The Art Interchange: An Illustrated Guide for Amateurs and Students With Hints on Artistic Decoration [partial] (September, 1891)
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SINGLE COPY, PRICE 35 CENTS | fae 5 - September Number of THE ART INTERCHANGE has ts. — Th lor, THIS INCLUDES ALL SUPPLEMENTS _ Teen Be ee us aoe NURUSCSSTIG RESGU ORs sanenee meas esis eREet ewan sewer sesserweeR satel) 17, a ioe esos -_— to w"4 ——— \ ST fe MOP TORBER o°4eoh eps eres » ee ae seats ae — , “ i oe art ovestevasnicraeansassivgnenuuineransyyssemaasiscuanter US a uf y 7 = oe AN- ILLUSTRATED : GUIDE: FOR AMATEURS -AND: STUDENTS - WITH - HINTS -ON- ARTISTIC:DECORATION _ : COPYRIGHT - 1591 - BY + THE -ART “INTERCHANGE - COMPANY —— PUBLISHED - AT 37 & 39 -WEST-22 7° -STREET NEW YORK — REGISTERED -AT=POST-OFFICE NEWYORK AS SECOND-CLASS*MATTER - — = ———e —— ete ee — ~- ~ - k : a: — ‘ —— yy Shang : a Ab x M S BS rs ao ay : \\ ERD, Kei ~agh tee 3 a ~ SINCLE-COPIES-INCLUDING - COLORED -PLATES = -— —— __ DEW-YORK-35-CEDTS = Yearly Subscription, Price $4.00. This Includes 36 Colored Plates and 12 Monthly Issues. =
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M. H. HARTMANN, Artists’ Materials, 817 Broadway, New York. (One Door below reth Street.) I offer the following Goods of which I make Specialties at Very Low Prices: Dr. Fr. Schoenfeld’s Oil and Water Colors. Winsor & Newton’s Oil and Water Colors. Hardy Alan’s Celebrated French Oil Colors. Tyck’s Celebrated Antwerp Oil Colors. Keim’s Celebra'ed Munch Oil Colors. Devoe’s & Masury’s Oil Colors. German and American Artists’ Canvas and Brushes. 4 Lacroix’s Mineral Paints tor China Painting. L. Cooley’s Gold and Mediums for China Painting. Sevin’s Tapestry Dyes in Bottles. Tapestry Canvas in all the different widths, Girauits & Mengs’ Pastels in boxés and sinyle sticks. Pastel Boards, Canvas and Paper. The most complete line of Studies for Oil, Water Color, Tapestry and China Painting. Special attention given to Mail Orders. SEND FOR LATEST PRICE LISTS. SOMES eae cee nan ART SCHOOL. Instructors: Ernest L. Major. osePpH DeCamp, Henry H. Kitson, toe A. BalILey, ANNIE E, RIDDELL, Monsieur LuctEN CHANVEAU, The ninth year of this well-established School opens October 1st. Superior in equipment and arrange- ment tor convenience and comfort : modeled after the best Parisian Schools. Full courses in Drawing and Painting, including Still Life and Water Colors. Special atteation to Life Studies, Portraiture and Illus- trating. Classin modeling. . Begin at any time. For circulars address as above. ‘ F. M. COWLES. Plaster Casts for Artists « and Schools. 2500 esisan Arf Studies Descriptive Pamphlet Free C. Hennecke Co., Mivaukee, Wis. and 207 Wabash Avenie, CHICAGO. ‘* Hennecke’s Mirbane Paste for cleaning Plaster Casts, etc., Descriptive price-list mailed free. - Plastina, the new modeling materiai,is used in the manner as clay or wax; it is preferable to either, not becominy dry sike the former, nor hard like the latter Descriptive price list and circular sent free.” Busts and Bas-Reliefs for Decorative Purposes, r REE 2000 Sty.es Pamphlet sent Le Mesurier Artists Colors Are the same in first shades, and will produce absolutely the same tints as the best English tube paints. We guarantee our colors to possess all de- sitable features found in domestic or foreign manufactures, and to excel them in many essential qualities, such as—impalpable fineness, freedom trom lint, and other vexat:ous substances, and posit ve uniformity of strength and shade. NOTICE.—Our Single & Tubes, with few exceptions,are double the size of any foreign now in the market. Price Listand pam- phlets, giving opinions of some of the most eminent artists, will be furnished on applic*tion. Among others who have used them, and attest their merits, are: D. Huntington, President N.A., Julian Scott, A.N.A., Geo, Inness, N.A., J. H. Beard, N.A., Wm, L. Sonntag, N.A., E. Wood Perry, N.A., R. W, Hub- bard, N.A., A. T. Bricher, N.A. A JOHN W. MASURY & SON, MANUFACTURERS, NEW YORK: P. O. Box 3499: Office. 55 Pearl St., Brooklyn. Fai CHICAGO: Masury Building, 190, tor, 192 Michigan Avenue. ~ MATERIALS FOR Oil, Water Color and China Painting, Charcoal Drawing and Sketching, And a full line of ARTISTS’ MATERIALS OF EVERY DESCRIPTION. _W., H. & Co.’s Tube Oil Colors ARE THE BEST, . And are recommended by well-known Artists : and Teachers. ARCHITECTS’ AND ENGINEERS’ SUPPLIES. WADSWORTH, HOWLAND & CO., 82'& 84 Washington Street, Boston. Send for Catalogue. Ba No Tee CG a ACN Gis Estabiished 1877. OSGOOD ART SCHOOL. OPEN THROUGHOUT THE YEAR. Special Summer Classes for the convenience of Teachers and others whose avocation leaves them no time for self-improvement tn the winter. COURSE OF INSTRUCTION: Elementary Drawing. Drawing and Painting from Casts. Special Instruction in the Principle of Light and Shade as applied to Objects. Practical Perspective as applied to Painting and Composition. Painting from Still Life; Theory and Arrange- ment of Colors Explained. Landscape in Oil and Water Colors. Flowers trom Nature and Copy. Photograph Coloring in Oil and Water Colors, and Crayon Portraiture. Instruction upon Plush, Silk, Satin, Plaques, Panels, Screens, etc. Painting upon Tapestry in Dyes and Oil Colors, and all the Latest Novelties of Decorative W ork, THE CHINA CLASS Is in charge of a thorough, practical decorator, whose experience in all branches of china paint- ing insures competent instruction in ALL meth- ods, including Royal Worcester, Doulton and Dresden. Further particulars upon application. 853 Broadway, corner 14th Street (Domestic Building), New York ARTISTS’ MATERIALS. Oil, Water and China Colors, Canvas, Brushes, Tissue Papers, Crayon Materials, Novelties for Decoration, Studies, &c., &c. Send for catalogues as below: No. g. Artists’ Materials, Illustrated. ‘¢ 10, Studies and Novelties, ‘ ‘he “Ey: Brames,.:)' ar bs “99, CHIina 2. ; 3 “s E. H. FRIEDRICHS, Manufacturer of ARTISTS’ CANVAS, Academy Boards, Oil Sketching Paper, Easels, Palettes, Stretchers, Draw- ing Boards, etc. AND DEALER IN ARTISTS MATERIALS. Importer of G. B. Moewes, Berlin, and Dr. Fr. Schoen- feld & Co., Duesseidorf ce:ebrated OIL AND WATER COLORS. UW. kuchs & Co.’s German O1l Colors, § cents per tube or 50 cts. per aozen and upwards. Manufacturers of the Best and Cheanest PATENT WINDING EASEL in the market. ARTISTS’ CANVAS IN ALL WIDTHS UP TO 18 FEET. WIDE. Send for Illustrated Catalogue, and mention the ART INTERCHANGE. 28 PRINCE STREET. NEW YORK CITY. EXCLUSIVELY FIRST CLASS PICTURES FINE ST.NY. “elle, CTURES & FRAMES EVERY DESCRIPTION. —__ msTie FRAMING ©) A SPECIALTY. GY” AT THE MOST “REASONABLE PRICES, China for Decoration. Full Line of Tableware and Vases. | HASBURY’S GOLDS AND BRONZES. THAYER & CHANDLER, IMPORTERS, 46 MADISON STREET, CHICAGO. TABLE OF CONTENTS OF THE ART INTERCHANGE AND HOME DECORATION FOR SEPTEMBER, 1891 Illustrations. ‘* King ’’—St. Bernard (Colored Supplement). Japanese Quince (Colored Supplement). Shaving Mug—Applied Design with decorations of Forget-me-nots (Colored Supplement). Vase—China Aster (in Supplement), Bed-room Drapery (In Supplement). Chrysanthemum design for Table Cover (In Supplement). Three Panels for Screen (In Supplement). Devonshire Fishermen—After A Painting by PAGE, BOGE PO RNR, ciiohs oo 5 oie cers os BAT Ae DM At 65 Portrait of M-. Louis J. Rhead...........0.000. 68 The Portrait of a Lady from an Original by Oe ee” ee eee od cl +: os Meaney Bi Rrra aetna Gi are eg a Ee Se 69 Un Inconnu—Photographic Studies of Child Life 72 A Parlor Pose... ... TMG sks px Me gir kb sh atime 73 Egyptian Border for Embroidery..............- 76 Sunflower Decoration for Egg-Cups...........%. 76 Decorative Matta Rh es ee eR a ts bp ta eee 78 Cupid Initials ‘‘ X’’ and ‘** Z”’ three and four of a BETIS OF T WORT YyORS oo aaOcs eg Pas cece ees oe 78 Suggestion for Fan Decoration ............-. 80, 8x Sunflower Decoration for Tea-Pot.......... ..- 83 Sovmidwer SPrayes. 9: cos 0b 0s: dab dodo Hee 84 yo OTS Gah bs i BAP Se SAD guar obs Scr sare” ny Ss UPReR OM a Gon 84 American and English Art Students in a Parisian Pteliey oan’ Fee se obie t pc web nities wsiegaic tings es ee 86 Suggestions for Decoration—Cornflower Motive. 87 Over Drapety fot Divatin: cs eo i 8. 90 Sun-Flower Decoration for Pitcher.... ......... g2 Wood Gatving Design. 6.0 Wess oli es 92 Pomegranate Design for Plate (one ofa Series).. 93 Text. The Decorative and Artistic Qualities in Egyp- tian and Assyrian Sculpture with reference to some examples in the Metropolitan Museum— Seton PF anees oe sere Nc. Sa nines Sow set 65, 66, 67 Art inthe Mazazines. 652425 6c. Cet weeds 67, 68 DpGis 1, RAVER: Secs oe ve aN ve rent cur eta® 68 BiG WAGONS as 255 Classes in Painting and Photography OPEN FROM SEPTEMBER TILL JULY. Instruction given in Uil and China Painting, in- cluding ph Worcester and Dresden, and in Photo- graphy. ut-door classes in Photography in the Spring. Full partyculars on application. Address MISS NEVIUS, Room 78 Franklin Bldg 180 Remsen Street, Brooklyn, N, F. WEBER & CO., Successors to JANENTZKY & WEBER, MANUFACTURERS AND IMPORTERS OF Artists’ MaTERIALs F, W. & Co.’s Superfine Artists’ Oil Colors, OIL & WATER COLOR PAINTING OUTFITS, Tapestry Canvas, Colors, etc., CHINA PAINTING MATERIALS, Lustre Metallic Colors. DRAWING AND PAINTING STUDIES. Etchers’ and Modelers’ Tools, NOVELTIES FOR DECORATING, Engineers’ and Draughtsmen’s Supplies, 1125 CHESTNUT STREET, PHILADELPHIA. Send for Catalogue. Branch Stores :—No. 918 Olive Street, St. Louis, Mo. No. 5 North Charles Street, Baltimore, Md. ALFRED GODWIN, 1325 Market Street, Philadelphia, Pa. G TAINED LASS, SPECIAL DESIGNS MADE, Send two 2-cent stamps for Colored Catalogue. ; THE ILLUSTRATED PAMPHLET, ro cts., tells all about eyes; how diseased ; when to use glasses, or Aow to discard them; meth- _ ods of treatment without the kut/e. E, H. BEMIS, Oculhist, Glens Falls, N. Y.
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NOVELTY NOTES Embroidered satin or silk panels _ for screens are shown in black and assorted colors. Black satin panels handsomely embroidered in gold may be purchased for from $18 to $22 for those five feet in height, while $27 is the price of those of larger size. Colored satin panels with self colored embroidery cost from $12.50 to $30 each the size’ varying from four and a half feet to five and a half feet. Paper screens, handsomely mounted, are very reasonable in price. They come in either three or four folds and are from four and a half to five and a half feet high. An in- finite variety of these screens is shown. They are strong and ser- vicable and are prettily painted. The prices range from $1.75 to $4. 50. An immense number of Calcutta water coolers are sold now at lowered prices. They are furnished with a bail to the ice recess and a lip to the tumbler, and are said to keep crushed ice for twenty-four hours. ‘They have been reduced to $1.50. Bamboo and bead portiéres so desirable for sum- mer use are exceptionally pretty this year. They are in solid colorings, the bamboo sections being separated by white or opaque beads. ‘Two of this kind may be noted, one in plain maroon, the bamboo alternating with opaque beads of a contrasting color. Another of ebonized bamboo, each section divided by a large white _ (Continued on page v.) ART INTERCHANGE Mr, Pickwick. “BEST & GOES FARTHEST.” The Standard Cocoa of the World. Cheaper and More Satisfying than Tea & Uoffee. PERFECTLY PURE. Van Houten's Patent Process increases by 50 per cent. the solubility of the flesh-forming elements, making of the cocoa bean an easily digestible, delicious, nourishing and @ stimulating drink, readily assimilated even by the most delicate invalids and children. Sold in §-8, 1-4, 1-2 and i Ib. Cans. If not obtainablc, enclose 25 cts. to either VAN HOUTEN & Zoon, 106 Reade Street, New York or 45 Wabash Ave., Chicago, and a can, containing enough for 35 to 40 cups, will be mailed. JAZention this publication. Prepared only by the inventors, VAN HOUTEN & ZOON, Weesp, Holland. d 2. BSOS@SOWO@OO@S2OSGi SF Qe Oots2@FSo fo OS 8 @e ODS OB®D PS OS — “ear SOOO fF: SSSOSOSESEE?Z2EEBESZ2LOSODOD lil. WITH THE ART INTERCHANGE Jor October, 1891, will be given the three jollowing colored plates : Landscape in Oil— Woodland Brook, Size, 20x 14 inches Ma Belle—Water Color (illustrated below) China Design—-Fern Leaf for After- dinner Coffee, Size, 12 x 10 inches ’ MA BELLE 14% x10% inch*s. By Rosini Emmet Sherwood One of the 3 colored plates to be given with the October, 1891, number THIS ISSUE WILL BE A VERY BEAUTIFUL NUM- ‘BER THROUGHOUT, AND Will be for sale by all newsdealers. PRICE, Including Five Supplements, Three of Them Colored, IS ONLY 35 CENTS A COPY. ~—Take Send to the Eastman Company, Rochester, N. Y., for a copy of ‘Through Eurche with ~ Kodak,’ (tllustrated,) free by maz. A kodak li will perpetuate the pleasure of your summer trip, eT RAYNOLDS & CO. MANUFACTURERS OF ~ ESTABLISHED ARTISTS OIL COLORS i IN ‘‘ Double ” or “‘ Large Size”” TUBES, ASK YOUR DEALER OR SEND TO US FOR PRICED LIST OF THIS LINE OF COLORS WHICH INCLUDES TWENTY-FIVE -MADDERS PURE ESPECIALLY ADAPTED TO HARD Been OR ENAMEL COLORS. PAINTING. . 18 destrable tints tn bottles and cans ready for use. ASK FOR SAMPLE CARD. Artists’ Prepared Canvas. FINE BRUSHES. 108 _F 5 — Ey SUPERIOR OILS, MEDIUMS AND VARNISHES. FULTO MATERIALS FOR CHINA DECORATION STREET, AND A COMPLETE LINE OF newyornK ARTISTS’ MATERIALS. a J) PASADENA, HOUSE LOTS 25x 150 ft. EACH WILL BE GIVEN AWAY NATURE'S SANITARIUM, WHICH IS POSITIVELY TO BE FOUND AT OCEAN COUNTY, NEW JERSEY. Which is proven by the State Geologist’s teport for the State of New Jersey, which shows you that this is the HIGHEST ground between Sandy Hook and Cape May (roo feet higher than LAKE- WOOD, the famous Health Resort) with not ao acre of swamp land in the whole township. It isin the heart of the GREA'L PINE BELT, with benefit of SEA AIR, without the rough winds. PaSADENA, the most delightful climate, rivals Florida in all respects : and isso indorsed by the most eminent Physicians and inhabitants, It has no equal asa. HEALTH RESORT. You cannot locate in a superior place. Over 2,000 lots have already been purchased by promi- nent people of New York, Boston and Philadelphia. YOU ARE NOT OBLIGED TO BUILD, but if you do within this year, we will r turn you every dollar you pay us. We are selling VILLA LOTS free and clear, rapidly, from $25 per lot, upwards, and will accept payments at the rate of ONE DOLLAR WEEKLY. ALLOWING A DISCOUNT OF ‘TEN PER CENT, FOR CASH. During this month we give one lot FREE OF CHARCE to the purchaser of every three adjoining. | : pide PRIN: FE Oye: You are working forthe landlord and don’t seem to realize it. STOP PAYING RENT. Pay towards a HOME and soon own it. You cannot make a better investment, for these lots are well worth $50 to $100 #ACH. The New Jersey Southern Railr-ad runs directly through the property withaSTATION ON THE GROUNDS. Wealso have a POST OFFICE and Daily Mail. No one else can offer you superior advantages, so take advantage of this c pportunity wh le it lasts, as the lots are rapidly increasing in value. N. B. These Lots are free and clear of all incumbrances. Titles perfect and Taxes Paid. FOR FURTHER PARTICULARS CALL ON OR ADDRESS, PASADENA, ROOM A., 239 BROADWAY, NEW YORK. ELEVATOR ENTRANCE ON PARK PLACE. ie A. A. VANTINE & CO,, 877 & 879 Broadway, New York. DRAPERY AND Dress SILKS, CANTON SILK, BLACK, WHITE AND COLORS FOR UNDERWEAR, | EMBROIDERIES FOR HANGINGS AND DECORATIONS. Sa Screens, Bead and Bamboo Portzeres, Porcelains, Metal Goods, Lacquer Ware, Fans, Ti Oys, Dolls. THOUSANDS OF NOVELTIES FROM JAPAN AND CHINA. a intl POP NT tM ee
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Dongola. RUGS anateatly y fie onto fe = si] oi lange assortment comprising some. vont iroly ses! ay some a5 low - 5 $65 yy well _ fe Visit: GS oun q meray < Gather’ So We VOSE SONS PIANOS ESTABLISHED IN !I85SlI. 26000 SOLD AND IN USE. They combine ELEGANCE, DURABILITY, and MODERATE PRICES. Among the many other IM- PROVEMENTS which they contain, arethe PATENT REPEATING ACTION, producing a touch as delicate as that of a Concert Grand Piano; the CAPO D’ASTRO BAR, which sustains that beautiful singing quality of tone,so wanting in most Upright Pianos; the MOUSE PROOF PEDAL, which is an absolute protection against mice getting into pianos and making havoc with the felts. Sold on the most accommodating terms. Delivered in your house FREE OF EXPENSE and satisfaction guaranteed. Old instruments taken in exchange, Catlogues and full information mailed free. VOSEXSONS PIANO Go. 170 TREMONT ST. BOSTON, MASS. PRIZE DESIGNS. We Offer a Prize of ONE HUNDRED DOLLARS FOR THE BEST ORIGINAL DESIGN FORA MASONIC KNIGHTS TEMPLAR SWORD ; FIFTY DOLLARS FOR THE SECOND BEST DESIGN. Other designs submitted we would return or purchase at a fair valuation. All designs to be submitted not later than January 15, 1892. There are to be not less than’ten competitors. To those competing we will furnish illustrations of many “War now in use. Address THE M. C. LILLEY & C lh Sem O. DRAW N-WORK. An elementary Text-Book, Illustrated. A neat sixteen-page manual, copiously illustrated with examples of this beautiful and attractive work. The directions are clear and practical, the matter fresh and original, the designs new and uncom- mon. Price 25 cents. THE ART INTERCHANGE Co. 37 and 39 West 22d Street, New York. LISH will impart to your 3 Potl the warm tone and soft ’ lustre you so much desire. It devel- opes the greatest beauty of the wood; enriches its color in a remarkable manner ; the faded, dusty look, never returns; ee and allarticles of furniture, both new and old, assume a tone aud beauty not before supposed possible. Pieces formerly at- § tracting no attention become a source of continual delight, and an air of quiet refinement isimparted to the wholehouse. € Price, $1 a bottle, express paid. dealers, or THE BALTIMORE SPECIALTY €9., 314 ST. @ id PAUL STREET, BALTIMORE, MD. Acrn«s Anke WANTED. @ Gp © 0 Gp © GD @ GD 0 GD @ Directions enclosed. Of iT WILL PAY Frou? Send for our new list of prizes and special inducements for clubs. Tue Art INTERCHANGE Co., 37 & 39 West 22d Street, New Y sa AL RT. AND. TRANSPARENT GLYCERINE SOAPS. THE FINEST TOILET GOODS IMPORTED Western Decorating Works Chicago, Ills. Fourth Annual Exhibit of Painted China opens September the 28th. Amateurs desiring space for their work will please send pieces in by the 24th. For further information, Address Grunewald & Busher 331 Wabash Avenue INTERCHANGE OZO00NT} Lchaustion This popular dentifrice is now a recognized es- sential of every toilet-table. It is totally innoxious, CONTAINING NO ACID, and for preserving and CLEANS- ING THE TEETH, and retaining the normal condition of the gums, it has no equal. More SOZODONT is annually sold than of all other dentifrices and tocth-washes combined. There must be a reason for this fact. SOZODONT has been many years before the world, and if it did not fulfill the promise made for it, it would long ago have fallen into oblivion ; but "the more it is used the more it becomes in demand. Those who have tried it once, try it again, and then recommend its use to others. Sold by Druggists and Fancy Goods Dealers. ee Qs) ‘ ww By), PES vy (A ee Nope 2 uw2Os Po Ss Oye a Sint | ] ART POTTERY. WEDDING GIFTS, (| i RICH | CUT GL# GLASS. 1 W 5OK52 West 22nd Street, eats jas rHE ABOVE ILLUSTRATION "REPRESENTS OUR NEW 64 PAGE CATALOGUE, WHICH WILL BE READY OCTOBER be THE FINEST AND MOST COMPLETE CATALOGUE EVER ISSUED BY. ANY: CHINA ESTABLISHMENT UNITED STATES. Sent Free on Application. LNG oie Mention Art Interchange. HOMES! HOMES !! HOMES!!! THE CHOICEST SPOT ON STATEN ISLAND IS AT SCOTTISH HIGHLANDS The above property is situated on beautiful elm- shaded BARD AVENUE (the main avenue), fronting HART PAKK, the most beautiful part of Staten Island. Very highest ground attainable, with electric lights, gas, sewerage, city water and regular mail deliveries. On either side of Bard avenue, and surrounding these. lots, more than $1,000,000 has been spent in beautiful private residences. These lots are free and clear, and title guaranteed by TITLE GUARANIEE AND TRUST CO. PRICES LOW AND VERY LIBERAL TERMS. From boat at St. George take cars to LIVING- STON STATION, where stage meets all trains. Fare 5 cents. The avenues are all opened. Maps and particulars furnished on application to MACHETTE & KENYON, Room A., 239 Broadway, N. Y., opposite Post Office, Elevator Entrance, Park Place. Llorsford's Acid Phosphate. The phosphates of the system are consumed with every effort, and exhaustion usually indi- cates a lack of supply. The Acid Phosphate supplies the phosphates, thereby relieving exhaustion, and increasing the capacity for labor. Pleasant to the taste. Dr. A. N. KrouT, Van Wert, O., says: ‘¢ Decidedly beneficial in nervous exhaustion.” Dr. S. T. NEWMAN, St. Louis, Mo., says: ‘¢ A remedy of great service in many forms of exhausticn.”’ Descriptive pamphlet free. Rumford Chemical Works, Providence, R. I. Beware of Substitutes and I[mutations. CAUTION :—Be sure the word ‘‘ Horsford’s”’ is printed on the label. All others are spurious. Never sold in bulk. UNMOUNTID PHOTOGRAPHS FOR ART STUDIES We supply at $1.50 pr r dozen, photo- graphs in cabinet size which are most useful to the .{rt Teacher and Ama- teur, includins: prettv heads, figure studies, animals, landscapes, marines, tc, Stc., reproduce d from the paint- ings of the most famous masters. Catalogue and supplement of 12,000 subjects mailed for 15 cents. Send $i. 50. for sample ¢ ozen photos. Always men. tioning TH 2 ART INTERCHANGE. SOULE PHOTOGRAPH CO., 338 WASHINGTON STREET. Boston, MASS, Le ention | I paper. FROS be: ADAMS, Importers, Wholesale and Retail Dealers in ARTISTS MATERIALS, OF EVERY DESCRIPTION. DECORATIVE ART GOODS OF ALL KINDS SKETCHING OUTFITS. Handbooks of lnstructionon all Art Subjects. ETCHING MATERIALS OF ALL KINDS. Mathematical Instruments, DRAWING PAPERS AND T-SQUARES, ARCHITECTS’ AND ENGINFERS’ SupPPLIES IN GENERAL. " A Combination Sun and Lamp Sketching Camera for mak ng large pictures by | hand from smallones. Sent C.O.D. on three days’ trial. Catalogue free. i: ae Jenne, Ft. Wayne, Ind, 37 Cornhill, Boston, Mass. Catalogue FREE on application. Mail orders receive prompt attention. KF, S. Frost. H. A. LAWRENCR. In ordering mention Tue ART INTERCHANGE, Society of Decorative Art, 28 East 21st Street, New York. SALESROOMS FOR CONTRIBUTORS w. rk, comprising a. kinds of Artistic Novelties. NEEDLEWORK DEPARTMENT. Commenced Work and Stamping, Crewels and S lks, Orders for Household Embroideries executed under the superv sion of Artist Experts. J.MARSCHINC & CO., 27 PARK PLACE, NEW YORK, IMPORTERS AND MANUFACTURERS OF Artists’ Materials. The most Complete Assortment in America of Supplies for CHINA PAINTING. IMPERIAL GLASS COLORS. Choice Variety of Matt or Gouache Colors for Royal Worcester Decoration. Supplies for Oil and Waer Color Painting, Pastel and Crayon Drawing, etc., etc, Every requisite for the Artist or Amateur. Send for our complete illustrated catalogue just zssued. Mention Tur ART INTERCHANGE,
