the soldiers of the
pedestals and exposing starkly im-
Civil War from Ogle county which was
movable profiles to the view. The
designed by Mr. Taf t without remunera-
Plymouth centennial was not inappro-
tion as a contribution to its patriotic
priately observed, the Pilgrim Fathers
expression.
Also there are play-times. Aesthetic
making an impressive procession and
gravely alighting from automobiles
adventures such as the one involved by
the production of the Maeterlinck one upon a neatly burlaped "Rock"; and
act drama, The Blind, out of which almost always the occasion of "breaking
grew the conception seized upon by camp" in October is attended by some
Mr. Taft for his famous group of that fantastic ceremony, invariably ending
—
name the artists themselves, wrapping in a visit to the farm home of Mr.
fragments of tent canvas about them Wallace Heckman and the solemn pay-
and posing for the piece pageants and
;
ment of one cent by each and every
masques which commemorate some member in accordance with the terms
event or passing fancy but more often
; of the lease which this gracious land-
delightfully solemn grotesqueries such lord imposes on his tenants presided ,
as that originated in honor of the over by the benign spirit of Black Hawk
famous Orientalist, James Henry and the phantom eagle's nest.
Breasted, who when he paid a visit to Oregon, Illinois.
ARTISTIC NATURE
Oh yes, U'hat splendor does not nature hold
When earth and sky are met in harmony.
And river, meadow, rock and forest tree
Compose a form whose grace can not be told.
Whose charm excells the charm of purest gold.
Whose life inspires the life of you and me
And makes one feel that nature's artistry
Is far above ii^hai mind of man can mold —
Could man but knoiu the speech of nature's tongue
And mold his thought as nature molds her clay
In perfect form, and write a rythmic song
And sing it well as nature sings her lay.
Could man but paint what nature speaks so strong.
All life would love and live a perfect day.
John H. D. Blanke.
[204]
,
HOUSEKEEPING IN PRIMITIVE HAWAII

By Ernest Irving Freese.
this another layer of stones was
fire,
AwAiiAN riE-t-MAl^lMQ LQUlPriHT- laid. After the fire was spent, water-
laden banana-stumps were crushed flat
FU5E-DALL^/?^/3J
/O^CAEEYIMG ne,E> and placed upon the hot stones. Then
/ .iV£.Û-0/-//--
the raw fish, fruits or vegetables, were
WGDDLM Flie.E.-5TICK5, wrapped in leaves and placed upon the
flattened stumps. Immediately after-
ward, the wrapped food was covered
with layer upon layer of other leaves
BAMBOO FII5.E:-BL0WLe^
<l^.
O/fH-PUM'- Off/ and, finally, save a tiny hole left for
the admittance of water, the entire
spread was completely buried under a
Fire half foot of filled-in earth.
THE old-time Hawaiians, like other

primitive peoples, produced fire by
If the menu chanced to include a
hog, the carcass would first be opened,
friction. However, unlike that of cleaned, and stuffed with heated stones,
the American Indian, the fire of the after which, the operations would pro-
Hawaiian was generated by ploughing ceed on their above-mentioned way.
rather than by drilling. The theory of the Hawaiian oven is
The plough was a small stick of hard perfect: the fire heats the stones, the
wood, bluntly pointed at one end. dense layer of leaf-and-earth prevents
With a rapid chisel-sharpening motion the heat from escaping, the retained
this stick was rubbed to and fro in a heat is imparted to the food and to the
furrow formed in a larger stick of softer poured-in water, the water generates
wood. In perhaps a minute the resul- steam, and the food is cooked. More-
tant dust in the bottom of the furrow over, the food cannot burn, for there is
took fire. The tiny flame was then —
no fire only dampened heat. Even
caught on a bit of tinder or on the end at the present day, many Hawaiians
of a ball of twisted fiber. This ball prepare their food in this manner. I
served as a fuse, or slow-burning match, have eaten of that food. Wherefore I
for carrying the fire about and, so, am induced to remark that never before
for kindling other fires. A section of a have I tasted victuals more deliciously
slender bamboo stalk was utilized as a baked. A steam-heated oven that is —
blow-pipe with which to coax the preg- the imu of the Hawaiians.
nant spark into flame. Fire was also used for drying the
The imii, or oven, of old-time Hawaii grass house in damp wêather. For this
was always out of doors. No cooking purpose a small and shallow excavation
was done in the house. This oven was was made in the floor of the one-room
merely a rock-lined hole, or trench, house and curbed around with stones.
beneath the surface of the ground, and This was the domestic "hearth," fur-
of variable dimensions. In this trench nishing warmth and light when occasion
a roaring fire was built and, on top of required.
Note. —The sketches accompanying this article were made by the author from historic examples now existing
in the Bishop Museum'at Honolulu and in various other places throughout the islands. On thePuna coast
of Hawaii hefound the natives adhering very closely to their aid-time manners and customs.
[205]
—
ART AND ARCHAEOLOGY

each nut, at about three-minute inter-
vals. It is thus seen that this light
required almost constant attendance,
and, moreover, that there existed im-
minent danger of the grass house going
up in smoke because of carelessly-
thrown embers. Hence: the stone
lamp.
The oil for the stone lamp was
pounded from kukui nuts in a stone
mortar and with a stone pestle. And
the stone lamps, stone mortars, and
stone pestles, were themselves fash-
ioned with tools of stone! The lamps
m^ were of many forms, for, usually, each
householder was his own lampmaker.
The wick was a piece of braided fiber.
In the event of a nut famine, the fuel
was fish-oil or the fat of hogs or dogs.
Food.
There existed no food in primitive
Hawaii that even faintly approached
the likeness of bread. But there was
poi in abundance. Literally speaking,
The Hawaiian Imu, or Underground Oven, was out of poi was the original Hawaiian's "staff
doors. The food cannot bum, for there is no fire of life." Even today, it is commonly
only dampened heat.
Torches were made by stringing the

meats of roasted kukui nuts on the long
mid-ribs of coco-palm leaves, or on
stalks of wiry grass, and swaddling a
bunch of these yard-long strings with
dry banana leaves. This lama-kii, on
being ignited, produced a large and
brilliant light. Also it produced much
smoke, and, therefore, was used mainly
out of doors for night-time dance or
revel.
However, single and much shorter
strings of these kiikiii nuts were some-
times used for light indoors. The top
nut was lighted first. When it became
nearly spent, the candle was inverted
to set the next nut afire. The burned
nut was then knocked off and the
The making of Poi was the Man's Task.
candle reverted . . . and so on, for
[206]
ART AND ARCHAEOLOGY
made and eaten in the old-time man-
ner.
The making of poi was no delicate
task. It was nothing short hardof
labor. However, this burdensome house-
keeping duty was performed solely by
the men-folk of the family. The women
had other duties equally as essential to
the well-being of the primitive house-
hold—as you shall see after I am done
with poi and men.
Imagine a glue-like pudding of such
consistency as to drip slowly and stick-
ily from the fingers. Imagine a washed
out blue blanket. To the substance of
the pudding add the color of the
blanket. That is poi. It was evolved
by performing a varied succession of
operations upon the native tare plant:
First, the plant was exhumed and the
root amputated. The root was then
roasted in the underground oven and
then skinned. Up to this point it was
still called taro.
Next, it was placed upon a hardwood
board, and, with pestles of stone, was
diligently hammered and crushed out
of all former semblance. Water was
then added as lubricant. Pounding
and kneading were again precipitated.
This process was prolonged. But the
result was not yet poi. Nor was it
taro. was now pai-ai, meaning pai,
It
bundle, and ai, food: hence, bundle of
food.
The bundle was next transformed by
being immersed in a water-filled cala-
bash wherein it was allowed to ferment.
—
And then after fermentation it was —
poi.
No one will controvert the assertion
that the making of poi, especially dur-
ing the pounding stage of its career, was ^ or 6/7^ ^_^
the man's task. But the men made
play of it. Often as not, two of them
worked at one board, jesting and sing- UDO/7 Z^/dA
ing and timing their stone-hammer
blows to the cadences of their songs.
Other than the taro plant, the Hawai- \
ians raised sweet potatoes, yams and \
[207]
:
/C^tX
r ;
nOUSDHOLD UTLU5IL5
^^ÔLD-TIMFy HAWAII
-^LAMRS
/PU-/<(J/<tJ/--
PD5TLD
GIÎNDING
LAMP-FUEL
#
sugar-cane for food. The people were It was the iron-bound implacable Law
ever skilled in the ways of the soil. of pagan gods and pagan kings. Yet
No home was complete without its not a law either. The violation of law
taro patch and garden. is merely crime. But the violation of
Fruit and berries, in this favored a tabu was deadly sin.
land, were then to be had for the pick- What was the tabu? Just this: an
ing: bananas, cocoanuts, mountain exceedingly complicated and vast net-
apples, the wild strawberry, the goose- work of regulations, restrictions and
berry and the raspberry. dire penalties that hedged the entire
Their meat diet was fish, fowl, hog daily life of the common people, and
and dog. hung a fearsome and impending doom
Salt, collected from salt lakes or about their credulous and cringing
extracted from sea-water, was much souls. A tabu was a priestly fiat. A
used for food seasoning and for the tabu was an absolute, inexorable thou-
preservation of pork and dog flesh. shalt-not. And some of them were
Liquors, distilled or fermented, were these
—
unknown until the white man came. A
man could not eat in the presence
The old-time Hawaiians had, however, of his wife, nor she in the presence of
a plant of bitter and acrid taste, the her husband. No woman was allowed
awa, from which a narcotic and stupe- to eat of the flesh of the hog, the ûrtle,
fying drink was concocted. But the the shark or the sting-ray. To all
drinking of this was mainly restricted womankind, the banana and the cocoa-
to the chiefs and priests! And now nut were forbidden fruit. There were
comes the tabu. times when no canoe could be launched,
no fire lighted, no household duties
The Tabu. enacted, no poi pounded. There were
What was the tabu? It was the Law. occasions when no sound whatsoever
[208]
HE Zi^PJ-/U/fl&y EQUIP/AEHT
WOODDN AWVIL.
/O/i/DA- ALL/A- UjLI/
e.OUMD CLU&
#
could be uttered; when even the dogs paper-mulberry tree. The labor of
had to be gagged, and the fowls shut in and stripping them of
felling the trees
lidded calabashes, for twenty-four hours the bark was the man's task. This he
at a time. did with an adz of stone and cutting-
That was the tahnl edges of shell. And then came the
women's work.
Raiment. As a wooden mallet is a more wieldy
The primitive Hawaiian's household household utensil than a stone hammer,
was full of sound, signifying something. just so was tapa beating a less burden-
Housekeeping was one continual round some household duty than the pound-
of impact. Hammers of stone and ing of poi. And, as the making of poi,
clubs of wood were household utensils. from taro patch to calabash, was the
The men wielded the hammers, the labor-share of man, just so was tapa
women, the clubs. With these domes- making, from bark to garment, the
tic weapons they attacked their raw labor-share of woman. Thus, between
materials and therefrom extracted the man and mate, there existed an eco-
essentials of life. Fire was chiseled nomic division of labor in the primitive
from a stick of wood. Lamp-oil was and self-sustaining household. But the
ground from nuts. The roots of taro division was more than economic. It
were pounded into poi. The bark of was decreed of the gods.
trees was scraped and hammered into The process of tapa making was pre-
clothing. ——
Behold ye loafers of the
modern household the houskeeping
sided over by its patron goddess, Lazi-
haki. Its manufacture was carried on,
duties of the "pleasure-loving" old- unseen of men, in a separate house,
time Hawaiians. Chiseling. Grinding. the hale-kua. No man was allowed
Pounding. Scraping. Hammering. entrance to this sacred establishment
Hawaiian cloth, tapa, was manu- of woman; the penalty was summary
factured from bark, preferably of the and violent death. It was tabu!
[209]
WOODEN POI-POUNDIMG &OAidD
/=>A/o/l-i.Âiy-
eAi_ADA5H
Y\LW/-AMZ'£J EQl/JPAmT-
IL J
With cutting-edges of sea-shell, the After the finished tapa had been
bark of the felled tree was sliced bleached in the sun, it was sometimes
through longitudinally and, so, divided stained and colored by soaking it in
into long and parallel strips. These dyes extracted from the soil or from
were then carefully peeled from the roots or berries. Various simple de-
trunk and exposed to the sun until the vices were also imprinted upon its sur-
sap in them had become evaporated. face in differing colors and by diverse
The cortex was then scraped off and methods. Some were imprinted there-
the remaining fibrous tissue put to upon with a carved bamboo stamp.
soak. The tissue was next laid on a Others were lined off with a bamboo
smooth stone and given a preliminary marker split at one end into a multi-
beating with a round wooden club for tined fork. Still others were painted
the purpose of felting the fibers to- thereupon with a brush made from the
gether. This done, it was again im- frayed end of the pandanus fruit.
mersed for a time and then, amid a Finally, the entire surface was glazed
sprinkling of water, was given a final with a species of native resin. And the
beating with a four-sided wooden club garment was finished.
upon an anvil-shaped log. The result The everyday garb of the women was
was tapa, or Hawaiian "cloth." a knee-length skirt, made up of many
Some of it was of so fine a texture as thicknesses of tapa, passed several
to compare favorably with later-day times around the waist. The dress of
muslin. Other, and more common, the men was a loin-girdle of tapa. In
varieties, however, were much denser addition to the above, a Mhei, or man-
and tougher, resembling the building- tle,occasionally gave sumptuousness to
paper of modern times. The individual the native wardrobe. This was a sim-
strips were narrow. Wider strips were ple tapa robe, perhaps two yards square.
made by either welding two or more It was worn by either sex. A
sleeping-
together during the beating-process, or robe, tapa-moe, made up of many layers
coarsely stitching them together after- of common tapa, completes the list.
ward. In the latter case, a whale-ivory . . And now, your true old-time Ha-
.
stilleto was used to punch the holes waiian lies down and dozes in the sun.
through which to pass the bone needle. Fan ka hanal
Braided cocoanut fiber was the thread. Los Angelfs, California.
[210]
THE AESTHETICS OF THE ANTIQUE CITY
By Guido Calza.
WHEN presenting to the readers of

Art and Archaeology these
Let us see: the plan of the most
ancient centers of human life the —
original and interesting recon- —
terremare was a network of streets
structions of antique houses, drawn crossing each other at right angles and
from the ruins of Ostia by Prof. Gis- dividing the huts into regular blocks;
mondi, an architect, I propose a ques- and was, then, very similar to the plan
tion that is new to all students of art of an American city, where the funda-
and of archaeology; that is: did the mental idea is to obtain a convenient
Ancients, the Greeks and the Romans, system of streets.
adopt aesthetic theories in building But these prehistoric centers of
their cities ? And did they begin by first human were created at one time,
life
formulating a purely aesthetic plan for by one impulse, and by one sole tribe,
the disposition of their public monu- and in a position chosen by necessity.
ments, now in sapient disorder, now in It was the same in those Roman colonies
sapient harmony? founded by soldiers, who transformed
This is an interesting study and ab- the mihtary camp, modeling the new
sorbing today, when we are witnessing city in the regular form of the cast rum.
the growth of all the old centers of But cities like Athens and Rome, that
population, and the building of new grew little by little, as their population
ones, since the war put a stop of re- and their political importance increased,
building in the capitals and created the could not, and indeed, did not have
need of new cities. such regular plans. The difference is
But no one has ever before attempted that we
think the regular plan of our
to reconstruct an antique Greek or citiesdetrimental to aesthetics, while
Roman city as a whole, or to restore its the Ancients, the Greeks as well as the
aesthetic form, either by consulting Romans, thought the city built en a
the ancient authors, or by examining regular plan beautiful, and preferred
the ruins of antique cities. So that, it to all others.
when a new quarter is being built in a In fact, though Athens and Rome
city, or a new monument erected, the were famed for the monumental char-
critics always cry that building is a acter of their public buildings, everyone
lost art, and exalt the Acropolis at deplored their narrow, tortuous streets
Athens, the Forum at Pompeii, and and their wretched houses huddled to-
the streets of Ostia as examples of c'vic gether without order and without rule.
aesthetics. The orator Lysias observes that the
Is it the mere charm of the ruins that Athenian houses were small and miser-
lends a sensation of beauty when we able, and that the whole city of Athens
visit antique cities, or is it, rather that was badly laid out, being inferior to
they were artistic organisms, not Thebes, where the streets ran in straight
created by the scientific knowledge of lines. Ivloreover, the courtiers of Philip
an engineer alone, but also by the soul of Macedon, who were accustomed to
of an artist? the regular, systematic plan of the
[211]
Fig, I. —Reconstruction "1 Un 1' M. the Main Street of Ostia.
Grecian colonial cities, derided the mis- admiration for the ruins of the Grecian
erable appearance of the city of Rome, and Latin cities, their aesthetic aspect
whose political importance was never must remain unknown, obscure, and
equaled by the beauty of her monu- uncertain, unless we succeed in recon-
ments, even during the Empire. structing them before our mental vision.
It is, then, a mistake to believe that We even confound in one sole picture
the Ancients did not like the city built the three or four which the excavations
on a regular plan; they always pre- —
have brought to light Priene, Pompeii,
ferred it, and realized it wherever Ostia, and Timgad. It is, on the con-
possible. trary, necessary when comparing Pom-
The architect, Hippodamus of Mile- peii —
and Ostia to see clearly that the
tus, won fame by introducing geometric- same difference exists between the city
al rules into the plan of the Greek city, on the Tiber and the Vesuvian city as
so that it had regular
streets and regu- between any modern provincial city
lar groups of houses, such as may be and any mediaeval one. However,
seen at Thurii, Rhodes and Piraeus, our thoughts turn at once, as they have
which were constructed according to always turned, to Rome. But how
his regular plan. many of us have in mind, and with some
Yet, although we have unqualified degree of correctness at least, the ap-
[212]
ART AND ARCHAEOLOGY
pearance of the Eternal City during the Decumanus by two houses; one of
—
various periods during the age of these has been reconstructed and is
Cicero, for example, then under Domi- shown in the photograph. There are
tian, and later under Constantino' arcades on both sides of the Decuma-
The public buildings, the imperial nus; one is insignificant and has Doric
Fora are more or less known to all; columns; the other is of greater height,
but whether the Ancients had a greater and has travertine pilasters decorating
and more developed sense of the monu- the wall-space and on the upper floor,
;
mental than we, I do not know, or a colonnade from which one enters the
whether the aesthetics of the city is dwellings. Shops open on this arcade,
expressed in her public monuments which was intended as a public passage,
rather than in the whole mass of her taking possession of its outer arches
buildings. In any event, even though also, just as in Piazza Castello at
we do know those centered in the Fora Turin. This abuse is not new and
and on the Palatine, it is necessary to recalls the words of the poet Martial,
bring back to life two thirds of the city who praises Domitian for placing a
that we do not know, with shops, mar- check upon the aggressiveness of the
kets, nymphaea, gardens, and arcades. shop-keepers and street- vendors, who
It is, in fact, necessary to restore her occupied the arcades and streets, trans-
residence quarters to Rome with their forming Rome into a magna taberna.
streets and public squares. And we Figure 2 shows the crossing of two
must not look for their type as has — streets, the Via della Fortuna and the
—
always been done among the ruins Via del Mercato. A handsome house
of Pompeii, which serves more adequate fronts on the latter, displaying orna-
ly by restoring to us the typical house mental forms and motives that may
of the upper class —
but at Ostia, which well be called mediaeval, if not actually
shared the very life of Rome during the modern. The corner house has an
great re-building period of the Capital. arcade with masonry pilasters on the
The readers of Art and Arch- Via della Fortuna, and one on the Via
aeology will recall some beautiful pho- del Mercato formed of arches supported
tographs, published by me and taken at on heavy travertine consoles. There
a height of five hundred meters from an are shops beneath the arcade and dwell-
Italian dirigible. But now, these beau- ings above, fronting on the street
tiful, interesting and faithful recon- across a wide terrace, which has masonry
structions shown here have given new columns and pilasters. The red brick
life to the ruins of Ostia. walls are plastered over here and there
Figure i reproduces the Decumanus with political and commercial posters,
Maximus, the main street of Ostia, which were renewed every time they
where it passes the theater, which just elected new deputies at Ostia, or which
shows the profile of its mouldings in served to advertise the arrival and
front of a private house. This char- departure of Rome's merchant-vessels.
acteristic house, with many windows The effort demanded of the recon-
and a balcony carried on consoles, structor's imagination here is minimum,
fronts on the street leading from the because the very ruins of this house,
Decumanus to the Tiber, and adjoins that has its whole second floor perfectly
the enclosure which surrounds the preserved, speak to us in a clear, vivid
Theater and which is shut in toward language.
*See Vol. X, No. 4, (Oct., 1920) pp. 148, 9.
1213]
Fig. 2. Reconstruction of the Crossing of Two Streets at Ostia, the Via della Fortune
and the Via del Mercato.
Fig. 3. —Reconstruction of a Tenement House in the Center of Ostia.
It the same with a tenement-house
is ments make it far more attractive than
in the center of the city, the recon- our modern houses.
struction of which (figure 3) allows you The residence quarters of Rome must
to observe its plan and the disposition have been composed of about this kind
of the rooms. Two houses, exactly ofhouse but we were unable to picture
;
similar in plan and in the distribution itto ourselves until the excavations at
of the apartments are united in this Ostia brought these interesting ruins to
tenement; the lower apartment con- light.
sisting of twelve rooms —
seven on the Restoring a city like Ostia with such
ground floor and five on the mezzanine methods enables us to see with our
— is entered either from the garden, mind's eyes its regular plan, the regu-
which you see, or from the street, which larity of which never becomes rigid and
passes the opposite facade. The two irritating symmetry. In fact, the city
upper floors have small balconies of is cut by some long, straight streets,
masonry carried on travertine con- where detached groups of houses ad-
soles. This extremely simple house, in vance beyond or stand back from the
which all the rooms have many windows lines without uniformity of proportion,
—
(one has six three above and three which is, on the contrary, the case at
below) is cheerful with the green in the

