fase yeu id refineries. mac Antine hel Fib ie ece tree Avie > Mee rites, cons H Jum ¥ s nab p tea ite ince on ande inoo rte omarion muah e net. “Vb-Spa " T emae asl. s i Sane oie na a e badan hice ® & j s Mp ont e nt ne ca Ivona dntinct o 3m Time m an ridin t inin, Ss me Sv w tow o', 4. i f f Tei Sore in YB ine io: _ bipriad c o oc ait ejahnis 5 sat y j solo "Ras? c Sern ion > > ances oo. 00 on Turban nne nle aly hier ti n P t w s la | } ~ $ { EXFOSIHA ION I F it (B) N | y? fas C> ILLUSTRATED -_-PUBLLCATIO N T»-ARCHITECT <#+ BY WILLIAM WALTON AUTHOR OF “CHEFS-Dmé/VRE, 2889." ETC, £ TG PHILADELPHIA PRINTED AND PUBLISHED BY,. GEORGE BARRIE ART PRESENTED TO AMERICA. L. Marold. By NITED STATES / HE dates for the great history of the American School are beginning" to accumulate; and though they are not as yet very. numerous they mostly appertain to 'that early, tentative period which is more interesting than any other until your artive at the complete flower and highest development of the art. H we have not yet quite reached to the Umbrian or the Venetian school we may be said to have gotten past the priinitives and Giotto's "O." . As the World's Columbian Exposition of 1893 marks a certain epoch=in this history; a date which may be called that of the second stage of artistic growth, a little chronology may be in order, \The-real beginning of the revival of general interest in art in this country is-generally aseribed to the year of the Philadelpiia Centenniéfl, 1876, but of course there had been artists, academies and exhibitions long before that. / One historian moves this date back forty years, to the occasfon of a little social reunion of the painters of New ) York city in the "room "-of Mr. Morse, at No. 96, broadway, one evening in- June, 18253. The " American Academy Arts"" was thet the official home of the art of the. city, if not of 3 ¢ «OCZ e o o & @ ® o © w w @ we wif I + ZY im fa RARE T afee® 22 We 4 it / -s f #4 @ J/Vk/y Fe tZ/fl,f § W/Ci/ Wad/(<7 //d/ # a a e ve ew @ vw e ARCHITECT. DEPT. "«COPYRICHTED, 18093; BY C. E. THE ARTEUNITED STATES S THE SCARLET LETTER, - Rhoda. Holmes Nichols. ) the "School of Art connected with Yale Colleges.". The San Francisco Art Association" was organized in 1871; the "Washington Art Club and the "Art Students' Leagues, ' of New York, in'1t873s, the latter now the largest and most important art school in the country, and the ''Socicty of American Artists," organized. in June, 1877, held its first exhibition in March of the following year: . From this period the dates becoine too numerous for this history; the great movement was fairly under way, and "t was left to the artists of the country to demonstrate the existence of a national school worthy of the name, and for which something more is necessary than academies and societies. HETHER they have done so yet, or not, inay be judged for himself by each visitor to the. Art W Galleries at Jackson Park.according to his own lights, That the school is not racially " national ° in the sense that bison.and maize are national products, is evident enough. - But that some of the American painters and. sculptors: have manifested a new and individual insight into old themes, and that others have . discovered the old, imperishable inspiration in the new, Western themes, and that others still have dis- played fine qualities of artistic curiosity, ingenuity and cleverness in their treatment of the bison and maize. subjects, are also evident. Among the most distinguished of the latter, the visitor will probably place Winslow Homer, A. B. Frost and Fred. B. Remington ; and among the sculptors, J. Q. A. Ward and the animal modelers ;: among those of the second class, Mr. Homer again, George De Forest Brush's Indian and Aztec pictures, Eastman Johnson. The landscape painters do not properly come into con- sideration here, because their subjects, though geographically new to art, are in reality the same as those of all other schools, if not since Claude of Lorraine at least since 1830. The Americans who have put new wine into the old bottles of Art are not, perhaps, very numerous, but they are among the most distin- guished, and here the sculptors, strange to say, make a brave showing. Augustus St. Gaudens, Olin Warner, Philip Martiny, Daniel C. French, and among the animalists, E. C. Potter, who executed the proud horses of Columbus' Quadriga, over the Peristyle. Among the painters are Abbott H. Thayer, Mr. Brush, John La Farge, Thos. C. Dewing, H. Siddons Mowbray and several more. These lists may be lengthened, but they cannot be abbreviated, and,; after all, this classifying and cataloguing matters but little.. The painters never take the trouble to do it themselves ; and though their technical criticism of their fellows is not always pitched on the lofty and serene plain of clear-sighted, dispassionate judgment they are. not apt to betog. the issues with literary and historical reminiscences. Two easel paintings by resident artists in the year preceding the opening of the Columbian Exposition were generally accepted as marking one of the very highest levels which American Art had « c e & U - Piiiladelphia- "Artists . Fund Society" traces its origin 4 f H OREDS . cCOLIUNMBIAN EXPOSITION the country, having been founded in 1802, chartered in 1808, and was "composed chiefly of gentlemen of every profession except that of artist." The President was Colonel John Trumbull, the painter, then about seventy years of age, and the curator's name is not given, but to these two officers is due the credit of having made the Academy so illiberal and unpopular as to bring about a revolt among the younger painters and the eventual establishment of a more modern institution. The many trials and dis- appointments of his career had not been without their effect upon Trumbull's temperament, he had become arbitrary and excitable and persistently opposed the establishment of schools of art,-a measure in which he was cordially seconded by the curator, an old soldier of the Revolution. Young students were nominally permitted to draw from the antique casts in the Academy only on summer mornings, from six to nine o'clock, but they were " sometimes admitted and sometimes excluded," says one of them. "They frequently had to wait for hours for admission, and were then often insulted-a/ways if they presumed to Zzock." - Naturally, one fine morning two of these thus rejected applicants went home and drew up petitions and remonstrances ; Mr. Morse's little party, to eat " strawberries and cream," aided greatly in establishing a bond of union and an era of good feeling among the younger artists, and at a conference held in the following November the "New York Drawing Association" was organized with Mr. Morse as president. In consequence of the hos- tility shown by the old Academy to all attempts made to effect a junction of the two institutions, the younger Association resolved itself, in the following January, into "The National Academy of the Arts of Design." Ihe first exhibition. of the new Academy was held in May, 1826 in 1841 -the elder institution a * ,/%. % *" % e ired, and its effects were purchased by its successful rival for $400; and the & U 'attel ' in' 1860, acquired, the site on the corner of. Fourth -Avenue and Twenty- third street where its Venetian palace now stands. These were the beginnings of the oldest series of uninterrupted annual art exhibitions in this country, the Pennsylvania Academy of the Fine Arts, which was founded in 1805, counting some five less in number, though in its old building, destroyed by fire in 1843, the first annual exhibition was held in i811... The schools of this: latter institution were started in 'a small way in the autunin of 1807." 'The Philadelphia School -of Design for Women,: was estai> lished: in- 1833, and 'in the same year a few paintings by * Mem:. bets .of the New York Water Color. Society" appeared in the Crystal Palace:-exhibition in New York.. The initial exhibition of the: Atmerican Society of Painters in Water Colors," the first permanent organization for the encouragement of this art, was not held,, however, until December, 1867. - The back to the "Lbociety of Artists of the United States," organized by members of the Academy and incorpor ated in 1813 as' the " Columbianl»>Botiety of Artists," Thomas. Siilly being the fitst Bectetary.> alfut8s4. Mt. Peter Cooper laid the foundation of the 'Cooper Institute," in New York, "to be devoted forever to the union of art and science in their application to the useful purposes of life ;' in the following year the 'Boston Art. Cinb -was organized ; the " Brooklyn Art' Association" was instituted 'in 1861 and incor- porated in 1864, and in the latter year was founded f MUSIC. - Otto Toaspern. AHF AR STATES v immense triumph by having suddenly abandoned a field in which he had distanced all his rivals for another in wliich, at the first coup, he distanced almost everybody, must needs undertake to do it over agaim. on a larger scale, and do it not so well, certainly not any better: The keen critical enjoyment with which the connoisseur contemplates the original, one of the pictures of the world, is dashed by his uneasy consclousness that somewhere else there is another rendering of the same theme, as good or not as good, but which completely destroys the uniqueness of this treasure; The high artistic qualities of: this little picture are as undetmalle as these qualities generally are; the mother, dressed in black, sits holding in her lap her plump little blond son,; -the comely Scandinavian maid stands behind her chair in attendance, the draftsman sits on the floor in front of them and addresses himself to his task of portraiture. The -_. u nd en iably likenesses are : As touched with the live fire from the altar is. Mr. J. undeniable, these sitters. afe - all real, solid,, indi- ALDEK - WEtr. vidual, and yet More than al- sublimated, inef- fable, the better most any of his countrymen - has Mt,: Weir ex- perimented with aspect of (them presented, prob- ably _ somewhat his technical pro- as in Rossetti's cesses, and in the f fifteen years or so ts. . .. murmuring courts that have elapsed Where the shapes of since he returned sleep convene."' s 4 8 from his studies Fhe owner. of in 'Paris his ad- mirers have wit- the: ''Virgin En- throned > 1s. Mr. nessed some very Jr aM .cSears of Boston, and that radical. changes in his theory and of the Portrait | practice. None of is Mr. Potter .:l al- mer of Chicago. Another of these - dreamers these new depart- ures have been unintErestihg, and some of them A.NEW ACQUAINTANCE.' William R. Leigh. have been v ery who, at times, is successful : in one at least, "Tur Oren Boox," has he burst through the veil and brought back a little vision, so simple, so beautiful, as to be, past doubt; abit of inspiration.- This pictiire: has been classed among the painter's impressionistic ones, but with no reason beyond a certain devotion to color values and certain peculiarities in the brush work. No Impressionist known to Fame has any such fine visions as this, very few of them could design so refined a figure, and very few can attain to harmonies. What there may be in this open book in the lap of this mystical damsel seated out in the open and looking up to the sky, we do not know, and we should be very presuming if we ventured to ask the painter. This picture was first shown. at the exhibition of the Society of American Artists in 1891. 6 H ACOLEUCATBRIAN - FXLPOSLLILTON attained. One of these was the large "Vircts® EnturoxnrEn," by Mr. THaye®r, and the other the small portrait group of his family by Mx. Brusu. Both were shown at the exhibition of the Society of American Artists in New York in 1893, and: the. Virgin ' iis at Chicago.. "This picture has been declared to bc "reminiscent of the best qualities of the fourteenth century," and Mr. Brush's, of those of the best of the Dutch masters, but these reminiscences are not very important... Mr. Thayer's Virgin sits serene and sweet, looking at the spectator with pure eyes that see him not, and on either side of her kneel little maids in attitudes of adoration, but who are evidently posing to be painted and nothing more. Nevertheless, so quiet, so spiritual, is this work of art that the spectator feels an impulse to uncover before it,-which is much more than can be said of most paintings of the Virgin,. - The color is -Fich, but sombre rather than bril- liant, evidently painted with great care and thoughtfulness, with many experiments and erasures and paintings over, the serene result attained artived at through: much tribulation.. But the tribulation was the painter's, and not the spectators. . Mtr. Thayers quality as "onc, of the most spiritual-minded of modern artists had been demonstrated before this, notably by his beautiful white winged figure sent to the: Paris Exposition of, 1889.) Like Mr. Brusly he finds the-models, or at least the suggestions, for his beautiful, dispassionate figures among the members of his own family. Like Mr. Brush, also, alack! he has the faculty of returning to his exure, pulling it down and arranging the materials in a new combination, -a fatal quality, common to the practitioners of all the arts; and which, if it frequently result in the production of another masterpiece still more frequently eventuates only in the cheapening of the one already perfected. _ This of course is done, chiefly, because of the limitations of the, human imagination ; but also, sometimes, from Aa laudable ambition to do better, from the strong necessity felt of doing something,-and from the never-sufficiently-to-be-lamented de- site for gain. itis not too much to say that the visitors to the exhibition of the Society of American Artists in 189; experienced 'a real shock at secing again' in. a large canvas on the walls Mr. Thayer's beautiful Virgin and her. two attendants, but this time unthroned, and scurrying in flight, hand in hand, over a windy hilltop among the brambles of which the drapery and the tender limbs of the children seemed to suffer. As a painting, this canvas was scarcely, if any, inferior to the A GONDOLA GIRL, Thomas S. Clarke. a A first; as. a work of- art it was inte. rior only because the stillness, the serene, spiritual influence had been replaced by something also quite admirable but not so high. This hill-top, these hurry- ing figures, the great blue and white sky behind them, were also illumined by that light that never was; but to paint another masterpiece Mr. Thayer has injured his first,. Likewise Mr. Brush, not content with having achieved an THE AR I- UNITEHRD STATES (e but he has reproduced in a series of glowing little canvases the boudoirs and gardens of Rose-in-Bloom and the princess Budoor, their furnishings and the visions that disengage themselves from them, the pastorals, the idyls, the invisible concerts and the evening breezes-sometimes with a fashion of instru- ments and apparel which Budoor had never foreseen but which, all the same, came from these gracious happenings of the time of Aladdin. Among the sculptors in this group of American artists who have known how to put new wine into old bottles-to the betterment of both-are Messrs. St. Gaudens, Warner, Martiny and French, to name only a few. - The third. apparently owes some of his inspiration to the first, and. his work, as. shown at Jackson Park, mainly on the Agricultural Building, varies up and down a rather:long scale of merit, as, indeed, does that of most men. . Mr. St. Gaudens, unfortunately, is not represented in the exterior, decorative sculpture of the Exposition excepting by his lightly-poised figure of Diana on the dome of the Agricultural Building, who sways with the wind and alternately threatens with her gilded shaft all the corners of the world. This lady, as is well known, was originally intended for the graceful Spanish tower of the Madison Square Garden in New York city, and adorned its topmost summit for many months, till the architects, jealous of her beauty and stature, caused her to be dismounted and sent Westward in favor of a similar but less imposing successor,. Mr. St. Gaudens was largely consulted in the early days of the Fair by the associated architects in all projects relating to the decoration of the grounds by sculpture and monumental fountains, columns, etc., and in the choice of artists to execute these works, and the highest tributes have been paid to the character of. the influence which was thus f brought to the aid of this most important embellishing. - The city of Chicago-which will certainly have to be reckoned with in all future art chronicles-is fortunate, among other things, in containing, in one of its public parks, that statue of Abraham Lincoln which is, up to date, Mr. St. Gaudens' most impor; tant commemorative work and which may remain the most important of his life, Mr. Olin Warner was likewise too full of other affairs to lend his talent directly to the adornment of the Exposition buildings, but Messrs. Martiny, French, and a third, Mr, Theodore Bauer-whose name should not be omitted from any list of those few modern sculptors who most completely, by a sort of natural .instinet, avoid that deadly danger of their profession, the commonplace-have furnished some of their best. All the numer- ous groups, single figures and caryatids of the Agricultural Building, with the exception of the sculptures JAPANESE MUSICIANS. H. Humphrey Moore. 8 FORLES COLRLUMBIAN EXFPOSILION SUNDAY MORNING IN NEW ENGLAND. William L. Picknell Mx. La is an older man and his methods are different. If it could be said that Mr. Weir was an artist first and then a painter, there would be no doubt that Mr. La Farge was first a painter, Things seen and unseen appeal to him because of their color quality; the painter's eye that dissects and appreciates and reconstructs is his. And by color he does not understand the grays of the modern school but the splendor of the Venetians. It is this characteristic that has given him his high reputation as a decorator; in the magnificent possibilities of stained glass he is amongst his own. " T'ms Vistr or Nicopsmts to Curisr' is a good example of his work:; this is not a draftsman's version of the inter- view, nor a theologlan's, nor a devout man's, nor a imystic's except in so far as all rich color is myste- rious and impressive. |- Tonings-down and smotherings of Nature in a fog or a mosquito net, are hot the only methods, there is a glory in pigments for your easel pictures and church windows, to be tem- pered with a due regard for your architecture or your interior when it is a mural painting. But do not let yourself be hampered too much by the rules-of thumb, even in the latter case-there is a tradition in the. church- of Saint Thomas in upper Fifth Avenue in New York city that the aged rector of the » sacred edifice wept real tears when he saw the " Renaissance" paintings with which Mr. La Farge had adorned his "Gothic" church. It must be said that this painter's theory as to non-originality-if he has such a one-does not obtrude itself much in his work, the photograph or the bas-relief is not particu- larly apparent. - Messrs. Dewing and Mowbray, whose works we will come to consider later have also illuminated the old themes with new lights, but in totally different methods,-it was as if one at the outset, found his inspiration in Emerson and the other in the Arabian Nights: . Naturally, the latter had the much surer guide, the sage of Concord rather tripped up the painter and had to be abandoned but the tales of Shahrazad have furnished one of her multitude of lovers with fortune. Mr. Dewing has since gotten so far away from literary subjects that his mural decorations of late years have been the simplest of allegories, graceful, serene floating figures that may mean pretty much anything you please, and his most distinguished latest easel pictures are simple studies of other graceful ladies, of the earth, earthy, but gowned like beautiful dreams. Mr. Mowbray has not troubled himself much about the Marids and the Afrits, the islands of Wak-WAk or the terrestrial paradise of Sheddad the son of Ad; PHE AR TEL STLAILIES 11 and distinction, shown at the exhibition of the Society of Amer- ican Artists.. In the ground-floor galleries of the palace at Jack: son ,Park-in which, presumably,. it. was the intention of the Commissioners to ex- hibit the better works of each painter-Mr. Brush is represented, in' addition: to _- hms farge * Mother: and Child ' two of his aboriginal -_ subjects which attracted the most attention when they first appeared, the «Indian and the lily, Yowned by M1. C=. Millcr-of Jersey The Sculp. fot and the: King." In the former, a stal- wart brave, his strong Roman profile relieved against his own flowing black. hair and attired. in" a beautiful pair of" yellow, .em- broidetred> leggins_ and a. white swan swung at his back, lays his bow on the: ground and clutching a pendant vine with one hand stoops over, SOAP BUBBLES. Elizabeth Gardner. rather stiffly, to pluck a white water lily with the other. The attitude is "one which the heralds might call displayed. | but it is not quite as plausible as 'it is effective. - The desire of. this morose and unsatisfied mvarrior Afor the fragtant flower is one of those for which we have "feelings in common." - In the well-known " Sculptor and king ' the" paintet went farther afield and endeavored to restore a bit of the old Aztec civilization of Central and Southern America -the bas-relief which the artist has just completed, and which the king: has come to inspect, being borrowed from the figure of one of the adoring divinities that stand, one on each, side of- the curious idols or trees of life on these mysterious monuments from Yucatan. - [This. carving, much, larger than life and executed in a polished reddish stone, is placed at one end of a long bare gallery and" the two living figures contemplate it from a respectful distance, the sculptor resting one knee on the handle 10 S COLRUHBIAN EXPOQSLETION of the pediment by Larkin G. Mead and Mr. St. Gaudens's Diana on the dome, are by Philip Martiny, and of these the- most worthy of his talent are probably the figures on the upper portions of the exterior. piers holding aloft the tablets with the signs of the Zodiac. The cattle groups surmounting the main piers 'are" much less dignified,: and- those on the exterior angles 'of the, toof, the globes of the "horoscope," were courageously borrowed from Carpeaux's famous group because nothing else would be quite so completing and decorative in aspect. On the central piers of the Palace of the Liberal Arts in the Paris Exposition of 1889 were placed similar groups, with the modification that the supporting figures were boys and the globes themselves had the spaces between their metal ribs, or lines of longitude, filled in apparently with crystal, which added to the decorative and cheerful effect. Of, Mr.) French's work, that with which he- As=probably the most satisfied is not the: colossal, archi- tectural, modern-archaile statue. -of "the " Republic,. but. the. beautiful, graceful virgins full of life and movement, who lead Mr. Potter's almost equally admirable horses in the chariot group on top of the Peristyle. - " Theswhole composition is exceedingly rich in grouping, joyous and free in movement, and robust in execution, says Mr. F. D, Millet, who is good authority. "No more monumental group has been designed in. modern times, and thers could be 'no more fitting climax to the whole of the sumptuous series of statues around the main "court." $ to the art creed of those Ameftican artists A who find inspiration in the new, it cannot probably be beiter- defined than in the words ofy-MVMr. Brush, 'one 'ot- the, most distinguished of the younger members of this group. -' In choosing Indians as' subjects for art, he: says, "A paint from. the: historian's. or -the antiquaty s: point of view; I do not care. to represent them in: any: curious. habits which could not be «comprehended by us: 1 am inter- ested in those habits and deeds in which we have feelings in common,. Therefore, I Hesitate to attempt to add any interest to my. pictures by supplying historical facts, - If I were re- quired. to resort to this: in order to bring out the poetry, I would drop the subject at once." This would be a good foundation on which to.. build -. that _ " Americanm . School" which. is so- constantly demanded of us. This 'painter may be held to have satisfactorily demonstrated that.: it is the old. poetry and not the: new ethnological theme which interests him; he has passed from his Mandan and Crow subjects of some. six. or. cight years» ago, through - the medium of domestic portraiture perhaps, to .a BEFORE THE LOOKING-GLASS. Lee Robbins. '*Leda " of this year of grace, full -of charm THE STATES 1 3 breaking on' a slaty ledge -of rock there is a suspicion of} picture-making, and some of lns open sea themes, " The Fog Warning - and "Lost on the Grand: Banks,""'-are complete works of. art, design, color and human interest, all being: present. A little general, human knowledge is here, as elsewhere, necessary, but when that is given there is something curiously ominous in the menacing tongues of fog that the lone fisherman in his dory sees shooting up on the horizon, and something very tragic in the two caught in this misty embrace and peering anxiously over their gunwale into the hope- less obscurity. . " Eight Bells," "Merring Fishing," ete. bring us. back to less disturbing themes, and we have leisure to appreciate the painter's rendering of the saltness and color and freshness of the sea. All these are very different from Mr. Homer's carly war pictures, or New England farm scenes, or studies 6f: tropical landscapes, and yet all are marked by that robustness and un-gross- ness of painter's talent which makes his works conspicuous among those which have caused" the wonder pf the foreign visitors at the. American. display. Ewo of the best of the many works of art which Mr. Eastman Jounson has evolved out of New England are shown Here. "Cranberry Harvest,. of 1880, and the "Nantucket: Sehool 'of Pimloso- phy.," painted _seven years later. - Both of these are well known, the former and the : Funding Bill"" being what. might be called Mr. Johnson's show pictures. Few more satisfactory paintings record the (apparent) charm of rural labor than this pleasant rendering of the Nantucket population turned out' ex wasse in the cranberry bog to glean that toothsome harvest. . Everybody is here, the stout matron who finds the lowly labor but ill vadapted to hor habit of body.. the, old grandfather in his respectable, battered high hat who has brought a kitchen chair along to ease his aged back but who works industriously all the same, even THE TEMPTATION OF $T. ANTHONY. | Carl Gutherz. ¢ C+ f the: baby in. the amvilling> arms of 'its biggish brother. - The youthful members of the commufiity go down on hands and knees by platoons, there is a wonderful variety of stoopings, and the mellow afternoon sunlight glorifies calico gowns and old straw hats and the fruitful valley lying between the low hills In the "School of Philosophy ' we see four or five of these grandfathers transferred to winter quarters around the village shoemaker's stove, that worthy member of the community on his bench and hard at work. The others smoke and expound, or per- haps they only smoke,-which may be the truest philosophy. The distant corners of the council chamber vanish in the dusky obscurity ; a sentiment of wisdom and gravity-not unmixed with a touch of sarcasm- settles down over the scene. - Nothing can be more discreet; and few genre pictures more acceptable. 18 IFTORLZENS -COLEUATBIAN_ EXNXNLEOSILITION SAPPHO. - Amanda Brewster Sewell. of an Immense globular vase, and the. king: with folded arms, and a masterful a§pect. . The , monarch wears a fine plume and dress of feathers, long leggins and a great bluish-black cloak over his shoulders; the sculptor, only an apron of pink woven-stull with a. worked design. On. the floor, to complete this severe composition, lies a gray and black blanket, similar in pattern to those of the Apaches of the present day. -The brush work and the precision of desigh in these works suggest Mr. Brush s master, Gérome, the color is sober, harmonious and true, -there .is also always something suggested. of the inherent unloveliness and lurking tragedy of savage or semi-civilized life, the gloom of the primeval forest and of the early age. All these qualities, except the smoothness and precision of the brush work, disappear in the painter's latest works. . To "The Sculptor and the King," was awarded the first Hall garten rize at the -National Academy of Design in 1888. Wixsstow Homer is worthily represented by fourteen canvases, half of them from the gallery of a collector of New York, and ranging from his latest vigorous studies of wave and rock on the wintry. coast of: Searboro to one or two examples of his early period. -as the negroes / Dressing for the: Carnival," painted in 1877. In the latter, the Virginia family, of 'a wonderful blackness,-have come out and stood . in a row in the sun to array the .head of the. house: in. Haming yellow -and- veérmitlion for some great the result is something to make the spectator blink. The Adirondack subjects, the "Camp lire," «' Two Giiides" and «Hound and Hunter, represent three diflerent aspects of the life of the wilderness rendered directly and without any stillness and black- ness of the nocturnal forests (haunted however by nothing more mysterious or awful than a possible bear}, the bigness and windiness. and color of the mountain top, and the case in which the purely human interest. asserts: itself. and the: landscape discrectly retires into: a subordinate. position... All these are rendered. simply and. directly and yet, by an artist, and. not by a mere camper-out who knows how to paint.... Mr. Brush's hunting scenes are. marked by another 'touch, a sort of classic form, the antique tragedy again when an Indian shoots a moose.. And when one reflects on the almost complete omission of the artistic in the hunting scenes of all schools, from Snyders down, the American school seems to be entitled to another honor. Mt. Homer's sea picces, are perhaps, more: sophisticated.. Here, oven when he-sets out; appar- ently, only to make a study of the ultramarines and turquoises and emeralds of a single wintry wave TAE - AR I-AUINLTLTELD :S TALES I5 MHESE are all, practically, resident painters. and sculptors, who content themselves with the usual, occasional, tourists' trip abroad, but there are very distinguished artists exhibiting in the American gallefies who live in America very fittle,. or not at:-all, or. only -by interludes. :- Mr. Mirrgr, for. example, the illustrious Chief of the Designing Department, has a picture in the section of Great Britain, with an English address, " Broadway, Worcestershire," and is said to have been on the steamship wharf at Jersey City on the point of sailing with his family for Europe when he received the telegram of the Directors requesting his services at Chicago. So as the family sailed. Eastward he journeyed. Westward with a fine subordinating of pleasure to. duty. The eccentric Mri Winisrisk' has {elected to-exhibit in the American section altogether-possibly remembering the unpleas- antness which is said to have attended his transferral froin one nation. to the other at the Paris Expo. sition of 1880 ; and. Mx. Sa«rorxt, who is practically a man without a .country but none the less lucky and cx- alted, displays a brilliant array of his portraits.. Painters as far apart in everything as Mr. VEpprer in Kome, Messrs. Werks and Har- rison : in Paris, and Mr. Aprey in London, all send home loyally GOOD FRIDAY IN ROME. Elizabeth Nourse. I 4 HHORLELITS -~ _EXROSLT The. Cranberry. Harvest is:- from the col- lection -of Mr. Auguste Richard, of New York, and the < School of Pmlosopliy,. « trom that. of Mr. E 1D. Adams,. also" of NewYork. Among - the three or four portraits which Mr. Johnson also. exhibits one is that well-known, life-size '*+Portraits of I wo Gentlemen "~ painted in 1881, and another is one of. the-latest. nocturnal studies of his own. portly. and handsome figure with which this painter amuses himself and his friends. from . time to. time». l his presentation stands squarely on its feet, hands-on hips, and looks challengingly at the passer-by. Among the ingenious renderers of the abo- riginal, bison and maize subjects-to follow our original summary classification -of those few whoin we have named these galleries, rather curiously, offer but very few examples. Mr. J. O. A. Ward does not appear among the sculp- fors, 'and. the best of the animal groups here suggest Barye and Cain rather than any fresh, truly. American, inspiration. In the large. North Court: where ' the' marbles 'and bronzes. and ran: rory tone. plasters of the United States most do congregate there are at least two life-size buffalo hunting groups 'and. ont .grizyly. beat one, but of these large pieces much. the best" and most sculptural is Mt. C) E=Darmtix's bronze. "Stonat or Prace, an all: but naked: Indian: sitting. peacelully, on.. his equally unadorned pony, the latter standing quietly on his four legs, and the natural forms of the two animals in - their most natural position. affording the seulptor a theme which the Greeks would have appreciated.