The Art Interchange: An Illustrated Guide for Amateurs and Students With Hints on Artistic Decoration [partial] (February, 1892)
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The February Number of THE ART INTERCHANGE has" Sup- Color, One in Black and White,‘and One in plements.—-Three in Sepia. Ch racoaneres. ol ait or ‘SINGLE COPY, PRICE 35 CENTS THIS INCLUDES ALL SUPPLEMENTS e FEBRUARY - 1892 9 ¢ ciiphiboibinigestians tagcat ES fi % — es Z TE I a -_ tariessies Osea > — saniont - ee . ‘ ew ss — ieee ‘ ‘ . 3 af , . 5 \ ; { — i had - eo s : bam : 2 a tae a“ “ Ls a . a A” - a rt J. = . af} | | Ih | | Lb); i | ! yy" : > t% ae — Aes a aa ere. ey rs — AN: ILLUSTRATED - GUIDE: FOR -AMATEURS -AND: STUDENTS > WITH - HINTS -ON-: ARTISTIC - DECORATION Ubig rota: ri — a e — — fos eS peed z, ele pd ae ‘ = | COPYRIGHT - 1592- BY THE -ART “INTERCHANGE - COMPANY ——— PUBLISHED AT’ NO," 9° DESBROSSES "STREET MEW YORK — REGISTERED -AT*POST-OFFICE NEW YORK AS SECOND-CLASS*MATTER aa Ba i hc 's epee - = mf pe ee mate ai oe on PA coi Baik a ies Si S Doras ws ~~ . 7 § Ee ee yy NX NG baNe REM eA ( e a wr Wee S “ ll ite x Sa ; Wi gp YH ue ‘ Bi a il IN \¥ oH \ ; J, Wee A ? a — j ey \ fins 9 PNY ay hy. Ff BS - -- FTO JA 2 om x \ oG¢ = we a ~~ o } a ees s an ~ 1 TF ‘| ag ig Vig. Ye | : ‘ ~~ Cea ZX —_ : mS pr a es Bi) S rig Sil Nets ON % PR We tae TN ae COE Si Z , = \S a¥ ‘ / y \ \ I f / 7 Ni | Cis, AA; , : 3 - ) ‘ | e ¢ f = . . ¢ pe) ; , ; : / : “9 bey rik GG ' ts - = a At = ii ‘ ~~ i Al | hi | fe — J \ ‘ —— 7? oe Bers ieee ae. 7 , PY : . ES . »~»* . AY s iy . 4 Cd eeeenieel ~ DEW-YORK-35-CEDTS = H{ = SINCLE-COPIES-INCLUDING - COLORED - PLATES Yearly Subscription, Price $4.00. This Includes 36 Colored Platesand 12 Monthly Issues.
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ii. ART. INTER CHANGE—-ADWERTIS:ING M. H. HARTMANN, IMPORTER OF Artists’ Materials, 817 Broadway, New York. (One Door below x2th Street.) 1 SHer the following Goods of which I make Specialties at Very Low Prices: Dr. Fr. Schoenfeld’s Oiland Water Colors. Winsor & Newton’s Oil and Water Colors. Hardy Alan’s Celebrated French il Colors. Devoe’s, Masury’ sand Raynold’s American Oil Colors. P. J. Tyck’ s Antwerp Colors, Keim’s Munich Colors. Complete line of French China for Decorating. German and American Artists’ Canvas and Brushes. Lacroix’s Mineral Paints for China Painting. L. Cooley’s Gold. Postage prepaid, 82c. per box. Sevin’s Tapestry Dyes in Bottles. Linen and Woollen Tapestry Canvas in all the different widths, Giraults & Mengs’ Pastels in boxes and single sticks. Pastel Boards, Canvas and Paper. The most complete line of Studies for Oil, Water Color, Tapestry and China Painting. . Special attention given to Mati Orders. SEND FOR LATEST PRICE LISTS. M. U. Hartmann, |=: 817 BROADWAY. NEW YORK. GALLERY OF Choice Proof Etchings Engravings and Photogravures. ARTISTIC FRAMING AT MODERATE PRICES. A. Sartorius & Co., Manufacturers and Importers of Artists Matenals 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, HANCOCR’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. EXCLUSIVELY FIRST CLASS PICTURES AT THE MOST REASONABLE PRICES. RES ee arcu Suet, Beets. ART SCHOOL. Instructors: Ernest L. Major. OSEPH DeCamp, Henry H. Kitson, ERcY A, BaILey, ANNIE E, RIDDELL, Monsieur LuciEN CHANVEAU, The ninth year of this well-established School opens October Ist.. Superior in equipment and arrange- ment for convenience and comfort ; modeled after the best Parisian Schools. Full courses in Drawing and Painting, including Still Life and Water Colors. Special attention to Life Studies, Portraiture and Illus- trating. Classin modeling. Begin at anytime. For circulars address as above. F, M. COWLES. ir rt a Wiring 27 PARK PLACE, COR. CHURCH STREET, ARTISTS’ MATERIALS. Oi], Water and China Colors, Canvas, Brushes, Tissue Papers, Crayon Materials, Novelties for_ Decoration, Studies, &c.,L&c. - Send for catalogues as below: No. 9. Artists’ Materials, Illustrated. ‘* yo, Studies and Novelties, ‘‘ °* at. Prameés,:.°s ° ‘* 12. China, . : . x CHINA DECORATORS. ‘“ PERFECT RESULTS CANNOT BE OBTAINED WITH IMPERFECT MATERIALS.” This is especially true in China Painting, and therefore the choicest quelity of materials only should be used, ALWAYS ASK FOR J. Marsching & Co.'s Vitrzfiable Colors in Powder, J. Marsching & Co.’s Matt (Royal Worcester) Colors in Powder. J. Marsching & Co.'s Liquid Bright Gold, J. Marsching & Co.'s Matt Roman Gold, ete. They are used by professional decorators everywhere, being recognized as the standard. ALWAYS CONSULT OUR CATALOGUE WHEN SELECTING YOUR SUPPLIES, J. MARSCHING & CO., OF EVERY peaterssin ARTISTS’ MATERIALS ozscewroy. ((@" Sixth Avenue Elevated R. R. Station at the door) os a NEW YORK. China for Decoration. and Vases. BRONZES. IMPORTERS, CHICAGO. TABLE OF CONTENTS OF THE ART INTERCHANGE AND HOME DECORATION FOR FEBRUARY, 1892 Illustrations. ** Jack”? Irish Setter (Oil Color Supplement). ‘* Autumn Afternoon’? (Water Color Supple- ment). Decorative Bird Study (Colored Supplement), Sepia Panel with Herons and Aquatic Plants (Fourth Supplement), Panel for Wood Carving (in Fifth Supplement). Tea Set, Blue Bells (in-Fifth Supplement), Des‘gn for Valentine..........ceccesseereres yr Pen Portrait of Wilhelm Diez...........-00--00- Pen Portrait of Ludwig Knaus..........-- PEE Returning from market, Engraved after a paint- ing by Wilhelm Diez........0..cccccesse A A Shrewd Bargain (after a Painting eee tudes Butterfly Medizval Highwaymen (Pen Sketch after a Painting by; Diez)ii gece: corte Se iets 5 Suggestion for Beginners in Charcoal Sketch- WAP SSS ees Settee a's Sheba sn vapeeeasen es Burnt Wood Decoration for Back of Hair Brush. POOtD PUIG MOS: Bs pews Sew oe eee tape ees Burnt Wood Decoration for Back of Hair Brush. Burnt Wood Decoration for Back of Hair Brush. Violets and Ribbon for Ring Tray—Inside...... Design for Hand e of Paper Cutter to be carried putin Wood Carvine: iis ce deadas Violets and Ribbon Design for Ring Tray (Out- Screen Panels, Chrysanthemums............ «+ Design for Photograph Frame to be carried out in Painting on some Fabric...........e0e.+- PAGE ES 3: eo Tot Bae a NO GS Se Gr VA Pg SOY gy A: Library. Commer icine (0603 a0 53 ea ew aN sao Give ob A Dinner for. Eighteen... cect cigeee cecenses Suggested Decoration for Postal Card Case aA Decoration for China Candlestick..:........... Text. Modern German Artists, Third Paper.......... A Day with Monsieur Schenck in Ecouen....... EGHOot Aewtehrs occ x Woe Kes es. Rea Nve's'oe Rees ch A Few Words about ieinscnies a ey ieee. ee The Permanency of Water Color Pigments..... APT COOGEE Cukor oCks Ke ereeh eat Ceeew leh bow epat A New French Sketching Ground............. TABRARY ewido 638 4 ct NeMion ene FURS SAITEK . INSTRUCTION DEPARTMENT To Paint ‘* Jack’’ Study from Life of an Irish Setter in Oil Colors Treatment of ‘* Jack” (an Irish Setter) in Water shows er ee eee CF ee weer eee An * Autumn Afternoon ”’ in Oil Colors........ Mineral Colors for Decorative Arrangement of The Studies of Birds in Oil Colors............-. Direction for Treatment of Birds in Water Casares eb Sak as pha er abe oe teks Panel with Herons and Aquatic Plants ds eho dep Mineral Colors for Design of Candlestick....... How Subscribers should Apyly our Home Deco- PRIOR INOS EA seek hoe opts get wei eee What can be done with a Hideous Black Marble- TRO PIMELT cak cc rec Reh ahoe dso bok) eee ncke Home DgcorRATION, Hints for Prospective Entertainers and Decora- Full Line of Tableware HASBURG'’S GOLDS AND THAYER & CHANDLER, 46 MADISON STREET, - 57 F. WEBER & CO.,, Successors to JANENTZKY & WEBER, MANUFACTURERS AND IMPORTERS OF Artists’ MatTERIALS 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. dvs Olive Street, St. Louis,-Mo. No. 5 North Charles Street, Baltimore, Md, FROST & ADA MS, Importers, Wholesale and Retail Lealers in ARTISTS MALERIALS, OF EVERY DESCRIPTION. DECORATIVE ART GOODS OF ALL KINDS SKETCHING OUTFITS. Handbooks of Instruction on all Art Subjects. ETCHING MATERIALS OF ALL KINDS, —E Mathematical Instruments, DRAWING PAPERS AND T-SQUARES, ARCHITECTS’ AND ENGINEERS’ SupPLIES IN GENERAL 37 Cornhill, Boston, Mass. Catalogue FREE on application. Mail orders receive prompt attention, F, S. Frost. H. A. LAWRENCE, In ordering mention Tue ArT INTERCHANGE, 00 YOU PAINT? Ordo Fancy Work? Ingalls’ Home and Art Deeonine i. Sone Book on Painting and ‘ancy or ingle Co dies 15 Cts.; LIDA CLABRESONIS ore) FE Per year, Easy Lessons in Drawing and Painting First and Second Series. Price, 35 cents each. Every one doing, or wishing to do, DRAWING or PAINTING should own these Books. We will send BOTH of these books (stamps taken) fora 1 three montis: FREE ! ! trial subscription to, Ingalls’ Home and Art Magazine, Address ¥. ©. 1WGALLS., Lynn. Mass. Box B. L. CASTELVECCHI, Manufacturer and Importer of PLASTER CASTS and BUSTS For the use of Art Schools, and for Home Decoration. 143 GRAND STREE Send for Cata‘ogue. to any one sending us 35. cents NEw YORK 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- sirable features found in domestic or foreign manufactures, and to excel them in many essential qualities, such as—im palpable fineness, freedom trom lint, and other vexatious substances, and positive 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 applicetion. Among others who have used: them, and attest their merits, are: D, Huntington, Paro we N.A., Julian Scott, A.N.A., Geo. Inness, NAS pede Beard, N.A., Wm L. Sonntag, N.A., E. ‘Wood Perry, N.A., "R. W. Hub- bard, N.A., A. +. Bricher, N.A, JOHN W. MASURY & SON, MANUFACTURERS, NEW YORK: P. O. Box 34993 Office, 55 Pearl St. Brooklyn. CHICAGO: Masury Building, 190, 191, 192 Michigan Avenue,
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ART INTERCHANGE-ADVERTISING ii, Daylight ” Kodaks. re Ccunca | Pour Notable Novele @ CO @ We have just perfected a new Kodak which can be loaded and emptied in daylighz. This great improvement obviates the use of a dark room, which is required to change the load in any other camera. Other impor- tant improvements have been also embodied in the “Daylight” Kodaks. Prices $8.50, $15.00 and $25.00. Send tor circulars. THE EASTMAN COMPANY, ROCHESTER, N.Y, 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., Duesseldorf celebrated OIL AND WATER COLORS. UU. Fuchs & Co.’s German O1l Colors, 5 cents per tube or 50 cts. per aozen and upwards. Manufacturers of the Best and Cheapest 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. 140 SULLIVAN STREET. NEW YORK CITY DELIGHTFUL BOOKS FOR OLD AND YOUNG. THE POT OF GOLD ANDOTHER STORIES. By Mary E. Wivkins,. Square r2mo, finely illus- trated, $1 50. Quaint and delicious stories in the author’s best vein, full of delicate imagery and dainty conceits that make them delightful reading for old and young, MY LADY LEGEND. By Dr ALBReEkt SEGER- stepr. Translated by Anna von Rydingsvard (Bar- oness von Proschwitz). 1.mo, $1.25, Mrs. Rydingsvard has so thoroughly caught the spirit of these dainty ‘‘ prose poems’’ that they seem to take on new beauty, Their quaict humorand genial moral happily represent the character of the author, who has been called the Hans Christian Andersen of Sweden, ae } The book is very daintily gotten up, with the Swed- ish colors and coat-of-arms for the binding, THE STORY OF NEW MEXICO. By Horatio O. Lapp, A.M, 8vo, fully illustrated, $1.50. In these stirring annals of an ancient and pictur- esque country, with its strange and «ventful history, we are taken out of the prosaic present and dazzled by a’ pageantry of barbaric splendor, of romantic and thrilling episodes, of brave endeavor and heroic en- durance, which give this true story all the fascination of romance. LEAVES FROM AN ARTIST’S FIELD- BOOK. By WepwortH WaApsworTH. Beauti- fully engraved by Andrew. Oblong quarto, cloth, gilt, $4 00; full morocco, $8.00, ** With the delicate touch of the artist and the rare insight of the poet, Mr, Wadsworth has reproduced for us familiar sights and scenes, which, though famil- iar, can never tire.’’—Boston Courier. ARABIAN NIGHTS’ ENTERTAINMENTS. Edited, with Introduction, by W. E. Grirris, D.D. Lothrop’s Library Edition, 4 vols , 40 full-page il- lustrations, $600 Contains at least four times the reading found in the ordinary one-volume edition. ‘*Not only is this the best edition of the Arabian Nights for popular and library use, but it is not likely to be surpassed. We welcome it as an American edi- tion of a notable classic dear to the hearts of young and old, the world over.”"—Aducation, . ‘ WILD FLOWERS AND WHKRE THEY GROW. By Amanoa B. Harris Beautifully il. lustrated by Miss L. B, Humphrey, 8vo, cloth, $3 003 seal padded, $4.00, ‘* Botany studied in this delightful and discursive way becomes simply pastime.’’—Book Bulletin, FERNALD. 1.25. This isa timely as well as notable book. It gives due expression to woman’s enlarged sphere of oppor- tunities and duties, and treats in a broad, candid man- ner such social problems as home development, mar- riage and divorce, work and wages, study, hygiene, property, training of children, etc, Mr, Fernald voices the ideas of the average thoughtful man or woman, rather than the extremist. SHORT CUTS AND BY-PATHS. By Horace Lunt, author of ** Across Lots.’’ 12mo, $1.25. **No one can read ‘ Short Cuts’ without feeling re- freshed and inspired with a new love of the beautiful world in which we live—its uses, its adornment and the myriad happy creatures that live upon it,’’—Cot- tage Hearth. THE FIDALGOS OF CASA MOURISCA. By Jutio Diniz, Translated by Roxana L. Dabney. r2mo, $1.50. ‘* An example of the best modern Portuguese fiction, very fluently and very cleverly Englished.”—Chicago Times. ** The directness and vivacity of this tale remind the reader of Jane Austen ’’—Literary World. LAMB'S ESSAYS. A Biographical Study. Select- ed and annotated by ELizapetH Derrinc HAns- COMB. i2mo, gilt top, $1.25 ; full gilt, $1,50. ‘* Every lover of Lamb will prize him more highly after reading this volume, and many, we believe, who have not hitherto fallea under his sweet sway, will count him among their literary friends from the day when they read this bo0k.’’—~Golden Rule. SPARE MINUTES SERIES. 13 vols., r2m0, $1.00 each ; white and gold, $1.50 each. Wise, brilliant, epigrammatic selections from famous and popula writers, such as Kings'ey, Ruskin, Goethe, Macdonald, Gladstone, Beecher, Canon Farrar, Dean Stanley, etc. COMMON SENSE SCIENCE. By Grant AL- LEN. 12mo0, $125. ‘* The object of these little essays is to place before the American readers some of the latest results of modern science, in simple, clear and intelligible lan- guage,.’’—Boston Home Fournal, POETS’ HOMES. Pen and Penci! Pictures. By R. H. Sropparp, ARTHUR GILMAN and others. Two volumes in one. 8vo, cloth, $2.00; white and gold, $2 50. Graphic presentations of the home life of twenty-six of the best known and best ,loved of our poets, with portraits and illustrations. BIRD-DOM. By Leanpegr S, KEysER. 12m0, $1 00. Chapter headings such as ‘‘ Tangles of Bird Song,” ‘“* A Tiny Tilter,”’ ‘* Brilltants in Plumes,” ‘‘ A Spar- row Quartette,’”’ indicate the character of this delight- ful book, in which the habits of birds are described con amore. Introduction by Marion Harland. 1-mo, THE NEW WOMANHOOD. By Rev. J. C.| STORY OF THE UNITED STATES OF AMERICA, Told for Young People. BRIDGE S. Brooks, 4to, illustrated, $1.25. By E.- ‘*Mr. Brooks does not know how to write uninter- estingly, and when he addresses aa audience of young peor he displays the by no means common gift of olding its attention without the use of unwelcome expedients. He has made an old story seem singularly new by his happy faculty for picturesque and enter- taining writing.’’