, Delos, for instance, at Selinunte, and
garden and the flowers. Moreover, at Priene; other such groups bend in a
the symmetry and variety of its orna- curve, effacing themselves, yielding cer-
[2151
—
ART AND ARCHAEOLOGY

rainly tosome local necessity, yet offer- of the beauty of Rome was always
ing most pleasing aesthetic effects. inferior to the reality.
And where the streets were straight, These are rhetorical expressions, and
the buildings composed against admir- only give us an impression of measure-
—
able backgrounds the sea, the Tiber- less and immeasurable grandeur, which
tine jNIountains, the Tiber, and some could not have been the sole character-
country-places on the Latium coast^ istic of Rome, and which cannot, in any
vistas that were used advantageously in event be too readily accepted today
laying out the city, so that Minucius with our modern conception of aesthe-
Felix might well call Ostia amoenis- —
tics the aesthetics of the Eternal City.
sima civitas. Nor are we more fortunate with the
It is far more difficult to restore the writers of the Golden Age. Let us put
appearance of Rome with any accuracy aside the epigrams and satirical expres-
of impression. And it is to Rome that sions of Juvenal and Martial, from
our study is especially directed. The which we learn even that Rome was
Restitutio Urbis is most difficult, be- not all beautiful, not all gold and mar-
cause only the monumental part of the ble, as most of the old topographers
city has been preserved, and also be- have described her. Let us also put
cause of the very character of the city, aside Martial's magna taberna. Sulla's
always varying during the various ages, 'Romewas pulcherrima atque ornatissima
when necessity and an imperious will in Cicero's eyes, but a moment's reflec-
were for a long time the only building- tion suffices to make us observe that
laws. Moreover, only a few hints Cicero has again shown that he was not
—
and those often useless are found in an art-critic. Augustus felt the dignity
the Latin writers. Latin literature of the public monuments of Rome
lacks that critical, aesthetic description vastly inferior to her political import-
that produced a Ruskin, and those ance. And it is enough to read Vitru-
historic-aesthetic towns that make vius to realize that Rome had not yet
Mauril's guides to the Italian provin- conquered the right to enter an archi-
cial cities most attractive. tectural manual either with her indi-
Rhetorical expressions are quite use- vidual monuments or with the whole
less like that of Aristides who remarks
:
mass of her buildings.
with astonishment: "Nowhere else can I do not intend to argue by this that
the eye take in so large a city as Rome Rome was aesthetically ugly during the
last century of the Republic, nor even
at a single glance," or like that of the
African Fulgentius who says: "quam
earlier perhaps. Nor do I intend to
say that those foreigners were right
speciosa potest esse Hierusalem caelestis,
who made fun of the miserable archi-
si sic fidget Roma terrestris!" Or like
tectural fragments of the Capital of
that of Themistocles who says to the
Italy, which was in the way to become
Emperior Gratian: "The celebrated the Capital of the World. On the con-
and most noble city of Rome is bound- trary, a useful hint may even be drawn
a sea of beauty that passes
less, it is like from them, helping us to understand
description." All this corresponds to what the Ancients meant by beauty in
the impression made on the Emperor public monuments. For, it is, in a
Constans, who observes that, although restricted sense, and precisely in that
Fame exaggerates everything, the fame sense, that we now understand the
[216]
—
ART AND ARCHAEOLOGY

aesthetics of a city—the aesthetics of then, —that the Ancients considered the
Rome, magis occiipata quam divisa,
still city an artistic organism. The An-
where necessity, and imperious will, cients, the Greeks as well as the
and individual taste substituted a Romans, certainly displayed a more
variety, that was certainly vivacious, general aesthetic sense in their civic
for the solemn rigidity of the building- monuments than we, and above all, a
laws. And, moreover, the severely quicker perception of values in the
monumental character of her one Forum relations between buildings, which was
had already made itself felt, and was in more often intuitive than reasoned,
striking contrast with the little dwell- more often unconscious than studied.
ings nearby, and with the great quiet But a careful examination of the
of the parks and gardens, oases of ruins of ancient cities and the study of
green interspersed among the houses. literary texts —especially of Vitruvius
Rome must have had a very distinct have convinced me that they did not
aesthetic character. This character- have aesthetic theories of civic con-
istic of parks and gardens that construction. The
was considered
city
tinued to exist until the end of Papal then, as it today, the achieve-
still is
Rome, this even excessive disorder in ment of engineering rather than of
the public monuments, where no har- architecture. Less need of a conven-
monious whole could be recognized, ient and rapid street-system, less
but which must have lent an original rigidity in the building-laws, added to a
—
note these characteristics were trivial, more ready and spontaneous aesthetic
and could not have been pleasing to the sense, certainly served to diminish the
Greeks of the Macedonian period, those use of geometric formulas and mathe-
constructors of cities laid out on regu- matical rules, and to lend a more varied
lar plans, in which was the beauty of and aesthetically pleasing character to
order, the character of discipline. But the antique city than to the modern
they would certainly have been pleasing one.
to us moderns who beUeve, —
wrongly Rome, Italy.
SAPPHO TO HER SLAVE.

With hyacinths thy tresses bind,
My little slave, for thou art free;
Thou knowest not the chained mind.
The heart' s lost liberty.
The sandaled girls of Lesbos sing.

They circle on the lillied sod —
Join thou their festal reveling,
Who hast not felt Love's rod.
Bondmaid thou art, through war's mischance.

But kind is thy captivity;
Thy'flower-light feet unfettered dance . . .
Pale memory prisons me.

Agnes Kendrick Gray.
1217]
'
THE DEBT OF MODERN SCULPTURE

TO ANCIENT GREECE
By Herbert Adams
MORE than
Murray,
a decade ago, Gilbert
then as now an in-
of clay, he would first examine himself,
and then eloquently acknowledge his
teresting figure in the field of debt to Greece. But the extraordinary
classical learning, acknowledged in vivid sculptor Rodin, so often master of the
terms his perpetual indebtedness to two-thirds truth in the spoken word, has
Greek poetry In hi s preface to his " His-
. with unmistakable sincerity paid his
tory of Greek Literature," he writes: tribute to Greek Rodin is com-
art.
"For the past ten years at least, monly regarded an innovator in
as
hardly a day has passed on which sculpture, rather than a classicist; yet
Greek poetry has not occupied a large it is he who declares, "No, never will
part of my thoughts, hardly one deep any ! '
artist surpass Phidias

or valuable emotion has come into my ]3ut suppose for a moment that
life which has not been either caused, or Phidias had never existed. Suppose
interpreted, or bettered by Greek that there never was a Parthenon, or
poetry." He adds a word about even an Acropolis, or indeed any trace
"the one-sided sensitiveness of the of the Greek peninsula on the face of
specialist." the earth.
If a poetic scholar and scholarly poet There would then have been a very
like Gilbert Murray owes so much to different sort of Roman sculpture from
Greek literature, not his contem-
is that which gave us the statue of
porary, the modern sculptor, equally Julius Caesar in his toga, and en-
in debt to Greek plastic art? For the crusted with anecdotes of conquest
sculptor also has his own "one-sided the Arch of Titus. Perhaps we should
sensitiveness of the specialist." not even have a richly-sculptured tri-
To the sculptor, if to anyone, the umphal arch to bless or curse ourselves
smiling archaism of a primitive statue with today. And surely the Italian
of Apollo, the godlike majesty of the Renaissance, had there been any, would
so-called Fates of the Parthenon, the have been quite a different matter from
splendid swing of the Victory of Samo- that actual rebirth of culture which
thrace, should bring a peculiar, per- during the 14th and 15 th centuries
sonally directed message. He, if any- became what was to be the link between
one, should understand the endearing classic civilization and our own. For
human quality of the Greek stele, with without the Acropolis, the Italian Re-
its sculpture of homely farewell, and naissance would have had to manage
the charm of the Tanagra figurines, some backward flight into Eg>'pt, or
caught in the act of some everyday into the most Eastern East, or into the
occupation, be it task or pleasure, or colder climes of the North; and as a
both combined. modern consequence, our sculpture to-
Doubtless if the ordinary sculptor had day would perhaps have an Egyptian
the gift of reasoned introspection, and a four-squareness, or a Chinese majesty,
command of speech equal to his mastery or a rude Gothic power.
[218]
.
ART AND ARCHAEOLOGY

As a matter of fact, the imagination of not being new, the fear of not being
draws back wounded from the vision able to emit "le dernier cri" in art lies
of modern sculpture stripped of its at the bottom of the ultra-modernist
Mediterranean heritage. Had Greece onslaught on the classic spirit. To
not existed, the plastic art of Rome those who are thus fearful, a rough-
would have been in a sense "all dressed hewn carving from the jungle is of
up, nowhere to go." The same is true, course nobler than the Hermes of
in a less degree, of the sculpture of Praxiteles, —
nobler because more novel
Italy 15 centuries later; the Gothic arts and less academic.
and crafts of the Middle Ages were Personally, I as a sculptor feel an
never quite at their best under Italian interest in everything that was ever
skies, although some critic^, including modeled or carved in sincerity, whether
Rodin the sculptor, regard the powerful made in the Kameroons or in Con-
and tortured spirit of Michael Angela necticut. But I hope not to enslave
as a Gothic survival, or perhaps an myself to newly discovered tribal ideals
expression of the eternal conflict bein art, any more than to the long-
tween Hellenism and Christianity, known standards of antique civilization
rather than of confidence in classic Unfortunately, the road to our de-
ideals of art and life. sired goal of Democracy is strewn with
The
longer the world lives, and the snares, among which is sometimes found
longer we live in it, the more clearly a contempt, real or assumed, for the
we see that absolute originality does higher standards, and for classic values
not exist. Culture does not happen generally. All the more reason, there-
spontaneously it is born and reborn in
; fore, for true seekers after Democracy
the labor of generations. And the to remain dauntless in the face of
greatest among men of genius are present-day attacks upon classical
usually the swiftest to pay homage to studies, — attacks which are among the
their predecessors, and to prize classic crimes committed in the name of De-
tradition at its true value, not as some- mocracy. Our literature, already suffi-
thing that enslaves men, but as some- ciently happy-go-lucky and indiscrimi-
thing that helps to set them free. nate in its style (I speak now of form,
Some of our modern despisers of not of matter) is likely to deteriorate
ancient culture, in their efifort to gain still farther because of the temporary
for themselves what they call " the in- blacklisting, by some of our colleges, of
nocent eye," would destroy all tra- Greek and Latin; studies which tend to
dition in art, except perhaps that of the enrich and to clarify the language and
more degraded tribes of mankind. Thus thought of a writer. Our art of sculp-
we find the admirers of Matisse gravely ture, however, is more fortunate, be-
applauding his assimilation of the ways cause its indebtedness to the classic
of African tribal sculpture. It is spirit is too manifest to be lightly
probable that the War, with all its ignored.
frightful destruction of that which was A visit to the galleries of contem-
priceless in art, has sharply called a halt porary American sculpture at the Met-
upon those sinister forces which had ropolitan Museum will show us how
been advocating the annihilation of powerfully the classic spirit still prevails
recognized beauty. Often a kind of with us. For instance, the figure of the
fear, the fear of seeming old, the fear wounded wayfarer in Ward's group of
12191
ART AND ARCHAEOLOGY
the Good Samaritan is modelled with calm was heavily over-stressed. That
classic enthusiasm and classic balance. image did good service in its day, and
Consider the beautiful planes of the withstood hard wear. But modern
chest, and see how the group of muscles scholarship has made a ghost of it, and
under the arm expands into a great we of today acknowledge in Greek
flower of light and dark. Ward was sculpture a mysterious power not to be
our virile pioneer in American sculpture. summed up in phrases about calm, and
While he abhorred the servile pseudo- balance, and beauty. In fact, no artist
classicism of his day and generation, it or critic has ever succeeded in explain-
is worthy of note that he too, like Rodin ing the true quality of Greek plastic
and like Kenyon Cox, passionately art. For, without having the air of
prized the true classic spirit. being in the least elusive, that quahty
"When after years of study," writes forever eludes full description. It is a
Ward, "I at last found out truths in thing of the spirit
Greek sculpture which I once had In the light of the recent extraordi-
doubted, the joy of the discovery was nary discoveries of a pre-Hellenic civil-
intense." ization in Crete, some of our younger
"If it be great art," writes Kenyon sculptors, especially those who have
Cox, in his Illusion of Progress, "it profited by the opportunities of our
will always be novel enough, for there American Academy in Rome, have felt
will be a great mind behind it, and no the lure of the primitive. Under its
two great minds are alike. And if it spell, because things longest buried
be novel without being great, how shall often seem least hackneyed, these young
we be the better off?" men have joyously revived the naive
" I do not try to imitate the Greeks," and very real attractions of what may
declares Rodin; " I try to put myself be called the awkward age of antique
in the spiritual state of the men who sculpture. But Paul Manship's Girl
left us the antique statues." with Gazelles is after all a second
These three artists. Ward, Cox, and cousin, twice removed, to Saint-Gau-
Rodin, are in many ways opposed to den's Amor Caritas, while Sherry Fry's
each other but they are in harmony in
; Maidenhood and Mr. French's Angel
their reverence for Greek art. have a common ancestor. It must be
Turning to the work of sculptors admitted that, as often happens in
coming just after Ward, we find the families, these relationships do not stick
essence of Greek beauty and Greek out at first glance. But our young
serenity in French's masterpiece, "The Americans were not the first, neither
Angel of Death," and the essence of will they be the last, to play the game
Greek majesty and Greek mystery in of form according to Crete. In fact,
Saint-Gaudens' Adams Memorial. Yet the Germans were before them in the
each sculptor, in making the classic field, and the sculpture of the Serbian
spirit his own, has richly remoulded it Mestrovic scores heavily by the use of
by his own genius, his own personality. those same archaisms so lightly seized
The great school of German critics by our Americans of the Academy in
of the 1 8th and 19th centuries, with Rome, those renowned young playboys
true Teuton thoroughness, had by their of the classic spirit. Others also, and
researches made for the world an image in other ways, have edged away from
of Greek art in which the idea of Greek the shadow of Winckelmann's calm
[220)
.
ART AND ARCHAEOLOGY

into a place in the sun, notably Rudolph Roman busts abounded ; and the Ital-
Evans, whose Golden Hour, a beautiful ians of the Renaissance, when painting
girlish figure with Greek drapery, shows and sculpture vied with each other,
no trace of mannerism, new or old. carried portrait art to a still higher
The research of modern archaeolo- pinnacle. Their gift was inherited and
gists and the appreciation of modern added to by the Frenchman Houdon,
sculptors have broadened and diversi- to whom our art owes much; since
fied our earlier conception of the Greek Houdon, the sculptor chosen to make
ideal in art. Furthermore, the works our first statue of Washington, was a
of the humble craftsmen of antiquity, rare revealer and interpreter of human
men who shaped, even in a commercial character in marble, and might indeed
way, the Tanagra figurines and the be called the 1 8th century John Sargent
Attic stelai, have helped us to a better of sculpture. Perhaps a vigorous