> Mr. Paui~ Bartirtt's life-sized study of the nude, the plaster statue of a': Ghost Dancer, dancing vigorously with his whole body, is interesting technically, but Mr. Cart portrait head of " Kicking Bear,": chief of the Sioux, also interesting as a study of the model and the type, is somewhat. more" acceptable as a conventional piece: of sculpture. Mr. " Mato Wanartaka, 'it may be observed, appears to be by no means a fine-looking warrior, even as a red man. Mr. KEmEys has a number of his spirited animal groups, mostly small bronzes, jaguars, bulls, panthers, deer, and. even a: boa constrictor, most of these animals engaged in giving a very plausible demonstration of the Darwinian principle of selection by the survival of the strongest according to the naive and direct way in which the animals understand this great trnth.. His: largest group, however, is. restful and.. peacelul enough, an American panther and her cubs in the privacy of their domestic life and very much like pussies of "a' Aatger growth. (Messrs, Proctor and Porres exhibit their work out'ofdoors.. Onix L. Warner's bronze medallions of certain Indian heads seem to have been selected from rather uninter- esting savages. | Of the painters of this group, Messrs. Frost and REmimnGgrox, two of the most distinguished, appear only among the illustrators, and certain canvases by other artists who have revealed the true national twang in their works we will discover later in our exploration of these galleries, THE ART UNITED SPA TRS 17 THE THEEE BECCARS OF CORbOYA, Edwin Lord Weeks, aries like other people-the Roman or Greek girl "Lacing her Sandal" in the Art Gallery is a fair sample of the just good,; not by any means inspired, painting of this sort of thing that he does. But this equanimity is now destroyed by the contemplation of the very distinguished decorative classic paintings, truly handsome and decorative, which we find under the domes of the Manufactures Building and the Casino, executed, too, at the last moment, in a desperate hurry, between New York and Chicago, in the intervals: of "bossing ' workmen and hurrying contractors. . A fine chance to do a big, serene classic allegory, that shall hang together, harmonize with its fellow,> with the architecture, and be better than many of the others! Another of these new considerations emphasized by the exigencies of the Fair, is rather a development of the old contrast-which presents itself as more bizarre than ever to.the connoisseur, lbunging comfortably on his elbows on the hand rail .in front of the ad- ) mirable "Ar tur Ixx," inspired by Shenstone's lines :- '' Freedom I, love and form I hate, And choose my lodging at an inn.'"' Across the gallery is the equally satisfactory "Antony Van Corlaer, Trumpeter ;" up-stairs is the not-quite-so-good "Rook and Pigeon ;" in England, purchased at the Royal Academy by the Chanttey Fund, is the delightful "Between Two Fires," all of them similar in theme and period and all of them, you would say, painted by a fine critic, a scholar of a painter; a philosopher who appreciates leisure, quiet, old books, old wine, old themes, and who hates hurry, noise and common men: - Fancy a reader of Shenstone entering,. and.: they :would do Better; THE HOROSCOPE. Victor Gabriel Gilbert. by Ltt selves Ato: their. artistic... possibly, -but certainly uimnintellectual, portraits and landscapes which seem to him to constitute: _-more than. half of their output. And he will be able to cite authorities in support of these heresies. Monsieur Fernand Cormon, for instance, who bears an honored name in the Paris Salons, writes: an open letter to the " young naolish paifiters .. recently. in which" he urges them, above. all. thifigs; not to be carried away by the better. painting qualities of. his compatriots but to stick to their own views of art, to "meres lose sight of that sincerity of fecling whith is the essence of: originality. - These words he underscores. "I would most. earnestly: implore them," he adds," "not to forget their national qualities-not to lose, when in our mudst, theilw"power"of subtle and searching- analysis, 'or their sense of exquisite mystic poetry." This appeal lhe 'bases on the fact, as it appears -to him, that there are only two national schools of painting at the present day, the. French and" the English,. " 'The artists of all the: other nations, America included, with the "exception of a few remafkable personalities, such as Israels in' Holland, Von: Uhde in Germany and a' few others, "are but the pupils of the French school." There is no word here in confirmation of THB: 33 but the Commussariat General: des Beaux-Arts paid the costs of their package and transportation on the condition that they should be placed in the French fine arts galleries during the Exposition. Before the French section in the great Manufactures Building sits the new figure by Falguicre, a special commission from the Min- istre des Beaux-Arts, which is also to remain'in' the city of. Chicago, the. stalwart seated figure of Republican France, crowned and cuir- assed, grasping her sword and her tablet inscribed with the "Drorts de [ home.' Even our discontented critic is forced to admit that they didn't do any better sculp- ture even in the palmy days ON THE SEA SHORE. Raphael Collin. of Geéroeme and Cabanel. Equal efforts were made to secure, on these Western shores, an adequate representation of the products of the great national art manufactories, and the truly imposing display thus gotten together was exhibited to the admiring Parisians in the Palais de Industrie early in March of this year, before shipment. The Sevres establishment makes the most important showing, and its cunning workers in biscwt have invaded the department of the reproductive sculptor with singular delicacy and perfection of manipulation. | Here may be seen again Cuaru s-bust of: the President of the French Republic, INJAL- ) perts " Republique," Aurg s Liberte ' and Francois Boucher,". SucurtTEr' s " Leda," _BAangtasg '~Moraftt Enfant, "Judith, " Drtovr's : Catherine of: Russia.". The 'decorated picces, vases, plagues, table-service, etc., ate to be seen, and not to be described. One of the most magnificent of these objects, however, the great Vase: pr RexnrEs, 130 centimetres high, the largest piete ever made, has been admirably reproduced in polychrome lithography for this work, having been specially placed at the disposal of the publisher by M. Baumgart, Director of the Sevres manufactory. Four months of labor and sixteen printings have been required" to produce this sumptuous reproduction of -this mégnificent piece. - The national manufactories of tapestries of. the Gobelins and of [Beanvais, have also contributed their finest examples; from the former come the famous "Filleule des, Fées," from Mazerolls's painting, the border by Galland, the "Arorucosis or Homgn," after Ingres painting in the Louvre, Ehrmagn's, beautiful figures of "Prixtisnc" and. "Inuvumixarixc," also reproduced by poly- chrome lithography for this work, and from the latter, ten grand tapestry panels, the "Four Quarters of France." the Fast". and. the West" from the paihtings by Collin and Ceshbron, the panels in the Style of the Renaissance, Mars and Venus," “Neptune and Amphitrite," from the paintings by Badin; and the luxurious salon upholstery after the designs by M. Chabal,. ~ No such display of woven stuffs was ever before seen on the shores of a Western lake. Among the multitude of works 'of decora- tive art only a few can be here cited, the ‘ivogr statuette of "Amphitrite" by Mercié, enameled with gold; and placed on a pedestal of goldsmith’s work, the 'fatence plate - decorated by Mme. Moreau-Nélaton, the metal work of Brateau, and the cups of translicent enamel; gold cloigsonné," of Ehesmar. f 3% ‘ > it ss hoped to give in this publication, in the full-page plates and in those among the text, a careful 32 S (C OLEUMBIAN _ BXRPOSLITLIEON authorities,; 29,201 square feet, the.next largest to that reserved for the United States, was very consid- erably less than that asked for. In the section of sculpture-in which it has been held in very modern times that the true supremacy of contemporary French art Iay-great efforts were also made. - Much of the completeness and. importance of this section is due to the enterprise of the Chicago Art Institute, the officers of which made direct application to the French department of the Beaux-Arts for facilities to acquire.casts, the: size ofl. the originals, of the .principal . works .of living sculptors. Fo this Institute. will probably go. at.the. close of the, Fair, the, very. valuable collection -of. casts accordingly taken in the Museum of Comparative Sculpture in the Trocadéro, embracing examples of the decorative and archi- tectural. sculpture of France from the eleventh to the. ninctcenth century, and which formed such an interesting feature of the Exposition of 1889. | These are arranged. in the East Court of the main building of the Art Gallery.. The American committee who undertook the making of these casts in connection with the Erench authorities paid the greater part of the costs of execution and all those of packing and of transportation. - Permission having been refused by the ad- ministration of 'the city. of Paris and -of the Government to some of the living sculptors who wished to send their works, the property of these public bodies, to Chicago, authority to have casts: taken from them was readily grantéd. Thus, of those selected by the representatives of the Art Institute, the director of the Muséum d'Histoire Naturelle _ authorized the: casting: of EFratuigt's * Stone Age : the director of the Musées Na: tionaux et de T1Ecole du Louvre, that of CHary's '" Joan of Arc cand the director of -the: Batiments- Civils, that of Caix's "Rhinoceros Attacked by Tigers." . Fig- ures: from Ropinx's much: discussed immense group of the. ~ Burghers of Ca- " were: also secured; JTF AtGIuERE' s Diana," Bar- rtAS' " Mozart Enfant" and "© Derniéres - Funérailles," Mrkrkeit's " Qnand. Meme! *Ssalaminbo,." and the four famous figures from the tomb of General LHamoricigre by. Pau DuBois. None of these statues are new, at least in the modern sense of the word, but they are among the. finest of: any modern sthool;: and. their future: presence at Chicago, even in" counterfeit. plaster, will be a liberal education,.= - They. will ZOUAVES AND FOOT SOLDIERS. Marius Roy. remain the property of the Art Institute, IHR AK I--FRANCE 33 in the costume of the armed suard and- in the Dit of enameled brick wall behind him and his unhappy captives, perhaps a bit of one of those walls that M; and Mme. Dieulafoy unearthed in their last Persian expedition. - Perhaps this " Booty," feminine and otherwise, is part of that which Cyrus carried off from that immense plunder of Babylon which Mr. Rochegrosse figured so vigorously at the Salon of 1891. And to set off against Mme. Gautreau we may put in our portfolios the charming tinted etching exe- cuted by Maurice Deville after Corcos's pretty girl in blue,-a pearl of brunettes and a triumphant assertion of the compatibility of sweetness and the grand style. ) The experienced picture-seer, before alluded to, with his eye for balance and distinction of com- position and originality and style of conception, might pretend that he found in many of these modern works which aspired the most to the fine old historical and allegorical traces of that levelling tendency which he deplores. For instance, M. Rochegrosse's new picture, he might aver, had by no means even the relative importance as a work of art of his grand "Mort de Babylone" and is no better painted than at least certain parts of that immense and dislocated composition. - There were studies of the nudes he will- assert, in the foreground and a general able and harmonious arrangement of the diffused and tormented light in Belshazzar's great court which proved that very good painting was quite possible in the biggest arch@ological mac/kine. And the picture which has the most good qualities in it is naturally the most valuable work of art. Also he may, possibly, state that he has seen much more naturally supernatural fairies than these pretty ones of Mur. MapriEing® LEmairE's, reproduced at the head of this chapter, and some that were somewhat less suggestive of the footlights. - But the purple-winged, impossible dogs that draw this aerial chariot, he will admit, are chimerical enough, and he may be reduced to silence by the information that this painting was shown first-at the critical. new Salon-of. the Champ de Mars: last year,; and that Mmea Lemaire is of the Societe Nationale company: of "painters and sculptors. This one, with all her technical skill, -has the proper feminine taste for the proper feminine des- Beaux-Arts. , There are not many. ladies admitted into this carefully'picked/ A BARRICADE OF 1830. By Georges-Jules- Auguste Cain. re 34 HF ORLELENS ~ COLUMRIAN ~RXPOSIELION selection from among the most worthy and the most remarkable of these masterpieces which in so many fields of art demonstrate so strongly the curious taste and intelligence of the French mind and the cun- ning of the French hand. Another of the lithographs, for instance with a skill that many a painter might envy the pearly and translucent tones of’flesh—gives a reproduction of. the largest paint- ing on ivory said to be known to art or commerce with its ornate frame, the beautiful back of Mur. Hostenss: Ricuarp's dreamer. _- Tus. lady. painter, _Parisian born and pupil. of James: Bertrand, and Bouguereau, is well known in the Salon galleries by her miniatures and paintings on porcelain. This 'Dorurusr"' was Aitst shown at the Salon of 1893. Among the etchings, the collector's attention will probably be first attracted by Quarante's sympathetic rendering of Courtors' hardy portrait of "la belle Mapam® GautrEAQ,' the most distinguished, not only of the eight that he exhibited at the Salon de Champ. de Mars in 1891 but of all that he has painted, if we may judge by his own verdict, or by the Jury's, and a beautiful piece of painting of pearly enameled. flesh, auburn Hair and white robe. in THE ALARM. - Emmanuel Benner. strong contrast with this radiant assertion of life and pride is his other exhibit, also shown at the Paris Exposition of 188g, the foving., portrait of a . young . girl> on. herbed of death, -"Une Bicnheureuse, . "Happy. are :the- Dead that die- in the Lord !"- Another .of. these. etchings. of- price is that by Champol- lion after newest work,." Le. Burin "-a painting which is to this courageous young artist's other pictures as a study of a hand or a foot is to those of other painters. Weary :of his gigantic and crowded canvases .he has- here, for the moment, settled down to the study of the morceau, that is to say, of a single group, with only a suggestion of his far-reaching archzeology thrown in TAF ARI 37 In one of the three large central galleries of their section, No. 57, the French commissioners have arranged three or four of their very largest canvasses and some half dozen of the most important studies of the nude in their collection. On a table near the Western entrance are displayed Mx1ssontEr's essays in sculpture, from the latest posthumous exhibitions of his works in Paris-the two equestrian statuettes, the "Herald of Murcia, Trumpeter of Louis XI," and the spirited, galloping figure of " Marshal Duroc ;" a sketch or magueitte executed for the last painting on which the artist worked, " 1796, Campagne d' Italie ;" the magquette of a " Wounded Horse," executed for the painting., "Siege de Paris:" the figure of a "Dancing Muse," for the tapestry of the painting "Le Chan,". and the design for. a chimney. for his own studio in the Boulevard Malesherbes.. All these; excepting the. last, are in, bronze alter. ris? perdue, and each bears the stamp of the medal in bronze of Meissonier, designed by Chaplain. The projet de cheminée shows a plain marble or stone shelf supported on the shoulders of two bronze, nude athletes, so realistically modeled, apparently, as to promise to walk away at any moment and the mantle- piece tumble. On this is placed the well-known statuette of Meissonier executed by Vicenzo Genito in 3878. OR one: side of .this large gallery is hung P. Franc Lamy's " Flowery Spring." »and.. on. the the opposite one, "Om tar Snore," by Raruar. Contin; on 'the eastern wall. is Arsfrtr Foukit's *Sreinxctimr," all of these being very large canvasses with numerous figures the size of life.. On the western wall is Craupr BourconNtEr's "Trmrration," and, in other corners, Henri Hugene Delacroix's '"bea. Birds and Wave" and J. B. Avcusris Némoz "On the Brink of the Abyss." the figures in these being also of the size of life. Here is a sufficient variety of theme for- that painting of-the fleshly body in which the modern school takes such a deep technical interest, and a greater variety of treat- ment or of method and theory of seeing flesh in p/m air it would be difficult to find. Collin's nyniphs dancing on the sea shore are pearly and opales- , tent and .elusive to a surprising degree; Eranc Lamy's rather Parisian Dryads, seem to exaggerate the greenish reflections of the surrounding foliage on their pretty bodies and are distinctly of. that hue; Fourié's Bacchantes, also in the woods but apparently somewhat more in the open, are hot and purple and lavender in their tone to a dis- agreeable extent. - The three other painters, working on somewhat smaller canvasses but also on subjects which may be called imaginative, are much more realistic in their treatment, and of these Bourgonnier's is undoubtedly the best paint- ing.. " Mis: subject is. the very old one of the temptations of the flesh, the unfortunate tempted mortal, according to the legend, being represented by the monk, St.. Anthony, and, in logical sequence, the painter has here rendered the warm, palpi- tating body of his temptress with a skill of brush work and a charm of color that render his study one ot the best paintings of the nude in the Exhibition. _ M. Néemo#z has complicated his ver- sion of the same object lesson by some acces- sories, such as the brink of an abyss into which IN THE SPRINGTIME OF LIFE. George Laugée. 36 FT ORLD S AXROSILIZON things,.-such- as (pretty, imaginative and . sentimental subjects,. flowers,. fan- paintings,; etc.. All' these generally desirable. qualities slie. demonstrates in Yher compositions for book-illustrations. In addition to this pes T'krs" she sends to Chicago a new render- ing of the pretty woman in the autumn woods lament- ing the " 'or fur lLraves,. .. also »reprodnced for this work by M. Bourgeois s ctching, and an ex- cellent painting of some plums at 'the foot 'ol; a tree. - "The amitial -to ~this= chapter,; another. pood old subject, is from M. EveEnr-Rowain Tnirion's Salon picture: of showing how - Cupid," having finally overcome (all opposition including that of, his puissant mother, carried olf his beloved / Psyohc, _ mui hes- reuse dans son royaume," says the artist's quotation. One of the most brilliant examples of the. painting .of modern toilettes: in the whole exhibition is M. Juurs Ma- cHarpn's. so-called. "{ - Party, which hangs at: the right 'of" one. of the: entrances of one of the smaller rooins and which jis merely a very capable study of +a handsome lady in a handsome white satin gown, with a fine, big plumed hat, just as shown in our plate; " It is a very civilized gar den indeed for which such raiment is intended. This work was first exhib- ited at the Salon of 1893. - ArrHonsr Mourts is a Marseilles painter and his Southern lovers, basking 'In tur StUx - on top of their wall are not concerned about the appositeness of their apparel and are therefore more natural, accord- ing 'to 'some: theorists. | This painter THE TEMPTATION. . By Claude Bourgonnier. also sends a view of the entrance to the harbor of Marseilles. The modern growth of luxury has not been without its influence upon M. Luminais and for the last few years he has shown a growing disposition to abandon his early Gauls for their much more sumptuously, attired descendants of the reigns of the Louis, To Jackson Park he, accordingly, sends two-oft. Is- latest canvases; the~'"End. .of and the "HMunrsurs, SixterntH4 Cryutfury." In the former, one of D'Artagnan's friends-or, much more probably, one of his foes-is left behind in a pleasant wooded valley with a fine sword-thrust through his body and is found by some compassionate monks: in the datter, there is no story at all but one of the richest color studies in the- galleries, the land: scape, the costumes and the handsome, silky coats of the horses all rendered with great technical ability. LZHB AR 39 galleries oa tew in the Spanisi-and Italian, and even little: Holland has three or four canvasses devoted to the martial appearance of the Dutch troops. DeNeuville, being deceased, is represented only in the American loan collection, by his famous " Porteur de Depéches," owned by Mr. Collis P. Huntington of: New. York, and Deétaille figures much more conspicuously in the catalogue than on the walls, Among the French water colors, however, is a large study of Sappeurs from his brush, not catalogued. Of the. tegular 1870-1871 fighting scene there are only one or two examples, Boutigny's "Combat in a Village" and QGuignard's "Scouts in Flight," two Uhlans tearing down a snowy road, one fallen forward on his horse's neck and his comrade dragging at the bridle to urge the animal on. In some contrasts. with the. smooth brush work of the " Combat" is the» more vigorous treatment of Boutigny's second- picture. illustrating some forgotten incident of the great campaign in Italy in which the General Bonaparte sits at a little table on a causeway and interrogates a native brought before him. MM. Grolleron, LeBlant and MorrEav oz Tours also find themes in the Revolutionary period, the former with his officers of the "blues" captured by the Vendean peasants and tied to a tree, the picture dated 1889; the second with his very dramatic and amusing " Return of the Regiment," and the third with his theatrical) "Carnor ar WarricnEs.". This latter artist is the legitimate successor of the stilted military. -painters 'of the last cert tury and 'one of the most senti- mental sand" unartistic of the present "day.. ~ HMi§+- wartiors "are forever 'eitfier ~striking atfitudes for /e drapeau, or la gloire, or else appealing to the groundlings in another- way' by self-conséious heroics. His for Instance, is a truly representative example of that historic method of taking the serious business of war which the, gallic rhetoricions still} main tain, even. at this day, - Lhe illys- trious ancestor.. of A the - present head of the © Fren@ir »Republic- worthy of a more dignified rep- resentation-comes cheering and flourishing . his: chapeau, open- mouthed and - demonstrative, almost as large as life, down into the foreground of the. canvas; and the painter testifies his treat- ment by. this quotation. in: the official catalogues "A grenadier fell: wounded ;: Carnot -took - his musket from him and, resuming his. place. at. the »head. of the THE WASPS' NEST, - W. A. Bouguereau. COlumn, he continued to mount 38 WORLDS -BAXLFOSLELIION the tempted one is evidently to fall, a serpent, etc., but his temptress is rather ugly and -vulgar, and the. same taint of the. commonplace affects M. Dela: croix's nymph riding the crest of the wave, as it does also his two other exhibits, a very matronly person yawning and stretching preparatory to her bath in .the stream, and,; to a two or three other ladies in a harvest field at twilight. Very good flesh painting, but quite wrong in quality under the circumstances, may also be found in Emmanurt Besxxgas : Thr ~ a: family, of the. btone: Age period suddenly issuing. from their. cavern home because of a chance visit from a friendly. bear., Here: the flesh, not only of the: mother,. but of the father and of . the old grandfather behind is as fair and soft as though it never had been exposed to wind and weather; but this is the usual {practice of painters who undertake to restore for us the prehistoric times. Even the bestof them, Cormon, is not:above this ten- dency to paint pretty things.! An. excuse frequently - put. forward for- this: departure from . conscientiougness, is that. the . pre- historic woman's; hair was red, as is in.. this instance. In the Ethnological department of the Liberal Arts: at . Paris, in 1889, were a number of very interesting groups represent: ing our very primitive ancestors in their first stages, and in these, constructed according to the «latest scientific discoveries, they were represented in all their natural unloveliness, shock-headed, leathern-skinned, unclean sav- ages.) 'The . beautiful roses.and - pinks : and shapely forms of M. Benner's hearted DECORATIVE PANEL; WATER. - Paul-Louis Delance. mother with the stone hatchet,. are the, pro- ducts of 'civilization only, as. are roofs, soap and fine linen, Some of the comforts and safeties of this civilization may be seen for instance, in M; Vicrog Garkigt " Horoscops," a painted arrangement of fine ladies and luxurious flowers ona handsome lawn on the edge of a grove, and the necessary military element may be found in the pictures by Marivs Rov and Grorcee Juues Avoeustz Cain also reproduced in the textual plates for this chapter. The former's canvas shows us some "Zozaves"' and chasseurs & pied campaigning, and it appears to be some- where about meal time:: the latter's " BarRIcaDE IN 1830" represents a serious bit of fighting with the necessary posewr in the centre foreground. This picture was executed in 1889. The echoes of the great Franco-German war are finally dying away in French art, and the alsence of important military pictures is quite noticeable in these galleries, though there is not understood to have been any formal interdiction of them as at the Paris international displays. There are about as many works treating of soldiering-though mostly in the times of peaceful reviews-in the German AAIF UTK LI -ER ANCE 4! M. Aurrep Paris's "RouteD," also reproduced for this work, gives a picturesque throng of mounted Arabs in full flight down a rocky ravine,-doubtless with the ever-victorious French troops . at their heels in hot pursuit. Among the Zors texte plates, etchings and photogravures may be found as much variety of theme and treatment as this collection of paintings affords. The extremists of any school are here scarcely represented ; the Paris juries seem to have adopted for their motto, sanity, rather than toleration. Some of the etchings have already been described, among the others that may be here noticed are Scriptural legends, one mythological and one hunting scene, one marine that includes a study of the nude, and among the photogravures, two specimens of the domestic gerre, one of the XVIII century and one of the XIX., M. Pavr-Arrxasprm-Aurrsn Lzfov's version of the healing of "Tus Buix» Marx or Jrrtcuo," etched sympathetically by Salmon, is a very large canvas, the figures being nearly the size of life, and is dated 1890. Here we have 'the modern method of treating Biblical story, the: personages, including the Healer himself,: being all every-day Eastern folk taken in some every-day incident. There is,. however, as is well-known, a still Slater method. exploited by Messrs. Unpr, Jean Béeraud, and one or two followers, THE IOTH .OF AUGUST, 1792. - Henri-Paul Motte. in which the story is transferred bodily to modern times» One of the "latest and < most, courageous of these enterprises of doubtful taste, Béraud's " Cruci- fixion " on (the heights of" Montmartren Joseph 'of Aimathea, the disciples and the mourners being all French 'dfouses,' is hung in these galleries, :In. the German section may be found one of the at least two examples in which Uhde has represented the personages of the' Nativity as nineteenth "century wayfarers, or work- people, this: one: being somewhat the: less gross of the two and being, 'incidently, beautifully painted:© A woman, poorly clad: and in great trouble, stands leaning against the' wayside fence in the snow and the' twilight and: watches anxiously the. disappearing figure of her husband who has turned 'off" to 'the left towards some dwelling, evidently to demand shelter. M. Leroy is less enterprising, but he also dispenses with all the usual conventional baggage; the haloes the attitudes and the artificial groupings. SML Louis Priou calls his quasi-mythological composition Satyre azx abots, which may be translated, "Satyr In DistrEsS," but it is evident that this goat-footed is: not. in real tribulation. . While two- of his uncouth offspring tus at his beard and his pointed ears, a malicious naiad in the stream drenches them all 40 IFORL IVS ~COLLCIMRIAN TION the plateau. Carnot and Duquesnay arrived at the same moment on the summit of the plateau and threw themselves into each other's arms to the cry of Vive 7a Republique /'" Grolleron and Le Blant are in better taste, though they approach their subjects from very different points of view, The former renders a good dramatic incident in a serious and well-considered compo- sition, soberly and rather better painted than usual ; the latter brings a sly touch of sarcasm and humor. His "Retour du Regiment,"-from the heroic army of the Sambre-et-Meuse we will suppose,-shows the grimy, ragged and ferocious battalion drawn for inspection in the public square and idly reviewed by a supercilious crowd of dandies, muscadins and incroyables, each the dernier eri de la mode and each more absurd than his neighbor. The warriors scowl darkly under this complacent observation, and there are signs of an outbreak on the part of one or two of the older mowstaches. M. Hex®rrtPauL Motre, forsaking for the moment his antiquarian researches in which he has won his renown, sends a large and spirited, but somewhat hard and spotty composition. the " torn. or Aveust, 1793," in which the gallant Swiss guards, in very red coats, are once more massacred by the Paris mob on the steps of the: Derort goes back to the picturesque eighteenth century and shows a mounted recruiting sergeant drumming: up recruits. in the open place by the public fountain: MM.) Chaperon, Loustaunau, and. Jeannioct give us bits. from: the armies of to-day, the former being represented by his well-known Poure un Réginient shown at Paris in: 1886, the soldier's morning bath by. means of a hose turned on him across the long barracks as though he (were ("a conflagration. Jeanniot's « Marching Troops" may be found in the water color _ gallery, 'and is a distinctly modern vacant, unthinking material out of which the bulk of. armies. are made. THE - DEATH OF ARCHIMEDES. - Edward Vimont. LHAEBE ART -FRANCE 43 Still warmer, more sunny and still better painted is Desat-Poxsax's "Mid?" " from the Salon of 1890, a most learned and admirable rendering of the beauty of sunshine and, incidentally, of the charm of rest after rural labor and the joy of humble domesticity. ' Possibly things are a little too well ordered in this well-balanced composition, but the defect is not a serious one. To most minds this painting will appear to be more really decorative 'in character than M. Pavr-Louis Dreriancr®'s MORPHIAMANIA. _ Georges Moreau de Tours. " Decorative Paxgt-Ware®r," also reproduced" for these pages, a very large upright canvas, sober and inclined to grays in the color, and with no particular little charm. of. compensation in sight. tor this toiler, unless it be the scaly heap under his feet. More of these humble folk, artfully arranged but with very little artificial glossing over of their awkward rusticity, may be seen in Grorcer Lavcrr®'s "*In tur. Sprixc-fimtp or lLirr:"" a very upright and much embarrassed pair facing cach other in a pleasantly illuminated bit of greenery. Pastien-Lepage was one of the first to render this subtle charm of the tender passion burning sweetly through an uncouth exterior, like the flame of a horn lantern, as it were. No resume of the important paintings of the nude in the Exposition would. be complete. without mention of M. Bovetrrrau's work, and. .as it happens fortunately, this artist; dearer to collectors than to other artists, has chosen to be: represented 'in this department by one of the very latest and best examples of his much-prized and much-derided flesh painting.. "Le (Guéipicr, ! Ing Wasre Nest, (given the painter's particular point of view-and, most any point of view is allowable in Art-is not only allowable but pretty, ingenious and well nigh charming., The idea sis new, which is something. considering the number of changes that have been rung on the Young Woman and Cupid ; the composition is graceful: the drawing is impeccable, as always .with this Academician, and the pearly, lustrous, unrealistic fleslh-painting becomes. perfectly appropriate in. thus . little.. boudoir allegory,. - Yow would not have Youth and Amour with the epidermis of peasants 'or bank clerks. So this heavenly-skinned maid-in the much embellished likeness of the Lily of Jersey-as she goes 42 «COLUMBIA EXPOSTI with water, 'and the satyrs are said to Rave hated water in those times.: This also is a large canvas, painted with much carefulness but not with much concern for the classics. The étching is. by M. TreyssonnieEres, and Courtry has rendered M. Paur TavernNiEr's " WHirrEr-IN SOUNDING THE sortir or rEaw,' blowing gallantly in his hunting horn the appropriate notes for the wearied quarry's safe landing on the opposite side of the stream. As there is no unseemly slaughter here, and the NOON. E. B. Debat- Ponsan. stag: seems to promise to leave 'all his pursuers duly behind, we can appreciate the cheerfulness and picturesqueness of the wooded scene and the good equipment of design and color which the painter has brought to the ald of his venery. KosseEt-Granarr's - " Fpaos," wf <" Fuorsam," first exhibited at the Champ de Mars in 18092, is a painter's problem, wrought out to amuse himself or shew his skill but not having much relation to art as generally understood. The problem is to render flesh tones, under certain conditions of death, wetness and reflections from sea-water, and when it is done the solution does not much interest anyone but painters, The accuracy of the modelling of the body may be appreciated, however, even by the unlearned, and M. Pavr-Vicror Avaim has made an excellent plate out of his most difficult subject. The photogravure plates range, as will be seen, from reproductions of orgies like M. Fourit's "Printemps" to discreet and conventional ceremonies such as "AusuEt's "FETE-DiEv," or pretty ones like Tondouze's water color, " Tng Cranur Sorc." This charming soubrette has carried her charge in luis handsome, state cradle out. under the: trees, swung him on the branches in some mannér- but in such a way that the ropes will certainly slip, and now proceeds to sing him to sleep. What could be nicer or better -adapted to water-color art. . M. Auster's picture, on the contrary, is one of his largest and most important, and one of his best-known, having been one of the principal of those exhibited in his collection shown inthe Petit galleries in 1889. It is seriously. painted and with something less of dryness in the color than he gencrally gets, warm, summery, luxurious but not too cheerful in color of sentiment, as fits the preparations for a great religious commemoration, Corpus Christi day. THE HARVEST. Gregorie Gregorievitch Miesoildoff. A.. RUSSIAN CIRL,. Karl Bogdanovitch Venig. RUSS fA HE return of the bread of good deeds, when thrown upon the. waters, is. promised to nations as "well as. to. men : and a very important part in bringing about the largeness and completeness of ' the «Russian. exhibition. at" Jackson-.Park | is said to have been played by the American donation for the amelioration of the. famine in the Czar's domains a year and a half ago. However this may have been, or a mere gevival of the old friendship between the two nations. taken place, it is certain that this contribution is one of the, most worthy. of an international exposition that may here be seen. In all the great departments: of the Hair it appears- Agriculture» Morticulture, Live Stock, Fisheries,. Mines, Machinery, Transportation, Manu- factures, Electricity,. Fine Arts; Liberal Arts, Ethnology. Forestry, and Woman's Building-over 120,000 square feet in all. After Germany and. France, a larger sum of money was appropriated for this purpose than by any other nation. The captain of the Danish steamer which brought over the 2338 cases of this exhibit certified that their value was a million pounds sterling, the eleven packages contributed by the Imperial Government alone being insured for 420,000 roubles. There were ho less than seven boxes of diamonds from the. Mountains. - All the influence of the government was «exerted to induce manufacturers and merchants to contribute of their most worthy, much as the 53 44 5: €COLUOAHMIAN EXPOSITION heedlessly through this pleasant forest of nowhere-in-particular, comes suddenly upon this little congregation of loves and is immediately assailed by them in. a buzzing, tumultuous swarm. | What can be neater as a small bit of fancy, or more. appropriate, decoration. for. our sophisticated. salons, where neither such maids nor such loves can .come.sbut in - fancy. . 