—Srooklyn Times. A LITTLE MILLIONAIRE. By Martua L. Moopey. 4to, cloth, $1.50. Delightfully illustrated by Louis Meynelle. Similar in style to ‘‘A Queer Little Princess,’’ ‘* Little He and She,” ‘* Dollikins and the Miser’’ and ‘** Three Little Maids.’’ A bewitching story of a petted child who had too much money for his comfort, and of the ways he found of spending it on poorer children, making them and himself happier, Its pictures of New York life are vivid and realistic. CHILD CLASSICS. Compiled by Mary R, Fitcn. 8vo, gilt, finely illustrated, $1.5c. Such exquisite child poems as Tennyson's *‘ Lulla- by,’’ Jean Ingelow’s ‘Seven Times One,” “‘ Philip, My King,” ‘‘ What is the Little One Thinking About,” etc., il ustrated by masterpieces of Meyer von Bremen, Correggio, Sir Joshua Reynolds and other famous artists. FAIRY LURE. Translated by Carrie Norris Horwitz. 12mo, $1.50. Famous wonder romances, compiled from German, Swedish and Oriental sources, ** This book itself is a marvel of dainty and beautiful workmanship. ‘lhe illustrations, made to fit the test by L. J. Bridgman, one of our best pen-illustrators, are printed in sepia and add picturesqueness and beauty to this altogether charming volume.”’—BSoston Trav- eller. THE WILL AND THE WAY STORIES. By Jessiz BENTON Fr&MONT. 12m0, $1.00. Stories of Indian life, of ocean dangers, border he- roes, Southern homes, steamboating on Western rivers, and other stirring experiences, told with all Mrs, Fré- mont’s bright charm of language. THE FAMILY FLIGHT SERIES. By Epwarp EverrtTT HALE and Susan HAE. 5 vols., 8vo, fully illustrated, cloth, $225; boards, $1.75. France— } Spain—Mexico—Egypt—and Around Home. © These graphic pen pictures of life at home and abroad charm and entertain, while they furnish a vast amount of information, At the Bookstores, or sent, postpaid, on receipt of price, by the Publishers, D, LOTHROP CO., Boston. WITH SEVENTY CHIEFS AT OSHWEKAN. By Harrier Maxweti Converse. LORA STANDISH’S SAMPLER, By JaneG. Austin. A story of “ ye olden time.” SOME HORSES I HAVE KNOWN. By Maup Howe. An interesting article, With five illustrations. THE SIGN OF THE PROPHET JONAH, The last literary work of ELtor McCormick. IN THE STRAITS OF CAPE HORN. A story of thrilling adventure by Lieutenant-Colonel THORNDIKE, AT RAGLAN CASTLE. A very interesting historical paper by Mrs. F. A. HumPnrey. A VALENTINE FOR A YOUNG GENTLEMAN. By Loutss Imocen Gun_ey. And numerous other stories, poems and illustrated articles, besides the stirring serials, ‘‘ The Lance of Kanana”’ and ‘** Jack Brereton’s Three Months’ Service,” are all to be found in the February WIDE AWAKE. D.. LOTH fw. DEVOr. & CO; FULTON STREET, CORNER WILLIAM, NEW YORK, And 176 Randolph Street, Chicago, II. MANUFACTURERS OF Betiods - 10h «COLORS, Canvas, Brushes, Oils, Mediums, etc. Pastel Crayons and Materials. Enamel Paints for Amateurs. IMPORTERS OF . Lacroix China Paints and Materials, French, German and English Artists’ Materials. TRADE AGENTS FOR : Osgood Royal Worcester Colors and Gold for China. Paquelin (Patent) Apparatus for Pyrography or Poker Work and Materials for the Circular ‘‘Art in Burnt Wood” sent to any address. Priced Lists on Application. For sale at the Bookstores, or sent, postpaid, by the Publishers. for 20 cents. ROP COMPANY, PUBLISHERS, BOSTON (Established, _1877.] OSGOOD ART SCHOOL, Domestic Building, Broadway & r4th St., N. Y. Practical Instructors in all departments. The through course includes Drawing—from Casts, Still Life, Landscape, etc. Decorative Branch. Tapestry in dyes and oils, Screens, panels, etc. Flowers, Figures, and Land- scape, also Royal Worcester Decoration and Dresden Method taught in the china class. Terms :—$1.00 for 3 hour lessons. sons. Special rates by the month. plication. Mention this paper. $5.00 for six les- CircuJars on ap- FRANKLIN ART SCHOOL, 44 WEST 23RD STREET, NEw York: INSTRUCTION IN ALL BRANCHES OF DRAWING AND PAINTING. TAPESTRY PAINTING A SPECIALTY, ORDERS FILLED. CIPHERS. By ELLEN OLNEY KIRK, author of ‘‘ The Story of Margaret Kent,” ‘‘ Walford,” etc. $1.25. A story of New York, full of interest, as all of Mrs. Kirk’s stories are. THE HOUSE OF MARTHA, By FRANK R. STOCKTON, author of ‘* Rudder Grange,” etc. $1.25. One of the most delightful and enter- taining of Stockton’s stories. THE LADY OF FORT ST. JOHN. A powerful novel of New Brunswick in the seventeenth century, by MARY HART- WELL CATHERWOOD. $1.25. COLONEL CARTER OF CARTERSVILLE, By F. HopKINSON SMITH. With illus- trations. $1.25. ‘* The story is one of the most humorous, . delightful and fine-tempered in American literature.” ————E HOUGHTON, MIFFLIN & CO., Boston. It EAST 17TH STREET, NEW YorK. R. BIER’S STUDIO AND ART SCHOOL, The MacIntyre Building, Broadway and 18th S*. Mr. Bier, from the Royal Dresden and Crown Derby Porcelain Works. Competent Instruction in China Painting (fig- ures, flowers and Royal Worcester), Tapestry Paint- ing (dyes or oil) and other Decorative Painting. Contracts for fine Interior Decorations and Art Upholstery solicited, Mr. Biet’s great experience and well-kn-wn worksin Decorative Art willinsure satisfaction to parties desir- ing rea ly artistic Interior Decorations, at a moderate cost, Sketches and Estimates furnished. Genuine Free - hand Miniature Portraits. Inspection of R. Bier’s Exhibition of Tapestry, Porcelain — Miniature Paintings invited: _LSYPHER & CO., sth Ave. and 28th St. References: | MEFANY & CO_, Union Square. R. WALTER SATTERLEE’S Art Classes for Men and Women. Opens Oct. rst., and they offer every facility for those wishing to study trom the model and stillli‘'e—and to those wishing to pursue art professicnally, 52 East 23d Street, N. Y. ORIGINAL SCHOOL OF INDUSTRIAL ART AND TECHNICAL DESIGN FOR WOMEN 134 Fi/th Avenue, New York City. Classes in Practical Design as applied to Carpets. Wall-Papers, and all Art Industries. Pupils can enter at any time. Instruction given by letter Most complete method existing of HOME INSTRUCTION, For circulars and further particulars, address the Principal, , Mrs, FLorENCE ELIzABETH Cory, THE SHARP ART SCHOOL, 744 Broadway, New York. TOP FLOOR. ROOM 18, LIFE CLASS FOR MEN, Mon. Wed. and Fri. Everings. Thursday Evening ie waa kee oe ik Drawing from the Draped odel. Sunday Morning LIFE CLASS, Painting from the Nude Life. Sunday Afternoon HEAD CLASS. Afternoon PAINTING CLASS—HEAD AND STILL LIFE, JOHN S. SHARP, Proprietor, forg Years Presidentand Manager GOTHAM ARTSTUDENTS, Classes in Painting and Photography OPEN FROM SEPTEMBER TILL JULY. Instruction given in Oil and China Painting, in- cluding Royal Worcester and Dresden, and in Photo- graphy. Crsh diese classes in Photography in the Spring. Full particulars on application, Address, MISS NEVIUS, Room 78 Franklin Bldg 186 Remsen Street, Brooklyn, N.Y. CINCINNATI ART ACADEMY. Established 1869. REGULAR TERM: Sept. 14th, 1891, to May 20th, 1892. Courses of Study : Drawing, Oil Painting, Water-Color Paint- ing, Pen Drawing, Decorative Design, Sculpture, Wood Carv- ing, Perspective, and Artistic Anatomy. Tuition Fee $20.00. Special Classes in China; Painting, Etching, and Photography, extra. The school building is large and well lit, and is delightfully located in Eden Park, adjoining the Art Museum, to which students have free access. For further information, address A. T.. GOSHORN, Director Office, Eden Park, Cincinnati, Ohio. PHILADELPHIA SCHOOL ART NEEDLEWORK, 1718 CHESTNUT, STREET. Designs made to order, and embroidery, eccle- siastical and secular, artistically executed on all kinds of fabrics. All materials for such embroic- ery for sale,
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iv. NOTES FROM HERE AND THERE One of Marie Bashkirtseff’s pictures has been hung in the Luxembourg. Doré’s famous collection of relig- ious paintings which for many years has been on exhibition in a London gallery, will be brought to this coun- try and carried about from place: to place if the necessary capital can be obtained. | The Emperor of Austria has built a new palace at Corfu,a striking feature of which is a suite of Pompeiian rooms rich with costly wood carving. The Empress has just ordered a statue of Heine to be put up at the same place. He is to be represented lying on his death-bed with a roll in one hand and a pen in the other with which he has traced the words of his poem, ‘ Was ‘will die einsame Throne?” A Commission of German Archeolo- gists is said to have discovered that seventeen of the mummied kings and queens which have been in the Royal Museum in Berlin, are the produc- tions of a band of mummy makers in Alexandria, A well-known writer on art in dec- oration says, that “red is a rather intense color for a drawing room, and is much better suited for a_ hall.’ Blue he considers proper for a recep- tion room as it is a “cold, negative color,” and yellow is most suitable of allfor a dining-room. “Blues and grays make the complexion look dull and hard, and are therefore to be avoided.” A dining-room with brick colored walls, has little oak galleries near the ceiling which hold odds and ends of pottery and china, and in the evening especially this room is very effective. Large palms in pots which are draped with Indian silk give a very Oriental aspect, which is odd and pleasing. The ladies of a western city have borrowed the idea from Werther’s Charlotte and serve bread and butter at afternoon receptions which they cut from the loaves themselves. This with the addition of jam, is said to be a favorite refreshment with their men visitors. The Chinese method of mak- ing tea requires but one minute. Pour boiling water on the leaves, stir quickly, wait a moment to let it settle, and it is made. If this is done at the very moment the water begins to boil hard, the flavor is much improved. The old motto: ‘* Unless the kettle boiling be Filling the teapot spoils the tea.” is one which must always be kept in mind by the tea-maker, be she mis- tress or maid. Dinner favors consisting of bunches of roses, are so arranged as to forma basket, which does duty as a centre- piece during the dinner, and after- wards is taken apart and presented to the guests. A noted caterer’s rule for serving is this ; that when less than twenty per- sons are to be seated, one table, rec- tangular or round should be used ; if more than this, small tables. [These Notes continued on page ix. | ART SS -=> = £ il i uy) a/y/ ~ ~~ ———> Saaibie. f : ime : publication, Prepared only by “BEST & GOES FARTHEST,” The Standard Cocoa of the World. A Delicious Beverage, Stimulating and Invigorating. PERFECTLY PURE. Van Houten’s Patent Process utilizes in the highest possible degree all the flesh-forming elements, while highly developing the flavor and aroma. Sold in 2-8, 1=4, leZ and I Ib. cans. 0 ..= Van Houten & Zoon, 106 Reade Street, New York, or 45 Wabash Ave., Chi- cago, and a can. containing enough for 35 to 40 cups, will be mailed. Mention — AN Houten & Zoon, Weesp, Holland. INTERCHANGE—-ADVERTISING UTEN \ Kae If not obtainable, enclose 25c. to : ? a : ; DPD Be DDS I D @ ODD DWDDO®D]DeqQ THE Brainerd & Armstrong Company, 625 BROADWAY. MANUFACTURERS OF Fast Color Wash Silks, “ Asiatic Dyes,” Roman Floss, Filo Selle, Twisted Em- broidery, Rope Silk, Crochet Silk, Victoria Knitting Silk. All skeins and spools have guarantee t:ckets on them. Silk Face Fabrics for Decorating. Figured Terry Art Satin, Satin Sheeting and Brocades THE PREMIER CAMERA IS THE BEST IN MARKET. Simple of Manipulation Plates or Films are used The Shutter is always set PRICE $18.00. Send for Catalogue and copy of Modern Photography WE MAKE ALL KINDS OF CAMERAS. ROCHESTER OPTICAL COMPANY 26 S. Water St., ROCHESTER, N.Y > o Ce v Piet a Ay hs * nee “4 % 2 mi) CL Mt 6 \ per Nett! gh wie y i 1 My y 9 er WW Y a a ~ 4 t ——~ 6 1 SN P \ . S r 7; tf Wea u Ni * Y TAS (hes ; 2 ~~, Mf page dal fr N Y ii : b f : } . ) y) “ti »y Y f i x b ," \ > y ; i i \Ey i * Pa yi) ith \ Wad 4 Sx i We NS i ) r } WY ye \ iN ® } Hf ti SS) Fi f . SN | \ a } ) * i i mA 49. > ty N Ny Yu, . . 5 mM Ss ey i Heat SS = y ‘ . . D ‘ ‘ 4 . Ai \ : Yes wr *. : ; "es > . > * i 4 A : \ } AA ‘ . . . b ] . ma APERP UR ae? Ze | 3} i| i} i ~I} / Fit iy i} } > AAS | ie i >) wf } \ x we t 4 / 4} 4} y J . . e . . . e e 9 + * o DRAWING AND DECORATIVE DESIGN. [Illustrated.] The principles of design fuily and clearly explained, with special reference to their fav- orite art handiworks. The best teacher for designing for decorative purposes yet pub- lished. By Chas. G. Leland, Director of the Public indastrinl Art School of Philadelphia, etc. Price, 25 Cents. THE ART INTERCHANGE Co. g Desbrosses Street, New York. JUST OUT! NEW TMlustrated C. atalogue. PART I.—Materials for Painting in Oil Colors. PART II.— Materials for Painting in Water Colors. PART III.—Materials for Pastel Painting | and Crayon Draw-ng. (State which Part or Parts are wanted.) Sent upon application. by HENRY LEIDEL, Manufacturer and Importer. Artists’ Materials WHOLESALE AND RETAIL, The most complete stock in America. gor and go3 Sixth Avenue, (Corner 5ist St.), NEW YORK. Mail Orders promptly attended to, Mention, THE ArT INTEKCHANGE. Ss ‘GOLDBERG, IMPORTER AND DEALER IN Artists Materials, 285 Sixth Avenue, New York. Glass Screens $1.25, $1.50 and $2.00 each. China for Decorating, New Shapes, Dresden Matt Gold 80 cents per box. Cooley Matt Gold, 80 cents per box. China Colors and Materials of all kinds. Tapestry Canvas at go cents, $1.00 and $1.25 per yard, Send for New Catalogue free by mail. S. GOLDBERG, 285 Sixth Avenue, New York. JOHN CHADWICK & Co. New York, 16 East 18th Street, Importers of Antiques—Carved Oak, and Old Mahog- any Furniture, Old Brocades, Antique Silver, Tapes- tries, Spanish, Moorish and Portuguese Pottery, etc, NO CATALOGUES. this is the LAKEWOOD, GREAT PINE BEL the Physicians and inhabitants, You cannot locate in a superior place. You cannot make a better investment. and Daily Mail. ELEVAOLR ENTRANCE ON PARK PLACE. swamp land in the whole township. with ben- 9 efit the most delightful climate, rivals Florida in all respects : It has no equal asa HEALTH RESORT. Over 2,000 lots have already been purchased by promi- nent people of New York, Boston oe Philadelphia. but if you do within this year, we will return you every dollar you. pay us. LOTS free and clear, rapidly, from $25 per lot to $200, according to location, and will accept payments WEEKLY OR MONTHLY TO ALLOWING A DISCOUNT OF TEN PER CENT, FOR CASH. During this month we give ONE LOT FREE OF CHARCE to the purchaser ofevery three adjoining. | | DON’T HESITATE ! The New through the property with aSTATION ONTHE GRO No one else can offer you a superior location, so take advantage of this opportunity while it lasts. as the lots are rapiJly increasing in value, N. B. These Lots are free and clear of all incumbrances. FOR FURTHER PARTICULARS CALL ON OR ADDRESS, PASADENA, ROOM A., 239 BROADWAY, NEW YORK. A WINTER HEALTH RESORT NEAR HOME, OR Nature’s Sanitarium, CAN POSITIVELY BE FOUND AT PASADENA, OCEAN COUNTY, NEW JERSEY. Which is prove by the State Geologist’s report for the State of New Jersey, which shows you that HIGHEST ground between Sandy Hook and Cape May (roo feet higher than famous Winter Health Resort) with not an acre of It is in the heart of the ith h h SEA AIR, Winds: PASADENA, and is so indorsed by the most eminent of YOU ARE NOT OBLIGED TO BUILD, We are selling VILLA SUIT, INVESTIGATE ! ersey Southern Railrcad runs direct] NDS. We also havea POST OFFIC Titles perfect and Taxes Paid.