understanding of these amazing Greeks, realism in portraiture is the only im-
a people who for all their grandeurs pressive trait which our sculpture has
were doubtless as near to the dust as not inherited very directly from Greece.
we ourselves, because, like ourselves, In order to improve our American
they lived and loved, aspired and standards in art, our American Academy
stumbled and ate daily bread. in Rome gives to those carefully selected
I have spoken of that kind of fear students who earn its scholarships, a
which sometimes drives our modernists three years' course of study in any one
to extremes in their rejection of the of its separate departments of painting,
classic. Greek sculpture knows no such sculpture, architecture, and classical
fear. It may indeed be as calm as the studies. Each the fortunate stu-
of
Germans said, and as we believed; but dents receives $1000 a year, is given a
to my mind, it is above all courageous, studio and home, and is enabled to
courageous with a courage far removed travel in Italy or Greece. Painter,
from recklessness, or mere audacity, sculptor and architect are expected to
or last-ditch despair. It is a courage of work out certain problems of artistic
logic, of conviction; a courage that creation in collaboration with each other
neither desires nor pretends to perpet- The influence of such studies, made
uate things exactly as they are. For under ideal conditions, will be far-
the Greeks, in their delineations of the reaching in this country. Indeed, that
human form divine, preferred to en- influence is already manifest. More-
hance and to simplify rather than to over, the explorations of the twentieth
copy. Thus they had no mind for century have brought to light rich ad-
realistic portraiture, at once a blessing ditions to the gifts hitherto bestowed
and a curse to our modern art of on the world by Greece; and un-
sculpture. doubtedly the future will place our art
The Romans, to be sure, showed a under a still larger indebtedness to the
lively curiosity to see themselves as classic genius.
others saw them, wart and all, and Neif York, N. Y.
[2211
'Love and Life," by Sir George Frederick Watts, in the National Gallery,
Washington, D. C.
Sir George Frederick Watts' Picture "Love and Life."
An interesting story attaches to the final placing of George Frederick Watts' beautiful and
well-known picture "Love and Life" in the National Gallery of Art.
The picture was painted in 1884, and was shown at the World's Fair in Chicago in 1893. Later
it was presented to the United States Government by the artist. It was received with great
enthusiasm by an express act of Congress and was hung in the Reception Room of the White
House, where it was much admired imtil a protest was made by the Women's Christian Tem-
perance Union, whose members were apparently shocked by the nudity of the figures, though it is
diflScult to understand how so delicate, so exquisite, so ethereal a bit of nudity could shock anyone.
The members of this Society evidently considered the White House not as a private residence,
but a public institution visited by many persons from all over the world and that there should be
nothing on the walls that could either excite interest or comment.
It is strange now to recall the fact that because of this protest President Cleveland had the pic-
ture removed, but President Roosevelt during his administration bravely had the picture rehung,
in 1902, and the lovely, offending thing, really occupied places of honor until in March of this year
it was sent to the National Gallery of Art, where it should have been placed in the beginning, so
that it could be seen by more visitors to the National Capital, as a beautiful work of art, presented
to the country by a famo is and brilliant English Artist!
Love is depicted as a strong youth but tender and helpful, with angel wings that enfold the
slender fragile figure of Life, who is trying to climb the steep and rugged path with faltering steps.
She appealingly approaches Love, the guiding and inspiring Angel of Life, not merely the con-
queror of death, who takes her by the hand to support and encourage.
The little figure of Life seems almost too slight, but she is so painted for contrast, to show her
need, her helplessness, and Love bends tenderly over her, encouraging her to surmount the steep
and arduous path. "She is not to look down at the difficulties below for she would turn giddy and
lose her footing, or shrink from the abysses on either side of the narrow way. She is to look
upward to the great reward and so receive new strength to persevere. . Her contact with
. .
Love is of the slightest, enough to remove her self-distrust and inspire her with confidence, but not
enough to render exertion on her part unnecessary. She merely lays her open palm in his hand
which does not grasp it or close around it. . . She was to be strengthened by her toil
.
and have in her the blessedness of her own experience. She must be crowned with the crown of
life, her own life in its highest manifestation. . ." .
Watts painted another version of this picture in 1 894 which he presented to the Luxembourg,
which is not a mere replica. Still another picture of the same title is in the National Gallery of
British Art in the "Watts Room." The one sent to America was finished first. Watts was in
the habit of spending years over many of his canvases, exhibiting them and then long after taking
them up again and completing them, so it is practically impossible to fix their dates.
He loved classic subjects and all Greek Art. His rendering of classic myths is full of beauty and
living interest. He —
quoted as saying " I paint ideas, not things. I paint primarily because
is
I have something to say and since the gift of eloquent language is denied me, I use painting. My
intention is not so much to paint pictures which shall please the eye, as to suggest great thoughts
which shall speak to the imagination and to the heart and arouse all that is best and noblest in
humanity."
He considered this picture of "Love and Life" as representative of his deepest thought.
Another of his "Love Series," pictures Love steering the Boat of Humanity, through an angry sea
of dashing waves. Love at the helm guiding a frail httle boat, "Love Triumphant" and "Love
—
and Death" they all illustrate the power of Love.
Owing to his generosity, examples of Watts' work appear in many public galleries in the United
Kingdom, as well as in the Colonies, in France and America.
He died in 1904 at the age of eighty-seven, in full command of his powers and faculties up to
the last. Helen Wright.
[223]
"Sorrow" (La Doulcur), by Paul Cezanne. Lent anonymousl}- to the Metropolitan Museum.
ART AND ARCHAEOLOGY
When Critics Disagree — The Metropolitan's French Exhibition.
A new phase of interest suddenly attached to the daring exhibition of French impressionism
and post-impressionism shown all summer at the Metropolitan Gallery in New York. It was
anonymously denounced as a "Machiavellian campaign" and Bolshevist progaganda. The
circular, mailed broadcast, was entitled "A Protest against the Present Exhibition of Degenerate
'Modernistic' Works in the Metropolitan Museum of Art," by an unnamed "Committee of Citi-
zens and Supporters of the Museum." Who these critics were no one seems to know, but they
gave fresh advertising to an already widely discussed show.
"One half suspects the circular itself is propaganda," ingeniously suggested Raymond G.
Carroll in a special report to The Philadelphia Ledger, "devised in the hope of starting a contro-
versy and, if possible, get otherwise sensible folks to go and see what some people will actually put
frames around. They are so bad as paintings that once seen they could be held responsible for
— —
almost anything a crime wave, a suicide epidemic, divorce I will even go further another —
World War."
Yet the Curator of Paintings, Mr. Bryson Burroughs, in his introduction to the special catalogue
of the display which opened last May, treated the works in all seriousness. He wrote, "The im-
pressionists were the virile force in the last quarter of the century and among them the origins of
the later styles must be looked for." Again he says, "The age was heartily tired of the output
of the schools of art. Disgusted people turned away from it all and discovered
. . .
Cezanne. . His fresh, lovely color, his haimting sincerity, his readily grasped arrange-
. .
ments were hailed as the manifestations of a regeneration of art, and the aesthetes found delicious
stimulation in his wayward distortions of natural form and in his choppy and abrupt brush
strokes." . . .
But our anonymous critics of the circular name Cezanne as especially offensive, with Toulouse-
Lautrec, Gauguin, Van Gogh, and others. More than twenty numbers the "Committee"
designate as "particularly disquieting works, showing either mental or moral eclipse," or as
"simply pathological in conception, drawing, perspective, and color," also as "either \'Tilgar in
subject, or corrupt in drawing, or childish in conception, drawing, perspective, and color," and
they have specified them, so that there might be no mistake. "No. iii, 'Girl arranging her
Chemise,' they warn us, for example, "is vulgar in subject, ugly in face and form and weird in
color. . . Much more might be said," they conclude. "But the above will suffice."
.
When one recalls the opening day of this exhibit, last May, it seemed to be a vivid success. It
was an invitation affair, and the cards were in demand. The large gallery was filled with New
York's art critic elite, all talking at once, as they moved slowly around the hall, their eyes fixed
upon the gay, mosaic-like arrangement of the pictures on the walls. The old favorites were there,
Edouard Manet and Claude Monet, and then these new ones, so many of them. Already, in
Brooklyn and in the numerous spring exhibitions of New York, the modern French art had pre-
dominated, but not in such profusion, such completeness of variety. The catalogues were care-
fully studied.
Mr. Bryson Burroughs had written with enthusiasm. His own spring exhibition, held else-
where, had been highly praised. His work is original and mystical, but not "peculiar." As a
former student of Puvis de Chavaiines, he may be presumed to know quite thoroughly the subject
of modern French art.
Of Gauguin Mr. Burroughs said, "Gauguin was the romantic of the post-impressionist genera-
tion, with a nostalgia for strange countries and primitive life. He also was an insurgent against
the diffuseness of the Impressionists and confined his forms in a frank, simplified line, within
which he laid on his rich color in large, flat masses. He was a symbolist, according to
. . .
the definition of 1890." . .
But Gauguin is banned by the anonymous ''Committee," who designate among their numbers
his " Hina-Tefatou," described as from an ancient Maori legend related in Noa-Noa. This large
canvas, in oil, measures 44 inches in height by 24 in width, and is signed and dated "Gauguin,
'93." It represents the goddess Hina, who in the form of a soft, clinging woman gently touches the
hair of Tefatou, the earth-god, and speaks to him: "Let man rise up again after he has died. ." . .
and the angry but not cruel lips of the god open to reply, "Man shall die." So the catalogue
describes this mysterious picture.
Another condemned woik was No. 2, the "Bather," by Cezanne, a still larger picture, 66 inches
high by 41 1 wide, painted about 1865 and used as a wall decoration for the artist's house at Aix.
No. 3, also censored, was by the same artist and aroused much interest by its weirdness. It was
[225]
ART AND ARCHAEOLOGY
entitled "La Doiileur," Sorrow, and represented a grieving figure by a dead body, the whole
painted in hea\'y tones of dark blue and black. This also was a wall decoration of the artist's
house, which suggests his own feeling about the two compositions.
One picture, rather curiously omitted by the "Committee," was No. 65, the "Girl with
Flowers," by Matisse, an oil canvas moimted on a panel, measuring 17 by 24. It is a work so
extreme in stjde that one might almost have expected to find it heading the list of the tabooed —
a long-faced girl, with strange eyes and pufi'y hair, dressed in dowdy shirt-waist blouse, and
seated by a table with a flower so hastily sketched that we are not quite sure if it is a rose. Per-
haps all the works of the exhibition may not be entirely typical of the artist's best work. Bn,'son
Burroughs writes of Matisse, that he "is the most conspicuous of living painters. . . . His
drawing has the audacity and spontaneity of drawings by untaught children." Yes, the latter
statement may be quite true. But Mr. Burroughs attributes to Matisse an intellectual quality
also, for he writes, comparing Matisse and Derain, "The fact that the aims, intellectual as well as
technical, of these two artists, as well as a number of others of their generation, have so many
resemblances, proves the legitimacy of their style, if such proof be needed. They are searching
for an abstract of realism, not the reality of the special appearance at a particular moment which
the Impressionists expressed with unapproached skill, but a wider and more elusive realism that
will apply generally — that may be free of accidental circumstances."
There were, of course, in this exhibition, pictures which could not fail to excite admiration.
One of these. No. 98, was Odilon Redon's "Silence," a mystic study of a lengthened face peering
—
through an oval aperature, eyes nearly closed, long straight nose, two fingers on the lijjs what
secret is here implied? (See cover picture.)
Altogether, it was a fantastic exhibition, but is not a dynamic force in art to be welcomed, even
though it lead to "explosions"? A static force, if merely negative in value, may be condemned.
And shall we not thank both parties to the exhibit, the Metropolitan and the unnamed "Com-
mittee," for having aroused such x-iolent reactions, such active criticism?
One word more is of interest, the reply of the Museum to the attack made upon its position in
the matter. Two columns in the Bulletin are devoted to it. "The Museum welcomes helpful
criticism," we are told, "from citizens and supporters. Had the authors of this protest intended
to be helpful, we should have supposed that they would have made it directly to the Museum
authorities at the opening instead of the closing of the exhibition, and that they would have
appended their names so that the Museum could judge of the weight which should be accorded
to it. But the officers of the Museum welcome the protest even though it comes at the close of
the exhibition, though it is unsigned, and is addressed not to them but to their fellow-citizens.
They welcome it because of the opportunity afforded of reiterating their explanation of the
circumstances in which this special exhibition was given and of the Museum's purpose in holding
it. It was undertaken, as is stated in the introduction of the Museum catalogue, in response to a
request from a group of art lovers, members of the Museum, who unlike the authors of the protest
were not anonymous. They were Mrs. Harry Payne Bingham, Miss Lizzie P. Bliss, Arthur B.
Davies, Paul Dougherty, Mrs. Eugene Meyer, Jr., John Quinn, and Airs. Harry Payne Whit-
ney." . . .
"Fine advertising for a Gallery, this modern French art," laughed a connoisseur. "I feel just
like making a trip to New York to see it for myself. No, don't you quote me."
Gertrude Richardson Brigham.
The Congress on the History oj Art at Paris.
On September 26, and in the amphitheater Richelieu at the Sorbonne, Paris, the first History
of Art Congress since the war was inaugurated. Distinguished representatives from most of the
countries of the world were there, including those from Argentina, Belgium, Bulgaria, China,
Colombia, Denmark, Egypt, Finland, Great Britain, Holland, Italy, Japan, Latvia, the Grand
Duchy of Luxembourg, Morocco, Norway, Poland, Portugal, Roumania, Spain, Sweden, Switzer-
land, Czecho-Slovakia, and Jugo-Slavia. The United States of America were represented by Mr.
Robert W. de Forest, president of the Metropolitan Museum, New York, and by Miss Cecilia
Beaux, the noted artist, who paid a cordial tribute to French art and art instruction in the first
meeting. The Washington Society of the Archaeological Institute was well represented by Dr.
and Mrs. S. Richard Fuller. Bulgaria was the only one of France's late enemies which was invited
to participate.
[226]
ART AND ARCHAEOLOGY
In the opening session, M. Paul Lôn, Director of Fine Arts, spoke on the development of
Instruction in Art. The motive of the Congress was well expressed by M. Andre Michel, member
of the Institute, professor of the College de France, and president of the French Committee on
Organization of the Congress. "Each people," said he, "through their great artists affirms its
intimate faith, reveals its manner of understanding and loving life, and enriches just so much the
patrimony of the world." The object of the Congress was to assemble the foremost exponents of
the art of each country in order to correlate and extend its study.
The Congress was then divided into four sections, the lectures in the first being devoted to
Instruction in Art and Administration of Museums, in the second to Occidental Art, in the third,
to Byzantine, Near East and Far East Art, and the fourth, to the History of Music.
In the first group, four Americans lectured: Dr. Libby on "The Role of the Museum in Educa-
tion" John Cotton Dana, Director of the IMuseum Association of Newark, on "A Little American
—
;
Museum Its Efforts for Public Utility" Miss Edith R. Abbott, of the Metropolitan Museum of
;
New York, on "The Role of the Museum from the Point of View of Instruction"; and Miss
Spiller, on "The Administration of Museums, from the viewpoint of theirutility for children."
M. Fierens-Gevaert, Consen,-ator-in-Cliief of the Royal Museums at Brussels, gave in the second
group a most interesting discourse on "French Travellers in Belgium in the 17th Century," and
told of the assistance received from the French by the Flemish from the time of the imagists and
illuminators of the 14th century to the painters of feminine elegance of the fSecond Empire.
Among other engrossing lectures were those which discussed French influences in Italy, Norway,
and Sweden, and the mutual influences of other countries. During the succeeding days of the
Congress, which met in four amphitheaters in the Sorbonne, art and music were studied in all
their phases, and hardly a monument escaped the eloquent discussion of a devotee. Those of the
five hundred delegates and members who were interested particularly in one of the major topics
followed only the lectures given for that group in one of the amphitheaters, where five or six
discourses were made at each session. The others tip-toed from one amphitheater to another
in order to hear a little bit of everything, thus getting a mosaic impression of all the arts.
But all was not work at the Congress. Visits to museums, private collections and French his-
torical monuments took place almost ever>^ day under the direction of the Conservators themselves,
and as well, there were numerous receptions. On the second day the Louvre was visited, and a
reception was given by the Minister of Public Instruction and Fine Arts. On the next day there
was a reception at the Hotel de Ville, given by the Municipal Council of Paris. On the following
day the Cathedral and city of Chartres were visited, on the next Chantilly. On the following
afternoon the members were permitted to see the collection, not without some value, of M. M.
Durand-Ruel. On Sunday there was an excursion to the famous cathedral of Rheims, now more
beautiful in a tragic way because of its disfiguration received during the war. From there the
battlefields were visited in the sector of the fort de la Powfelle and of Mount Cornillet. On the
same afternoon the Baron and Baroness Edmond de Rothschild gave a charming reception to
those who stayed in Paris, in their magnificent chateau and gardens in the Bois de Boulogne.
On the next afternoon everyone attended a delightful concert in the Hall of Mirrors at Versailles
and visited the chateau. An automobile excursion the following day took about two hundred
and fifty of the members to Fontainebleau and later to the charming Chateaux, built in the 17th
century style, of Courance and of Vaux-le-Vicomte. The latter was built for Fouquet by the
architect Levau and its magnificent park was designed by Le Notre. One of the most charming
places visited during the week was the home of Prince Czartoryski on the He St. Louis. It is a
private hotel, built by the architect Levau in the 17th century with beautiful gardens overlooking
the Seine. It is decorated with a number of valuable paintings by LeBrun and LeSoeur.
The last lecture was given the next morning by Signor A. Venturi, professor at the University
of Turin, on "The Arts in the Time of Dante." He told most interestingly of the influence of
Dante's writings in the architectural decoration made by his contemporaries. That afternoon
the private collections of M. de Camondo, and of Baron Maurice de Rothschild were visited, and
a reception was given by the French Committee on Organization in the Louvre. In the evening
a large number assembled for a farewell banquet in the Cercle Interalle^.
The enthusiasm and interest of the members of the Congress grew day by day and because of the
large number of appeals that were made to the French Committee, it is very probable that another
Congress will be held next year. There is a general feeling that this Congress has been a great
factor towards the internationalization of the arts and that it will give an impetus toward a larger,
interest in the study of art in all the countries which were represented.
Paris, France. Mitchell B. Carroll
[227]
The Adventure of a Painting
Section of masterpiece which disappeared in
17th century found in collection of C. A. Ficke in
Davenport, and another section in Hackley Gal-

lery of Fine Arts at Muskegon, Mich.
Recently The Democrat published a press dispatch relating the recovery of a "Descent from
the Cross," painted by Rubens, which had disappeared from a cathedral in Belgium during the
late war. Since then The Democrat has learned of an interesting story, relating to a painting
a fragment of which is owned by Hon. C. A. Ficke of Davenport. In the middle of the 17th
century, Govaert Flinck and Gerbrandt van den Eckhout, both pupils of Rembrandt, were two
of the foremost painters of Holland. Their paintings were, and still are, often mistaken for those
of their master. One of these artists, and it is not certain which of them, painted one of those
heroic sized pictures, measuring approximately eight feet square, which in that century were in
favor. It represented "Christ being shown to the people." During some war of revolution,
perhaps several centuries ago, this picture disappeared. In order to conceal it more securely,
its purloiner cut it up into perhaps four pieces, one of which is now in the Ficke collection. This
fragment was purchased in London by a New York dealer, and iold to Mr. Ficke 15 years ago.
It depicts people pointing to some object not appearing in the fragment. The figure of the youth
near the edge was deprived of an arm and a hand when the original painting was cut up into
pieces. The search of the owner of this fragment for these missing members was rewarded, when
in a catalog of the paintings in the Hackley Gallery of Fine Arts of Muskegon, Mich., Mr. Ficke
found a reproduction of a second fragment of the original painting (herein reproduced with the
fragment owned in Davenport), in which appear not only these missing members, but also Christ
and His attendants upon whom the people, shown in tlie Davenport fragment, were gazing
before the original was dismembered. The other fragments being of minor importance doubtless
are permanently lost. Correspondence between the owners of the respective fragments estab-
lished the indubitable fact that both are parts of one large original, painted either by Flinck
or Eckhout. — Davenport Democrat.
[228]
—
BOOK CRITIQUES
Daniel H. Burnham; Architect, Planner of ton grows in beauty and dignity, comparable
Cities. By Charles Moore. Boston and New to that of the finest European Capitals, as
York; Houghton, Mifflin Company, ig2i. 2 Cleveland realizes its great central composition,
Vols. Illustrated in full color. $20.00. as San Francisco crowns its hills with stately
buildings related one to another, as Manila,
The World's Fair at Chicago in 1893 brought retaining its distinctive character, develops
together an assemblage of architects, landscape amenities known only to present-day civiliza-
architects, sculptors and painters never before tion, as Chicago becomes the finest commercial
equalled in this country and never afterwards city in the wide world, the curious student will
surpassed. How they worked to produce a trace the beginnings of these productive move-
unified result to which each profession contri- ments to the master mind that dreamed and
buted its full share is told in the biography of then in part wrought the dreams into forms of
"Daniel H. Burnham, architect, planner of satisfying and lasting beauty and set the pace
Cities." for those who were to come after him.
The associations of the Fair held these artists It is a glorious company that gathers on th ese
together and engendered the American Academy sumptuous pages illustrated with vivid pic-
in Rome, an institution which through its tures of the results of their labors. Here are
graduates enriching this country in all fields
is Richard Hunt and Charles McKim among the
of artistic endeavor and is steadily improving architects, Augustus Saint-Gaudens and Daniel
American taste. Directly to the Fair is to be French among sculptors, Blashfield and Millet
traced the new plan of Washington and the among painters, the Olmsteds, father and son,
plans for the improvement of Cleveland, San among landscape architects, Theodore Thomas,
Francisco, Manila and Chicago; also the new the musician. Presidents Roosevelt and Taft,
impulse in Government building. These art- Senators McMillan, Root, Wetmore and New-
ists their struggles with indifference and
had lands, President Eliot and Professor Charles
opposition; they had also their times of en- Eliot Norton — to name but few among the
joyment. many. Each has his place in the army of
Theystudied the world's precedents and progress. Here may be traced the beginning
brought home the lessons learned abroad. and the development of the classic revival in
They saw the masterpieces of the old world American architecture and the reasons for the
through the medium of our own needs. From new impulse.
the past they brought ideas and ideals of form Here too, are discussed the problems con-
and spirit to be applied to American problems. fronting the artist and correct methods of
And through all their labors ran a constant solution. Diaries, letters, the recollections of
stream of enjoyment and satisfaction in ac- friends and fellow laborers, all are drawn upon
complishment. As their work progressed they to develop the story of achievement. And when
were called into the service of the nation and all has been said the whole matter may be
that service was rendered not for personal summed up in Mrs. Roosevelt's happy phrase
reward but from a sense of public duty. More- "I find the book very human."
over, being pioneers, they marked the paths for For the most part Mr. Burnham is allowed
their successors, establishing principles that to te'l his own tale in his own fashion, to create
shall last for all time. a self-portrait, as the painter would phrase it.
They were even called to Europe to take part Vital portions, however, are supplied in letters
in the world-wide movement for civic better- written to him by his companions.
ment and to suggest methods which had been From the abundant materials thus supplied,
tried out here under freer conditions and found there is developed a well-rounded character of
to be of universal application. a great American designer of buildings and
Mr. Burnham's life touched the lives of many cities, a man of the largest vision and the
men, of many kinds in various countries. greatest foresight, one who believed thoroughly
Himself a successful architect and man of in his own country, its possibilities and poten-
business, he had also the soul of an artist, who tialities. The task of presentation fell into the
strove ever to accomplish the highest and most hands of Mr. Moore, who was closely associated
lasting results. with Mr. Burnham both in his labors and also
The Union Station in Washington was his in his hours of ease, who was familiar with his
work, the Lincoln Memorial in its present form associates and thus was able to estimate their
and location is due largely to his persistency influence on him, and who has done the work on
and vision. he had to fight with the beasts
If these rarely beautiful books as a labor of love
at Ephesus, he had his abundant rewards in and a tribute of admiration and affection.
seeing much of his labor realized. As Washing- Helen Wright.
[229]
/. /. Lanhes. Painter-Graver on Wood, by
Bolton Brown. Kansas City. Alfred Fowler,
Furniture of the Pilgrim ig2i.
Century Even to those who know nothing of Lankes
the name of Bolton Brown will carry weight;
By WALLACE NUTTING but once the volume is seen the former's work
can speak for itself. The straitened simplicity
of the medium renders it difficult rather than
TT WILL contain 1000 reproductions of photo- easy; and Mr. Lankes' has a careful regard for
graphs of furniture made in this country from its own specific quality. The charming dress
native woods in the period 1620 to 1720 with de- of this brief essay in appreciation will have
—
scriptions the most complete record available. its especial appeal to discriminating lovers of
As it is a very expensive work to print the prob- bookly beauty.

ability is that there will not be another edition V. B.
College Teaching —Studies in Methods of
wishing to own a copy.
Teaching in the College.Edited by Paul
Sample pages showing paper, text, illustrations Klapper. Yonkers-on-Hiidson, New York.
and contents of this sumptuous work will be sent World Book Company, ig20.
on request. We present a brief announcement of this
PRICE $15.00
book because of the excellent chapter on "The
Teaching of Art," by Holmes Smith of Washing-
ton University, St. Louis. Starting with
Tolstoi's definition: "Art is a human activity,
MARSHALL JONES COMPANY consisting in this, that one man consciously, by
means of external signs, hands on to others
Publishers
feelings he has lived through, and that other
212 SUMMER STREET, BOSTON people are affected by these feelings, and also
experience them," Professor Smith shows that
instruction in art should be an intimate part of
a liberal education, and have a place in every
NOTICE B. A. course. The values of art instruction
Owing to the rapid growth of the mailing list of consist not only in cultivating taste and the
Art anu Archaeology, and the unusual demand appreciation of works of art, but also in illumi-
for special numbers, our stock is almost exhausted nating the study of the progress of civilization,
of the following:
and in correlating the student's work with that
V, No. I (January, 1917);
V, No. 4 (April, 1917);
of past and present workers. He lays down
VI, No. 6 (December, 1917); general courses of study for both artist and lay
VIII, No. 5 (September-October, 1919) students, and insists that students of the
25 cents per copy will be paid for any of these history of art should have some knowledge of
numbers upon delivery at this office. design and technical processes, and that stu-
ART AND ARCHAEOLOGY dents of the technique should have courses in
the history and appreciation of art. A well-
rounded college course should cover four years,
grouped as practice courses in freehand drawing,
color, modeling, design, and as history courses
in Ancient, Mediaeval, Renaissance and Mod-
Peonies —Tulips— Narcissi ern art.