'he painter's two other canvases, equally important. in point. of size. are far. less so. .in any. other. respect.. UOne.of them is an insipid waxen, Madonna in the clouds adored by insipid waxen. cherubs, and the other, a tritle more virile, shows us the three women-impossibly clean-come to the mouth of the tomb. "Le Gwéprer" first appeated.in 180°. ih the same year as Raphael! (Collin's "Au Bord #2 Ta Aer? wand. Mr. Yerkes, of Chicago, is. the proud possessor thereof. The connoisseurs. of tealism can turn from this unreality to M. ps. Tour's; firn ade siécle conception, "ZLzs MorrummomarEs"-two ladies of rather uncertain age and unpleasant aspect in the act THE DEAD CONYVERSING - IN THE OTHER WORLD. Charles Ronot. of administering to themselves with little subcutaneous injections. From this very contemporary subject we may fly to M. Cnarss Rosor, of Dijon, who has taken. the trouble to materialize for us one of the irreverent Lficien's flippant reports of the dialogues of the great shades in the under: world. His personages are three great monarchs and the scoffer the latter rails at the fallen majestics, indignant at. the outfage of. their: fall :- " The: real outrage" was that of your conduct on the earth, when you compelléd your subjects to offer you adoration, when you carried yourself insolently over freemen, when you. forgot so completely that one day you should die; now, you may weep that you. have 'lost all!" *»Greesus exclaims, " Great gods! where are all my immense riches r- y _ AK 5J ~~ SMOKERS IN LITTLE RUSSIA. - Vladimir Egorovitth Makovsky. of large size; dressed to represent the native costumes of the different clans of peasant girls throughout the empire; a similar and very sumptuous exhibit shows the different court costumes that have been worn from 'the earliest times to the present.. A number of literary women. have prepared a book showing the: activity of Russian. women in literature, science and art.," Mme. Semetschkin, delegate Trom, the Imperial institution of the Empress Marie and commissioner of the department of Liberal Arts, herself - an artist, exhibits among other products of her skill the decorations of the panels of an elaborately constructed cabinet, which stands near- -the front entrance of the Russian pavilion in the Manufactures Building. - These panels, executed in burnt wood, alter the manner which a New York artist has done so much to popularize in this country, portray: various scenes in the life of Folstol and a Aamous painting of the author by Repine, the Russian painter. This lady has also painted two windows, on either side of the main entrance of the exlubit at the corner. Nor have the children been forgotten in this comprehensive display. Many thousand square feet of space in tliis pavilion are occupied by the products of the public institutions whichrare conducted throughout the empire for the benefit of homeless and helpless children under the patronage of the Empress. There ate said to be six hundred of- these institutions and. more than and inmates.. The exhibit of needle work is particularly fine. The girls of one of the--public-schools of St. Petersburg. in token of remembrance and gratitude for the American famine fund, have reproduced with their needles, in gold thread, a design of a head cover called "Soroka," worn by the women of Viadimir in the thirteenth century, and which is to be: presented to President Cleveland at. the close of the Exposition. This was executed by pupils of from twelve to fourteen years of age, and younger girls have sent to Mrs. Cleveland a delicately embroidered handkerchict case, also here exinubited., A part of this exhibit consists of twenty-five beautifully embroidered handkerchiefs, each a different design, executed for presentation to the Empress on the twenty-fifth anniversary of her wedding, and which she contributes -to the: Fair_ although very highly prized By her. The curious and very Russiandooking pavilion in the Manufactures Building remained empty till the first week in June, but bore apologetically on its front a great placard, ' Exhibit Delayed by Ice 54 FORE S. COLUNMIASIATN. EXLOSITLION German Emperor put a pressure upon his somewhat unwilling subjects; all the necessary expenses were paid: out of :the Imperial the. governors of all - the- provinces, even. those of. the Caucastis, Turkestan and Siberia, took -an active part in the work; the. archxological, historical and other {scien- tific institutions are well represented.. The, Department of War sent a. collection 'of. military objécts made in the factories and workshops of the nation and a complete set of military works edited by the War bcientific Bureau;, the;: Naval Department, a model of the first ship ot the Russian fleet, built by Peter the. Great, and other. models of ships of -the Imperial "Navy.; the «Minister of Public Instruction, an exhibit of the work of the public. schools:-the Department of Public Domains; a complete collection of agricultural » products: of the 'empire cand exlubits> of iron, petroleum, forestry, fishing, botany and the like:: there is. an exhibit, from the. Emperor's great vineyards . in the-.Caucasus; Crimea and Bessarabia, etc. The, department; of woman's work, under charge. of, a board of Lady Commissioners, is very. large and important,. as befits a nation in which the younger women take such important roles both in the higher. branches of. scholarship and in. those of. dynamite... In the comparatively limited space of 'the Woman's Building no less than 3000 square feet are occupied by the feminine handiwork of the empire, the contribution of all classes.. From the city and Government of Moscow comes "a beautiful, rich and magnificent exlubitf by the Grand Duchess Elizabeth Feodorovyna: from the Government of Tambow a large and unique exlubit by- Mme. -A. Narischkine -from, the Government of Smolensk,. an extremely interesting . exhibit by - Princess. Urusofft-:-'by the: Baroness Korff, wite of the Amoor Governor-General, an. historical exhibit, representing the hand-work_ of the different tribes of Fastern® Siberia: from the Government of- Simbirsk, the exhibit of- Mme. Goutcharolf; 'a. valuable exhilit by Princess Shachaysk!. Government -of Fensa::. the work 'of:.-Polish women, hy Mme. Gourko;, wile -of" the; Governor General of Warsaw. and: Poland ; work of the. North Volga and Oka districts, by. Mme. Batanolf.- wife= of ~ the. Governor of Nijni Novgorod ; exhibit of the Ladies' Committee at Iwasan. cin. which are beautiful. silk, 'silver and gold embroideries . on ern Siberia; exhibit of silk, satin, linen and leather; exhibit of the Committee of Tobolsk, showing the work of West- the -Ladies - Committee ol ~ Kaono and Minsk. hibits th e The last two ex- show the work of ladies and peasant || women of: White Russia.. T here is also a collection of dolls R c a L me ‘ Mc oe sits . - \ R Smee ct" Noi " TP - amante THE ITALIAN EMBASSADOR, CALVUCI, DRAWING THE FAVORITE FALCONS OF THE CZAR. - Alexander Dmitrievitch Litovtchenko. THBRA ALR ZI -FRAOUSSLTA 57 A WOLF CAPTURED ALIVE. - Alexi Danilovitch Kiffshenko. principally to groups from army and from peasant life, fifty-six of them being the work of "the. sculptor Eugene Lanceray, who died last year at the carly age of thirty. The right to reproduce the works of this" artist. is possessed only. by one of the two exhibitors 'of these artistic bronzes, N. Stange. of St. Petersburg. The principal artists and artisans represented in the collection of the second of these, C. F. Woerffel, also of 'this capital, are LMaveretsky, Lichberich, Popoff, Gratschell, Ober... Posen and Bach. The silver ware display includes a number of examples of the art of enameling silver which has been revived by the Russians within the «last twenty years; though: here too, as in so. many other departments of the Fair, it is to be noticed that when the workman has abandoned his local or national inspiration to undertake a Columbian "souvenir" the renown of the great discoverer has. not: profited much by the effort. Some of the work in enameled silver is wonderfully intricate in construction, and so delicate as to be almost transparent. The skill required in its manufacture is very considerable, and. it is said that an entire piece may be destroyed by the least error in pouring the melted enamel: into the last of ten thousand infinitesimal spaces. The greater part of the silver display is furnished by two of the leading establishments of the empire, both of which contribute some fine examples of this peculiar modern Byzantine type of decoration in this ware. Among the examples of industrial art may be cited a model of a Greek galley, very curiously wrought, a magnificent platter belonging to the Czarewitch, a bowl of the Preobra-Jensky Life Guard, and some presentation silver ware, all in the Moscow exhibit. An album containing photographs of prominent buildings in this city is valued at $3000 principally because of a reproduction of the Kremlin in hammered silver on the cover,. Among the more purely artistic work, in statuettes, etc., is one in solid silver of the Czar Alexander breaking the chains of the serfs and liberating Bulgaria. This, with its pedestal of red jasper, is valued at $10,000. The richness of the empire in valuable and semi-precious stones is again set forth here, as it was at Philadelphia, in magnificent fashion. Rock crystal, porphyry, jade, rhodonite, malachite, lapis-lazuli, jasper, aventurine, agate, labrador, crocidolite, and obsidian, may all be found here, their native-opulence enhanced by the arts of the polisher and the stone-cutter. The Imperial Lapidary Works at Peterhof, Ekaterinburg and Barnauhl send a Roman vase in rich green jade and a scroll-like, oblong vessel, style Louis Quinze, in the same material, both of such thinness and translucency that their varying and shifting color is difficult to determine. Still more remarkable are three magnificent cabinets, in hard stone mosaic, whose panels show tropical. scenes, landscapes and birds, executed, on blue and white backgrounds, in green Kalkanski jasper, lapis-lazuli amethyst and other gems, There are also two reproductions, in lapis-lazull and malachite, of vases in the royal palace at St. Petersburg, each about four feet high and valued at $10,000. Here may also be found, in this curious combination of art and 56 IFQORLLEN S -X FXPOSLZT T ON in the Baltic." This effective and massive architectural structure, executed in dark wood, and in which a Byzantine | style is.combinfed with: Slavic detail, follows 'the style of the. seventeenth century,. and is said -to: be similar.; to' the palace at -Kolmno in which -Peter-the Great was born. - The -grand entrailce, at Abe. corner," under "a - ~curious - has-emblazoned. over it the. arms of- the empire, and a . square . pinnacle, . sixty feet in. height, surmounted . by the : double Cagle: "rises over . all. Mme. Semetschkin's stained-glass windows, one on each facade, show in one a "boyar" and a "boyarishna," ) and in the other a "boyarin'" and a "voyevoda" on horseback. These, it is explained, are personages of different social- standing, the last named being the most exalted and a boyar the least in rank, though still of high degree, -A boyarislima is a female The interior of the edifice is reached by two broad steps.. ° It was erected 'in Russia. and,, whens approved. taken down and shipped to Chicago in sections, «being. there. put together again "hy. native. carpenters." The: architect 'is Petrovo Ropette, architect to the : C#ar.. who. designed . the» Russian. lacade_ at. the) Paris: Exposition 'of 1878, and the Russian section at that. of- Copenhagen. in 1888. _ -The latter so pleased ~the King. of Denmark - that it was: presented to him by the Imperial Government and now stands.in the patk at, Fredensborough, the country. residence of the- Danish court, where- it serves as a tea-house for the imperial quests. - It is to be wished that the present pavilion could be preserved in this country to ornament some city' s pleasure grounds. In the iftetior will be found, among many other things, a cutious and. interesting display of art in silver and bronze which will recall to the memory of some visitors the effect produced by the Russian CARNIVAL IN THE ICE PALACE, XVIII CENTURY. - Valerian Ivanovitch Jacoby. exhibit: in- similar productions at the Philadelphia Centennial.. Since them the high artistic value of the bronze statuettes, mostly of equestrian subjects, for which the sculptors of this country seem to have a special gift, has been recognized in all civilized capitals, and an opportunity is here afforded to enjoy a more extended and even more admirable display. [These bronzes are divided into two exhilfits, devoted THE ARTERUESSTH f 59 paintings. But as many of the numerous foreign workmen whom she encouraged came from Europe as well as from Asia, evidences of. the influence; even the direct imitation, of Western ornament and technical methods . may also (be found. of the most: characteristic featutes of Russian decorative art is enameled work, as has been said. The icons, or religions pictures; are, a frank return to archaic Byzantine hicratism.. These are usually executed on a gold ground, and vary from very small dimensions to those larger than 'life. The Greek church, which rejects all carved objects, or those executed in relief, as contrary to the commandment, accepts these representations on a flat surface. In this art there is " but one school and one epoch; the formulas by which the. artists worked were as invatable. as those of / the celebrated school of Mount Athos, which they resembled very closely. The study. of; nature. was replaced by certain: fixed. traditions: the figures" are" characterized by an ungainly, austere, ascetic expression, lean and emaciated as if by rigorous fastings, small, thin-cut eyes,: long, - lank hair; long and scanty beard, the skull abnormally rounded and the bony hand upraised in blessing with the fingers symbolically divided-this last peculiarity being a sign "more cherished and more adhered to as the outward testimony. of a great dogmatic distinction than the sign of the cross as the mark of a Christian.," - The child in the : Madonna's arms "looks more like a small grown-up person with decided features, conveying the idea that even as a child He was divested of the natural expression of infantile weakness. The Blessed Virgin has generally, especially in western Russia, a serious countenance. and is searcely ever made to look upon the Holy Child in her arms. An inclination of the head is the utmost. She is altogether too masculine and stern-looking, as if she must not even know the tenderness of a mother's heart." The celebrated black virgins of the eastern church are of an especial sanctity, though this peculiarity of color was probably due at first to the effect of time on the painting. It has been attributed to a misconception of the passage in the Song of Solomon, "I -am black, but- comely." in mahy of these images the arts of metal work, enamel and jeweled decoration are combined with the painting, the collars and garments, the crowns and nimbuses, being enriched with precious stones, executed in gold or silver-gilt in relief, elaborately repoussé, or enameled in colors on a gold ground. In these pictures but little painting is visible but the head and hands, and even this pecu- liarity was exceeded by the practice which originated in the middle of the eighteenth century of almost entirely covering the picture with a plate of metal simulating the contours of the human figure and the robes, and. permitting only the faces and hands to appear: through openings. In the sixteenth and seventeenth centuries there were several schools of iconography, varying in certain special rules-all work in the Byzantine manner being originally calle d the -'" Khor sounsky / style... The, imagery of illuminated books and . the frescoes of religious edifices fol- lowed the same general tracl- tions, though of late years the mule im Of e realistic influences - of > THE ARRIVAL OF COLUMBEUS' FLOTILLA. Ivan C. Aivazovosky. 58 FT industrial art, a medalion of St. George and the dragon, painted on pearl, a copy of a miniature of the Madonna, framed in white pearls, the original of which was purchased by the President of the World's Columbian-Exposition on one of his. visits: to Russia, etc., etc., ctc. It is in this industrial and decorative art, tather the picture galleries 'of the Fine Arts Building,. that the traditions of the. true native art of Russia are preserved, that -lmeratic, conventionally ornamental art, borrowed - from the East and the West, between which and the determinedly real- istic: standards of . the. modern painters so great a gulf exists. The museums, cathedrals, monas- teries and palaces of the empire still preserve in spite. of : the lapse of 'time and numerous meltings down of national treas- ures : to - supply. national- needs; great -and". rich - stores of- the former. -For these museums and A WEDDING IN LITTLE RUSSIA. Nicolay K. Bodareffsky. picture galleries, as well as for that general introduction of* the. culture of the fine arts which formed. so important a part of his scheme- of Western. civilization | for his people, Russia is indebted to Peter the Great.: With this object in- view he. sent students to Italy, and though the alien art which he thus imported was as unprofitable as. such forced _crowths usually are. the first steps were taken.. "The Academy of the Fine Arts was founded by the Empress Elizabeth in 1757, and further endowed by Catharine II., who gave a new impetus to the gathering of treasures and establishment of art schools and acquired, among other things, that collection of statues the greater patt of which may still be seen in 'the . Hermitage Museum. _ Inan: 1850, after some ~eighty years" of . inactivity, the new wing 'of the Hermitage. was enriched by a large collection sof objects from the different palaces; by order of the Czar Nicholas, the Demidov and Laval collections were bought, and in the early part of the reign of Alexander IL further important acquisitions were made. With regard to the preponderating influence of Oriental traditions in the early art of Russia, the authorities. differ.- Violletle-Duce, who considers this country one of- the. laboratories in which the arts coming". from- all. points of Asia and- Europe have been united to form. a combination intermediate between the» Eastern: and the- Western worlds, holds strongly to this opinion.. Of- the three: principal elements which combined to give origin to this art, the local Scythian, the Byzantine, and tlie Mongol, he: considers that ninetenths came from the East But the pere Martinoff, reviewing this opinion, expresses his confidence that the West, and especially Scandinavia, exercised a more marked influence than is generally supposed. Since the sixteenth century, the paramount influence of the West has fot: been disputed." The- date of the beginning Of . Russian art is generally given as the period of the foundation-of Moscow, in the twelfth century, -and: its culmination as the sixteenth and seven- feenth:--centyuries. 'In addition to. the, preponderating. Byzantine influences, other Asiatic elements, Violletle:Duc observes, may be perceived-" principally in ornament." Byzantine art, itself, was a compound in which various Asiatic elements entered. Traces of this borrowing from the Orient, and by, preference: from Constantinople and Persia, are as visible in Russian goldsmiths' and silversmiths' work, and the other decorative arts connected with it, as in the icons, illuminated MSS. and wall THE ART -RUSSI A 61 The development from this traditional, hieratic art of the realistic, analytical, pessimistic painting of the modern Russian school, though not very apparent, may perhaps be traced. . M. Viollet-le-Duc, in his: "L Art Russe, - seems to give the clue.. The . advantages possessed - by this rigid, hieratic. art which has lost- the: habit of recurring to the study of: nature;-in painting and sculpture, is. that it preserves 'a certain style; and. though it may. conserve nothing else, this . style. may. be. considered a "precious quality" which atones for the absence of many others, especially in statuary and monumental painting.. But when the art-of a nation undertakes to enfranchise itself from this hiectatic art, at: last in a hopeless state of decadence, a great difficulty is encountered if the attempt is made to preserve this ' style while: returning at the same time to the sincere study: of nature,. and: the distinguished author is of the opinion that very few, if any, of the modern artists have succeeded in solving this difficulty. Nevertheless, he thinks that it is mainly a question of judicious consideration, and that everything depends upon the observation of nature, after the manner of those early artists whose names are still the glories of art. For this observation and study, it is necessary to abandon at once all antiquated and conventional methods and depend entirely upon this enlightened recourse to nature, " to strive to reproduce the, dominant character, to observe the. gesture, to disengage the dramatic sense from all that. tends to. ameliorate it." And this observation he finds much trammeled by the conventional and restraining. garments and usages of civilized society. But as an entire nation-does not dwell in salons, as the peasant and the man of the people escapes from these commonplace restrictions, it is still possible SUNDAY IN A VILLAGE. Nicolay Dmitrievitch Dmitrieff-Orenbur. for him who knows how to see and to observe to at a comprehension of the true art, of that which unites style to the reproduction of nature in her general aspects, vivifying and always young. The contemporary painters and sculptors of Russia may not have been consciously working according to this formula for the modernizing and revivifying of the national art, and the success with which they have preserved a certain style in their realistic works may be a matter of opinion, but that they have returned to. the sincere study of nature, very frequently of common-place nature, is made very evident to the visitor who traverses these galleries in the Fine Arts Building. It is very possible that the period of unrest and transition through which the whole nation is believed to be passing may be also characteristic 60 IT OARLEA S COLELEATLIETISIN FAILNXLOSLITLLT ON. Western art have somewhat: modified the.. ancient type: 'of iconography - in out but.. those of genius. In 'the plates inserted in the text of this chapter will be found four selected from the varying points of view which this pictorial archzology takes on. Mr. Grorcor 1: © Custopta®; - found among the water colors, is simply the cheerful domestic, the sort of thing. that Mr. Alma-Fadema would do if his hand were not so heavy. Nothing can be more nat- ural and pleasing than the figure of this little Roman maid,; gone sound asleep in her chair-as was to have been expected-quite 1 2 JFORLLINS COLUMBIAN BXLPOSLLLZLON quite noticeable, the latter seems to have faded and darkened. The fourth of these canvases, the portrait of Captain Burton, the: explorer,. "lean and rugged. and brown," exhibited at the Royal Academy of. 18976, is always reckoned as one of Sir Frederick's masterpieces, In the sculpture department, outside the. picture galleries: doors, he is repre: sented by the same two bronzes that he sent to Paris in 1889, the learned, almost classic, statue of the " Sluggard " twisting his body, as he yawns, on his immovable legs, and the: amusing: little: figure. of the _ yery thin and'undeveloped young girl looking backward over her shoulders at the frog behind ther heels. MB. Groree: F. - Wayrre~. R- A: still remains a painter with two missions, to one of which he was truly called 'and to the other, probably,.self-elected. Long ago Mr. Talgrave :set down in advance for him the probable judgment of history, something to the effect that " all the NAAMAN'S WIFE. Frank W. W. Topham. f world will prefer his work in which he . displays his refinement, grace and fancy, to his attempts in the Zerribile vre of life-size pallegorices. - Nevertheless, it is in the. latter: road» that the painter still persists, scorning.. we. are. informed. like Mr. Burne-Jones, to paint either for exhibitions or "up to exhibition pitch," and the: latest form of his creed, as defined by one of his admirers, is worthy of consideration as a contribution to the characterization of one of the only two national schools of modern art, according to M. Fernand Cormon, quoted elsewhere. "Fine painting" is something " which Mr. Watts has fong sinee rejected im favor of one more compatible with the painted exposition of human thought." Why indifferent painting should be better for this exposition, is not stated, nor why that sincere brush-work which Mr. Watts puts into his portrait studies should not be suitable for other expressions of human thought.. 