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ee euD mer INTERCHANGE AN ILLUSTRATED GUIDE FOR ART AMATEURS AND STUDENTS, WITH HINTS ON ARTISTIC DECORATION VoL. XXVIII. No. 3 NEW YORK, SEPTEMBER, 1801 With 5 Supplements; 3 in color, 2 in black and white. The colored sup ~ plements are ‘‘King,’’ St. Bernard, in oil color; Japanese ome in water color. Applie1 design showing Shaving Mug with ecoration of Forget-me-nots. THE ART INTERCHANGE Established in New York, September, 1878 MRS. JOSEPHINE Reppine, Editor, New York,U.S.A. THE DECORATIVE AND ARTISTIC QUALI- TIES IN EGypTiAN AND ASSYRIAN SCULPTURE WITH REFERENCE TO SOME EXAMPLES IN THE METROPOLITAN MusEUM—SECOND PAPER, PON the pitched battles in open field, and in the lion hunts, the spirit and ingenuity of these scenes become embel- lished by a curious decora- tive quality which none of the historians or discoverers have commented upon, and orative representation of speed could be done—the graceful outlines of these war steeds are adorned with elaborate trap- pings about their heads and withers, leav- ing the slender flanks unencumbered. With the hind feet on the ground and the fore feet in air, the animal stretches him- self at full speed without for a moment losing his pomp or his sense of the re- quirements of the triumphal scene in which he figures. The sculptor even knew—even if he had never heard it— that ‘‘in the language of art, asin that of rhetoric, there is no figure more effective in its proper place than repetition.” In the battle scenes these charging horses are repeated, one behind the other, lap- ping at half length, till it does not need | lion hunts in which the led horse behind the king’s chariot is assailed by a lion who springs upon him from behind. The royal hunter and his charioteer are ab- sorbed in the combat with another mon- ster in front, the poor led horse, left to himself, flings his hind heels unavailingly against his terrible assailant, and squeals in pain and terror. With all this spirit and naturalness, the simple composition is so disposed in the field of the relief, so ornamented and accentuated, as to make a work of art. ‘‘The Assyrian horses,”’ says Lubke, ‘‘are of a noble and fiery breed, with short, slender bodies, arched necks and sagacious and fiery heads, in fact, in everything closely allied to the still more noble and beautiful horses of which may yet be felt by any one who considers these sculptures. This is due in great measure to the exceeding skill with which the Assyrian artist depicted his horses, especially in their conventional gallop. Nothing finer in the way of a dec- DEVONSHIRE FISHERMEN [After an oil painting by Louis J. Rhead] the crouching and overwhelmed figures of the foot soldiers of the enemy to show the irresistibleness of this onset. Only once is this stately gallop interrupted. in the moving figures all around the gallery, and that is in one of the most ‘perilous the Parthenon frieze which Greek art and civilization produced.” Perrot adds ; ‘No observer can avoid being struck by the truth of attitude and movement given by the Assyrian sculptor to horses both driven and mounted.” On the north wall
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66 of the gallery of the Metroplitan Museum may be found part of the cast of a bas- relief from Nimrond representing the in- terior of a fortress, a central place in which is occupied by a small pavilion, generally supposed to represent the royal tent. Unable to give a complete repre- sentation of it, with all its divisions, the sculptor contented himself with showing only the apartment in which the chariot horses are groomed and fed. The truth to nature in this scene will be readily ap- preciated—three of these high-mettled steeds are feeding at a manger, one of them turning his head to look over his shoulder, and a fourth is being rubbed down by an attendant who pats his neck soothingly during the operation and keeps at a respectful distance from his nimble heels. Before the door of the pavilion, a eunuch receives a file of bearded pris- oners, their arms pinioned behind them, and a soldier at their elbow, and above is another attendant apparently threaten- ing two strange figures, muffled in lions’ skins, but whom Perrot, curiously enough, conjectures to be personifications of the fish-god, Anon or Dagon. Intheir repre- sentations of horses, the Assyrian artists much excelled the Egyptian, the latter securing a greater variety of attitudes, but much less truthfulness in outline, and less decorative effect. The general theory of the ornamental trappings of these battle steeds was the same in both countries, the head, neck and shoulders being elaborately decked out, and the sense of lightness and unimpaired speed secured by leaving the rest of the body naked. Sometimes, however, as in the colored sculpture of Thebes, figured by Prisse d’Avennes, the horse’s body is cov- ered bya gaily striped blanket, not unlike the tight fitting robe worn by the royal charioteer, Ramses-meia-moun. ‘The ‘‘right feeling’’ of the Assyrian artist, is shown even in such details as the knotting of his horse’s tail, or the ornamental band tied around it, always at just the right distance from the end. But it was in depicting the great royal lion hunts that the sculptors of these bas- reliefs rose to their highest attainments. Doubtless their opportunities for studying these fierce models on the plain and in the king’s parks were unsurpassed, and there are enough casts in the Museum galleries to give an excellent idea of their skill. There were probably even tame lions in the royal palace, as there are in the East tothisday. ‘*Thanks to such facilities as these,’ says Perrot, ‘‘ the Ninevite sculp- tors have handed down to us more faith- ful reproductions of the lion than their more skilful successors of Greece and Rome. For the latter the lion was little more than a conventional type from which ornamental motives might be drawn. Sometimes, no doubt, they obtained very fine effects from it, but they always con- sidered themselves free to modify and amplify, according to the requirements of the moment. ‘Thus they were often led to give him full and rounded forms, which had a beauty of their own, but were hard- ly true to nature. ‘The Assyrian never committed that fault. He knew that the great flesh-eating beasts never grew fat, that they were all nerve and muscle, with- out any of those adipose tissues which reach so great a development in herbiv- ART oI NTPERCHANGSE orous animals, like the sheep or ox, or those that eat anything that comes, like the pig.”” And Luke says, quite truly : ‘‘ These lion hunts rise to a pitch of grand effect, and indeed of dramatic importance. The kingly animals are depicted with un- surpassable truth in all their majestic power and beauty, and their contest against the superior strength of man, which is brought before us in allits stages up to the heroic defeat, produces almost a tragical effect. Lions are the true he- roes of Assyrian art. The sove- reign with his suite, are mounted on fine, able, and fleet horses. Incomparably true and life-like are the scenes that follow, and which constantly end in the destruction of the noble animal. In one, the lion has rushed at the horse with the rapidity of lightning, and has fixed its claws in its neck ; but the king seizes the animal by the throat, and gives it its death blow. Another lion falls to the ground in the very act of springing, struck by an arrow through the head. Similar scenes with increasing variety are depicted with life-like truth and interest. There a dead lion is lying on its back, with its huge paws dropped powerless. Another, fatally wounded, raises its foot and licks the paw, the lower surface of which is shown in. masterly perspective ; another of these splendid animals is dragging itself along with a last effort, but we see that life is ebbing with the stream of blood flowing from its jaw.’’ Another, directly under the galloping chariot horses, is struggling furiously to remove the arrow from its neck. ‘The most famous of these tragic beasts is that relief of the dying lioness, paralyzed in her hinder limbs by the arrow through her spine, which hangs on the right of the museum entrance, and which a modern French sculptor thought worthy to imitate, life-size, and in the round, and set up before the pavilion of the City of Paris, in the Exposition of 1889. Of all the animal forms, that of the lion was the first to afford material for decorative com- positions of any value, and nowhere has he found more appreciative artists than among those of this conquering people. A detail which does not seem to have suggested itself to any of the learned Assyriologists, but which, nevertheless, is not altogether beside the mark, con- cerns the courage of the king who, armed only with spear and bows, sets out to hunt the king of beasts in his own plains. The modern hunter thinks he is doing pretty well if he faces this grim quarry with a re- peating breech-loader, and with one or two more at his elbow in the hands of trusty attendants. However much may be al- lowed for Oriental hyperbole, and for the number of the royal suite, it seems to be evident that these Ninevite monarchs were worthy descendents of Nimrond of old. ‘Tiglath Pileser records in one of his inscriptions that one hundred and twenty lions were slain by him on foot, and that eight hundred more fell before his weapons as he and his men rode in chariots. And one Sardanapalus I. makes this magnifi- cent brag, ‘‘I, Assur-bani-apli, king of the nations, king of Assyria, fighting on foot in my great courage with a lion of terrifying size, I seized him by the ear, and in the name of -Assur and Istar, goddess of war, I put an end to his life with the lance I held in my hand.” M. Place records that the size and weight of the iron instruments which he discovered in King Sargon’s palace rendered them alto- gether too heavy for the use of the modern natives. In another of the Museum reliefs, on the north wall, we see Assur- bani-apli, after the chase, standing before an altar and the sacred cone and pouring out a libation. ‘‘ The grandeur of the lions’ heads, here arranged in perspective at the feet of the monarch, may challenge the world in vividness of artistic power. Nothing could be more astonishing, how- ever, than the contrast between these ma- jestic brute forms and the figure of the king, in which the sculptor’s power is ex- hausted in the elaboration of ornament and details of woven stuff.’’ Scarcely less ad- mirable than the representations of lions and horses on these reliefs are those of the hunting dogs of this monarch, huge mas- - tiffs and hounds, waist-high on their attendants and struggling fiercely at the leashes which retain them. Herodotus records that the Satrap of Babylon kept a pack of Indian hounds, so numerous that the revenues of four large villages were required to supportit. ‘The impress of a dog’s paw, as large as a man’s hand, has been found preserved in clay at Khorsabad. | The details of the Chaldean and Assyri- an mythology are much more obscure than those of the Egyptian, but there ap- pear to have been, in addition to the gods or benevolent genii, anumerous and pow- erful species of demons or evil spirits which, from their importance and the terror they inspired, came to occupy an very important rdle in the sculp- tor’s creation. In the representation of all these supernatural beings various details were borrowed from the animal kingdom to express their attributes— thus, the deity’s swiftness by the wings of an eagle or a vulture, his destructive and irresistible power by their beaks and claws, the horns and dewlap of a bull, or the mane and clawsofalion. The Chal- dzeans, however, when they sought the most suitable way of figuring their gods, seem to have so appreciated the excel- lence of the human figure that they con- tented themselves, with but few excep- tions, with copying it as literally as their skill would allow. One of the most re- markable characteristics of the Assyrian sculpture, higher even than those dis- played in the delineations of animals in- asmuch as it reveals qualities of imagina- tion and invention, is the artistic talent shown in the union of these animal and human forms in the same body. Lubke says: ‘‘ Assyrian art evidently surpasses Egyptian in these grotesque creations, but she invests them also with so much life and blends the heterogeneous elements so harmoniously together that the imagina- tion 1s scarcely shocked by the improb- ability.”’ And he cites as an instance that well-known bas-relief from the entrance to a small temple at Nimrond, supposed to represent the god of the temple driving out the evil spirit, which he does very vigor- ously with a sort of trident thunderbolts. The demon is a species of griffin, as tall as the divinity, and it rears on its hind legs and turning snarls at him with indescrib- able fury. ‘* This pursued, half bird-like lion is depicted with such life as in its flight it rears itself and turns to face the
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foe, that no doubt remains of its capabil- ity of existence. On the other hand As- syrian art has produced no creation of such mystically solemn and architecturally grand majesty as the Egyptians have done in their sphinx.” ‘The colossal, human- headed bulls and lions, however, are al- most as fine. ures of demons found in Chaldza and Assyria, some of the most effective are those from this palace at Kuyunjik—vig- - orous, threatening figures, brandishing daggers, with heads of snarling lions, dogs’ ears and horses mane, and the feet those of birds of prey. The sculptures by which this ancient art is best known are those gigantic por- tal guardians ‘‘called by the ancient As- syrians Kirubi, and, doubtless, allied to the cherubim which, in Hebrew story, guard the entrance to the Garden of . Eden.” It is to be regretted that the Metropolitan Museum contains no exam- ple of these winged bulls and lions ‘‘ the speaking symbols of force and thought,” which remain one of the most remarkable of the creations of man’s imagination. Whoever has seen the originals, even amid such incongruous surroundings as those of the Louvre or the British Mu- seum, can appreciate the unanimous testi- mony of the historians andthe discover- ers as to their imposing appearance. ‘““The mighty form of these animals, the strong display of their muscles and sinews, and the imposing dignity of the human head with its high, priestlike tiara, com- bine to produce a general solemn effect.”’ ‘*’The animal forms are here most happily allied, and the view of this colossal genius certainly awakes elevated ideas of strength, of grandeur, almost of majesty.”’ ‘*'The face with its strongly-marked fea- tures, with its frame of closely curled hair and beard arranged in the strictest sym- metry, is still more remarkable than all the rest. ‘The expression is grave and proud, and sometimes almost smiling. It is in fine harmony with the general idea that led the Chaldeans to create these mysterious: but kindly beings, and to endow them with their mighty frames of stone.”’ ‘The root of this symbolism is the same as that of the Egyptian sphinx, —the adoration of the forces of nature, the desire to unite in a single being the highest powers of life and nature. Mrs. Mitchell says, ‘‘ The visions in the first and tenth chapters of Ezekiel seem to have been written in vivid remembrance of such man, lion, ox, and eagle monsters. As the symbols of the four evangelists, these elements play an important part in Christian art. In similar manner, the horns with which the ancient Chaldzeans and As- syrians decorated their sacred cap re ap- pear in the Hebrew Scriptures as the emb- lems of power; and, even to-day, the pea- sant in Mesopotamia ascribes to them such virtue, that he puts up a horned skull in his fields to make them productive, and hangs it over his door to ward off evil.” Nor are these the only instances in which later schools and_ nations have borrowed their conceptions of these bold innovators. The great winged genii, So prominent in Chaldzan art, have furnished a type both for the Greek figure of Victory, and for the Chris- tian representation of angels—both of these, however, being content with a Among the numerous fig- — AR: IN PRERCHANG E single pair of wings, while those of the Mesopotamian divinity were double, and so arranged as to form, when displayed, a very effective background for his robust and muscular figure. The Greek Centaur was invented in the Assyrian *Man-lion, the Greek Pegasus in the Assyrian winged horse,. and all the griffins, harpies and sirens on Assyrian reliefs and embroider- ies. ~The unicorn also made his first ap- pearance on the banks of the Tigris, though he was then a more ox-like mon- ster than he afterwards became. In addi- tion to all these, there have been found on the sculptures of these palace walls, still more daring and arbitrary combina- tions of forms, always defined with pre- cision, and with due regard to plausibility of structure. Any consideration of the work of the Assyrian sculptor would be incomplete that did not allude to the fact that, like his Egyptian predecessor, he made use of color to carry still fur- ther the effect of his chiseled forms. This he did, however, in a more sober and re- served manner than the Egyptian, and his polychromatic decorations ‘‘ fulfilled their purpose of amusing and delighting the eye without ever attempting to de- ceive it.” | Attention has been called in these pa- pers only to those qualities in this sculp- ture that redeemed the art from the charge of being ‘‘so very mean and meagre,’ as Mr. William Holmden puts it. That much of it, in its stiff conven- tionality or ignorance, is of interest to the archeologist and _ ethnologist rather than the artist, is not denied. Of this character are the two _ large figures from the walls of the grand hall of King Assur-nazir-apli which may be found at the upper end of the gallery that faces the entrance to the Metropoli- tan Museum. An additional interest is lent to these, however, by the lines of in- scriptions in wedge-shaped characters which are carved over the sculptures, be- low the waists of the figures, and which testify so strongly to the essentially his- toric character of this art. These inscrip- tions over the sculpture so offended Lay- ard that he invariably omitted them in his reproductions of these reliefs, thereby not only impairing the faithfulness of his record, but, as Perrot says justly, ‘‘ sensi bly modifying their decorative value.” Even in these apparently defacing letter- ings an artistic taste has been consulted, as may be seen by altering in imagination their width, or shifting their relative position up or down on the figure. ART IN THE, MAGAZINES JHE August numbers of the three most popular maga- zines are more interesting than the season would seem to permit, but they bear evi- the growing difficulties of the task of the magazine editor. The length of time behind him, and the enterprise of his rivals, are the great obstacles to his satisfactory per- formance of the various promises in the 67 enthusiastic prospectus that appears at the beginning of each volume. So many good things have been done, and the slowly contracting field of available sub- jects is so zealously prospected by other publishers, that the most capable periodi- cal falls into repetitions, unnecessary lengthening out of a good theme once captured, and even into unfortunate coin- cidences with its competitors. Those monthlies that confine themselves to spe- cialties—science, history, athletics or what not—are not so hampered. ‘The enthusiasm of the specialist, as is well known, is forever springing eternal, and any well-regulated branch of human learn- ing may be relied upon to constantly furnish new developments. But the pab- ulum provided for the general reader can not descend into details and minor ques- tions—nothing less than fresh fields is what his publisher wants. ‘¢Scribner’s Magazine” has scarcely lived up to the promise of its brilliant and well-edited first volume, and a certain heaviness, both of type and illustrations interferes with its supplications for popu- lar favor. In the current issue, the editor has simplified his task by selecting a half dozen of the best short stories that he happened to have in stock, and printing them. This is justified by an appeal to the thermometer, and by stamping ‘‘ Fic- tion Number” on the cover. The only exceptions are the third of the papers of the Great Streets of the World and the second and final ‘‘ Parliamentary Days in Japan.” The former is written by An- drew Lang, and treats of Piccadilly ; the pictures are drawn by W. Douglas AI- mond, and give very fairly diversified. types of the crowds that throng that famous thoroughfare. Of the stories, the best illustrated is T. R. Sullivan’s ‘‘ Anat- omist of the Heart,’ which has a num- ber of drawings by Albert Lynch, a clever Parisian artist, who has done better ones even than these. Huis frontispiece, beau- tifully engraved, represents a slim young lady from the description which her lover gives to another—if she does not strike the beholder as worthy of a life of un- availing regret, she has, at least, some individuality. The first chapters of a story by Robert Louis Stevens and Lloyd Osbourne are finished with a full-page drawing ‘by William Hole, which may be taken as a very good illustration of the text and yet a perfectly uninspired and unartistic illustration. Those to the other tales, by W. L. Taylor, Charles Broughton and W. L. Metcalf, are gener- ally better, though they are also better as illustrations than pictures. These are the two problems that present themselves . to the artist charged with this task of ex- plaining an author; and he is a very capable one indeed who succeeds in re- conciling them. The great war papers have finally dis- appeared from the pages of the ‘‘ Cent- ury,” though their echoes still linger, in fine type, in the supplements at the end of each number, and their place has ap- parently been taken by a series of articles on the California of 1849. These have been distinguished by some of the best illustrations—in every sense of the word— that have lately appeared, and one of them may be seen in the present number,