This essay is most heartily commended to all
teachers and students of art.
In Standard and Choice Varieties M. C.
Send for Lists "When Turkey was Turkey — /» and Around

Constantinople," by Mary A. Poynter. With
an introduction by the late Sir Edwin Pears.
Oronogo Flower Gardens New York. E. P. Button &" Co. $j.oo.
Carter ville, Mo. P This delightful series of essays, written by a
clever English woman, give a picture of Turkey
as it was before the World War and will grow
Kindly Mention Art and Archaeology. [230j

in value with the passing years as the resur-
rected countries in her former domain one by-
one attain self-determination, even if it be only
under European mandates. Where Mrs. Poyn-
ter touches on archaeology, as she frequently
# ;->•
does, it is without giving an opinion, but she

tells the story so well as to illuminate the an-
cient sites. Thus "A Day at Old Troy" with
Mr. Calvert, Schliemann's predecessor, as
guide, tells why the former chose Hissarlik
:fe
for his excavations that yielded such wonder-
and the chapter on "The Sarcophagi
ful results,
Found at Sidon " brings to mind that Mr. Eddy,
an American missionary, was the original dis-
THE ENGIZAVIMGS
coverer of the so-called "Alexander" Sarco- FOR ART AND ARCHAEOLOGY"
phagus, now in the Constantinople Museum. ARE THH Exclusive WORK or
"A Pilgrimage to Nicaea," now called Isnic, THE STANDARD ENGRAVING CO.
makes live again "The City of the Creed and THE EXPRESSION OF YOUR BOOK
the Crusaders," and in passing she tells what OR ADVERTISEMENT IS FIRST
remains of Nicomedia, once Diocletian's capi- REGISTERED IN PICTORIAL ART
tal, now known as Ismid, recently captured THAT WILL CON VEVVOUR THOUGHT
CLEARLY AS SPECIALISTS IN
by the Greeks in their victorious march which : ;
DESIGNING AND PHOTO -ENGRAVING

we hope will free Greek Asia ISIinor from the WE ARE FULLY CONSCIOUS OF
Turk forever. THESE FUNDAMENTAL PRINCIPLES
So "Journeyings in Asia Minor in 1913"
brings us to Ankyron where Constantine the
STANDARD ENGRAVING CO.
1212 G street: Washington. d.c.
: :
Great dies; again to Ismidt with its few old HA1FTONES:COLOR WORK'.LINE PLATES
broken walls and ruins; to Eski-shehr, near
where was fought the great battle of Dory-
laecun in 1907, when the Crusaders defeated
Soliman, the Turkish Sultan of Iconium; to
Angora, ancient Ankyra, where still remains in
part the temple of Rome and Augustus, with
the important inscription known as the "testa-
ment" of Augustus, a city now the last stand
we hope of Kemal Pasha; and to Konia, the
Iconium of Paul's journeys, a city like Da-
mascus of immemorial antiquity, and always
Printers
of importance, especially in Roman times and
after iioo as capital of the Seljuk Kingdom.
We have passed by many places of lesser note,
QF HIGH-GRADE
as Baylik Kepru, the site of ancient Gordium, MAGAZINES,
where Alexander cut the Gordian knot, as SCIENTIFIC
Ilghin where Aesop was born, or Valovatch BOOKS, AND
site of Antioch in Pisidia, where Sir William
Ramsay excavated, but why say more for the
COMMERCIAL
reader will secure this book for himself and
WORK
thus revive his memories of the ancient glories
of Asia Minor. M. C. nnnnnn
Macedonia: A Plea for the Primitive, by A.
Gof and Hugh A. Fawcett, with illustrations by
Hugh A. Fawcett. New York, John Lane b°
Co. ig2i.
Gibson Bros, tNCORPORATBD
The occupation of Salonica by the Allies
daring the World War riveted the attention of 13 12 Eye St. N. W.
thoughtful readers once more on Macedonia, WASHINGTON, D. C.
the home-land of Philip and Alexander the
Established 1862
Great, and it has been difficult to realize that a
country, which at one time boasted sovereignty
over half the known world, had fallen so low
Kindly Mention Art and Archaeology

[231]
—
under the heel of Turkish oppression. In fact,

Macedonia as a center of historical interest,
had been lost to the world and become merely
INVESTIGATIONS a geographic expression to cover a stretch of
territory conspicuous in the Balkan caldron.
AT
Hence Messrs. GofT and Fawcett have rendered
ASSOS a conspicuous service in the compilation of
their volume on "Macedonia, A Plea for the

Primitive," — the first detailed description of
Macedonia. Touching only incidentally on
and Objects Discovered During the political matters, these two participants in the
Excavations of 1881, 1882, 1883 British occupation, who spent over three years
— BY familiarizing themselves with the countr}^ have
Joseph T. Clarke given us a true picture of Macedonia.
Francis H. Bacon The authors first consider the physical ge-
Robert Koldewey ography of Macedonia, and then discuss the
Edited with explanatory notes, by
Macedonian peasant, his native characteristics,
his dress, and villages and houses, the products
Francis H. Bacon
Published for The Arclmeolog'ical Insti-
—
and industries, the folk-arts textiles, em-
broidery, metalcraft, pottery. Special chapters
tute of America are devoted to Salonika, historical and de-
By a Committee originally consisting of scriptive, with interesting accounts of the
Charles Eliot Norton modern town, the cemeteries, the Greek
John Williams White churches, the Turkish Mosques to the marriage
;
Francis H. Bacon customs, the prevalence of malaria, the flora

William Fenwick Harris and fauna of the country. Various other places
of interest are described as Kavalla, Stavros,
TABLE OF CONTENTS Dorian, the Struma Plain, and Mount Athos
History of Assos. with its many monasteries.
Account of the Expedition. The style of the authors is to be heartily
Agora.
Mos.Mcs Below Acora.
commended, especially in the concluding para-
Theatre Photographs and Plans. graphs of many chapters. We quote the fol-
Greek Bridge. lowing closing sentence from the description of
Roman Atrium. Kavalla: "Beneath lies a microcosm in bas-
Acropolis — Plan. rehef, a beautiful mosaic of old houses and
Turkish Mosque.
Gymnasium. streets; the domed roof of a turkish bath, the
Byzantine Church. courtyard of a mosque, the large crinkled tiles
Fortification Walls. of a many-gabled house, and a marble fountain
Street of Tomds — General Plan.
in a green setting of trees; mysterious passages
Doc Inscription from M'iTiLENE.
Inscription from Pashakieui. and archways, leading one knows not whither;
Coins from Assos. a group of natives, a black-shrouded woman
emerging from a hidden doorway, overladen
The magnificent volume is now ready in
donkeys clattering over the stones, half-
a portfolio, the five parts together.
—
hidden faces behind latticed windows a kaleido-
scopic scene enacted amidst the mystic glamour
With such a picture before our
of the East.
eyes we seem to have stepped back hundreds of
ceived at years in history or to have been wafted by
FORTY DOLLARS EACH. dream-fairies on a magic carpet over an en-
chanted city." M. C.
The rate to original subscribers remains
"The Spell of Alsace" by Andre H allays.
twenty-five dollars. The book will not be Translated by Frank Roy Fraprie. "The Spell
reprinted. Cheques should be sent to Series," The Page Company, Boston, Mass. $j.oo
WILLIAM FENWICK HARRIS, This is one of those attractive travel volumes
published by the Page Company similar to
8 Mercer Circle,
"The Spell of France," reviewed in a recent
number of Art and Archae;ology. It admits
us to an intimate acquaintance of the life and
history and natural beauties of this wonderland.

^33
$S.OO THE YEAR 50 CENTS THE COPY
ART AMD ARCHAEOLOGY


Volume XII DECEMBER, 1921 Number 6

WILLIAM H HOLMES MITCHELL CARROLL
Virgil Barebr J. TowNSEND Russell, President
PeVTON BoSWELL Frank Springer, Vice-PresidenI
Howard Crosby Butlbr
Mitchell Carroll, Secretary
Charles Upson Clark
Albert T. Clay John B. Larner, Treasurer
Edgar L. Hewstt Robert Woods Bliss
FisKE Kimball Mrs. B. H. Warder
David M. Robinson
Helen Wright H. B. F. Macfarland. Counsel*
CONTENTS
Philip A. de Laszlo Helen Wright 235
Five Illustrations
LoRADO Taft, Dean of Chicago Sculptors Robert H. Moulton . . . 243

Eight Illustrations
The Fountain of Time (Poem) Emma Schrader .... 252
Motherhood in American Sculpture Frank O-wen Payne . . 253

Six Illustrations
Madonna and Child by Luini (Poem) Agnes Kendrick Gray . 263
The Shepherds and the Kings Georgiana Goddard King . . 265

Seven Illustrations
Notes from the New York Galleries Peyton Bosivell .... 273
Three illustrations

Book Critiques 2S1
Tbrhs: $5.00 a year in advance: single nurabera, 50 cents. Instructions for renewal, discontinuance, or change of address should be
All correspondence should be addressed and remittances made to .\rt and \RCH.\SOLOaY. the Octagon, Washington. D. C. Also
Advertisements should be sent to S. W. Frankel, Advertising Manager. 786 Sixth Ave., New York, N. Y., the New York Oflice of
Entered at the Post Office at Washington. D. C, as second-class mail matter. Acceptance for mailing at special rate of pnstaue
orovided for in section 1103. Act of October 3, IQI7. authorized September 7. 1918.
Copyright, 192 i. by the Art and Archaeology Press.
•Died Oct. 14. 1921.
Courtesy of Brown-Robertson Co.
The President of the United States.

ART an3
ARCHAEOLOGY
Volume XII DECEMBER, 1921 Number 6
PHILIP A. DE LASZLO
Bv Helen Wright
TO PAINTtrait
a really successful por-
to perform a species of
is
whatever other quality those
and so paint that when
see to the full
men will
miracle. It is a kind of magic, that narrower people come to look at what

the average person cannot understand, they have done, everyone may, if he
but he can admire. Artists must have chooses, find his own special pleasure in
an enthusiastic and appreciative audi- the work."
ence and even if one takes only a The real artist is the man who has the
humble place among the critics, one power to see to the very heart of his
can be very evident in the applause. subject, united with the further power
Portraiture is perhaps the most diffi- of compelling his chosen medium to say
cult form of art and requires beside what he sees and what he thinks about
perfection of technique, the ability to what he sees.
portray that subtle something we call This, Philip A. de Laszlo, the Hun-
personality. garian artist, seems to do and explains
Truth, harmony, proportion, deli- why he ranks high among the great
cacy, sincerity, skill, tact, color—all the pcrtrait painters.
terms belonging to Art should enter into No modern painter has had a larger
a successful portrait. clientele, no one has been called more
Mr. Ruskin said that " it was possible quickly to execute portraits of promi-
to represent the body without the spirit nent and dist inguished personages, and
in a portrait and the spirit in its ordi- in many instances the only opportunity
nary and inferior manifestations. That for acquaintance with his subject was
one must see at a glance the whole of a during the few brief sittings.
human being's nature, outside and in Mr. A. L. Baldry says of him, "Few
. . .grace or strength, softness, or artists equal him in the power to present
[235]
Courtesy of Brown-Roberlson Co.
Honorable Charles E. Hughes, Secretary of State.

ART AND ARCHAEOLOGY
a vivid and convincing likeness, few which made it possible for him to go to
approach him in vigor, certainty of Munich and Paris. He was painting
draughtsmanship and directness of portraits all the while and when
brushwork and fewer still are so con- scarcely twenty-four was receiving
sistent as he is in striving for harmony commissions for portraits of notable
of line and the balance of mass which persons. Apparently he has never
are the foundations of correct com- stopped and the amount of his ac-
position." complishment is prodigious.
His success, a pronounced success It is that clever insight into human
and popularity, comes not only in his nature, combined with,'
his technical
skill, but in his very serious effort and skill and a rare power of expression
years of hard study and work, to which that has enabled him to paint so con-
he brings the greatest enthusiasm and tinuously.
interest. "Every new canvas is to No two of his portraits are posed
him a new excitement, every fresh alike. Each seems to bring out the
sitter is yet another revelation of essential characterization. By his
character and affords yet another prob- mastery of technique, he can give his
lem of drawing, tone and colour for entire attention to securing the perfect
him to work out." likeness, unhampered by details of
He approaches each piece of work drawing. His portraits thus give the
with the most intense interest, con- effect of great naturalness and spon-
fident that it will be the "perfect thing taneity, of being painted in an un-
of which he dreams." studied manner, with large light strokes
He has painted the Pope, priests, with no parade of assertive brush
kings, and queens (all that are left), a work.
portrait of the Kaiser some years ago, His color is so correct in his painting
statesmen, soldiers, and with equal skill of flesh tones as well as in drapery and
he is able to portray the simplest types costume, whether a chancellor's robe,
of all feminine and childish loveliness. a general's uniform, or a woman's
Philip de Laszlo was born in Buda- baU-gown, that it does not obtrude, it
Pesth. He left school when a small boy is just harmoniously charming.
of ten to earn his own living in order to His portraits of men are distin-
be able to study art, which he had guished by an air of great dignity, vigor
chosen, even at that early age, as his life and vitality, those of women by ele-
work. Like many aspiring young gance and distinction and in the por-
artists there was opposition by his traits of children, of which he has
family, but he was apparently confident painted a great many, there is a dainti-
and quite willing to do anything from ness, a deep understanding and love
grinding colors in a scene-painters for the appealing charm of youth. So
studio, drawing for newspapers, color- it isnot always his technique which im-
—
ing photographs anything that came presses us most, but his gift of reaching
to hand by which he could earn money the character of his models which is—
to enable him to study. effectively illustrated in the very dis-
Whenever he was able to, he at- similar types. This gift makes a born
tended the Industrial Art School at portraitist, a biographer of humanity.
Buda-Pesth and later received a scholar- And as time goes on these vivid
ship from the National Drawing School records of the world's great men and
[237]
Courtesy of Brown'Robertson Co.
General Pershing.
Courtesy of Brown- Robertson Co.
Honorable Elihu Root.

2
ART AND ARCHAEOLOGY

beautiful women will be historical mem- President Harding, which is for the
oranda immense value.
of White House, the Secretary of State, for
Among the women's portraits the the State Department, General Persh-
Countess of Ancaster, is one of the ing, a gift ot John A. McFadden to the
most lovely, a beautiful woman in City of Philadelphia, Honorable Elihu
evening dress, seated in a high-backed Root, for the Carnegie Endowment for
chair, gracefully posed and perfectly International Peace, Honorable Robert
designed with a keen appreciation of Lansing, Dr. James Brown Scott, Mr.
this exquisite loveliness. Lady North- William R. Castle of the State De-
cliffe,quite another type, painted in a partment, Mr. C. Powell Minnigerode,
large hat, her hand upon her chin, she the Director of the Corcoran Gallery
looks out with very seeing eyes one of — of Art —
and many others. A brilliant
the painter's most convincing character group of portraits, brilliantly painted,
studies. Lord and Lady Lee, at Cheq- satisfactory to the subjects themselves
uers, are painted in a beautiful room —
and to their families and friends ^the
with harmonious hangings and fur- great test.
nishings, a most decorative arrange- On one of the occasions when the
ment with a sense of space and atmos- President was giving the artist a sitting,
phere. The portrait of the Baroness de he remarked that the following day was
Baeyens, the Dutchess of Portland, the anniversary of his wedding. Mr. de
Countess Irene Dankelman, a most Laszlo said that he would like very
unusual portrait of Mrs. Haldane Mac- much to contribute something in honor
—
Fall one could continue the list in- of the occasion, and asked if he might
definitely. His portrait of his son not have the privilege of making a
"Jonnie" at his first Drawing Lesson, sketch of Mrs. Harding as a wedding
isan exquisite child's portrait as is the gift.
one of "Children blowing bubbles," the This, of course, was granted and the
sweet upturned faces another evidence result of a hurried sketch, was most
of the painters love for, and under- charming and both the President and
standing of, children. Mrs. Harding were delighted not only
Mr. de Laszlo's own portrait is in the with the portrait but with the kind
Uffizi Gallery, Florence. thought and beautiful gift.
Among the many honors and medals Mr. de Laszlo will return this win-
conferred upon him to mention only a ter to paint many portraits that await
few, are a gold medal from the Barcelona his facile brush. He repeatedly ex-
Exhibition, the gold medal of Hungary- pressed his pleasure and pride in the
Austria, gold medals of the Salon of opportunity given him to paint the
1900, medals at Munich, Dusseldorf, portraits of our distinguished President
Venice, St. Louis, knighthood of the and some of our leading statesmen and
Legion of Honor in 1904, orders from said he esteemed it one of the greatest
most of the European states, and in 191 honors that had come to him.
he was ennobled by the Emperor of His own personality is so delightfully
Austria-Hungary. He has become a kind and gracious, that he wins at once
naturalized citizen of England and has the confidence and friendship of those
a studio in London. who sit for him and that naturally
During his recent visit to this gives them their best and happiest
country, Mr. de Laszlo painted a expression.
number of most successful portraits. Cily of Washington.
[241]
"The Fountain of Creation," Lorado Taft, Sculptor.
LORADOTAFT,DEAN OF CHICAGO SCULPTORS