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ART INTERCHANGE-ADVERTISING v. THE LATEST AND BEST BOOK ON CHINA PAINTING. & Fifth Enlarged Illustrated Edition of the Osgood Art School Practical Elementary Hand-book, bound in + H k S i UD | () H | N A kK] L- N flexible cloth covers, 200 pages. Price,75 cents. Now Ready. . HOW TQ APPLY MATT, BRONZE, LACROIX, DRESDEN COLORS AND GOLD TO CHINA. A Complete and Reliable Guide for China Painters, especially those who are working without the aid and advantage of a competent teacher, and are obliged to depend upon books for self-instruction. Speciat Directions (all of which have stood the test of practical use) are given for Mrx1tnc Coors and Rewier Paste, Grounp LayvinG, GILDING, FrrinG, etc, Calling attention to the principal difficulties, it tells how toremedy them. To make the explanations as comprehensive as possible, several illustrations have been prepared for this edition, coasisting of fourteen original designs fora FisH Sat, with mosses, shells and fish beautifully arranged. A BonsoNNIERR, decorated with Dresden figures and flowers. PLatTe with wreath of roses. Design in Orchids, for Royal Worcester colors. The treatment is given with each illustration, including flowers and fruit inthe Lacroix colors, and explained in a clear and concise manner, making the book invaluable for reference and indispensable to the decorator of china. Endorsed by the leading art journals, teachers and china painters. SY Fig in ee Sow2 strictly reliable china painting specialties, thoroughly tested by daily use in the Osgood Art ||| NS Sal TEES re HI I il / School, and warranted to give satisfaction : ' ee *e m Hil AN HH | | : as a i Osgood Art School, Royal Worcester, Matt and Bronze Colors, 277 eee ee ee eee to produce ) u a i the soft, rich coloring of the Worcester, Doulton and Crown Derby decorations. The Bronze Colors are li | | a HU 30 cents to so cents each. For removing color from tinted grounds. Does its work quickly, leaving the Osean Art School Tar Paste, design in white for painting, with full directions. 25 cents per bottle. superior in quality and durability—absolutely the best in the American market ; Ospood Art School Gold, finely ground and prepared upon glass palettes; can be either burnished or polished. Put up in boxes with full directions for use. Matt or Burnished Gold, per box, $1.00 ; Hard Unfluxed Gold for overcolor exclusively, $1.00; Green, $t.co; Red, $1.00. ; an ‘| to thin Matt and glaze colors for grounding and painting. One Oseood Art School Finely Prepared Tinting Oil ounce bottle, 39 cents. Of the very dest guality, and prepared with judgment. Will work equally well with a/7 ceramic colors. Hil particularly adapted to meet the present demand for reliable colors in decorating table pieces, In vials from ih j a All the Osgood Specialties, including Relief Enamel Colors, Practical Working Designs in Color (hand-painted) and other materials for china painting, in addition to the above, are for sale by first-class Art Booksellers, Newsdealers and Stationers. Send for complete price list and mention this magazine. OSGOO D A RT se H OO b For Firing Aas China with Natural or Artificial Gas or Gasoline. Corner Broadway and 14th Street (Domestic Building), N.Y. | No matter how poor the Gas ; how high or low the pressure, we guarantee ; success. ‘* Not a toy but a practical Kiln. An assured success, Has never failed to give satisfaction.” Mm tf . WYNNE, | MADE IN SIX SIZES. 6s EAST 13TH STREET, COR. BROADWAY, NEW YORK. Guaranteed to fire China successfully and without any discoloration from fuel used. ‘Thousands in use, and not a single failure. Ww Directions for firing furnished with each Kiln sold, by which any amateur can fire it SOMETHING NE : successfully, without any previous knowledge of this branch of the work. Send for descriptive leila tthe niaoenanintiicinees circular. : ADDRESS PYROGRAPHY OR BURNT WOOD ETCHING. THE VULCAN MACHINE, PRICE $5.00 EACH. Hand-book on Pyrography by Mrs. Maud Maude. Price by mail, 50 cents. Samples of this work now on exhibition. TH E M ONTH ay ARTISTS MATERIALS. WINSOR & NEWTONS GOODS A SPECIALTY. [ LLUSTRATED TAPESTRY PAINTING MATERIALS. The Richest and Cheapest A M Now ready, the revised edition of the hand-book ‘‘ How to Paint Tapestry,” price by | Illustrated Magazine in the World. E R ] C A N miil, 50 cents, containing many new suggestions to the amateur on the steaming of tapestries. We are headquarters for A. Binant’s Wool, Linen and Silk Tapestry Canvas, B. Grenie’s ONE DOLLAR Indelible Tapestry Dyes. Special Medium and Brushes, Bolting Cloth, Moleskin, etc. De- signs and enlargements of suitable subjects for Tapestry Painting. Painted subjects by the l:very number contains no Jess than 32 pages best artists to rent for copying. of selected matter on the following CHINA FOR DECORATING. F. A. WILKE, Richmond, Indiana. The largest and best selected stock of any house in the United States. We have a standing order abroad for the latest novelties in Bric-a-Brac China, and receive a fresh im- portation weekly. A full line of Belleck and Ivory White Ware. Our new illustrated cata- lozue of china, containing 1,000 illustrations, sent free upon application, GOLD AND BRONZE FOR DECORATING CHINA. We make our gold in the following colors : Roman or Matt, Green, Red and Hard Gold for over-color, Burnish Silver, also Copper and Green Bronze, Matt Colors for Royal Worces- ter, in all the different tints—these colors are carefully ground and are ready for mixing— Royal Worcester Ground, in bottles ready for use. A full line of Lacroix colors in tubes and all materials used in the decoration of china. China fired on the premises. Mail orders receive our best attention. Careful packing, prompt shipment. Current Events. Art. Science. Fiction. church. Home. Theatre. Army. Navy. {umor. Sport. Travels. ~amous Men and Women. ) ALL PROFUSELY ILLUSTRATED AND TRANSPARENT S TAINED ARE: $ A OYEBAR. $ A YEAR. SPECIAL DESIGNS MADE. gle’ p Jaa See GLY CERINE SOAPS. Send two 2-cent stamps for Colored Catalogue aieall Rapes a E ACH. ta Ioc. bb AL ae THE FINEST TOILET GOODS IMPORTED ALFRED GODWIN, 1325 Market Street, Philadelphia, Pa. Copyrighted, A subscription to the ‘‘ Monthly Illustrated American” is the cheapest investment Messrs. Lechertier, Barbe & Co., of 60 Regent ever offered to the American public. Street, London, W., are wholesale agents for Messrs. F, W. Devoe & Co., Fulton Street, | the sale of ART INTERCHANGE colored studies CANVASSERS WANTED IMMEDIATELY. New York, are sole agents for the sale of THE | in Great Britain. This firm carries in stock a Commissions to Canvassers from 20 to 50 per cent. Write for particulars and sample copies. ArT INTERCHANGE colored studies in America, | full line of our studies and the foreign trade is The artist material trade is referred to them. referred tothem, | ) THE ILLUSTRATED AMERICAN PUB. CO., Astor Place, New York City.
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ART USE PURE GOLD Will you try, FREE, a sample of our Ceramic Gold, equal in quantity to any HALF DOLLAR box sold by dealers, and guaranteed ABSOLUTELY PURE? YOU WILL ASK why we make this offer. WE ANSWER: In order that you may avoid mistake in the future, and refuse to accept any of the inferior Golds now being sold, which on trial you find full of alloy and so disappointing in results, USE ONLY CERAMIC GOLD MANUFACTURED BY T. A, WALTER. ROMAN GOLD. This Gold is guaranteed absolutely pure and the best for use on the white china. It can also be used on all light tints, but is not quite as good as the Special Roman Gold for the heavier colors. Large box, sn pti 2) Sane 3 ek RE ie ee Se ee Price $1.00 SPECIAL ROMAN GOLD. This Gold is made for use over colors of all kinds, but must not be used on the white surface. Large box, - - = - =. = - - - - - Price $1.00 GREEN GOLD. This differs from the Roman Gold in having avery pale greenish tint, and contrasts with the Roman and Bronze Golds very nicely in Royal Worcester decorating. We also make a special Green Gold for use over colors. Large box, te ae el ae ow ae Peat tS awe ee Co a LIGHT AND DARK BRONZE GOLD. This, as the name indicates, is of a Bronze color, and the best imitation of the Roal Worcester Bronze now in the market. Large box, - - - ~ - - ~ - - ~ - RED GOLD. This Gold is of a Reddish color, it being used mostly for backgrounds, or necks of Vases, Handles, etc., and a pattern of Roman Gold put on over it making a very beautiful finish. Large box, - - = - = ~- - - = - - Price Price $1.00 Price $1.00 $1.00 In order to introduce our Ceramic Gold to new friends, we have arranged with the Publishers of THE ART INTERCHANGE to send, for thirty days, to such of their readers who do not already know of the high qualities of Walter’s Ceramic Gold, their choice of any ONE (ONLY) of our large size One Dollar boxes of any of the above Ceramic Golds, on receipt of HALF THE PRICE, Send fifty cents, either Postal Note or Stamps, and will send, postage paid, a trial box of Ceramic Gold, which we guarantee to be the One Dollar size, and which may be returned if not found to be of the very highest quality, and the money will be refunded, REMEMBER, but ONE BOX will be sent to each new customer. CEREMIC GOLD Works OFFICE: COR. BOYLSTON AND TREMONT STREETS., BUILDING), BOSTON, MASS. T. A. WALTER, General Manager. IMPROVED PALETTE CUP. (PELHAM ~~ lhe great advantage i” of this cup over the old style is that from ARTISTIC GILDING the shape, the con- tents will not be easily AND spilled when the cup is in use on the palette ; all impurities will settle into the hollow of SATISFACTORY FIRING the base, and the cup can be! GyaRANTEED AND PROMPTLY EXECUTED. easily cleansed ; also the fur- ther convenience of a tight cover. If your dealer does cents for a sample.—N. Materials 1380 B’way,N. Y. COLORS of every make, DESIGNS and all other MATERIALS for CHINA PAINTING always in not have it, send 15 ock, MONTROSS, Artists Send Two-cent stamp for our new tllustrated Catalogue of colored studies. THE ART INTERCHANGE Co., 9g Desbrosses Street, New York, Leopards oars OV Ces; if aiyt! yor's-Ocelots: “a others ¢ OF Ur the mince iounted.al Snouited J sasniepehe, ds collection~ term. thing languiges; which there are more than 8,090 in all. ’ reader wants.’’ 4 eathye ae Sons ye N Ve ~° INTERCHANGE-ADVERTISING 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 SOZODON7T is annually sold than of all other dentifrices and tooth-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 Deale: s. Cour Colored Studies a = iy i, CHRYSANTHEMUMS, WINTER, By Lida Clarkson: ROSES, MOONLIGHT. Size of each 744 x10 inches. Price, 10¢. each. SPECIAL OF FER: Wewill send you these four COLORED STUDIES, and a sample copy of INGALLS’ HOME AND ART MAGAZINE, all at 8 two-cent stamps (16 cents). Address J. F. INGALLS, Publisher, LYNN, MASS. Box B. WESTERN DECORATING WORKS CHICAGO, ILLS. THE LATEST NOVELTIES IN Fine Table China AND Art Pottery of all countries constantly received. Send for Illustrated Lists. Also Catalogue of MAT’! WAX COLORS & GOLDS of ourown manufacture. GCRUNEWALD & BUSHER, 331 WABASH AVENUE. THE CENTURY DICTIONARY which the publishers of ‘‘ The Century Maga- zine”’ have labored ten years to produce, is more than a dictionary in the general acceptance of the It is an ‘‘ encyclopedic lexicon.” That is to say, in addition to defining 215,000 words (a larger number than was ever before catalogued in an English dictionary) it gives, in every case that permits of it, a description of the ee eee of which the word defined is the name. Thus if we turn to any noun we shall find following the proper entry of the word a second spelling showing the manner in which it is pronounced; an etymolozy giving the derivation of the word and its equivalent in various then the definition (usually accompanied by illustrative quota- tions from standard authors) of the word itself, or definitions if it has more than one meaning—and of some words The Century Dictionary gives as many as forty or fifty different definitions; and finally a brief and concise description of the object of which the word we have been considering is the name, this last being acc »mpanied, in many instances, by an illustration, of The Pittsburg Dispatch says: ‘‘ The Century Dictionary is the first to give the sort of definition that an intelligent then Every lover of good b voks will be interested in th: larg, hin isomzly illustrate 1 pimphlet which the publishers have prepare 1, containing full-siz2 s92cim tn pages of the Dictionary, a des cription of the work, list of contributors, etc. Send five tw»-c2nt stamps for a copy of it. THE CENTURY CO., NEW YORK Address A honic HORSFORD’S ACID PHOSPHATE, A most excellent and agreeable tonic and appetizer. It nourishes and invigorates the tired brain and body, imparts renewed energy and vitality, and enlivens the functions. DR. EPHRAIM BATEMAN, Cedarville, N. J., says: 3 “TI have used it for several years, not only in my practice, but in my own indi- vidual case, and consider it under all cir- cumstances one of the best nerve tonics that we possess. For mental exhaustion or overwork it gives renewed strength and vigor to the entire system.” Descriptive pamphlet free. Rumford Chemical Works, Providence, R. I. Beware of Substitutes and Imitations. CAUTION: Be sure the word ‘“ Hors- ford’s’’ ison the label. All others are spur- ious. Never sold in bulk. ALK vl ain E ms A . sy yi ART WORK. AN ARTIST DOUBLES HIS INCOME when he doubles the excellence of his work or increases his output in the same proportion. THE AIR BRUSH saves half an artist’s time in finishing, besides doubling the value of the pict- ures. It is an art tool that blows color upon the receiving surface, and its work is indestructible. Crayon, ink or water color artists find it invaluable. A description will be very interesting to those who have not seen it. Write for a catalogue to the AIR BRUSH MAN’F’G CO., 65 Nassau Street, ROCKFORD, ILUL.,, STATUAR Plaster Casts for Artists omehacguee ree ALT STUCIES C. Hennecke Co., Milwaukee Wis, ind 297 Wabash Avenue, CHICACO. “ All she lacks of beauty is a little plumpness.” This is a frequent thought, and a wholesome one. All of a baby’s beauty is due to fat, and nearly all ofa woman’s—we know it as curves and-dimples. What plumpness has to do with health is told in a little book on CAREFUL LIVING; sent free. Would you rather be healthy or beautiful? “Both” is the proper answer. © Scott & Bowng, Chemists, 132 South sth Avenue, “> —_ . our druggist keeps Scott’s Emulsion of cod-liver oil—all druggists everywhere do. $1. 3 ee : Busts and Bas-Reliefs for Decorative Purposes, FREE 2000 Sty.es. Pamphlet sent
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She Art Interchange : Ki | ity s w 4 4 / * ae) | 4 \. yl ih y/ 4 ul | HANS | Zz. lui, us i" , Cpe / Uy J Z Ai) lj tf) BE / Yy thy C4 fi iy LA 4 i) } For there’s one word that thou cang’t speak Co me, thp Datentine, 7€ would make me richer than a hing— 7€ would make the whole world mine,—Zearned. 33
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Ae ART. INTEREHANGE AN ILLUSTRATED GUIDE FOR ART AMATEURS AND STUDENTS, WITH HINTS ON ARTISTIC DECORATION VoLt. XXVIII. No. 2 THE ART INTERCHANGE Established in New York, September, 1878 MRS. JOSEPHINE REDDING, Editor, New York, U.S.A MODERN GERMAN ARTISTS [Third Paper | Series begun December, 1891 y Lp PEN PORTRAIT OF WILHELM DIEZ HE pictures by Ludwig Knaus are so well known in Amer- ica that I hesitate writing : much about their creator. DE To those who do not know the originals, however, a short sketch of his work and career may not come amiss. Knaus was born at Wiesbaden, of very poor parentage, 1829. His talent as a child was discovered by an old Munich painter then resident in that city, who gave him instruction in drawing gratis, charmed with the lad’s eagerness and rapid progress. | When sixteen years old he went to Diisseldorf and entered the Academy there under the religious painter Schadow. —His realistic tendencies earned him the intense dislike of his teacher, who pronounced him talentless. Knaus thereupon left the school and city in dis- gust, and spent half a year in the coun- try, ‘‘drawing and painting everything that passed before his eyes.’’ Returning to Diisseldorf (1850) he painted a large picture with numerous figures, represent- ing a village picnic or kirmiss, This NEW YORK, FEBRUARY, 1892 work and several others which followed in quick succession made him famous throughout Germany. In 1852 Knaus went to Paris for a short visit of three weeks. He remained eight years, during which period all the exhibition medals obtainable were given him, his fame became world-wide, and seven years later he was made an officer of the Legion of Honor. ‘There appears to be nothing which this artist cannot paint and paint well. He is a fine colorist and decidedly healthy in his manner. Painters are rare who succeed in thor- oughly pleasing the masses without sacri- ficing all-important artistic excellence, Knaus, however, accomplishes this. Re- productions of many of his pictures may be found in any dealer’s window. The name of Wilhelm Diez always sug- gests delightful memories to the art-lov- ing Germans. Unlike any of his note- worthy contemporaries in subject and treatment, his pictures are eminently mas- terly. He is forceful and refined as a colorist. The rendering of his subjects is invariably strong, whether it be a party af) ' 5 | 4\* ' ay eM, re 4 With ~-Supplements; three in color; one in black and white, and one J in sepia. The colored supplements are ‘*‘ Jack,’’ Irish Setter; An Autumn Afternoon; Decorative Bird Study. have succeeded in painting a laughing woman as has Diez. ‘The humor in some of his pictures is irresistible. I regret that a photograph of one of these, exhib- ited at the Munich International Exhibi- tion of 1889, was not obtainable for this ar- ticle. A party of mounted sixteenth cen- tury highwaymen have robbed a fat priest, who piteously weeps on the ground, rub- bing his broad back to ease the pain in- flicted by the stout horse-whip that dan- gles on the leader’s wrist. The latter raises his hat to the half-prostrate victim, while a youthful, big-fisted rascal leads off the old priest’s donkey, which is heavily laden with all sorts of good things for the inner man. ‘The attitude of the leader’s horse in cleverly observed. You imagine him wondering what the priest has done to merit the thrashing as he glances at him out of the corner of his eye. The grin on the other horse- man’s face as he looks back is delicious. Many of Diez’s pictures show an early influence of old Dutch masters—Brou- wer, Rembrandt, Wouvermans—in color. The excellent wood-engraving of his old market woman shows his treatment very well. Prof. Diez was born in Bayreuth, 1839. He never, practically, studied in any art school, having spent but two weeks at the Munich Royal Academy. When still a comparatively young man, a number of illustrations to Schiller’s ‘* Thirty Years’ War”’ from his 4 ra PEN PORTRAIT OF LUDWIG KNAUS of sixteeth century marauders, a regi- ment of drunken, ill-clad peasant soldiers, a sixteenth century wedding-feast, mar- ket scenes of the same period or an old- time cavalier making love to a strapping, red-handed, laughing country girl. Few hand won him universalesteem. Several of these, when studied to-day, prompt a strong inclination to a comparison with Rembrandt etchings, so rich are they in effect. The pen-sketch reproduced by us is a good example of his later work.