'The artistic creed of Mr. Watts is well known:; he would exalt painting, and sculpture too, from a glorified handicraft or art to the most elevated medium of intellectual and emotional expression, of esthetic and ethical exposition-would place it, in fact, on a level between the other highest arts, with poetry on this side, and music on that ._. . Could the aftist's ambitions be. realized, he would elect, we believe, that the great series of his symbolical works might be judged far away from the noisy arena of 'the Royal Academy-say, in the room of the Elgin Marbles in the British Museum-with the mind attuned by the reading of the first two books of ' Paradise Lost," and by hearkening to Beethoven's < Moonlight Sonata. What place has such a man in the competition for applause by choice of subject or excellence of technique?" He has been described as a visionary; and so in- @ sense he is His vision is the glorification of his art's mission ; his practice, the sounding of the human mind and heart, and his. qin. the representation to the eye of human passion and even of metaphysical reflections." Mr. Watts . IHR ARLA~-GREATFT BRILL ALIN 21 sculptural feeling is shown in the arbitrary manner in which the graceful group of Selene and Endymion is joined to the heads and necks of the plunging winged horses. More of this variability of tempera- ment may be seen in the two works sent by Mr. Conrad Dressler, a big, commonplace medallion of the first stage of life according to the melancholy Jacques and a very handsome, distinguished bronze bust of a sort of Sir Joshua Reynolds " Bacchante," curiously original and interesting. Mr: Watts, the painter, is represented in this outside gallery by another version, this time in bronze, of that twisted, tormented bust of Clytie, with which he has more than once sought to supersede the well-known antique, serene if somewhat insipid, version. Much more successful is the of Grorce EFramrron of London, a life-size, bronze nude figure of a dancing girl, standing on tiptoe in her slippers and balancing in her hands sprays of the teazle plant. Of his three other works, the best ig the. halflength marhle figure of a Singing Girl.": The "Caprice "' was first shown . at the: Royal Academy of 1891, and was voted by the critics to be "something French." . At the same exhibition Louis xt Seymour Lucas. appeared also another work shown here, a "Morpheus," by John W. Goscombe, of which one of these commentators said, quite justly '--'"A certain ~ meanness of proportion. a certain infelicity in the choice of the model, militate against the complete success of Mr. Goscombe's marble statue, ' Morpheus," which excels, nevertheless, in certain rare qualities peculiar to Greck rather than to modern art,... The wliole of the undraped figure, not less than the half-hidden face, expresses, with a harmonious consensus of the component elements, this main motive of drowsiness, and does so with a reticence and a rhythmical balance evidently derived from classical example.". That this seulptor is:- not wholly: classic is shown by his second contribution, a carefully studied and excellently rendered head of a very old woman. Another ol these worthy realistic studies is that of a " Ruffian, . brome bust by Miss E. M. Moore of, London, Mr. Henry Holiday, on the contrary, is mildly classic, his full-length, recumbent figure of a sleeping j girl being founded upon the famous " Ariadne . of the Vatican. Mr. Horace Montford sends a very indifferent " Birth of Venus," and -a-better bronze statuette, " Threatened Reprisals," of an old subject. I4 JFORED'S «COECUHMBIALN - ENLOSLLIUON without consideration for the importance of her office.. Ms. J. R. Wrecugrin, in his Racer, has been also more concerned for the general quality and style of his painting than for any considerations of learning or morality. He has found an excellent subject in that commendable Hellenic custom which looked toward providing healthful mothers for the future State, and has made a good composition- his tender virgins, somewhat too much alike, waiting impatiently in a fluttering row the signal that is to send them down the long course like arrows., This picture is from the: collection of. the Earl of Eldon. Messes. Hereert Scumarnz and Va C. Prinsep are much more serious and didactic in intent-the former, indeed, has certain very serious opinions concerning the duty of the "Christian painter," which he expounds, from time to time, in public: and private.. His large canvas, usto Dran : Curistianak ap first exhibited at the Royal Academy of 1888, is one. of. those dramatic scenes of Christian martyrdom 'in Roman times which the painters will probably continue to paint HIDE AND SEEK. | John Callicott Horsley. indefinitely-the Impressionists, possibly not, but the realists and the mystics of the Society of the Rose w Croix, certainly. In the somewhat unnecessary nudity of his victims Mr. Schmalz seems to have borrowed a suggestion from the French school; or he may have intended to demonstrate the extremity of the sacrifice. Mr. Prinsep, A. R. A., is more hortative and much less pictorial ; his canvas requires a literary explanation which is, that this Christian slave, in his holy zeal, has thrown down and broken. one "of-the most valuable idols: of this Roman household of the time. of Diocletian, and is accordingly put in chains and brought before his mistress preparatory to being appropriately flayed. Seizing this opportunity he proceeds to expound, with more or less effect upon his hearers, excepting only the Vicarius, the slave-driver, whose anticipatory attitude is the best in the composition. - Chis picture, exhibited at the Royal Academy of 1892, is quite a departure from the painter's usual walks. After the President's name the most popularly-distinguished probably is that of Mr. Laurens Arma- TAapema, R. A., and a reproduction of one of his latest and most appreciated works is accordingly THB ARI --GREAT 23 the " Northwest Passage: do not tind rather cause to grieve than to rejoice in hs demonstration at Chicago, important though it is. In England it is said that the progress of years has somewhat affected the baronet s art, but it may_-more charitably be thought that-a certain. frostiness has. settled: on. Ins judgment. Otherwise there could have been selected from among even his modern work something better, something less strictly popular and commercial, than most of these canvases, four of which are for sale. In none of these is there anything of that subtle and intelligent combining of figures with their landscape to make -an artistic unity which the English painters do rather better than any others, and which no one does better than Sir John when at his best. As in his "Vale of Rest," now in the Tate Collection, and first exhibited in 1859, or the. " Blow,: Blow," thou Winter - Wind,. -of the- Royal Academy of 18932. It: is rather discouraging to discover that one. of Iheban eagle, the. ' sweetmeat. statuary" of Nir. Edwin Long, his delicious 'contectionery in paint, might well be found wanting in excitement and. in savor." But good painters are to be found even in the Academy, and some of them have come to Chicago. The late Frank Holl was one of the most successful, as he was one of the most national in his traits-- even to the extent of importing the determined woe of his earlier compositions into his later portraits of prosperous=sitters, the funereal gloom of " Ihe Lord giveth and the Lord taketh away,. for instance, into. the portrait of Sir Archibald Cumbleson, Bart. At least, this charge has. been brouglit against him:. His five portraits at Chicago were all good examples of. lis generally sincere, conscientious work, with no special charm or originality of brush-work or of insight, but with the air of looking like the sitter. - In the long stretches of these galleries the spots made by the portraits are not very numerous, and these works nearly always strike the spectator as important examples-which is much more than can alwaystbe said of the presentations of sitters in painting exhibitions; Professor Herkomer, for example, sends his picture of the handsome, frowning Miss Katharine Grant, painted in 1885 and shown at the Paris Exposition, but he also sends, under the title of "Entranced-'In some diviner mood of self- oblivion solitude," " another portrait of a lady that is even more of a complete misfit than the choice of subject foreordained it to be. His third contribution, or rather his first in importance, is the famous "Last Muster," the work which established his reputation when first shown at the Royal Academy in 1875s, in his twenty-sixth year, The applause with which it was received was re-echoed in- Paris at the International Exposition three years later when it received a medal of honor. This picture is in the collection of Mt.: W. Cuthbert Quilter... M. F. Mr. Orchardson, R. A., sends only a portrait group of a mother and child, though his reputation- which is much greater in Great Britain than elsewhere-has been founded almost exclusively on his 24 H ORLELIT S EXPOSIIION Mr. J. W. Waterhouse, A. R. A., is a painter of antique themes of a very different quality. With one or two exceptions, he is the youngest of the Associates, and he was elected on the merits of some. dozen pictures only, the work of as many years.. Not only does he. range through, a very extensive clioice 'of themes-as. from the strictly Alma-Tadema of- " Manamne or the "Emperor Honorius" to such iits of pure. imagination. as the "Sleep and Death of the R. A. of 1874-but he shows at one time French influences, is at another purely original, or catholic, and lately, in two pictures at least, seems to manifest a tendency towards Mr. Burne-Jones which is to be deprecated. It is said that he, himself, would choose to be represented to posterity rather by this latest manifestation, the "Danat" of i892 for example, than by any other.. At the Chicago Exposition, however, as at that of Paris in 1889, his exhibit is confined to the "Mariamne," first shown at the Royal Academy of 1887, and this choice, on the whole, is probably to be regretted, valuable as this work iss The painting of the marble stairway in the foreground and of the marble and metal lion is quite admirable, but otherwise the picture scarcely shows Mr. Waterhouse at his best.: It is Josephus who gives us the story of this unhappy queen of Herod the Great, delivered by him to death at the treacherous insti- gation of his sister and mother, Salome and Alexandra, jealous of her and irritated by her taunts as. to their meauness of birth.: So "she went to her death with an unshaken firmness of mind, and without chinging the color of her face, and thereby evidently discovered the nobility of her descent to the spectators, even in the last moment of her life. Thus died Mariaqmne." The painter shows her slowly descending the steps of the pretorium, draped in white and chained with gold, casting a proud: but reproachful look at her cowering husband and his shamefaced mother beside him. Another painter with an extensive tange was the late Jon EPrruig, R. A.;=-almost any,, not too imaginative, figure subject being within his appreciation, from grave historical incidents to humorous genre, or even sporting incidents. His important work, "The Traitor," first seen at Burlington House in 1889, appears in all the official catalogues of the Chicago Exposition, but was not present. In its stead is shown a much simpler and. stronger work, one, indeed, that in its sombre and most unsparing presentation of a tragic and ignoble incident reveals unsuspected qualities of imaginative force in the artist. " Monmoute Pueapincg ror His Lirg eerorE Jamgs IIL" is founded only too closely upon historical truth. When brought before the king, after the collapse of his brief rebellion, * Remember, Sire, that F am the son of your brother, he cried, throwing himself at the feet of. the monarch," it is your" own blood that you - shed. in shedding mine." ~* Your crime is too great," coldly replied James. The wretched duke, his hands pinioned behind him, stoops so low before the king that his long wig coils on the Aioor ; in his profile, red with weeping, may be seen the extremity of his abasement. The interview takes place in a bare and otherwise solitary apartment ; it would. certainly be unnecessary to relate the story any. more clearly. Mr. Peéettie's second picture, " Boxxy LEFT IN CHARGE. James Charles. Princes Cn:arute," reproduced for our THE BRITAIN 27 The R. A.;, as we Here is one of its have said, with all its faults, recognizes merit: sometimes; very latest accessions, Mr. Journ MacwHirtE®R, elected from an Associate to a full Academician in this very summer of 1893, f o and represented at Chicago by three examples, the best of which, a study of the fishing village of Corrtg, Istz or Arran, is reproduced for these pages. PA reproduction is also given of the graphic and somewhat pathetic version of OLIVER Twist walking to. London, by. Jaurs Sast, R. A;, the shepherd's. dog bounding unnoticed by the absorbed boy, and the shepherd himself disappearing in the mist of the The: «Loprs X1." of. Max. Lucas, A. R. A., from the: Academy of 1890, has the air of being inspired by a very well rendered scene in roadside: exhibition Mr. Irving's presentation of this amiable monarch. Here, however, the incident takes place in a peasant's cottage, the king, rather more sumptuous, than usual but wearing his famous cap with its string of. leaden saints; sits on a wooden stool in the chimney: place and beams grimly at the little girl who seeks refuge from him at her mother's side:. The father, busy in the fire-place, grins, and tlie baby at. table looks on. askance, The king's character is cleverly rendered, but not forcibly. Mas. Sbrymotr Lucas is also an historical painter, and our etching reproduces her presentation of .the baby Hixry VI.. proclaimed. By the Grace of God: Kynge of England, of France. and Lord of Ireland:" in. his ninth month, and who had lost them all at Ins death in hms. fiftieth year having: in- intellect scarcely advanced from Ins: cradle all his days, though both amiable and marg pious... During his nominal reign the English won their last great fe fhotycolt. yietory in France! that of in. 1424 ; burned Joan ~of Arc; were expelled from France:; saw Jack Cade in possession of London; and the monarch by: the outbreak of. the War of the: Roses. : Mrs. Lucas portrays the infant holding his bdi/dogwet, dressed in white and ermine, and surrounded crimson drapings of his sovereignty. Among the other paintings which are concerned with historical but rather from the point of view of the people than from that of the sovereigns- and reproduced. by etching for this publication, may be found Miss Irssir Mac GREGOR'S young mother. in an orange-red gown, cowering over the cradle of her. babe in. tThe " Rriow or Trrroxr," from the Royal Academy of 1891, Mx. Fraxk Brancwyn's gray "Con- vIct Snip," from that of the following year, and Mr. Joseru Nasu's fine illustration of some of the manners and customs of the eighteenth century, "A Winter MorniInc." The last named is a water-color, as is also CHarLESs GrREEN's speaking representation of the first meeting of the immortal) " Preswick Ciup, "-a convocation much more red! to many, readers than most of the historical ones. Cart" Senmorsser, who is a London painter, despite his name, paints once. more .the »story, so. popular. on. the otlier: side of. the: channel; of- Morirkr reading to his old servant his "La Foret," to judge of its probable effect upon an audience. Also among the full-page plates may be found the naval painter, OverEn's, spirited revival " of the old-time maritime glories of England, ': Victory ''. IT'nr Prize Crew Tarkisxc Possrsston," of some ruined French or Spanish three-decker ; Mn.. Fesuekics Hart's: amusing « Resuir or Hicg Livisc," on the part of a pampered spaniel, first shown at the Royal Academy in 1892; the soberly and truthfully painted stady of "Tus Frgay" of some little C 26 COLUAMBIAN -EXPOSLTZIICN figure subjects -something between genre and historical, He has lately abandoned in a measure that too great fondness for yellows and for a sort of treacly sweetness of color which so long distinguished his works, but it is still somewhat difficult for the un-British to join in the very great laudation maintained in the Queen's dominions. "An artist to the tips of Iis fingers-a great artist,. says - Mr. Spiecimann in 1890. is. a marvelous colorist. his brush-work is- facile, original, and. unfailing. in - effect." Of his three pictures in the Tate Collection, the same critic avers that " they display a level -of exeel- lence that posterity will assuredly contemplate with patriotic pride.} ''He has indeed such exquisite grate," says a blographer, " not of line merely, but of execution, that his brush.." etc... etc. - Thesecare great qualities; and Mr. Orchardson was promptly taken to the bosom of the. Royal Academy. 'The general excellence of Mr. Watts' portraits have already been alluded to, and his two in these galleries- of Robert Browning and of Walter Crane-are among the serious examples of British art represented. Though it. can scarcely be. said that the likeness in the. latter case is striking. - Mr. Watts's justly counted ambng the leaders in that revival of the art of portraiture in England which has taken place within the last twenty years, and which it is believed will be more permanent in/its results» than the corresponding advance in any other division of pictorial art, Millais, Herkomer, Holl and Ouless are all thought to have aided in this uplifting, and the latter, also of the Academy, and represented at Chicagoyby two. portraits, has been, said, in his best work, to excel Mr. Holl as much in earnestness and grasp of character as the latter is his superior in breadth and general effectiveness of execution. And, while still in the pursuit of this branch of knowledge, the visitor may glance: at. the. excellent portrait of a gentleman by Mr. Lockhart, of the Royal Scottish Academy, and at those of a number of pretty maids and young ladies by Messrs. Hacker, Perugini, Wirgman and Wortley, of no Academy at all. SPRING-TIME. "THE ONLY PRETTY RING-TIME." Arthur Hopkins. PERCEK FISHERMEN, GULF OF ST. LAWRENCE. F. McKnowles. AUSTRALASIA AND CANADA *As IX THE DAYS oF Orp." .F. P. Mahoney. HE colonies of-the. British Empire contribute a not umimportant exhibit to the general aggregation at Jackson. Park.... The two largest and most widely separated, those of Canada and of Australasia, ate represented buildings of their own, pears. the lake front, hy separate galleries .in the. Fine. Arts palace, and in most of the other capital divisions .of the -~Fair. . The Canadian building. -and. that ~of New South Wales,. the ~latter galled the Australia House, stand near together; adjoining the Spanish Valencian Sik Exchange. and just-across the road from the British Victoria House. The first named is a plain, rectangular pavilion, encompassed on all- sides - by. 'a. wide veranda." and embellished _on.. the. front 'and» rear- elevations . by- semicircular projections in the. cenitre of the facade,. that of the front rising in a ccireular towet above the roof.. This edifice: was designed by the Department of Public Works of Ottawa, and the interior is finished in native woods, highly polished to show the natural grain. Each province furnished the wood required to. finish the rooms: occupied by its commissioners, and the very first exhihit to. reach: the. World's Columbian Exposition, it is said, consisted of thirteen enormous logs for this building. The productions of all the provinces are represented by samples of the mineral, timber, agricultural, manufactured, domestic, fisheries and dairy products -including a block of pure nickel weighing 4600 pounds, and an eleven-ton cheese. 29 28 WT CoOLUMEBLAN seaport town, by WartEr of Dublin, and G. Goopwin KirsournE's "Goop AccommMopaTION ror Max anp Breast." Certain of the more important figure painters, leaders of movements and provokers of contention, are not represented in these galleries, large as they are, or not adequately represented, _but one: of the most important of the last generation, "one of the very last of the line of historical painters in England,"" who adopted "archaism," to quote his own words, as a man yields to fate, Mr. Ford Madox Brown, the master of Rossetti, has two examples, the: famous = Romeo and Juliet," thin and. fiat. and given to: reds, and a small: copy of his. W icliff on Trial," designed Afor the - Manchester Town Hall. Of the more promising of the. younger figure painters certain typical examples have been selected for reproduction in these pages,-Mr. Jamrs Cnartrs' sleepy old cottager " LErt In Charee. of the baby: Ms. Artuur Hopkins almost too pretty " Sraixc-rimer, Tur Oxoy Pretrvy Rincg-rms A the figure from G. P. Jacomug-Hoon's life-size, admirably-painted "Summer" bather; and that of Mrs. Kars Perveint's " Tomsov." The "Wicliff" was shown at the Grosvenor Gallery exhibition in 1890, and the "Tomboy" at the New Gallery in 1892. The list of English painters of landscapes and marines is honorably led off by the name of Mr. Henry Moore, just promoted this summer of 1893 from his Associateship to a full Academician, and one of the most distinguished painters of the sea of any school. After him come several others, John Brett, David Murray, B. W. Leader and Colin Hunter, all A. R. A "s to mention H. W, B. Davis and Teter Graham; Academicians -all of them repre- sented in these galleries. *MY CEKOWNX.AKD sCETTEE.'. I. C: Gotch. IHH AK T-GREAT BRETALIN 31 'The Nationa! Art Gallery of Victoria and the Australian Artists i are situated in Melbourne; Bal- larat and Bendigo have public art galleries, and thirty-six schools of design are estab- lished in various parts of this colony.. in South Australia, the National Art Gallery of the province and a school of design are located -in Ade: laide ;> Queensland | proposes to establish an. art gallery ; Western Austral# opened its STONEHENGE, NEW ENGLAND. W. Lister Lister. first aan ual. exhibition 'of paintings in Perth in June, 1890, and Tasmania has an Art Society which holds annual exhibitions at Hobart. In addition to all these there is a comprehensive Royal Anglo-Australian Society of Artists under the. management of a joint Committee of Guarantors from the. three. colonies.. Even New Zealand has six.Societics of Art, Schools of Art, Fine Arts Associations, etc. f As a recent writer on the " Art of Australia" remarks,-" Reverie, the cradle. of artistic imagination, does not suit the frame of mind of pioneers," and the themes which have inspired these newer artists are those which might be expected to spring most naturally from the soil of a new country. Not but what there have been instances of more imaginative painters -there is Mr. Rupert C. W. Bunny, an Australian, for example, whose work is well known in England and who exhibited at the Salon of 1803, a so-called " Pastoral," a. youns Orpheus, fluting on the sea-shore a young girls head on his shoulder and the fauns and the mermaids sitting attentive by, Unfortunately, this artist does not appear in the Jackson Park galleries. Probably the best-known Canadian artist in Europe-after Mr. Wyatt Eaton who has become practically a citizen of the United States-is Mr. Paul Peel, of the Royal Canadian Academy,. recently deceased, who: has exlnibited at. the Patis. Salons. and. clsewhere. cettain, genre compositions quite acceptable in technical qualities and sometimes with a charming touch of humor. i Here, Mr. Peel is represented. by a " Venetian: Bather,"" scarcely-one of Ins best works. But in general this colonial art is of the more direct kind, as may be seen in the: examples chosen for reproduction in these pages. Much the most ambitious of these is Mr. Henry cheerful, decoratively arranged,-perhaps a trifle too much like a scene from a light opera-"Fourmpixc or Marviaxpn, Marc: 27, 1634." The necessary negotiations with the native red men for the transferral of their. rights are. carried on in the foreground in the usual picturesque manner; the bulky movable property of the new settlers is carried ashore by the willing sailors ; and in the middle distance Lord Baltimore's musketeers, drawn up with military precision, fire a salute in the air all along the line, like one man, without, apparently, attracting any attention to themselves. Mr. Sandham now lives in Boston, Mass., and is known in this country also as an illustrator. His picture will be found among the full-page etchings. - Among the textual cuts are given three more compositions in which the circumstances of time and place have enabled the painters to form a more intimate acquaintance with their subjects-Mr. Knxowrrs' carefully studied and rendered Pein air, "Prerck Fisugrmrx, Guur or St. Lawrrsxcr," and Mar. G. A. Rr:in's two interiors, 30 IFORED S. LLON The Australia House is somewhat more classical and ambitious in design and ornamentation,- perhaps because 'it represents a newer colony, and was. constructed by an eminent firm of Chicago architects. . Across the front of the bmlding extends a -wide portico the roof of which is supported by six Doric columns,: two-and-a-half feet in diameter and twenty feet high: a large Doric pilaster at each of the corners repeats this motif; the exterior walls terminate at the roof in (a' cornice, with and a balustrade, and all the openings have molded architraves and cornices, with a pair of molded modillions under each window. From the wide central hallway which traverses the interior may be seen the interior; of the central polygonal dome which crowns. the edifice... In strony.. contrast with . this sophisticated little palace is the Australian squatters hut, situated on the eastern end of the small islet that lies south of the large Wooded Isle:: and in the -ethnological department may be found fourteen Australian natives,. In addition to the usual large array. of practical products furnished by young countries, there are some curious diversions among the exhibits from these colonies,-such as a remarkable astronomical clock. from. Sydhey, forty feet high and: twenty-live feet square at the base, and one of the largest gold nuggets ever found, weighing 3.040 ounces, and appropriately christened «The Welcome Stranger." & in the Fine Arts building proper the two galleries devoted to Canada are placed at the entrance of the big british section, as it were, opening olf the east side of the great bouth Court-where they suffer much from insufficient lighting-and those of New South Wales, in the corner immediately above, of the upper floor, and also in Australia House. The Canadian pictures, oils and water-colors, number very nearly two hundred; those of the austral colonies, sculpture, paintings and drawings, two hundred and. thirty; ninety-nine of these.. however,. are careful studies of Australasian flora, painted by Mrs. Ellis Rowan. These numbers are not so large when an account is taken of the proportion of art schools, ' institutions,. etc., to be found in these outlying dependencies of the great world of art. In Canada,: Ottawa has the National Art Gallery of Canada and the Art Association of Ottawa, the former under the direction of the Department of Public Works, and containing some representative examples of the. great painters of the home country. and the other, aided and encouraged by the Princess Louise and the- Marquis of Lorne. maintains a class for. advanced: study from the. nude. In Toronto is the Royal Canadian Academy and the Ontario Society of Artists, both. maintaining annual exhibitions; in Ontario, a School of Art: in Montreal, the Art Association of Montreal, and in St. Jolin, New Brunswick, the Owens Att Institution. - The Aus- fralasian . colonies .are still more numerously supplied. The National Art Gallery of New South Wales, in Sydney, is an important institution with a gallery of European paintings and - aided by -the government, the Art Society of New South Wales gives annual exhibitions, and there is also the Australian Acad- THE FORECLOSURE OF THE MORTGAGE. G. A. Reid. emy of Arts, of the same city. A DUET. Franz Simm. f GERMANY AND AUSTRIA NLIKE the British fine arts commission-which avowed with considerable frankness. that the principal object in the efforts put forth to obtain a worthy representation of British art at Chicago was to make a bid for the American market against their French rivals-the North German com- missioner took lofty grounds. The art of the Fatherland, he averred, was sufficient for itself ; noble, self-reliant and self- sustained, it had no need to bid for foreign approval or foreign purchasers. - If the stranger-appreciated if, very 'spod :. it not. there were connoisseurs and collectors enough at home. This was certainly a. commendable. spirit in which to. get up a worthy national fine 'art collection, and there are-evidences of this lack of commercialism in the exhibit sent. ~Both the artists and the Government took a great interest in this enterprise, important: works were secured from private and public galleries, and the original government appropriation of H. M. EMPEROR WILLIAM II. Max Koner. a A $000,060 marks was greatly increased.. In Austfia, also, but little effort was made to get together pictures to sell, but thirty or forty of these being found among the hundred and sixty-six canvases, the art commissioner declared. The Emperor has loaned several pictures from his private collection ; and by both nations the results are said to be fairly representative of their modern art culture. 33 32 F - COLOGABIAIN EXLPOSLTLTION: "ForEcrosure or tur Morreace" and "Vistr or tur Ciocm-maxkEr." Mr. .Knowles fishermen are seriously absorbed in their occupation and not at all concerned about the painter; Mr. Reid's sitters have been more calculating, and have disposed themselves in the most advantageous manner with regard to lighting,. effect, etc. Nevertheless, they contrive to render the situation very clearly, and the old clock maker, with the window light sifting through his hoary locks, is conscientiously and naturally at his work. Mr. Reid exhibits a number of paintings, and Mr. Knowles only this one water-color. Both artists are members of the Royal Canadian Academy. Landscape naturally occupies very. much of the. attention of the painters of: a new society;: and is naturally rendered by them in a more or less topographically-accurate method, but an example in which something more has been felt than the engineer or the photographer would have experienced in the same. situation fnay be seen in the full-page reproduction of Max. C. H. Huxy's rendering of the beautiful harbor of SypxnEyv, a deservedly favorite subject with the Australian landscapists. This view is taken from the north shore, at early evening, and something of the peacefulness and mellowness of the oldest of legends seems to settle over this pioneer's bay. This painting is one of a. loan collection exhibited by the Trustees of the National Art Gallery of New South Wales, Sydney, .as is also Mr. W. Lisrer Lister's water-color reproduction of " Sroxemgncr, New Excriaxp," in which the facts are judiciously given and the immaterial things mostly left out. And something of the real national flavor- evidences of being that growth of the soil which, we are told, all national art should be-may be found in Mr, Friant P. " As in tur Days or (Orpb," with its. spirited and intelligent rendering of some nameless backwoods encounter. This picture was first shown at the annual exhibition of the New South Wales Art Socicty in i892. 'The sculpture exhibit from these colonies consists of: five works, tliree portrait busts, one in marble, some specimens of fruits in New South Wales marble, and a figure of " Diana" in New South Wales freestone. THE VISIT OF THE CLOCK-MAKER. G. A. Reid. IHE ARLI-CGERMANY® ANL AUSTRLA AJ '*sUFFER LITTLE CHILDREN TO COME UNTO ME." Julius Schmid. forehead, sunken eyes, a mouth unquiet, crabbed, willful, bizarre-everything that is intelligent and original.. He is a sculptor of excellent parts, tis Monsicur. Begas." Another distinguished name in the German records is that of Professor Max Liebermann, and the presence of some of his work was considered to be almost next in importance to that of Menzel's to complete this historic presentation of the contemporary national art. The period is long since past when this professor's talent was more appreciated abroad than at home 'and when his first picture produced such excitement and. disapproval in the venerable and conventional art school 'of. Weimar. . His. two exhibits. at Chicago, the Dutch Village Road" :and. the large Flax Barn," both of: them Ampoftant «ompositions with many figures, are good examples of that conscientious study of nature, perhaps a trifle uninspired, to which-with the exception of his "Jesus Among the Doctors," of 1879-he has devoted his talent.. Of the portraits of Professor Lenbach of Munich, two distinguished representatives have been sent to Chicago. andsof very distinguished ~sitters, Prince Bismarck and Fope leo XIll., both of 'them loaned by the Bavarian Government.. The singularly cadaverous appearance of His , Holiness-contrasting so strongly with his portrait by Chartran in the adjoining French galleries-may be taken to be an evidence of that strong "conscientiousness"' which, it is said, Lenbach brings to all his work. Of Professor Defregger, also of Munich, there are three examples, of which the study of a girl reading, "(In Sunday Quietness," is probably the most sincerely aftistic, while the " Dancing Begins ° is 'the. most fepresentative of that school of Tyrolese genre at the head of which are generally recog- nized DelregGer, Matthias Schimd and Alois Gabi. Schmid will be found in the Austrian galleries, and of Professor Gabl two excellent representatives are here shown, the " Inoculators Room," loaned by the Bavarian Government, and the better " Brauschenke (Bavarian Inn) The latter, with its long procession of freshfaced Bavarian maids waiting, its knowing arrangement, and its touches of humor, is an admirable example of that method of taking your naturalistic studies and embellishing them with a Mitte strace, a little wit and a good deal of color, in which this painter, whem at his best, excels Schmid and far excels Defregger. 