Bv Robert H. Moulton.
ALTHOUGH Grecian art may that has marred the fame of many of
furnish a model for all time, his predecessors.
the reception tendered the Mr. Taft is a sculptor of power and
work of sculptors, and es-
American genius who has worked faithfully at
pecially the work
of Lorado Taft, is his art for many crowded and lausy
conclusive proof that the sculpture of years. He has produced in that time
the nation which produced Phidias, groups and single figures which have
Praxiteles, Scopas and Lysippus has made him recognized as one of the
strongly influenced their successors in foremost of contemporary sculptors,
the United States. Air. Taft's work and when he has not been chiseling
is typical of the kind of modeling in- soul into marble or molding high
volving depth of thought for his art, thought into clay, he has been lectur-
technique and the marked individual- ing on his own art and on art in
ity of the workman. Critics say that general.
the pronounced chastity of Mr. Taft's Yet it is not alone as a lecturer that
work evinces the superiority of the new Mr. Taft has exerted a wide and last-
school over the extravagant thought ing influence for the good of art. As
[243]
'The Great Lakes" Group. The descending stream is started by high-standing Superior, then caught
in turn by Michigan, Huron, Erie and Ontario. Lorado Taft, Sculptor.
Great Lakes Fountain in bronze, South side of Art Institute of Chicago.
an author he writes briUiantly of the He has delivered more than two thou-
aims and ends of his craft, and as a sand lectures upon art subjects, and
teacher he has left his impress on though he now maintains three studios,
hundreds of students. For twenty- he still spends a good share of his time
two years, from 1886 to 1907, he was lecturing in various parts of the
instructor of modehng in the Art country.
Institute of Chicago, and many of the Mr. Taft's work, because it is some-
most successful artists of the Central thing big and vital, is of compelling
West are his pupils —men and women interest; but the man, his ideas and
who have already taken their places aims, are equally interesting. It is
worthily in the ranks of professional impossible to talk five minutes with
sculpture. From 1892 to 1902 he was him without knowing that his life and
a lecturer in the extension department his work are one and the same, each a
of the University of Chicago, and for part of the other. He possesses a
many years has been actively identi- striking personality. In manner he is
fied with the work of the National attractive, urbane, and exceedingly
Sculpture Society, the Society of West- modest of his own work. These quali-
em Artists, the Chicago Society of ties together with a noble and un-
Artists, the Municipal Art League and selfish generosity have made him uni-
Municipal Art Commission of Chicago. versally beloved.
[245]
'The Fountain of Time," Lorado Taft, Sculptor.
For his work in the world Mr. Taft —

making his way which takes years
had a sohd and enduring foundation. and patience and courage in any art or
There is nothing fortuitous about his business which is worth while. But
mastery over marble, save for the Mr. Taft had the qualities for this
genius which impels him. He was struggle and recognition began to come
not a poor boy who patted mud into his way. His first great success was
queer shapes in the intervals between the commission for two groups at the
back-breaking tasks on the old farm, entrance to the Horticultural Building
nor did he carve away at blocks of of the World's Columbian Exposition.
wood by the flickering light of candles These, "The Sleep of the Flowers,"
after the family had gone to bed. He and the "Awakening of the Flowers,"
was the son of a professor at the Uni- attracted wide attention and placed
versity of Illinois, and in 1879, ^.t the him at once with the "big men" in
age of nineteen, he graduated from American art.
that college. His father encouraged Two analogous groups, "The Moun-
his ambition, and in order that he tain" and "The Prairie," made for the
might work out his career, sent him, Louisiana Purchase Exposition at St.
in 1880, to Europe, where he studied Louis, formed his most conspicuous
in Paris and Rome, and completed his work in the next decade, though "The
education with travel. Solitude of the Soul," exhibited at the
When he returned to America he same exposition, won him a gold medal.
entered into the long, hard grind of Its importance and suggestiveness to
[246]
Fragment from "The Fountain of Time," Lorado Taft, Sculptor.
thinking minds is indicated by the fact situation in that play; where a com-
that it has been made the subject of pany of sightless men and women who
numerous poems. have long been the wards of a venerable
His next important work was the priest realize that their leader is dead,
fountain group, "The Great Lakes," and that their only hope for guidance
which was purchased by the city of rests with the little child around whom
Chicago and stands in front of the Art they crowd and grope. There is a note
Institute. In this work Mr. Taft offers of despair in the group, yet the domi-
a unique national symbol. It repre- nant motif is faith and trust the —
sents the five great lakes of the West, hope that "a little child shall lead
typified by beautiful female figures, them," which is so gladly accepted by
joined in composition by a sparkling all. The conception, the grouping and
line of water. The descending stream the delineation of the groping, huddling,
is started by high standing Superior, sightless ones is marvelous.
then caught in turn by Michigan, Of late years Mr. Taft has shown
a
Huron, Erie, and Ontario, the latter, disposition to turn to sculptures heroic
with outstretched arm, finally direct- both in spirit and in substance. He
ing the flood onward to the sea. has a vigor and sweep of execution as
Best known of all Mr. Taft's work, heartening as the breezes from the
however, is "The Blind." His inspira- Western plateau. He is a man of big
tion for this work was found in Maeter- conceptions and ideas and he works
linck's drama of the same name. This them out with opulence of labor and
masterly group represents the crucial material.
1247]
"Black Hawk," by Lorado Taft, located on the bluff just above Eagle's Nest Tree, near Oregon, Illinois.
ART AND ARCHAEOLOGY
In one of his comparatively recent This work was a labor of love with
creations, the statue of Black Hawk, the sculptor, his gift to the people of
commemorating the American Indian, Illinois. He not only created it, but
we find abundant proof of his leaning paid almost the entire expense of its
toward massive figures. The statue in construction, a proof of gracious pa-
question, which was unveiled several triotism which few artists are willing
years ago, is of noble proportions, being or able to offer to the people they
fifty feet high, and stands on the high- serve.
est point of a lofty promontory over- Following the statue cf Black Hawk
looking the picturesque Rock River Mr. Taft modeled the Columbus Me-
near Oregon, Illinois. morial at Washington. The memorial
Behind the building of the Black consists of a semi-circular fountain,
Hawk statue lies an interesting little seventy feet wide, and sixty-five feet
story. When he was on a tour of Eu- deep, adorned with a great statue of
rope several years ago Mr. Taft dis- Columbus and other appropriate sculp-
covered that statues made of concrete tures. It stands on the plaza in front
had been taken from the ruins of the of the Union Station at Washington,
Roman Palatine, and there came to and was designed to harmonize in its
him his great idea of the means for architectural and artistic treatment
making an enduring statue. With the with the station and its environ-
process in mind it was not long until ments.
an adequate subject presented itself. No more fortunate or appropriate
For many years he has had his summer site for the memorial could possibly
home and studio at Eagle's Nest Camp, have been selected. Situated at the
the summer seat of the Chicago art gateway of the Nation's capital, it is
colony. Standing for the hundredth the first and the last thing to greet
time at the highest point of the cliff the eyes of the millions of visitors who
he never failed to remember that it was annually journey there. And it seems
from here that Black Hawk was finally altogether fitting that this monument
driven out of Illinois. So he decided to to the discoverer of a new world should
bring back the famous Indian chief, and stand in the capital of its greatest
now in concrete he again surveys his country.
former domain. The principal feature of the rear of
This statue is, in more senses than the fountain is a stone shaft about
one, the biggest thing that Mr. Taft forty-five feet high, surmounted by a
has yet done, big enough to place him globe of the world. It forms the back-
right up in front among our most ground of a statue of Columbus, who
famous American sculptors, living and is represented as standing on the prow
dead. The statue is immensely simple, of a vessel, with arms folded in an
the heavy folds of the blanket sur- attitude of meditation. It was Mr.
rounding the figure suggesting the Taft's purpose here to make us feel
man's body without' following closely the apotheosized Columbus, and while
its outlines. The dignity, the stoicism the statue is severely plain, the sculp-
and the bitterness of a vanquished tor has imparted to the figure a gran-
race are there, and the great figure, diose dignity by throwing about it a
gazing across the river, is a fit memorial great cloak after the fashion of the
of a race that has passed from power. discoveror's day.
[249]
o
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ART AND ARCHAEOLOGY
Just below the statue of Columbus ture such as has never been approached,
is the figurehead of a ship, a beautiful except in the temporary structures of
female figure of ample form and dig- the World's Fair.
nity, typifying "The Spirit of Dis- At present the Midway is a grassy
covery." The ample basin of the strip a mile in length, and about i,ooo
fountain is immediately beneath this feet wide, connecting Washington and
figure and is in itself most interesting Jackson parks. It has always been
with abundant flow of water.
its the intention of the South Park authori-
On either side of the stone shaft are ties to extend the depression of the
massive figures portraying the sculp- Midway from the lagoons of Jackson
new and old worlds.
tor's ideas of the Park to the small lakes of Washington
The "New World" is represented by Park, thus forming a waterway from
the figure of an American Indian reach- park to park. Mr. Taft's plan pre-
ing over his shoulder for an arrow from supposes this straight and formal canal,
his quiver. The "Old World" repre-
is which is to occupy the present depres-
sented by the figure of a patriarchal sion at a lower level than the street.
Caucasian of heroic mould and thought- The canal bisecting the Midway will
ful mien. fill the present central depression and
Theglobe at the top of the shaft is will be about loo feet wide. It will be
intended to suggest the influence of spanned by three bridges of monumen-
Columbus on the growth of popular tal design, to be dedicated to the three
knowledge of the shape of the earth. great ideals of the race and to be called
It is supported by four American "The Bridge of Sciences," "The Bridge
eagles, which stand at the comers of the of Arts," and the "Bridge of Religions,"
top of the shaft, with wings partially an adaptation of the "Pont des Arts"in
extended. The rear of the shaft carries Paris. Along the higher strip of land,
a medallion representing Ferdinand some distance back of the canal, and
and Isabella of Spain, and the group on each side, will stand the statues of
of figures is completed by two enormous the world's greatest idealists. Then at
lions which occupy the ends of the the two ends of the Midway will be
balustrade running from the center to —
the great fountains that of "Time"
the sides of the fountain. being at the west end, and that of
Mr. Taft's latest work has been in "Creation" at the east end.
connection with an ambitious scheme "The Fountain of Time" for the west
for beautifying the old Midway Plais- end which has just been completed,
ance of the World's Fair, and has occu- was suggested to Mr. Taft by Austin
pied his time for several years. The Dobson's lines:
entire plan is so huge that years longer
Time goes, you say? Ah, no.
will be required to carry it out. The Alas, time stays: we go.
subject, indeed, is so big and relates to
the ornamentation of a territory so It shows the human procession in re-
large that additions can be made almost view before the great immovable figure
indefinitely for generations without los- of Time. Father Time is represented
ing the value of the work done in the by a rugged, craglike figure, reviewing
early stages. In result the project will a throng of hurrying people; the long
carry into permanent eff'ect a mile-long processional group shows these people
vista of water, lawn, trees, and sculp- indistinct, but all hurrjnng and crowd-
[251]
ART AND ARCHAEOLOGY
ing toward a goal they cannot see. A after the nine days' flood, stepped out
warrior on horseback, flanked by ban-, from their frail boat to the top of Mount
ners and dancing figures, forms the Parnassus and consulted a convenient
center of the composition, which fades oracle as to the best way of restoring
oflf at the ends into creeping infancy or the human race. The goddess told
the bent and withered figures of age. them to cover their heads and throw
The procession seems to rise from a the bones of their mother behind them,
great jet of water on one side and sink and Pyrrha divined that these bones
from sight at the other. Time mean- were the stones of Mother Earth.'" Mr.
while standing firm and immovable. Taft will show us the moment when
There is a suggestion of joyous onward these stones, thus cast from the Titan's
movement in this procession and of the hand, are changing into men and wo-
splendor and pageantry which life has men, rising out of the clod and flood and
achieved since that first day of creation, fog into life and light. The composi-
which the other fountain, "Creation," tion will begin with creatures half
which is planned for the opposite end of formed vague prostrate bli ndly emerg-
,
,
,
the Midway, will celebrate. ing from the shapeless rock continuing :
"The Fountain of Creation" will re- at a higher level, with figures fully de-
ceive the waters of the canal at a point veloped and almost erect, but still
just west of the Illinois Central Rail- groping in darkness, struggling, won-
road. It is founded on the myth of dering, and will reach at its climax with
Deucalion. Deucalion, the Noah of a group at the summit of beings com-
Greek legendry, and his wife, Pyrrha, plete and glorious, saluting the dawn.
being the only mortals saved by Zeus Chicago, III.
THE FOUNTAIN OF TIME

(Suggested by the sculptured luork of Lorado Taft)
Oh Time, with age-long, silent watch grown old.
What marvels thou hast seen, what wonders known!

'Twould seem thou couldst not stand unmoved and lone
When voice of God made gates of light unfold.
Or morning stars creation's glories told!
Thy heart should break, though it ivere hard as stone.

When Man, by changing winds of Fortune blown.
Shows all the joy and grief his life can hold.
Yet, silent and implacable thou art.

Thou canst not feel the pulse of endless life
Thai throbs in Man; thou art of earthly mart,
ff'hile he, by birthright, knows that toil and strife
Shall free his spirit from its house of clay:

Thou, Time, dost measure but his finite day.
Chicago, III. Emma Schrader.
[252]
"Their First-Born," by Chester Beach.
This is probably the most realistic rendering of the new-born infant ever attempted in marble.
MOTHERHOOD IM AMERICAN SCULPTURE.

By Frank Owen Payne.
THERE probably no
human
in more
is
obvious to
life
single topic tural art. Mediaeval art paid atten-
tion to the devotional aspects of mother-
the dullest perception than hood and found its highest expression
motherhood. Let a mother holding in in the Madonna. But it is to modems
her arms a smiling child, come into a that we owe our best and most realistic
crowded car and the warmth of its representations of motherhood in its
naive and winsome ways will instantly secular aspects.
transform the gray and colorless faces It is interesting to speculate concern-
packed in that steel cage into radiant ing the probable reasons for this change
smiles. And one can think of many in the artist's view-point. Is it owing
instances in which motherhood mani- to the fact that the sculptor has usually
festly makes an immediate and uni- confined his portrayal to princes and
versal appeal. potentates and the ornamentation of
It is odd that such common and the mausoleums of the mighty? May
—
familiar experiences incidents which it be attributed to the growth and
confront us at almost every turn, have spread of democratic ideas which have
so seldom been represented in sculp- diverted thought from such themes as
[253]
"The Young Mother," by the late Beta Pratt.
How charming is the tremulous intensity with which this young mother clasps and hushes her child
through a sudden rush of affection!
—
ART AND ARCHAEOLOGY

crowns and thrones and the decora- kindled in them as the embodiment of
tion of noble edifices to those more the maternal instinct. It is not to be
homely intimacies of daily life? Can wondered at that many have failed
it be due to the development of the where but few have succeeded. The
feminist movement and the consequent latter have been fortunate enough to
advancement of the status of woman- catch the spirit of motherhood and
hood? Or is it merely the visible ex- to preserve its surpassing loveliness.
pression of the constant struggle to Realistic pictures of mother and child
throw off the shackles of conventional- may best be seen in the works of a few
ism that an era of realism in art might American sculptors who have given us
be inaugurated? very intimate moments in home life,
Whatever the causes back of such conceived with deep feeling and exe-
realistic interpretation, it must be said cuted with such consummate skill as to
that it is not with the devotional merit extended treatment.
aspects of motherhood that we have Although this paper is devoted es-
here to do, nor even with those admir- pecially to the realistic representation
able studies of women with children of the subject, we feel justified in re-
which adorn so many public and edu- ferring to what is perhaps the most
cational buildings. Such pleasing brilliant example of the conventional
groups as Daniel Chester French's manner to be seen in American sculp-
Brooklyn at the eastern approach of the ture. There is no better illustration of
Manhattan Bridge, Isidore Konti's fig- the change which has taken place in
ures accessory to the McKinley Monu- the technique of sculpture during the
ment in Philadelphia, Lorado Taft's past fifty years, than is afforded by a
study for the Public Welfare Associa- comparison of the works of our day
tion in Chicago, and Evelyn B. Long- with such statues as Latona and Her
man's groups on the Allison Memorial Children by Rinehart. In that elabo-
in Des Moines, Iowa, are charming rate creation, every detail of draper^',
works of sculpture, but they very prop- every minute feature of anatomy
erly make no attempt to portray the curl of the hair, the decoration of
motherhood in a realistic manner. —
the sandals all has been worked out
Of the possible ways in which mater- with painful precision. The result is
nal instinct may express itself, perhaps photographic accuracy with all the
four may be classified as notable. characteristic stiffness which was the
These are the delight felt by the young concomitant of wet-plate photography.
mother over the mere possession of her Latona and Her Children is an ex-
child, her happiness in the closer inti- quisitely beautiful statue. Its com-
macy with her child, her expression of position is faultless. Its technique is
anxiety due to danger likely to befall it, marvelous. But with all its grace and
or grief at its loss. In these representa- beauty of line, it Latona
is not alive!
tions of such a difficult subject, how- was posing when that statue was in
ever, it is a singular fact that most art- the making. Yet this is what was
ists who have succeeded, have not expected of a sculptor in mid-Victorian
themselves been possessed of the gift of times. Latona is the last gasp of the
parenthood. To them it has been school which was represented by
granted to picture what they have seen Powers, Crawford, Greenough and
in others or what their imagination has Randolph Rogers. It is reminiscent
[255]
ART AND ARCHAEOLOGY
of the period when Miss Hosmer gave a way that gives to Mrs. Vonnoh an
Zenohia and Story gave Salome to the unique place in plastic art.
world. For the patience and the skill We can not imagine Mrs. Vonnoh
which could execute such things, there as taking for a subject the mother of
can be nothing but praise, but give us, the children of the slum. Hers are all
we cry, give us the artistry of the
present with its actual life and action
women of finest quality well bred, —
cultured, and refined, typical of the
rather than these echoes of a remote best American motherhood, and of
past. their children one might say with the
No more realistic portraits of mother- poet:
love have hitherto been created than
the works of Bessie Potter Vonnoh. "Thou art thy mother's glass and she in thee
Calls back the lovely April of her prime."
What George DeForest Brush has
done with his inimitable pencil, she It is with something of a shock that
has accomplished in plastic material. we turn from the representations of
There is the same patient sweetness, gentlewomen depicted by Mrs. Vonnoh,
calm dignity, and all-pervading charm. in the quiet surroundings of home, to
Like George DeForest Brush, she works those more rugged and less favored
somewhat after the manner of Holbein, types which have been made peculiarly
looking for a beauty of spirit indepen- her own by Abastenia St. Leger Eberle.
dent of form or feature. Her mothers In her striking studies of the East Side,
and children are not young goddesses there is no environment of wealth, no
rollicking with plump cherubim, but enthronement in tapestried chairs, no
grave and tender women who have aristocratic matrons clad in purple nor
sacrificed without regret somewhat of children in fine linen. But here in no
their youthful freshness to the children less degree are the beauty, the tender-
they iaold in their arms. Mrs. Vonnoh ness, the solicitude, and other evidences
has presented these creations with of the supreme attributes of mother-
feeling and perfect sincerity, in almost hood. Miss Eberle has seen and re-
every phase of domestic life. Prac- vealed to the world the beauty that
tically every museum of art treasures abides in the alleys and lanes of great
examples of the genius of Mrs. Vonnoh. cities. Such themes as hers have
In her Motherhood Enthroned we rarely, if ever been portrayed by the
have the picture of a refined woman hand of inspired art. What could be
surrounded by her children. It is more tender than The Little Mother
doubtless a portrait but it may well whose frail childish shoulders are al-
stand as typical of the best American ready beginning to yield to the burden
motherhood. Obviously it symbolizes of toil and poverty? Where can there
that moment of triumph long desired be found a more realistic picture of
by a woman, the hour of peace after human life regardless of blood, or
struggle, when she can sit quietly in rank, or social station than is presented
the joy of her realized dreams. In The Bath Hour?
to us in
The Young Mother we see maternal This group furnishes an excellent
passion expressed in fondness with example of an aspect of the mother-
which she clasps the child. And thus hood theme so common as to occasion
it is with all her work on this theme, wonder that art should turn to such a
for they are conceived and modeled in subject for sculptural portrayal. In
[257]
'
-Molher and Child," by Mrs. Vonnoh.
This is one of the favorite works of Mrs. Vonnoh. The subtle grace of posing, the handling of draperies, and
the simplicity and dignity of the composition makes this statuette a masterpiece.
ART AND ARCHAEOLOGY
this as in so manyothers of her works, mother, the lavishness of her love ap-
Miss Eberle has taken for representa- proaching adoration so often displayed
tion one of the homeHest incidents of in the conduct of youthful mothers
every-day Hfe. It belongs to the same toward their first born, and the wonder-
type of subject as the famous Rem- ment of young motherhood clasping
brant's Woman Trimming Her Nails the babe and gazing at it in its helpless-
and the peasant scenes made forever ness as if questioning the whence and
famous by the masterly brush of Millet. —
whither of human existence these have
Miss Eberle teaches the useful lesson all been depicted by the chisel of
that there is beauty in hum-drum life. Gutson Borglum in three remarkable
Having perceived this, she has preserved statues. It is doubtful whether any
it, a parable in bronze. other artist either ancient or modern,
The Young Mother by the late Bela has ever dared to portray in a realistic
Pratt is significant not only for its in- manner that ecstatic moment when a
trinsic charm, but because it reveals woman realizes for the first time that
more clearly perhaps than any other the supreme gift of maternity is to be.
of his works, the personality and style hers. Such is the intention of the sta-
of the author. It shows first of all that tue executed in Rodinesque style which
the artist was an accomplished crafts- the artist has named Conception. His
man. Viewed from any position, the second work on motherhood shows the
silhouette is a compact and expressive mother holding the infant high above
design and the figure is full of moving her head as if presenting it as an offer-
grace and rhythm in its masses and ing before The Lord. The Wonderment
lines. How charming is the tremulous of Motherhood has been pronounced one
intensity with which this young and of the most imaginative works of its
experienced mother clasps and hushes gifted author. That such creations as
her child through a sudden rush of these, so full of delicacy and poetic
affection! It is a sort of living music feeling can be product of the same hand
that breathes through this figure as the that executed The Mares of Diomed,
light plays over its richly modeled sur- The Equestrian Sheridan, and the god-
—
faces a song without words in the like head of Lincoln in the Capitol, are
pressure of the lips, and the rock of the proof enough if other were needed, of
arms, and the accompanying turn of the the depth and breadth of the artist's
whole body. imagination. But manifestly such epic
The astonishing versatility of Bela themes in marble are a far cry from the
Pratt can not better be illustrated than widely human appeal of motherhood.
by comparison of this superb Young Among the younger American sculp-
Mother with his well known reliefs in tors no other has made such intimate
the Boston Opera House and that mas- studies of the child and established the
terpiece of portraiture of old age, the proofs of his own delight in parenthood
likeness of his mother. There is an as has Chester Beach. On the mother-
amazing range of ability indicated by hood theme he portrayed it in Their
these studies. First-Born, a charming recumbent
Three more subtle phasesof the idea group in which we see a youthful father
of possessing a child, are the creation bending over the bed on which his
of another American sculptor. The young wife is resting with her new-born
ecstasy which comes to the prospective infant. The extreme weakness and
[259]
"Mother and Child," by Lopez.
This work after the style of a Madonna is regarded as one of the finest works of its sculptor, The way
in which he has rendered the sleep of the infant is inimitable.
:
ART AND ARCHAEOLOGY