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68 a full-page drawing by M. Burns—the crowded deck of a sailing vessel on a fine day. The feeling of light and air, the roll of the ship, and even the charac- teristics of her crew and passengers, are excellently given, and at the same time the pictorial requirements duly observed. This good drawing has been very well engraved, in the simplest and most ef- ficient manner, and it would have to bea very good ‘‘process”’ indeed that could do it as well. ‘There are also two-or three spirited drawings by W. Taber for this article and a couple of engravings reproduced from the ‘‘Century” for June, 1882. Mr. ‘Taber also illustrates ina satisfactory manner a readable de- scription of the very dreary life on board the South Shoal Lightship, and Mr. Kenyon Cox a colonial story concern- ing French and Indians. — His full-page picture is well managed and effective, but he has substituted an arbitrary dark- ness for the ‘‘sunshine” of his author on page 558. Mr. Frost is quite out of his element in his delineations of the com- monplace men and women of Mr. Stock- ton’s ‘‘Squirrel Inn;”’ but Mr. Pennell has discovered a perfect mine of good subjects in the bull fights in Provence. His little pen-and-ink sketches are full ‘of spirit, and show that he is learning to do figures as well as he does buildings. The magazine opens with an article on the German Emperor by Mr. Poultney Bigelow, his professed apologist in this country, illustrated with some very neat pen-and-ink drawings, after Berlin pho- tographs, by H. D. Nicholls, Otto Bacher and Harry Fenn. ‘There are also two frontispieces, portraits of the Emperor and Empress. The latter is much flat- tered, and the former, a good likeness, has his countenance so carefully modeled that he becomes very black visaged. The most important artistic illustration of the number is a very careful full-page en- graving of Alexander Harrison ‘‘ Le Crépuscule,” now in the Corcoran Gal- lery. The charm of color naturally disap- pears, and the rendering of values leads to the almost inevitable blackness of the wood-engraving, but it would be very difficult to give in black and white a bet- ter version of these receding distances and of the general atmospheric effect. To many readers the pages of Harper’s always offer a pleasanter and more invit- ing appearance than those of either of its principal competitors. For a household publication, to be regarded in an easy chair and at half-arms length, the methods of the impressionist and the circus poster — are scarcely adapted, and there is a great charm in the clear type and neatly turned pictures of this veteran publication that is yet so modern in its tastes. Occasion- ally, asin M. Renouard’s drawings in the present number for an article on the Nihilists in Paris, broader and more sum- mary artistic methods are adopted—just to show that the publishers know what is the latest thing. But the majority of the pictures in this issue are very carefully and cleverly executed pen-and-ink draw- ings, mostly by H. Fenn, H. D. Nichols and E. Penfield, or good engravings after careful drawings. One of the best of these is the frontispiece, a mountain land- scape in New Zealand, by W. T. Smedley, ART -_ IN TEER CANES who draws like a good painter with a curious suggestion of color in his blacks and grays. Mr. Remington is rather bet- ter treated by his engraver than he always deserves, his carelessness of execution being sometimes remarkable in a drafts- man who knows better. There are ana- tomical details in men, horses and dogs of his ‘‘American Riders” of which a student should be ashamed. Mr. Du Maurier, on the contrary, is putting better work in his illustrations to his own story than he generally furnishes now-a-days, and if his drawings did not show in their sameness of style the effects of drawing without models they would be more versa- tile and consequently interesting. It is hundreds of designs furnished by him during the last five years. ‘There is not an object used in the house that has es- caped this artist’s attention as a possible subject for decoration, and, as a conse- quence, our readers have had the benefit of his ideas for screen, plate, cup, saucer, tea- pot, wallsachet, mouchoir, table, and chair back ornamentation. China decorators, especially, have profited by Mr. Rhead’s many clever ornamental conceits. Mr. Rhead was born in England in 1858. He very early in life manifested so much ability that he was permitted to regu- larly train himself for an artistic career. When only twenty years of age he was accorded the distinction of being selected PORTRAIT OF MR. LOUIS J. RHEAD notable that in his careful sketch of the Venus of Milo, on page 381, he has gotten the goddess quite out of her just propor- tions, but it is also remarkable that a satisfactory drawing of this most difficult statue has not yet been published, not even in French works on_ sculpture. There are some somewhat interesting bits of ‘‘Chicago Architecture,” and three or four good drawings in the Editor’s Drawer,.one of which—by Mr. Frost—is distinctly funny. LOUIS J. RHEAD The name of this artist is very famil- iar to the readers of THE ART INTER- CHANGE, it having been their good for- tune to have placed at their service : ASS by Joseph Wedgewood & Sons, to fur- nish designs for some pottery that was to be exhibited at the Paris Exhibition. The year previous Mr. Rhead had been the successful competitor for the national scholarship at the government schools at South Kensington. In 1882 the young artist gained the silver medal for painting from life, and two Queen’s prizes for de- sign. During the following year Mr. Rhead traveled on the continent, and in 1883 he accepted a tempting offer made by D. Appleton & Co., and came to the United States, where he has since made his home. Mr. Rhead’s book covers, initial letters, head and tail pieces have embellished many books and magazines published by Appleton, Houghton, Mifflin & Co., Scribner, and Harper Brothers, and other
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ART IN EPEROCR ANG E THE PORTRAIT OF A LADY [After an oil painting by Louis J. Rhead]
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70 large publishing houses. He certainly has not lacked for appreciation in the home of his adoption. Editors and pub- lishers have given every evidence of ap- preciating his skill and inventiveness asa decorative artist. Mr. Rhead has been rep- resented in the prominent art exhibitions of this country, and it is his intention in the future to restrict his efforts to the more ambitious fields of art, and leave teacup and kindred decoration to artists of lesser experience. THE ART INTERCHANGE readers are to be congratulated upon hav- ing had at their service for so long a time the painstaking ability of so practical and capable a decorative artist: LONDON MODELS DIFFICULTY OF SECURING MopDELS— THE ENGLISH Mopet SADLY LACKING IN ESSENTIALS—HOW ONE OF THE FRATERNITY CAME TO GRIEF—THE ENGLISH MoDEL NOT #PROPERLY TRAINED FOR THE PROFESSION NOR Dors SHE UNDERSTAND THE ART OF PRESERVING HER Goop PoOINTS—THE DISADVANTAGE OF ALWAYS’ USING OnE MopEL—BuRNE-JONEs’s ‘‘GARDEN STAIR ’’—DuMAURIER’S FAMILY Mop- ELS—THE LONDON MOopEL CANNOT PLAY THE ROLE oF LADy. ap N American newly arrived in London wishing to secure good models for painting, finds the way to them much less direct than might be ex- pected. They are not to be found under any descriptive heading in any directory. They do not advertise in any journal but rather are advertised for. Neither do they congregate in picturesque groups in any well known place as models in Rome upon the Scala di Spagna; in Paris around the fountain in the Place Clichy. The only way to reach them, to find out their artistic specialties and their whereabouts, is to apply to some artist or well-known color-man. Even by the artist the seeker may be disappointed, for there certainly is a desire among painters to keep a de- sirable model within certain cliques, and by paying good wages make it posssible for that model not to extend his, or her, clientelle. The model of course is only too willing, for the nature of their occu- pation fixes listless habits upon them. Thus only is left the reputable color man, who upon application will read you from his list (he is not anxious to let you see it yourself) the accomplishments that may be secured for a stipulated price an hour. If it be the busy, artistic season of pre- paring for the exhibition, the American may even then find his choice akin to Hobson’s. If it be the slack season July, August and September, he will not find the case, for him, so very much better. Many of the models have taken other situations, as servants at the seaside, or to wait upon the hosts of strangers who fill London in the ‘‘empty” season. The Ital- ian bandit has gone afield with his organ, the queen of the gypsies trims bonnets at Broadstairs, Lady Macbeth takes her ART iN fERCHAARG SE mother’s place as cook while that lady enjoys a well-earned rest. The earnings of models depend as in almost any other trade upon moral quali- ties as well as upon physical. The most beautiful woman in the world would not be esteemed as a model if she were not punctual to her engagements; if she were brazen and talkative or if she refused to pose more than a very few hours a day when the artist wishes to press his work forward. As a rule English models have not the really professional character that continental models have. They know nothing about art and care nothing about pictures, and their posing is very much like that of the lay figure. They are not intelligent, they have no conception of dramatic expression. They are really not a ‘‘profession”’ among themselves at all, but usually individuals who, one way and another, have heard that money is to be had by having one’s ‘picture took.”’ One of them once came under my own close observation. She had a purely Greek face, and with an ugly body, hands and feet delicate and shapely enough to afford her unfailing employment in an art. world where Greek features and fine ex- tremities are as rare as snow in June. She had splendid engagements and grew so lofty that she would only accept them where the artist gave her a dainty luncheon. Intime she would not take one where the pose would not allow her to read or sleep. Finally she became such a trial that her employments almost ceased. She was too indolent to take to any more active business. She was a fairly educated girl, a drunken surgeon’s daughter and fond of idle reading. She took to haunting the great reading-room of the British Museum, idling there while starving nearly to death. She presented herself at last in such squalid guise and was so conspicously a loafer that she was forbidden the _ place. After that she slept in the casual wards, and now no- body knows where she is, whether in life or out of it. Her evil fate came en- tirely through indolence, though her own specialties as a model were the easiest in the whole range, and almost the best paid. Figure models and face models do not interfere with each other. Figures rarely have faces, and vice versa. Some models are good only for legs or arms, some have only a good setting of heads upon shoulders—some only a good torso to which are attached unsightly members. The models, coming as they do mostly from the lower classes, are not physically cleansed, and developed by care and exer- cise. ‘They have not what nature has given them, but only what she has not yet taken away, the shreds and fragments of the perfect body, left to them after generations of, if not hardships, at least rough curtailment of the body’s human rights. As the English models are not bound together by any community of in- terests, so they have no distinctive fea- tures asa class. ‘They dress as well as they can, always conventionally, and like shop men and girls, and they all have cards, which they often carry in dirty let- ter envelopes. Unlike the French and Italian artists, who fear corsets as they would: the shirt of Nessus, the London female model aspires to the slim waists she sees in fashion plates. ‘The illustra- tions one sees in studio articles, are con- spicuously girt about the vitals, but not more so than the young woman who asks at the studio door, ‘‘Shall you want me this season?”’ In consequence, the female nudes are about as ill-formed as they can be, and even such as they are, fail long before they ought, under the combined influence of corsets and good luncheons. Continental models, brought up from babyhood to their profession, and inherit- ing its traditions from posing parents if not ancestors, eschew both corsets and beer, using all liquids with great modera- tion. An American artist who gave his Paris model several times at luncheon the canned baked beans of which he was fond, and which savored of his New Eng- land home, sawa cloud upon her face. one day. Asked the reason she did not hesitate to reply that vegetables spoiled the figure, beans, cabbage and potatoes most of all! In consequence of her ig- norance the English born model is usually too old for her profession at twenty-five while the French woman holds out to thirty, sometimes even a little beyond. The English model grows coarse of ab- domen first, the French and Italian shows decay in flabby busts. Even after she can no longer pose for the figure the professional model may pose some years longer in costumes. She knows enough of art and has the trained instincts which enable her to assume a character when once told how to do so. She assumes it and keeps it, does not wobble and sink in it till the end of the pose is as unlike the beginning as death is unlike life. <A famous Roman model, the celebrated ‘* Gigi,” who posed from infancy to old age and then finished by furnishing models to large classes used to say that no model was worth naming who could not pose an hour without winking while hold- ing a sword or a tea cup in extended hand. ‘‘Gigi’’ himself posed at six months as cupids and divine infants! _ Later he was everything, from pirate to apostle, arch. ending as prophet and _ patri- The London model receives 25 cents an hour in studios. The Royal Acad- emy sometimes pays $2.50 for a pose of two hours. Models will sometimes pose eight hours a day and make their price by the day and not hour. ‘Eight dollars a week are considered good wages. Models require a rest of ten minutes with every hour, Schools make special bar- gains. Very few models fall of them- selves into the telling poses that seem so simple and natural to the models of Paris. In a Paris atelier a model may be posed in two minutes, in London fifteen is quick work. Some schools pose their own students as models. ‘The students gen- errally know how to take a _ pose better than to keep one. How we laughed one day in Paris when a student called out to the student-model ‘‘Sapristi! Ne wigglez pas that hat !”’ The figure model undresses behind a curtain, and comes to the platform envel- oped in a cloak, which is thrown over her by an attendant the instant the pose
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is finished. The sight of a _ nude model walking. from her pose to the dress- ing room would startle many a woman student who had studied her. without a qualm for hours. Models who sit for classes usually have favorite positions. These positions are those in which they have posed for some distinguished artist, or that have received the approbation of other schools. One may see the same model running through scores of studio drawings, five times as Ajax defying the lighting to once as the Gentle Shepherd without any sheep. One model has been painted so often as the pensive Saviour that he can scarcely take a pose, be it what it may, without assum- ing an inane expression that makes him utterly hated of the class. Popular models soon grow familiar of face. One sees them constantly in every exhibition, in all sorts of clothes or no clothes at all. Some artists injure their work by too great partiality for one model. Bougereau used the same one so much that her face became weariness even to his admirers. He-put her face upon different moods, but even thus she grew monotonous. In his Venus and Tritans she is every woman of the group. Burne-Jones used to make the same mis- take, and upon his ‘‘ Golden Stairs’ the same girl wound up half a score of times. The same objection holds to the prac- tice some artists make of painting always the women of their own families. Du Maurier has always drawn from his wife and daughter, and who would not know a Du Maurier figure oven in Timbuctoo ? One artist of my acquaintance painted his wife twenty-five years ago. Then he painted his daughters as they successively grew to girlhood and womanhood. ‘The consequence is that the clever artist has become mannered in the extreme. ‘The models have always had the same leading characteristics of hair, manner and style. By constantly repeating these character- istics, he has lost his power of represent- ing any other, and were he to paint Sulky Bet of Whitechapel, she would invariably suggest the ‘‘ Lady Maud’s” and ‘‘ Maiden Mays” he has so long been addicted to. A critic once declared that he could see Mauds and Mays in this artist’s work, even when he _ painted only a _ 10se- wreathed wall. The London model rarely does well as alady. ‘The unpicturesqueness, the sor- didness of her life and ways, are too plainly marked upon her face. ‘This ac- counts in part for the charge of vulgar- ity so often brought against English ‘‘Conversation’’ pieces, by continental artists. The paid model of Kentish ‘Town or Camden, drinking porter and chaffing with her ’Arry cannot be made a lady even with all the artist’s powers of ideali- zation. The greatest among English artists depend very little upon models. Leighton uses his for scarcely more than suggestions. ‘The result is that he does not paint woman at all, but the china dolls, creatures neither of human passions and needs, or of divine atmosphere, but simply pulseless things of the shop and show window. Even thus they are not only more beautiful, but more interesting, than the average London model. “swept in. re Bef INTERCHANGE AT VIBERT’S STUDIO M. Vibert at home?” I asked of the concierge woman, who, with a child by her side stood gazing AG out of her pavilion, just in- side the garden gate of a pretty villa in a somewhat fasionable, though retired street of Paris. She looked at meindoubt. ‘‘If Made- moiselle will give me her name? Mon- sieur is very much occupied and sees few . people.” I gave my name and added, ‘‘ Kindly say to M. Vibert that I come.from M. Alfred Stevens whom he knows well.” The concierge entered the house and a few moments later beckoned me up the steps into a sort of ante-room which was furnished with the exquisite simplicity and feeling for tone which characterize the French decorative system. I have always noticed in my visits to the great Paris studios that the salient quality everywhere is harmony. Bright colors, or even light ones, are seldom used. Deep rich colors.are employed in so skil- ful a way that the individual tint is for- gotten. Greens, olives, blues, pale reds and browns with dull gold, seem to be favorite combinations, making the im- pression that the color schemes of Oriental keramics had been carefully studied by the decorator. For simplicity in access- ory and arrangement of whatever bric-a-brac or curios might be present, the influence of Japanese decoration is very marked. One can hardly realize to what an extent the French are influenced by the Japanese, without analyzing the general impression conveyed by the soft rich color-harmonies of the famous Parisian studios. These reflections passed through my ‘brain as I sat in M.-Vibert’s charming reception-room, in which the leading color note was olive-green. ‘There were some lovely bits of old ivory about. Presently there was a soft rustle of draperies and a large handsome woman She had the pale skin, touched with poudre de viz, the expressive dark eyes, the beautiful glossy dark hair of the true Parisian. She was_ elaborately dressed in the black that Frenchwomen of elegance love and she had charming suave manners, full of elegance and distinction. ‘To this attractive person I stated that I was a New York art critic, that I was visiting the studios of Paris introduced by M. Alfred Stevens whose book, ‘‘Impressions sur la Peinture,”’ I had translated and published in America, that I was a great admirer of the works of M. Vibert which I had often had the — pleasure of describing in my American writings and that I would be very grate- ful for an interview with the distinguished painter of ‘‘The Missionary’s Story,” and a sight of his studio. Madame listened to my plea with an accueillant smile and was kind enough to take the trouble to withdraw and inter- view the great master of humorous genre. The message came back that M. Vibert was very busy with a picture and 71 that he must excuse himself from a visit to his working-studio but that Mademoi- selle would be welcome to inspect the second atelier. A most fairy-like, décor de théatre ef- fect met my eye as I stood upon the threshold of the studio. An idea peculiar to Paris studios and their decorators is that of producing a balcony or gallery effect at the entrance so that a series of charming stage-pictures is created. By imagining yourself standing on the mar- ble balcony in Paul Veronese’s ‘‘ Marriage of Cana” and looking through the wide archway upon a mass of brilliant color— delicate pale silks and satins, Eastern stuffs and embroideries, Japanese, Turk- ish, Spanish, accented by the dark green of palms—and you have a suggestion of the enchanting scene that met my eyes as I stood on the marble floor of the arcade which framed the tender brightness of the studio vista. Vibert has the feeling of the old Venetians for color. He loves brilliant strong effects of elementary color as well as delicate and exquisite harmonies. Sombreness and depth of tone are not for him. Huis is the pure riot of the bright yellows and reds of Spain, glowing under the sun of Seville, the strong reds and purples of the robes of ecclesiastics born of the purple ances- try of proud Rome trading for Tyrian dyes. He loves, too, the light and riant charm of the soft rosy, azure and aquam- arine tints brought from the East and in- troduced into the color-scheme of rococo France. I followed my beautiful conductress up the three marble steps which led to the studio and was soon admiring in detail the beauties of the Turkish, Russian, In- dian and Japanese embroideries, which, made up into cushions and lying careless- ly about, caused the beautiful room to look like a bed of flowers shining in the white light that came fromabove.. ‘‘ All the time that is left me from the theatre I devote to arranging the embroideries for this apartment,” said the black-robed beauty who presided over the studio. From this I inferred that she was an actress. ‘There were mirrors all about and the stately black figure was ‘‘de- tached” in its reflections against a soft glow of color and shining of texture, ar- ranged with a feminine as well as an artist’s eye for harmony. ‘The word nuance, literally shade or tint, expresses best the admirable coloring of this studio- decoration. In fact I have never met with as good an example of the delicacy of gradation and combination of color which artists have in mind when they make use of the term nuance. My con- ductress called my attention to the sketch for Vibert’s famous picture ‘‘ The Brasero ” which shows three ecclesiastics in red and one in purple, seated about a brasero. Another work in which the in- dividuality of the painter was strong showed two monks. My attention was called to two sketchés, each of a single figure, hanging on a wall at the réar of the studio. ‘They were done on coarse brown paper. One showed a Spanish muleteer, the other a Polichinelle in a costume of tender nuances of green and rose. (How charming he is with his nuances, this M. Vibert!) Poor Polichinelle is very far gone in inebriety!