34 COLOCMBILAN. EXRPOSIETZION These galleries occupy the northwest corner of the great rectangle of the Fine Arts palace- Germany filling seven, and Austria only five. The German architectural exhibit, models and drawings, overflows into the West Court and the upper galleries on the north side of the same. Of course there is a considerable quality of officialism about all that is formally undertaken by this great military empire, but the heavy hand of Imperialism is not too strongly felt, and even the official portraits, military reviews, apotheoses, models of imperial palaces, etc., are not very numerous. The getting away from French influences is almost as complete as in the British galleries, nor are there any greater evidences of that heavy, metaphysical school of Cornelius and his " Nazarites," which accompanied and assisted the revolt against French ideas after the fall of Napoleon. In fact, the modern North German art, as represented in these galleries, seems to be infused, almost entirely, with those naturalistic tendencies which character- ized the third movement of the great "revival " of Teutonic art and which began somewhere about 1830. Great efforts were made to secure for the greater glory of this German art exhibit the co-operation of that veteran whose birth dates backward to the year of Waterloo, only five years after the arrival in Rome of Cornelius, Overbeck, Veit, Schadow and Schnorr, and the inauguration of their school of German Christian 'and Romantic Art. - It was a very different doctrine that Menzel preached, and it is the triumph of his school and not of theirs that fills the galleries of Jackson Park.. Absorbed in his numerous occupations the aged artist was at first indifferent to the claims, of the distant. Western Expositron, but was finally prevailed upon to. contribute. to. the com- pleteness of the national display. Several of his most important paintings, including sime of. his more recent ones which had never been exhibited, were promised, and MARKET. Aug. von Pettenkofen. said to be on their way to this country ; but in fact only one painting in oil, the "Rolling Mill," dated 1875, and loaned by the National Gallery of Berlin, appears on these walls: This big canvas is, however, an eminently representative example, and well sets forth both the vigor and truthfulness of his work and the incompleteness of his "unsparing veracity," and also the: fact that. he does frequently " tire us with commonplace facts," which his admirers deny. In addition to this work there are in 'the upper galleries some seventeen water-colors, gouaches and pen drawings which represent another side of his talent, many 'of them, as the studies of armor, marvels of patient and most exact rendering. The set of little designs in color for a Table Set for their: Royal Highnesses the Crown Prince and Crown Princess, loaned by the National Gallery of Berlin, has not much to commend it to any but German eyes, being frequently heavy both in conception and execution. In the outer gallery, North Court, may be seen Professor Reinhold Begas' famous and veracious bust of the distinguished painter, also the property of the National Gallery. When exhibited at the Paris Exposition of 1878 this marble attracted great attention :-"It shows us," said the (Crazeite des Beanx-Arits, "a little man smothered in a muffler and overwhelmed in a great coat; a type of the purest German characteristics, bulging high THE AND AUSTR]LIA 37 mmm EMPEROR WILLIAM II. WHALING ON BOARD THE "DUNCAN GREY." - Prof. Carl Saltzmann. La a woman, in great trouble, is leaning against a fence in the foreground and following apprehensively with her eyes the disappearing figure of her husband who has turned off the road to demand shelter at the door of the nearest cabin.. The poverty and loneliness of the seene are rendered with true pathos, and without that touch of sordidness which characterizes another work in which he has treated the same theme, and in which the pair go wearily along a wintry road, he wearing the blouse and carrying the carpenter's box of tools of. the modern workman. _ In the United States loan collection, from private galleries, this artist is also represented by a "Sewing Bee in Holland," loaned by Mrs. L. Chifist. Delmonico. The list of the works of these distinguished Munich professors is by no means yet exhausted. Among those whose names are best known in this country may be cited, in addition to those already enumerated, Professors Lindenschmidt, Seitz and Zimmermann, the first quite of Munich, although much of his education was obtained abroad. In these galleries he is represented by one of his historical studies, of the childhood of Anne Boleyn. Professor Anton Seitz sends a painting, 'Music, {*marked by his characteristic appreciation of what might be defined as the subtle qualities of a comfortable genre ; and Professor Otto Seitz-more of a follower of the peculiar romantic school of Schwind-nine pencil drawings. Professor Ernst Zimmermann-who is to be distinguished from at least six other well known painters of the same name-is represented by a " Still-life" study, loaned- by the State pf Bavaria, and a new, and somewhat disrespectful, version of Columbus and his egg, much in the manfier of Anton-Seitz,.. 'The great discoverer. knocks out the bottom of :-his egg on the table, and: then purses up his mouth and casts up his eyes in solemn enjoyment of the discomfiture of.the courtiers. Still _ of this Historical Society was in session at. Washington and. Doctor Zaremba brought his Columbus monument scheme before that body. A committee was appointed to confer with the President of the United States with the hope that lhe would «call the attention of Congress to the best manner of celebrating the fourth centenary of Ametica's discovery. . Following this action the city of Philadelphia sent a committee to Washington for the purpose of getting an appropria- tion for such a celebration; to be held in that city,. lis is said to have been the. first intimation of a World's Fair to celebrate America's discovery by Columbus to be held in this country. The. movement to secure the celebration for Chicago had meanwhile been continued, and in 1885s a committee was appointed from the Commercial Union League and the Iroquois Club of that city to take action on. the matter and report, Interest in the scheme was also. increasing in. other. parts. of. the country, -and. early in 1856 a Board of Promotion, to secure Congressional action in the imatter, was organized in New England. July 31st, of the same year, benator Moar, ot Massachusetts, introduced a resolution for the appointment of a joint Congressional committee of fourteen to consider the advisability of holding such a fair -the Senator's plan contemplating the erection of permanent and temporary buildings for this. purpose in Washington City. But, three years later, July 22, 1889, the. Mayor of Chicago. brought the matter before a meeting of the city council and a resolution was passed authorizing hin to appoint a committee of one hundred citizens to induce Congress to locate the. World's Fair in that city. . It was this action which practically settled the question of location.. The committee appointed by the Mayor went vigorously to work, " ringing ' resolutions were adopted, and in August a license was granted by the Secretary of State of Illinois to De Witt C.. Cregier, the Mayor, and others to open subscription for a corporation having this object in view. - Decem- ber totly, the first World's Fair bill was introduced in the United States Senate by Senator Cullom, of Illinois, and in the following January battle was joined. before the Senate. committee by dele- gations from the various cities contending for this honor, with the result that 'on February 24, 1890,.Congress voted. the Fair to Chicago. It has been claimed, with considerable show of reason, that the Government, as though repenting this award, immediately proceeded 'to hamper it with unexpected and. unfair conditions and has never .since shown any warmer sentiments. towards the enterprise than chilly. indificrence... '~ The. only. thing yoluntcered by Congress,." says-one distinguished chromicler, "has beech an investigation, and its only anxicty has been to escape expense." The- theory. of the whole enterprise was, that the city chosen as site for the Fair should furnish a suitable locality and buildings, satisfactory to. the Government's Commission, and. then conduct the mere. business administration of running the Exposition.. The whole general control, the scope of the Fair, all communications with foreign nations and with exhibitors, and all matters of award, were to be regulated. by the National Commission. - Under these conditions, the sum to be furnished by the city was fixed at five millions of dollars, but atter Chicago had been chosen the repre- sentatives of one of the unsuccessful cities happened to say that, if had. been given the Fair, it would have contributed ten millions,. . Wheretipon the Congressional committee decided that Chicago must, promise to furnish this amount, double. that : which Congress itself had adopted, The representatives of the victony. By Carl Bitters." Drfwn by Gen. W. Breck. / Western city, thus brought to face an unforeseen: condition, LHALE AARCIHLIILIELECLEURE xii ACKSON PARK, in Cos J its southern portion, was 'a flat, dreary piece of. ground . .. = stretching along the lake | az s v ese ss e> (3&1 shore, seven miles from s ' the City Hall: consisting mostly of a series of low sand dunes thrown up successively by the lake and. of- the swampy flat swales between them. There were. no trees of any size, and no. back- ground excepting - the sky and the lake... A locality. more. different than that. of the, Paris Exposition of 1889, or even than that 'of _ the _" one . of 1876, it would be dif. ficult to imagine.. ; But in this unpromising bit of suburbs the land seape. architects ._ saw great. possibilities, -and the whole. " White City tose: in. their mental vision . where to - the uninspired was only dump- ing ground.. The stunted dwarlish trees which maintained theinselves in this thin soil against the lake winds were protected and made the most of; the. super: soil, : a light, triable. loam, was caretully peeled, off and stored for. future use: dredges hollowed out the low places to make beds for the lagoon: and =the canals, and the excavated carth made higher the solid ground; a thick growth of reedy aquatic plants, that would not mind an occasional submergence GOVERNMENT BUILDING. - Drawn by A. F. Gorguet. as the waters of the lake rose and fell, was provided to fringe the. edges of these water ways, and was judiciously provided with a low background of foliage to lead up to the bigger but still stunted masses of oaks and willows. All this skilful making simile the waste places was only preparatory to the great question of who was to build the buildings of this new Venice; where were the architects who could design a dozen impromptu palaces, all keeping their places in the exsemedle, all different, all admirable and worthy of the occasion, and all colossal. And the Com- mittee on Grounds and Buildings, following the recommendations of a memorial drawn up by their pro- fessional advisers, resolved to select boldly a certain number of the representative architects of the whole nation, and entrust the palaces to them, one to each. This memorial was drawn up by Mr. Burnham and signed by. himselt, Mr. Root, Messts. Olmsted and Co. and A. Gottlieb, Consulting Engineer. xil IT ORLLZIY S COLEUAMBIAN ENXPOSL TT ON of the stockholders was held on April 4, 1891, and a new: Board of. Directors: elected, and on.July 2d ground was broken for the first building at Jackson Park, that of Mines and Mining,. The second annual meeting of the stockholders was held in April, 1892, and on August 12th a Council of Administration was elected and invested with all the powers of -the iwo governing bodies-in all matters except appropriations of money. The Congres- sional Investigating Committee visited Chicago in Jan- vary; and on the, strength of its report- of the. work then done and under way the additional appropriation of: $2,500,000, with liberal extra provisions for specific purposes named in the bill, was voted in the following summer.. . This was just half the sum asked for by. the Exposition authorities, on the ground that the enlarge- ment of the classification lists of exhibits by the National Commission had so widened the general scope of the Fair that the ten. millions provided by Chicago was inadequate. - The original Government appropriation of $1,500,000, was set apart. for the expenses of. the. Na- tional Commission and -for the construction of the Gov. ernment buildings. However, by the ingenious expedient of holding the two and a half million silver half-dollars as "souvenir coins, -and disposing of them at a dollar each, the Exposition authorities contrived to double their grudging donation. The twenty-eight thousand - stockholders: of . the World's Columbian Exposition, organized under the laws of the State of Illinois, had subscribed, up to the date of the formal dedication of the Fair in October. 1892, for $5,838,800 ; the city of Chicago issued bonds to the amount of $5,000,000, and the Exposition, to the amount of $4,000,000. The total expenditures. up to the dedication in October were given as $9.820,7 77.17 : up to the opening of the Fair, May 1, 18603, they were estimated at $18,750,000, and the fotal receipts up to the close of the display have been estimated at $34,300,000, which would leave a handsome 'sum to divide among the stockholders. The total amount of appropriations by foreign nations was about $6,000,000; by the PORCH, SOUTH FRONT OF TRaXsporTation - various States and Territories, $3,447,000, and from other sources, $1,325,000. BUILDING.. Drawn by A. F. Gorguet. To secure the interest of European nations in the enterprise an extended tour through England and the Continent was made by a number of the National Commissioners in the summer of i891, and a new department in World's Fairs was organized in the. previous December, that of Publicity and Promotion. To this bureau was given the task of advertising the Columbian Exposition over the world, by every possible means, and so thoroughly was this effected that returning travelers from the most inprobable distances, the far East, South. America.. and the Lbahara, report having seen everywhere the well-known color print showing a bird's-eye view of the grounds. All the translating of the Exposition is also confided to this Department, the chief of which, Major. Moses P. Handy, had acquired the necessary qualifications for his difficult functions as a journalist in New York and Philadelphia. The result of all this multitudinous enterprise, engineering, finance, labor, and advertising being that the great show was really opened on the appointed first of May-in spite of the most perverse and determined opposition on the part of the winter weather-in a very creditable and respectable state of completion. THP . ARCIAITI ECIELEURE xv character of the great plaza which they enclose, were of necessity constrained to adopt a uniform and ceremonious style-" a style evolved from, and expressive of, the highest civilizations in history," says Mr. Van Brunt. Their respective architects even felt -it advisable to adopt a common unit of dimensions and to agree among themselves, among other things, that their main cornices should not be higher than sixty feet and that the module of proportions for the composition of their facades should be a bay not exceeding twenty-five feet in width. The general architectural style which they adopted was the Roman classic, "correctly and loyally interpreted, but permitting variations suggested not only by the Italians, but by the other masters of the Renaissance." 4 HICAGO, being situated at the end of Lake Michigan, has that inland ocean nearly east of her, and C not to the north, so that the shore line of Jackson ;Park tends north-west and south-east. The grand basin and the plaza of honor being set at right angles to the lake shore, do not lie directly east and west, but for convenience they are generally spoken of as if they did.. All the buildings already named, that of Transportation, the Government Building and the Fisheries Pavilion, are placed either at tight angles or parallel with the axis of the basin and the plaza.. Those north and west of the Lagoon escape from this requirement, though the larger ones, as the Horticultural and Woman's Buildings, the Art Gallery and the Iilinois. State Building, are set either -parallel or at right angles with each Other. Fhe northern portion of this enclosure was the improved part of the park before the days of the Exposition, and here the Lagoon, escaping from the formality of the basin and canals, wanders off to the north and the east and determines by the lines of its shores the general locality of the surrounding buildings. . West and north of that devoted to Mines and Mining is the impottant one of the depart- ment of Transportation, in the designing and exterior coloring of which the architect, Mr. Louis H. Sullivan of Chicago, felt himself at Jibefty.to make a radical departure: from the stately architecture around the Administration Building. . Due north of this and looking across the lesser arm of the. Lagoon to the pleasant " Wooded Isle ' on which the Japanese have set up their glittering little palaces, is: the handsome Horticultural Building, by MF L. B. Jenney of, Chicago-a sort of apotheosis of con- servatories, and in the open space between Transportation and Horticulture, the Choral Building, erected in the last days before the opening of the Fair by Mr. Francis M. Whitchouse of Chicago. Thie sac- rifice of this open space, one of the few quadrangles left on the grounds, and the consequent masking of the handsome end of the Horticultural Building, was a somewhat sad necessity. - Mr, Whitehouse, in the original plans, was as- signed a group of buildings on the pier, where the great Peristyle now stands, and where there were to be only a semicircle of thirteen col- umns for the thirteen orig- inal States. Due north again of the Horticultural house of glass, and separated by the cheer ful little pavilions of "Puck,." the newspaper, and the Red Star Aine of steamships, is the Woman's Building, the architect ot which, Miss So- phia G. Hayden -of Boston, was selected by a competi- tion among her professional sisters. - North of this the PEACE. Carl Bitter. Sculptor. Drawn by Rene Lacker. 4 western branch of the Lag 606011 xiv H ORLIDS AOLEOCMBIAN EXPOS T4ZUON In the emergency that confronted the Honorable Committee, as it expressed it, "several methods of procedure suggest themselves: First, The selection of one man to whom the designing of the entire work should be entrusted. Secord. Competition made free to the whole architectural profession. / Competition among a selected few. - Fourth. Mirect selection. .. - Each of these, the usual methods of proceeding in such important cases, was examined at some length, its advantages and disadvantages discussed, and the first three rejected in favor of the fourth. '*Far better than any of the: methods seems to be the last.. This is to select a certain number of architects, choosing each man for such work as would be most nearly parallel with his best achievements ; these architects to meet in conference, and become masters of all the elements of the problems to be solved, and agree upon some general scheme of procedure. The preliminary studies resulting from this to be compared and freely discussed in a subsequent conference, and, with the assistance of such sug- gestions as your advisers might make, to be brought into a harmonious whole. "The honor conferred upon those selected would create in their minds a disposition to place the artistic quality of their work in advance of the mere question of emulation ; while the emulation begotten in a rivalry so dignified and friendly could not fail to be productive of a result which would stand before the world as the best fruit of American civilization. f Seldom has a more truthful professional document been penned. The Chicago: architects,. whom. Mr. Burnham might-be supposed to represent, went - still farther. in their liberality towards these outsiders. All the important buildings around the great plaza, or cour T honnreur, of the Exposition, with one exception, were given to architects from the East or farther West, while only the less stately and ceremonial ones, in the outlying regions, as it were, were left for the local builders. It is comforting 'to be able to add- that this virtue. has not passed unrewarded and that, in addition to the merely human qualities of magnanimity and unselfishness-with their attendant rewards-there have been displayed by these native architects certain eminent professional abilities which have made their outlying and subsidiary palaces to be reckoned among the most interesting and distin- guished of the whole: Exposition. The various - more important buildings were thus apportioned: The Admin- istration Building. in the centre of the western end. of the great court, to Richard M. Hunt, of New York ; the Palace of Mechanic Arts, or Machinery Hall, as it is more generally known, immediately to the south of this, to Messrs. Peabody and Stearns, of Boston; the Agricul- ture Building, east of this and south of the great basin, to Messrs. McKim, Mead and White, of New York ; the immense building devoted to Manufactures and the Lib- eral Arts, north of the great basin and stretching along the dake: front for a third of a mile, 'to George: B. Post, of New York ; the two buildings of Electricity and Mines and Mining, north of the open plaza in which the Administra- tion Building stands, to Messrs. Van Brunt and Howe, of Kangas City, Mo., and S. S; Beman, of Chicago,-respec- tively. > All these edifices, being near to each other and having a mutual dependence upon each other, and be- ABP ing moreover influenced by the formal and ceremonial Philip Martiny, Sculptor. Drawn by René Lacker. - ARUEALLIRCELI URE xvil rong | PAVILION PEDIMENT, AGRICULTURAL BUILDING. Sculptor, Philip Martiny. Drawn by René Lacker. Bbwedish and other villages, the sus. ay Care; the. Turkish mosque, the -" Ferris: Wheel," etc., etc., eter. Here will be found many of the most profitable and amusing. ethnological exhibits of the Fair, though Professor Putnam's great American Ethnological Department is located at the other extremity of the grounds, on the. shores of another inland lagoon, south-east of the Agricultural Annex.. - Banished also to this southern back yard, as it were, are various other undecorative and unesthetic exhibits, the Dairy, the Forestry, the immense Live Stock exhibit. and, a. little farther north, on the edge of the lake, the great Krupp gun and the convent of la Rabida.. Here there is an inlet of the lake, across which the ancient La Raljida and the modern Casino look at each other, ithe latter being the southern wilg -or extremity. of Mr. Atwood's imposing. Peristyle, in the centre of. which is, situated. the. grand, ceremonial entrance from the water ways outside to the plaza of honor. The: Exposition . has two. state efitrances, one. for visitors arriving. by water and. one. for those who come: by. land.. Those of, the. latter. who leave their trains in the great. terminal railway depot back. of the Admimistration . Building, where there are some thirty tracks, under the train shed or perron, come. out in- the western end of the great court, where the first object that meets their eyes is Mr. Hunt's stately dome, towering. far above them and flanked at every angle by. Mr.. Bitters Huttering and tmumphal groups. . To the right is tlie facade of the. Machinery. Halland to their. left that of the Mining Building. as they: pass eastward, either. under the porches 'of the Admimstratiohn Building or around it, they see the great basin stretching out in front of. them towards the distant lake whose blue waters may be discerned between the white columns of the Peristyle.. Directly in front of. them is. Mc. MacMonnic's very tall, triumphant galley of, America. preceded. by ' marine. 'out. riders and propelled by long oars, bearing down through much splashing of fountains upon Mr. French's colossal figure of the Republic at the other end of the basin. The latter, however, awaits the onset in archaic immobility and. does. not. even lower her upraised. arms to. tip over with her long liberty pole the aggressive galley when it comes, too near.. Behind her. back, in the centre of, the architectural screen. of. the Peristyle, is the trlumphal arch which serves as the state. entrance to. the Exposition for the seataring visitors: on cither side of 'this handsome arch are. groups emblematic of the Genius of Miscovery, and 'on the . suminit, Columbus himself, in an antique chariot or quadriga, drawn. by four horses led by youthful Victories, comes to see his -own. Fair. -On each side of him nde handsome youths. on champing horses, bearing alott little banners.-as: may be seen in the. headpiece to - the Introduction of this work... This distinguished and spirited group, one of the. most satisfactory, as it was one of the most difficult, of the entire Exposition, is the work of two sculptors, Messrs. French and Potter. _ 'The former, executed the human figures, and the latter, the: equine, ones. It is said that at no former International Exhibition have anything like such pains been taken to give the visitor on entering such a coup d'ail, to impress him so greatly at first sight. - This: novel feature of the general plan is due to Messrs. Olmsted and Codman, and was cordially seconded by the Chief of Construction and the various consulting architects. A smaller screen of columns also serves to connect the buildings of Machinery and Agriculture, at the bottom of 'the minor court and canal which run southward from the main basin, separating the two buildings. - This screen of corridors has a solid basement, pierced with arches, and also a triumphal arch in the centre, which serves as an entrance to the amphitheatre and: offices of the Live Stock xvi JVFORLED'S COLLUMEBIMAN EXPOSLTION takes a bold curve to the eastward around the northern end of the- Wooded isle,. and on the notthern shore of the peninsula thus formed stands the Illinois State Building, much. the largest of any of those erected by the: States and whose lofty dome is one of the most prominent objects in the Ex- THE WHITE SHIP: U.S. NAvAL ExHmisir. Position grounds,-too prominent, it is sometimes thought. Mie aun . tte a f Poet The architects are Bovington and Co,. of Chicago, On the extreme. northern shore oft the Lagoon, facing south and surveying almost the whole of this long festival prospect, is the Art Gallery, with its two extensive annexes refused - behind it, to east and west, like the wings of an army, . The planners of the Expo- sition grounds did the. Fine Arts department the honor to minimize for it, more than for any other, the danger of conflagration, and Mr. Atwood's classic building is thus not only comparatively isolated from combustible neighbors but is made more nearly fireproof in its brick walls than any other. Behind it and to. the, westward are the smaller State buildings, and to the south-east those of various" foreign nations ; due south-east is: the picturesque and interesting Fisheries Building, established on the same long axis, three-quarters: of a imile long, that traverses the U. S,; Government Building south of it, the great Manutactures and liberal Arts, and the Agriculture and its annex, still going south, across the great: basin.. . The pavilion .of the Fish and Fisheries exhibit was designed by Mr, Henry Ives Cobb, of Chicago.. and. the Government Building by Mr. J. W. Edbrooke, the supervising architect of the Treas- uty Department, < The former is considered by the non-professional visitors as the most successful, and the latter by the visiting architects as among the least successful, of all. East of the Fisheries, jutting out into the lake, is a pier and breakwater, safely anchored under the shelter of which, to the bottom of the lake, is the brick and stone counterfeit of one of the modern ¢ruisers, "typilying the unsinkableness, if not the speed, of the new Yankee cruisers." Due west, back of the Woman's Building, stretches the " Midway Plaisance," connecting Jackson Park with Washington Park, and devoted. to what are irreverently termed the "sideshows" of the Fair -the Irish, Dutch, 1HB ARCHIT EECI URE xix as Messrs. Ward and St. Gaudens." The latter, indeed," furnished the invaluable aid of his counsel and suggestions. and the. graceful figure of. Diana: which turns on the sununit of the dome of the Agricul- tural Building, but this lady had already been completed, many months before, for the tower of the Madison Square Garden in New York city. From this elevation she had been dismounted and transported westward to make room for a successor somewhat less lofty in stature.. As was but inevitable, in this multitude of sculptural figures to complete the archi- tecture of the Fair, many of them heroic or colossal in seale and all of them hur ried, there are but too visible suggestions and repetitions of other Expositions and other decorations,. but. these are but a small portion of the whole. After the landscape-architects and the architects, the sculptors may be said to come next in corder of merit. at Jackson Park, the PAVILION, SOUTH SIDE OF GOLDEN DOOR ;: -TFRANSPORTATION BUILDING, Drawn by A. Montader. painters, whose work we will examine later, being much less in evidence outside the Art Galleries, and having been handicapped by various disadvantageous circum- stances. T is not necessary, in this work, to repeat at length any of the all-but universal and overwhelming chorus of acclamation with which the general aspect, the general effect, of this carefully-planned: array of buildings, terraces, fountains, basins, foliage and banners has been received, not only-by the visitors in the flesh but by the organs of the press, at home and abroad. Not a visitor to the grounds, scarcely a writer in any of the already innumerable descriptions, but has contributed to this chorus of surprise and praise, If ever any fact of «esthetic import might be considered to be safely established by the emphatic testimony of both the unlearned and the it would be this, that in its outward aspect the Columbian Exposition is a well-ordered and most admirably executed work of art. Nevertheless, as is not generally known, there have been opinions, and expert opinions, uttered to the contrary effect, and that we may not grow one-sided in our readings, nor become wearied with too much laudation, it may be well to stop for a moment to hear one of these dissidents. The Marquis de Chasseloup-Laubat, in a report to the Société des Ingénieurs Civils a few months ago, thus controverted the general opinion :- xvill IFORLELD SA- exhibit. - At the southern end of this canal rises an- obelisk, at the base of which spouts a fountain, guarded by recumbent lions, something like those of Trafalgar Square. The Peristyle is one of the most stately and pompous architectural features of the whole Exposition, and its' double row 'of columns with the arclh in the centre 'and the Music Hall and Casino. at the northern and southern extremities is much more imposing than anything of. the kind sever before: seen in~America. lts general design is taken from that of Berninm in front of bt. Peter's at Rome. - In the original plans of the Exposition grounds it was intended to have the long pier which runs out into the lake from the: back of tlhe Casino terminate in a long transverse one, like: the letter I, with. a restan- rant,./a pharos, and other ornamental and useful features at the seaward extremity, but this was after- wards) abandoned. | 'The restaurants, fortunately," were not all suppressed, and an almost sulficient number of these and other useful asylums for weary visitors will be found. The handsome water ways, canals, lagoons and. basins, which penetrate into the heart of the Exposition, and add so much to its variety and beauty, have the disadvantage of almost doing away with "short cuts" from one building to another, and thus greatly increasing the trials of leg-weary humanity. Some of this disadvantage is remedied by the number of floating craft of all kinds, gondolas, express boats, boats by the hour or the trip, family boats, etc., etc., which cover these waters, and even venture out on the ocean-like lake outside. IKE many other more permanent architectural institutions, modern World's Fairs owe to that very useful building material called "staff" a heavy debt. - Without this combination of plaster-of-Paris, cement and water, with manilla, jute, cocoanut or other fibres, or bagging, the Chicago. Exposition would have been a very differeht thing indeed... To have con: structed these immense and numerous buildings of any available stone, brick or other recognized permanent material, would have beggared any Finance Committee that could have been formed, and would, moreover, have required an impossible length of time. The directors of the Exposition 'carly recognized the absolute necessity of -this substitute for everything and imported from Europe a whole corps of trained workers, with their plant, materials and experience. It has been cused. for many years fot only on occasions like the present, but for so-called. stucco-work, in Europe, South America, and elsewhere. In Jackson Park, this imposing realization of an architect's dream has been, as has been said, sketched in iron and washed in with plaster. The. latter as here used,. can. be moulded - into any shape, sawed and nailed Ilike wood, and painted of any lue. When left to itself, or merely coated with oil, it has a beautiful mellow whiteness, softer in tone than marble, and as valuable for sculptural 'as for building effects. - One enterprising: decorator, when confronted with the problem of painting some of these interminable buildings, conceived the happy plan of merely sending his workmen up on the cornices with sundry gallons and. barrels of linseed oil to be simply poured down the walls... The lazy fluid, collecting. in the hollows and draining off the more exposed surfaces, left only the minimum of supplementary hand work to be done to convert the walls into beautiful specimens of old ivory. A few months' exposure to the weather imparts to this material a most deceptive and stone-like appearance of age and stability. Moreover, it endured the frosts of the winter-and the frost of the shores of Lake Michigan is like death, or like iron-surprisingly well. In the spring, the few failures and flakings off to be noticed were readily repaired by knocking off the damaged portion, down to the lath-work underneath, and putting on a neat patch of new material. After the architects, the call upon the sculptors of the country was the most unexampled and the most severe, and very much of the festival and ornate appearance of the Exposition as a whole is due to the courage and intelligence witly which this call was answered. Such a multitude of decorative, architectural figures was never before dreamed of in this Republic, and, it may well be said, could not possibly have been furnished twenty years ago. But the number of young men, pupils of the Ecole des Beaux-Arts or of the Art Students League, who had lately embarked in this most waiting of art-trades, was sufficient to furnish all the workers necessary even without the recognized masters, such URE Xxi and color than those of Jackson Park,-though whether this contributed to the general artistic effect may be doubted. The two flanking palaces of the Fine and the Liberal Arts were evidently built of glass and iron with curtain walls of staff, the large building at the back was so overloaded with ornament on its main facade as to render it difficult to determine the real material, the Tour Eiffel was plainly of pure metal, and the Trocadéro, of stone. Moreover, the sense of stability and age with which the visitor was impressed constituted an element not to be neglected in his enjoyment,-the bridge, the tower and the palace on the hill had been there before or were there to stay, while at Jackson Park this pleasure is constantly damp- ened by his consciousness 'of the fleeting nature of the show. - The hill was a natural feature which the park on the lake lacks, the river with its thronging life was a very cheerful substitute for the more impressive lake, of which, however, the visitor need see but very little in the course of his wander ings, and-it must be said-the display of decorative and architectural statuary was very much finer at Paris. The united architects» at tlie Chicago. ExInbition have. been reproached, by our French criftit just quoted and very many others, with the fact that: instead of. developing a new and appropriate archi- tectwral style for this great occasion, they contented themselves with falling back on old formulas. "In 1889.. says our Marquis, who may be qitoted as voicing this general criticism, "the French no More sought to copy the Gféecks and the Romans and the Aral than those of their own ancestors to whom they owed their cathedrals, but they created a style, that is to say, 4 method of decoration in harmony with the materials they used. One might say whatever one wished upon this style: .