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Diez was made a professor of the above- mentioned Academy in 1871, which po- sition he now holds. Otro TOASPERN (To be Continued) A DAY WITH MONSIEUR SCHENCK IN ECOUEN IKE many other Americans, I have long been an admirer of M.~ Schenck’s excellent pictures. He is a German of the Germans, having been April 23, 1828, ,at Gluckstadt, born AR A INTERCHANGE their own countrymen, have never treated him fairly. The French will tell you al- ways that he is an intense German-lover and favored his country in the late war. Be this as it may, it is a fact that the feeling against him has excluded his paint- ings from the Luxembourg Gallery of modern masters and retarded the fame which he has justly earned and will enjoy when time has dulled the force of to-day’s national and artistic jealousies. In the meantime, we, as Americans, can congratulate ourselves that the artist considers himself best appreciated in our country. Perhaps it is not generally known that, with the exception of a few 35 rade, with almost all the great artists of Paris. Soon after coming to Paris, I had the good fortune to become acquainted with M. Schenck. Personally, he remind- ed meof a daylatein March. Bright, in- vigorating, rough, perhaps, but with genuine spring warmth and gentleness un- derneath. And as such days evolve the early flowers; so, I have heard, he de- velopes the hopes of the pupils he takes from time to time, at rare intervals. <A blast of criticism, then a smile of encour- agement. Such weather is equally good for flowers and pupils. When I was invited to join a small party of friends to visit his. studio and Holstein. He studied in Paris, under Cog- niet, and has taken medals at Paris in 1865, and Philadelphia in 1876. His genius as an animal painter is universally acknowledged; even the French will grudgingly admit it, although as a people they consider themselves his natural ene- mies. This being the case, it seems strange that he has lived in Ecouen, a suburb of Paris, for forty years past. He holds that the French critics, jealous for RETURN FROM MARKET {Reproduced from an engraving by Knesing after a painting by Wilhelm Diez] pictures, the Catherine Wolfe collection in New York City (now the most attrac- tive feature of the Metropolitan Art Museum), was selected by him for Miss Wolfe. His great picture of ‘‘ Sheep ina Storm,”’ is one of the gems of that collec- tion, Other valuable collections. and in- dividual pictures have been selected by him for American purchasers, by whom his judgment is highly valued. He is al- so on excellent terms as friend and com- home in Ecouen, I joyfully accepted. There were four of us going out from Paris, and so busy were we with our talk and laughter that we were all surprised when the guard called ‘‘ Ecouen.” The day was clear but unusually cold, with occasional flurries of snow. Preferring to walk we set off down the road, and soon discovered our host walking to meet us. He greeted us in his hearty way, and guided us through the village to his
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ART -ENSFERCHANGE %G ‘ § 4 4 A SHREWD BARGAIN [After a painting by Ludwig Knaus]
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37 INTERCHANGE ART THE LITTLE SHEPHERDESS SILVIA,
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38 studio. The village itself was full of interest. A fine old chateau crowns the neighboring hill, and the vistas at every street corner were such as artists search for. Turning down one of the most picturesque streets, our artist friend stopped before the door of his stone barn studio, the fame of which had reached me infar distant America. He fitted aregu- lar Blue Beard key into the broad, low door, and, swinging it wide open, bade us enter. His invitation was character- istic. ‘‘Go in, goin, but don’t be star- ing around; first get warm by the fire. You shall see everything in time.” The building was divided into two great rooms connected by a wide doorway. Their height was equal to that of two or three ordinary floors. The rafters of the roof served as a ceiling, the walls were coated with rough plaster. On easels leaning against the wainscot, tied together by the half dozen, were canvases of all sizes; many covered thick with dust. Nothing in the way of ornament was attempted. A few dilapidated chairs, and an ordinary-looking table made up the items of furniture. Everything else was strictly for business, including casts, many of his own modeling, which hung or stood everywhere. Half a dozen stuffed crows lay about, and a full sized lamb peered, ghostlike, from the shadow of a huge canvas. I had heard of a wonderful turkey pict- ure to be seen here, and soon recognized it. ‘‘ That picture has been described to me, Monsieur,” I said. ‘‘Do you not call it humanity?” ‘‘ Yes, yes,” he re- plied, ‘‘my pictures are all humanity. Now, there’s a flock of white turkeys and another flock of black turkeys and a black gobler and a white gobler fighting. The white turkeys are to represent the careful school of painting. ‘The black are for the impressionists. You see the white gobler is giving the other a terrible licking. That means that the careful school is bound to conquer. See?” Turning to one of his pictures of sheep lost in the snow, he continued. ~‘‘ There are those poor sheep huddled together, freezing to death; no chance; and those crows are watching, waiting to eat them. That’s humanity, too. Human birds of prey are like that, haunting the unfortun- ate.”’ We spied the often copied pict- ure of geese peering at a sketch, which an artist has left standing in the field. ‘*Yes, you have seen the copies, eh?” You know what that means? Well, they are the French critics criticising my work. If you will notice, the picture on the easel there is one of my sheep pict- ures, the geese are, of course, the crit- ics. The one strutting so on the left is Meissonier. Ha! ha! that picture made a stirin the Salon! I calledit ‘A Study of Geese’ but they knew what I meant.’’ ‘*You were brave, Monsieur, to send it.” ‘*T, why so? I care not for them. Bah! I do my best, I can do no more. Let them talk.’”’ One of the ladies re- marked ‘‘I heard that you painted only sheep.” ‘‘So that’s what they say of Schenck,” he replied. ‘‘ Well, you have seen my other animals all about you! And look here. I don’t show this often; it’s the kind of thing I used to dream of.” He took from the corner a dusty roll of ~ garden. ART DRT ERCHANGSE canvas, and spreading it on the floor, revealed the first careful sketch of an ambitious figure picture, exquisite in de- tail and strong in design. Hundreds of human beings, and many animals figured in the scene. We all exclaimed in sur- prise and admiration. ‘The master laid it away witha sigh. ‘‘They say I paint sheep,—so I do. I lost my fortune,— people want sheep,—I paint them.” We were surprised at his knowledge of English; he told us, very simply, that English was one of nine languages famil- iar tohim. ‘‘Why do you not come to America ?”’ we asked. ‘‘Come and live where you sell your pictures.” ‘‘I thought of it once” he replied, ‘* but my friend, John Jacob Astor,—you know John Jacob ?—well he said,—‘don’t you do it, Schenck. Don’t come to America. I'll tell you why. The American man at home is a business machine. He has no time for pictures; it is money,—money, —and he doesn’t want to spend it either. When he comes to Europe, he begins to think of Art; then he wants Art; then he buys pictures.’”’ When we left the studio there were still hundreds of canvases unseen, but M. Schenck had said his wife would be ex- pecting us, and we could not ask to stay longer. Wewalked a short distance up the picturesque street, and entered an un- assuming building through a _ passage which ended in asquare open court, on which opened the house doors. On one side isa gate leading into an extensive ‘‘Tf it were summer,” said our friend and host, ‘‘you should see my roses,—hundreds of varieties. They say, ‘never a rose without a thorn’—I have one. Madame Schenck has _ her dogs, cats, birds, and what all,—I have roses.”’ Madame’s dogs came crowding about us and a throng of less demonstra- tive cats stalked at a little distance,— half. a dozen silky white _‘‘ Angoras,”’ watching us lazily with their keen lumi- nous eyes. Indistant aviaries we caught glimpses of birds of all colors. . What most interested us, was the artistic har- mony prevailing.* A privileged parrot associated complacently with the long haired pussies, his crimson and. green contrasting strangely with their milky whiteness. The cats, in turn, frolicked with the dogs, big and little; or curled up beside them on the door step. We learned later that tender hearted Madame Schenck brings home any maltreated ani- mal she finds, to recuperate in her well- cared-for animal family. An elaborate dinner awaited us, which was partaken of with the best sauce,— conversation seasoned: with laughter. The latter was heartily evoked by Polly who was called tn and danced for us in a most fantastic manner. Later, we were called to see the cats fed,—I doubt if we shall soon see another such a row of silky tabbies as were together on that one little shelf ;—there were eight white ones, and a ninth jet black; all gracefully pawing the air, impatient for their dinners. Limited time forbade our seeing many nooks of this quaint house, and the own- er’s extensive collection of pictures, or catching more than a glimpse of the fam- ous rose garden. We said good-bye at the house to Madame, and her pets, but our host ac- companied us to the diligence office. He was at the stage door to the last moment, shaking hands and repeating his hearty ‘*Good-bye,” ‘‘God bless you,” leaving us with delightful memories of a charm- ing host. E. H. LONDON LETTER WomMaAN AS A. Poetic IDEAL—AS A PAINTER.—FLOWER PIECES BY WOMEN THAT REMIND THE OBSERVER OF THE SATIN AND VELVET FLORA OF OUR GRANDMOTHERS.—THE FuN PROVOK- ING QUALITIES OF THE LONDON ART CATALOGUES, — LITERARY METHODS OF THE ENGLISH ART CRITIC ANENT CaROLUS DuRAN’s, OPHELIA—VALUE OF A FETCHING TITLE—THE OMNI- PRESENCE OF THE CAT IN LONDON PICTURE SHOWS eloquent mouthpiece in Lon- don, Frederick Harrison, in- sists that women should be a poetic ideal, not a potent They hang a copy of the Sistine fact. Madonna over all their altars and point to that footless, bloodless, organless and likewise wingless creation of the human imagination, and declare that thus should be the ‘‘true woman,” the ‘‘ideal”’ of our sex in man’s eyes and life. Evident- ly our Creator had other ideas. So evi- dently have women themselves. If, ac- cording to Comte and Frederick Harri- son, God had made us to be pictures and not much else, women would certainly not be painting pictures at the rate they are painting them to-day. It would not happen, as it happens now, that of the two hundred and sixty pictures that com- pose the National Art Exhibition of New South Wales, where only so lately have been no artists at all, seventy-one are the work of women. It would not be as it is, that in the numerous exhibitions open in London this winter, women are numerically strong, and their work good in its way, although that ‘‘ way”’ is still a somewhat limited and timid one. Wandering by the hours through these exhibitions some notes have been made which may be of interest to women artists and students in America. Perhaps almost in the first place comes a consideration of the value set upon woman’s work in the chief capital of the world. With this consideration two exhibitions become of more interest than the others. One is the British Water-color Exhibition at the Japanese Gallery in New Bond street, the other, the annual exhibit of the Royal Society of British Artists in Suffolk street. In the first of these, twenty-seven out of one hundred and twenty pictures are con- tributed by women, that is, by ten women to thirty-three men, to the other exhibi- tion six hundred and twenty-four men contribute to about one hundred and five women. In the ‘‘ Japanese Gallery” the cata- logue gives both the prices and the di- mensions of pictures. . This collection is a modest one in every respect, but none the less, rather the more interesting for
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that. It does not bring together any dazzling array of distinguished ‘‘ arrivés,”’ but with canvases by Sir James Linton, Glindoni, Rooke and others exhibits the work of many promising young artists, those of the rank and file, such as help fill our own exhibitions, and that always make the ‘‘dear old Dud” one of the favorites of London. Noticeable among these is the work of a young girl of twenty, a student still, but already pro- phetic of afuture. She, Miss Kilpatrick, sends four water color drawings of har- bor-scenes and waterside buildings, with boats. She has never studied elsewhere than in England as her work distinctly shows, not to its disadvantage, for nowhere are better water colors than of the English School, whatever we may say of British oils. Miss Kilpatrick has faults of technique, but not glaring ones, and as yet she has only the small reputa- tion of an exhibit of four pieces in this gallery. Her work is pleasing; atmos- phere and distances well expressed, fore- grounds strong, and treated with pic- turesque realism. ‘The tones are some- what low and cool with vivid dashes of color tellingly distributed. Reflected color in transparent depths of water she treats admirably. not a ‘‘trick ”’ about it. One of the drawings, 13 x 20 inches, with wide plain frame, is marked 10 guineas. Another of the same size is marked 12 guineas. A group of fishing boats, deep orange and crimson sails (more imaginative of color than English) against a white sky and a prismatic headland, is 13 x 8% inches, and is marked £7 tos. This artist’s work is seselected for mention because it represents the average value, in a commercial sense, of the work of promising beginners. Of these four drawings, two, the highest priced, were sold before the press view; the other two have been sold since. A sister of this artist also sends four draw- ings. They are lower in tone, more dreamy and pensive of character, as good but less striking than hers, although perhaps more attractive to those who prefer poetry to even illumined facts. They are much the same subjects; as if the sisters painted together, and of the same sizes, have brought the same prices. Upon pictures of the same size but less work by Sir James Linton, President’ of the Royal Institute, the price-mark is £150. Of the women of this exhibition only two send flower pieces. Only one of the two sends flowers only. The highest price asked for one of these is ‘‘A Bit of Gorse,” 8% x 11% inches—a clever bit of dash rather than finesse, marked (with frame) £18. The lowest price of the whole exhibition is £6 affixed to several drawings by women. The highest reached by a woman in actual figures is £37 10s., for 254% x17 inches, of the oft painted ‘‘ Villa Wolkon- sky, Rome.” Although ‘‘The Market Cross, Chichester” (1234 x 10 inches) is valued at £26 5s., and is excel- lently done although not picturesquely chosen, All the exhibitions show that women’s work brings lower prices than men’s, unless the woman be distinguished. Clara Montalbas’s work brings rather higher prices than her sister’s; Mrs. Al- It is all honest work, ART INTERCHANGE lingham sells everything for what she chooses to ask. In the exhibition of the R. S. B. A, it is not possible to give so good an idea of prices, from the fact that dimensions are not given. Flower pieces are quite numerous but perhaps not in larger pro- portion to the number of pictures. They are mostly of a mild character, very much out of the atmosphere of actuality, some of them definitely reminding one of the satin and velvet flora of our great grandmother’s time. Some of the stronger ones are charming bits of decoration, but are not real either in color, texture, or expression. The usual tiny glass holding a single spray or stem is conspicuously frequent, usually far away from the spec- tator in a conventionally artificial sphere of their own, and giving the impression that some cold hard medium comes between us and them, like wintry air. Dutch flower painting at its apogee had this same chil- liness and hardness. ‘This labored, con- scientious, timid work in flowers is con- spicuously numerous. Bold work, _re- quiring wide space to give the magic point of view at which paint and brush work melt into nature’s own guise, are rare, The catalogues of London exhibitions are always delightful reading. AnR. A. catalogue read in a prison cell would call up rare visions. ‘The most prosaic of kitchens can be opened by means of one, into exquisite vistas of romance. What- ever Englishmen may do, or fail to do, in their pictures, they always give imagi- nation the right of naming these pictures. The uninitiated public usually supposes pictures painted to describe subjects. Few know that the picture is usually painted entirely apart from any idea of a given sentiment, and that naming the picture is often the very last thing done for it before the exhibition. In fact many a picture is unnamed, or its name changed after it is hung. One woman artist, in fact, often calls in her friends to help select a title for her finished pict- ure. Englishmen being painters of sen- timent, insisting that painting is only one expression of universal poetry instead of being poetry itself as Frenchmen claim, often give lines from well-know poets, or verses of their own to their work. The uninitiated read these titles and are fully convinced that the artist was first inspired and transfused with some poetic dream: or passion, which he straightway pro- ceeded to paint. ‘*T seemed to move in old memorial tilts And, doing battle with forgotten ghosts, To dream myself the shadow of a dream.”’ will make a good many visitors hunt up the picture to see how theartist ‘‘ dream- ec. It is evident that many a book would be a worse companion for solitary im- prisonment than an exhibition catalogue. A taking title often sells an otherwise unnoticed picture. We all know that a goodly proportion of picture-viewers run through catalogues for just these fetching titles and search out the picture there- from, instead of being absolutely indiffer- ent to titles, as artists themselves are. English (and American) exhibitors un- derstand this so well that often they give titles which are mere baits for the public. ‘‘Here you are!” may mean anything under the sun, quite enough to _ she be inscribed Ophelia. 39 make the inquisitive Philistine search the picture out, and remember the artist’s name. ‘‘ White Ladies,’’ would not ex- plain, without a positive view of the canvas, that thus an R. B. A. describes a phalanx of white birch trees. ‘‘In my Lady’s Chamber,” raises such grins of amused surprise as would never have been caused by the picture of a cat asleep upon a pillow. ‘Best let Alone”’ will be ‘‘found and made a note of” as it never would be catalogued ‘‘Cats anda Dog.” The value of a catching title can- not be better exemplified than in the ‘¢ Ophelia” of Carolus Duran in the Mc- Lean gallery. Any amount of newspaper and verbal ‘‘criticism’’ has been ex- pended upon this canvas. It is the ‘*talked-about”’ picture of the season. As a matter of curiosity a specimen of this newspaper ‘‘criticism’”’ is inserted here. ‘The critic interlards his mother- tongue with much French, and does not forget that popular catch word of the day, used everywhere and everyhow— ‘*fin de siécle.”’ ‘* Ophelia,” the catalogue chronicles it—but surely this is not the poor love-distraught maiden as we have known and pitied her all our lives. This is the daughter of Polonius from a French point of view, not as Shakeapeare limned her for us, but rather as Théophile Gautier or DeMusset might have depicted her. But however much we may cavil at the type presented, we cannot deny that it is a veritable tour de force in colour and treatment. The small fair, fin de siécle face, purely nineteenth century and mondaine in expression and feature, is wonderfully well thrown out against the splendid crimson drap- ery that forms the background, the loose masses of _ palest blonde hair falling all about the slender virginal shoulders and bosom, only lightly veiled by the thin- nest scarf of gossamer; the brilliant-hued roses, deep red and pink La France, held carelessly half- crushed against the slim arm and hand, the narrow, pointed chin, the fine lips curled upward, and the strange, illusive eyes that follow one persistently, suggesting the quick thought—‘‘ that way madness lies.” It is all vivid, intense, and undeniably clever, but—it is not Ophelia. This is a purely literary criticism and description of the picture ; not in the slightest degree an artistic. It discusses Ophelia, and does not even name the artistic qualities Duran sought. The canvas is, in fact, an example of both dash and finesse, dash in treatment of over-warm color; finesse of illumination and shadow. Showy but strong; bril- liant although with a hint of an affecta- tion of carelessness—but it has nothing whatever to do with the title which has made the picture renowned, and which, without doubt, will sell it. When the French master completed his painting from a professional model, he doubtless looked about for a catching title for an exhibition, or at least to al- lure English and American buyers—per- haps to juggle English critics. Perhaps Ophelia was the only female figure in English literature he could call to mind. Perhaps with his experience he knew how little it really mattered that he had never thought of Shakespeare’s heroine till the naming became necessary. He knew that English critics might be trusted to read all sorts of inscrutable things, even ‘*that way madness lies” in the ‘‘ know- ing’’ eyes of a Parisian model, if only The picture might exactly as well be called Manon Lescaut. It is a model nude to the waist, with a faint film of drapery floating about her voluptuous contours and puls-
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4O ing flesh. Virginal is the Very last word to apply to that five-francs-an-hour young woman upon whom Carolus Duran has cast the charm of his art, and into whose face English newspaper writers have forced such unutterable things. Al- though not one of them has noticed that in the glowing hot-house flowers pressed against her hot-house flesh is neither rue nor rosmary, not evena single pansy. It is not difficult to believe that the painter never read ‘‘ Hamlet.” | What ‘‘ Occult wave” is it that has this season so far turned all the pictured ART INTERCHANGE NIER A REMINISCENT SKETCH O enter the studio of the painter of ‘‘ Friedland,” I was told at Paris, was like the traditional attempt of Sd the camel to pass through the eye of the needle. Only the rich, contrary to the application of the Eastern animals into the mysterious beast be- loved of the Egyptians, of witches and old maids everywhere? The English are lovers of dogs and hitherto have de- lighted to paint them. Whether Renais- sance superstition, Oriental mysticism, Theosophical theories of ‘‘ transmigra- tion,’’ whatever it may be, never were there so many cats in London exhibitions before. Even the President of the R. A.,. Sir F. Leighton has one at the Gooth gal- leries which he calls ‘‘ Kittens.” It is an ugly thing, a half-grown china-colored girl in a sitting posture, wound about with drapery in which she could not take a step. She stares with swollen-lidded, sleepy, mindless eyes upon a kitten be- side her. The kitten impinges upon the leopard skin like a stuffed cat, as the model perhaps was, It is an ugly, cold, careless bit of work, a palpable pot- boiler, but of course it has admirers, be- ing Leighton’s work. The usual objection to English exhibitions is too many babies, too many ‘‘ First Steps,” ‘‘ Dady Comes ”’ ‘* Bye-byes”’ and ‘‘ Ta-tas,” subjects dear to the British matron’s heart. It may be that flowers and babies are going out of the artistic fashion. It is certain that cats have come in. M. B. W. Lonpon, Dec. 1891. Send two subscriptions at $4.00 each, and the sender will get a copy of our $10.00 fac-simile ‘‘ Waiting.”’ We make this generous offer to those who were crowded with holiday work and could not send in time to get the benefit of our first offer. ‘The Barricade,’ which belongs to M. von Praet of Brussels.”’ I looked in the direction of the easel indicated and saw a water color which presented primarily a most admirable impression of color,—blue, browns, red and yellow-white forming the scheme. I advanced to the easel and proceeded to scrutinize the work with great care. ‘* What do you do that for ?”’ asked M.. Stevens, laughing. ‘‘T want to see what the medium is. In America we always want to know how a work is executed.” M. Stevens smiled a trifle cynically. ‘¢ In France we think of the effect not of the method.”’ By this time, I had discovered that the picture was in pure aquarelle, outlined and accented in mine de plomb—lead pencil and slightly touched with body- color. The picture was unlike anything I had ever seen of Meissonier’s—a rapid, spirited, brilliant impression of a street episode of the Revolution of 1848, which showed what the somewhat stilted and artificial painter of battles might have done if he had remained true to art for art’s sake and avoided commercialism. The cream white of the paper formed the immediate foreground, a few masterly None the less I watched and waited until one day the opportunity came of meeting the doyen of French art face to face. ‘*Look at that,” said M. Alfred Ste- vens to me, one afternoon, as I entered proverb, might find admittance. his studio. ‘‘There’s a Meissonier for you. One of the best things Meissonier ever did. It belonged.to my late brother, Arthur Stevens, of Brussels, the art critic and creator of the King of Belgium’s gallery. It is the original for the oil CUPID INITIALS NOS. 13 AND I4 [Series begun August, 1891] pencil strokes indicating the trend of the sloping pavement. The motive of the composition was a heap of dead and dy- ing men, the red and blue uniforms of the National Guard, the blue blouses of the ouvriers, setting off the distorted ghastly faces. The background was formed by an oblique line of the dark frowning houses of old Paris the very spirit of their beetling brows being rendered with a few brown and gray washes. For tone, color, light and shade, expression and the mas-
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tery of handling which produces a great deal of effect with a very little moyen, the sketch could not have been improved upon. ‘¢ Most interesting,” I said to M. Ste- vens, ‘‘and almost the first work of Meissonier’s that has appealed to me per- sonally, for I do not care much for the productions of this highest priced of French painters.” ‘¢ Listen, now,” said M. Stevens, ‘‘ this is what Meissonier himself has written in a recent letter to my brother’s widow on the subject of this sketch.” He began thus : ‘“‘TIf I were rich enough to buy it back,” quoth M. Meissonier, ‘‘I should do so immediately in preference to the original picture owned by M. Jules von Praet (oil). I was then captain of artil- lery in the National Guard. We had fought for three days. I had had men killed and wounded in my battery. ‘The insurgents surrounded the Hétel de Ville where we were, and when this barricade, at the Rue de la Montellerie by the side of the Hotel de Ville had just been cap- tured, I saw it in all its horror, its de- fenders shot, thrown from the windows, covering the ground with their corpses, the earth not having drunk all their blood.” It was this vivid, brilliant per- sonal impression which Meissonier had recorded in the aquarelle before me. All the Paris of ’48, with its struggles, its despair, its wild orgies of blood, its aspir- ation towards freedom, was epitomized in that bit of paper. It was the sentiment of French patriotism incarnate—worth a dozen ‘‘Friedlands,”’ or ‘‘Solferinos”’ with their wooden horses, toy soldiers and theatrical property grass! It had always seemed to me that Meissonier painted what the French call machines, on a grand and magnificent scale, to be sure, but still—machines! fl doubt if Eugéne Delacroix would ART. INTERCHANGE too, was a member of the National Guard and took part in the great Parisian heart- throb of °48. He saw this sketch in Meissonier’s possession soon after it was executed, and admired it so much that Meissonier presented him with it on the spot. Delacroix kept it until his death. At the sale of his effects, it found a pur- chaser from whose hands it passed into those of M. Arthur Stevens who, in turn, sold it to the famous Belgian-Parisian collector, Bischoffsheim, from whom he bought it back, retaining possession of it until his recent: death. A few days later, provided with an in- troduction from M. Stevens to the painter of the ‘‘ Barricade,” I mounted the elaborate stairway which led to the large double studio of the great master. I was met by Madame Meissonier, an im- posing person in black with the white skin, dark eyes and-hair and accroche- coeur curls on her temples, of a Spanish woman. I was kindly received, as a friend of M. Aifred Stevens, and mar- shalled across the great outer studio, so large that it seemed to me like the hall of a museum. ‘There were vague outlines of bronzes, pictures and tapestries and in one corner a grey-bearded man sat paint- ing. In the inner studio, which was almost as large as the outer, I found the painter of ‘‘The Barricade ’’—a beauti- ful old man who bore a certain resem- blance to the ‘‘ Moses”’ of Michael Ange- lo with his long, wavy, cleft beard and patriarchal head. He had a brown skin and large, bright brown eyes. For color I have never seen a finer téte de vieillard. But there was about it a certain indefina- ble weakness more of temperament than senility which enabled me to understand why the vigorous young painter of the ‘¢Barricade”’ should have strayed into the flowery, pleasant, though delusive, paths of money making art. As I exchanged the commonplaces of ) > AED NAY Jn Rte \ oe Nyy © i) 3 ny Ue # , q ay, MEDIA VAL HIGHWAYMEN {Pen sketch after a painting by Diez] have cared much for the more ambitious works of the enthusiastic impressionist who caught.on paper the fine aroma of the Revolution of 1848 in the first draught of ‘‘ The Barricade.” Delacroix, compliment with the distinguished painter, my eyes roamed about the studio into which the light streamed from the high window. Meissonier was at work upon a small clay horse on a modeling-stand. AI At his left, on an easel, was the begin- ning of a battle-subject. It might have been the unfinished work left by him to posterity, Castiglione, which was destined to complete the series of Napoleonic pictures and which shows Bonaparte ad- vancing surrounded by his troops who acclaim him, with their hats placed on the ends of their guns. In the middle of the studio was an object which held my attention. It was the lifesize rear section of a warhorse, with all its trappings. The high lights gleamed on the bright brown flanks, with a strangely familiar air. It seemed to me that I had beheld those equine hind quarters before. My thoughts traveled back to the New York Metropolitan Museum of Art and I stood before the famous ‘‘ Friedland” bought for a sum that might better have gone to encourage American art. I had always . felt that the horses in that overrated work were done from dummies, so lacking are they in vitality and action. ‘The semi- steed in the painter’s studio was evidently their original. By this time it had become evident to the minds of Monsieur and Madame that my visit was not likely to be financially productive. It was politely intimated to me that my early withdrawal from the scene would be desirable. I took the hint gracefully and retired, escorted to the outer door by Madame Meissonier who. dismissed me with what might be called the courtesy of sarcasm. ‘Two months later, the painter of the ‘‘ Barri- cade’’ was dead. With him died the chief of the school of facture or work- manship. ‘The neatness and dexterity of touch which belong to the French artisan found their quintessence in Meissonier.. He was neither poet, thinker nor painter in the finer sense or the strict technical application of the term. The French reproach Americans with commercialism in art. Yet their acknowledged artistic chieftain was a man who abandoned the true way in art for the false, humanity for the picture-dealer, and freedom for CHARLOTTE ADAMS. francs! THE PERMANENCY OF WATER COLOR PIGMENTS FROM AN ENGLISH POINT OF VIEW | The subject of the permanency of colors is at present engaging the attention of European artists and as THE ArT IN- TERCHANGE aims to present to its readers the subjects that interest the art world, considerable space has been given in previous issues to M. Vib- ert’s exceedingly brilliant and scientific treatment of this topic and we now take up an English view of it based upon the experiments of a Government Com- mission. ‘The conclusions and sugges- tions presented by the correspondent are to be accepted as those of the commission. They are not to be interpreted as coming from the Editor of this magazine. ‘To all serious art students, professional artists, picture buyers and color manufacturers, experi-