exhaustion of the mother and the proud possessing one's children and by being
soHcitude of her husband are admirably possessed by them, and of, to quote
depicted. The utter helplessness and Wordsworth
immaturity of the babe are striking in
"Little nameless unremembered acts
their realism. We venture that no- Of kindness and of love,"
where else in all the realm of plastic art
has such a newly born infant ever been there comes pressing upon us the re-
realistically portrayed. Their First- verse of these thoughts, the fear of loss
Born reveals a moment in domestic and the resulting grief in desolation.
affairs almost too intimate and sacred Motherhood At Bay is a tragic aspect
for portrayal. It is conceived with ex- of the theme which calls for a very
quisite feeling and most delicate senti- high degree of artistic ability. Mother-
ment. It affords a very actual glimpse hood at bay by John J. Boyle is one of
into a sacred moment of family life. the most convincing statues by that
As such, its beauty can not be ques- artist. This work, called The Stone
tioned. Age in America representing a mother
Although modeled somewhat after who has rescued her children from
the fashion of a Madonna, and there- a bear, is one of the most striking
fore not so realistic as some of the and realistic in Fairmount Park, Phila-
other sculptures, on this central theme delphia. A somewhat less vigorous
of human life, as a work of consummate presentation of the motherhood theme
art and delicate imagination there is is The Indian Family by the same
no more superb rendering of mother- artist in Lincoln Park, Chicago.
hood than the exquisite relief, Mother The World War brought out an in-
and Child by the late C. A. Lopez. numerable quantity of sculptural works
Lopez was a young sculptor of great chiefly of a monumental character.
promise whose few creations are among Miss Jess Lawson, an English sculptor
the most highly prized sculptures done residing in this country, exhibited a
in America. This beautiful mother startling composition presenting the
and child alone would have placed its alarm of a mother who sees the ap-
author among the foremost plastic proach of the Hun from afar and
artists of our day. In ''The History of strives to protect the infant at her
American Sculpture," Lorado Taftsays breast. The sculptor has done a clever
"it is an ingenious and original hand- thing in giving us, as it were, a glimpse
ling of the Madonna theme —
a relief of the horrors of war —
arson, pillage,
exquisitely chiseled out of a rough block —
rapine, murder without actually re-
of marble." vealing any of those atrocities to us.
The modeling of the dimpled little Motherhood at bay has seldom if ever
arm and hand, the perfect portrayal been attemped by American artists
of sleep, the sense of weightand perfect although it is a phase of the theme
relaxation as the drowsy head rests which possesses great possibilities for
upon the mother's shoulder, and the portrayal in sculpture.
realistic rendering of delicate flesh When employed in monumental art,
texture, are altogether admirable. This the grief of motherhood has usually
sculpture is indeed great. very properly been executed in the
While one reflects on the natural conventional style. But there are
joy in the mere passive realization of notable instances in which the sculptor
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ART AND ARCHAEOLOGY
has so blended the conventional with yet over it all the firmness of faith and
the realistic manner as to produce an —
determination all these are personified
effect which is both intimate and per- in this superb group. Much has been
sonal without sacrificing the monu- written concerning the Pilgrim Fathers
mental character of the work. Ezekiel's but Paul Bartlett has delivered a
Virginia Mourning Her Dead, one of worthy and lasting tribute to the
the most noted of Confederate me- splendid character of Pilgrim Moth-
morials, is probably as good an example ers.
of this artistic blending as has hitherto As one walks through the galleries of
been produced. our great museums and pauses before
The latest of all the representations such artistic creations as the works of
of motherhood in monumental art and Pratt, Beach, Lopez, Borglum, Miss
one where the sculptor has succeeded Eberle, or Mrs. Vonnoh, the thought
in combining genuine maternal feeling is brought emphatically home that it
with the conventional style, is the is one of the distinguishing functions
Pilgrim Mother by Paul W. Bartlett. of art to foster a feeling of concord in
The Pilgrim Mother has been designed the human heart. To the childless,
to commemorate the ter-centenary there must come emotions of pro-
of the Landing of the Pilgrims, 1620. foundest tenderness for the children
Bartlett has seized the moment during of others, memorable in Charles Lamb's
the landing when a woman with her exquisite fantasy, Dream Children. To
children has been brought ashore. She parents of every age and of every
is seated upon Plymouth Rock, her social rank, comes the realization of
little brood of children about her, that fundamental fact that through
awaiting the return of another boat motherhood all men are of one blood,
load from the Mayflower. The forlorn that in the words of Confucius,
condition of that little band, the reali- "All men between the seven seas are
zation of their loneliness and desolation, brothers."
the very essence of homesickness, and Brooklyn, N. Y.
MADONNA AND CHILD BY LUINI

Even the Centuries with their dusty thongs,
Know not to scourge you. Artisan of Souls;
Your young Madonna and your saints in throngs.
Shine still with undimmed robes and aureoles.
You with your your vivid gold.
vital blue,
Your mode of mixing pigments into truth.
Learned in some sure and secret way to hold
The perfected impermanence of youth.
Behind your skill of line, Luini, lies

As much of soul and mind, as craftsman's art.
And you have shadoived there in Mary's eyes
An understanding of her two-fold part.
Virginal-innocent tmd Mother-wise,
She ponders hidden sayings in her heart.
Agnes Kendrick Gray.
[263]
;
THE SHEPHERDS AND THE KIMGS

By Georgiana Goddard King
THEY
France,
call group a creche in
the
Italy a presepio; in
in
gape and marvel, and the Saint is on
his knees arranging the mise-en-scene.
Spain it is a nacimiento, and The incident is true. He filled a
every church and ever>^ house brings feeding-trough with straw and bor-
out the figures and sets up the scene, rowed a real baby for Christmas Eve
each year. The English speaking peo- borrowed too, I fancy, the gentle
ples have neither the name nor the heifer and little grey donkey that lies
custom, but they have the impulse, as so quietly on either side, and there
in the Middle Age they had doubtless Brother Giles and Brother Leo and all
the practice. Indeed, I am told that the early brethren of the Order, sang
for the Christmas feast, in Bethlehem, the first Christmas Carols, perhaps,
Pennsylvania and the Moravian coun- that ever were heard. The custom, it
try around about; a painting of the is said, spread from Umbria through-
Virgin and Child is set up, outside the out Italy: but indeed it is the sort of
church in the open, and decked with custom that would spring up anywhere,
holly and evergreen. like daisies and chicory by roadsides.
My friend Fanny has been brought The next thing known for certain is
up with from super-
infinite care, free that when the Neapolitan humanist
stition, from denominational bias even, Sanazzaro had written his amazing
that she may grow up as hearty and artificial Latin poem on the Virgin
strong in spirit as body, clear-minded, Birth, De Partii Virginis, and had
built
reasonable, and truth-loving. But this and dedicated a church to the same
year Fanny goes to school. On Christ- Joyful Mystery, he installed in the
mas Eve I went downstairs with a crypt chapel there a set of figures of
little parcel to the apartment where the presepio. This was polychrome
her family lives, and Fanny showed sculpture in wood: Mary, Joseph and
with pride the creche she had made the Child, with the shepherds adoring;
impromptu by ransacking the nursery the greatest of Neapolitan sculptors,
toy-box; with a dog bigger than the Giovanni da Nola, made them for
sheep and a Babe-Jesus bigger than him, and the only novelty was in the
the shepherd. For the Three Kings, excellence of the work and the emi-
she had dressed the dolls. Her mother nence of the artist. The Virgin and a
smiled a little regretfully, to see how few other bits of the group still linger
the human heart is stronger than the there, in the crypt of the Madonna
best theoretical education. del Parto. There is said to be a com-
Every traveller remembers how, in plete presepio of later date, in the
one of the most charming of the fres- cathedral of Matera, carved in stone
coes at Assisi, Giotto shows the first and coloured: but life-sized figures,
creche that S. Francis made. It is set after the early Renaissance, are rare.
behind the altar within the choir- Aleanwhile in Portugal the same
screen, and while substantial friars thing is found. The poet Gil Vicente,
are roaring out the carols, country- in the earliest years of the sixteenth
folk have crowded to the doorway to century, is writing Christmas Mys-
[265]
ART AKfD ARCHAEOLOGY
hidden voices sang the angels' song.
Just so at Eleusis two millenniums
before, when the worshippers were
gathered all in the lighted shrine, a
curtain was suddenly lifted and the
Mother and Child were revealed.
From the fourteenth to the seven-
teenth century, I suppose the practice
was general, in England and through-
out Europe, of showing the Christmas
scene to the congregation, and even
where Mystery plays were acted, they
would hardly interfere. The Shep-
herd's Play at Coventry was like a
dramatized presepio. The groups in
churches included, besides the Holy
Family, all the shepherds with their
offerings, and angels making the an-
nouncement where they watched their
flocks by night; the Three Kings, their
attendants and their gifts. These
might be multiplied indefinitely. Be-
nozzo Gozzoli's fresco in the Riccardi
Palace at Florence, covers three walls
of the chapel with the long array of
riders, outlandish men and exotic ani-
mals. As early as 1335, when the
The figures of the Duke of MedinacoeU's Naclmiento, Mystery of the Three Kings was
packed away till next Christmas.
played in Milan with a long procession
can act on Christ-
teries that courtiers through the streets, rich jewels and
mas Eve before the king and his wife splendid costumes and strange beasts
and mother. In the play of the Three were all to be seen. The Mysteries
Kings, that was played on Twelfth supplied a sort of canon of tradition,
Night of 1503, the royal parts were set a standard of richness for emulation
taken by gentlemen gorgeously arrayed, at less expense; but though the creches
and those of shepherds by other gentle- and the plays reacted on each other,
men in frieze and sheepskins, imitating they never were precisely alike. At
countrymen from the hills there is — first the groups in the churches were
nothing noteworthy for us in this; but simpler, afterwards they became more
in the play of the Sibyl Cassandra, popular and anecdotic. The indispen-
that he wrote for the Christmas follow- sable parts grew to be the grotto, the
ing, while the shepherd and shep- tavern, the announcement to shep-
herdess and her aunts and uncles were herds on a hill-side, and the procession
all acted by court folk, at the right of the Kings.
moment toward the close a curtain Particularly in Spain and in Spanish
was suddenly withdrawn to reveal the Italy, that is, in Naples and Sicily,
figures of Mary and her Child, and the custom was kept up; instinctively
[266]
The first Wise .\Liii. Kuif, Ga; wi..iii Uic collection of the Duke of Medinacoeli).
at first, then as a popular practice, after- Joseph, who had also a sapphire on his
wards as a matter of fashion. From a breast."
document preserved by chance we know In the sixteenth and seventeenth cen-
that for the Christmas of 1661 the tury in Naples figures were made by
Confraternity of the Goldsmiths joined such sculptors as Pietro and Giovanni
with the Friars of S. Paul's, in Naples, Alamanni, Pietro Belverte, and Gio-
to erect a presepio "wherein were eight vanni da Nola. By the eighteenth cen-
persons in all, and an infinite number of tury the pious custom of the confra-
jewels which wearied rather than satis- ternities and congregations was taken
fied the view. The Viceroy's jewels up by the families of the aristocracy
were there, especially three diamonds and rich merchants. With the removal
which had been given by the Emperor from church to palace and thence into
to the count of Penaranda; the sheep private houses, the scale altered. The
were covered with pearls, and so wera sacred persons and the shepherds are
the shaggy coats and wallets of the smaller but more numerous. The real-
shepherds. The quantity of emeralds istic intention grows stronger. Charles
shamed the true verdure, and there III of Bourbon formed of them a large
were some adorning the crown of the set of genre scenes, illogical and charm-
Mother of God and the diadem of vS. ing, arranged around the central IMys-
[267]
:
rfmiiiiif'^
Shepherds in talk, wiio will soon hear the Angelic Message (from the collection of the Duke of Medinacoeli).
tery of the Incarnation. A part of this and animals than for statues and other
collection is still in the palace at Ca- marble sculpture. Most of the artists
podimonte. He set it up with his own employed in the porcelain works at
hands every year, with the help of his Capodimonte, had a hand also in
queen, Maria Amalia; she took delight these.
in dressing the shepherds. His son Lastly, when the age of revolution
Ferdinand I and his grandson Ferdi- has passed, and the eighteenth-century
nand II, in the castle of Caserta, kept life has disappeared forever, a final
up the custom; the costumes were real, stage in the life-history of the presepio
rich and splendid, the shepherds and is reached. The scenes are neglected,
animals made of wood or terracotta. scattered and broken up, and after a
Nearly all the great eighteenth-century while they come to be collected again
sculptors of Naples made these figures by amateurs. At the opening of the
the best was Giuseppe Sammartino, present century, Monsignor Sanfelice
who died in 1793. He was especially di Bagnuoli had a collection of about
happy in his hovering angels that hung 300 pieces the hanging angels by Sam-
:
by a thread above the sleeping shep- martino, Celebrano, and Salvatore di

herds and the Mother and Child. Fran- Franco, the host of the tavern by
cisco and Camillo Celebrano, and the Policoro, the gamesters by Franco, the
Vassalo family, were also famous for violin-player by Gori. The finest parts
special episodes or figures, and were are one group of peasants coming down
more widely known for their shepherds a steep path, by Somma, Celebrano,
[268]
;
A Servant riding his Donkey, as Spanish Peasants yet ride (from the collection of the Duke of MedinacoeU).
and Capelli, and the beggar with some troduce the inn and its occupants with
shepherds awakened by the Gloria in the landlord.
excelsis by Sammartino and Celebrano The Italian presepio has sometimes a
these have artistic merit of a high order. rich architectural background a wide ar-:
But there are other signed pieces so — caded palace front and staircase behind
—
to call them a dog, an old goat, and a market, or a vine- wreathed pergola,
a donkey by Vassalo, cows, calves, pigs and, behind a public hall or the Adora-
:
and other animals by Schellino and tion of the Kings may take place before
Ciccio Gallo; there are, further, other the broken apse and gaping arches of a
bits of genre, each celebrated and ruined Roman temple, in accordance
—
prized butcher's meat, salads, fruit, with the beautiful mediaeval symbol-
bread, vegetables, tiny plates of ism or the Virgin will be enthroned in
;
Abruzzi pottery: there is everything what seems the apse of a baroque

under the sun. church, crowded with angels above and
For all this there was, of course, a worshippers below. In poorer house-
germ in vScripture, though small as the holds or in the declining age a mountain-
grain of mustard-seed. The assembling side sufficed, of cork and moss, where a
of the tribes for a census was inter- water-fall was simulated with spun-
preted as a great annual fair, which glass.
gave the chance for all manner of folk Every European museum can show a
and all sorts of action: there being no few dusty Neapolitan figures in a glass
room in the inn, gave the chance to in- case: the two at the Cluny, in Paris,
[269]
ART AND ARCHAEOLOGY
beautiful and typical sets of eighteenth-
century dress.
When Charles III of Bourbon came
to mount the throne of Spain, in 1759,
he brought with him his artists and
his ways, though he must have found
the institution already established.
What was presepio in Naples, was
nacimiento in Madrid. The difference
in names is nothing and that in the
composition is slight, but the temper
is a little altered. The easy-going
Neapolitan genre gets a dash of bitter-
ness. A favourite episode, to be seen
even to this day in every shop-window
at Christmas-time, is the rejection
at the hostelry: the tired Mary
and Joseph, hesitating at the door,
the insulting landlady screaming from
a window, and the impudent host-
"A Shepherd with ler slouching in the court-yard; the
h\^ I'liic." moiluriiuork from Cata-
lonia (after a photograph by E. H. Lowber). whole being at once racy and touch-
ing.
were a joy in my earlier years, and I Two famous groups, yet complete
came across one very like to these, and have long been pre-
perfect, that
though probably Portuguese, in an served in Spain but are supposed to
antiquity shop the other day in be Neapolitan in origin, are those of
Lisbon. At the Bavarian Museum the Marquis of Alcafiices and of the
in Munich is a Slaughter of the In- Duke of Medinacoeli. The latter was
nocents comprising 80 figures, which shown by the Duchess for a charity
was made in i7oo; and the Acad- during the war, and I am able to pub-
emy in Madrid owns another piece lish some characteristic details as well
on the same theme by a Madrid ar- as a view of the whole packed for safe
tist called Gines, which is fairly brutal storage into a glass case. The group
but truly dramatic in its tragic power. of two shepherds conversing is like a
At the museum of S. Martino above the bit out of the old comedies, the King
city of Naples, the great scene of the too is a generalized type quite cos-
Adoration fills one end of a room, mopolitan but the boy and his donkey
;
screened off from the spectators by might be seen in any village street of
plate-glass which makes it impossible Spain today. The explanation of the
to photograph; the picture here pub- strong Spanish flavour in this as in so
lished shows only a portion of it. The much Neapolitan work, is that for
costumes are various, fanciful a'^ those several centtuies Naples was in certain
of a fancy-ball or an old-fashioned ways literally a part of the Spanish
opera, and here they seem to be chiefly dominion, not only politically from
of the early nineteenth century, but time to time, but all the time, psycho-
some Neapolitan collections can show logically and socially.
[270]
ART AND ARCHAEOLOGY
The nacimiento of the Duchess of
Parcent that was exhibited in Madrid
for the reUef of the wretched children
of Central Europe, is supposed to have
been made in the Spanish Netherlands.
The aristocratic convent of the Des-
calzas Reales, the most distinguished
in the capital and perhaps in Spain,
possesses a charming set of figures
with a painted background like stage
scenery; under a sort of summer-house
the holy figures kneel, soldiery issue
from a painted city-gate on the left Flamenco or Gypsy Types, originating in the Abruzzi
and descend free-standing and palpa- (after a photograph by E. H. Lowber).
ble; shepherdesses with rose-garlands

and gilded crooks, like Watteau dolls, but the plastic representation of the
are escorted by swains in smocks and sacred Mysteries that were played in
little caps, from the right-hand en- the churches, and has been suggested
trance. The great Murcian sculptor, how the art of painting may sometimes
Zarcilla (i 707-1 783), executed a monu- have borrowed from them as it must
mental scene of 556 figures, which is have lent to them often. But a closer
still in existence, but I think in private affinity may be seen with a feature of
hands. This could have been carved the religious life peculiar to Spain, the
about the middle of the eighteenth pa SOS or groups relating the Passion
century. Elaborate and celebrated com- that are carried through the streets on
positions once belonged to the Old men's shoulders in Holy Week. All
Pretender of Spain, D. Carlos, and his travellers have told of seeing them pass
brother D. Francisco; they were ruined at Seville, but every town has its own.
in the crash of the royal fortunes, but A famous set at Murcia was carved by
at Soto de Algete, it is said, are still the sculptor Zarcilla in the eighteenth
preserved a great number of wooden century; the greater number of those
horses more than 18 inches high, and at Valladolid in the sixteenth and seven-
with them the tradition that there a teenth, and they are now in the Mu-
part of the Christmas Mystery was a seum there. In most towns, throughout
bull-fight. For Isabel II and the Prin- the year the images are kept in chapels
cess Maria Luisa Fernanda, well within specially their own, and often they
the nineteenth century, the figures are highly revered. They are always
were sculptured by the artist Leon Gil large, and they are always visible,
de Palacio. It is a far cry from the whether in a church or in the private
eighteenth-century domesticity of chapel of a confraternity in these two
:
Charles III to the diversions of Isabel respects they differ from the nacimien-
II, but it is pleasant to think of inno- tos, little, pretty things, packed up,
cent child's play at Christmas in the taken out for a fortnight, and put
palace between the little princess and away again like toys too precious for
the too-beautiful and impetuous queen. every day. It is as though when the
Already it has been said how the plastic impulse had produced these
groups of figures in the beginning were two branches, one for Christmas and
[271]
—
ART AND ARCHAEOLOGY