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72 ‘«' These,” said the fair cicerone, ‘‘ are aquarelles cuites.”” Baked water colors! I had never heard of such things! But when I thought the matter over and looked carefully into the quality of the figures, it seemed to me quite in the line of artistic evolution that M. Vibert should bake his water colors. For a great deal of his work has the keramic quality both for color and consistency of texture. He seems to have taken Chinese and Jap- anese enamels for his guides, and he manages oils as keramists handle pate. In color, one may trace two distinct in- fluences in his work, that of keramics and that of embroideries. These baked water colors had very much the quality of old enamels, such as those which the keramists of the Renaissance period pro- duced at their best. I do not now re- AR ENT ERS AR ee Tuileries garden, and the pictorial por- tions were the work of M. Vibert him- self, who designed the work as a whole. The fountain, which is in white marble, illustrates the fables of La Fontaine. In and about the large basin the rabbit, the tortoise, the swan and the frogs disport themselves with an air of life and action due to the vigorous chisel of M. Cain. On the wall behind the carved white marble slabbing is a large fresco in a low key and quite flat, giving the effect of old tapestry. It has for its subject a landscape, on one side of which is illus- trated the fable of the oak and the reed, and on the other that of the brass pot and the earthen one. The water was trickling and spouting in a refreshing and delightful manner. ‘This beautiful foun- tain seemed to me to form the crowning ‘UN INCONNUI”’—PHOTOGRAPHIC STUDIES OF CHILD LIFE member whether there was any mixture of body color in these figures, but I should think that the presence of a good propor- tion of gouache in such work would add to the enamel-like effect. One of the charms of this scheme of studio decoration was the absence of ir- relevant objects. There was nothing to interfere with the exposition of the paint- er’s individuality, and everything tended to illustrate its salient characteristics. As I returned again to the marble-paved arcade which formed the entrance to the studio, my beautiful guide called my at- tention to a large fountain placed against the right-hand wall. This was a remark- able and interesting object of decoration, for the sculpture about it was the work of Cain, the famous animal sculptor who did those large bronze groups in the touch of an intérieur fit for the palace of an enchanter. Jehan Georges Vibert, born 1840, at Paris, studied under Picot and Barrias. His works are very popular in America, where some of his best productions are to be found in private collections at New York, Baltimore and other cities. One of the most important of his works is ‘‘ The Missionary’s Story,” exhibited previous to the sale of the Morgan collection in which it was included. It was valued at that time at $25,000. ‘The picture showed a returned missionary among a number of high church dignitaries in scarlet robes, taking their ease in a rich ecclesiastical interior. The church has afforded this painter many of his best themes and from cardinals to Capucins, whether he treats his subjects seriously or humorously, he shows remarkable insight into clerical character. His Spanish subjects such as ‘*’Toreadors Before Entering the Arena,’ or ‘‘Spanish Diligence Station” are no- ticeable for their truth as impressions of the national life, for their vigor and brill- iancy of color and for the neat compact- ness of their composition. Vibert is at his best in his open air subjects although his most ambitious works are interiors. CHARLOTTE ADAMS. ART GOSSIP 9’ is announced from Chicago that great pains are to be taken to make the fine arts display of the coming World’s Fair a very superior one in- The chief of this department pro- deed. claims his belief that this collection will be the finest ever seen, or, at the very least, the finest ever brought together in America. Inferior works are to be rigor- ously barred out, and strict rules for the admission of exhibits have been drawn up and are to be enforced. No copies will be admitted, even though reproduced in a class different from that of the original; engravings obtained by industrial pro- cesses, drawings, pictures and engraviugs not framed, and works of sculpture in un- baked clay, will all be excluded with the somewhat important exception of exhibits that come in the collections of foreign countries. Each work is to be submitted to the judgment of a competent jury, to be constituted for that purpose. The depart- ment has been divided into three im- portant subdivisions: An American sec- tion; a section for each foreign country that is represented at the exposition by a general commission or by a national com- mission; a section comprising exhibits of private collections and the works of artists of countries not represented by commis- sions and whose works may come in un- der the prescribed rules. Full provision is made for giving artists who wish to ex- hibit information as to the verdict of the examining jury that will pass on every- thing going into the collection. The building of the fine arts exhibit, which is to cover about 250,000 square feet will be a bonded warehouse, and all works of art will be received within its walls subject to the inspection of the customs officials, but without the payment of duty. They will be received and sent out on bond. All works of art must remain in the expo- sition until its close unless removed by a special permit signed by both the Chief of the Department of Fine arts and the Director General. Details as to pack- ing, transportation, hanging privileges of artists, and insurance, are now being sent out by Mr. Ives, the Chief of this Depart- ment. The Commissioners of the World’s Fair are meeting with a very cordial reception in Europe and, are much encouraged by these evidences of international good will. In Paris, they have had an interview with M. Favette, Chief of the University of Commerce and. Industries, who assured them that the position of France towards
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their exposition had never been doubted, and that she was now more ardent than ever in their cause. He said that he had sounded the Chambers of Commerce of various cities and had found them all decidedly favorable to French representa- tion. France expected to make the finest art exhibit in Chicago that she has ever made. Numbers of the leading artists had promised the most important exam- ples of their works. About 12,000 square feet of wall space would be required for their display, and, in addition, a separate | building for the exhibition of French art would be wanted. Moreover, appli- cation would be made for the reservation of 50,000 feet for three months until the exact necessities of this exhibit would be known. M. Favette had already secured most favorable t:rms from the steamship companies, by which freight on exhibits would only be charged for the voyage across and not for the return. The Com- missioners were afterwards presented by Minister Reid to M. Ribot, the Minister for Foreign Affairs, who also gave them a courteous reception, and said that he was pleased that France was the first nation to accept officially the invitation to take part in the fair, and that he was confident that she would be splendidly represented. The Chambers, he said, would be asked to vote an adequate appropriation for France’s exhibit. In Berlin, the Commissioners were _pre- sented by Minister Phelps to Herr von Boetticher, Secretary of the Imperial Home Office and representative of the Chancellor, who expressed his confidence that Germany would be represented at the World’s Fair in a manner worthy of the occasion, and that the friendly rela- tions already existing between the two countries would be further strengthened by such an exhibit. The details of the fine arts display were referred to a special commission, who are expected to arrange matters upon a satisfactory basis. Min- ister Phelps has been searching in the Berlin royal museums and private art col- lections for paintings or other articles relating to Columbus which might be secured as interesting contributions to the fair, but found nothing of importance ex- cepting a book published in Berlin in 1557, containing a portrait of the navigator, a medal struck in honor of Cortez’s con- quests, anda fewrapiers, supposed to have belonged to Pizarro’s men, ‘The most discouraging incidents which the Commis- sioners meet with in their travels are the comments by many of the Continental _ journals upon the unwisdom of sending exhibits to an exposition held in a coun- try bound by the McKinley tariff law, in hopes of securing a market there. Mr. John Ward Stimson, the Superin- tendent of the Institute for Artist- Artisans, writes to the New York ‘Times ”’ ostensibly in reply to its query as to whether his school was to continue or not. But at the end of a half column of irrelevant verbosity he leaves the ques- tion still in the air, the impression con- veyed being that the future life of his really valuable school depends entirely upon popular support. The recent economic crisis at Rome has almost ruined many of the great ancient families, such as the Borghese, Sciarra ART INFERCHANGE and Barberini. ‘The Borghese have been the greatest sufferers, and Paul Borghese, the present head of the family, is said to have fled the country, after having distributed the works of art which com- pose the famous Borghese gallery among his nine brothers, so as to enable him to lease to a bank the apartments heretofore occupied by this collection. This action is greatly regretted in Rome, and fears are even expressed that this example may be imitated by some of the other great families, and a general breaking up of the fine private art collec- tions of the capital thus ensue. The French have not yet repented of their spitefulness in the matter of con- 73 shame, as those of the worst Frenchmen, unworthy to represent Frenchart. These artists should remain in Germany. We repudiate them. They are worthy of be- ing Prussians.” Several years ago, the Paris Municipal Council decided’ to erect a monument to Danton in the Boulevard St. Germain, close to the locality of his former -resi- dence and to the spot where the massacre of the prisoners ordered by him took place. This project was sactioned by Mr. Sarrien, Minister of the Interior, in 1887, and the work was duly inaugurated on the national féte day, July 14th, this year. ‘The statue represents the revolu- tionary hero while in the act of uttering A PARLOR POSE.—‘‘STEADY, REX, STEADY, DON’T YOU DROP THAT PIECE OF CRACKER” tributing to the fine arts exhibition in Ber- lin. M. Derouléde’s ‘‘ patriots” are still pursuing the few French artists, Bongue- reau, Vuillefroyes, Mlle. Madelaine Le- maire, who had the courage to send their works to this International Exposition. The photographs of these painters may be seen in the Parisian shop windows with the legend affixed, ‘‘ Exposition de Berlin.”” The ‘‘ Matin,” and a number or other journals, have held their name up to popular scorn in’their most conspic- uous columns, and ‘‘ L’Autorité’”’ ends an article on the subject thus: ‘‘ These names must be nailed on the pillar of his memorable words: ‘‘ De l’audace ; encore de l’audace; toujours de l’au- dace!’’ He is supported by a group of figures, one of which is a ‘‘patriot”’ brandishing a musket. But this commem- oration of the colleague of Robespierre and Marat was considered by all but the most extreme Radicals as scandal, and in some measure a national disgrace, and a lively debate took place in the Senate, on the interpellation by M. Wallon, the ‘¢Father of the French Constitution,” of the Minister of the Interior on the sub- ject. M. Constans, while disclaiming any responsibility for the erection of the
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74 monument, said that he regarded Danton as a true patriot, and as having achieved very great things. The Socialist element in the Municipal Council, as expressed by M. Vaillant, considered that Danton’s robust patriotism compensated for any short-comingss in his character. And his statue still stands. The White House, at Washington, is being renovated and redecorated. The vestibule will be finished iu. ‘‘the style of the American Renaissance.”” ‘The colors employed will be soft browns and terra- cotta; the walls will be done in a kind of panelled effect. Over the mantel, where there are portraits of Washington and Lin- coln, there will be medallions of these Pres- idents modelled in bold and striking relief. The frame work around the heads and the shield and pair of flags over each medallion will also be in relief. The only decided colors will be the red and blue of the flags. ‘The ceiling will be in soft shades, and the graeeful turns and curves will converge towards the chandelier in the centre. Small gold stars also will be a feature of theceiling. Thestyle of the Green Room will be rococo,and the tint that gives the room its name will be accentuated by the pink of the peach-blow and touches of gilt. The walls, which will be of a color known as absinthe-green, will be divided into panels framed in bas-relief designs. The state dining-room will be finished in Colonial designs to conform to its archi- tecture. The coloring will be a blend- ing of fawn and golden brown shades. The ceiling will be bordered in a garland of laurel leaves, and at each corner there will be a medallion to represent a horn of plenty overflowing with fruits and flowers.” A bronze heroic statue of Stonewall Jackson was formally unveiled, with much civic and military display, at Lex- ington, Va., on July 21st. The sculptor is a Virginian, Edward V. Valentine, the designer of the Lee monument. The present work represents Jackson stand- ing, bareheaded, leaning on his sword and looking outwards as over a battle field. Inthe right hand, at his side, he holds a field glass. | The costume is the uniform of a Confederate Lieutenant- General, with heavy boots and spurs. The scabbard of the sword was modeled from that of Jackson’s own weapon, and. bears the letters ‘‘ United States.” The figure is eight feet tall and stands upona granite pedestal ten and a half feet high, consisting of a base course, die and cap- ital. On one face the die bears the in- scription, ‘‘ Jackson,” ‘* 1824-1863”’; on another the single word ‘‘ Stonewall,”’ the name given him by his chief, General Lee. Beneath the pedestal is a vault containing six sepulchre-chambers, sur- rounded by a circular grass plot, around which is a driveway with four approaches. The general effect is said to be imposing and the statue is considered to be a good representation of the distinguished soldier. The monument stands in a circle in the centre of the city cemetery, on a slight mound overlooking the surrounding country. Extensive alterations are being made in the upper portion of the Cooper Union building which, when completed, will ART INTERCHARGE have the effect of furnishing accommoda- tion for a hundred additional pupils in the art schools, and of increasing the supply of light and air in all the class rooms. The top floor, on which these rooms are situated, will be 125 by 80 feet, and will be lit from above by a large skylight. Last year this school accommodated about 300 female students, said to be scarcely a tithe of those who wished to study there. The opening of the classes in the fall will not be delayed by the changes in the building. The ‘‘ Pall Mall Gazette” says that Milo, the island of the Cyclades, in which the ‘‘ Venus of Milo” was discovered, has again given up a ‘‘splendid example of ancient Hellenic Art. The new ‘ find’ is the marble statue of a boxer, somewhat above life-size, which is almost as perfect after its burial under the dust of centuries as it was when it came fresh from the hands of its sculptor. The statue has been shipped to Athens, where a commis- sion of Greek archeologists, aided by some members of the German Archeolog- ical Institute in Athens, will report upon the period of its origin and its probable creator.” The much-discussed competition for designs for the new silver coins of this country has been terminated by the Di- rector of the Mint giving instructions to the mint engraver at Philadelphia to get up designs for the dime, quarter and half dollar. This ends any hope of improve- ment in artistic quality in this coinage. At a meeting of the Board of Trustees of the proposed new Episcopal Cathedral of St. John the Divine, held on the 24th of June, Messrs. Heins and Lafarge were appointed the architects for the structure. This selection was made from among sixty applicants, but it is announced that it does not mean the unconditional adop- tion of the plan submitted by these gen- tlemen in the competition. That is to be subjected to important modifications, but it was believed to exhibit, as a whole, greater fitness for the purpose than that of any of the others. This plan is Byzan- tine in character, following in some re- spect St. Mark’s in Venice, but compris- ing also an individual and modern adaptation of that style. The principal feature will be a large dome, covering a central space of great width and length, where the nave, transepts and choir meet. Towers will rise from the nave end of the Cathedral, and one of.the chief merits of the design is its ready adaptability to changes calculated to add dignity or beauty to the structure. The choice of the Trustees was only made after long and serious deliberation and close study of the numerous plans and designs sub- mitted to them, by some of the best- known architects of this country and Europe. hd The appointment by the Trustees of the Metropolitan Museum of Art of a special committee ‘‘to extend the museum collection of casts,” and the names of that committee, have been mentioned in these columns. Under its direction was issued last winter a circular setting forth the general objects and scope of the work, and announcing that the sum of at least $100,000 would be needed for this purpose. A subsequent step was the preparation of tentative lists of desirable casts, sculptural and architectural, ‘‘in- tended to illustrate the history of the plastic art,” and these lists have now been issued in the form of a neat quarto volume of 121 pages. ‘This is intended ‘‘for private circulation among _ those whose advice is sought in the preparation of final lists, to enable them the more readily to make suggestions to the special committee on casts.”’ In the explanatory preface the committee announce that they ‘* determined to prepare, as the basis of selection, a catalogue of all desirable ob- jects without reference to present limita- tions of means or space, and without ref- erence to whether these objects had or had not been already cast. Such a cata- logue would furnish the ideal to which the museum might ultimately hope to at- tain, and selections could be made from it as funds and space at the disposal of the Trustees migh. permit.’”’ The pres- ent lists do not attain to the fulness of this ideal catalogue, but they include all the more important periods and schools of art, and they may be supplemented from time to time. As it is, they cover a very wide field in the history of sculp- ture and architecture, both ancient and modern, and have been prepared with great care by the various scholars and ex- perts who have offered their services in this matter. The committee announce, moreover, that they have already raised $60,000 of their required sum, and hope soon to secure the remainder. MINERAL COLORS FOR DESIGN OF ‘‘For- GET-ME-NOTS’”’ FOR SHAVING Muc.—Let the palest possible tint of mixing yellow be washed on for a background color, using lavender oil to thin the color Erase all color from the design, and the piece may then be fired, or if great care is exercised not to have the color of the decoration encroach on the background, the one firing will answer for all the work. The blue of the forget-me-nots may be done with deep blue green used in a rather pale wash for the lightest shade of the flowers; then taken a little stronger for the shading, and where quite dark blue occurs add a little deep blue. A little carmine No. 1 can be added to the blue for the violet touches on the buds at the end of the spray, or violet of gold can be used, and blue added for the duller touches. The several shades of violet can all be done with the carmine, the violet of gold and the blue. Touches of Carmine appear on the stems, and occa- sionally violet of violet can be substituted where the reddish coloring is strongest. Pale touches of moss green, J, may be used for some of the flower stems, chrome green appears on some of the grasses, grass green on others, and touches of carmine with the chrome and grass green will give all the gray tints. Use deep blue green shading into deep blue for the band of color at the base of the mug, and on the letter in the monogram. Before any gold work is added, the piece must be fired, then the ornament at the bottom, the band and tracing at the top of the mug, the border lines of the disc, the lines on the handle and the letter of gold can be done.
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>| ECORATIVE = y; INSTRUCTION DEPART- MENT eT U DY or A St. BERNARD IN Om Corors.—This is a faithful study from life of a variety of dogs of which > size is an important charac- teristic, therefore the canvas should be of the same size as the study, any reduction will tend to lessen the effect of grandeur. This study will also be an excellent les- son in foreshortening, but will not be dif- ficult if our instructions are closely fol- lowed. By partially closing the eyes the head may be made to appear as a flat surface and will thus be much easier to copy. Measuring may be resorted to if necessary to insure correctness, but trac- ing the work is not advisable as sucha course will not help the student in the direction of painting from nature, one of the principal objects aimed at in copy- ing THe ArT INTERCHANGE studies. When the drawing is complete with char- coal begin the painting with alarge brush and lay in the principal masses of color as correctly as possible in general tone without detail. After this is dry begin with the shadow and middle tints,: leav- ing the lights for the last touches. Work the brush in the direction of the hair. A rather long hog’s hair brush will be best for this purpose. For the dark brown shadows use bone brown, burnt sienna, madder lake and permanent blue prin- cipally. The purple tones about the nose and mouth will require ivory black and vermilion added to these colors. For the general tone of the brown middle tints use yellow ochre, vermilion, mad- der lake, medium cadmium and perma- nent blue, with silver white when neces- sary. In painting the white of the body and about the face rub in a general tint composed of silver white, bone-brown, yel- low ochre, permanent blue and vermilion, and work the shadows and lights into it. The tongue is vermilion and silver white modified with yellow ochre, bone-brown, and madder lake, the same tints will be found useful about the eyes. ‘The pupil is bone-brown, madder lake and perma- nent blue, the tint of the light on the eyes should be made exact with silver white, yellow ochre, permanent blue and madder lake and be put on with a firm crisp touch. liquid quality of the eyes a characteristic so much desired. “KiNG” IN WATER CoLors.—The rough quality of Whatman’s paper will be the best surface for painting this large head. ‘The largeness of the grain is more in keeping with the size of the head, and a bristle brush will suggest hair a great deal better than a sable one. Secure a good outline either by tracing or copying, and then with a firm red sable brush draw around the eyes, nose and mouth with burnt sienna, Antwerp blue and rose madder. Draw inthe shapes of the shad- ows and not in outline merely. Now, having firmly secured the main forms, take one of the eyes and finish it, leave the pure white paper until nearly the last. The other colors’ used are vermilion, and rose madder, Indian yellow and burnt sienna outlined with black for the iris and Antwerp blue or vermilion and burnt sienna for the strong- est black. Next paint in the strong tone of tan on the side of the head and ear, use burnt sienna, raw sienna, rose madder and Antwerp blue. Vandyke brown is also used in the darkest parts. A full brush of color pressed well into the paper will be necessary and the brush should be taken in the direction of the hair. For the white hair make a gray with cobalt blue, rose madder and _ yellow ochre, broken here and there with black. Where the lips round into the mouth add a little Vandyke brown. For the tongue use vermilion, rose madder and Indian yellow; the same colors on the under lip. The brilliancy will be given in the strong contrast of light andshade. Under the chin the shadow is made with burnt sienna, Antwerp blue and rose madder, the blue to the side is made with Antwerp blue with a very little of the other colors broken in. The collar must be added when the other colors are partly dry; use Antwerp blue, burnt sienna and _ rose madder stiffly to get a deep enough tone. The background is yellow and rose madder and cobalt blue. JAPANESE QUINCE IN WATER COLORS, — The drawing is a very important feature in this study, «and the lines should be This will tend to give the . given as faithfully as possible. For those of our readers who are not expert with the brush it will be as well to place the principal lines with a pencil before wetting the surface of the paper. Then prepare the paper and work from the top downwards finishing each group before proceeding to another. ‘The leaves and flowers should be outlined with the colors belonging to them and then the tones put on as flat as possible. For the greener shade of leaf use pale cadmium, Antwerp blue, and here and there yel- low ochre in some of the less vivid leaves. In the darker and grayer ones use Ant- werp blue, rose madder, cadimum and some times a little burnt sienna. For the red flowers use rose madder, vermil- ion, and pale cadmium and pale cadmium for the stamens shaded with black, and burnt sienna. For the white flowers the paper will suffice with delicate washes of rose madder, and here and there cobalt blue, or cadmium. For the stems, use light red, cobalt blue, rose madder, and black. The dark accents should be put in first and allowed to dry, and then the local tone washed over. For the vase use yellow ochre, rose mad- der and cadmium, black and a little cobalt blue. The back-ground is made with light red, cobalt blue and black, and the shading of the table with cobalt blue, rose madder and yellow ochre. A medium sized red sable brush is all that will be required to copy this study with. To PAINT THE STUDY OF JAPANESE QUINCE IN OIL Co Lors.—Besides being very pretty to copy as a picture in oil colors this study will be found very useful for decorative purposes either for tapestry painting or for panels. The colors used, and the methods of working, will be the same on a panel or tapestry canvas as on the ordinary canvas for oil painting. Having decided for what purpose the study is to be used the next step is to draw the entire design with care so that no changes will be necessary. Changes are always a detriment to any work, but are more especially so when the subject is one having a combination of pure and decided colors. Having completed the drawing begin with any of the flowers near the vase and finish each one if possi-
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ART IR TERCRANGSE ad Vege. 3: = = = | = = ee ZIV a = me