-. . but one had to recognize that. there existed ifn itself this, the first of -the necessary conditions which a work of art of any kind must ftulil In 1893, the Ameticafis limit: theifiselves -to. copying the decorations of vyas 24 C hers" d R A /K. t 3 x4 ae HA gr Patek Cs z ra. c[)=: RZ! | { "i‘ & (fii ///// Ms bt Tkg 2 f \ A“. Co cnd > [ < N | {amp C3 i CDs N p fl")."'- wa ked l“ i Pk "a; P N Sk - Ba. Ns 1 5m ant, wsas ames." _ ,/ 1 ‘2 whig ; a 4 y‘flz ' > % f i? ml m Iu/ Ah“ "1‘3‘ ®. . x u¥ YofeS 43 "d ESS f,“ o if * P/. {if}: gins # \ T LCtrmes f uis A AE rumufiflggfi W Tg l/,/// | PM“ | n. if "V" (at ( / 4M y/M/ lin Ml f T Tal 1 fill I, § [WNH‘I #:, & 7 pms. 4" ”IQ/1 Lg? | \ K‘ i 1“ | VLF/ff" | |_ Ween (Mii =[ & ., & le - £ h, ' [ f/ ume THE CASINO. Drawn by E. J. Meeker. xx WORLLINS COLUMBIAN BEXPOSTTION That which strikes one most on arriving at-Jackson Park is the entire absence of a plan d ensem- ble [1]. -- Different buildings have with one another >no visible cor- relation and do not even seem to form: -patts of- the same whole. Involuntarily the thought flits back to the banks of the Seine and the regularity: of the plan devel- oped in 1889 at the Trocadéro and on the Champ de Mars. It is im- possible to avoid comparing these two exhibitions without finding how they symbolize the different genius of "the: two -races.:> Like France herself, the French exhibition was compact, syininetrcal, and built according to the majestic orden nance .of .a general plancon- ceived in advance. . .:. The Exhibition: of 1889, where the general views were so skilfully managed, took possession of STRENGTH. Carl Bitter, Sculptor. Drawn by René Lacker. the beholder by the majesty and j symmetry of the whole more than by the finish and perfection of details It was the work of an ancient race on ancient soil, the accom- plishment of the continuous labor of succeeding generations; it was the creation of a nation having that surety and absoluteness of artistic perception which can be given only by the long traditions of a civilized past solidly compacted by the lapsing of centuries. It was, in fine, the type of a debatable ideal, but yet an ideal proceeding from certain preconceived and invariable principles. . . . Like the United States themselves, on the other hand, the American Exhibition is gigantic, and is not.built according to a rigid and uniform general plan. On the contrary, the plan leaves so considerable a portion to each one's whim that it is hardly visible, and one would be tempted to deny the existence of any. Such as this is in our day. the: grand -American Republic. . .-.. From certain points of view, the United States now constitute a nation of peoples rather than a united people. And just so the build- ings at Jackson Park constitute a nation of exhibitions rather than a single and homogeneous exhibition." This expert opinion might be more invulnerable if it did not cover so nich debatable territory, It has been thought, in politics, that the United States constitute as "united a people" in the matter: of running a general government as France itself, notwithstanding the much greater size of the American territory, and, as we have seen, the Chicago Exhibition was built in accordance with "a general plan conceived in advance."". The exsenible of the Paris Exhibition of 1889 was undoubtedly imposing, and the comparatively restricted space enabled the visitor to take in very readily the general plan and to get his bearings. The Champ de Mars formed practically a rectangle, of which three sides were closed by buildings, -at the back, the great main building and the Gallery of Machines, on the right, the palace of the Fine Arts and on the left, that -of the Liberal Arts; in the centre of the open side, towards the Seine, was planted the Tour Eiffel, under whose gigantic arches the visitor passed towards the Bridge of Jena and the hill of the Trocadéro rising on the opposite bank and crowned with its long curved line of palace. All around this stately enclosure was felt the stir and the presence of a great capital- an environment which is missing at Jackson Park, owing to the distance from the heart of the 'city. The buildings of the Paris Exposition, morcover, presented a much greater variety of form, substance THIF URE xXill frames were more seasoned to exposure and whose more active work served to keep somewhat in cir- culation their chilled blood. The usual prejudice of labor in favor of untrammeling garments was quite laid aside, the wearing of many overcoats, mufflers and mittens at once was not considered incompatible with the most violent manual labor. Carpenters might be seen swarming aloft on the great palaces of lath-work swaddled like mummies ; stretched out in perspective along the long, solitary, white lake front at regular intervals were other mummies, spotted dark against the universal whiteness, pickaxe-ing with lusty strokes the iron ground. These silhouettes were undertaking the digging of the foundations of the ornamental lamp posts that border this now. cheerful and thronged promenade.. But on this» bitter afternoon the intermin- able front of the Manu- factures Building shut out. on. the: landward side all other human life, cand towards: the eastward. the. solid, white, opalescent lake stretched out, solitary as the palxocrystic sea, till it reached the leaden Chicago sky that hung over it. . Far down the MINES AND MINING AND ELECTRICITY BUILDINGS, FROM THE WOODED ISLE. Drawn by A. F. Gorguet line one of , the PiCk‘ f j axers stopped his futile toil to call through the frosty air to Inis fellows that the whistle had blown to cease work, and the muf- fled figures gathered up their tools and trudged off leaving the gathering darkness to the solitary visitor. On the bosom of the grand basin, where now the gondolas glide,- a horse went backwards and forward dragging after him a slender light ice-plow, and the red-nosed plowman shouted cheerfully to his assistant across the icy stretch-" He ain't so afraid as he was to go near the edges." The bitter, piercing wind, xxil IH E TION CORNICE OF NORTH ENTRANCE OF AGRICULTURAL BUILDING. Drawn by Georges Stein. admirable. monuments, which are the glory of past ages, and can only copy. them badly, since they do not employ the same materials of construction which served in the creation of their models." eNSWERS to: this: criticism .are. numerous and varied... In the first place, this. is an ) International, and not an ''American," exposition, and: it was not only. mote courteous but more appropriate to present our foreign visitors with a demonstration in which they should find recognition of their own classic schools rather than with one aggressively domestic.. In the second place, there was no time in which to formulate this new American Style so as to get a dozen architects working in it towards a harmonious whole: in the third place, it would have been very unsafe to have undertaken to have done so, or to have left to the personal equation of each architect the determination of this style ; in the fourth place, it was thought just as well to give an object lesson to the sometimes intemperate advocates of the national school. -' There are, ~says Mr,. Van. brunt, " many unedu- cated and untrained men practising as architects, and still maintaining, especially in the remote regions of the country, an impure and unhealthy vernacular, incapable" of progress: men who have never seen a pure: classic, monument executed 'on 'a great scale, and who are ignorant of the emotions which it must excite in any breast accessible to the influences-of art. To such it is hoped that these great models, inspired as they have been by a profound respect for the masters of classic art, will prove such a revelation that they will learn at last that true architecture cannot be based on indisciplined invention, illiterate originality, or, indeed, upon any audacity of ignorance." Also, it is somewhat doubtful if there exists, as yet, any definite American school of architecture, any moré than there does any American school of painting, or of seulpture. Such as it is, the expression 'of the. former may be found in various important buildings in the larger cities of the country,: rather than at Jackson Park. To many thousands of visitors to this great exhibition the impressions left upon the mind will be those of summer light and heat, of a bewildering. multitude of all things; and- frequently, it is to be feared, of excessive fatigue. But to those whose fortune it was to traverse. these grounds during the two winters in which the Fair was preparing, and especially during that of 1892-93, there will be pre- served also a souvenir of something more strange, more imposing, and much more formidable. The first winter was exceptionably mild for the latitude of Chicago and the work progressed almost uninter- ruptedly, but that which preceded the opening of the Exposition was very severe generally, as will be remembered, and the cold on the shores of Lake Michigan, as already stated, is something tremendous. Not only does the thermometer fall to Arctic depths, but the northerly winds that come across the lakes, that "blow across these five hundred miles of ice-water," add a serious element of suffering and danger. Nevertheless, time pressed and the work could not be postponed ; out doors and in, with fires wherever practicable and without them when not, the endless labor went on. The sculptors and the painters in their great cavernous studios suffered almost as much as the laborers outside, whose hardy THE xxv Eunis.. ~All this may be said to ibe enough to give" the ' display "at Jackson Patk and the Midway Plais- ance something «of :an international character. The nineteen official 'foreign buildings are situated in the noftlveastern portion of 'the Exposition grounds proper.; around "the North "Pond. and »east 'ol "the Art 'Gailléry and 'Fishefics 'Building. 'The extreme north-eastern corner of Jackson 'Park is occupied 'by 'the spacious and decorative building of the State :of ——‘\\ 3 m, l I 2:1 s =\ Aas s: ave o Huei 3 Fe -S Zn t s V ¥... ) f U J 4 rr Aya af TV A a ; " ~- -~ Iest e 3 f <- noon fears _I , foir =-- cane Zf , H iF aes 3 <7, N) Angee t \a <- zr oly| |/ _ o ar cores lc} 1 - o TO r§©§§fi727 Z 0)\\E;.—> aA s ; I f h \ $ * g QQ sch; u‘t’ffiyiof’ 4T \Il\|////l <é'” 7 $\i\\ cs s .- PR = ==-- Se ofits : ZB -_ rig,. ' mato Wile " aa -- % C RANADRRDARApar a:: ==--! , [PP aa erim (S Al S p, set -. ie, s Ge ,,,. rre | -T | - ute cs nt nas, rooms | 73.73. _] TOWERS OF THE IOWA STATE BUILDING. Drawn by B,. J. Meeker. experiences a certain sense of disappointment. He thinks he remembers three or four arched entrances in the Gallery of the Thirty Metres alone-opening into various sections of the great, general dis- play -that were mdre satisfactory as original, decorative specimens of art industry than anything in this colossal Manufactures. Building. 'The sereen .of the French section here; for instance, is surmounted by a low cornice supported on a multitude of huge, heavy, disquieting caryatides, evidently manufactured by wholesale out of some cheap material. This bilious traveler will even go further and declare that a great multitude of.the exhilnts here made in which the: element of art enters, taste, originality, design or finish, have the same quality of not being of the very best-the taint of the commercial is over them all The foreigners have underestimated the American market, or they have deemed the distances and the expenses too enormous, or they have thought it better to send exhibits which they can probably dispose of nearly &» bloc at the close of the Exposition.. This is as-true in the Japanese section -as if the European ones. The English pavilion in this building-to get back to our text-is declared to be a reproduction of the dining hall in Hatfield House, said to be the best specimen of Elizabethan architecture extant. One side is leff,open, and on the other may be seen the antique fire-place, inscribed with the date, 1637; above it ar tapestry and the coat-ofarms of the 'House, on either side suits of mail, etc. A carved balcony surmounted by six lions rampant, each holding a shield, is at one end of the dining room; of either side of the great folding doors hang life-size portraits of Queen Elizabeth and Mary, Queen of Scots. - The bulk, value and comprehensiveness of the English contribution to the Fair is, indeed, extraordinary ; the official catalogue of the British section is a thick octavo. Her majesty the Queen contributes as her individual exhibit a number of royal tapestries from her own palaces; the Cape Town diamond mine exhibit is an unique feature. Five tons (one account says 'a hundred and fifty tons) of diamond clay, filled with rough stones, were brought over with all the machinery necessary and the process of presehting the diamond to commerce is shown in its completeness. The clay is thrown into the big crushers, and a stream of water turned 'on. the broken débris while real Zulus, arrayed as at home, sort out the gems which are then cut and polished by skilled workmen in full view of everybody. The value of the stones in the five tons of clay was variously estimated at from a quarter of a million to a full million of dollars. The same enterprising Cape Colony also exhibits in the Agri- cultural Building, under glass cases, on their native soil, what is said to be the finest lot of ostriclies that has ever been seen in this or any other country, from veterans in magnificent plumage to little chicks of six weeks; "the most perfect tusks that have ever been brought from South Africa;" a full TAE AAIRCLILLI EUI RIT Xxxi COLORADO AND MARYLAND STATE BUILDINGS. Drawn by G. Fraipont. by the government architect, Johannes Radke of Berlin, and its style, we are assured by the official report, is that. of. the early German renaissance of the fifteenth century, " betokening the transition from the pure Gothic and leaning on such models as the tower of the.-Aschallenburg Castle, a gable. of Goslar, the City Hall of Rothenburg; etc: - The white walls, both outside and inside to a great extent. are covered with that peculiarly German, medizval decorative painting, largely composed of scroll work, apparently burlesque heraldry, black lettering, etc., which no other nation can do anything like so well, and which when well done and applied to an appropriate architecture like this is very effective. " The coats-ofarms of the German states decorate the space over the main entrance; above is the imperial double eagle; to the right spreads the drastic German motto in ancient rhyme which translated reads :- * Fruitful and powerful, full of corn and wine, full of strength and iron, Tuneful and thoughtful-I will praise thee, Fatherland mine. "On the north side is a representation of St. George killing the hellish dragon. All the niches and corners exhibit poetic designs. The effect is heightened by the high gables, the bay windows, balconies, turrets and glazed tile roofs with bronze corners and water spouts." This seraf/o painting was executed by the artist, Max Seliger. Fortunately, the building has a number of trees around it on the sides and back, which help it very much, and as it was largely built of iron and stone, at a total cost of $250,000, it is hoped that some means of preserving it after the conclusion of the Fair may be hit upon. The most prominent feature of the display in the interior is the very large exhibit made by the German publishers, their innumerable volumes, in every variety of binding, being arranged in stalls all around the great central hall, It may be frequently observed, however, that in the matter of general artistic getup, particularly of the illustrations, the interiors of these edifHons de grand luxe seldom cor- respond to their imposing exteriors. On the right of the great hall is a very handsome library, with more volumes and paintings, the medizeval aspect being duly tempered with modern luxury, and at the rear of the building is a chapel with a fine organ, stained glass windows, and a large display of those unpleasant, painted religious figures to which the church still clings. "In the belfry hang three cast steel bells, made at Bochum, Westphalia, and of 80, 60, and 40 hundred-weight respectively.. These bells will be ultimately placed in the 'Church of Mercy, now being constructed in Berlin in memory of the late Empress Augusta." Throughout the greater part of this building the walls rise directly to the high roof, the only two-story portion being that devoted to the general offices. A gallery extends Xxx WORLDS COLUMRLIAN EXROSITION cottage industries in actual operation, the making of lace, weaving homespun woolen cloths and fine linens, artistic work in wood carvings, iron work, etc. Most praiseworthy Irish needlework is also to be seen in the British section in the Manufactures Building, consisting of linen work of all descriptions. In the very neat little whitewashed cottages-very neat, and with a total absence of traditional pigs- may accordingly be seen in these villages fresh-looking Irish girls and industrious weavers and carvers, all: at work.. The village piper, one for each. village, paces solemnly up and down in the court or village green and fills the. air with Iis thin; querulous- strains.. In Mrs. Harts village. may be. seen, also, a collection of Irish art, ancient and. modern, portraits of prdminent leaders, specimens of ancient metal work, etc. Ihe entrance to 'the village -is under 'the St. Lawrence Gate: at. Drogheda, which dates. from A. 1D. 1300; at the, back of the, court is a halt-size reptoduction.of Donegal Castle (1607), with its ancient banqueting hall and ruined keep,-everything very fresh, white and new,-another of a Round Tower, one. of an ancient Celtic market cross, the. Wishing, Chair -of 'the with "Ogham," Bullen,; .and Hole stones.. On a pleasant day this village is a truly cheerful and pleasant place. and its latest. honor, Mr.. Briuige Joy's colossal statue of Cladstonc: a fac-simile of the one: in front- of- Bow Church, London, was formally unveiled in the. banqueting hall of the castle by Mr.» Hatt on the 24th of June. . Lady Aberfleen's "Irish villagers; across the > way» celebrated with . a 13 'dance at the ceross roads" the dinal turning:-on of the electric. lights that enabled them to. see, their way about their houses-an event that did not occur till nearly the first of June, and two weeks later they were roused. to a still- higher pitch of enthusiasm. by the. arrival of a piece of the real Blarney Stone, which was formally unveiled and saluted by the Mayor of Chicago. - This has been placed on the roof of the castle, against the coping of the east wall and slightly below the floor. Instead of hanging over) the wall of the castle, head downward, as was formerly the custom in Ireland, the Chicago tourist will have to do -nothing. more dangerous, if he wishes to kiss this stone, than get down on his hands and knees. Germany furnishes the: most. distinctly mediaval feature of the Exposition, as well as some of the most modern: ones; and -the Pextsele Haus on the lake front is claimed by, the children of the Father land: to be 'the most picturesque structure. of the Exhibition. -as the Deuilsches Dorf is one of the. most interesting villages in the Midway Plaisance. The former rises white and handsome-but very strange and foreign-looking indeed to the untraveled visitor-on the lakeside, adjoining the much more mildly medizsval. building of Spain. . As one of the most distingmished, as. well ~as one of the: earliest to be Aopened to the visitor, this building of Germany and its contents deserve some attention. It was designed monn n. rennes. VIEW OF THE FISHERIES BUILDING, FROM THE WOODED ISLE. Drawn by Georges Stein. T HAB ARCEL IECI URE Xxxx cock. Bas-relief by Leopold Bonet, Electricity Building. charm that lies in the peculiarities of the German races," as here typified; and that the care here shown in the preservation of ancient household utensils, costumes, ornaments, etc., would tend to the encour- agement of this practice elsewhere, "for the purpose of descriptive Anthropology," this material being ''more calculated than any other to render perceptible the life and instincts of those who were formerly associated with it." ; - "Here is a wide field to cover indeed,. and it must be. said that the true German intelligence and thoroughness with which it has been carried out gives this exhibit a singular charm and interest. More perhaps than in any other part of the Exposition does the visitor feel here something 'of the: feal, charm of the country, especially of an old country, which the official cataloguer sets forth. . The important and interesting museums. of Instorical costumes, armor, paintings, etc.. in the Castle and the Hessian Town hall have not much to do with it-indeed, a very large portion of these historical things are frankly modern copies-but the general aspect of the buildings, the picturesque models of farmhouses, the general atmosphere of age and mellowness which gradually penetrates him, perhaps even some of, the influences of "the gifts of Bacchus and Gambrinus" which our official guide praises upon almost every page.. There are no. mountains and» very. few. trees, the. ' moat." around. the. castle is: a" very. slight affair, cthere is even very little grass-but to compare the model of the Black Forest Cottage, for instance, with that of a scientific American wheat farm in one of the State buildings of the great North- west is to feel that there are certain advantages possessed. by an old country over a brand-new one for which even -some. superiority in political institutions does not altogether compensate.. For any one who has traveled in Germany lately, however, this impression will be somewhat diminished by the remem- brance. of very - much national exhibit in Machinery larger and heavier even than Hall was also opened to the the statue.. In the south court publke and the great Schichan of the Horticultural. Building is engine started which furnishes the vault containing the exhibit of the German Wine Growers' power.: tor all . the machinety of this section 'and - for ' the Society,. the-. most. extensive ( }\'\- l\\~ If} % ~ immense Siemens-Halske elec- FIRE CONTROLLED. By Karl Bitter. made by any wine producers, erik 2 /m ¥ < tric motor.. The dynamo is and with two of the side walls covered with a pleasant and deceptive panoramic painting of the hill slopes which produce the Johan- nisberg, Riidesheimer and Moselle: The German exhibit of needle-work, in the Woman's and Manufac- tures Buildings. is by far the most extensive of any, and in many. respects the best.. 'The greater part of it has been: drawn from the districts of Plauen and Eibenstock in Saxony, famous for the artistic heedle-work of the women. All of the display in the Woman's Building is under the charge of a committee of; the leading ladies of the Empire, at the. head of which is the Princess: Friedrich Karl. Nor is this all. In tiie. Midway Plaisance is a menageric. and "*" arena "from Berlin, the lions of which lie in their barred cages over the entrance doors and look out pleasantly on the crowds passing by ; and a- very fine exhibit of the quality of the German army was given by a private of the TH I- ARACIATLELCLET ER E xlii and interesting than that made by the Germans in their Deutsile Haus, ~ and only inferior to that in the second story of the Palais des Arts-Liberaux in "Faris in-1880. Here however, as there, this superb library, being up two flights of stairs, and not easily discoverable in the great wilderness of the Manufactures Building, has remained unknown to most of the visitors. In all the important departments of the Fair, France is represented with varying completeness;-in that of education, by a compre- hensive exhibit, consisting mainly of: statistics, text books f and examination papers, giving an excellent idea of the yea present condition of the three grand divisions, primary, secondary. and university, of education in France, prepared by the Minister of. Public instruction. - In that of Electricity and Telegraphing. there is a retrospective collection of telegraphic apparatus since the invention of the system, coming down to the very newest improvements :- examples of the various submarine . seace | Adminitrtion Builaing. telegraph cables from the earliest down to the present time; an exhibition rz of: electrical instruments and devices used by private firms! the- display 'of the lighthouse administration, and a projector to display the carrying power 'of some examples of fotating beacon. lights. - In that of Transportation, a - bewildering variety of things from locomotive, engines down to stable fixings. . In that 'of Alimentation; the complete machinery, in working order," olf a French Bakery, in the neighborhood of the. Live: Stock Pavilion ; -n THE ADMINISTRATION BUILDING OF AUSTRALASIA. xiv Mac® WW woriLo s corLUmMBIaN EXPOSITION of it.." "The former. compnhises. the Algerian pavilion,. constructed from the plans 'of the architect of ~ the. Governor-General of that colony, and said to be an exact reproduction of the intemor of 'the Palais d'Hiver in which he dwells, ... The- government -Building - of Tonguin, a> reproduction -of. a . patt. of --a Cochin Chinese . palace, was: originally designed. and put - together, in that newer colony,: and. was first. used at: the. : Paris exhilition of 1889. _ Since: that date at is said to have had varous. excursions in the, employ. of. a French syndicate; and was secured - for: Chicago -by. the efforts of : M. Yvon,. the architect: who had charge of this colomial exhibit... The - building .is rectangular. in.. shape Sculpture by D. C. French and E. €. Potter. and has its exterior walls adorned with reproductions of antique Chinese inscriptions, some of which, it is averred, repeat . those . of the. times of,. ~Confuciys: - The. interior is finished in walnut wood, pictur: esquely carved.. The Pavilion de la Tunisie is a darger building, very. Mootish-Jlooking with its four domes, its horizontally striped walls and its horseshoe-arched entrances. In the interior, the large central hall has been furnished by the bey of Tunis, in imitation..of a similar apattment in Ins own palace. Specimens of. all the various products, natural: and artificial, of the various Erench colonies, in Indo- China, Asia, America, and: Oceanica,. may be found - distributed, through these buildings -and their appurtenances. . Just south of the official German building, and in strong contrast with it, stands the severe, Gothic edifice 'of 'Spain, one of the (last: to: be finished. and one. of the most: characteristic: of the national architecture. . This a reproduction..on. a scale of three-fourths, of the Casa Lonja, or Silk Exchange, of Valencia, the commencement of which antedates the sailing of Columbus in 14923. .At the southeast corner a rectangular tower with an apparently incompleted top. rises somewhat higher than the rest of the building, the. skyline of the (latter. terminating in curiously Ainished Spanish battlements... On the plain masonry of the exterior walls the delicate tracery of the doors and windows terminates above in square panels and a sort of cornice line. In the interior'is a lofty, nearly empty hall, sustained by gight great twisted columns, two and a half feet in diameter.. A cirenlar staircase gives access to the top of the tower, in which it was the custom to confine defaulting and bankrupt merchants. 'This building, erected. by an architect residing in New York city, Rafael Gaustavino, is occupied by the offices of the Spanish commissioners and is used. for the reception of visitors and for. the display of certain large (paintings and maps, relics of Columbus and Cortez, a sword of Queen Isabella, some pleces-of ancient Spanish artillery, etc., 'stc. In the Manufactures Building the Spanish section attracts attention at once by a wilderness of small columns supporting an apparently interminable number of low Moorish arches decorated with innumerable stripes of white and terra-cotta. This is the result of an attempt to adopt to. these alien surroundings the first tier of the famous arches of the great cathedral of Cordova,; built -as a mosque by Abderralhiman 1. Of the original twelve hundred columns less than seven hundred now remain, it is said, and as many of them as could be adopted to this limited space were reduced in their proportions and- put here by the, architect of the Spanish .commission and special commissioner, Don Jnagquin Pavia. Unfortunately they are somewhat unduly. crowded, both from above and from all sides by their neighbors, and their due fiecct is thus in .aslarge-measure" lost. - There is also, something of a deficiency of light under these arcades to view the Iberian exhibits, which are sufficiently numerous and varied.. There is a very large display of woolen goods, wonderfully graded in color, by the Corporation of Manufacturers of Sabadell and the, Industrial Institute of Tarrasa; the latter adding shawls; there are Spanish laces, mantillas, etc., and a rich and curious display of steeh objects ornamented with gold after the process invented by a clever artist -of Madnid, Donna Felipa Guisasola, some years ago.. The design is sketthed. and etched TFE - ARCHALITECT URL 11 looked after the department of fine arts working in conjunc- tion with this body. The series of foreign féte days which so enlivened the month of June was inaugurated by a brave display by this stout little kingdom, some thirty-five hundred men and women in national costumes and uniforms marching in procession through the grounds to listen to appropriate speeches and singing societies Among the exhibits in the Manufactures Building the greatest interest centres afound the two devoted to- the memory of those illustrious Danes,. Thorvaldsen and . Hans Christian. Andersen. -the museum for is; works, presented. by one to: the . city of Copenhagen, being reproduced in miniature, with miniature casts of all the works of sculpture contained therein, and the living room of the other-its furnishing. its books, and the poet's hat, spectacles cigarettes, etc.