one for Easter, they divided and grew are cast in plaster. Some of these I am
quite unlike the Easter figures reahstic
: able to show; the broken toys that
and terribly earnest, emotional to the served to amuse a sick child.
uttermost point of endurance; the In certain of them the types are very
Christmas fanciful, small and playful, marked, with sheepskin jacket, short
fit for the Child whom they celebrate. trousersandhighboots, with hanging left
Every church in Spain, indeed, pos- locks under a broad hat. When ques-
sesses some such imagery, to bring out itoned in Madrid, the shop-keeper said
and arrange in chapel or aisle: the fig- they were Andalusians; in Seville, that
ures are usually modern and often com- they were flamenco or gypsy, peasantry
monplace enough. There is a fair on from Granada but Granada in turnd"e-
;
S. Lucy's day in Barcelona, outside pudiated them. The truth is probably

the chapel of the cathedral dedicated that they are peasants from the Abruzzi,
to S. Lucy, which is almost given over akin to those that in our grandfathers'
to the blind, for she is their patroness; day in Rome lay about on the steps of
and as her day falls on the 14th of the Spanish Stairs, waiting to be hired
December, Christmas is in the air, and as artists' models; and that for these
every booth and stall is piled with nacimientos the type came into Spain,
nacimientos very humble little things
, — who shall say how long ago?
for the most part, of cork and moss and One other link with the stage should
pasteboard, with Noah's Ark figures, not go unmarked before this brief study
made perhaps by the poor patient is ended. On the East Coast of Spain
blind men. Every shop window in till very lately, and perhaps still in
Seville or Toledo is crowded with places out of the way, you could see a
images Kings on horseback and negroes
: kind of puppet-show of the Gospel
on camels; other Kings standing or story, with a Relator who sang or re-
kneeling with crown or coffer shepherds ; cited, to the guitar, sometimes in Span-
in every attitude, and other country ish, sometimes in the Limousin tongue
folk with homely offerings of bread of that region, hymns to the Virgin
and and milk and wine. There
fruit Maria Sanctissima, denunciations of
are sheep and dogs, there are drovers Herod the Tetrarch, or expostulations
and laundresses. Here and there, I am against the cruelty of the inn-keeper,
sorry to say, there are pseudo-oriental who appeared at a window, little lamp
types and costumes that reek of the in hand, to refuse shelter to the Holy
Place S. Sulpice, and might be taken Wayfarers. —
Belenes Bethlehems
from Tissot's picture-Bible; but these these shows were called, and the mana-
are few. The best of the figures are ger, the belemero; so the whirligig of
made by a Catalan firm up on the edge time brings about his revenges, and
of the Pyrenees: a shepherd with his what was once a Mystery-play in
pipe, a woodcutter with his faggot, a church is now a puppet-play in the
herdsman with his dog, are charming square. So Goethe once saw Faust in a
pieces, shaped from wood and softly puppet-show.
coloured; others, smaller and cheaper, Bryn Mawr College, Pennsylvania.
[272]
NOTES FROM THE NEW YORK GALLERIES
-By Peyton Boswell
Winter Exhibition of the National Academy of Design

Art knows no boundary lines, but testators and juries of award do, and this accounts for the
fact that Carl Rungius' painting, "Fall Round-Up," did not retain first prize at the winter
exhibition of the National Academy of Design. Two days after awarding him the Altman
prize of $i,ooo the jury found out that, while the artist is a native of Germany, Mr. Altman's
will provided that the two prizes bearing his name must be given in each instance to a picture
by "an American-born artist." And therefore Ernest L. Blumenschein, whose name is more
Teutonic in flavor than that of Rungius, though he was born in Pittsburgh in 1874, was awarded
the chief honor for "Superstition."
Then there had to be a general rearrangement of all the awards at the big show, which opened
its doors to the public Saturday, November 19th, with 452 works on display. But first, as to
the merits of the two pictures. "Fall Round-Up" is so thoroughly American that a beholder
might think its creator had lived among cowboys all his life. It seems to exude the sweat of
horses and the odor of leather saddles. Two mounted cattlemen are on the spur of a hill over-
looking a broad valley, wherein dying vegetation gives splotches of yellow, with maroon sug-
gestions of cattle appearing in the distance, and a blue sky arching over all. It is deft, it is
colorful, but Mr. Rungius was born in Germany, and did not come to America until he was
twenty -five, which was in 1894.
Mr. Blumenschein is a member of the "Taos Society," with headquarters in New Mexico
and, in an ethnological sense, his picture of "Superstition" is more American than that of Rungius,
for Indian life is its theme. An old and toothless Indian, with drooping jaw, holds on his lap
a pottery jar. Out of one hole in the jar rises a little wraith of an Indian, and from another
comes a wisp of growing grain. The background is composed of broadly indicated Taos mo-
tives; crude dull reds and browns, characteristic colorings of the Southwest, predominate.
The second Altman prize of $500 was originally awarded to Mr. Blumenschein, but when
he was given "first" some one else had to receive "second." Arthur P. Spear, a Boston artist,
who had been awarded the Isidor medal for the best figure composition by an American artist
35 years of age or under, was then made the recipient of the $500 for his picture called "The
Sunrise." It is a fanciful composition, showing three air sprites afloat in a nebulous sea, holding
at their finger tips a yellow green globe which turns to golden red where a section of it appears
just above the horizon.
The Isidor gold medal was, in turn, awarded anew, this time to George Laurence Nelson
for "The White Vase," an old Colonial fireplace scene, depicting a young woman seated at a
table, with flowers in profusion about her. It is both colorful and restrained.
No more rearrangement of prizes was necessary, and the others will stand as at first announced.
But future juries of award will be more careful, and the council of the National Academy is
now considering points of possible trouble. For instance, if Rungius had first seen the light
of day in Canada or Costa Rica, would he have been considered "American-born?" Perhaps
only the Supreme Court in Washington, D. C, could decide that.
But art lovers will be glad that there was no change in the award of the Carnegie prize of
$500 to Charles S. Chapman's "Forest Primeval," as it is the most meritorious of all the prize
pictures. Broad, massive, with elemental strength, it is yet full of imaginative quality. Trees
growing against a background of immense rocks make up the composition.
A still life of admirable decorative quality is "The Tang Jar," by Dorothy Ochtman, which
won the Julia A. Shaw memorial prize of S300 for the most meritorious painting by an American
woman. A jar of cool Chinese blue is shown against a warm background, complemented by a
little porcelain figure with reddish hues.
Last year John F. Folinsbee won the Carnegie prize, and this year he captured the J. Francis
Murphy memorial prize for the best landscape by an artist less than 41 years of age. "High
River" is a precious bit of pearly color.
[273]
ART AND ARCHAEOLOGY
"John Lane of London," by Ernest Ipsen, a portrait of the well-known publisher, is not"'only
spontaneous but ithas extraordinary resemblance. It is not strange that the Proctor prize
of 18200 for portraiture should have been won by so admirable a handling of line and color.
Both beauty and strength dignify the George Rogers Clark monument by Robert I. Aitken,
which won the Elizabeth Watrous gold medal. It is a group depicting an incident in the North-
western explorations of the distinguished Virginian, and is the original sketch of the monument
recently unveiled at Charlottesville. "The Prairie Fire," by Joseph M. Lore, the winner of
the Helen Foster Barnett prize for the best sculpture by an American under thirty-five, is a
gfroup of wild and spirited horses, frightened by oncoming flames.
The late Abbott H. Thayer's "Portrait of a Lady" is given the place of honor in the Vander-
bilt Gallery. It is a large canvas representative of the best of Thayer's work. The Academy
exhibition will last until December 19.
Annual Exhibition of the New Society of Artists

Art lovers will probably find more real enjoyment at the third annual exhibition of the New
Society of Artists (until December 15) than at the winter show of the National Academy. There
is much more spirit, verve and dash to it, and one does not have to flounder through shoals of
mediocrity to land upon a fair vista of colorful charm.
If last year's display by this society was somewhat of an artistic failure, this year's promises
to be anything but that. The memlaers seem to have sent their best work, thus keeping the
agreement they made with Mrs. W. B. Force when she undertook the management of the show.
Thirty-eight painters and sculptors, nearly all of whom are well-known, contribute 1 10 works.
There are so many good things that the difficulty is to choose those that should be specially
mentioned. Eugene Speicher's "Southern Slav" is striking both for its color and its character-
ization, and his "Young Girl's Portrait" is a decorative piece that charms and satisfies.
Ernest Lawson's "Windy Day" is full of the exhilarating atmospheric qualities for which he
has become famous. He has a larger canvas, "Summer Landscape," that is not so good. Hayley
Lever has four pictures, the best of which is "Wind," almost as breezy as its title.
On the wall nearby, George Luks tries to take the joy out of life, and strangely enough he
calls his canvas "The Joy of Living." The subject is a miserable blind woman, and as all things
are relative, perhaps she does find some joy in merely not being dead, but the spectator views
the thing with no feeling of exuberant. Maurice Sterne sent a dark, post-impressionistic
South Sea subject, with native figures in an unusual composition.
Like a stark wind that stirs the blood on an early winter day is Rockwell Kent's "November,"
a plateau with antelopes running, arched by a cold, prismatic sky. Robert Henri contributes
three pictures, among them "Helen," a nude, whose body is rhythmic with warm and pulsing
flesh tones. George Bellows is represented by "My Mother," and "Katherine Rosen." Leon
KroU has a noteworthy canvas in "Spring," and Gifford Beals' "Fishermen at Morning" and
Reynolds Beal's "Southern Seas" are outstanding works.
Jerome Myers' "August Night" is rich, almost antique, in finish. Gari Melchers displays
his recently developed love of bright color in the large "Easter Morning" and the smaller "Mother
and Child," departing in all but choice of subject from the modern Dutch formula. Jonas Lie
is dynamic in "Sycamores in Storm," with its naturalistic hues of green and purple gray. William
Glackens seems more Renoir-like than ever in "Fruit" and "Child in Chinese Dress." Van
Dearing Perrine has a decorative set of three Palisades landscapes.
Both satiric and pictorially strong is Guy Pene du Bois' "New York Girls," and it stands out
from most of the other canvases in its pictorial effect. Other painters represented are John
Sloan with "East at Sunset," and Maurice Prendergast, Joseph Pennell, Childe Hassam, Albert
Sterner, Robert Chanler, Paul Dougherty, Randall Davey, Frederick Frieseke and Samuel
Halpert.
Edmond Quinn is among the sculptors who have sent good works, and the others are Mahonri
Young, Gertrude V. Whitney, Chester Beach, Stirling Calder, J. E- Fraser, Gaston Lachaise,
Andrew O'Connor and F. G. R. Roth.
[274]
"The Meet," water color drawing by W. J. Hays.
Hays' Water Colors and Prints at the Brown-Robertson Galleries
Color, spirit and modernity mark the water colors and prints of William J. Hays, at the Brown-
Robertson Galleries. Modernity? What could be more modern than a fox-hunting party
with automobiles scattered about in the background? And the horses, dogs, riding habits and
landscapes in his set of four prints under the title of "With Hounds in Dutchess County," are
so American, so up-State New Yorkish, that no one can truly say that the artist has followed
English models in his work.
The Millbrook Hunt is the theme of Mr. Hays' series, and the successive stages of the hunt
are shown in prints called "The Meet," "The First Flight," "Full Cry" and "Run to Earth."
The little village of Mabbittsinlle, New York, is the scene of the first, and the countryside nearby
furnishes the settings for the others. The sparse second growth of timber in the final scene could
be identified by anyone who has ever been in Northern New York. The art world is familiar
with English fox-hunting prints, but this is the first series ever brought out in America, and it
is gratifying that the pictiu-es should so well reflect the phase of life with which they deal.
Oil paintings by the artist include "The Edge of Cover," a landscape subtle in tone, with the
figures incidental. Another fox-hunting set is shown among his water colors, but this has not
been reproduced in print form as yet.
The Two "Blue Boys''
Henry Watrous, former secretary of the National Academy, suggests that the two "Blue
Boys" be exhibited side by side in identical frames without any mark that would serve to betray
which is the one from the collection of the Duke of Westminster, now the property of Henry
[275]
'The Blue Boy," by Thomas Gainsborough, from Uu- collection of the Duke of Westminster, now the
property of Henry E. Huntington.
"Portrait of a Man," by Frans Hals, purchased for Si5o,ooo by John McCormack from the Rcinhardt Galkries,
New York. From the collection of Count Zamoyski, Polish Ambassador to France.
ART AND ARCHAEOLOGY
E. Huntington, and which is the Fuller-Hearn picture. The latter, which has been for some time
in this country, has been the subject of endless controversy, both in regard to its merit in com-
parison with the original and also as to whose brush duplicated the famous Gainsborough.
Some claim that both were painted by the master and that the second is an even greater achieve-
ment than the first. Others maintain that it is the work of John Hoppner, who copied the
original in order to oblige a patron. That the Westminster "Blue Boy" is the work of Gains-
borough has never been questioned.
It is said that the painting of the picture was the result of a dispute between Gainsborough and
Sir Joshua Reynolds in which the latter insisted that the dominant tone of a painting should
never be blue. Although it is not known with certainty who is the subject, it is thought to be
Jonathan Buttall, son of a wealthy ironmonger, and the year in which it was painted was about
1770.
Reynolds' "Mrs. Siddons as the Tragic Muse" which was purchased by Sir Joseph Duveen
for a French connoisseur from the collection of the Duke of Westminster at the same time as
the "Blue Boy" is to be presented to the Louvre. It is well as the "Blue Boy," will be exhibited
in this country sometime in the next few months.
Frans Hals' "Portrait of a Man"

Among the art treasures of Eiu-ope that have recently made their way to American owners
isthe "Portrait of a Man" by Frans Hals which has been purchased by John McCormack from
the collection in the "Blue Palace" at Warsaw belonging to Count Maurice Zamoyski, Polish
ambassador to France. This portrait, which belongs to the latest period of Hals' art, is in the
black and white tones with which he developed so much fluidity of expression. The subject,
a man of middle age who might have been one of the painter's boon companions in the taverns
he loved to frequent and which were his ruin, might be classed in the group of portraits that
reflect various stages of merriment, such as "The Laughing Cavalier" and the "Portrait of the
Artist with his Second Wife." While the smile in this instance is not so broad, it is nevertheless
clearly suggested and is an example of the artist's ability to catch the expression of a moment
and record it definitely.
It is much to the credit of Frans Hals that the finest examples of his work date from the period
of his greatest poverty. He had supported his wife and ten children with some success until
1652 when the suit of a baker to whom he was indebted made him penniless. It has been sug-
gested that the painter's predilection for black and white tones might have been the result of
the costliness of lakes and carmines. Yet if this were true, it resulted in making a virtue of
necessity for he developed a mode of expression in which the suggestion of color was more telling
than the actual use of it.
Sir John Watson Gordon's "Contemplation" at the Pearson Galleries

Sir John Watson Gordon, whose "Contemplation" is among the old masters at the Fearon
Galleries, is a painter who has not been given his just due in view of the fact that so many of
his portraits have been erroneously labeled, "Sir Henry Raeburn." This has been the result
of the great similarity in the work of these contemporary Scotch portrait painters, and since
neither of the two ever attached his signature to a painting, it has been impossible in many cases
to distinguish one from the other.
Gordon's family intended him for the army but he chose an artistic career and his preference
was for historical subjects. The necessity of earning a living turned him to portraiture, a field
in which he was so successful that on the death of Raeburn in 1823 he became the chief portrait
painter in all Scotland, had a hand in the founding of the Royal Scottish Academy, and became
its president in 1850, receiving his knighthood at the same time.
The rich shadows of "Contemplation" are only a foil to the warm, almost radiant flesh tones
of the subject and the pale golden curve of the leaves of the book on her lap. It is marked by
that solid modelling of the human flesh which was Raeburn's contribution to art.
[278]
General Meeting of the Archceological histitute of America
The twenty-third General Meeting of Archaeological Institute of America will be held in con-
junction with the American Philological Association at the University of Michigan, Ann Arbor,
Michigan, on December 28-30, 1921. The Annual Meeting of the Council of the Institute will
be held during this period. Members of the Institute and others who wish to present papers at
the meeting are requested to inform Professor W. B. Dinsmoor, General Secretary, pro tern.,
Columbia University, New York, N. Y.
The American School in France for Prehistoric Studies

The American School in France for Prehistoric Studies has completed its first term's work in
Charente, Dordogne, Correze, and the French Pyr6ndes. Professor George Grant MacCurdy
of Yale University, Director of the School, has returned to Paris for the winter term and, with
Mrs. MacCurdy, is at Hotel Mont-Fleuri. Before leaving Angouleme, Professor MacCurdy
was elected a Corresponding Member of the Soci^t^ Archôlogique et Historique de la Charente.
University of Pennsylvania Excavations at Beisan

Dr. W. F. Albright, Director of the American School for Oriental Research in Jerusalem re-
cently visited the excavations conducted by Clarence S. Fisher for the University of Pennsylvania
at Beisan. He writes: The most elaborate work has naturally been carried on in Arab and By-
zantine levels, uncovering a Byzantine church, Greek, Arabic and Hebrew inscriptions, besides,
a set of bronze utensils belonging to the church, which had been concealed in a pit. Just below
the Byzantine level, however, Fisher found an Egyptian stele, which had been removed from its
original place lower down in the mount, and used for building purposes. It is a stele of native
basalt, now two metres high, but about two and a half metres in height before the top was sawed
off. The twenty lines of the inscription are nearly all intact, but the surface is so badly weathered
that very little can now be made out. There are two cartouches, the one at the beginning
contains the prenomen of Rameses II.
The depth of debris in the mound of Tell el-Hosn is still uncertain. A depth of twenty metres
from the top has been reached in one place, bringing to light Caananite brick walls, and burial
places from between 1800 and 1500 B. C, but the character of the core is still doubtful. The
age of the remains is identified by the ceramic deposits found, by the potsherds, which are late
First Canaanite, by the scarabs, which are of the Twelfth Dynasty type, and by potsherds of the
Hyksos type, one jar-handle bearing the impression of a seal, which seems to me almost certainly
Hyksos, though the cartouche is probably not royal.
An interesting find has recently been made at Tell Nebi Mendeh, the ancient Kadesh in the
Orontes of a stele of Sethos I.
Stonehenge
A good deal of interesting work has been done recently at Stonehenge. It is suggested that the
date of construction is more recent than was supposed, and an examination has proved that some
of the stones could only have been lowered into position from above. It is clear, therefore, tliat
the architects of Stonehenge were equal to the task of raising stones weighing five or six tons or
more, into the air, and setting them on the uprights with perfect precision. It does not seem to
have been possible to do this by means of levers, or inclined planes of earth; tlie monument,
therefore, argues much greater mechanical efficiency than had been hitherto supposed.
The latest theories as to the date and interpretation of the circular group of monoliths
at Stonehenge were discussed by Wallace N. Stearns in his illustrated article on "Stonehenge
Revisited," Art and Archaeology, vol. ix, pp. 1 19-128 (March, 1920).
[279]
ART AND ARCHAEOLOGY
The National Peace Carillon Proposed by the Arts Club of Washington
Mr. William Gorham Rice, author of "The Carillons of Belgium after the Great War" (Art and
Archaeology, August 192 1), and of various books and magazine articles concerning tower music,
is active in promoting his plan for a National carillon at Washington as a National Memorial of
the Great War. During the j'ear 192 1 he has given his lecture advocating tliis plan about twenty
times. The Arts Club of Washington heard him last February, and large and appreciative
audiences have listened to the lecture in New York at the Century Club, in Philadelphia at the
College Club, and a second time in the Foyer of the Academ}^ of Music, in Boston, in Cambridge,
in Albany at the Historical Society, at the Fort Orange Club, and at Chancellors Hall where the
lecture was before the State officers and civil service employees, at Cortland, New York, at Matta-
poisett, Massachusetts, and at several other places. ]\Ir. Rice expects soon to speak at Princeton,
New Jersey, and at Vassar College, Poughkeepsie. It is probable also that he will give an address
before officials and others at Ottawa, Canada, during the winter, where it is proposed to install
a carillon in the new tower of the Houses of Parliament.
The original Carillon Committee of the Arts Club of Washington, which originated and pro-
mulgated the idea of the National Peace Carillon has just completed the incorporation of the
project, and the new Board of Trustees will be announced in our next number.
Biennial Exhibition of the ^Corcoran Gallery of Art