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ble while the paint iswet. The following will be the principal combinations of colors necessary: for the deepest scarlets and crimson use madder lake and vermilion with silver white as the tint becomes lighter ; in the warmer tones add yellow ochre and light cadmium, ivory black, permanent blue, silver white. Madder lake and vermilion will make the purple tones. For the purest white take silver white and add just enough madder lake, medium cadmium and permanent blue to give color. The dark stems are made with burnt sienna, yellow ochre and per- manent blue with white added as the tint becomes lighter. For warm greens use permanent blue, medium cadmium. and silver white. A little yellow ochre, burnt sienna and raw sienna will be useful to modify greens. yellow ochre, vermilion, madder lake, permanent blue and ivory black. The background is principally silver white, yellow ochre, permanent blue, ivory black and vermilion. PLATES WITH POMEGRANATE DESIGN IN O1L CoLors.—Some of your readers may wish to carry out this design on card board or fabrics, and for them we publish these directions in oil. The cen- tre of the pomegranate is a rich red, made with vermilion and madder lake, and shaded with black. The shell is an orange brown—for this use cadmium, vermilion, and cobalt blue, with a very little silver white. ‘The dark pods are a deep red purple made with madder lake, Antwerp blue and yellow. ‘The dark on the out- side of the pattern is a bluish purple; use the same colors as for the pods, but making the blue predominate. ‘The ground with the dots on it is gold, or if preferred a yellowish brown. ‘The rest is made with yellowish green. Use yellow ochre, burnt sienna, and Antwerp blue. The color of the plate should be a deli- cate fawn, made with yellow ochre, white, and a little Vandyke brown. ‘The differ- ent tones must be kept as flat as possible, to preserve the decorative effect of the whole. DIRECTIONS FOR LARGE JAR WITH ASTER DESIGN FOR VASE GIVEN IN Sup- PLEMENT, IN OrL CoLors.—Some readers may desire to use this spray on silk or some other fabric, for them we publish these directions in oil. The ground color is dull yellow at the top, and giadually merges into a pale brown at the base of the jar. The flowers are different shades of asters. The left hand spray is a greenish white. ‘The remainder are light and dark lavenders. The leaves are gray green and bluish green. For the ground use yellow ochre, burnt sienna, and Vandyke brown, occasionally break- ing in a little cobalt blue and silver white. ‘The white flowers should be painted very solidly with silver white, cadmium and black. ‘The lavender flowers are made with madder lake, cobalt blue, vermilion. The color is broken with a green about the centre, made with Antwerp blue and cadmium, For the leaves, use rose mad- der, Antwerp blue, cadmium, and silver white, and for the stems, raw umber, black and yellow ochre, and a little silver white. ‘The ornament must comprise the colors used in the group, and gold is to be added where the dotted part comes in. The vase is silver white, | Wack “ER PER CPMAN GE MINERAL COLOR DESIGN FOR SUNFLOW- ERS FOR CoFrFEE Pot.—To carry out this decoration in delicate coloring use no background, but place the design directly on the white of the china, especially if the ware has the ivory tint. Let the flowers be of a salmon hue, and for this mix silver yellow and capucine red, using it very thin. Wash over the petals of the flower with this color in flat wash. Over the centre of the flower use silver yellow, this will answer for all the light touches seen there, for all the shading of the centres mix a little brown No. 3 with a little capucine red, and indicate all the dark touches in the central portion of the flower. For the lines on the petals of the flowers use the salmon tint, possibly with a little more of the red than the yellow, and outline the flower with the same. Paint the leaves in low-toned browns or reds, to harmonize with the pale coloring of the flower. Use yellow brown in a medium wash over the large leaves, keep the coloring as pale as possible, or as will fire well, for it isa color that loses strength in the firing. Over this ground- work coloring pale shadow touches can be put on of brown No. 3 and capucine red mixed ; let them vary in degrees of strength, some pale, some deeper, and about the veining some red can be used alone, only be cautious not to have it too intense. Mix a little brown green and a touch of the capucine for the stems of leaves, and outline all the leaves and stems with the red and brown mixed. A few lines about the base of the pot and the cover and handles can be put on with good effect, using red or brown. Dull gold can be introduced in the dec- oration if desired, only the piece must be first fired before gold is put on. Keep all the coloring as delicate as possible. Something similar to the Worcester dec- oration will be very pretty for this design. EGYPTIAN BORDER AND CORNER— This design may be used for bureau, wash stand, buffet, or small table cover. The already fancy hem stitched or drawn work and fringed linen may be bought, thus saving much time and trouble, as the design can be easily made to fit any size. All white or colors may be used, and for the working filofloss is the best, as there is much delicate work, and a single thread can be used. The Egyptian colors may be used, and they should be very much softened for use on white linen. For éx- ample, dull soft red in solid work for the ‘fcrown” with the sun rays above of golden yellow. The small bar below this is best worked from side to side in solid work, with the upright below in very fine stem stitch, the outside line, then each alternate one. The ‘‘stem” in red, with the leaf forms in the golden yellow. Other colorings, to harmonize with room toilet set, or bureau decorations may be used. A medium shade for crown, with lighter below, and paler for leaves, and medium for stems. A very elegant bu- reau cover, as wellascushion cover, may be made for an elderly gentleman’s room by carrying out the full Egyptian idea, us- ing black satin for the foundation, with rich red for crown and leaves, with stem rays and part of design below the crown in fine gold thread, the stem linen being a little heavier. Although we do not advocate -yellow where they meet. 77 the use of black for embroidery founda- tion, in this design it is permissible. Fin- ish with either gold fringe or silk fringe, the color of the work, with a little gold in it. CHRYSANTHEMUM BORDER’ DESIGN.— This. may be used either for scarf-end or small table cover or square mat, fora ve1y elegant table on which should be set a jar of similar flowers. This can be done during the late autumn. ‘To work this solidly would be seemingly an end- less piece of work, we advise solid work in the leaves only. This method throws out the flowers in full relief, where the worker desires to give a dinner a little attention given to the study of these flowers would be an aid. Work the leaves first, on white fine linen or white silk, as one pre- fers, or pale yellow would also be charm- ing. Three shades of silk will be sufficient, medium, with one shade darker and one lighter. In so bold a design as this two threads, and even three threads cf filoselle may be used. Pale yellow, shading into deeper, richer, stronger coloring to the heart. Make the outline of the petal in a strongercoloring. The different shades should be carefully handled. ‘There are so many petals, that each one must be entirely distinct, many of those under being darker the lighter ones being those that turn over, with the few stitches in darker shading, then gradually working deeper to the heart of the flower, the out ends of the petals being pale yellow. In - the two middle flowers it will be seen that the centres are more compact. Work the flower in cream white, shading into yellow at the lower part of the petal and quite deeper into the lower part, making it very | much yellower in effect where it is com- pact in the centre, with atouch of stronger The two upper ones at the sides may be of cream white worked from the outside ends of the petals in, with touches of the maroon seen in these flowers intermingled with yellow. It is best to see a flower of this coloring before attempting to work it. If one is familiar with the many varieties of this magnificent flower it may be done from memory. ‘The whole design may be done in a more Japanesque way by outlining every flower in fine gold, then working from the heart of the flower out, carry- ing pale yellows for the right hand cor- ner, very much deeper yellow with maroon for that above it, white and pale yellow for the right hand centre, white shading into rose color at the right, quite deep at theheart. The left -hand corner -may be of the deep rich color seen in the late autumn, but which should be modi- fied, on a white background. ‘The upper flower at the left may be of a very much lighter shade of this same color, with shadings of cream. The leaves may be of the gteen with outline of gold, also veining of gold. With this coloring a jar of mixed chrysanthemums may be used. White and yellow, with the jar in yellow, and flowers in white and yellow, would also be charming. ‘There are so many colorings of these flowers that the mat may be worked in any of the color- ings preferred. ‘The whoie may be done in gold alone, a medium size for the out- line, and the fine wash gold, used for shading, and leaves, laid and couched
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78 down in yellow silk, making a solid leaf. These colorings may be used on cloth, silk or linen, the gold is best on material For a small stand that is not laundried. cover, a cloth of old rose color, worked in shades of the deep rich colored flowers, would be very attractive and pleasing, leaving two inches between the design and edge of material. The edge to be finished with silk tassels, the deeper color in the flowers. SUNFLOWER SET.—Some readers may wish to paint these designs on fabrics ART INTERCHANGE and not on china, and for such we pub- lish directions in oil colors. The color scheme for the whole set is similar. The ground color is arich warm brown. ‘The petals of the sunflower are a warm cad- mium varied with silver white, and a verv little vermilion. ‘The stamen are a richer color, being the same colors with burnt sienna, and a little Vandyke brown added. The centre is a bluish brown. For this use Vandyke brown, cobalt blue and rose madder. The leaves are a cold bluish © green made with Antwerp blue, rose madder and cadmium. ‘The stems are gray and their color is given with cobalt blue, light red, rose madder and black. The lines in the cup are of gold paint and can be put in or left out at pleasure. For the ground-work of the vase use burnt sienna, cadmium and raw umber. ‘The color should be put on direct as possible, and with con- siderable body, especially in the lighter parts. MINERAL COLORS FOR’ DESIGN’ OF ASTERS AND LEAVES FOR JAR.—Qver a background of café-au-lait reddish brown flowers will be very decorative. Use the grounding color café-au-lait for back- ground tint. Then erase all color from the parts occupied by the design and have the ware fired before putting on the decoration. Over two or three of the larger flowers wash on a tan color made by mixing silver yellow with deep red brown, vary the depth of coloring on each of the flowers, shading with the same color. Let the centres of closely folded petals be paler and yellower in tone than the rest of the flower. Paint one of the smaller flowers at the top of the jar with yellow brown, shading with deep red brown, not too strong in color. Then the bud can be painted in silver yellow shaded with brown green. On one of the lower flowers use carnation No. 1 with a little silver yellow mixed with it to ) give it a salmon tint. Shade with car- nation and brown No. 3 mixed. Mix a little brown with carnation No. 1 for the large flowers at the base of the jar, shading with brown No. 3. The leaves can be painted in yellow brown, shading with the same. Some of the leaf veins can be defined with brown green. Mix CUPID INITIALS ‘xX, Z,”—NOS. 3 AND 4 OF A SERIES OF TWENTY-SIX |W and Y published in August number of THE ART INTERCHANGE]
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a little carnation with brown green for the stems. Outline all the flowers and leaves with carnation and brown mixed. Keep the coloring of all the flowers some- what subdued, not letting any one blossom stand out conspicuously. On the band at the top of the jar let the col- oring be in dull yellow and brown, using yellow brown, or silver yellow darkened by a little addition of brown No. 3, for the lighter parts, then for the dark parts and all lines and dots use chestnut brown. On the band at the base of the jar use the tan color suggested for two or three of the flowers, and carry out all shading and line work with chestnut brown. A monochrome treatment in old blue on the white of the china will be a very good one. Still another suggestion is to carry out in greens this decoration, with or without a background. MINERAL COLORS FOR SUN-FLOWER DE- SIGN FOR Cups.—Place the decoration directly on the white of the china without any background tint. Use a salmon color for the flower petals, mixing for this silver yellow and capucine red. Let the coloring be delicate. Lines on the petals can be put in with color made by mixing a little brown No. 3 with capu- cine red, and the outlining done with the same color. Over the entire centre of the flower wash on silver yellow, then shade with the red and brown mixed, and define all the markings with this color. Capu- cine red can be used for the rays, but put them on in delicate wash. Use red or the brown for the lines around the bottom of the cup and a narrow line as well at the edge. MINERAL COLORS FOR SUN-FLOWER DE- SIGN FOR CREAM JuG.—The decoration for the cream jug may be the same color- ing as that given for the chocolate pot, or a contrast in coloring can be adopted and carried out with good effect. It was suggested for the chocolate pot decora- tion that no background tint be used, but the design could be placed directly on the white of the china. Wash over the flower a salmon tint in flat wash, made by mix- ing silver yellow and capucine red. Use silver yellow over the centre of the flower and put in all the shading and the lines on the petals as well with color made by mixing a little brown No. 3 with capucine red. Paint the leaves in low-toned browns, to harmonize with the pale color- ing of the flower. For this take yellow brown and put on as pale a wash as will consistently fire well. It loses strength in the firing, and allowance must be made for this fact. Then put on delicate shadow touches of brown No. 3 and capu- cine red mixed together. ‘These touches may be varied, some darker, some lighter. The veins can be indicated in the same color. For the stems use brown green with a touch of capucine red to subdue it. Outline leaves and stems with the red and brown mixed. Around the base of the jug and on the handle a few lines can be put on with good effect, using red or browns. Dull gold can be used in this decoration if desired, but the decoration in color must be fired before the gold is painted on. This decoration will be ef- fective if the coloring is delicate, resem- bling the Worcester ware. ~ used full strength. aha ITNTER CHANGE MINERAL COLORS FOR DESIGN FOR PLATE. ‘This design can be carried out with good effect in carnation and gold, or black can be substituted for the gold. Over the centre a very pale wash of car- nation (Rouge chair, No. 1) can be put on. Thin the paint with lavender oil, and lay it on with a large tinting brush in broad sweeps. Use the carnation in little stronger coloring over the rest of the de- sign over all the decorated portion of the plate. When thoroughly dry outline and define all parts of the design in carnation Over all the dark parts of the flower and the shaded parts of the leaves use carnation in full strength. Carnation No. 2 can be washed on if a more intense coloring is preferred. ‘The four flowers and the four prominent leaves can be outlined with black if bolder work is desired. Then the lines on the border of the plate can be carried out in black, finishing the border band with the pale carnation wash. If gold work is desired use dead gold for outlining and on the border band. AMERICAN ART STUDENTS OF THE LATIN QUARTER, PARIS There are one thousand American stu- — dents studying in Paris, half of them women. It seems hardly credible that so many should, for the love of study, go thousands of miles, suffer all kinds of in- conveniences and annoyances ina foreign country, to get the education they deem necessary to do good work at home. There are several reasons why they go, and they go from all parts of the Union. Iam confining myself entirely to those who go for the study of art, many go to study music, voice culture, languages, medicine and even astronomy. ‘The greater part of those I met while in Paris were from cities of the west, San Fran- cisco, Cincinnati, Louisville, Denver, Chicago, though many came from eastern cities, Philadelphia, Boston, and of course New York and Brooklyn. All go for a purpose, that is to work, and work they do. In speaking of the art students I shall not discuss the question whether it is right that they should go, or not go, or if it is possible to do good work and not go. Many people, no doubt, won- der how young women can go toa city like Paris alone, yet, though they go alone, I think there are none but what, before they go, have friends already there who help them, start them as it were, in their new life. It is possible to get on without speaking French, but many things are missed, and many disadvan- tages undergone by an inability to speak the language; evena slight understanding of it is of great value. For example at lectures, criticisms by the teachers, in purchasing materials, and also in nego- tiating for the daily necessaries. ‘The last item is all important, for few students have much money to spare, and the method of living is such that money can be saved by knowing how to lay out one’s funds. It’s possible to live very cheaply indeed, in fact, I know of some who live so cheaply that in a city like New York it would be impossible hardly for a beg- gar to live on so small an amount, but such is the delightful kindness and help- 79 one-another feeling which Americans have, that all are hopeful and helpful. And then the students have within the last few years been aided by the work done for them by the Rev. Mr. and Mrs. Newell, whose noble mission will be a lasting memorial of the benefits given so freely to Americans studying in Paris. The Latin Quarter is situated on the left bank of the Seine, within easy dis- tance of the musée de Cluny, which com- prises a most valuable collection of medi- eval objects of art and products of industry, a most delightful old place, quiet and cool, and many visits will not suffice to thoroughly explore it. The large fine pieces of tapestry are won- ders in themselves, they are old sixteen century Flemish, and the coloris a marvel of rich softness. Students naturally find much to copy and use in this museum. The Panthéon is close by, the Ecole des Beaux-arts, the palace and gallery of the Luxembourg, Jardin des Plantes, Gobe- lin’s Tapestry factory, Hotel des Inval- ides, with its splendid collection of armor, and ‘‘Costumes de Guerre” which are fine wax figures, with correct costumes, beginning with the Gauls, Greeks and Roman, and French from the time of Charlemange, including all savage tribes, in their native costumes; all these are within or close to the Latin Quarter, and most interesting to the students. In the Julian Academies (M. Julian has a num- ber in various parts of the city) the men students are separated from the women ; at Carlo Rossi’s studio, however, both study together, though there are few women and then only in the evening. It is entirely unnecessary to have mixed classes, as the women have every conven- ience in their ateliers. ‘They have, in fact a better chance, as there is considerable interruption and annoyance resulting from the habit the French youths have of mak- ing so much noise and horse-play. ‘This goes on in nearly all the male ateliers, no restraint whatever, except when the professors come, then all is quiet as the grave. : The principal Julian atelier for men is some distance from the Latin Quarter, being situated in the Fourbourg Saint Dennis, a most unpretending place. Go- ing out from the street in a kind of court is a big sign with ‘‘ Julian Academy” on ’ it. There are four large rooms, Bougeau- ereau, Constant, Lefevere, Doucet, who go once or twice a week. ‘The rooms are decorated with many prize drawings, and numerous caricatures, many of which would never be allowed to be hung elsewhere. The model begins to pose at 8 A. M., ends at 5 p. M.; all or nearly all the students work from ‘‘ life,” as they are not expected to learn the rudiments of art there. The choice of places is given to the best sketches sent in. A subject is given, to be worked out in any medium, and at the end of the week the professor marks the numbers according to merit. Those who do no drawing have poor places. The tuition fees are $40 for six months; for shorter periods, higher rates. At Julian’s they have been very success- ful in training many brilliant men. M. Julian was at one time, it is said, an artist’s model, and is now pretty well to do. He is often there, but seems to take no part in the management. He has con-
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Ai .: ae “ , : igh . = Fons 2 eB PLATE + Seat PVG GRE, : t PF Ae ; wf pits otis csp. Cae ie cee. Ee ee hae —— CAS) Oe ae he $3, * ta eee average a ps 5 oa 208 FF ag son fh he 60 eet € a - a . e . ; sats A One a se Wan? i 0h Re Pegi” i ee it . Wabtiicg th! oes een RR ae dee fie ihe bop. te ie oh te Rend Fa . alts Bie ¥ a ee reas & otis s ’ } bw 7 uy i gf ft ot asa ; Caste a serge eB ef y - --Na- Ns y < ; a a a r bs ; Pea wh it a. ee Ay : : ; es ne a: : ay. =, ° vat : f 1 wt 8 ow HA ve +6? 4 » Wh ts =a e»' #3, 3 ag ts og * eit we a a! . . . pie « . 24 fe s.° zo oN 2 re al arg ew! ee eee yi Ss i ’ <e 7o = ats oh os we Pe tenet Sie! = Pe. . eG T GRE NS tg gt = BN EAST IB pee OP: See wi? Pa UP ener? " a 3 see" a : : = ; 3 ~e : LGA. Trl g on geer yA CSS In AN mA) . AY PT Si ‘ aN SS as i; aN or se ‘242850 3 a= Roe 2.3. oS he ere wate t eye) HS hey : fea HEE SY NUE RGA EAN He Apes " ‘ Por’) outs ia. a SUGGESTION FOR FAN DECORATION [Directions for painting will be published if requested]
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82 siderable influence at the Salon; his stu- dents are notified every day whose pict- ures are accepted and whose are not, the names being read up at the schools amid great excitement a week or so before the official notice is sent out. also take in the evening classes at Carlo Rossi’s, but that makes a great strain, and only the very strongest constitution can stand these hot rooms for so many hours and keep it up for any length of time. This last year the Art Students’ Association have organized a club, with some delightful little rooms, a gallery and reading-rooms, where the students can spend the evening together, reading the magazines provided and discuss the never-failing art matters. At times mu- sical and other entertainments are pro- vided. ‘The club is under the presidency of Mr. A. A. Anderson. The Latin Quar- ter is filled with reasonably cheap studios, the rent being from $60 per year. Of course, they are small at that rent. I had a very good one, 25 x 20 feet, witha window 14x16 feet, ceiling twenty feet high, for $100 per year. They can be hired by the quarter. Many students furnish them with cane chairs, waxed floors and rugs, having a portion cur- tained off for sleeping, and live there en- tirely, taking their meals at the many small restaurants, which are good and cheap. Students take a very light break- fast of chocolate and rolls, a dejeuner at noon, then a dinner in the evening. Very often a new student comes who has a friend just leaving, and he buys the whole contents of the studio at cheaper rates, often just as good as new. Some- times two students together hire a studio; others stay at some of the hotels most fre- quented by students. There are a number of very nice hotels on the Boulevard Montenapasse, Hotel Haute Loire being the favorite. Many of the women students join three or four together, hire a small flat and keep house. Rents are very cheap, food is about the same price as at home, meat being a little higher. On certain days they have markets out in the streets, and very amusing it is to walk down, such a clatter and noise, for the French- man is a good one at a bargain, and hon- est and polite. « Everything one sees is interesting, so very unlike home. ‘The work people, dressed often in a blue blouse, careless and slouching in gait, with the inevitable cigarette or penny cigar, or sitting, in that easy way, sipping their wine or absinthe at the café. Then the thousands of recruits drilling in the broad avenues from early morning; often a long line of young priests in black, nuns, and monks, bare head and feet, all the wonders of a city life, all so full of interest and strange to a foreigner; many are fascinated with it and are loth to come back, some are homesick, for a long time feeling strange and alone, magnifying unpleasant things there, and enlarging on the pleasant things at home, they sometimes pine for peanuts and crullers; but, in time they get used to the change, and begin in right good earnest to work, and in the case of sickness or death, which is rare, they have many who are most willing to help and comfort. To me the Latin Quarter is a delight- ful part of Paris, not so much gayity and Some students ART INTERCHARECE fashion, more of a working place, many of the most prominent French artists and sculptors have their studios located there. The Luxumbourg is close by, where many students go to copy the works of living artists. The garden, the only remaining Renaissance garden in Paris, is a place full of beauty and interest. Then again, it is cheaper to live and convenient to all parts. Omnibus fares reasonable, cab fare cheap, rents and food cheap, and the supply of city water is good. It is by no means a quarter of commonplace peo- ple, it being far away from the low music hall or what is called the gay city pro- per. Speaking to a French lady of good breeding and education, on the subject of American and English women coming to study, she said, the very fact of their coming, with minds intent only on work (few if any cared to see the gay life, which people of fashion take so much pleasure in), is a protection in itself. And, lastly, the cost of living and expenses are, and can be brought very low. My advice to students is to be in corre- spondence with a friend already there ; take steamer to Antwerp, by Red Star line—which gives an opportunity to see that fine old interesting city—from there go by rail to Paris. It costs less than going by the expensive French lines. On arrival, contrive to share rooms with some one, if only for a month or so, to get into the way of doing things. ‘There is no necessity to lay in a stock of wear- ing apparel, for the art students are not noted for their show of dress, simplic- ity is useful in more than one way, being less trouble aud less expense. I should think that $400 per year would represent cost of living, including fees at the school. It can be done on less, if one can manage to get into the Beaux Arts, which is free. This reduces expenses considerably. Art materials are cheaper and better, and it is not always necessary to pay right down atone place. I had quite a difficulty in getting my bill. After asking repeatedly for it, I told them, I was going home. Oh, that did not mat- ter, I could pay when I got back. Many students do not pay for their frames and other things till they are in America. I asked them if they did not lose money by that way of doing business. No, they had never lost anything. Certainly, a year or two in Paris en- ables all to find out just how they stand, in comparison to the rest of the world. It is certainly a great mistake to go there with the intention of showing the Frenchman how to paint. Students are ranked according to their merits as artists, not by position or money. ‘There are young noblemen who are justly ranked by their ability, and by that alone; in fact, a person with too much money is a nuisance. It-is by work, and hard work alone, that any good is done in the Latin Quarter, just as any- where else. Louis F. RHEAD. There are many plaster casts, reproduc- tions of famous pieces, which may be bought for a trifling sum. If brushed over with orange shellac which has been slightly diluted with alcohol a tone very like that of old ivory may be secured. A bright scarlet cloak which is over a century old, is one of the most interesting articles in the collection of a Brooklyn lady. It is a voluminous circular, which falls to the floor, and the hood at the back has a very modern effect. Its owner, the lady’s grandmcther, used to wear it to church in her young days, but it afterwards served her for a carriage wrap, and is still in a state of excellent preservation. It is said that an Indian mother one day saw a silky cocoon swinging from the limb of a tree. It instantly acted as an inspiration, and from that time she put her papoose in a cradle shaped like a cocoon, with leather thongs attached, so that she might hang it up, or strap it to her forehead, as she went from place to place. The ‘‘palanquin table”’ is a feature of many drawing-rooms. Here these mini- ature relics of a bygone time are set out and many of them are truly works of art. They are made of Dresden and Léones china, of laquer and tortoise shell, and sometimes of silver of beautiful workman- ship. Those in plate glass lined with rich brocade, which stand only three or four inches high, were invented, it is said, by an impoverished Bavarian Princess, and became immediately popular both in France and Germany. ‘The fortunate possessor of a real Sedan chair (an heir- loom of the family perhaps) may have it upholstered as nearly in its original pat- tern as possible, and use it for a china cabinet in the drawing-room. Here it will be always an object of interest. It is said that an English manufacturer of candles matches his colors to the tints of Liberty’s silks and upholstery goods. A wonderful costume composed of cloth of silver, dotted with purple violets, over a petticoat of Venetian point, was worn by the Archduchess of Austria at a dinner given in honor of the Crown Prince of Russia. A girdle of silver sparkling with gems caught the drapery just below the waist, and the high Medici collar was lined with purple feathers. The great Worth always goes to nature for his color combinations. He says he finds in stones, lichens, and the bark of trees, just the arrangement of tones which he can use as unfailing guides. The crinkled ‘Turkish cottons, of which Anatolia curtains are made, may now be purchased by the yard both plain and striped in colors. ‘That which is finished with a fringe is sixty cents a yard, and without the fringe thirty cents. This pretty goods is not only used largely for window draperies, but is very popular for bed spreads as well, as it is very durable, and easily laundried. The so-called ‘‘twin bedsteads”’ are shaped and carved to look like one bed when placed together, they come in nat- ural cherry and other lighter woods; but much less expensive are those in iron which are painted white with brass trim- mings, the latter are offered as low as $3.