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42 ments of this nature are matters of great importance and we shall be glad at any time to receive and publish the results of intelligent and scientifically con- ducted color tests. This is a class of information that no other periodical has undertaken to supply to its read- ers. Ep. ] amateur artist is often more concerned about the perma- nence of the pigments he employs in his work, than die seoresnanal painter who has appar- ently much greater chance of immortality and should therefore be far more anxious. For it isa matter of primary importance to a painting that whatever mediums be used to produce it, they should be able to remain to carry on the intended effect of the picture to future generations. No doubt mosaic is the only absolutely indestructible and unchanging material capable of being used for pictorial sub- jects, but given ordinary care, and the absence of deleterious influences from damp, gases, or atmospheric extremes, one might include most oil colors among the fairly permanent mediums, and even water colors when used in their native purity, as we see them on old missals and illuminations of very early times. Recent experiments conducted by a Government Commission in England, have been re- ported in an elaborate document issued as a ‘blue book” but the technicalities used and the generally inconvenient ’ character of the whole volume considered as a book of reference for amateurs may render some condensed passages there- from more useful than the original text. Mr. H. C. Standage has digested the re- port ina handbook ‘‘on the chemical and artistic qualities of water color pig- ments ” (Reeves & Son, London) which despite its somewhat alarming title, should be the companion volume to every box of water colors employed for serious work, As the author points out, the more com- mon causes of the changes in pigments used for water-color paintings are to be found: (a) in certain chemicals used in the bleaching of the paper, which by de- grees destroy the purity of the applied tints; (b) the use of dangerous vehicles in preparing the cakes or tubes of the colors; such as too much glycerine which by remaining damp would produce mil- dew; and (c) the employment of some improper medium in place of pure water. These may be taken as avoidable dangers, that can be guarded against by using only those materials which have passed the most searching tests by trained analysts. And those things are in the power of the artist to control; but the action of light on his picture and the possible dangers from gas or other atmospheric impurity are beyond his influence; so that the ut- most we can hope to attain is to leave his work free from any latent internal dan- ger, and to avoid mixing colors which by chemical action and reaction are doomed to destroy each other ultimately; even as an acid changes white paper, or a strong alkali removes an acid dye. The specialists who tested the various materials employed Whatman’s paper throughout the whole of their experi- ART -IN-TERCHANSGE. ments. (Mr. Standage, however, prefers Arnold’s unbleached paper.) They state that the ‘‘ hot pressed” paper is capable of absorbing 12.46 of its weight in water, the ‘‘not pressed” 12.20, and the rough paper 12.07 per cent. This absorption goes on slowly even in a saturated air, but the fact that the hot pressed paper absorbs most will probably surprise non- scientific students. With regard to the adulteration of the pigments, it becomes a very delicate matter to express an opinion, and all that the ordinary amateur can be advised to do isto buy only from the very best makers, those who supply the promi- nent artists in each country. Economy in material that is intended for lasting work would obviously be fatal. M. Standage singles out Reeve’s Wax Water megilp only as a perfectly safe vehicle; but no doubt there are other preparations equally trustworthy. The responsibility of the whole question of the purity of the material must, however, be shifted to the firms who manufacture it; for short of delicate and costly chemical ex- periments it is impossible to guarantee any make. For it is patent enough that by changes in thepersonnel of the firm a substance hitherto found impeccable, might be adulterated at any time to ob- tain increased profit thereby, and so its past reputation become a snare to the buyers. But to use, whether ignorantly or care- lessly, pigments proved unequal to the work imposed upon them is quite another thing, and the object of this paper is to consider what colors the amateur should avoid upon work that is likely to be pre- served. For ‘‘fancy”’ work or perishable materials, and for mere working drawings, maps, or diagrams, it is needless to be so cautious, since a change that might de- stroy the complexion of a face, for exam- ple, would pass unnoticed in the intri- cacy of a pattern, and perhaps be hardly observed in a study of still life. | There- fore, the most timid worker need not dis- card all colors that have a bad reputa- tion, but he should be careful not to employ them either alone, or mixed for any work, small or great, on which he in- tends to risk his reputation. But it is best to proceed at once to a digest of the report itself. The most common fault of water-colors is fading under the action of light. The following colors entirely disappeared when their pigments were exposed in an open tube, proving that light alone was their enemy Vandyke Brown, Cadmium Yellow, Scarlet Lake, Naples Yellow, Bayre’s Grey, Crimson Lake, Carmine. Among those that faded, but did not en- | tirely vanish were: Rose Madder, Madder Lake, Permanent Blue, Aureolin, which all lost just half their brilliancy, or depth, and Brown Madder which was a shade worse still. Gamboge, Purple Madder, Indigo, Indigo and Vandyke Purple Carmine, Brown, | Sepia, Indigo and Indian Indigo andGamboge, Red, Indian Yellow, Violet Carmine, all changed in less degree; while madder lake, burnt umber and a mixture of burnt sienna and Naples yellow faded very slightly. Of colors, both pure and mixed that suffered from exposure to light in the open tube, vermilion went black, rose madder became more blue, emerald green grew slightly brown, olive green changed to brownish pink, Antwerp blue changed to green, but revived to blue after being kept some months in the dark. Mixtures of Indian yellow and rose madder went pink; rose madder and raw sienna turned slightly yellow, Venetian and madder reds with Indian yelluw were very slightly af- fected; vermilion and chrome yellow darkened; Indian yellow and rose madder were pink, Prussian blue and gamboge turned more blue; burnt sienna and Ant- werp blue. Prussian blue with burnt sienna; Prussian blue with burnt and raw sienna; leitches (or cyanine) blue and burnt sienna, and Prussian blue and Vandyke brown; all these turned brown under the light, but revived in the dark. In other mixtures of Prussian blue and indigo, with various reds and browns, the blues seem invariably to have faded, without the saving clause ‘‘ revived in the dark.’ Colors that withstood completely the test of exposure to light were, Indian and Venetian red, raw and burnt siennas, chrome and lemon yellows, terre verte, chromium oxide, Prussian, cobalt and French blues, ultramarine, all exhib- ited separately and mixtures of raw sienna with Venetian red, and the same with Antwerp blue, and cobalt mixed with Indian red. Of the far more elaborate tests of the colors exposed to light in: (a) dry air (b) moist air, (c) moist hydrogen (d) vacuum, it is impossible to give the whole of the results. Carmine thus vanished in moist air, faded very slightly in dry air, and in hydrogen, and in vacuum underwent no change. Vermilion went black in every case. Of the most noteworthy changes, in dry air, gamboge and Indian yellow faded considerably Antwerp, Prussian and indigo blues also faded, but the majority of pigments were either quite unchanged or very slightly affected. In moist air scarlet lake faded and blackened, the madders all suffered, Antwerp and Prus- sian blues disappeared, violet and purple carmines went brown, French blue faded disastrously, while cobalt, Indian and Venetian red, the two siennas, emerald green, yellew ochre, terre verte, ultra- marine and some few others withstood the test. Sepia, Vandyke brown, brown pink, indigo, olive green, Naples and Indian yellows, changed but slightly. In moist hydrogen with the exception of vermilion, which turned black, gamboge and aureolin which slightly faded; Naples and Indian yellow which faded; emerald green, which turned black and pink; olive green which went brown, and Leitches blue; and purple madder the colors re- mained unchanged, except in the case of Antwerp and Prussian blues which were entirely lost, and violet and purple car- mines which turned to black. In vacuum, raw sienna slightly dark- ened, Prussian blue, violet and purple Carmine, purple madder, sepia and raw sienna, all faded very slightly—no change was reported of all the others tested. The results of the mixtures under the
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four varied conditions were much as one would expect from the results already given, only two cobalts with Indian red, — and raw sienna with Venetian red, re- mained entirely unchanged in moist air. A new condition, under electric light yielded especially interesting results. For next to daylight, it is at present the most usual illuminant for public galleries, and there are no records of past experience to guide one. The only unmixed colors affected by it were, crimson lake and carmine each of which bleached and became redder. Antwerp and Prussian blues, Naples yellow, brown pink, purple and rose madders, Vandyke brown, sepia, vermilion (this is very noticeable) Vene- tian red, Indian yellow, gamboge, indigo and Leitches blue, suffered no change. The Prussian blue mixtures became browner, but speaking roughly all the colors suffered very slightly if at all. The action of Chinese white upon other colors is especially interesting, rose mad- der mixed with Indian yellow, and of Prussian blue and gamboge, each faded quicker when mixed with Chinese white. Prussian blue and crimson lake instead of becoming blue, changed to pink when mixed with Chinese white. Vermilion darkened a shade more with it than with- out it, but speaking generally the result was not noticeably to the discredit of the very useful white pigment. An interest- ing test of colors that should not be mixed together owing to their chemical reaction deserves quoting in full from Mr. Stan- dage’s book before referred to: ‘*Aureolin should not be mixed with oxides (as Chinese white) Venetian, Indi- an, light reds, ochres, siennas or chrome yellows. Cadmium yellows should not be mixed with colors containing a lead base such as chrome yellows. Chrome yellow should be avoided when sulphur is present, as in cadmiums, King’s yellow, copper greens, vermilion, French ultra- marines, and Naples yellow. Emerald greens may affect oxides. Madder lake should not be used with colors rich in oxygen, and the following colors cannot be trusted to withstand daylight for any length of time, either used alone or in mixture. Prussian blue, indigo, gamboge, brown pink, bistre, purple madder, car- mine, crimson lake, scarlet lake and olive. The pigments that may be trusted under ordinary conditions and are prac- tically permanent are : Whites—Chinese and zinc ; Yellows—yellow ochre, golden ochre, Naples yellow ; the chromes, raw sienna and lemon yellow, with the addi- tion of the cadmiums or aureolins that will fade but very slightly ; Greens—viridian, oxide of chromium, both opaque and trans- parent, terre verte and emerald green ; Blacks—ivory and blue black ; Blues— Ultramarine, French blue, and Ash blue, cobalt, Prussian and permanent blues. (The latter may fade slightly, but in spite of all said against it previously, the author includes Prussian blue in the list of trustworthy varieties.) Reds—Vene- tian, Indian, and bright madder, carmine, with madder lake, rose madder or ver- milion all @pen to slight changes. Payne's . gray is permitted in this list, and in browns the two umbers, burnt sienna and brown madder are deemed safe, but Van- dyke brown and sepia are liable to fade. GC. W. ART INTERCHANGE 3$HE Board of Estimate and Apportionment of this city met on December 2ist to consider the final estimates of the several city depart- 1892, and among the citi- who appeared before them to make suggestions concerning appropri- ations were the President and Secretary of the Metropolitan Museum’ of Art. These officers bore a communication from the trustees of that institution in which they proposed that the city should in future assume the entire cost of main- taining the Museum, in return for which entrance should be made free on every day of the week. The present collection of works of art, they asserted, amounting in value to several million dollars, was exclusively the gift of the trustees and other members of the Museum—not a dollar of the public money has ever been received or employed for the acquisition of works of art. “The growth of the Museum, considering the time it has been in existence was declared to be ‘‘ extra- ordinary and exceptional, no institution of its kind, even in countries where they are supported wholly by the Gov- ernment, having a record parallel with it.” The total number of visitors for 1891 was zens estimated at not lessthan 920,000; thean ~ nual expenses for maintaining the Museum including the technical art schools, for the same year, at $77,664.27; the opening the door to the public on Sunday after- noons will involve an additional yearly expense of $12,293, bringing the total cost for 1892 up to $89,957, at least. Therefore the trustees hoped that the Board would grant the sum of $64,957, which added to the usual appropriation of $25,000, authorized by the Legislature, would enable them to maintain the Museum free to the public for the year 1892. At a subsequent meeting of the Board, a week later, the Secretary of the Museum appeared and said, in support of the Sunday openings, that while the at- tendance at that afternoon, for the seven months last past, had reached a total of 170,000 persons, the number of visitors for the two evenings a week had been but 45,000. The members of the Board, however, declared that it was not possible for them to make the appropriation asked, for the reason that under the law an in- ° creased appropriation was not permitted. The original amount was fixed at $15,000, and the special act provided that $10,000 should be given’ to keep the Museum open in the evenings and on Sundays. The usual amount, $25,000, was therefore awarded, all the members of the Board expressing their willingness to make the extra appropria- tion if the trustees would only.show them how the law could be interpreted so as to permit it. The Secretary of the Museum, General Cesnola, said that it would not be possible to open the doors on two evenings in the week and on Sundays with the money awarded, and asked the opinion of the Board as to whether the evening or Sunday openings should be 43 abandoned. The unanimous opinion of the members was that the Sunday open- ings should be maintained, rather than the evening ones. The plan of the Trus- tees, in case they secured the.additional appropriation, was to open the Museum free to the public, reserving Monday for the use of teachers, art students, copyists andcleaning. At a meeting of the Board of Aldermen on the 29th December, a resolution was offered requesting the Board of Estimate and Appropriation to grant the additional appropriation to the Museum. It was expected that a similar request would be made on the part of the American Museum of Natural History, for sufficient money to open the Museum free to the public and to relieve the trus- tees from the necessity of paying large sums out of their own pockets to properly support the institution. The usual amount of $25,000 was awarded to this Museum also. The Executive Board of the Trustees of the Metropolitan Museum held a se- cret meeting on the afternoon of Decem- ber 31st with a view of determining their future course of action in regard to keep- ing the Museum open, Sundays, and to discuss the- advisability of appealing to the Legislature to give authority to the Board of Estimate to make the increased appropriation desired. No definite con- clusion will be arrived at until the Board of Trustees holds its regular meeting on the third Monday in February. But the Sunday openings can be maintained until that date, at least, it is thought, by the exercise of economy. The New York Society of the Archeo- logical Institute of America, in its circu- lar to its members at the close of the year, announces that great work is to be done by the Institute in the present year (1891-92), at least in the field of Greek Archeology. The excavations at Eretria by the American School of Athens are to be continued; Dr. Waldstein has secured the privilege for excavating at several other sites, and the Institute has ap- propriated the sum of $2,500 for carry- ing on the work this year. ‘These sites are Sparta and the Argive Herzum, where the field is comparatively fresh; Sicyon, where the work formerly done by the Athens school will be continued and added to; and Mycenz or Elis. The results of these explorations will duly appear in the publications of the Institute. To meet the unusual expense incurred it is desired to increase the membership of the institute, as its income is derived from the dues of members. The New York branch of the Institute announces a course of lectures for the en- suing year, on various archeological and artistic topics, by various distinguished professors. The noble institution, on the plan of the Cooper Institute in this city and the Pratt Institute in Brooklyn,- founded in Philadelphia by Mr. Anthony J. Drexel, was formally dedicated on the 17th of December ‘‘to the extension and im- provement of industrial education as a means of opening better and wider aven- ues of employment to young men and women.” This new industrial college is