-reproduced in facsimile. -There is also. a fine display of pottery and porcelain,. some of the handsomest pieces from the. royal Copenhagen. porcelain manufactory: jewelry :- a model in gold and silver of Rosenberg Castle, the summer residence of King Christian IX.; an equestrian statuette of this monarch ata mroe tt on in the same metals. etc.. ctc. This pavilion in the Manufactures Building is a pleasant, sort of Renais- sance, enclosure furnished with three little towers. The curious hexagonal, hipped-roofed steeple of the Swedish Building, topped with its great gilded crown and the national ensign, is one of the striking features of the crowded little international village in which it stands. The architect, Mr. Gustaf Wickman, of Stockholm,; is said to have 'taken for his models various details of the national architecture of the sixteenth and seventeenth centuries, and to have put them together so as to make the most of his limited, triangular site. The great expanse of stained but unpainted shingling that covers these many-angled roofs and walls gives the building a strange. foreign, northern air.. The lower portion of the front wall, however, is a handsome, many- colored structure of modern tiling, brick and terra-cotta work. The edifice was constructed in Sweden, temporarily put together, taken apart again and shipped to Jackson Park. In the interior is a bewildering variety of demonstrations of the national industries, including two of the most valuable and famous-the unequaled jron ors and its products and the unrivaled. safersAetstanddilickor, safety matches. . In. his neat little speech at the opening of this building-in which are concentrated all the national exhibits excepting the works of art-the commissioner apologized for the lack of an appropriate national day to 'celebrate, Sweden never, having been discovered since human history began, and having no inde- pendence day because always tree. . The architectural and other features of the Norwegian and Russian manifestations here will be noticed briefly with the fine arts of these two nations. Among the Asiatic nations,. the greatest interest centres upon the important Japanese: display,, made .in so many departments. This island empire was one. of the first of the foreign powers to prepare, a sum equivalent to $630,785 was approptiated; the- merchants seconded. the. efforts of the government, and the HMo-O-Den, the sacred palace on the northern end ol- the. Wooded Isle, was officially dedicated as early as March 31st... The: construction -of this: picturesque edifice by the native workmen was one of the sights of the early days olf the Fair; the -severe weather did not seein to congeal the feat, leisurely. energies. of the: cabinet: makers and -carpenters who occupied themselves in putting it together, and their neat dark-blue winter garments-ornamented with RUINS FROM UXMAL, YUCATAN. I IFHORELELE S- COLUATIBRBIAN _EXLOSLITION Italy, which shares with Spain the honor of Columbus, if not of his great discovery, has no official building, in common with Russia, China,: Holland and Austria, but she makes a fine display in the Manufactures Building and an important one in the Fine Arts galleries; Among the historic relics and docu- mients ate several of great value loaned by the. Vatican,. this being the first International Exposition to which the pontifical library and museum have contributed. One of these manu- seripts is a paper dated 1448, in which reference is made to that: "Northern Land" which, half a century later, proved: to 1 H RRR | be the American continent. Another is a bull of Alexander ART GALLERY, NORTH ENTRANCE, vI, dated at Rome. 3d of May, 1493, granting to. King Don Ferdinand and to Queen Donna Isabel, in regard to the West Indies discovered and to be discovered, the same privileges which had been granted the King of Portugal in respect to the western coast of Africa. In the department of fire arts, the most valuable and important: contributions are the repro- ductions of antique bronzes; in the Fine Arts palace two galleries are devoted to those from the Naples Museum, most of them from Pompeii and Herculaneum. This entire collection has been purchased for the St.o-Louis Museum of Fine Arts,. In the Manufactures Building are- some fine reproductions . of statues in the Vatican galleries, by Nelll of Rome.-the two gladiators, for example, " Damusseno " and ©Creucante," facing each other before the principal entrance to the Italian section. Among the modern work-which too frequently displays the same frivolous tendencies that belittle the marble statuary-are some curious examples of technical workmanship, as in a statue of a chained negro slave., " Syra," executed in bronze and yellow marble, and in examples of silvered bronze by Pandiani of Milan. The wood carving, also, is frequently of a most intricate and skillful workmanship, and this same dexterity with the chisel and the graver, at present one of the most prominent characteristics in the national art, is carried into works in marble, in cameo, in silver, in furniture and house furhishing.. There is can interesting display of leathern goods, of decorated pottery, of mosaic work, of Roman, Etruscan and Egyptian gold jewelry, and of reproductions of household articles found at Pompeii. Some of the latter are the originals, from the well-known Castelani collection in Rome. In the Liberal Arts section on the interior. floor in the northwest gallery the musical academics of Naples Rome and Florence are represented and there is an exhibition of books, photographs, etc.-among the former being an example of a'limited edition of Dante issued by a Milan publisher, Ulrico Hoepli, in 1878, cach volume being about two inches long and an inch and a half wide. Nevertheless, the type is readable, and the edition having been long ago exhausted the price of a copy has tisen from sixteen dollars to a hundred and fifty. In the Woman's Building, great enthusiasm is constantly maintained around Queen Marguerite's collection of laces, antique and modern, held to be almost priceless in value because of the alleged discovery of the lost art of manufacturing them from the ancient patterns and of rendering their texture practically indestructible. f Of the little kingdom of Portugal the principal, or the most characteristic exhibit, is that of the wines judiciously opened with appropriate ceremonies in the Viticultural section of the Horticultural Building in the flatter. part of June, A hundred and thirty exhibitors, selected by the Oporto Chamber of Commerce, contributed no less than three hundred varictics, ranging in age from 1812 down to 18534. This nation is also represented in the Manufactures Building and in that of the women, Northern Europe contributes only two national buildings, those of Sweden and Norway, to the architectural features of the Fair, if we except the Russian pavilion in the Palace of the Liberal Arts, but is otherwise abundantly in evidence. The Danish display was provided under the auspices of the Copenhagen Industrial Union, the committee of - artists who BRIDGE OF THE WATER-GATE. lii FO S - _ EXECOSLIITILCON: queer. geometrical designs, such as a bulls-eye on the wearer's back as though he were intended for 4 target-had a sort of acrobatic air about them..; All :the materials, even to the- nails, came from. Japan ; the wood-saws cut {ownmrids the: user, instead sof from him, and it was early found necessary to place additional guards about. the building. to prevent» the too-liberal carrying away of materials by curiosity seekers.. Three. different epochs of the: national architecture 'are : exemplified in cthese -huildings =the catliest of these, the Mo-o-do. dates back to A»LD..1052z, and is said to represent in its shape the. Moo, the Japanese phenix, a very fabulous bird, indestructible by fire, --which is. much more than can be said of "its. representative. .. Ihe. resemblance: is not- perceptible: to 'any but: Japanese eyes. . I hc. second: representing. the art of A. 10. 1307, is a. reproduction. in. miniature olf a monastery.'of. the - Zen-reect; situated at Kioto, and. its: name.. signilying the golden pavilion ;. the. third dates back;only to the period of our, own. Revolutmon, and all: are -rich, within and without, in color, -carving and "decora; trion, lacquer. work, metal work, inlaying, painting. and chiseling. . All the artists employed were picked men from the school of the fine arts. at Tokio, under- the. supervision of the director, K.'Okakura... These WOMEN'S BUILDING: INTERIOR. buildings are 'to remain the property of the city of «Chicago. the Japanese government undertaking to maintain a museum in them the contents of winch shall be changed from year to year. The national art and industries are. set forth in - bewildering richness and variety in most: of the great depantments of the Fair.. In those of Fine Arts, porcelains, 'silk and teas, especial efforts were made. tons of-.raw silks were said by the imperial commissioner to be imported ; the. little tea house, back. of the, Hisheriecs Building, constructed of native woods: and bamboo, is directed by. a dignified; silk-robed official and adorned by the graceful services of, Miss: Morimoto, one of the very prettiest girls in Japan. This little edifice was put up in Tokio 'and: them taken down and brought -to its present site' to be put together again': . 'The .national-pavilion -on. Columbia: Avene. in" the Manulacttuites Building is also curious and costly in construction, the material employed being native hard woods,. skillfully carved by. hand and »adorned with:-metal ornaments, nail heads, a figure of the sacred. phenix, etc.. »The Japanese village ~on 'the. Midway - Plaisance, though not officially endorsed by the commissioners, offers many interesting features. + As Z Joists # datmAiqatie (WHr AHH Sn L2 mmr $4 in rs mo oduct onl ct inp m s chi n t ee gh La rire * PAINTED BY ALB&RT AUBLET . (FRANCE) f __ ~~ - I " & ~ in *+ € a o s e o t a a o a o 0 o a a ¢ L U e ® y ® $ tet e o e ® a o o a a * a a... Li U e a 0 ¢ ® arre E e E L x. t'. \ \V er par nd Zee Za PTZ Za v8, NY P7°% r 1 19092 Leck f prrcpte *, &, Co4 ,/ Morn tens £ // Ns Aparna F L- if L- ME \ i- ¥ . m\§\.\\flk ELP ini ies =- i2ze Pre aie ren ter e p w‘xm‘hn‘rqylmfl‘lk“ oe e ae sre zr > =. ye: z 2 ne rel eir t mz a e ¢ =A G2 tare e pr e az ogre > -s C> peer oe r ae e e ie Oe -__- rr eee F a z 2 ir e ei e _ s - er r ee ra oie 2 maz» lfi“l\“W§-” e Pe e Z orer eZ ori i ee i ie "-< era meace zz tham ari fae 2 arrear rei ie a re ee era eae eat a iaa aaa e errr ia eee i aa e p e ai e e Pee Z2 ero a o er o e e ar ean se Ze : re ee 2 e e ses up, "INDIAN SUMMER PAINTED iii ifiNZ SIM M ETCHED BY ADOLPHE LALAUZE Medailles, 1876-1878 - 1889, E. U. - H. C. LGopapagzhded IF 4344 e o ¢ © IN THE. LAGOON PMNTFED BY - RICH, FRIESE (GERMANY) ETCHED BY EVERT vax MUYDEN H. M. 1887- Médaille bronze, 1889, E. U. uate o> pare Manis Kes Bots O Loke it»; *> : ue , \ ¥ wee txz.‘\z\ %. & IN. THE GRAND PLAZA OF THE EXPOSITION ParntTEDp By L. MARCHETTI ror "Art AND ARCHITECTURE" CHROMO-TYPOGRAVURE i ia tas "a l w”; hes Mice: he Z mpage }... ce THE :ABSENT ONE:; afr sours pay PAINTED BY WALTER MACEWEN (UNITED STATES) marron nnn nnn nnn nnn PHOTOGRAVURE ® g $ p ¥ [ ( | > ¥ f 't “If! ) n aul } ge (0 | IL ip II @) m f but} wll I {Him [. ji} jh M "Hlv I U I » | a [3 nl", v U Ml | | I | [f | mil oal 1 ‘ R | I | ‘ W w IEW IN, WW LE BUTIN (THE BOOTY) PAINTED BY GEORGES ROCHEGROSSE (FRANCE) ETCHED BY EUGENE-ANDRE CHAMPOLLION Medaille d' Or, 1889, E. S. d'A4. F. Unlike almost every other contributor to the Columbia” Exposition, this distinguished French artist has tfiougfiz‘ it advisable to inn toute kis sndllest works, rather than his éz'ggesz‘. As a painter of [mfg-e, important and crowded canvases, M. Rochegrosse is very well known, although still but a young man, Fis "Andromache," " Nebuchadnessar," "Salome," and especially his immense "Fall of Babylon," his latest sensation, might have been expected to have led up to something still more~dramatic, imposing and | huge for this great occasion. Instead, he is represented by this small but carefully rendered : slung/l. of a group of captives waiting, with other trophies of plunder, the pleasure of their captors. The wall behind them is of blue enameled Persian bricks, and the ornamentation of the vases, etc., is Assyrian or Babylo- nian, so. that this may be considered a sort of sequel to the " Mort de Haw/0125." The Hrtist's setond"} -.. f canvas in the Art Galleries shows us a pleasant Roman family party under a trellis on a terrace, and f/ze s two affianced lovers holding each other's. hands in the foreground. F if: i A) Ses.- Stil S GREYHOUNDS PAINTED BY IDA vox SCHULZENHEIM (SWEDEN) ETCHED BY XAVIER Lr SIEUR %" s i % a t. EN, DEROUTE CIN BULL FLIGHT) PAINTED BY ALFRED PARIS (FRANCE) CHROMO-TYPOGRAVURE Among the benefits to civilization which have ensued from the French conquest of Algiers may be reckoned the innumerable admirable subjects furnished to art by that country. Among many others, this pupil of Detaille, M. Alfred Paris, has celebrated the triumph of the French arms by this graphic and picturesque version of the headlong flight of a band of Arab horsemen down a rocky defile, with empty saddles and slain warriors drooping across the horses backs. This paimting first appeared at the Salon of 1892, and at that of this year the artist's picture, "An Intruder," represented a handsome gray mare and her colt recerving the visit, in their paddock, of an unmannerly, braying donkey. e* > * , ® e a o ¢ to... * a s a a o 2 % s 8 o a e* 00. Pj a_ __ B7 te. 1 a - y/ asr re r* J 4 K desl e 7% a /J white a bled) LII by Geo:. L IM GRABEN (THE GRABEN, VIENNA) s PAINTED BY KARL -KARKGEK (AUSTRIA) ‘ URE This crowded composition is the only exhibit in the Austrian galleries of one of the most celebrated of the Viennese painters, but in this one may be found evidences of thought and conscientious labor enough for two or three ordimary pictures. In this ingenious and most painstaking attempt to give an epitome of the life of Vienna's most popular thoroughfare when most thronged, the painter has introduced a wonderful variety of types, and not respectable fine ladies, 7mm; beggars, errand boys, pretty Viennese . girls (one of them in great danger of being kissed), and the Emperor, driving by in his closed carm’agé and bowing to the salutes of his loyal subjects. All these individualities are rendered microscopically and f pkblagrapfiz’cally, most of them being in full sunlight, and the architecture of the street is put in with equal tare and accuracy. _ 1. he sfiecmé‘or is spared a journey to Austrias capital by a half hour devoted to this epitome. ' x & Nat s" , te pen: V ACT % a. % HGD &, "ii"? ' ‘e‘f x aes. ( [S | pae. N ‘\ “new R Nt \R\~~$\\n‘i‘§\\°\®\ i “x \§J'\t «-\\\ \\‘\ NQ \\\\ \\\ I f N \\\\\\ \ \\\ \\\\ AIN WU \ \\ Todd ; \ he. \ ‘\\\\\ ‘N‘ W Sit S N U \ _PIQUEUR SONNANT LA "SORTIE DE L'EAU® (WHIPPER-IN SOUNDING THE ( SORTIIE DDE L EAU") PAINTED BY PAUL TAVFRNIFR (FRANCE) ETCHED BY CH. COURTERY Medaille d Or, 1889, LE. U «H, Cas" § WHA. P. M. Courtry is one of the foremost etchers of the day, and in this handsome plate he has devoted his talent to reproducing one of the best fiat’né‘ed and pleasantest in color of the pictures in the French galleries. 'The somewhat technical subject resolves 275er in a very agreeable composition of a red coated huntsman, on a handsome gray horse, blowing Mew/fully into a great horn on the borders. of a woodland lake; a dozen hounds are venturing into this lake in pursuit of a fine stag, who toils wearily out on the oppam‘e shore,. and in honor of whose just compleiea’ swim the huntsman sounds the "issue from the water." And/167k rider,. on a dark horse, comes up gallantly behind, and the rest are not far away. M. Tavernier, who was born _in Paris and was a pupil of Cabanel and Guillaumet, frequently exhibits Vunting scenes in the Sd/ofl in which, as in this, he may be said to endeavor to unSste the classic fims/i and slyle of one of his masz‘em with the more robust and stew/[mg fiamz‘mg qua/2126's of thesother. C od. Xe 7 , tughilecd CIB Arg Lecrae Harve gti C P4 efzogz A a tiie . } ZN Wha ATI |, p fifflw IR f P2 / a,” 1) 152W“ 7 [f AU t f us" u, I v; 1 I, J} J} 7 U r/ylfl/e/y/ > e d h ¢ wi iz x4 THE BLIND MEN OF JERICHO PAINTED BY PAUL- ALEXANDER ALPRLD LEROY (FRANCE) a ~ ETCHED BY EM. SALMON MrLL 1884 - Ned. 5° d. 1885=8*S 'A. F. This very large canvas, from the Salon of 1890, is one of "the biggest and most z’mpoflant examples - at the Exposition of what may be called the conveniz’ona/ modern manner of ‘ fiaifltz’flg Scriptural scenes. f The unconventional, modern manner, as exemp/zfiea’ 51/ Unde, Fean Béraud, and some others, WWW/es that all the characters and accessories-excepting the fi gure of the Sal/202W when He appears-shall be strictly modern and European. In M. Leroy's presentation, it will be seen, the local color, on the dank/dry, is so fazl/ ifully kept that no formal or supernatural arrangement, haloes, etc., after the manner of 'the old masters, are permzz‘z‘ed dut an intelligent effort is made to present the, incident in the simplest and most natural - manner fosszéle This painter, who was. a pufiz/ of Cabanel 'and. is a regulafi exhibitor at the Salon, in addition to his studies in the Land, paints portraits and occasional domestic scenes. rena # oren y" as ma agre P aP wt e CENTRAL PAVILION, HORTICULTURAL HALL ParnxtEp BY¥ L. MAROLD ror ''"Art AND ARCHITECTURE" CHROMO-TYPOGRAVURE The Horticultural Bmlding, before which this pleasant party are seated on the grass, is: one af the largest and most important of the buildings at Jackson Park away from the great plazo or court of honor. Its huge dome, seen rising high against the sky in this picture, is one of the most prominent objects on the Exposz'zfz'ok grounds, being 187 feet in diameter and 113 feet high. The plan of this edifice is a central f pavilion with two end pavilions, each connected with the central pavilion by front and rear curtains. The dimensions of the whole are 250 Féy 998 feet, with eight green/waxy 24 dy soo feet sachs The aschatect twas Mr. W. L. B. Jenney, of Chicago. The central entrance, shown at the right of this fiz'ctufe, : AB front of the great ®dome, faces eastward, on the lagoon, with a circular fountain in front. ~~~ Bas Lette tod, to eral hard 4 i l x “figlx‘lfiiflVfi‘ fo H kul ‘lgfxitf' b s f: a Re i i 7 f ed AS I3 by Y oo PZ /,/‘ EVENING PAINTED BY AUG. HAGBORG (SWEDEN) PHOTOGERAVURE Pak tes t # THE HUNT BALL PAINTED BY JULIUS L. STRAVAKRKL (UNITED STATES) ETCHED BY EUGENE-ANDRE CHAMPOLLION Medaille d' Or, 1889, E. U. -»[ 1890 - H. C. - S* S. d' A. F. pinay FMWMkHMVw gf -" on. % en os e - _ ese _ ___ -- sess __ ese _ - --- = e a _ --- -_- ees S-- an ere : -__- S ~ <<-- _- = aie ser ~ s S -- ece § -~ & oe z- <<-- we __ me- se-" ~ : <8 <_ § s ~s - 2 nen -_ -e - a eer d = & ee n _- 19A p Yom BHT 4 Aa ArAic. <-- <-- _ -- 1498 lay Sao oa ell g- -s zZ? 7 y fly} 1. of Z 2 F THE EVENING BEFORE THE WEDDING ' PAINTED BY. ALEXIS KORSUKHIN - (RUSSIA) ___. ETCHED BY GEORGES CHARDON sut e ¥ @ Zame * THE CARD PLAYCRS PAINTED BY HORACE. FISHER - (GREAT BRITAIN) CHROMO-TYPOGRAVURE - LA BERCEUSE CIHE CRADLE SONG) HMNTED BY EDOUARD TOUDOUZE (FRANCE) > PHOTOGRAVURE ea St R < F4 "Cau yous evessavenes -- ZZ C_ \N [Gynafl'fndp (e eMart ad z ¢ fl, If megs ---- % hes fe fl i I W g- = >- ts ee < / -R-f = : i‘ciflm [ Ce x/ 4PI3, lay X - --- x. ant , 7 Lea (A 7 /c;// 4/1215,” a- ( J == >> > > <--- Been n memeo, eee as THE. SINGING - LESSON (UNITED STATES) ETCHED BY CHARLES-ALPHONSE DEBLOIS FC +p Ge ,iv/7W fJflJ/@Vfizw, cae~ lt it MM Mote MY N is tllninv ki 18 I H "(fly IN THE GARDEN PAINTED BY 'N. KUSNETSOV (RUSSIA) ETCHED BY EUGENE DECISY es 7 ws the o fork ais U f f at hys Mod gor} HORTICULTURAL HALL, INTERIOR Or THE GREAT DOME PalXTED By PAUL, SINIBALDL ror ." ART AXD ARCHITECTURE ' UKE \ \ y } \ set \ ; Phe nT 3 yi tae i reat MORNING ON THE BEACH AT SCHEVENINGEN PAINTED BY H. W.. (HOLLAND) _ EICHED BY_-F.- |. M. FONFAYE pr. LA PRANDIE or fi 8 a g £ Of o A & bite ~ . . t o os v ral Mo i 5 19 uy atl Auf a- vil s ¥ G - Z A1 v W 7 I ¥) L ( w 4 8 / \ WX N ZfHWM/flz/ NX 4/7 A 170 a J CARNIVAL IN GREECE PAINTED BY PROFESSOR NIKOLAS GYSIS (GERMANY) ETCHED BY FREDERIC-EMILE JEANNIN ey i sie e S y, ‘ fat Ta pu ##. THE GAMBLERS QUARREL: PAINTED BY VLADIMIR E. MAKOVSKY (RUSSIA) PHOTOGRAVURE "MY LITTLE BROTHER" AFTER THE PAINTING fiY AXEFRED GUIILOU (FRANCE) FACSINIELE TYPOGERAYVU EE l High up in a corner of one of the French gal/67223 hangs this' seriously painted little canvas, which altracts the visitor's attention despite its unobtrusive size and commonplace subject by the honest prettiness of the big sister's face--a prettiness which is plausible and realistic rather than conventional and doubtful. 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N -_- T ~~ 3 I 0. \ | AV} §§E§§c\§‘~‘ \\ t \ \\} WAL a \ M” 3\\‘.‘\\\\\\-\ s ; “$3 k§}\'\“\w’ \‘\\‘\\\\\\\\\('\ W \ “m Aa U A88 ssn Tz zzz (0 & t sso , Ss "K) SA ~ rr Apr ene maar aan orie (ERRRRCE Pd 6 RC Ceol NK X LCCC roms ra ALL "4 g ROCK A W SH GOLDEN DREAMS PAINTED BY PUBLHMO DE TOMMASI ETCHED BY GASTON-LOUIS RODRIGUEZ This is a painter's picture, to which any one of a half dozen titles might be flicked, from the somewhat worn "Dolce far Niente" upwards. The artist has simply posed his model, this dark hatred, smiling Italian beauty, in a convenient dishabille, in a picturesque attitude, with an apfiropfiaz‘e arrangement of flowers, draperies, etc., and painted her as a very superior article of studio bric-t-brac. The title of this no-subject comes afterwards, and can be most anything you please. The justification of the work lies, of course, in the artistic renderin g. of an excellent bit of color and texture, and the etcher gives us his word, in this very good translation, that the painter has done justice to his theme. Caf Pok C2 Ree s ig Ao & il'vty I rap mon INH it“ HL $7"!in i T3 Tt ¢ ”I” rm” \ i! T ~T I A I, P f ] F 3 9§ : ) W | f (X [ I f a es 4 R = % ¢ \ & } “JAM % j l P li Re-_-. Re- \ s- _- - (THB CONSULTATIGN PAINTED BY CARL PROBST ~ 39+ | (AUSTRIA) : f Gye ETCHED BY GASTON MANCHON The modern genre painters not unfrequently revert to the themes and -so far as f/iey are able - 1c; the technical methods of the old Dutch faz’niers, and in this decvorous composttion Herr Carl Probst, of Saizsburg -in Austria, has evidently been inspired by Van Mieris. If he has not: quite caught the skillful disposition of light and composition, nor the shrewd delineation of character in his sitters, of that admirable old Hollander, he has at least rendered a very presentable and plausible " restoration," and the etcher has -very well reproduced the quality of his work, the varying textures of stuffs, fuiflhjziz‘mfé and woodwork of the handsome stxteenth-century interior., jes. o witt Tet (loma 1493 by Fevige BDarme anita her eae mii ia era ee oad tew e tie a a -* Annas MO tes & ha mp *I Cak® J' LOS ENAMARADOS S (THE ENAMORED) PAINTED BY LUIS JIMENEZ—ARANDA (SPAIN) 3?“ PHOTOGRAVURE Of the three or Jour Spanish painters of the general name of Jiminez, and of the numerous Sfidm’s/L £: + > % paintings in which this very clever, sort of light opera, eighteenth century» genre, 1s carried to- a high* o as. . «ff degree of excellence, this canvas may be selecz‘ea’ as one of the most brilliant examples. Nothing could well be better-given this particular theme-than the action of thes: twn disputations, enamored fair ones, the ~impassibility of the "beau cutrasster," the bone of contention, the serious attention of the alcade and his small court, and the picturesque, tiled Spanish apartment. The painter, who is a native of Seville and a pupil of Don} Educira’o Cano, received a medal of the third class at the Paris Salon of 1887, one of the _-_ second class at Munich, and medals of honor at the Exposzz‘zon Universelle of 1889 and at Berlm in F8G1. P1¢ £2055 in Paris, and pazm‘s portraits as well as these emmem‘ly national compositions. ues aa N & & soUTH ENTRANCE OF ELECTRICITY BUILDING PaixtED sy RICHARD JACK ror ~" Art anp ARCHITECTURE! FACSIMILE-TYPOGRAVURE Pros the 'first time in the history of International Exhibitions a greet? building has been set apart , entirely for electrical exhibits. That at Fark is one of the miosi z’Mpofiam‘ edifices around the great Quadrangle or Court of Honor, and one of the largest buildings of the Fair. In extent it covers nearly five and a half acres ; its dimensions are 345 by 690 feet. The general scheme of the plan is based upon a longitudinal nape, 115 feet wide and 114 feet high, crossed in the middle by a transept of the same width and height. The exterior walls are composed of a continuous Corinthian order of pilasters, 3 feet 6 inches wide and j2 feet high, sufifiom‘z'ng a full entablature, and resting upon a stylobate 8 feet 6 inches long. The total height of the walls from the grade outside is 68 feet 6 inches. At each of the four corners of the building is a pavilion, above which rises an open tower 169 feet high. I ntermediate between these corner pavilions and the central pavilions on the east and west sides there is a subordinate pavilion, bearing a low square dome upon an open lantern. An open portico extends along the whole of the south facade, the lower or Ionic order forming an open screen in front. In the centre of this facade is the main entrance, under an of?” portico, richly ornamented with color, and protecting in the muddle of the entrance the heroic statue of Benjamin Franklin by the sculptor Carl Robl—sz'z‘lfi The architects are Van Brunt and Howe, Kansas City, Mo. | : é yee B Ti wits : & © ¢ ¢ ald Ta t Ky \ sie Coos “&~\\;\\ & ssh MB d Cay \I \ a Ban { pel (z] i/ SUMMER AFTERNOON PAINTED BY CARL - MARR (UNITED STATES) ETCHED BY LEON LAMBERT Mr. Carl Marr, who calls himself American notwithstanding his German ancestry and his Munich ”354157254 exhibits two of the most remarkable paintings in the whole gallery of Fine Arts-the very large "Flagellants" and this still better painted pleasant domestic group which hangs opposite it. From the huge, gloomy mediaeval scene, with its crowded composition revealing in every detail the artist's painstaking research, invention and design, to his charming, every-day theme, the transition is green" and the painter $ yange is evidently wide. Fis technical problem in the latter case, the keeping of "values" in this lumitious, shaded atmosphere, with the sun spots bredéz'flg through like little meteors, was a very difficult one, and he has solved it in a manner that very few indeed could have bettered. His skill as a painter has, however, long been established, both at home and abroad, and, as a fewM‘aézemf retord in his native land, three or ~'four of his most important canvases are preserved in the Metropolitan Museum of New Yorke; one of the great national collections of the United States. 8443: \" 3 m Falun hese Z2 i o I ees &" he.." " >>." f a> # 5% * t k=" # & t s ; s AT The - string..s . . f PAINTED BY EDMUND .. MF < _ "tz f (GERMANY) f .. - Cra ETCHED by xavirk F. L= SURUR _," __ % A This Munich painter is one of the humorists of the modern Gemmm genre school, izzs sfzm’zes of man/es peasants, and gamekeepers being nearly always characterized by an mgemous search for the. less serious aspects, with a touch of sarcasm or malice in his appeal; to the spectator but very seécfom with that coarseness or heaviness of touch which these themes might be sufifiosea’ to invite. J £ &: not always, however , that he is so very quiet and subtle as in this appreciative rendering of the summum bonum, He sense: of® being at the fountain head and true source of all comfofi which femxaa’es this: pfiz/osopfief of the cellar. - The paintimg, Harburger's only exhibit at the Exposzz‘zon is a small canvas, about z‘lze size of this etcfimg, but very carefully rendered. u Asan USSp € C=3 pumas X <2 2 “wifivww \\w\ m0“ ABs NVMNQ §\\§\\\\Wflw as THE FERRY PAINTED BY WALTER OSBORNE (GREAT BRITAIN) PHOTOGRAVURE This artist, who is a full Academician of the Royal Hibernian Acagemy of Arts and a resident of Dublin, is a well-known exhibitor at the London Royal Academy, the New Gallery, and the numerous minor English exhibitions. In this careful and well-painted study of the shores of a little Hidal river, its _smacks, its boats and part of its population, he evinces many of the qualities of the newer English school of painting in which the absence of literary and sentimental AHritains is more then atoned for by close observance of nature and faz’z‘fiful render in a..: #1 Is afifiaremflj/ low tide at this small port, much of its flee? is temporarily aground, and one of the families is awaiting in the foreground the leisurely approach of the ferryman. .wa>.,‘xmuw CARNOT AT WATTIGNIES PAINTED BY CGEORCES MOREAU DE fOoURS (FRANCE) FACSIMILE-TYPOGRAVUKRE The battle of Wattignies, fought on the 16th Ocz‘ééer, 1793, was one of the first victories of the new French Republic, and was largely due to the courage and mulitary genius of the director of malitary affairs, Carnot, the illustrious ancestor of the present French President. - The plain of Wattignies had been carried at the third desperate assault, when the foremost brigade of the advancing French was broken by the Austrian cavalry. Carnot rode up and rallied the brigade, set aside the general who had ordered _a retreat and, dismounting, seized a musket from a fallen grenddz’er and led the troops to victory. He was ably seconded by the general commanding, you'mz’an, and by another representative of the people, Dugquesnot ; his brother, Colonel Carnot-Feulins, turned twelve preces of arid/er) on the Austrian flank, and the victors embraced each other on the fiezg/Lz‘s of Glarges, in sight of all the army and to the cries of " Vive la Republique !' f EPISODE IN THE WAR OF INDEPENDENCE PAINTED BY CESAR ALVAREZ-DUMONT,: f (SPAIN) PHOTOGRAVURE - In this a‘ragz'e scene the patriotic painter has restored, or imagined, one of those incidents which marked the desperate resistance offered by the Spanish people” to the invading armies of Najboleozz after #he _ comparatively easy overthrow of the regular aaz‘zoaa! forces At a period when the French generals considered the conquest of the country firaez‘zea/Zy completed they saa’a’efily found Memse/ves involved every- where, and in the most unexpected quarters, in a fierce zrrega/ar fiopalar gaerrzl/a warfare Here we see the defense of a tonvent by monks, peasants and citizens; a cannon aas been planted to rake the long corridor of the cloister, the patriots throw themselves on the French sola’zers armed only with their knives __ or their hatred, and a stray bullet has found its way to the Reart of fear nun who lzes dead on the f pavement at the feet of the pitying Christ on the cross. The painter, who is one of the most distin guished - of the Madrid artists, 'is well known abroad and has reeewea’ mea’als of the second and third classes at various Spanish exhibitions. Fuss Ht fe A ory &" V Al ier r \\\\\\\M&\\®\\N LY PoP “wawhxsxavfi / Hl f $1? f - F ~ aie aera oon WFP # IV In T WU ZV LTV WZ f z mR ETTI LT ZZZ ZW §w Z ZZ Z 2 A Ah "1,19?ij ) Mv waw i P \ k fo A t A \ Los waa Simon Gess ALB C \ Wo & a S i“ A S f LS tfiflé Z y g Z I J wl 1a Whe } yan wi\\.N\3x in w uta / lil UP Maine fF: 7 M tt . ve nn WI i0§§§ Ml y / f §\ xxxxx§s§wq i M ui rman i \\\\\\\ \\M\\\\\\ / nge l \\\‘\ 0 \&\\e\\\ W l m ai A L \\\“\\\\\q\\ f f J 2 F. \fi\\\..w\fir #) e my“ 4 NWN$N f m 222. / sme I y 7 F Co ~ M e I N ae) ‘«% Zac A quW/tflwwn e--. =-- (( ai ose t -__ -_- ”JV" é THE ANNOUNCEMENT TO THE SHEPHERDS PAINTED BY PROFESSOR FRITZ vor UHDE (GERMANY) righ _. Exh Ig . 0} ae t xs ETCHED BY GEORGES-HENRI. MANESSE Medaille bronze; Exposition Universelle; 4889 ' "% Professor Von Uhde is one of the few foreign painters whom the Parisians recognize as strong individualities in the general low average of Continental art, ~am? two .or three of the more prominent French painters have even followed him lately in his revival of the mediaeval custom of presenting Scriptural incidents in contemporary characters. In this “Amzzmaaz‘zon which is not one of his latest works, the anacfiromsms‘ are "not very striking, though it is evza’e’m‘ on inspection that Mesa Syrian s/zejb/Lera’s are really Bavarian peasants. But in his second palm/e in the German galleries, "I he First Christmas Evenmg,’ the. two > principal characters are poor modern work people in 'the snow, and Beth/eke?” is a sordid [little modem village. The painter's meaning evidently is, that the story is just as new and just“ as. z-mfiortcmz‘ now as it ever was. The technical quality of these works, and of all the artist does is 'so high as to give him in; assured rank of one of the best of contemfiorary punters & % x T 1: (Q I (KR ( ga n? S C> jg)” CVO $o } alt ) ’.’fi/.’ ) TW Pan con P ”3 A‘hlm UH int \ 2:1) ATTE S o Phi } \ R " - Z M i //// ton 0 # /): 59, 514W o 7 f a ) P if; NHA s \ I \ A (WZ a" .