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ART INTERCHANGE WWJ Ly —, a Y\y SUNFLOWER DECORATION FOR TEA-POT 83
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84 ART AINTERCHARS GS It is said that a delightful perfume may be made by pouring two ounces of alcohol on one ounce of the best Floren- tine oeris, cork well, and shake occa- sionally, and at the end of a week it will be ready for use. The peculiar and awkward manner of shaking hands, which prevails to-day, is the result of an effort to curtsey and shake hands at the same time, which is necessary upon presentation to royalty. The elbow is lifted to an awkward angle; but awkward or not, many Americans are struggling hard to get the correct po- sition. Luncheon cloths and napkins are some- . times embroidered with wash silks in the popular ‘* Dresden china ”’ colors, and the design is generally a bunch of delicate “ flowers tied with a ribbon. A novel screen was made by an artist. The material used was fine burlaps, and every day when her work was finished, she: put all the paint remaining on the palette, upon the screen, in a hap-hazard fashion which proved to be very effective. Wh€ther any one but an artist could at- tempt such a decorative venture might be open to question. U/ . CORNFLOWER SPRAYS A\\Y) 35 INITIAL -** T [Published by request. See answer to query in this issue]
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SOME FRENCH FAIENCES AND PORCELAINS. Paper No. t. THE MusEUM AT BOULOGNE-SUR-MER— CHARACTERISTICS OF ROUEN FATENCES— THE Dessins A BRODERIE—A FACTOR IN THE DEUELOPMENT OF THE FRENCH FA{ENCE INDUSTRY—LAVISH USE OF YeELLOow.—The Municipal Museum at Boulogne-Sur-Mer offers a small collection of French faiences and porcelains which merits careful consideration for the varied and representative character of the speci- mens that go to form it. ‘The entire sub- ject may be studied in an impressionistic way from this brilliant group of poly- chromes. The so-called ‘‘old Rouen” which is sold so largely in the’bric-a-brac shops of Boulogne-Sur-Mer and of Paris, and which is said to be manufactured in Belgium finds its prototype and explana- tion in the genuine examples of old Rouen faience contained in this collection. The first Rouen faiences were manu- factured by Nicolas Poirel, although tiles, evidently made at Rouen at an earlier date, have been found in the chateau at Ecouen. Poirel ceded his privilege to Edme Poterat, in 1647, and Poterat con- tinued to manufacture faiences until his death, assisted by his son Louts, the in- ventor of the soft porcelain process in Europe. They first imitated the Italian forms of decoration introduced at Nevers and the Dutch-Japanese system in bright blue on a pale greenish-blue background, but soon a distinct school of ornament was evolved which affected all the other centres of the faience manufacture that took their tone from Rouen. ‘These early Rouen faiences are often mistaken for Dutch, but the greenish cast of the enamel and the blackish tinge of the dark blue dec- oration distinguish ‘them from the Dutch faience which is finer in quality and more Oriental in effect. This greenish-blue tinge came from the use of tin in the enamel and the color resulting from it was evidently accidental, the intention being to produce a pure white. The blue camaien or monochrome decoration re- mained as afoundation, but a poly-chrome and pictorial system of ornament was built up upon it. One Denis Dorio, in 1708, discovered a red shading towards orange, like those of the Chinese enamels and thus furthered the development of an elaborate scheme of polychrome decora- tion. ‘There is still in existence an im- portant example of Dorio’s work in the form of a potiche, that is, a Japan or China vase, with a large medallion landscape, containing the figures of Jesus, and the Woman of Samaria in red, blue, green and yellow. ‘The red is the most import- ant element of the color-scheme especially in the border which is formed of red tulips and bright blue cornflowers. The genuine native system of ornament as applied to Rouen faience began with the use of the dessins a broderie, or em- broidery designs, at the close of the reign of Louis XIV. These designs were taken from embroideries on stuffs, passe- menteries, guipures and laces and from the ornaments used by printers and book- binders. ‘This style was also known as dessins a reserve because of the masses or compartments of white formed by the dis- RRS TREE RCHT ARGS position of the designs. ‘The style pre- vailed throughout the first half of the eighteenth century when the motives be- came enlarged and formed the style called broderie de transition—transition em- broidery. Another variant is broderie sur le fond—embroidery on the ground— from which the compartments have disap- peared. From these broideries was evolved the rayonnant or radiating sys- tem which is one of the most character- istic of the styles. The ‘‘corne” or cornucopia motive, the pagoda, the car- quois or quiver, the lambrequin, which consists of a succession of lines curv- ing from the base or otherwise following the form of the object are generally poly- chromes. At the apogee of the develop- ment of the Rouen faience idea, the plates have arabesques in black on a ground of yellow ochre with escutcheons in the middle; piéces 4 personnages—fig- ure-subjects—appear often. The lapis- lazuli ground with polychrome flowers and modified Chinese motives is frequently seen. A later style is that called rocaille, rockwork. Another presents isolated sprays of flowers. ‘The polychromes gen- erally show four colors. In the Boulogne-Sur-Mer collection, several of the Rouen faience styles are represented. There is one piece with the characteristic pale blue-green ground with pink and blue Chinese ornament in which the pagoda is prominent. This is called Rouen a la pagode. Another ex- ample of the pagoda style has a landscape with a Chinese lady disporting herself in front of a pagoda. ‘The Rouen a lacorne is represented by a fine example of the - fourth epoch with a complex design of flowers and fruits radiating to a cornuco- pia in blue, red and yellow. A jugin the style rayonnant is heavily foliated in blue andred. ‘There are some fine large pieces of the fourth epoch, platters, water jars and the like (polychromes) and various bottles and jugs with the lambrequin or- nament. A Louis XV. piece has the blue camaien in the style rayonnant. A re- markably fine piece, dated 1779, very characteristic of the eighteenth century, Rouen, is a group of the Crucifixion, mod- elled by Henry. It is about three feet high. The cross is of black wood with the Christ in light flesh-tinted faience. The Virgin and St. John who stand at either side have green and yellow draper- ies, beautifully arranged and modelled. All the figures are vigorous and expressive. The group is mounted on an elaborate pedestal in light brown, green and blue. The escutcheon bears the lilies of France. These colored Crucifixion groups, manu- factured at Rouen in the latter part of the eighteenth century, were very cele- brated and much sought after. Among the other faience objects of a decorative sort were church lamps, vases, lanterns, busts, spheres and weathercocks. It is important to carefully analyze the ele- ments of the Rouen ornament and general productiveness because they formed the foundation of the entire keramic system of a large section of France and their influence extended throughout the king- dom, Rouen being the most important of the four great centres of keramic indus- try, namely, Rouen, Moustiers, Strasburg and Nevers. One of the principal fac- tors in the development of the French 85 faience industry was the sudden fit of economy which seized upon Louis XIV., after his expensive wars, so that he and the great nobles of the court, according to the memoirs of Saint Simon, sent their precious plate to the mint and made use of native and foreign fajences. Thus, in 1720, eight manufactvries flourished at Rouen and their number continued to in- crease throughout the century until, in 1798, there were seventeen establishments in full activity. The political troubles of the beginning of the century and English competition, had, in 1802, reduced the number to ten. The Picardy faiences, such as Sinceny, Saint-Amand, Saint Omer, Desores are sparcely represented in this collection. The Sinceny faiences are very similar to the Rouen, the early examples being dec- orated in blue camajen and the Rouen or- nament having been closely imitated from the time the first manufactory was opened in 1728. M. de Sinceny, after the estab- lishment passed into his hands, worked enthusiastically to render his productions the equal of those of Rouen. ‘This en- terprising nobleman was imprisonéd at the time of the Revolution. The Sinceny decorations were smaller than those of the Rouen school. ‘The tone of the blue- ish-white ground differs in the earlier pieces from the Rouen. A typical piece in the museum has a pale _ blue-green ground with coarse blue and green floral decoration. The Saint-Amand - faience dates from 1740 and is noted for technical excellence, especially with regard to its bluish glazes and white enamels. ‘The famous dolphin or ‘‘morue”’ pieces, so popular in the eighteenth century came from this manufactury. Polychromes, blue and iron-red decorations, with corn- ucopia and scroll ornaments characterize the first period of the school. The second offers a decoration of birds and flowers painted in the muffled furnaces in the Strasburg style and of laces twined about: wreaths of flowers. The third period saw the manufacture of porcelain faiences with Watteau decoration. Fan- quez, son of the founder of the manufac- tory, was forced to emigrate at the time of the Revolution. The Boulogne ex- ample of this faience is a coarse bluish- white piece with flowers, probably of the first period. The Saint-Omer example is in deep blue with a white cameo effect of the decoration. Another has a_ bluish- white ground with a blue and yellow or- nament. ‘The manufactory at Saint-Omer was founded in 1750 by the Sieur Saladin. Among his most famous pieces were vases in the form of animals and vegetables, often mistaken for Brussels and Delft. The Desores. pieces are plates with bluish-white glaze. Blue and yellow are the favorite colors for decoration in these museum pieces, and some images of the Madonna are in blue and yellow. The Desores products were destined for the people and the style adopted by the man- ufacturers was imitated from the Flemist:. Many of the Desores pieces were taken to Flanders by traders. Green checquered borders and bright iron red floral compo- sitions are characteristic of this faience which is still to be found in great quanti- ties in the farmhouses along the channel coast of France. The Hesdin faiences are represented
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86 by plaques in blue and yellow. They are of the eighteenth century. The most in- teresting thing about the Hesdin pieces is the historical tradition to the effect that, at the close of the middle ages, a keramic oven belonging to Jehan C. Volem, a painter attached to the service of Philip the Bold, Duke of Burgundy, was in oper- ation at Hesdin. This fourteenth century artist painted decorated images for the court at Arras and for the castle of Hes- din where enameled tiles and fragments of drapery belonging to figures have been discovered. It was not until the eight- eenth century that Hesdin again became a keramic centre. A beautiful piece of Aire has a pale gray glaze with a Chinese landscape and blue and yellow figures with purple and yellow tulips. How fond the old French faienciers were of yellow. It is the preponderance of yellow in their ART: INTERCHANGE light. But at an earlier date, 1673, a man- ufactory of porcelain had been established at Rouen by Louis Poterat, under letters patent from Minister Colbert and King Louis XIV. This thoughtful artist in faience had studied the keramic art in Holland and in China. His idea was to combine the baking of Dutch faience with that of the Chinese porcelain, because the porcelain required to have the violence of the heat of the fire tempered by the pro- tecting presence of the faience. Among the early pieces of soft porcelain made by Poterat is a sugar bowl with the rayon- nant design of the faience in bright blue on a ground of white tinged with“blue- green. A mustard-pot has floral orna- ments designed in compartments (a reserve) with the base suggesting the pet- als of marguerites. ‘The porcelain in- dustry of Rouen became as important as of tin. The Chantilly sprig pattern, a small blue flower scattered over the paste, became famous. ‘There are good exam- ples of the porcelains of Lille, Arras (hard paste, white ground, blue flowers) Valen- ciennes (hard paste, roses on white ground) Chantilly (soft paste, coarse blue decora- tion) in the collection at Boulogne. The hard paste specimens belong to a period later than 1765 for it was only then that Kaslin having been discovered at Alencon, the first specimen of hard paste were sub- mitted to the Academy of Sciences. Three years later the discovery of a bed of Kaslin at Limoges introduced hard paste porcelain into France as an article of commerce. ‘The French porcelains, as re- gards the decoration of objects intended for domestic use are generally white with small monochrome flower motifs. (Conclusion in September, ) AMERICAN AND ENGLISH ART STUDENTS IN A PARISIAN ATELIER keramic decoration which gives to it that gay and joyous appearance, brightening the domestic cupboard like sunshine. An- other piece of Aire faience is a jug with an architectural decoration—a village-in blue, yellow and green. ‘The manufac- tory at Aire was in a state of active pro- ductiveness only from 1730 to 1791. Among the principal centres of the por- celain manufacture in the north were Rouen, Arras, Valencinnes, Lille, Chan- tilly. It was Louis Poterat who discov- ered the Oriental secret of making soft porcelain pate tendre—the first manufac- tured in Europe—and for a century the French manufactured no other. In 1695 a heavy, coarse and yellowish soft porce- lain was manufactured openly at St. Cloud after twenty-five years of experimental- ism, fifteen years before the hard porce- lain pate-ome of Saxony was given to the the faience and spread to the surrounding centres of industrial activity. At Lille, one Dorez founded porcelain works which descended to his three sons, one of whom went to Valenciennes in 1735 to open an establishment which was continued by various members of the fam- ily. At Arras, the Demoiselles Deleneur, dealers in fajence, received in 1784, a sub- sidy from the French government to as- sist them in establishing a porcelain factory. They turned out some beauti- ful work, but the price could not be made sufficiently low to compete with the com- mercial success of the porcelain of Tour- nay and after four or five years the estab- lishment was closed. The Chantilly porcelain dates from 1724, when one Ciron established a main factory which con- tinued until the Revolution. Ciron’s glazes were pure white owing to the use The revival of pyrography, or poker work, has led to the publication, in Eng- land of a handbook of directions which will doubtless be welcomed by many who are interested in this form of work. It may not be generally known that its dis- covery was due to an accident. An artist was one day moodily poking his fire, when he let the poker remain in the coals until it was heated quite red. Taking it out he touched it to an oaken panel near by, and traced absently with it until a woman’s face began to show upon the wooden sur- face. He worked until the fire died out, and finally fell asleep in his chair. Inthe morning, so the story runs, he found upon his door a face which delighted him with its loveliness. The process is very simple and consists in using a platina pencil just as if draw- ing in the ordinary way. A set of the
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ART FTNTERCHANGE | A pa ; | TY W \ y Sy. WZ SAY | WY ) (ZX ( eee a
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88 tools required may be bought for about $5, and a good penknife is an important addition to the outfit, as the high lights are generally scratched in. A close- grained wood is best for the purpose, oak, sycamore, or~ holly, and bold designs, which should first be lightly traced in with a crayon, are most effective. NOTES AND QUERIES NO QUERIES ANSWERED BY MAIL All enquiries in order to receive attention in this depart- ment must be addressed to Mrs, ‘gers Redding, Editor . Tue Art INTERCHANGE, New York, U.S. SCHEME OF COLOR AND FURNISHING oF A NEw House. (Mrs. F. S.)...A...Will be- gin by scheme of color for walls and ceilings to which advised furnishings will lead up harmonious- ly. When you begin treating your walls and ceilings next year, for instance, paper the walls with a silk- finished paper of a soft greenish blue tone, with a brocade design in a shade or shades of the same color. ‘Tint the ceiling in a pinkish terra-cotta color medium light, having a suggestion of soft old rose color. Have a frieze with a hand-laid design, for example, one of those large blossoms in pinkish terra-cottas, say the peony life-sized, giving the ef- fect of large flowers swaying in the wind on their curving long stems, with bold foliage in soft olives on a clear blue-green or green-blue ground, like the wall color ; have this frieze about sixteen to eighteen inches deep and enclose it between a red birch molding and picture-rail, the latter showing some carving. If preferred, the wind-swayed peonies may be in shades of cream, pale and deep, and the ceiling take the deeper cream tone. This for both parlors. With first scheme have Wilton, and Brus- sels to match Wilton in design and colors, in shades of blue-greens and olives, or get the blue-green ef- fect, so gentle and restful, by a deep dull blue ground and all-over Oriental design in shades of olive and old gold, with touches of lighter dull blue. With deep cream ceiling have Wilton and Brussels in shades of old gold and yellow-olive on deep cream ground. Furniture may be variously in ebon- ized effect and dark mahogany, with one or two pieces in burnished gilt. Upholsterings silk tapes- tries in tans, terra-cottas, old golds and olives, with blue-green carpet; in blue-greens, old rose, tans and terra-cottas for the lighter carpet. At all the windows natural linen Holland shades. For land- scape windows have silk curtains from top to bot- tom. Silks figured in the weave, with all-over flower designs, or silks with pretty printed designs, like Liberty's pale yellow, with all-over cream-white water-lily design, with tassel fringes to match, would be charming for your landscape windows, with val- ances to match long curtains at the ordinary win- dows. Long curtains terra-cotta brocade, with fleur-de-lis or some other set woven figure in dull blue, lined with dull blue silk curtain lining ; brass poles ; sash curtains at ordinary windows, yellow figured in weave Liberty silk. Draperies for spindle transom to bay-window pair rich blue Phoolkarris, embroidered all over with chrysanthemum in gold- colored silks. Portiéres to arch between parlors silk Turcoman in deepest old gold if carpet is in blue-green, and in rich terra-cotta if carpet is in old golds. Color for hall walls terra-cotta of pinkish tone,.ceiling manilla, frieze creamy green, stenciled with conventional honeysuckle in terra-cottas and creams. Cushion for seat rich terra-cotta plush. Vestibule similar to hall. Dining-room paper tan ground, with festoon pattern of foliage, fruit and flowers in faint soft reds, blues and greens, produc- ing a tawny effect ; frieze Gobelin design, fruits and flowers in vases, with depending garlands of blos- soms in more pronounced tones of blue, red and green, with tans and browns in vases on a soft red ground ; ceiling manilla color ; picture-rail antique oak. Gas or lamp fixtures wrought-iron. Parlor fixtures polished brass. Portiéres between dining- room and parlor Cordova-brown ‘aikiin. Natural linen Holland shades. Hollywood or Bargarren art cloth draperies in dull greenish blue, embroidered with conventional frieze design of oranges in shades of tan and orange, with olives and browns in foli- age. Rug Oriental design Smyrna, in shades of tan, dull blue and soft green on terra-cotta ground. off before hardening. ART .I NTERCHARGE Should advise kalsomining your rooms in colors ad- vised until time comes for papering. Hall rug pea- cock blue ground and design in old golds, dull reds, olives and dull blues. Porti¢res between par- lor and hall deep old gold silk chenille, in front of which lay the black bear rug. FINISHING HARD WOODS. (F. D.)...Q. ...L have been going through the back numbers of your valuable journal in search of instruction as to finishing hard woods (oak or ash), to give them a regular furniture finish. My husband (with my assistance), is building a side board, copied, with some alterations, from a design given in late number of THE ART INTERCHANGE. It will be made of oak, but we don’t know how to finish it after it is put together. Any information you can give us will be accepted with thanks. The first double number of THE ART INTERCHANGE came yester- day—to say we are pleased would be putting it mildly. It’s as handsome a book as one would wish to see. Wish you good luck in the new departure. ..A....There are two kinds of finish, either of which will give the oak a fine effect if well done ; one is a dull finish, and the other a lustrous finish. One way is to give the wood a coat of white wood ‘‘filler,” if you like to retain the light coloring of the wood, or a coat of walnut wood “‘ filler,” if you desire a darker or antique effect. Wheeler's patent wood ‘‘fillers” are considered excellent. To apply the ‘‘ filler” thin the composition with turpentine to the consistency of flowing varnish, apply it to the surface of the wood witha brush, going over no more surface at a time than will admit being cleaned After the ‘‘ filler’ has set, having the appearance of the gloss having left it, rub off with ‘‘ excelsior,” or cloth, rubbing across the grain when practicable ; then clean out crevices of mouldings or carvings with a stiff brush or a cloth wrapped on a stick, and lastly wipe all over with a clean cloth. Should the filler commence to set, and consequently wipe off too hard, add a trifle of raw linseed oil so as to make it easier to rub off and smooth. Allow the “‘ filler” at least eight hours to dry, and after that finish with some sort of fine varnish. Rosenber’s Elasticer Finish No. 2 makes a very lustrous finish when two coats are smoothly applied ; the first must dry thoroughly, say over night, before the second coat is applied. If you want a dull finish, and this is very refined in effect, give the two coats of Elastica No. 2, then rub down with powdered pumice stone and water. This treat- ment and the other both bring out the fineness and exquisite beauty of the grain of the wood to perfec- tion. FURNISHING A NEW HOME IN THE SouTH. (B. P.)...A...Do not oil your back par- lor floor, but if it is well made stain it in imitation of old oak by a mixture of raw sienna, linseed oil, kerosene and turpentine with a trifle of bronze green, both colors such as one may buy ground in oil in small cans. | Kerosene saves some linseed oil and makes a good medium for mixing the colors. After staining, varnish with two coats of hard oak floor varnish. Do not allow your walls to remain dead white for a year or two asso many persons do, but have them kalsomined in soft flat tints. A lovely treatment in kalsomine is medium drab for ceiling, a soft velvety tone, pale pinkish terra-cotta or old rose for frieze and deeper warm drab for the side walls. Stain woodwork of whole floor in old oak, first sand-papering the whole to a very smooth finish. This will give the whole floor an air of elegance. With coloring given for walls, ceiling and woodwork almost any hangings and upholsterings will harmo- onize. If dining-rooms are same size as parlors, kalsomine, or better still paint the walls a soft terra- cotta color with frieze in a deeper shade of same and ceiling either in medium drab or in manilla color, the former if ceiling is not high. | Enclose frieze of each room between moulding and picture-rail in old oak. Color walls of northwest and northeast rooms soft golden olive with stencilled frieze in dull green blue, creams and olives, and ceiling in deep manilla color. Carpet rooms with Ispahan carpeting in shades of old gold and golden olive. Walls of hall citron yellow with frieze citron green and ceiling pale citron yellow. Stain floor mahogany or em- browned oak and varnish. Hall furniture mahogany, a dark cherry. Use cardinal chenille portiéres, one at northeast and one at northwest room door to hall. Finish stair cases in oak and mahogany. Color walls of small library a soft medium deep gray-blue, and have 18-inch freize of bronze-green ground, stenciled with lotus design in dull blues and greens ; ceiling soft drab; carpet deep dull blue ground, with small arabesque design in olives and old golds. Sash curtains steel blue figured-in-weave silk, with tassel-braid trimming to match. Furniture, antique oak writing table and divan in saddle-bag upholster- ing, showing terra-cotta ground, and designs in écrus, dull blues and olives, easy chairs to match ; gas fixtures, wrought-iron or polished brass ; por- tieré Bagdad couch rug in dull blue, olive, old red and écru, one rug will answer. Use your lace cur- tains in the back parlor, and if they are blue-white, dip them in weak coffee to get the desirable cream shade. If northwest and northeast rooms are bed chambers, use the walnut suits in them. Fine weave old-gold jointless matting is always desirable in color, and looks especially well with walnut furni- ture ; it will suit in all your bed rooms with all col- orings. Use your cream Wilton carpet in southeast parlor. Put up natural linen Holland shades at windows of all rooms. Stain dining-room floor an- tique oak, and varnish, using Smyrna rugs of deep terra cotta, or pale maroon ground, with the Oriental design in drabs, dull blues, olives and touches of terra-cotta. Use Bargarren art cloth, or Hollywood draperies in deep old gold for dining room long curtains, and washable sash curtains of cream Swiss, powdered with woven balls in maroon, and trimmed with maroon tassel braid. Use walnut furniture in your back parlor, and get new for front, say mahog- anized cherry, some ebonized pieces, or mahogany or rosewood, any dark rich wood with silk tapestry in rich terra cotta and green blue grounds. Old rose will also suit in this room. Curtains soft wood— brown brocade with woven set figure in deep old rose; sash curtains old rose China silk solid color or figured. Keep most of your own painted work in bed-chambers, sitting-room and dining-room, especially in the chambers, unless you are a skilled painter and your work will not draw upon you un- pleasant criticism. As you cannot have a rug to give the same effect as your front parlor carpet either put the latter in a guest chamber and get Wilton in soft shades of greenish-blue, old rose, écru and olive, and a rug of Brussels to match for the back parlor, or else have a rug in ‘‘ decided con- trast” say in blue-green écrus, old rose and olives, for back parlor. For back parlor have long curtains of wood-brown cloth lined with old gold sateen. You are advised to color your walls because good coloring will beautify your home immensely. Use your gray hair rugs in your hall. In parlor scarfs or scarf val- ances in deep old gold, golden olive or old rose velours will be charming lined with silk to match. In dining-room maroon velours. Color walls of bed- chamber over parlors in soft old rose kalsomine, with friezes of soft medium drab, and ceilings paler old rose, and use oak sets therein and olive fine-weave mattings. Rooms over N. W. and N..E. rooms, color creamy yellow and paint woodwork ivory: white; friezes creamy green, ceiling soft pinkish gray; mattings fine weave old gold. Color lower hall soft cream yellow, rich and not too light; frieze pale greenish blue, ceiling pale yellow to get all light possible; stain woodwork in embrowned oak. Use yellow and white figured Madras for twin win- dows; stain floor old oak and use some of your Smyrna rugs in this hall. Curtain hall window up- stairs with figured terracotta India silk. Ostrich eggs are now frequently set in brass, silver or copper, and put to various uses. They make handsome inkstands, or flower holders, and it is not unusual to see them set in silver rims and used as goblets. They also make pretty sugar basins when mounted in silver of a delicate pattern, as the yellow tone of the egg has much the appearance of china. As is well known, lamps throw out a great deal of heat, and people who wish the softened effect of a shaded light without using one may secure this by having a gaspipe attached in an unobtrusive corner to a floor vase which has been fitted up for gas. Or a table lamp could be arranged in the same way, and the tube concealed with a little drapery. A pair of porti¢res which have been made in New York for a California mansion, are to cost $800 apiece. They are two immense strips of cloth of gold, on which are ‘scattered branches of azaleas in solid embroidery and applique. The flowers are of white velvet very skilfully put on. The origin of the menu, according to a German paper, dates back to the year 1489. A meeting of the electors was held at Regensburg, and ata state dinner one of the members was seen to consult a long paper at the side of his plate each time before ordering a dish. Some one asked him what he was reading, when he silently handed the paper to the questioner. It proved to bea list of the dishes which he had requested the cook to write out for him. The idea so pleased the illustrious assembly that each member introduced it into his own house- hold, and since that time it has become popular all over the world.