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44 probably the most complete and extensive of its classin this country ; the building is calculated to furnish daily instruction to no less than 2,000 pupils, devoted $1,500,000 to its construction, equipment and endowment, and Mr. George W. Childs enriches its library and museum with his extensive collection of literary and artistic treasures. The eleven departments into which this great school is divided are as follows: Art Depart- ment, Scientific Department, Department of Mechanic Arts, Department of Domes- tic Economy, ‘Technical Department, Business Department, Department of Physical Training, Normal Department Mr. Drexel | ART INFERCAANGE five of them being restricted to Philadel- phia.” The extremely practical advan- tages to be derived from the establish- ment throughout the country of these in- dustrial and technical schools of a high class are by this time universally recog- nized; as a demonstration may be cited the story current in the Pratt Institute last year, that of the young women ab- sorbed in the acquisition of knowledge in the Cooking School, all but two wore on their fingers the diamond frings of be- trothal. The Seventh Annual Exhibition of the Architectural League of this city, which ml he eek irate SSN Medan hs ON oe a valey vag Ps <I . et hess te tne hacia nal 8 Migs a. sf ei s 7 7 Xo beg » v: ca SUGGESTION FOR BEGINNERS IN CHARCOAL SKETCHING forthe Training of Teachers, Department of Lectures and Evening Classes, Library and Reading Room, and Museum. ‘‘ All these.are fully equipped and more will be provided as the demand for them becomes apparent. In each department there are several courses of instruction, and the whole plan has been elaborated as com- pletely as possibly in advance. The charge for instruction is made very low for all ; but to make sure that no deserv- ing and ambitious youth shall be pre- vented by the cost from enjoying its advantages, a hundred free scholarships are founded at the start, all but twenty- closed on the gth of January, was in some respects more interesting than any of its predecessors. Much of this interest was due to the presence on the walls of the completed designs for the cathedral of St. John the Divine, of many large and handsome colored perspective drawings of the proposed buildings of the Chicago World’s Fair, and of a somewhat greater variety and richer display of decorative and ornamental art work and bric-a-brac than usual. The post of honor at the end of the main gallery was given to an important drawing showing the new cathedral as it will appear when finished, a drawing which it was necessary to inspect rather closely to appreciate as, when seen from _half- way down the gallery it resolved itself apparently into three architectural lumps with no particular constructive rela- tion to each other. ‘The material out of which it is proposed to construct the edi- fice, judging from this drawing, is some brown stone. As compared with the orig- inal design, it was seen that the spires on the two entrance towers had been re- moved, and that the big central tower had been made even larger and more imposing. The general effect of the ap- proved alterations has been to. give greater space within the cathedral and greater simplicity to the exterior aspect. The display of drawing of the various principal buildings of the World’s Colum- bian Exposition was calculated to confirm the impression which has been gradually growing in the popular mind that the architectural features of this great fair will be surprisingly handsome and impos- ing and worthy of the occasion. Not only are the different edifices, designed by different architects in various parts of the country, generally excellent in them- selves, but each contributes towards com- posing with its neighbors a vast ensem- ble in which there shall be practically no discordant structures. The style which was adopted is a simple type of Renais- sance, some of the buildings being, natur- ally, more florid in their details than others. The skilful draftsmen who exe- cuted these imposing drawings added at will the various features which may be expected to lend additional interest to these. completed edifices, the blue and white summer sky over them, the green lawns and foliage, the gay crowds, the lake craft, from steam tugs to gondolas, and the long wavering reflections of masts and facades in the still water. In the decorative department of the exhibition a prominent feature was a number of models of the sculpture which is to adorn these various buildings, most of it by Mr. Carl Bitter, showing much vigor and breadth of design in the colossal groups and refinement of modeling in the reliefs and smaller prices. One of the very best of the single figures was by Philip Mar- tiny and designed for a pavilion of the Agricultural Building. Some of the sketches in color for the interior decora- tion of the ceilings and walls of these buildings however, were much less dis- tinguished and more commonplace. Of the fifth annual competition of the Archi- tectural League, the subject of which was a Town Hall, for a town of about 20,000 inhabitants, the gold medal was awarded to S. Stevens Haskell, of New York, and the silver medal to Louis G. Dittoe, of Cincinnati. A circular to the members of the New York Art Guild from the Secretary’s office, under date of December 2oth, gives the text of the following resolutions passed at a meeting of the Board of Con- trol on December 8, 1891: ‘* Resolved, that for the present the Board will transact no business and make no contracts, and that members shall be notified by the Secretary that they are free to send to such exhibitions as they please.
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‘¢ Resolved, that the $3 paid by the members for the annual dues beginning June 1, 1891, shall be returned to all who choose to forward their resignations to the Secretary before February 1, 1892.” In explanation of this action, the cir- cular states that it was taken after an at- tempt to hold a meeting of the Guild, at which only eight or ten members at- tended. ‘‘The apathy of the members is too much for the Board.” Under the Constitution, the officers hold over until others are elected, and the present Board will remain in charge for another year, for the preservation of the charter, and in the hope that during that time some- thing may transpire to open the way to the Guild’s further usefulness for the New York artists. This prospect, how- ever, it is confessed, is very slight, and in the meantime those members who see fit are free to resign and will have their dues. returned. The details are published of the amended plans of the Cathedral of St. John the Divine as finally accepted by the trustees on December 18th. ‘‘ The general ground plan of the cathedral is now cruciform, the arms forming the chancel, nave and transepts, and having each a central and two side aisles. The exterior design is that of a large central tower, crowned with a spire. Out of this central tower radiate the four arms of the cross. The four angles of the cross are flanked by four towers, with entran- ces. At the west front are two larger towers. One most important thing brought out by the change of plans is that the cathedral will face west instead of south as first intended, so that the chap- els will rise sheer up from the wall of Morningside Park.” The plans of the interior have also been greatly changed. The total external length of the cathedral will be 530 feet; the height of central spire from cathedral floor, 425 feet; from city level, 525 feet; width across the transepts, 290 feet; width of front towers, 57 feet, and height, 240 feet; total exterior diameter of cen- tral tower, 116 feet; interior diameter, 96 feet; height of vaulting, 230 feet; depth of chancel, 120 feet; height of front gables, 155 feet, etc., etc. AMONG THE ART GALLERIES.—A new gallery for the exhibition and sale of for- eign paintings has been opened in this city at 146 Fifth avenue, by Messrs. Wimmer & Co., the representatives of a Munich house, who propose to devote themselves to the not very encouraging task of mak- ing Munich art more popular among American picture buyers. ‘Their opening exhibition includes a number of works by some of the better known painters of the Bavarian capital, the largest canvas being a ‘* Pandora,”’ by Gabriel Max, now of Vienna, in which the unlucky bearer of the fateful box lies prone onthe ground, a Cupid with a lyre, looking on in commisera- tion and the woes of mankind issuing like vaporfrom her open vase. Neither in de- sign nor color, however, is this one of Max's represenative works. Another new gal- lery to be known as the Continental Art Rooms, has been opened at 53 West Forty-second street, with a collection of paintings of the Diisseldorf school with ART. INTERCHANGE many by American artists. In the rooms of L. Christ Delmonico may be seen two, unusually large and important examples of Cazin and Lerolle, side by side with a canvas of the same size by their friend Lhermitte. The Cazin shows the end of a village street in late twilight; the Lerolle is a very beautiful evening effect on a river bank with two figures of bathers. Near these hangs a life size study by Bouguereau of a very young girl disrobing for her bath; and there is also another Cazin, much more vigorous in tone than his usual work, some import- ant examples of George Inness, a good nymph by Henner, etc. At Knoedler’s dg V3. COALo 45 Shaft,” which has been shown in this city before if we are not mistaken. Mr. Ridgway Knight’s vapid French peasants are to be seen in all the larger galleries and the development of a more artistic taste is shown by the number of Cazin’s canvases also offered for sale. At the Schaus Gallery, the post of honor is occu- pied by Carl Becker’s large ‘‘ Othello re- citing his adventures,” painted in 1880; and among the etchings are Jacquet’s’ reproduction of Meissonier’s ‘‘ 1807,” in the Metropolitan Museum, and one by Dake of a picture by Josef Israels repre- senting children wading on the edge of the falling tide. Among the excellent tg , y F ne tpi. GTR whe wr. fe ihe coals § uy Pe Bi a 3 } Ns PT ea fs: wes * Ret AAs ey ae 345% BA} y A Peri: SUGGESTION FOR BEGINNERS IN CHARCOAL SKETCHING may be seen one of the two hundred proofs taken from the immense plate after Rembrandt’s head of an old man, by Koppen, the etcher of the Ronde de Nuit. As an example of reproduction by the needle of the color, the texture, the brush marks, of the original, this plate is a mas- terpiece. The proofs are sold at $200 a piece, and the plate has been destroyed. In this and some of the _ other art stores are also shown the col- ored’ ‘photogravure reproductions of Detaille’s large painting for the Luxem- bourg, a charge of the Fourth Hussars before Napoleon. ‘The largest painting in the reception room of Knoedler’s gal- leries is Professor Weir’s ‘‘ Forging the examples of photogravure reproductions one of the handsomest is that of Sir Frederick Leighton’s graceful figure of ‘¢Solitude.’’ In the suite of galleries occupied by Boussod, Valadon & Co., may be seen more Cazins, Lhermittes, Henners, a carefully finished Riding School of the last century, by Goubie, painted in 1880 or thereabouts, a large Meyer von Bremen, and one of Géréme’s distinguished Cairene_ street scenes, also. painted several years ago. A spirited composition by Jules Worms shows the vivacity that reigns in a Span- ish courtyard after the wedding testivities are over; there are one or two new works by Mauve; some sketches by. Millet,
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46 bought at the Paris sale of the collection made by Roederer, the champagne- maker, and a collection of miniature portraits. At the American Art Galler- ies, two new rooms have been added, and in them may be found, among other things, water colors by Mauve and ex- amples of Diaz, Delacroix and Des- champs, Millet and Lhermitte. A good picture by the very modern Raffzlli also hangs here, and another may be seen in the galleries of Boussod, Valadon & Co. A number of sales of works by Ameri- can artists are announced in this city for the next few months. Among the first to take place will be that by the execu- tors of the late Thomas Hicks, N.A., of all the paintings left by that artist, at the American Art Galleries. “Mr. J. G. Brown, N.A., proposes to sell every pict- ure in his possession, about one hundred and thirty-seven in number, early in the year, at the Ortgies Gallery. Some of these date from 1862. In explanation of this clearing out, Mr. Brown states that he had long intended to take such a step on the completion of his sixtieth year,— a date which he has just passed, and he adds: ‘‘ After the sale I shall give the street Arab, myself and the public a rest for some time, but I suppose that I shall continue working more or less to the end of the chapter.” Among other sales announced by the artists are those of Messrs. Dolph, Hamilton, F. K. M. Rehn and George Smillie, and it is also said that Mr. J. Abner Harper will dis- pose of the balance of the pictures left in his possession after the sale of a few years ago. Miss Harriet Hosmer is to receive $25,000 for her work ‘‘ Queen Isabella of Castile,’’ which is to be unveiled at the opening of the Women’s Department of the Chicago World’s Fair. A similar sum is to be raised by popular subscription among the women citizens of Salt Lake City for the purpose of erecting a statue of Brigham Young in bronze. The sculp- tor selected to make the design is C. E. Dallin, a native artist. —The plaza on the north side of the new Philadelphia Pub- lic Building is to be adorned with three equestrian statues of Union generals. A NEW FRENCH SKETCHING GROUND vy eP MERICAN artists and stu- dents, working in France, are very apt to paint in cer- tain well-known neighbor- hoods to the exclusion of the recognition of the possibilities of other regions. One painter discovers a nook where living is cheap and the cuis- ine of the nearest auberge adequate to support life. He paints there for one season, his work, when exhibited, meets with approbation, and his fellow-painters resolve to follow in his footsteps another season. The result of this method of procedure has been to form a system of schools, such as the Pont-Aven school (Brittany) the Etaples and Etretat schools, the Barbizon school and that of Gréz. The old church at Gréz with its tawny, mossy roof under a metallic blue sky, has figured in many exhibitions ART INTERCHANGE at Paris and at New York. The lanes of Barbizon, the white capped women of Brittany, the fishermen of Etaples have become extremely trite to the American public called upon to admire the American rendering, too often perfunctory and lack- ing in sentiment and sympathy, of French rural characteristics. There is one corner of France which is scarcely known in a pictorial way to American artists and that is the country about Boulogne-sur-Mer (Pas-de-Calais). The landscape is not heroic although the traditions of the neighborhood §are. From here, Julius Cesar’s hosts invaded Britain. Henry the Eighth made his headquarters at Boulogne when he fought in France and later signed a peace with Francis. The battlefields: of Crécy and Agincourt are not far off and from here the first Napoleon meditated attacking England. But the weary days of Chan- nel warfare are over and the fair French landscape gleams through the sun-thread- ed coast fogs with a smile for the keen- eyed wanderer with sketch-book, folding easel and color-box who roams among the pleasant uplands of the Boulogne country. It is not in the line of grand- iose effects that the painter finds his ma- terial but in the sweet intimacy of the lanes and pastures and gardens and the humble life of the fishers and the peasants. There is great variety of costume and a kaleidoscopic beauty of color makes itself felt at every turn. The city proper forms a good point of departure for the painter, living is cheap or expensive at the volition of the individual. One can inhabit modest lodgings after the manner of English ex- iles and be cooked for, or one can keep house or live at expensive hotels or take a furnished room and live at Laurent’s where fried potatoes cooked while you look on are 4 cents a plate, a large bowl of bouillon 4 cents and a portion of bread 2 cents, beefsteak and boiled beef equally cheap and cakes of a deli- cious sort 2, 3 and 4 cents in every sweet- shop in town! The costumes of the lower classes espe- cially of the fisher and sailor guild, the matelots and matelottes are as pictur- esque as any painter could wish. The distinguishing feature of the women’s dress is a wide fluted white cap, forming a halo about the head, with long wrought gold earrings. One of the suburban branches of the matelot guild is charac- terized by the wearing, by the women, of bright scarlet petticoats which, on gala days, make the streets of Boulogne look like beds of scarlet poppies. The best seasons for the study of costume and groupings for subject-pictures are May, when the ships go forth to the distant fishing-grounds and the ceremony of blessing them takes place, August when the great fair is held in the upper part of the city and the procession of Our Lady of Boulogne makes its way about the streets at the festival of the Assumption and during the open air masquerades of Carnival and Easter. One pleasant con- sideration in choosing Boulogne for a painter’s stamping-ground is that the art- ist gets the benefit of residence in a gay and brilliant little city where there is a tolerably good public library besides a museum containing numerous antiques, Egyptian curios, collections of natural history, keramics and an_ interesting group of pictures, all of which are of value to the art-workers. As for models the bare-legged, hearty, sturdy female shrimp-sellers who come to your door to dispose of their wriggling pink wares would probably pose with zeal for a franc an hour. There are few beauties in this class but robust, symmetrical figures may be found at every turn. The flower-market is extremely ‘‘ painta- ble”’ and the choice of flowers and deco- rative plants for the flower-painter is, I think, finer than at Paris. The hideous millinery and lace paper effects of the Paris flower-sellers are absent. I have never, even in Switzerland or Italy, seen as many beautiful flowers both wild and cultivated as in and about Boulogne-sur- Mer. ‘The pastures and towns extending on either side of the city along the coast are ablaze in March and April with the golden furze, mingled later with the yel- low gorse. As soon as these begin to turn brown in their death-struggles, the hour of the low lying, swampy meadows strikes, and a loud burst of triumph of color appears—cuckoo cups _ starring among their bright, moist, green leaves —acres upon acres of a symphony of green and gold often seen against the lapis-lazuli blue of the stretch of sea, the turquoise-blue of the sky, and the rosy and violet tones of the distant reaches or sea-shore. One realizes and appreciates fully, for the first time, the love for pure primary color of certain modern French- men whom one may hitherto have thought to possess a fatal faculty of visual and chromatic exaggeration. One cannot judge rightly of the French com- prehension of the subtleties of color without studying one of its most logical inspirational sources, the French land- scape, which nowhere has more of the quality of type than in the Boulogne country. The color is particularly fine on the Wimereux side where the old gray stone fort, built inthetime of Napoleon, makes a dark accent in the glorious monotone of sea and sky and strikes the keynote of a thousand fascinating studies of color in the vein of Whistler, changing with every mood of nature. Sometimes, on a gray day, the fort forms the dark note ina nocturne of black and silver—silver on the sky, silver on the water*—and bal- anced by the darks of the near cliffs with their rich velvety effect of atmos- pheric differentiation—a capital oppor- tunity for the study of ezrial perspective. At the horizon will be a line of sharply outlined dark fishing-boats, or a large, dark steamer, and silhouetted against the glistening silver of the sea and sky and shore are the dark figures of the shrimp- girls and fisherwomen with baskets strapped to their backs and the nets wound on poles slung obliquely across the strong shoulders. More beautiful still isthe late sunset effect which finds its central point of composition in the old fort dusky in the crimson glow. The young crescent moon, a fine shining blade in the rosy darkling heavens, lends a note of relief to the symphony of the night and the sunset. In the morning the fort is gray, the sea changes from pale blue to dark, with the