> ¥ ; I 5 EACH ! /11 I Nes : s -. I (t N ANC P v. e 4 BrORE ': f . . MET : .: F Heant ? | Th sg c p oak I 2 AMONG . = - 7 P ne- Cs R= «-an; \§;~~\:‘ ® a - PIP i A T it ARH " pitt p ve F . I hee nese mo > ~ s AC Adt P --- " ege - o ase te sct me eos eact ear “six“‘fi‘ I I s e e # »,v72//¢27155 f g/" THE COSSACKS ANSWER To THE SULTAN PAINTED BY ILYA REPINE (RUSSIA) ETCHED BY XAVIER Lz SUEUR One of tfie realists of the contemporary Russian school of realism is here refiresem‘ea’ by one of his - - most formza’aéle works, an immense canvas, crowded with figures as large as li fe or larger—a tremendous suéject rendered with umparmg vigor. No dates or names are given by the painter for his incident, but the fiuge guffaws with which this message of defiance to the Sultan are famed may almost be heard. Each face is a character study, and all the distinctions of contempmous merriment, from the sardonit to the explosive, are admirably rendered. The painter, who -was born in 1844, has been official historical painter to the Academy since 1876, and this emz’ne'm‘ly characteristic work, which represents him at the World's Fair, is the property of the St. Péz‘eméufig‘ Academy of Fine Arts. M. le Sueur's admirable etching has _- caught with great skill both the character and the detail of this great comfigsz'zfz'ozz. | *s Las 345% ° A.. mik C .% ett RHC 4). f T CC esti ugs H yy, oa REY dulcis £- A4 tiens - ST B66 NORTH-WEST PAVILION OF PALACE OF MACHINERY a- S x * $A) @ Apo , 3. PamtTEDp By AUG. FR. GORGUET For "Art anp ARCHITEC'g'URE” % CHROMO-TYPOGRAVURE . The artist has here represented one of the two imposing facades of this burlding, t/zgése which face on \the Grand Court of Honor and the South Canal. For the general style of this "Palace of Mechanical Arts," the architects, Messrs. Peabody and Stearns, of Boston, have chosen the best models- .of the Spanish Renaissance, from Seville and other cities-this being in honor of the Spanish discovery of" America. In the background .the arlzsz‘ has introduced one of those handsome four-in-hand coaches which, as the digmfied and exclusive method of reaching the Fair from the city by public conveyance, were extemwelv patronized during the summer. The contrast between this very modern turn-out and the stately Old - World architecture was. only one of the innumerable ones to be met with at this International Ex postition. v at 4 6 * o e AN ITALIAN IDYL FPAMAINTED~BY. CHARLES F.. ULRICH (UNITED STATES) PHOTOGRAVURE T his New York artist, of German descent, and who has been settled in Munich for the last few years, 1s represented in the United States section by three paintings, of which this is the most recent, and the "Land _ of Promise," lent by a New Y ark collector the earbest. The latter picture, indeed, -representing a number of recently landed emigrants in the wazlmg—room of Castle Garden-was one of the first works Mat attracted attention to the young painter. The second in point of time, the interior of the woréslzqfi of some Venetian glassblowers, is even more clever and also served to forward the author's fortunes. The present canvas, less sensational and something less of a subject than either of the others, is equally well painted, although the technical problem of rendering the wealth of onions that surround these not very industrious maids was suffi- ciently serious. It is in these sober cmcl not unarlzsz‘zc remlerzzzgst of modern subjects that Mr. Ulrich has chosen to excel, and by means of them he has established "@ sazfzsfizclory repulczlzon both at home and abroad. e-- P secse ews ce Gee. a- &e 3 Sx Cesc: < c Cees -se a e WWW/7; e= nle > $0440?! Lo oS > ~ Ss +C a eas ___ -C eet t aer C zer z |W§§ 6 arin Hise r o ae z " a =S 2 n e> a n 11) l|-.r.w I.” i 11,12! ece ns." tane - ors) s c acnes won-. eae es Kie - * Sete. s § mae. whes. #3 oden, a *p » 4 K? . ai the 4+ . e , , a & kut $% ¥ zea l ',-§2 # 7 & & £4 4 45m .> " 1: 2 + - © {f- p ite C + CHRISTMAS EVE PAINTED BY. NICOLAY KARLOVITCH PIMONFNKO (RUSSIA) ETCHED BY HENRI LEFORT \ f Med. bronze 1559 A. U..~ W 1800, It C., d' 4. Pe. f C/Wzsz‘mas observances are almost as widely dzj‘usea’ as t/ze commendable deszre of young female hearts - to de apprised of the qualities of their future mates, and in Russia young girs ewe as mete/z given to these praetzees as in ot/zer countries. Here we see two of z‘fiem deep in Mace noez‘mfmzl mysterzes—i/ze shadow of the bit of tell/ow previously a’mfipea’ in water, when fin/own on the wall gwmg Me pmfi/e of the husband that is to be:: So: well are these. experimenters 7fe7m’e7/ea’ Mal the specifier shares at once all their hopes and most of i/zezr tremors. The contrast between the youz‘éful seriousness of the chief enchantress, absorbed in the possible solution of her own fate, and the somewhat incredulous amusement of her assistant, has been very well observed by the painter. T his fizetmfe is the property of the Imperial Academy of the Fine Aris, AYA Petersém’g and M. Lefort's etching is all that- could be desw’ea’ its: 'd feproa’ueizon of this bit of charming, if homely, genre. / *+ as C4 & e & -_: f gous eutt-iin 4 2 * # % 6 » ALLUMINATING - NATIONAL MANUFACTURE OF. THE GOBELINS > WoOvEkN BY MICHEL (1888-1892), AFTER THE PAINTING B Y* F. BITRAATNN * FACSIMILE-TYPOGRAVURE This is one of a pair of companion panels in tapestry exhibited by the Goéelz'ns manufactory in the French section in the great Manufactures Building, both of them from the designs of the painter, Francois Ehrmann, and the present one executed in tapestry by M. Michel. The beautiful mediaeval art of illumi- nating is here personified by a graceful Muse, draped in ye/Zéw and blue, who stands meditatively, with one knee on the lower seat of a high reading desk on which she has placed the folio on which she is at work. In the distance may be seen the Gothic arches and blue sky of a great open court. The border is composed of handsome arabesques and medallions, in the Renaissance manner, and the work is signed by both the painter and the tapestry weaver. In general design and color tis is considered to be one of the masterpreces of the Gobelins work. res 3 £. Puls aio Y' G A BACCHANAL PAINTED BY CONSTANTIIN MAKOVSKY f (RUSSIA) am en ia an nect tose Re anothers PHOTOGRAVURE The Russian picture galleries in the Fine Aris building are not very extensive, but they include a number of large canvases, and one of the largest and most important is this crowded composition in which the pamnter has essayed to render again one of the oldest subjects in art. It may also be said to be one of the best, and one of the most difficult to do satisfactorily, the necessity of avoiding the modern touch in it, of retaining the antique flavor, being so. paramount. M. Makovsky has done this in the present case suflia'éfltly well -his Menades do not suggest particularly the sophisticated young women of civilization, his shaggy satyrs are very unlike anything we are accustomed to seeing, and his landscape setting is well conceived and arranged. - This artist is comparatively well known in the United States by his very large canvases, " The Russian W edding heast, "Allivring the Pride, "The Judgment of Paris, etc.. which have been exhibited in' New York city and elsewhere. Tos 1 P t t 4 t i [ A t emm - ‘fi ‘.,. - erat ® Geese ma enemee Re Rini Z WNW“? in." 2 C4... ct + *y $8" *~ a( 9" % */ "te "5 %n I“ ' flu, s ff; flf‘ x \ 3 o 5 I J , : ¢ E if: 3 wees 4 § % - * s t 37-54 2% C f. s M“ # x#" y‘af‘ rae / 5 é * 4 s w* e. ~R ) -o" att a g "[" is . "f v '% . 12 ~ H t A; a, 5; NW $113fo # ‘ = " : *, f ITf OF MADAME GAUTHEREAU ~ tes Aas) . § (* PAINTED BY GUSTAVE COURTOIS U- * § &. «.. (FRANCE) f $) | : o , 1 . : ¥ "4 ; f § cay f a“ & 1.1. . % Rs t 1A % } @ f A, o % o y _ETCHED BY LUCIEN QUARANTE © | Amoang‘w/ze many zmfiom‘am‘ portrait studies in Me Rae A alsfefefiartmeat Hot my fias éeea more a’zseassea’ amf is more mmaréaé/e than this o of known A; memeafl Parzszeime by Courtois. I ¢ meg/w be : sard also Mali seamely one is iso beautiful in color . For aoz‘wzf/zsz‘aadmg em slmngly aeeem‘aatea’ ma and the sz‘az‘e/y semif lzezty of her' pose Madame Gaaz‘lzereaa s beauty lies in {fie claw/mg, slzgfiz‘ly zmfiroéaéle fazfiezess of her.. sfc'm akd the rich auburn of her fzazr Lo "which the In vfaoas twhileness of fie? dress adds f an aa’fiezraé/e setfmg—o/f All these blonde tones are rendered by the pamz‘er zeal/é that : émZ/zaaey a~0f z‘ee/ngae ¥ whoa Po so much mork frequently found in Paris than in other cities. As zf Z0 demoasz‘raz‘e t/ze range 0 § Izzs aeeomfilzsfimem‘s the painter supplements this " fear de Morte" with Mai serzoas slaa’y of a young gzfl &) *%& +23: on fzer a’eaz‘h bed, w/zztea was, in some respects, his most noticeable exhibit at the Pans Exfieszz‘zea of 1889} "The "MmE. Gauthenaa ' _was painted two yeam later . f =~, \ R c .:;Affl-:7;6 s tag i '# ' , | s £ ~> a" 4. "wo f i ' I p V B 4 * e ‘ / R PO :\ h? f € « 55" tg § £2 ii: $ "t, F 4 ‘ j + w: f p i u‘a‘jh £ ¥" oak e X; o txt ‘ a?” f} + 3 '-‘ i“ $ fly. : J. w Reet. o . £ ¥ S» f % ig" &. } » a E "8, « b if" * (“i 3 $ “will”; T s j % wis sw < I nre ens ss So toon Sse - ~ Ss ess K R R R Ses s % - : Rexam eee ws R S ; rem s estas S : R *E ed X~: <- ; meee een cies & 5 : f S r er zZ : - s z Salsa e f Tk - T: fones : ; e R a rse a BS pests - i ae P ; 5 5 # -a 5 f sex New x ; ree st, - - PP > 2 \a R & < Ufl/%( = &; - hus. - - Ta' met r % 9 - : B rere - : 3 . ® 7 - * z 2 ; : oNe --- Cee -> enne wes w Rana c - R b Ses -s e 4 sess & hk Sse eme ease eno ce canners non excet flflw o . i Vl‘ ase ooo erates cant ns R ses Rohan sa w Bios wea s be iss a S3 - usan fl \ E & es asst Kas oars ; paises ess sat ame (an,”H,»Zu,m?uuzzar4¢w¢uniuflWwI/a scare rem . & : sss Soton s Efe s . cess eters arate onsen to ain noen C - S I” 117”, Sos & S c S é s 4 s R S - R Ru presets ~~ aes o ito mey s R C s tfl S ee oh cae M flfl‘fi ent 2 p CECE lgyflf s Ca " va is Z a rrr Zr Z Z T C so w < -< Ren n een oa e s eee e osa saas Cee ea oie Pa y GV R Sssco sss xe tse > wes tew \\ 7 P ces l e a $9 aer pe) D <<<2l Hd fl? APH HHMI, al AAP <. se Ass: es ess xo se ees ress: cut GVetec 7 Art and Architecture)] [Supplement VIEW IN ARTS sit che you'. % gat tie - A * * l i¥ ti 3" a, a% €~ -¥" te ve l‘.‘ A *% g, * 13 p & vag 3 ** H % *"23, : Vea 3** } a. A | a f j % gs. th % > . M stik #4. e gA Ayres +4 - 3 ”31:33: r wiles s +, © 3d "ge. THE GRAND DUCHESS SOPHIA VITOVTOVNA THE GRAND DUCHESS «SOPHIA VITOVTOVNA AT THE MARRIAGE OF-THE GRAND DUKE WASSILTI IL («THE DARK"), IN 1433, TEARING OFF THE DUKE WASSILL KOSSVY THE GIRDLE: » WHICH BELONGED FORMERLY To DMITRL DONSKYY _-'~PAINTED BY PAUL TCHISTIAKOFF (RUSSIA) PHOTOGRAVURE - The incident here depicted was one of those occurring during the feuds among the princes of the house of Rurik in the sixteenth century, in Russia. The grand dukes of Moscow, who had been the first to shake off the tyranny of the Tartars, [fled to unite all the small dominions of their kinsmen under their K‘aut/zom'ty. The, least quarrel under these circumstantes led. to bloody strife. At this wedding, the mother of the bridegroom, the proud daughter of Witold, Prmce of Lithunia, vz’o/em‘ly tore from one of the guests, : the bridegroom's cousin, Prince Vassily of Svenigorod, a . fireci'ous girdle set with gems that had once been the property of her father-in-law, Dmitry Déns/éoy. The offended prime left the court in great wrath, vowing vengeance on the whole family of the grand duchess, and some years afterward his brother succeeded 'in taking prisoner the bridegroom and pullout his eyes for this affront. me gant R it; 8 Ia Sd h eles yes x R ter ». Pen C2 v,” o “WM/lej/éy, {3/5407 iff/ gm <-- /Z I % éfi,‘ 7 P 107W W Z 7 7 220 MH ZAZ ff/Z , am' 7//// 1 wil tp /p H A ry Alo :;/// / 7 7 P »" JETS AM PAINTED BY EDOUARD ROSSET-GRANGER (FRANCE) EFCHED BY PAUL-YVICTOR AVRIL 7, fiz’s painter's study of texture find color under somewhat unusual circumstances has been excellently _‘7fefi70a’ucm’ by the etcher, working sz‘m’bz‘ly it the same vein. Story, of course, there is mone, like the knife- _grinder's, but the values and tones and 7254227563“ of (wet, fair, Tad flesh with all these reflections and full liyhts from sea and air, constitute an important technical problem, which has much interested these two' artists, and will interest the spectator strictly according to his amount of technical knowledge. To this may be added, in a lesser degree, the somewhat pathetic charm of this rendering of early death and [suggestion f of greater tragedy somewhere beyond those curling sea-green breakers. 4 lf S--, S-- & s- <<-- - y- % S saa § get ~ --- & : : \ F ”Jimm‘lflinuuiflfidvvflmwnlwmmfil ; ilIltllfltfldfl-Iv 1, e-- mea _- =- aes. n n _ C> S-- eee ...mmwfliflvuflnnfldlthw;rwu y _ o- <- - Ree - > =- -en eines aree see- Ae ene ee ences as feo n eo _- : --- e- Z - --- --- < Ro- (--- --- in-- eee oo e e ee n Sese e- eee eee S= ~-. A / ‘\ P ( ‘l'l! (th Ti BNE M -- "Gs I I reise e> a if | Laeviunp; ur 30 wi0Q som pup “Ska sp auapisor Sty sonrd sy 40 24} r §§G§J ay; ur porrqryxa St Suyurnd oy; 'pus suf NQKQS sony fome RQ§ yp uxm 10quiny» sty Ur Linxng qu2a90p yons amos pun 'sjunpuor;0 maf sup fo pind sy}; ud» L0 $8§§®b§§§ pournazsor yons omog - 'supyoua4 way; of sourif poy; mtoif uorssru sry FL mfiQfiN ay} V N§§N§Q§N§N~d puv ford s joaof ay} Q pausapsvy u9a2q arvy of pivs si pup QNNRNQQN vp oyaroyy sry fo ssvp} 3k fo up ur: paitnaso nggfi PJ §§§§§ kaSQNRNw. #0 Kvf ut joora oy} 1947 fixfis su fo spmvjop ay; fo umouy s: 271} OS yionoy; 'ourpusiop; maid oy; f0 afi 7 porgnor pun Pmurtapuvom ay) fo -asopa oy; po au39s auf a10]8Sa+ Of. Soynpiapun sound ay} 'uoyrsodmos poripn3s-z;om pun 12908 sy} UJ LY4YOD ISNOHaATV Ad GiHoLd4 [KNYVNWYAD) HOMCYIYHA O©LLO Ad TCALNTVI 1 INYG 40 Hivago ak.. Art and Architecture xli Printed by George Barrie -THE WOODED ISLE J ® ® + - @w 6 u Cx PAINHNG ON IVORY (LA DORMEUSE-THE SLEEPER) BY: HORTENSE RICHARD "(FRANCE) j CHROMO-TYPOGRAVURE One of the most interesting and curious things in the French section was the painting on tvory, "La Dormeuse," dy Madame Hortense Richard, which made a sensation at the Salon of 1892. It is notable, not only by reason of its beauty, but also on account of the fact that the ivory is the largest painted piece in existence. It, together with its richly ornamented frame, is reproduced full size of the original Key to Midway Plais e: §, i ; Ty: f : yg wes y w/5yférr/siyb2e9c 2 Key, to State >S8|tes and Buildings. ForengnS|res&Bg|ld/}2%s. ; a 1 Michsg an 35 A - Creat Britain. 2 Nursery Exhibit 16 Algeria & Tunis 165«280 33 Adams Express Ofice 2 Arkansas. 19 Minnesota 36 SouthDakote B& - Spain S - Canada 3 £.Indrian Villiage 17 Fire & Guard Station. 34 Exhibit of irish Industries. 3 California. 20 37 { Texas C - Cermany T Guatemala 4 American Indian Village 18 Street in Cairo. 223391 35 Mode! of 5t. Peters 4 (Colorado. 21 Missouri. 38 Utah. O - Sweden. U % 5 Dahomey ”Wage 150 195 19 Moorish Palace 36 Lecture Hall, Science of 5 Connecticut. 22 39 Vermont. E Venezwe/la ¥ 6 Captrve Balloon. 205x225 20 Turkish Village 190 «450. Animal Locomation 6 Delaware 23 Nebraska® 40 Joint Territories F - Turkey W 7 Austrian I’d/age 195 510 21 German Village 223780. 37 French Café. 7 Florida. 24 Montana 41 - Washington 6 - Brazil X 8" Chinese Village & Theatre 150 «225 22 Panorama of Bernese Alps 38 Indian Bazaar 8 Loursiana. 25 New Hampshire 42 West Virginia H- Nicaragua Y » S/om 82Chinese Tea House 55/00 23 Natatorium 39 Vremna Café 9 idaho 26 New Jersey 43 Wisconsin 1 _ Costa Rica Z - East India. 9 Morocco Exhibits 150150 24 Dutch Settlement. 40 Working mans Home 10 Indrana 27 44 Virginia. «J 10 Panorama Volcano Kilauear 135-225 25 Japanese Bazar. 41 Irish Villa ge 11 _ 28 New York - K 11 International Dress & Costume Co. ?6 MHagenbeck Animal Show _ 42 Lap/and Village 12 Kansas. 29 North Dakota L - New South Wales 12 /ce Railway. 60400 £7 AR. Station 43 Diamond Match Co. 13 Kentucky 30 M - Norway 13 French Cider Press 28 Venice Murano Co 14 37 Ohio N Austria. 14 Natrona! Hangar/an Orpheum 29 Libby Glass Co. 15 Maine 32 0 Ceylon 30 Bohemian Glass Co 16 MassachuseHMs 33 Penmnsy/vania. P _ France&City of Paris. 31 Persian Concession. 17 Maryland 34 Ahode Island Q Japar Other Buildings & Arranqczmcnrs. uc k Ta 1k Sewage Cleansing Works. K :P 1p Ore Yards Mining Dept 1b Carpenter Shop. 11 Oil Tank House 1 - Childrens Exhibit 1g WC. Express Cos Barn to Loggers Camp im Pump House. m - Green House. Ir _ MerchantTailors Ass?" td Pump House In Walter M.Lowney Cos Par" n _ Photo Building. Is Custom House. 100 * 200 le Colonnade a Fire & Guard Station o - Military Hospital It Office Electrical Dept.WCE. IF Obelisk . b - Ciam Bake. p__ Van Houten&ZoonCo lu _ Sitos. 1g Indian School c_ AReslaurant. SeadlLake Food q Jap.Tea House Iv _ Express Buildings. Ih Merck&Cos Drugs. d Heliograph r- Music Stand Iw Westinghouse Cos Store Ho. I1 _ Dwelling e _- Light House Exhibit $ - Waiter Baker & Co Ix Enge!s Garbage Furnace. F - Weather Bureau t_ Peristyle ty RR. Signa! Tower. g Life Saving Station. u_ Statue of Republic Iz Coal Shed. A4 - Type Life Boats v _- Columbus Fountain 2a French Commission. 1 - Anglers Camp w - Fountain 2b Great White Horse Inn. p White Star Line, X - Penma R.R Exhibit 2¢c Banguet Hall. & y Hygeia Cooling Plant 2d Crane Cos Store. A z USsWindEngimne&PumpCo 2e Office n1_ Pass Photographer 2F Photo Amnex n2 Admission Building f 2g NY. Wire C 2h Electric Fountains. 27 JSFore House for 2; Paint Shop 2k Owelling. 21 London Provincial Dairy 2m Whaling Boat 2n Pavilion 20 CliFF Owellers. MAP OF THE BUILDINGS AND GROUNDS OF WoORrIps @LUMBIAN EXPOSITION 356/601? Park & M/b’wcgy Piaisance, Chicago. Illinois, U,5.¢. |873. M ICHILIC AN iP yea s , rok andt > ""r.1'|f_}'r_1:!—;'} ~ n od : 41 I h} hay angy £| I: £50494 1h]; C ~ eden HEL ame Ja G |_ od IMN §TIgNE" |H|i l: fl ts 490.08 n‘ H thad £0 00003 0-3 Lew oto oh cet 1 4 a 14 * - "*~ -i & PTT & 7.0 O(] pooh thad sR of te $4 IP go .3 hie h ont opp Cpr al | t ift tt a Of) to L expe- _id Laks L: fir“ nd “fifw lgfl—jl "i'l ~ 1 £1 pA pooralli E o w :’;:::||:'::\“|l\o:,l|r!ld H1" -& é '~.‘L."_1|_."J’%\_|\_H_'LJU‘ 1 h 1 * Almus" as is 3. & i il 3 & pial mes tt fa. 6. he sia s ao \ ff nham 3 x f ha A Mop itr o ao! in |! | 7A 1 tv m i Rts hoary how a O4 (ian 1 R £ le ai da Awe to haley i . S & Arron nan 1 k £ I‘Jt‘quL-JU (3 I e! $7 fas aid H“: I wa po eaten fr o 12d £391 ill ~R t im) extant. os rte ( dtd f t sa ts 009 Rg Phytic JIL ud Y £ rar®i¥aln ot tind mun 1 LJlxl Jl hm“: alan an od nip“ i Mig 1! HUKO .a i )I UC f S043 1 i; yt ane " if ar £. 037 a afa . 1 gh oo 1000 1+ ff P00 f ,§| L1 Hoc ja ont. Sare "oC can £4 af cH r ' I L! wl EOILOL O p+ Sted [EU 14 t S | 5 o : 1—18‘ Bano Sram g Ni kaflok'J t Qg £0comor/ve 8 he Adfinistration. & * §3 : mun-okra rive 0 Wfieplof/‘yalr.’ BANgTA/VD < [4 s movagie . x p frt mel<- 4imesies. gs \ ; & 3A? F*SF T 1C3 Cu, EZ PIE R,. 2502500 Y is H 4 5 tz 3 ed ao os a hear safer o aind n ena Enes L2 2 Ame ame Grif tun- s § [(At fe 2 e lt o dt _ te dL L ilt Sea ji t _ Jt. ss ~- -|. - Machinery. ,, -~ fi- al essen [L __ rata / 4 fcr ''" | ———————— i f mnie Fas - 56x? Machine Shop & Boiler Ho. IE $5 is“) ’ Outside Exhibit Machiner 44 5+, oit ||| saw | C- Clas G a Ay ® a # '*. 35 ® a » es sjs p 1) h P tel ¢ ) & a C J Q\) fy a *> err in * *s l y, » © t 0% a 3 ® * ® S I$ *: to 5.8 gak. "o. ® s gab ® e ® o ",43) 5s (» 0 e tr. 9 ® @ i y se e @ o o 0 e o a & DRAWN ESPECIALLY: FOR '"ART AND ARCHITECTURE," BY. ALEXANDER SANDIER l . i , | % 5 % - I yp man pea omg, Nik! a) nope ra as wom == Ama s r eca < #> yee. con, (s 4 ® yx 6 } & v A Fet 5 yea ; a . r ow to wo F, aas inlet M " K a stig fs Abe an : % I rset f Awal a 3 4 j j C : f 7 F 4 @ f f Ibs eact te . X pS oris nox f Ate P $ * a "¢ TR At " a t w C ¥ (9k fo A f Aerie rt t lor J 9k a j o + f 3 p 2 ? _ 3 Py! eases. s= to Hla BL Ins.: A RES PTO RA ILO N: BY JOSEPH-EDOUARD DANTAN f (FRANCE) . PHOTOGRAV URE 7 he peculiar, blanched aspect of things that pervades a SCMZPZOVYS \studto Raccem‘ym‘ea’ by the warm flesh tones of a living model gives this painter his faéorz'z‘e themes. _- His Father and his uncle were both distinguished sculptors, and he has profited by the opportunities offered him. The present picture, "Une Restoration," first appeared in the Salon of 1891, and sufficiently explains itself -the sculptor absorbed in his task of repairing with chisel and plaster his damaged statue and the model, at the end of her pose, __ descending from her stand, Zoosém'ng' her draperies around her. .T he painter was born in Paris, received f Sy era SOLUYENIRS (RECOLLECITIONS) ETCHING, IN FOUR PLATES, BY EUGENE GAUJEAN Meduille T Or, 1889, &. U. -H. C8" SEA Fs (ERANCE) AFTER THE PAINTING BY, CH.CHAEPLLIN The handsome dreamer before the fire is a litlle older and a little wiser than the sgrvl in biug. To suggest the most knowing and most skillful mastery of the art of painting by which her blonde tones have been rendered has. cost the etcher, the printer and the artist many printings, mfimz‘e labor . and pains.. This proof of the new. and wonderful process of color-etching, is a triumph of technical skill accomplzséed after a year's labor, by one of the most distinguished of French etchers, who discovered the process of printing fmm copper plates, of different design and with different colors, impressions one over another ( suck that the result rivals painting. ## . vile oa 3 o s $p i ub I‘M vines sors noen Rolled wie 4 Marpac ids «6 high x 1:1"? C aicas X0 + Bd (keke morena ei an = cane cause *> n dtd T nls O/ - LEIF ERICKSSON DISCOVERS AMERICA PAINTED BY CHRISTIAN KROHG (NORWAY) PHOTOGRAVURE T he painter of Zfiz§ stirring historical marine made his first reputation as a hard and uncompromising realist, as a deprictor qf fi/zases of human degradation which the arts usually wisely ignore. From this unpleasant genre he ims made a wide departure in this big, windy and briny canvas, full of the freshness and vigor of the sea and of those stout old times when the Northmen, pushing westward over unknown waters, stumbled upon America five hundred years before Columbus. In color, this picture strikes a note as spirited as its subject, the brilliant yellow doublet of the hardy Leif contrasting finely with the green and tumbling seas that mount along his horizon and the crests of which whip over his bulwarks and splash across his deck. It was in many respects the finest, as it was the largest, canvas in the Norwegian galleries. h l ,,"l..\1- a 4 eee sss & C S < s sss © Nese s ss < x S & C S- wos \ \A N \\ as Secs R R Ns f \ Sees ssa : Str - we Sees e- eset \ & asm AW \\ N Ses es Sse eee & i & sees & S Res se aes 7 PD Po t f me s Pes ese H / 7 £ 2 y Z Hil # ; 7 o G u f‘fif': wit ol P laa APV P f f 7 7 I s ees \ G: JN ese > § Se sea nece & Wes: -CE \ lee: - ators a esr \\\\ GS aires secs ~ & cies ss Sect e NG < Seem -% _- Sos R-. tt s s Sts ess oe \ s Sees: & Ses & $ x eects sess & ees eee is Sees r eee rae ~- ess ess ss sees -“&_,_=9. ~> Sse ss Reeces == Soren eres sc ts errs = setts Gess sss Geese sss \ : meee (reese Nerses see sence niste. Sees 7 IP } fl: M {f f i / f a Wh y { 7 p s z f 0,” ”fill/k” f A a MAH A s f {Cf/m, U ; / seee - Sees - coas Up Wn # eres. al. one s- > aes zs s a se tee: ~ estes s sens << ee sa meres cns Sce ence. s es <-- ~- eo es Sessa as- y. ~- ress nese s = = <<-- ss => > ee : AW,” M [uh i eae oa s- --- -on ess erases - > <-- \ ees es ses seas Ss since nesses sae ‘tztzb‘vso: eternas nose = / ”I'M/w J Myo ( Wb ! \ tn, & ye Q Sous: & RKR Q CS: sims tranttes Ses. \>\\\\\\“\\\® © Sket ZZ GT " &_ : $ & Seems \ \ Cess S sme > ) z wns s 8 h Nise < Ax ‘§\\ . pe 4 \ \\B t-: \_ & : \\ Sims Spt & s A A & wll dtr" -A ; 7 , } \ in % < % sees nay/{7d h o s 7 | AAV \ - § \\ & ss s ate H§\ ‘§\\\\\\ = gers ~\V Sia, §- \\\‘§Q‘ Ctissess W ss A NARROW ESCAPE PAINTED BY H. SCHNAKS-ALOUIST @ (GERMANY) ETCHED BY F. J. M; FONFAYE or LA PRANDIE £. 5733592233114? cee % Ates. va. r a » 3 * f \V. ss leh ll Em” T rm I M! | i s I b ws Ns ( ( st Mo Shalini i Al dol M74 M 4 I+ U h W alig, ins Mug { ( / M Cnet os carat _i W 2 xa het 23 A K & hath 3 copii MW; $1“me dll Vig \ ® % X yal Co R as f 4 &, Poul, o out,) - R {bakisillfkl' ui naan l f C mand ite t l il moo ”fix | | £14; M“ (hd \| 1 tnt wl n ati al «WWW/W 7/7] (WM-14W Au f M f in fl\l\fl‘\!‘\\‘d‘.i‘;w ‘ s o aon a a nd as t. ." 33 «[- = Im Nps. Cees UP ¥ llis es 09 nsa sald s.: llbflnhhlllwlrmwl W _a4 , lk - ** 3 h 7 A V 7 ; f t AM pau ul i Helo l . V I g a 7 - V V [as WWW imide Axlmmimmuflmm WW? MW 9 an ag & : r : a ; j e Cec. ~THE LAST VOYAGE; A SOUVENIR OF THE GANGES - , *F, -* PAINTED BY EDWIN LORD WEEKS | (UNIPED STATES) f 'ETEHED BY GASTON MANCHON The "Souvenir of the Ganges" is one of the most important results of the study, and in jeopulmf appreciation is probably 'the most valuable. - To the (Meyer rendering of a view of the city of Benares from the river is @ddled, for a foreground incident, a boat with three or' four figures and, for human zeeferesl -a pathetic touch heightened with the necessary local color. The occupants of the boat are an aged faézr or pilgrim, extended at full length, nearly nude in the élazzng sunlzgfit and a’ymg at the very last stage of his weary journey to the holy city which he may not reach alive, his companion éemz’mg anxiously over him with a large palm-leaf fan, and the rower who rows agamsz the Great Reaper, ~The spectator's interest, thus" em’rozz‘ly appealed to, comes supplement his dzspasszonate appreciation of the artistic merits of the scene, the keen/y éoaz‘ with its bronze-skinned occupants, Me smooth; oily water, and the sfrange and mysterious city filled up in pyramids and terraces on the a’zsmm‘ bank, hazy in the heat and* sfioz‘teaf wu’k great umbrellas Zzée fungt. - Such a " Souvenir" recommends itself to the most unimagin- ative and the most mintrained, as well as to the connoisseur. iss A r'lzl | i (7) f t f fl) I" ) (fries ffgfljzw f ., y, mx a *~ i (GR Ty = S (tg “fiWv S “14mm“ mitt _ sss. [3th W # \ ' ut; I NTRhL llv' W A ~~\\“\,-U 1 s NBS [} \ - This well-arrdngea’ canvas-probably the artist's best picture-renders» with a good deal of spirit the parade of the boys of the Duke of Y 0751’s «School Jor . lSo/cfi‘emf Orffidfls, and thes. tearful and fluttering mothers in wilows" weeds that look on so admiringly. The small drum-major at the head of the band waves his baton as proudly as any of his elders,; and in the immediate foregrouud one of the yaw/Jul red-coats hurries out of the way of the p7foee$si07e an z‘flebflgeé’tbfls“ barefooted little street girl. The suggestive and dramatic scene, and the strong eom‘nézsz‘ of eo/ngs? have filr7z2s/Zed 'the painter with an excellent: theme, which he has well preEem‘ea’. The picture is from the collection of James Dole, Esg. PORTRAIT OF DIRECTOR-GENERAL GEORGE R. Davis FROM PHOTO-CLICHIE BY M. STEFFINS ~PHOTOGRAVURE T he World's Columbian Exposztzon was ofiiczaZ/y 'created éy act of Congress, April 25, 1890, and the President's proclamation, inviting the world to covite to it, was dated the day éefore Christmas of that year. In September, Mr. George R. Davis, of [Zlmozs as elecfea’ Director-General, and maintained this arduous posztzon until the 'close bf the Fair, to the success of whichshe had so very materially contributed. At the very outset of his labors he established the general admmzsz‘raz‘zon of the Exposzz‘zon on broad and nm‘zomzl (frozmds by dividing it into fifieen departments, and 15/225ng at the head of each men whose reputations and abilifics were suth as to insure success. It was to this spirit ammaz‘mg the whole administration of this great f enterprise Mal was due the admirable absence of sectarian jealousies and rum/mes throughout its duration. /A # GENERAL VIEW FROM IHE NORTH California Pennsylvania Michigan Territorial Illinois Idaho Art Gallery Mines Transportation New York Delaware Maryland Casino Liberal Arts Government Administration Electricity Maine Vermont Massachusetts Fisheries Brazil Connecticut New Jersey Rhode Island Virginia Germany New Hampshire Spain France xlvii Great Britain Towa tha / nimic al % (€. $ i both Moke a + ip pule t tige fhe pree t o ORrrHAN GIRLS OF AMs TERDAM PAINTED BY THERESE - SCHWARTELZE (HOLLAND) FACSIMILE-TYPOGRAVURE In the Holland room of our vast picture gallery was seen a painting of a group of girls singing, around a prano. Hapfiy and éeaulzful faces are they, although they are faces of orphans. The music they are singing is marked Psaim 146, verse 9: "The Lord takes care of the stranger : He preserves the fatherless." That one painting is a sermon expressed in a language more beautiful than words; and yet that picture is small and narrow, compared with the one which the rogth Psalm would demand were its ideas assembled upon canvas. T ts z‘lzoug/zls would fill a gallery with scenes sweet or sublime. Nature and human life, the sea, the forest, the sky, the birds, the rocks, the ships, the trembling earth, the smoking hills, the setting sun, the rising moon, would each ask for place in the high eloquence of art. Whoever strolls through the Art building in that new and blessed kind of labyrinth, where the problem is not that of Dedalus, how to get out, but rather is how to stay in the halls always, will be amazed at the growing breadth of the many schools. ie" fuks cud ( / f 7 h / ) / 7 ) Y 4 { M $4219;ng @ <2 \ 3 Y ¥ p “7.11?" (y. Mi" “A t tr “(Mm 0 at PI PLZ ‘ i 1 \ t ) nly Au Wa I !: o W/ Q3; Pia * MV (Phe ub | (0. "f, | it e | J. MPO Hapa t. 7.1 my (mre w rat Vy eal y W‘M lt ? (.. f ie $ WM/K‘f’hnl)’ t ( XW T | \ 4 NY , \| 7'1/f7/f”//””/ C pe er a evden or area a eal 3 0\\c:..u\\$\sb\,c!h s Pao r ra aa eee ee ree n eae mr pa eo e ae rer iar e eae r ee nara t Gae ig n Ga as Cle re er e a 2 agp» Te . Snes uk c $ ase has C5 V/wfl/firf/v x“ Z IIT n Z | : er mome \ - ae cae & esto ss J ; : rar rea nl ao sac- “(é f e e "2 ~ <- css» . ; § e -_ THE HALT - 3 ETCH—ING BY 'A. ;ELEALAUZE § (FRANCE) AFTER THE PAINTING BY J.-L.-E. MEISSONNIER % Mez’ksofiz'e;’§ work is represented m the Frenck galleries only by some of his essays in scu-Zfiz‘ure—mosz‘ly reproductions in. bronze of his sketthes in- cire perd'ue—méé’ : by a- few etchings after his: paintings. Of the latter, one of the handsomest and most important is given here -Lalauze's admirable reproduction of "Ihe Halt," painied in 1876. -This dz'stz’izguz'sééd aqU-q—fortist—0%e of the most skillful and original in the modern French school, as Homerton justly calls fizm,~—7zoz‘ only excels in the fidelity and intelligence with which he translates with his needle the work of the fain?” in oil but also as an ori ginal artist. One of the best known __ and most woki/Zj/ of his works is a Tittle series "of ten plates entitled Le Petit Monde, devoted to the | occupations and amusemem‘s of his own very small Mifii’rm in a neat Parisian interior. He received a medal of the third class in 1876, one of the second class two years later; and the bronze medal of the Exposition Universelle in 1889; & " - 8 ' f ¥ ‘e a wig ©. AN ACCIDENT IN THE BULL RING PAINTED BY J: JIMINEZ ARANDA © (SPAIN) . ' PHOFOGRAVURE Possibly the painter's motive in adding this one more to the already innumerable representations of scenes of the national amusement was to protest against the charge of cruelty leveled by most traveling strangers at the pretty heads of his countrywomen. Cwn‘az’nly he has here taken some pains to denionstrate that at those critical moments when all the male Qfiedatars become wildly interested-even to the point of dz’mbz'ng on chairs and railings to see éefg‘erwl/ze 510727222; and V’d‘zgefinas cover their faces and turn away their heads. For the rest, he has discreetly put his catastrophe itself outside the freld of his canvas, suggesting it only by the excitement among the spectators and by the distant wounded shorse gal/o'fiz'flg painfully across the arena. The painter, a native of Seville, is one of the most acceptable of his compatriots at the Paris Saions, where he is Hors Concours, Aaving received a medal of the third class in 1882, and two of the gold medals of the Exposition Universelle in 1889. > ~ f | A ai ees tose Abit ine m rm :...... £8 a to ik s.i% A DAUGHTER OF THE RAJAHS FATNTED BY PAUL SINIBALDI (FRANCE)] _ _FAégMILE-TYPOQRAVURE < M. Sintbaldi' s= interesting color and © coffin-me study need not be Zaoém too serrously as an eMno/ogiml contribution -his title being merély one of ‘ffibse a-peu prés witk which the painters content their unscz’em‘z’fic‘ minds. This does not in the least z’kfizflf'ere‘ with the. picture's value as a work of art, and in this handsome reproduction the redder may enjoy at/zszezsure the skillful study of flower and drapery and metal work and comely youth fiasz’ngf simz'gZ/t and stiff like 'a peacock displayed to be admired. The painter is a young man, having received his first Honwaélelffiehtz'm at the 32220” of 1886, t/ze.,f;'bourse de voyage, for study abroad, two flew/s later, and the bronze medal ab the Umqu Exposition of 1&3’9 ii fs e z te a x 7 "© v wal i€ 's ** ye- f * €. % &% : *!~ : &: 's "Jt d . aP Jafi'fl <