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a powerful electric light, which was soft- ened by garlands of flowers, and smaller electric lights studded the edges of the umbrella, which were also trimmed with flowers and greens. Under it on the floor was a large tree fern rising from a bed of brakes, and another novel effect. was produced by the massing of wild grasses and bullrushes in profusion. The numerous electric lghts about the room were shielded by tulip-shaped shades, and flowers were garlanded every- where ; two thousand roses being used alone on the stairways leading to the ladies’ dressing-rooms. ‘The piazzas were covered with red, white and blue bunting, and great oak branches made a beautiful roof of green. ‘Two large tents which connected with them were left open to- ward the sea, and calcium lights and numerous small lamps were so cleverly arranged that a view of the ocean as well as of the rocky shore was visible from them. Supper was served at fifty small tables. The favors for the German were unostentatious, but at the same time odd and costly. They consisted of silver and gold jeweled hat pins, gauze fans, especi- ally imported, and rich sashes for the women ; and for the men silver scarf pins and rosettes of ribbon to match the sashes, as well as other pretty trifles. Two bands supplied the music, one for dancing and the other for promenading, and the guests marched in to supper to the grand strains of the large Swiss organ. A costume dinner followed by a_ball, recently given in Paris, was one of the most beautiful ever given there. Eighty- four guests were seated at small tables laid in the dining room, and in the red salon. The dining room is a great Gothic room reaching up two stories, with a noble stained glass window, and two lordly fireplaces. ‘The walls of the red salon are hung with crimson silk damask, and curtains of a similar material drape the windows. The centre of the ceiling is dome shaped, and from it hangs an im- mense lamp of pink alabaster, set in a frame formed of gilt bands thickly stud- ded with jewels. Heavy gilded chains of medizval work suspend it from the dome. The tables were each set for six persons, so that there were fourteen in all, and each with a special decoration. Among the prettiest were the following : a green and white table, where the drapery was white, the green and white candlebra filled with green shaded candles, and the centre a mass of green orchids and maiden hair ferns ; a Pompadour table, where upon acloth of the palest blue a gilded bowl was placed filled with pink roses, and pink Dresden china shepard- esses held up gilded candlebra; and a white and gold table, where the cloth was a square of lace laid over gold-colored silk, the flowers yellow roses and lilies, and the whole table softly lighted by a lamp burning under an alabaster shade. The hostess wore a Japanese costume of a very rich kind. ‘The long trained kim- ona was of black satin embroidered with many colored butterflies made more bril- liant by small jewels and gold threads. The long open sleeves were lined with — pale blue satin, and the skirt over which the kimona was worn was also of blue AR T° OINTERE HA N-GE satin, embroidered with yellow chrysan- themums. Tiny jeweled parasols were worn in the hair, which was dressed high in braids and puffs after Japanese fashion. She was seated at dinner in the centre of the dining room, at atable Japanesque in decoration, and with a party all in Japa- nese costume. It madea splendid point of view. One of the most beautiful dresses at the dinner was worn by an American well known in New York. She was a Cleopatra in a clinging dress of heliotrope crepe embroidered with Egyp- tian lilies—a girdle of amethysts, a neck- lace of amethysts and diamonds, and a wonderful head-dress of gold fitting close to the head, and thickly studded with dia- monds. Another New York lady wore a Joan of Arc costume consisting of a white crépe skirt, a cuirass of the finest silver scales beautifully joined together— a helmet with white plumes, and she car- ried a shield of white satin, embroidered with fleur-de-lis. The men were either in character costume, or wore scarlet coats. A Venetian gondolier, a Vene- tian nobleman of the 16th century, a Faust and a Francis 1st, were very much admired. Each lady found beside her plate an exquisite painted fan, and a bouquet of roses loosely tied with rib- bons. Soft strains of music were heard during the dinner, from hidden musicians, which added enchantment to the scene, and the repast itself is said to have been perfect. A ball followed the dinner, to ‘which one thousand invitations had been . issued, and as the gardens were thrown open and illuminated’ with Venetian lan- terns and electric lights, the féte recalled some gay and brilliant carnival scene under the moonlit skies of the Queen of the Adriatic. At a house wedding in upper Georgia in the country on June 2d of this year the decorations were unique and beautiful. A bay window was improvised by taking out the division of two windows which were close together, opening on a piazza. A platform was made outside to nearly the level of the base of window-frame, and a platform of the same height inside. The bay was made dark, a reflecting lamp hung over head, threw the light beauti- fully on the walls of the bay, which were lined with cat-tails, white lilies and pink roses. Over the window inside the room was draped pink silk, fringed with green pine neédles strung and lined on the silk, masses of La France roses up the sides of window-frames. On the platform in- side stood on the right the groom and best man, two sisters, maids of honor on the other ; the bride and her father in the middle. The maids forming below platform joining an aisle and _ behind the ushers, just against the white ribbons. ‘The hour was 11 A.M. Down the long piazza, eighty feet, which was shaded on the outside with lovely leafy cane woven in, came the minister in Episcopal robes. man, etc., in the usual way, maids in pink china silk, round waist pink sashes, pink slippers, tan gloves, La France roses, lovely pearls, beads, the gift of groom, high collars lined with old lace, one flounce at foot of dress. The bride wore cream faille, the front covered with her grandmother’s old thread lace wed- The groom and best. oF | ding dress, in which all her daughters and granddaughters have been married. The elegant set of pearls belonged to the same old lady, and consisted of a spray imitating roses, of elegant pearl, a large necklace with pendents, two brace- lets, earrings with immense pendents, these and the pins being sewed in the lace on the waist in front. ‘Two hundred guests were entertained from Io A. M. until 4 Pp. M. ; trains bringing and taking them away at those hours. A band played Mendelssohn’s march to the parlor from a room on extreme piazza, from which the party came, and Lohengrin after the ceremony to a room still on piazza half way down. ‘The maids and ushers formed an aisle in the reception room down which the family and friends came with good wishes, then the negro servants the old nurse first—who nearly had a fight for precedence with the bride’s maid (ser- vant)—the rest as best they could get in kissing the bride’s hand and wishing ‘‘God bless you my child.” An elegant breakfast followed quickly. The bride having thrown a bouquet to each maid, one of which got the ring, a cake was then cut in which there was a gold thimble, a key anda button. ‘The thimble meant the receiver would be an old maid, the key to unlock the heart of some one present among the _ ushers. There were so many meanings attached to the button that it failed tobe found. The bride cut the silver cake for the hidden treasures. Small cakes were handed the ushers, in one of which was a gold dollar with the date—the lucky man is to be married within a year. The breakfast was served from family china, having survived the war, and is one hundred year old Davenport ware with dozens and dozens of plates. A toast given by the Georgia wit, ‘‘ Bill Arp,’”’ was drunk in wine one hundred and ten years old, which had made two voyages around the world, and was bottled by the bride’s great grand- father. Sea voyages were thought to mellow wine in years passed. Such wine is hard to find now here. ‘The host has, I understand, twelve dozens with a pedi- gree of undoubted correctness. To a northerner like myself, this country wed- ning in one of the old aristocratic families was truly charming and interesting. STAINED GLASS FOR INTERIOR DECORATION Decorative art has made immense progress in America of late years, but it is safe to say that no form of it has ad- vanced with such strides as the work in stained glass. Messrs. Louis C. Tiffany & Co. stand at the head of the Ameri- can School of glass staining. Their glass is fused in such a way that many tones — and shadings are obtained by the varied thickness, depth and roughness of the material used, unaided by recourse to the brush. The number of processes used in gaining different effects is so many that space forbids a detailed description. Deep shadows are made by great thickness in the glass, and if a misty or dull effect is to be obtained it is done by lining, or setting pieces of glass behind glass in certain portions by means of the grooved leads, or sometimes by fusion, so that great depth of tone is gained. ‘This pro-
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ART. UN TER CHAN GE 93 7D)2ye) a) ——S LU yas 3 3 C COE Wey POMEGRANATE DESIGN FOR PLATE
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94 cess is called plating. Draperies are made to look life-like in the following way : The glass when in a molten state is crumpled and twisted up by means of certain tools until it looks like some lu- minous textile fabric falling in rich and graceful folds. For water and skies there is rippled glass with an uneven, corru- gated surface produced by passing a little iron rod over the glass when in a state of fusion. It must be done very quickly, however, as the substance becomes brittie in a short space of time—antique glass presents a surface full of minute blow holes which are intentional imperfections designed to give brilliancy to the mate- rial. Picture windows are usually made of pure glass mosaics without paint of any kind on the surface, all the color be- ing contained within the glass. It is said there are more than five hundred color ef- fects and combinations in the plates of glass ready tor use in the Tiffany glass factory. ‘The methods of making up a stained glass window are simple and very interesting, but too full of detail to be given here. So much pains is taken in their construction that results are ob- tained which are simply marvelous. A picture window is made up of hundreds and often thousands of pieces of glass, joined together by such skillin the leading that the design is depicted with all the spirit, depth of tone and artistic feeling which is in the original drawing. One window is a beautiful specimen of pure mosaic. It was made for a conser- vatory, and is after a design of Mr. Louis C. Tiffany. It represents branches of white and pale pink blossoms, upon which several green parroquets are perched. In the centre of the field is a globe of gold fish hanging by metal chains from the topmost branch. ‘The background its in soft yellow greens, suggesting foliage through which the sun is shining. ‘The globe of opalescent glass is very beauti- ful—one sees the swirl of the water, and the red gold gleams of the little fishes as they dart about. The window is as pic- turesque as it is decorative. . Another beautiful window to be seen is destined for one of our New York man- sions, and is to be placed between the dining room and conservatory. It is of large size, and represents a young woman with uplifted arms reaching for the bran- ches of apple blossoms which hang above her head. ‘The draperies are of pale pink shaded to deep rose, and she stands sur- rounded by softly indicated foliage—a picture of unconscious grace. has been used except upon the face and hands. ‘The softness and delicacy of the shading caused by the varying thickness of the glass is admirable, and the beauty of the girl, the grace of her pose, the lovely tints of sky and foliage, and above all the beautiful effulgence of light combine to make a picture not easily for- gotten. Stained glass is as much used for do- mestic as for ecclesiastical purposes, and there are few houses built now that do not contain, if not a storied window, at least some lovely bits in screens, borders, or transoms, showing color effects both ten- der and harmonious. ‘Jewel work, which is made of thick pieces of broken mosaics sharply cut in _ facets that sparkle and glow with brilliant No paint | _ prices. ART INTERCHANGE color, is much used in domestic glass. In- serted. in rich opalescent glass it makes exquisite borderings, bands, and tran- soms. Some of the latter with elabor- ately designed interlacing patterns studded with jewels, are strikingly beautiful. It is said that the methods of producing stained glass windows in America now are identical with those used in the thirteenth century—a time when the art was at its height. ‘Then, as now, pure glass mos- aics, the coloring all contained within the glass, were used, and the enamelling and painting of later centuries was practically unknown. SILVER TABLE WARE—STERLING SILVER The newest productions in sterling silver for table use now on view at a leading silver-smiths in this city show a tendency towards the simplicity of old English work of a century ago, which is gratifying. This variety is often orna- mented with pierced designs executed with a saw. Contrasted with these ex- quisite pierced forms in hollow ware, the massive articles in repoussé are of a size and weight which suggest. almost barbaric splendor. Much of the repoussé silver, however, is handsome enough to justify its popularity. An entire dinner service may be had in repoussé work in satin finish of medieval design or original finish, some in burnished metal. The work is delicate and refined, except in some instances when the designer’s ex- huberant fancy leads him to overload the pieces with ornamentation. The use of animal subjects for table ornamentation is to be condemned always. Invention is necessary in art, but invention should be held in hand by selection and tact and as a rule the least pretentious ornamenta- tion is the most satisfactory. Among the useful and beautiful. articles on view may be mentioned tea balls © which have come in fashion for afternoon teas. ‘They are pretty adjuncts of the tea table and consist of a small perforated ball of polished silver with chain at- tached. The price of these range from $4.50 to $7. <A preferred variety of tea spoons has the shell pattern—another the king pattern—an additional adaptation © of an old form shows a fine hard engrav- ing around the edge. The marking is frequently in the drop cipher with one letter below the other. The prices of these spoons range from $17 to $38 per doz. Very handsome coasters or bottle stands in pierced work may be had for $25, in repoussé they cost as high as $80 each. Lovely bon-bon dishes may be had for from $8.50 upwards. Child- ren’s cups in varied styles of form and finish cost from $9 upwards, silver scal- lop shells are from $20 to $30 each. Asparagus tongs from $18 to $24. Bon- bon spoons may be had from $3 upwards, Cheese knives from $4 to $6, and cheese scoops from $8 to $12. Dessert spoons chased or engraved from $28 to $52 per dozen, dessert forks bringing the same A great variety of patterns in forks, spoons and knives, all of which are from original designs used by no other house, is kept constantly in stock, em- bracing the newest designs and most novel decorations. Butter knives cost from $3 upwards, cake servers from $o to $13 and cake knives from $15 to $24. Cream ladles may be had for $4, crumb knives for $18. Egg spoons are from $24 to $38*per dozen and fish forks are any price from $44 to $65 per dozen. Grape scissors cost $11 each and gravy ladles from $6 to $10 each. ‘There are no end to the varieties in fancy spoons the names of which are legion. ‘They are all devoted to some special use, and are mainly desirable as wedding gifts. <A preserve or berry spoon costing from $8 to $10 in a leather case lined with pale pink or blue satin, the case adding $2 to the cost of the silver article being ac- counted a particularly neat wedding pres- ent toa friend. Salad forks and spoons in pairs cost from $22 to $35. A hand- some pair of butter knives including case may be bought for $7.50. <A set, includ- ing berry spoon, -sugar sifter and cream ladle in case costs from $19 upwards. Handsome berry spoon and sifter in case $15. Butter plates and butter knives, six of each, including case, are from $25 upwards. Children’s cups cost from $12 to $20 and children’s sets consisting of cup, knife, fork, spoon and napkin ring in case are from $25 upwards. Some of the children’s sets include bowl and plate, in which case the cost is from $1oo up- wards. Fish serving knives and forks in cases cost from $30 upwards. Fruit sets consisting of fruit bowl with one dozen fruit knives cost, including case, from groo upwards. Plain, burnished or satin tea sets are marked from $200 to $300. In repoussé, with surface richly ornamented leaves, flowers, etc., a tea-set costs from $240 to $500. Reproductions of old English sets burnished surface with flut- ings cost from $275 to $450. ‘Tea sets, including five pieces, cost from $290 to $1,600. Soup and oyster tureens, plain burnished, satin or Chippendale, may be had for $150 and upwards, soup plates cost each from $45 to$75. ‘Tea kettles, round, hammered or oxidized, are $185, and tea plates each are from $25 to $75. Waiters or trays are to be had in all sizes and styles, from six to thirty inches in diameter and vary in prices from $25 to $1,800. Water pitchers tall and jug shape from one and a-half pints to three quarts capacity are from $75 to $800. Loving cups in various styles and finish may be had from $100 to $1,500, and finger bowls, plain or chased, cost from $20 to $200. PLATED WARE Only the highest grade of silver-plated ware is to be had at this house. It is more expensive, perhaps, than other plated ware, and comes nearest to sterling silver in general excellence, and, in fact, is undistinguishable from it in appearance. The rich repoussé plate has a fine appear- ance, and is said to possess great dura- bility. Handsome chocolate pots may be bought for $15. After dinner coffee pots for from $15 to $60; tea pots from $15 to $50; salt cellars cost anywhere from $1 to $8; pepper pots from $2.50 to$1o. One dozen coffee spoons $6 to $11.50; dessert spoons per dozen $9 to $12; egg spoons per dozen $6 to $11.50; preserve spoons are from $3.50 to $4.75, each; salad with .
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spoons cost from $4.50 to $6; one dozen soup spoons may be bought for $12; one dozen table spoons for the same price. Toast racks cost from $9.50 to $15. Cream pitchers are $4 and upwards. Claret pitchers from $20 to $40, and water pitchers are $25, those with separate ice chambers, costing $48. Napkin rings are from $1 to $1.50; nut cracks from $3 to $12, and nut picks with plated, ivory or pearl handles, from $5 to $11 per dozen. Olive corers cost $1.50; lemon squeezers $15; lobster cracks $6, and lobster picks from $5 to $11. Fruit knives of graceful pattern cost from $9 to $20 per dozen; game serving knives from $5 to $60 per pair; pie knives from $4 to $6; dessert knives $13 and upwards per dozen; and dinner knives are from $18 to $200 per dozen. Jardineres for the centre of the table, with zinc linings, are from $29 to $1roo. A pair of handsome grape scissors cost $5. Olive forks $1.50 each; oyster forks from $6.50 to $8 per dozen; pickle forks $1.50 each, and salad forks from $4.50 to $6. Table forks come at $12 per dozen; tea forks from $9 to $11.50 per dozen. Epergnes of beautiful workmanship may be bought for $50 and upwards; vegetable dishes from $15 to $85 each. Vegetable dishes in sterling silver, costing $1oo and up- wards each are not as expensive as they seem to be, as the covers are provided with adjustable handles, which when un- screwed changes the cover into a dish. The best plated ware is made in this way, so that each one of the covered dishes with a flat crown counts two in the ser- vice. Some lovely plated vegetable dishes are shown with pattern of conven- tionalized grape vine, as beautiful as any of the sterling sets shown by this house. Butter dishes may be purchased from $12 upwards; entrée dishes from $20 to $35, and fish dishes for from $45 to $75; mac- caroni. dishes cost from $12 to $25; meat dishes from $12 to $105; terra- pin dishes all the way from $5 to $95, and vegetable dishes with the adjustable handles mentioned above, from $32 to $85. Flagons cost from $20 to $150; gravy boats from $15 to $33. Soup ladles from $6.50 to $8, and trays arge enough to hold a tea set are from $50 to $185; soup tureens may be purchased from $40 to $160; urns from $65 to $100, and wine coolers from $20 to $95. Sugar sifters cost from $3 to $15; sugar tongs from $7 to $7.50. Tea strainers are $2 and upwards; milk strainers $5; crumb trays from $10 to $20, and samovas, either French or Russian, from $25 to $65. Sauce boats cost from $15 upwards, and jam pots are $15. [Thanks for courtesy in showing goods and furnishing information as to prices are due to Messrs. Tiffany & Co., of Union Square, New York.| — Mr. Hamilton Aidé, in his clever article on America, says that he never saw a lady knit or sew all the time he was in. this country. He supposes ‘‘some ladies do,secretly work,” but all the ‘‘nleasant litter” of books and sewing and writing, which constitutes one of the chief charms of an English woman’s drawing-room, is wholly wanting in the American ‘‘ parlor.” PoE: iN TE RC HA Ns & S bese r, QE y ea == == =f — \ =* = |: = at \ Dee = 2 — » —=*- > = =. .~ 3 NOTE S AND QUERIES NO QUERIES ANSWERED BY MAIL. All enquiries in order to receive attention in this depart ment must be addressed to Mrs. Josephine Redding, Editor Tue Art INTERCHANGE, New York, U.S. A. these columns of instructions for paint- ing and drawing in answer to subscribers who are about to begin the study of water color or oil color painting, or sketching, we offer for sale the following text-books which have been carefully prepared with a view to the needs of those who know nothing of art and who propose to begin studying without the assist- ance of a teacher. If students meet with difficulties in carrying out the directions given in these text- books they are cordially invited to state their trouble to the Editor of THE ART INTERCHANGE and all possible aid will be given to them in this department of Notes and Queries. —EDITOR, TEXT-BOOKS ON ART. ART INTERCHANGE. LEAFLET IL.— ; ‘¢ Elementary Drawing,” Price, 10 cents. LEAFLETS II AND III.— ‘‘ Drawing in Crayon,” Part 1, Price 10 cents ; ‘¢ From Cast, Nature and Life,’ Part 2, Price Io cents. LEAFLET IV.— ‘* Perspective,” Price Lo cents. Recommended by THE LEAFLETS V AND VI.— ‘* Water Color,” Part 1, Price 1o cents; Part 2, | Price 10 cents. LEAFLETS VII AND VIII.— ‘‘Oil Painting,” Part 1, Price 10 cents; Part 2, Price 10 cents. | These elementary leaflets teach only the most ap-— proved modern methods, and are divided so as to cover a period of eight weeks’ work each. ‘‘Drawing in Charcoal and Crayon,” by Frank Fowler, with eight large plates, Price, $2.50. ‘* Oil Painting,” by Frank Fowler, Price, $1.50. ‘‘Flower Painting in Oil and Water Colors,” Price, 75 cents. ‘« Perspective,” by Trowbridge, Price, $2.50 (for advanced students). Tue ArT INTERCHANGE Co., 37 & 39 West 22d Street, New York U.S. A. WILLIAM H. HOWE, THE ANIMAL PAINTER. (S.)...Q...I should be very glad if you could supplement the information you gave us con- cerning Mr. Howe, with some other items of infor- mation. I, for one, should be very glad. I have seen his paintings at Knoldlin’s, Fifth Avenue and 22d Street, New York. I admired them very much...A...A member of Mr. Howe's family sup- plies the following facts, which contain some infor- mation not given in the biographical sketch we pub- lished. He was born 1849, in Ravenna, a very small village a few miles from Cleveland, Ohio, re- moved from.there about the war time to Grand Rapids, Michigan, from there to St. Louis. Healways showed an artistic taste, but his family. who were in moderate means, did not understand the innate inclination, and the idea of one adopting an artists profession was synonymous to starving. They nat- urally offered no inducements to their only son to enter anything so uncertain. In St. Louis he was en- gaged by a large wholesale drygoods house, employ- ing his Saturday afternoons and Sundays in inter- preting nature on canvas. An occasional sale, en- couraged him to make an effort among his friends to secure a few commissions and go abroad to study, his employer promising him his position if he found he could not succeed as a painter. In October, 1879, he went to Dusseldorf, and entered the academy, begin ning at the elementary classes, drawing constantly for two years, realizing the importance of such a founda- tion. After entering the painting class he took a flying trip to Brussels where he saw a number of examples of the French school, with which he sympathized more thoroughly, and he determined to start for Paris, reaching there in the Autumn, 1881. All his life he has been very fond of animals, as a boy he was never happy unless he was surrounded by these pets, he had studied their peculiarities as to habits. This love led him to painting them, specially cattle. On arriving in Paris he found difficulty in securing any one who would criticize his work. ‘The great ate- liers here are for figure painters. Finally he was ac- cepted by DeThoren (deceased in 1889), the famous animal painter, as a private pupil, exhibiting in Salon first in 1883. Since then exhibiting every year, hay- ing most flattering success. Honorable Mention, -ing water for shaving in winter. 95 1886; Medal, 1888; Hors Concours, 1889. His honors in other places: Temple Gold Medal at Phila- delphia, 1890; Crystal Palace, London, Exhibition, Gold Medal, 1890; Boston Gold Medal, 1890. He spends about six months in each year in the country, either in Normandy or Holland. As an animal painter has many difficulties to contend with. The bovine race are not quite as complaisant as the human. If you want to paint them standing, they are sure to feel inclined to rest; should you decide to fall in with their desires and paint them quietly chewing their cud, you would soon find they had changed their minds. There is no such a thing as getting angry and telling them if they don’t pose better you will discharge them as you can a human model. A BACHELOR’S BED-ROOM. (New Sub- scriber). ..Q... Will you kindly advise me in regard to furnishing a bachelor’s bed-room ? I have heard of such a room and would very much like a few sug- gestions...A...How to furnish a bachelor’s bed- room is a question to be decided by what one knows of the person who bears that title. New Subscriber leaves one very much in the dark by not giving any items which would give an idea of the bachelor’s age and tastes. It is to be supposed, however, that, being a bachelor, the gentleman, young or old, will lave to have at hand for his own use many of the articles which would be unnecessary as appurtenances of his bed-room if he were a married man ; also that there may be many conveniences therein in the way of smoking apparata which would not find their place in a Benedict’s bed-chamber. Ina bachelor’s bed-room the curtains should be washable and the window shades of the best quality as to adjustable- ness—that is, they should run up and down with ease. Painted walls and a stenciled frieze are suit- able in a bed-chamber, especially one occupied by a smoker. A room of cold exposure, and consequently not very light, could have walls painted in a soft. _ yellow olive, with frieze of soft terra-cotta red ground showing a conventional honeysuckle design in shades of greenish blue and yellow-olive. Kal- somine or paint the ceiling pale terra-cotta. Hol- land shades in natural linen, with fringe with knot- ted k2ading to match; long curfains, deep terra- cotta red linen, with frieze of dull dark blue linen showing applique corventional sunflower design in yellow and olive linens. Paint the floor bronze- brown and varnish with two coats hard oak varnish, and have large central Ispahan rug in shades of chocolate brown and old gold. Bed-room furniture mahogany. Mantel valance deep old gold linen, decorated by a set design of lotos blossoms, buds and leaves, in dull blue and olive linens applied, and outlined by couchings of Bargarren art threads, laid in heavy strands and caught down by linen threads to match. If preferred, embroider said design in these artistic flax threads; finish with tassels of linen thread in old gold, dull blue and olive alter- nating. Furnish with ebonized or mahoganized smoking stand and a table with drawers to hold thread, cotton, needles, scissors, buttons, tapes, etc. Have also a handsome laundry bag, with wash list in a convenient pocket. Hang handsome shoe and slipper bag on closet door, and have plenty of con- veniences for hanging up coats, hats, trousers, etc. Have one drawer of table supplied with hat brushes, whisk brooms, clothes brushes, etc. A desk is also a necessity ; one fitted with flat top covered with cloth, and knee hole with drawers either side, and conveniences for writing, which will include large ink-stand, pens, pen-rack, blotter, portfolio, pen- knife, paper-cutter, pencils and eraser. On this writing table have a substantial wrought-iron lamp with a pretty and useful shade. A shaving stand with swinging mirror will be a necessity for some men, and if there is a gas-fixture, one of the little lamps that fit on gas-fixtures will be useful for heat- Handsome etch- ings on the wall will, with easy chairs and lounge, complete this room. DECORATIVE: ENITIAL “F.C... Az: For the decoration of large dinner napkins, or large or small table cloths. This is particularly graceful, as it is showy, and requires but little work. On all linen, the letter should be filled or darned closely, then worked across, or up and down as the form of the letter indicates. All the lines, tendrils, running and round ends to the tendrils should be in gold silk. Not more than two threads of filo floss should be used in the heavier lines and parts, and only one in all the tendrils. When the pale colors of linen are used all white is very much the most beautiful. Some of the dark shades of linen may be worked in lighter shades of itsown color. Inasmall cloth table cover use self coloring with gold in all the working, with the dots the same shade as the latter. For short corners, use all white embroidery cotton for the let- ter, work ‘‘one star” linen or No. 4, flourishing, which is still finer.