The eighth Biennial Exhibition of contemporary American oil paintings in the Corcoran
Gallery of Art will open December 17 and continue until January 22, 1922. It promises to be
the best of the many notable exhibitions held under the auspices of the Corcoran Gallery. The
jury of award consists of Frank W. Benson, Chairman; Gifford Beal, Charles H. Davis,
Victor Higgins and Joseph T. Pearson, Jr. A complete and profusely illustrated review of
the exhibition, prepared by Mr. Virgil Barker, will appear in the January- issue of Art and
Archaeology. Since the last exhibition ex-Senator Clark has given the Corcoran one hundred
thousand dollars to perpetuate the three W. A. Clark prize awards amounting to $5,000 that
have become a conspicuous feature of the exhibition.
The Benjamin West Exhibition at The Art Alliance, Philadelphia

One of the most notable exhibitions of art ever held in Philadelphia is that devoted to the works
of Benjamin West now being held at the Art Alliance, Philadelphia. No such collection of paint-
ings by West has ever been gathered together before in America, and the collection not only
reaches the highest artistic level in the matter of West's portraits so little known to the pubhc
but represents a money value reaching into the hundreds of thousands. One gallery is given over
to the portraits and historical paintings by West and the other to engravings and sketches, a com-
plete set of engraved portraits of West being represented, while a large number of engravings after
subjects by West will be shown, and nearly one hundred and forty sketches in pencil, ink, sepia,
and pastel are also one of the extraordinars- features of the exhibition. In addition to some of the
more famous portraits and historical paintings, the second oil painting ever painted by West,
which represents his earliest efforts when he was not yet in his teens, is shown in the shape of a
landscape, with boats, people batliing, cattle, trees and a varied perspective. The best known
collectors of the country hav'e lent their famous West pictures, and Boston, New York and Phila-
delphia are represented in the exhibition with examples of West's art never before shown. One
of the novelties is a replica by West of his famous historical painting, "Death of Wolfe" which
was accredited by no less person than Sir Joshua Rejiiolds as having revolutionized historic
painting. The greatest novelty perhaps being West's original battle piece, the famous marine,
"The Battle of La Hogue," painted on slate, which is a prototype of naval battles and seascapes
which became very popular in the nineteenth century and which suggests in color effects after-
wards developed by Turner.
In view of the issue raised recently by Cecilia Beaux as to our lacks in the matter of a national
school the fact that this exhibition shows that the American school of Portraiture and Historical
Paintings had its roots far in the past is not the least significant thing about its timeliness.
The January number of Art and Archaeology will present a re\'iew of the exhibition, with
numerous illustrations, by Har\'ey M. Watts, of the editorial staff of the Public Ledger.
[280]
BOOK CRITIQUES
Art Principles, with special reference to All the fine arts imitate nature (Chap. I).
Painting, together with Notes on the Illusions Except in music and architecture, "the higher
produced by the Painter, by Ernest Govett. New the aesthetic value in a particular sphere of art,
York. G. P. Putnam's Sons. the more rapidly is the beauty therein recog-
nized" (Chap. 11). Except in music, "the
The quality of this book may be accurately higher the beauty . the larger is the
. .
gauged from a summary of the succession of number of persons recognizing it" and "the
ideas set forth in the long Introduction. supreme test of the aesthetic value of a work,
After a definition of the writer's conception of is general opinion" (Chap. Ill) —
which two
art (1-2) and the demolishment in a single propositions afford a superb example of reason-
paragraph of all previous aesthetic systems (3), ing in a closed circle. The arts of poetry, paint-
it affirms that artistic development depends ing, sculpture, and (Chap.
fiction are delimited
entirely upon freedom of thought (4-6) and IV), their edges being cut as sharp as if they
that "no higher reaches in art are attainable were all meant to fit into one big picture-puzzle
than those already achieved" (7). ". called art. Then paintings are classified into
the decline in Grecian art resulted purely and seven grades of worth determined by subject-
simply from a lessened demand" (10); that in matter (Chap. V) the classification begins
;
Renaissance art "was due entirely to Raphael's with "sacred, mythological, and symbolical
achievements" (11). No work of art has ever subjects," descends through the level on which
been produced by inspiration (14-16), nor is are "landscape, flowers, fine plumaged birds,
any such work influenced by its creator's and certain symmetrical animal forms" to the
character and temperament (16-17). Varia- depth of "the simplest formal decoration."
tions in an artist's works are due to lack of In art only the human form can be idealized
balance between his powers of imagination and and "the progression towards similar ideals
execution (18-21). The genius starts life with has all the force of law" (Chap. VI).
unusually sensitive nerves or imagination, or In three plates the author attempts to prove
both, transmitted by inheritance (21-23), but this last assertion by substituting, in three
more is due to hard work than to the original famous paintings of the Madonna, three female
endowment (24). In painting it is particularly heads from other pictures. The most striking
easy for charlatanism to make headway substitution is that of the girl's head in Frago-
(26-28) but no successful movement of this
; nard's The Pursuit for the head of the Sistine
nature is known before the vSprezzatura of the Madonna (plate 8), and the visible result is the
later seventeenth century, of which modern Im- best possible refutation of the whole argument.
pressionism is a revival (29-33). This move- The main body of the book (Chaps. VII-XI,
ment, sacrificing form to color, "invites us to inclusive) consists of a glorification of the "old
eliminate the understanding" (34), and so masters" as the only proper guides now and
"limits . . art to the feeblest form" (35).
. evermore. But the things that fill these
It is responsible for "the crude experiments of hundred pages are not the principles em-
Cezanne, the vagaries of Van Gogh, the puer- bodied in their works so much as recipes based
ilities of Matisse" (37); ". . . . the leading upon trivial details of their practice.
critics of every country have ignored or directly Thus this egregious product of pedantry
condemned it as an immature form of art" (38). proceeds its weary length, vitiated by a false
It erroneously propagates "the broad manner of conception of art as something fit only for
painting" (38-40), and exalts both Rembrandt storage in museums and for a cataloguing of its
and Velasquez to a rank which they do not surface mannerisms. The author professes a
deserve (40-44). And the final trouble with diffidence in putting forth his book one regrets
;
Impressionism is that it attempts to place that his diffidence was not strong enough to
landscape on a higher level than it really is make him withhold it altogether. It can give
(44-50). Altogether, art is in a bad way no pleasure to any living lover of living art;
through too great a reliance upon mere color only a reviewer can obtain from it a pleasure,
(50- which he would willingly forego, at censuring
Âny book introduced by such a farrago is not an obnoxious performance. The book has
likely to speak very much to the point on the nothing to say about art principles and entirely
principles of art, and a patient reading fuUy too much to say about art nonsense.
verifies this surmise. Virgil Barker.
[281]
Furniture of the Pilgrim Century 1620-1720,
including Colonial Utensils and Hardware.
Furniture of the Pilgrim By Wallace Nutting. Boston, Marshall Jones
Century Company, ig2i. Pp. 58J. Illustrated. $ij.oo
By WALLACE NUTTING The interest in early American wooden

furniture is of recent growth. Many persons
who formerly collected Sheraton and Hepple-
white and Chippendale types have gone still
TT WILL contain 1000 reproductions of photo-
further back to the Dutch period, and re-
graphs of furniture made in this country from
—
cently perhaps stirred by the spirit of
native woods in the period 1620 to 1720 with de-
scriptions — the most complete record available.
—
patriotism many have been collecting early
American furniture taking an interest in what
As it is a very expensive work to print the prob-
the first and second generations of settlers
aljility is that there will not be another edition
had. So the present book is very timely and
will prove of great interest to all who have a
wishing to own a copy.
fondness for the art of Colonial times. Noth-
Sample pages showing paper, text, illustrations ing is shown here that was not or could not
and contents of this sumptuous work will be sent have been made in America before the time
on request. of the Cabriole leg except the gateleg table
PRICE $15.00 and pine cupboards. The book is by a man

who has already made a great name for him-
self for preserving Colonial houses and their
furniture. The book is beautifully printed
MARSHALL JONES COMPANY and keeps up the high standard that we have
already learned to associate with the Marshall
Publishers
Jones Company. There are nearly a thousand
212 SUMMER STREET, BOSTON illustrationsfrom photographs which have
been taken by the author himself. Most have
hitherto been unpublished, and a very large
number of the pieces of furniture have never
been illustrated before. The book, then, is
SAAZIA not merely for commercial purposes but is an
actual contribution to archaeology because of
UNITED HOP TRADING CO. the many new examples of chests, cupboards,
LIMITED chairs, beds, tables, clocks, utensils, etc. It
Saaz, Czecho-SIovakia Nuremberg, Germany certainly will create a love for such furniture
New York, 136 Water Street and will show the importance of preserving
the specimens of the above types. Some
-FOR SALE- museums already collect such things but Mr.
Nutting thinks that many opportunities have
Collection of 700 INDIAN ARROW been neglected by big museums and hopes
HEADS framed under glass that "a grain of love for our early history may
sometime sprout in the powers that be, that
for millions expended on museum material a
wee fraction may be allotted to the unique
ART AND ARCHAEOLOGY belongings of the settlers of America." We
are much indebted to the author for the
BOUND VOLUMES BACK NUMBERS numerous photographs but we often wish that
A complete set of ART AND ARCHAEOLOGY should illustrations of the originals as well as copies
find a place in every school, college and public library, and
in the homes of all people of culture.
had been published. So the original Brewster
ART AND ARCHAEOLOGY, Vols. I and II complete, chair which is preserved in Pilgrim Hall at
July. 1914-November, 1915, nine numbers, may be ob-
tained unbound for $3.00; bound in cloth, S5-50; in morocco, Plymouth has not been reproduced, and the
$6.50. Vol. III-IV (1916), V-VI (1917). VII (191S), VIII copies and adaptations reproduced differ in
(1919), may be had unbound for $3,00. bound in cloth,
56. 00; in morocco, $6.50 each. Vols. I-XII may be ob- many respects from the original. As the
tained unbound for $25.00. bound in cloth for $40.00; in
Single numbers, unbound, 50 cents each.
title of the book limits it to furniture of the
morocco. $50.00.
Pilgrim century, the author could easily have
.\RT AND ARCHAEOLOGY
The Octagon, Washington, D. C. included more of the original furniture and
left out some of the Puritan furniture which

—
he brings in. However, the book can be very

highly recommended to both laymen and
scholars, and interest in it ought to be great
INVESTIGATIONS at this time when we are celebrating in so
many different ways the tercentenary of the
—AT landing of the Pilgrim fathers. There is only
one regret, namely, that a book so luxuriously
ASSOS printed on such good paper with such excellent
illustrations should have a text written in
Drawings and Photographs of the Buildings such English as one does not expect from a
and Objects Discovered During the graduate of Harvard.
Excavations of 1881, 1882, 1883 The Johns Hopkins University. D. M. R.
— BY Thought and expression in the Sixteenth Cen-
Joseph T. Clarke tury,by Henry Osborn Taylor. Vols. I, II,
Francis H. Bacon New York: The Macmillan Company. 1920.
Robert Koldewey $g.oo.
Edited with explanatory notes, by work the masterful
This is the fourth in
Francis H. Bacon series on the history of culture by the author of
Published fur The Arclweological Insti- "Ancient Ideals," "The Classical Heritage of
tute of America the Middle Ages" and "The Mediaeval Mind."
By a Committee originally consisting of He avoids the term Renaissance usually applied
Charies Eliot Norton to this sixteenth century because of its popular
implication that the culture of this period was
John Williams White
of an original character, reverting to the remote
Francis H. Bacon
past, rather than a gradual growth out of the
William Fenwick Harris
Middle Ages.
TABLE OF CONTENTS The purpose of the author is to give an in-
History of Assos. tellectual survey of the sixteenth century, to
Account of the Expedition. set forth "the human susceptibilities and facul-
Agora. ties of this alluring time, its tastes, opinions,
Mosaics Below Agora.
Theatre Photographs and Plans. and appreciations, as they expressed themselves
Greek Bridge. in scholarship and literature, in philosophy
Roman Atrium. and science, and in religious reform." There
Acropolis — Plan. is also a chapter devoted to Italian painting as
Turkish Mosque. the supreme self-expression of the Italians.
Gymnasium.
Byzantine Church. Volume I discusses first the humanism of
Fortification Walls. Italy from Petrarch and Boccaccio to Machia-
Street of Tombs — General Plan. velli, then Erasmus and Luther, and the
Dog Inscription from Mitilene. political and intellectual preparation for the
Inscription from Pashakieui.
Coins from Assos. German Reformation; and finally the French
Mind from Louis XI to the culmination of the
The magnificent volume is now ready in I'Vench Reformation in John Calvin. Volume
a portfolio, the five parts together. II is devoted in large part to England— the
Five hundred and twenty-five copies have English Refonnation, the Elizabethans, Ral-
been printed. Subscriptions for the remain- eigh, vSidney and Spencer, and especially the
ing two hundred and forty copies will be re- dramatic self-expression of the Elizabethan
ceived at Age which found its acme in Shakespeare.
Then follows a section on Philosophy and
FORTY DOLLARS EACH. Science, with a concluding chapter on "forms
The rate to original subscribers remains of self-expression: the sixteenth century
twenty-five dollars. The book will not be achievement."
reprinted. Cheques should be sent to Throughout his work Mr. Taylor emphasizes
the continuity of culture and the vital relations
WILLIAM FENWICK HARRIS, between the "Renaissance" and the Middle
8 Mercer Circle,
Ages. It is to be hoped that the author will in
CAMBRIDGE, MASSACHUSETTS. the near future make a fifth contribution to the
history of culture, devoted to tliought and ex-
pression in the last three centuries.— M. C.
[283] Kindly Mention .-Iri and .Irchueoloijy.

The Women of the Mayflower and Women of
Plymouth Colony, by Ethel J. R. C. Noyes.
With a Foreword by Anne Rogers Minor, Presi-
A SUBSCRIPTION TO dent General, National Society, D. A. R.
Linotyped and Printed by Memorial Press,
THE DRAMA Plymouth, Mass., ig2i.

In this charming book, written as one may
readily observe, with painstaking and devoted
brings you a year's acquaintance with care, we have a timely and much needed con-
all that is best in the theatre. It keeps tribution to the literature of the Plymouth
Colony.
you posted on current developments and
As Mrs. Minor writes in her foreword,
gives you a glance into the future. "History has dwelt long and minutely upon
the Pilgrim Fathers and their great adventure
THE DRAMA has much to offer
but has passed over the women with a generali-
during the coming year —many effective
zation and occasionally a tribute."
one-act plays for reading or acting, We are grateful to Miss Noyes for making
regular reviews of the New York and us acquainted with the Pilgrim Mothers from
Chicago the day they gave up their English homes for
productions of significance,
twelve years sojourn in Holland, thence, true
news of London, Paris, German and to their ideals, seeking religious freedom in a
Russian theatres, trenchant discussion of strange land across the sea, parting from
the trend of the theatre in America. loved ones, setting forth on that never-to-be-
forgotten voyage with its heart-rending con-
Yearly subscription to THE DRAMA ditions of cold, hunger, anxiety, illness, to the
entitles the subscriber to a full member- landing on an unknown shore, homeless,
ship in the Drama League of America,
facing new hardships, new dangers and sorrows,
on through the years of toil and effort to the
and to the many benefits which may be
brighter days of established homes and a due
derived from this association. measure of prosperity and happiness.
It is a story simply and discerningly told
^fc" ^fc" ^fc"

from first to last and will appeal to all who
cherish the annals of the heroic women of the
Mayflower and of Plymouth Colony. It will
appeal especially to all who have participated
ONE YEAR'S in the ter-centenary celebration of the landing
SUBSCRIPTION FOR $3 of the Pilgrims.
There are now, it is estimated, more than a
FIVE MONTHS'
million descendants of the mothers of Ply-
TRIAL SUBSCRIPTION FOR $1 mouth. They comprise Presidents of the
United States, jurists, statesmen, diplomats,
scholars,churchmen, scientists, artists, ex-
plorers, warriors by land and sea —
men dis-
tinguished in various walks of life. In each
generation, and wherever need has arisen, the
author points out that the women descendants
The Drama Corporation, have matched the spirit of the men, in fidelity,
resourcefulness, and patriotism, and in her
522 Athenaeum Building, Chicago.
conclusion says: "In studying the details and
Attached herewith is \^ \ for which send me circumstances relating to the immortal voyage
—
and settlement of Plymouth particularly in
'^^''^l^'' relation to the women, vested today with
THE DRAMA for j
nve
1 months, supreme interest and in a glamour peculiarly
J
their own, we must feel that that nobility of
life may be ours as well as theirs and that it
Name
may illuminate the difficult life of today and
Street make it worthy to be the fruit of the tree of
Liberty they helped to plant in tears and
City ... State.. smiles." Carolyn Carroll.
Kindly Mention Art and Archatolofy [2841

'-*<
di University of Toronto
«8 H
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3BftnDmiiHmMffliuHitagHniiH»t«fBntffl^ttfBffil»BfflH«^

BINDING LIST VIAR 1 1922,

ART AND ARCHAEOLOGY

An llliisl rated Monthly Magazine

THE ARCHAEOLOGICAL INSTITUTE

JANUARY— JUNE, 192

EDITOR-IN-CHIEF DIRECTOR AND EDITOR

BOARD OF EDITORS BOARD OF MANAGERS

The Chacones and their Contemporaries.

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

The Economic Resources of Chaco Canyon Wesley Bradfield 36

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

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

A Ceramic Masterpiece from Salvador W. H. Holmes 69

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

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

Some Literary Bookplates Alfred Fowler 239

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

J. Stewart Barney's Landscapes AT

American Foundation in France for Prehistoric Studies 121

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

TRIAL SUBSCRIPTION FOR $1.00

.Art and Archaeology, The Octagon, Washington, D. C.

ART AND ARCHAEOLOGY An Illustrated Monthly Magazine

THE ARCHAEOLOGICAL INSTITUTE OF AMERICA

Volume XI JANUARY-FEBRUARY, 1921 Numbers 1-2

EDITOR-IN-CHIEF DIRECTOR AND EDITOR

Edgar L. Hewett Burwell S. Cutler

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

The Economic Resources of Chaco Canyon Wesley Bradfield 36

To Sipoph^, the Gate of Heaven John Peabody Harrington 44

1. Scope and Method of the Field Work

A Sculptured Vase from Guatemala Marshall H. Saville . 66

A Ceramic Masterpiece from Salvador W. H. Holmes 69

Volume XI JANUARY-FEBRUARY, 1921 Numbers 1-2

THE CHACO CANYON AND ITS ANCIENT

' '' '- "/,,,•/,.••

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

CiiALii Cawux: Pueblo ilul Arrovo.

fitted up for photography, commissary pedition is under many obligations for

CiiAC) Caxviin; Kin Kk-tso.

work will be in progress continually waterhole and rock-shelter is charted

morning rush to business in

white way, an indescribable

in crowded centers of popu-

ruins of residential architecture in the

The ancient communities of the with which to compare it in ancient old

Chaco Canyon: Kin Biniola.

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

S-^vWl'/ftj, --•? *'//iii*"'"

$:?"'/,,, Ill,, ,^i"'"/i('i"',, ,,'•=

%'.'.'.''rwil#%//iny' -„..-ii//,„ ilin"""///|i I'll ii//iii"''iiiin""' ", %nwu<^''''iih\'^^'%nu-%''''lm^^^^^^^^^

Surface Plan of Chettro Kettle

After Hoi singer

Pueblo del Arroyo.

Kin Biniola Pueblo Alto.

Ground Plans of Chaco Canyon Community Houses.

Ground Plan of Kin Klizhin.

rounding country. The Navaho call it

CuAco Canyon: Casa Chiquita.

S-^vWl'/ftj, --•? '//iii"'"