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ae Conducting Cylinder CN EDITOR’S NOTES JHE Editor begs gratefully to acknowledge the hundreds of congratulatory letters re- ceived from ART INTER- CHANGE readers during the last few weeks. Nothing could have ex- ceeded the appreciation and_ personal kindliness shown by these numerous cor- respondents, and it is with keen regret that the Editor finds herself unable to do more in the way of acknowledgement than the publication of these few lines. Each correspondent is assured that her message of encouragement was most warmly welcomed. ‘The most delightful element in it all has been the enthusiasm with which the writers have rejoiced in our improvements as the work of a sister- woman. ‘‘I’mso glad a woman did it”’ is a sentiment that has found expression in many letters. ‘The feeling thus dis- played is only another evidence of the falsity of the theory that women are jealous of each other, and are slow to ac- knowledge merit of any kind in one of their own sex. Any woman worthy of the name will always find staunch allies and most enthusiastic admirers among women, So much has been said in praise of the Editor to the exclusion of all others, that it is only just to draw at- tention anew to the fact that it has been through the generosity of THE Arr In- TERCHANGE Co. that the Editor has been enabled within nine months to develope a handsome art magazine out of an unpre- tentious design paper. The colored studies to be published SARTO IN TER CHANCE with the October number of THE Arr INTERCHANGE are: A WoopLanpd Brook, by F. D. Has- brouck. Ma ‘BELLE, by Mrs. Rosina Emmett Sherwood. Applied design, Fern Leaf Decoration in gold for after-dinner coffee. The artist biographical sketch will have Miss Marie Guise as its subject. ‘This astist is known to ArT INTERCHANGE readers by her admirable paintings of horses and dogs. King, a study of a St. Bernard, an example of her work, is one of the supplements issued with this number, Some small crayon studies of children’s heads, kittens, chickens and birds will also appear in the October number. We are negotiating for a Series of charming sketches of interior decoration, which we hop€ to secure in time for our October issue. AN ART CRITIC (?.) ON AN ARTIST, AND THE ARTIST ON THE ART CrITIC.—Amid the chorus of praise that has greeted the - beautiful new cover design of THe ART INTERCHANGE, there has been one little discordant note furnished by that most excellent paper, ‘‘ The Albany Evening Journal.” The writer of the opinion furnishes so good an example of current so-called art criticism that we have decided to make a public note of him; not very kind to be sure, but it is done as amatter of art edu- cation for our readers. Attention is invited to the lower half of the subjoined paragraph which appeared in a recent issue of the ‘‘Albany Evening Journal: ” ‘“The Art Interchange” has made a decided — improvement in changing toa monthly. The July number has five supplements, three in color, one in = sepia, and one in black and white. The illustrations = are superior, well chosen, and the subject matter =a covers wider range and possesses greater general in- terest for its readers. For the reproduction of the © : studio of the Poetess Celia Thaxter ‘‘ The Inter- change” will receive more than one vote of thanks, — But when, in the editor’s notes, the cover design is commended, and the ‘‘ closer scrutiny invited,” one can hardly resist the temptation to scrutinize the anatomy of the one visible foot of the principle figs ure on the cover page, or rather that portion of the foot which receives such a painful and impossible bend in the neighborhood of the toes, To which, on invitation, the artist makes reply as follows : The ‘‘ anatomist” in the employ of the ‘‘ Albany Evening Journal” newspaper has only added one to the many errata which must be expected from members of his class. He is precisely like, oh ! so many writers in our daily press, who will climb the shaky pedestal. of apparent superiority in art ; who will wade along in their intellectual darkness with the same old cut-and-dried, wise sounding phrases on their lips, or, perchance, who will not honestly acknowledge their ignorance of the science of which they are scribbling, because that scribbling nets them so many dollars and cents per column! And O, dear ‘‘Albany Journal,” thou didst pay thy critic so little for that mite! Art angry, O critic? Buzz, buzz—you buzz about my ears like the perennial mosquito. Go, gain my respect as a literateur, but lose it not utterly by continuing the assumption of professorship over me and my brother artists, Ad- dio ! gi Messrs. F. W. Devoe & Co., Fulton Street, New York, are sole agents for the sale of THE ART INTERCHANGE colored studies in America. ‘The artist material trade is referred to them. Messrs. Lechertier, Barbe & Co., of 60 Regent Street, London, W., are wholesale agents for the sale of ART INTERCHANGE colored studies in Great Britain. This firm carries in stock a full line of our studies and the foreign trade is referred to them. For firing Decorated China or Glass weth = Natural, Artificial or Manufactured Gas or Gasoline. ‘ THE STUDIO CHINA KILN. A Kiln with a Faultless Record. Awarded the Diploma at the Massachusetts’ Charitable Mechanic Association, held in Boston, Mass., ee October and November, 1890. Does not make the Apartment Unbearably Hot. A Studio Kiln not only in Name but in Actual Service. No tile or Fire Brick to : Crack and Crumble or to Con- sume and Waste heat by throwing it out into the apart- ment. We employ a Non- filied with a Mineral Fibre that is absolutely Non-Combustible, and consequently cannot burn out. Firing Pot has flat bot- tom, flat top and straight sides. No waste space whatever. ‘Thirty to Sixty per cent. more -__- room in it than any other kiln of same given dimensions. Not a Toy, but a practical 2 = kiln. Never fails to give sat- -_ isfaction. 3,000 Testimonials. se euetat 20% 19 Posing Pot. ee. » “No, 2 12x14 Firing Pot:,.... pie INO. 3.1416 Firing Pot..’:... ___. A 3%-inch Supply Pipe, a 34-inch Valve and a 5-light Meter is ample for any above sizes excepting No. 6. __ This apparatus can be attached to any of our Gas Kilns. | THOUSANDS IN USE. oeswer ee ere ewes eeees PATENTS FUNDAMENTAL. | FULL DIRECTIONS FOR FIRING CHINA. Manufactured by F, A. WILKE, Richmond, Indiana, U, S. A. Hi A Peet ay Po ras 3s via Patera es $20.00 | No.4 15x19 Firing Pot CORE SG, ES RAR Mg aie we Ss Bene 25.00 | No.5 18x20 Firing Pot fen Rees Feo 8 hes .. 35.00 | No.6 26x20 Firing Pot Has done more to revive in- terest in China Painting than any device ever presented to China Decorators. and Amateurs in this and for- eign countries. leading Importers of China Painting Materials for testing Colors before placing them in | the market. Saves from Forty 3 to Sixty per cent. in Gas con- sumption and plumbing over any kilnin the market. Works | equally well with poor or low pressure gas. No experiment- © ing necessary. Kiln furnished complete ready to operate. The popular sizes for Amateurs are Nos, 2, 3 and 4. For Teachers, Nos. 4 and 5. For Professional Firers, Nos. 5 and 6, For small test work, Nos. 1 and 2. eo PATENTED AND MADE IN SIX SIZES, VIZ: a MIDS oS ee ee oe tos ete 6 Pune Poti SS es eee. S00 1BS. foi ea pate ees yee + 845.00. Endorsed | : 7 by the leading Professionals — Used by the aes : eee Mss ti > x Seis k chal at nig inet AAC ani ‘ ib Dia FeuAu eb sy bcbg asso phone aaa: kaneis 500 Ibs..... | For Professional Firers. a 5 a ater erate aks pig aeere Wiehe Ee 800 lbs..... ! Prices upon application. — Ss = Kiln equipped for burning Gasoline at an advance’on above prices of $5.00. ae KILNS FURNISHED COMPLETE; NO EXTRA CHARGES. Se STILTS, ETC., FURNISHED FREE WITH EVERY KILN —
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crystal bead. [Continued from page iii. | The price of these portiéres is $1.50 each. Others show- ing designs of flowers and birds, or geometrical patterns in bright color- ings are more expensive, ranging in price from $3 to $7. Camphor wood chests; so useful for keeping furs and clothing intact from moths, may be | purchased here. They are in three sizes, small, medium size and large and cost respectively $11.50, $16.50 and $21. In fans, both for decora- tion and use the variety shown by this house is astonishing. ‘Two hundred and fifty new styles are said to haye been imported this year. Among those to be recommended for decora- tion are the Kus-Kus fans, punkas and Hoo Nanfans. The punka fans have very long handles springing from the side and are handsomely decorated with pretty painting. The cost of those of the largest size is $2. Kus-Kus fans are used by the natives of a small province in India. They make a pretty wall decoration and are manufactured from native grasses. They are nearly circular in form with a handsome central ornament from which radiates the sweet scented grasses. Grate fans are shown with bamboo stands costing from 85 cents to $1.50. The standsaresold separately and bring from 75 centsto $1. Parasols with hinged handles for fire screens, all nicely painted, show handsome decorations. ‘Those which are thirty- six inches in diameter, ornamented with gold and silver are $1.25 each. Those thirty-four inches in diameter in muslin or silk, $1 each. Reed and bamboo porch curtains with neces- sary tackle ready to hang up, come in every size both as to length and width. They are not at all expensive. Fur rugs 6 x 3 feet made of the skins of the north of China wild goat, in white, gray and black cost $3. They are sometimes made up in com- binations, as for instance, a white centre with border of gray, black or fawn color. These are lined and bring $6.50 each. Very handsome Thibit rugs with long silky hair and made up with felt lining are $8. - Rugs of this sort are much used in summer to lay over matted floors. [Thanks are due to Messrs. A. A. Vantine & Co., 879 Broadway, New York, for courtesy in showing above goods. | . ART INTERCHANGE AS A PREVENTIVE For Consumption and Catarrh, which originate in the poison of Scrofula, take Ayer’s Sarsaparilla. The existence of this taint, in the blood, may be detected in children by glandular swellings, sore eyes, sore ears, and other indications, and unless expelled from the system, life-long suffering will be the result. The best medicine for all blood diseases is Ayer’s Sarsaparilla, which is considered by physicians to be the only remedy for Scrofula deserving the name of a specific. Dr. J. W. Bosworth, of Philippi, W. Va., says : ‘‘Several years ago I prescribed Ayer’s Sarsapa- rilla for a little girl, four years of age (member of a prominent family of this county), who was afflicted with scrofula. After only three or four . bottles were used, the disease was entirely eradicated, and she is now in excellent health.”’ “My son—now fifteen years of age — was troubled for a long time with ecatarrh, in its worst form, through the effects of which his blood became poisoned. About a year ago he began using Ayer’s Sarsaparilla, nd is now entirely well.’”’ —D. P. Kerr, Big Spring, Ohio. | ‘My husband’s mother was cured of scrofulous consumption by Six bottles of Ayer’s Sarsaparilla.’’—Mrs. Julia Shepard, Kendall, Mich. “A yer’s Sarsaparilla cured me of catarrh.”—L, Henrickon, Ware, Mass, Ayer’s Sarsaparilla Prepared by Dr. J. C. Ayer & Co., Lowell, Mass. Cures Others, Will Cure You DIDODPOGE MAPS APG CEPHOOD SC ,, PELs PAINLESS----EFFECTUAL. FOR A DISORDERED LIVER Taken as directed these famous Pills will prove marvellous restoratives to all enfeebled by the above or kindred diseases. 25 Cents a Box, but generally recognized in England and, in fact, throughout the world to be ‘‘Worth a Guinea a Box,” m for the reason that they WILL CURE a wide range of complaints, and that they have saved to many sufferers not merely one but waxy guineas, in doctors’ bills. FOR SALE BY ALL DRUGGISTS. (3 EMBROIDERY STAMPING OUTFIT. Containing 80 Extirely New Designs: Roman Embroid- ery. Sota Pillows, Scarfs, Ta' le Covers, Borders, Bou quets, etc. One alphabet for Handkerchiefs. 31 Fancy Alphabet 2 wm. Black and White powder and distribu- tor. Price’ $1, and 1o cents for postage. »n.order to introduce my work I will:send with each order forabove outfit received before Christmas a pair of pil- low shams 31 inches square, beautifully embroiderea with the. above 21 inch Peacock design ready to use. These embrcidered pillow shams given as a premium are alone worth more than my price. for outnt. A. BLIQUEZ, 313 Canal Street, New York. OWN A HOME AT EATONTOWN, NEW JERSEY. IN THE GREAT PINE BELT. Only thirty-two miles from New York, ONE HOUR OUT ; low commutation ; junction of two railroads ; . Station and telegraph office on the ground; only three miles from LONG BRANCH and one- quarter of a mile from MONMOUTH PARK RACE COURSE. . HOUSE-LOTS for sale on easy installments, from $25 up, according to loca- tion. 2 Hotels, 6 Churches, 2 Schools. Manu fac- tories, 400 or 509 Dwelling-Houses and 3,090 resi- dents already there. Prices $50 to $300. No choicer place for a home. PAYMENTS $1 WEEKLY. For further particulars and maps call or address EATONTOWN IMPROVEMENT CO., Room A. 239 Broadway, N. Y. PATENT PORTADLe KILNS — ee KILN CHARCOAL FOR FIRING DECORATED CHINA, GLASS, BISQUE, Etc. In several sizes. With charcoal, manufactured gas, and NATURAL GAS. Eleven years in market—are not an experi- ment but an assured success. Send for circular. STEARNS FITCH & Cu., Springfield, Ohio. EW DE ND A. Sartorius yee eer oi Cage ¢ O:, Manufacturers and Importers of Artists Materials For Oil and Water Color Paint- ing and Drawing. COLORS AND MATERIALS FOR CHINA AND GLASS PAINTING. A. Sartorius & Co.’s Gouache Colors, Finely Ground. A. Sartorius & Co.’s Special Overglaze Colors, in Powder, A. Sartorius & Co.’s Roman Gold. LACROIX TUBE COLORS. DRESDEN TUBE COLORS. HANCOCK’S OVERGLAZE COLORS. HANCOCK’S GOLD AND _ BRONZES. Fine Camelhair Pencils, Glass Brushes, Burnishers, Write for Catalogue containing instructions how to mix and apply colors for China Painting. 28 BARCLAY ST., NEW YORK. ESTABLISHED 1860. Boston China Decorating Vorks, 38 Tennyson Street, Boston. Practical Decorators and Manufacturers of Cooley s Golds, Bronzes, Oils.etc. In practical use 1n our factory for past 30 years. Everything tested before putting on the market, and warranted. Try our New Tinung Oils, for Worcester and all dry colors Directions with each bottle. All our preparations for sale by the lea ‘- ing Art Dealers throughout the United States and Canada, In addition to our own manufactures, we carry a full line of every requisite for china paioting, including the largest variety of Wh te China, which we import direct from the best factories in Limoges, and elsewhere in Eur pe. All new patterns and shapes received as fast as produced. Send tor muniature photos, price list, ete , free to any address. ww COMPANY. (Established 1852.) Manufacturers of Artists Materials. F, W. DEVOE & CO.’S Tuse Cotrors. F. W. DEVOE & CO.’S CANVAS, F, W. DEVOE & CO.’S Fine Brusues, . Our maaufactures comman‘. the confidence of the leading artists of the country. NEW YORK—Cor. Fulton and William Streets. ME FOR OVER FORTY YEARS lave enjoyed a high reputation. Brilliant and nusical ; tone of rare sympathetic a beau- ‘iful for vocal accompaniment. urably eon- structed of finest material by most skilful work- nen. Exceptional in retaining original richness ind fulness of tone. Require. tuning less otten than any other piano. Moprratr Prices, ReEa- SONABLE TERMS. SEND FOR CATALOGUE. BOSTON 174 TREMONT S? NEW YORK 92 FIFTH AVE. WHITING’S INDELIBLE ETCHING ETCHING INK, ON with Preparation, Pens and Direc. tions, $1.00. DELIVERED FREE! LI N E N WHITING BROTHERS, se P. O. Box 280, LOWELL, MASS. A list ef these indorsing our goods sent on application. _ CRAYON, SCULPTORS’ AND ETCHING MATERIALS, Drawing Papers, MATHEMATICAL INSTRUMENTS, White Lead, Colors, Varnishes, Pure “Mixed Paints for Consumers. Mail Orders and Inquiries Re-<eive Prompt Attention. CHICAGO—176 Randolph Street. FERRIS’ 7 CELEBRATED GOOD SENSE Corset Waists ) are now made in drab and white. Sold by ail LEADING RETAILERS @5aa5 Marshall Field & Co., Chicago, “S Wholesale Western Agents. ™ FERRIS BROS.., °32i"troaaway, N.Y."
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vi. A Dainty Tea Cloth. Pond Lilies as a border. The flow- ers worked solid—white silk for the petals—yellow for the stamens—leaves, dark olive—water lines, sea-green silk. The BRAINERD & ARMSTRONG’S RO- MAN FLOssS is especially adapted to this kind of work. It is soft in coloring, pliable and pleasant to work with, and not too heavy. It combines the good qualities of the Rope and Filo Silks. fect Embroidery Thread ever produced. The most per- See that every Skein has our name on it. The Brainerd & Armstrong Coa. New York, Philadelphia, Boston, Baltimore. Factory at New London, Conn. OGRAPH A NEW ART - THE LATESTAIDEA For the Artist, Amateur, Teacher, Tourist and Student. Anyone, without previous knowledge can draw in true perspective any Landscape Scene directly from Nature, Objectsin Still Life, Flowers, Figures, etc. It is entirely | mew, is elegantly made, highly ornamented, polished wood, nickel-mounted, and with compact carrying case Sketches are readily repro- duced. on paper or other material. Illustrated pamphlet free. LILLIAN HOOD, Studio and Art Rooms, 56 West 23d St. (opp. Eden Musée), New York. Have You a Camera? ij li / Lf not, examine Ours. E. & H. T. ANTHONY & CO. 591 BROADWAY, N. Y. MANUFACTURERS AND IMPORTERS OF PHOTOGRAPHIC INSTRUMENTS AND. SUPPLIES. 49 years established in this line of business. | Amateur Outfits in great variety, from $7,50 up. Send for Illustrated Catalogue, or call and examine, Use of dark room, on main floor of our store, free. GRACE B. McCORMICK. 923 Broadway, New York. LACES. Designs and Materials. Book of Instruction for Lace Mak- ing, fully illustrating Stitches, Braids, etc. Price, prepaid, ro cents. Send stamp for information. M. HEMINWAY & SONS SILK CO., direct attention to their recent production, fishin Si LOSS, which can be obtained in 80 arf7stic colorings, spec- ially dyed to meet the requirements of the most critical students of Art Needlework. Fuad Every shade warranted permanent dye. This silk can be seen at the leading art needlework stores, or at the genéral salesrooms of M. HEMINWAY & SONS SILK CO., New York, Philadelphia, Chicago. ART ARNOLD — CONSTABLE & CO. LADIES’ & CHILDREN’S Summer Underwear and Combination Suits. SUMMER HOSIERY. Ladies’, Misses’ and Children’s’ S7lk, Lisle Thread, Lalbriggan HOSE. | Cartwright & Warner's Celebrated 3 Natural Wool, Cashmere and Merino UNDERWEAR. Spun and Pure Silk Vests and Drawers. MENS DALE: HOSE: GRENADINES. CREPES AND: GAZES, Black and Colored Grounds, Embroidered, Ombre and raye effects. India Pongees, CORAHS. An unrivalled assortment for TEA GOWNS, STREET and SEASIDE. These fabrics are unsurpassed for durability and wear. Cotton Dress Stuffs. “D. & J. ANDERSON’S” Celebrated SCOTCH ZEPHYRS. Clan Platds, Stripes, Checks, Bourette and Satin Effects. -One of the Most Popular Fabrics for Padies’ and Children’s Wear. _——-_-——- _ “FRERES KOECHLIN’S” PRINTED SATEENS. BROADWAY anp tortu ST., NEW .YORK. INTERCHANGE /t may not matter to you that PEARS’ SOAP is over 100 years old nor that it has a larger sale than any other toilet soap in the world, but it does matter whether you use upon “your Skin a poor soap or a good one. That PEARS’ SOAP is the best soap is attested by the judges in every international exhibition, from the first in London, 1851, to the last in Edinburgh, 1890. [es Beware of poor imitations, and be sure you get the genuine PEARS’ SOAP. THOS. D.. McELHENIE, ART STATIONER AND DESIGNER OF Original Novelties for Decoration. My Annual List may be expected about Octo- ber roth, and will contain some Notions worth ycur attention. Send in your name for my mail- ing list. One distinct novelty will be ‘‘ The Hard Times” Photo Holder, made of a material not yet used for the purpose. They will be best adapted to sketches of humble life—squatter’s shanties, negro cabins, et¢.—in black and white. Illustrations from ‘‘ The Old Kentucky Home,” ‘“The Suwanee River.” etc. Ready about Sep- tember 1st. Price will be probably about socents postpaid, and I predict that they will go. Our Engagement Calendar at 4o cents will be some- what nicer than last year, ard the supply will be doubled. The set of 10 Calendar Pads, each different, at ro cents, will be varied from last year’s assortment, THOS. D. McELHENIE, 259 RYERSON STREET, BROOKLYN, N., Y. AIR BRUSH. ‘| LEGITIMATE ARTIST’S AND DRAUGHTMAN’S TOOL, Gold Medal Frankiin Institute. Finest technical eftects with won- i derfuleconomy oftime. Its use in } black and white and water color 4, portraits is a means of elegant and 4 remunerative employment. Send for descriptive pamphlet. WS, 7 ipso fi <Reay TT j AIR BRUSH MANUFACTURING CO. 65 Nassau Street, ROCKFORD, ILL. + PROF. A. A. McLEOD, ; STUDIOS, 56 W. 23d St., N. Y.. Opposite Eden Musee. Free Hand Portraits. Pastel and Crayon a Speciaity. No work allowed to go out unless entirely satisfactory to the cus- tomer. Business conducted on a strictly honorable basis, MEDAL AWARDED, American Institute Fair, 1890. Matti The finest Ningpoo Warp in tting Japanese and Chinese Straw for pases artists’ use imported only by us, Decorating Great Bargains in Carpets, PURPOSES. Rugs, and Upholstery Goods. SHEPPARD KNAPP & CO Sixth Ave., 13th St. to 14th St., New York City. “DIXON’S ARTISTS” GRAPHITE Pencils are made in hexagon shape only, beautifully finished in the natural color of cedar wood, and are in ten grades of leads. They are unequalled for smooth, tough leads. It your stationer does not keep them, mention ART INTERCHANGE: and send 16 cents in stamps fur samples worth double the money. JOSEPH DIXON CRUCIBLE CO., Jersey City, N. J. -# Perforated Stamping Patterns for Embroideries TO ORDER AND FOR SALE. Outfit of 100 Patterns, Powder Pad Alphabets, Instruction, etc., $1.00. french Perforating Machines for sale. A. BERNARD, 401 Canal Street, N. Y. The Chair Cincinnati, Cars Hamilton on and Day Dayton Trains Railroad and is Sleeping Cars the on only T ie Night Line Trains Running " between Pullman’s F | Cincinnati, Perfected nes Indianapolis Safety hicago Vestibuled St, Louis, oe On apa wi an Dining Cars, Detroit. between Chair Car Cincinnati, E th between Indianapolis a 4 Cincinnati and and Chicago. Keokuk, M. D. WOODFORD, President & General Manager. &. 0. McCORMICK, General Passenger & Ticket Ageat, CINCINNATI, O. JOSEPH GILLOTT’S STEEL PENS. THE MOST PERFECT OF PENS. Cold Medal, Paris, 1878 and 1889. For Artistic User in Fine Drawings, Nos. 659 (the celebrated Crowquill), 290 and 2o1. For FINE WRITING, Nos. 303, 604, and Ladies’, 170. For BROAD WRITING, Nos. 8409. 2¢4, 389, and Stub Point, For GENERAL WRITING, Nos. 404, 332, 390, 604, and 601 E. F. FOR SALE BY ALL DEALERS.