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varying winds, and the winding strip of shore is of a deep rose color. Nothing could be finer as a study of pure trans- parent color, and nature, when arranging her combinations, seems, above all, to have had the aquarellist in mind, rather than the more ponderous painter in oils. The sea grows paler as we near Boulogne, strolling along the falaise where the small umbels of the sea-pink make rosy points of color among the various greens of the herbage, and the fishing boats with dark red sails scud along under the morning breeze, not so rapidly but that the sketch- er in water color has time to transfer them to his note-book. On the falaise the crimson fishing-nets are spread out in long lines over the grass, forming a lovely perspective of color. Off on the heights above the city the tall gleaming shaft of the Napoleon Col- umn rises through the morning mist, and the two great windmills, dusky in the brightness, whirl their arms to catch the sunlight. Inland, the brown ploughed fields and green pastures slope up to heights where red-roofed hamlets and farm-houses nestle among clumps of trees. The June effects of color have for their foundation the pale gold and bright scar- let of the poppy-sown wheat-fields. Each field and pasture presents a new note of color. ‘The haycocks are tawny against the light yellow stubble. The bean-fields are sweet with their nodding white and crimson-black bloom, each plant a lovely decorative study. Thecrimson wild pea- flowers of the vetch-fields are beautiful near the pale green stretches of the young rye. The slope of the ground brings pretty bits for sketching into view at every turn. Now a patch of pale green cabbages with a cluster of red roofs rising behind them from a lower level, a flock of sheep mov- ing against the gray wall of a red-roofed barn, a white-capped fisherwoman stretch- ing out her dark blue nets over the dead furze, a white horse ploughing in a hill- side upland, a group of children in blue pinafores with their hands full of cuckoo- cups, a red capped bather from the sea- shore mounted on a donkey appearing suddenly inland against a stretch of pas- ture. There is no end to the artistic sug- gestiveness of the neighborhood. Black and white nuns, shovel-hatted, black- robed priests, soldiers, fishermen and fisherwomen of various types more or less picturesque, the infantile naiveté of the baby peasants, gypsies in scarlet kerchiefs, summer bathers from the interior of France in striped skirts, jerseys, knickerbockers and red, blue, white and yellow bérets, supply the figure- painter with all the material he may re- quire in the vein of suggestion. A bril- liant, sparkling aquarelle composes itself at every turn. ‘The procession of the Féte Dieu in June in the village of Win- ville, a short distance from Boulogne, offers some charming subjects. There are lovely bits for water-color in this vil- lage—an old gray arched fountain about which the pigeons coo in the sunlight, market gardens, which, in the spring, are white with the bloom of the pear-espa- liers, and in June have the Annunciation lilies growing tall and white among the cabbages and the lettuce; and villa gar- dens, where the great yellow and red grace and_ ART INTERCHANGE begonias are massed solidly in the beds under the quaint pyramidal yew-trees, cut into sections in a fashion reminiscent of the eighteenth century. There is a mill- stream, where the shadows lie cool under the pollarded willows, and a gray stone house overhanging it, where the black- BURNT WOOD DECORATION FOR’ BACK OF HAIR BRUSH. smith’s fires glow in the noontide, and white doves hover about their cote in the grapevine over the door. There is an- other stream winding deep down in the heart of a ravine, almost roofed by elms under the wall of an old chateau. In an- cient days it might have been a moat. It 47 has the most beautiful shadows and reflec- tions I ever sawin woodland stream. The chateau terrace, with its oleander tubs and the formal eighteenth century garden extending before it, would inspire any man with a desire to paint historical genre. The gray wall near the con- cierge’s door is massed with climbing yellow roses which would form an exquis- ite background for the figure of a fair- haired maiden in a pale yellow robe of archaic fashion. Especially pretty and paintable are the village church and the ‘‘ Mairie.” They adjoin one another, the gray pentagonal pointed Norman tower of the church pro- tecting the gray, peaked and gabled stone Civic edifice erected soon after King Louis and Queen Marie Antoinette lost their heads. In May the lilacs are sweet about the old gray walls. The lavender colored spikes of the rosemary stand straight and tall among the quaint gravestones of the churchyard. In June the elder bushes overhanging the road to Calais are massed in warm white splendor; the drooping yellow laburnum clusters glow above the tombs of the eighteenth century aeronauts, Pilatre de Rosier and his friend, who fell from their balloon at Wimereux and were instantly killed. At the foot of the old baroque tombstone the blue periwinkles shine like stars among the glossy leaves, and the white roses clamber among the cherubs and over the urn with the pall thrown over it after the eighteenth cen- tury manner of symbolizing grief. In the sweet straight garden of the Mairie, the Annunciation lilies stand like white torches along the narrow beds, against the gray walls, offering the incense of July to the wide lovely world. The small pink roses and crimson _prince’s feathers add the strong color-note to the harmony of gray and white and green. One of the prettiest bits in the neigh- borhood is the place which I have named ‘*'The Fairy Well.”” It seems to be in- viting some American artist with a senti- ment for the hidden significance of things to paint it, and especially in a delicate broad aquarelle with just body-color enough to accent it and hold it to the nether world. The well is circular of rough gray stone like a house, and roofed with stone. In the front of the roof after the fashion of a jewel set in a diadem isa large ammonite, a fossil much found on the coast of France, and frequently used as an architectural ornament—a large spiral sea-shell curved in a circular form, like a certain sort of trumpet. The front of the well is cut out and an iron crane extends from the middle of the roof into the water below. One half expects to see a fairy appear through the opening, and offer precious gifts to some despondent wayfarer who reclines on the green knoll under the elms, perhaps yon shepherd with his sheep about him browsing about the gray well, gray themselves, huddled in groups or roaming among the trees, or drinking at the semi-circular duck pond by the roadside. Such wells as this appear in French fairy-stories and legends and are reproduced in the fairy spectacles of the theatres. As for sheep, they may be seen under all artistic circumstances, and are always paintable. They are found always in flocks attended by a shepherd and gen-
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50 % erally two or three dogs who bite their tails on system to keep them up to the mark of gregariousness. In the spring and early summer the flocks of sheep form dark accents on the yellow stretch of furze-covered or cuckoo-starred falaise and O, how well they compose as to color with the blue sea and sky for a background. In winter they are finer still, for they make solid purple masses in the iridescence of the delicate frosti- ness of the atmosphere and their ears present most lovely notes of translucid rose-color as you approach the flock. The shepherd in his great sheep-skin coat makes capital staffage for the land- scape and all about the air sparkles jewel-like not with the positiveness of the American winter but with the ex- quisite suggestion of the French. Such late afternoons as I have felt thrilling through me in January and February on the coast of France when I have stood all alone on the falaise with the joy of living in my soul for love of the beauty about me have been caught and made tangible on canvas by only one American painter and that is Charles H. Davis,—a man who lived for twelve years in France and who evidently possesses more than ordinary receptivity since he sees very deeply into the heart of the French land- scape in its subtlest aspects. The Feb- ruary phantom moons, in the rosy dusk, rising above the dark uplands sown with early wheat, have found in Mr. Davis one who links them with the earth of poets and painters. The painter who is fortunate enough to pass the month of May in the Boulogne country will find charming themes in the Vallée de Nacre—the favorite picnic- ground of the good bourgeoisie of Boulogne-sur-Mer. Now it is that the thorn-hedges are flowering red and white, that yellow-breasted birds flash among the young locust-trees, that the cuckoo-note echoes from the. near groves where the blue and white violets and the red and white hepaticas nestle among the brown dead leaves. Tiny flesh pink orchids start up from the grass. In the depths of the wood, along the brook where the swallows skim low with their metallic dark blue coats and their rosy-toned tawny breasts, the oxslips grow in stal- wart phalanxes, larger than the cowslips and more vigorous as male to female. The true English cowslip, I am told, is not found on the coast of France. For artists like W. Hamilton Gibson and Fidelia Bridges, who love the small, sweet humble things of the earth, this enchanted district offers revelations of beauty at every step. There is a space itadgptier Coy ye my, a 2 x 4, « Nbr, - an Dy mrmIninn e e [F ms - yp Hie $ ‘ot eli ‘ ART INTERCHANGE of ssand-dune at Wimereux where a whole miniature panorama unrolls itself in the space of a fewfeet square. Whistler and Japanese art fill the eye and mind of him who studies the tall feathery midsummer grasses, the short scorched turf, the beautiful pale green thistles with their luxuriant even voluptuous forms and their deep, violet, purple tones, the yellow asters, the bright golden dandelions, the pale golden heath-like spires, with their tiny cruciform blossoms, pale yellow papilionaceous small blooms of delightful odor, purple feathery heads and the low- growing rosy convolvulus. To every tiny stalk clings a caterpillar, a chrysalis or a butterfly—a young, tender, depend- ent, appealing butterfly! A nursery of butterflies!) A Japanese festival of butter- flies! The caterpillars are hairless—a tawny yellow in color ringed with black, the chrysalises small, slender and silver gray, the butterflies are the butterflies of a Japanese fan or a precious piece of eggshell porcelain from Chrysanthemum Country. The outer wings of the small pretty things are of dark green of a metallic bronze of surface (mark the Japanese quality of color!) on these wings are six round spots in three rows ' of that Japanese pink which we western- ers in familiar language term ‘‘cherry- color.”” The second pair of wings, half- revealed, half concealed by the first are entirely of the cherry-color, most beauti- ful in their silky quality of texture. They look like bits of Japanese silk man- ufactured exclusively for Japanese fairies. About their edge is a border of the bright metallic bronze blue of the upper pair of wings. That great decorative artist artisan, nature, never did a more exquisite bit of work than when she turned out this small jewel of a butterfly from her atelier to be pinned upon the pale bosom of the sand-dune of Wimer- eux, clothed on with yellow and green and purple—the last adornment of a queenly festal garment. Studying such a suggestive motive as this, one under- stands the affiliation between the French and the Japanese in all art-matters or more definitely with regard to the objec- tivity of art. Ifthe French observe keenly and feel the minutiz of beauty in- tensely the Japanese go a step beyond. The race learned to see in primeval days. In the temperamental aspect of art the French find their evolutionary comple- ment in the Japanese. They have learned much from the Japanese, they can learn more. Americans can learn from both. The fineness of perception, the neatness of execution and the exquis- ite feeling for color grafted upon the err) eA L] ite larger civilization and broader individual life of America should in the future lead to the development of some new, strange and rare incarnation of the ever-shifting art-idea. CHARLOTTE ADAMS. It is encouraging to note the decline of the ‘‘ gorgeous” (and tawdry) in the decoration of public places, theatres, restaurants, shops, etc. In a confection- er’s shop in New York recently thrown open with a (literal) flourish of trumpets, there was an attempt at elegant simpli- city which was chiefly marred by a super- abundance of electric lights in the shape. of floral excrescences. Why the face of an otherwise attractive chimney-piece in tiles and oak should have been disfigured by these inappropriate blossoms, is the more puzzling in view of the really ex- cellent taste shown elsewhere, in the sim- ple oak woodwork, the walls, in rough finish, of a dull pink with a stenciled border in silver, the close curtains of per- fectly plain pink silk, and the quiet style of the fittings generally. The ‘‘ Ladies’ Parlor’’ which partakes of the character of a bazar, is a little more elaborate, run- ning to white and gold, with a good many ‘ittle niche tables and screens and cabi- nets, but here too, decoration no longer runs riot, the draperies are few and sim- ple, in pale blue and of the same thin curtain silk in which irregularities of weaving introduce little lines of thicker silk that give a shaded effect. Even the attendants are brought into harmony bya simple but exceedingly becoming costume of black, with laced Swiss bodice over white guimpe and full sleeves, only needing the addition of a fly-away Swiss ‘‘winged”’ cap, such as is worn (or once was) in the Swiss cantons, to be the perfec- tion of picturesqueness. The art of sumptuous interior decora- tion is slowly being established in this country, and is invoking the best talent available. Mr. Sargent, for,instance, is painting a large ceiling for the Boston Public Library ; Mr. Dewing’s for the restaurant of the Hotel Imperial in this city has been recently put in place, and over the bar, in the same building, may be seen Mr. Abbey’s mural painting. A retrospective exhibition of works of art of the fifteenth, sixteenth and the first half of the seventeenth centuries, will be held in Madrid in September, 1892, in commemoration of the America. discovery of Wi ORR 5 VIOLETS AND RIBBON DESIGN FOR RING TRAY (OUTSIDE) (Published by request.
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LIBRARY THE CHEVALIER OF PENSIERI-VANI, TOGETHER WITH FREQUENT REFERENCES TO THE PROREGE OF AR- COPIA. BY STANTON PAGE To the reviewer’s lot falls the reading of somany ‘‘ books which are not books”’ (according to Lamb’s delightful classifica- tion), that when in the path of duty a vol- ume is encountered which is not only a book in the fullest sense of the word but also a very charming one, the temptation to become diffuse is all but irresistible. Of such is the one whose title has been fully recorded above; with a charm not we.CWi\ Va © Lay x 4 Ca hae CAA reek ~ ~*~ rae Le fad ah Re Ne Se, reg Sane Cos er ee POIANA CHRYSANTHEMUM SCREEN PANEL DESIGNS—A SERIES IN COLOR Published April, No.2. Pink and Yellow Chrysanthemum. To be 1891 . Published May, 1892 No.1. Yellow Chrysanthemum. to be apprehended by the sort of folk called in its pages the ‘‘ Utilitarian Phil- istine,” yet a charm as real if as elusive as that Etruscan wearer of the crown, the story of whose discovery and disappear- ance is told in the very first chapter. Indeed in regard to this book it may be said in its author’s own words: ‘‘If we explain our pleasures they are pleasures no longer’’; and yet it is impossible not to dwell upon it in the endeavor to give some idea of its attractions and to lead to the same pleasure others like-minded. For its appeal is to a very limited public. Like its dramatis persone, its readers must be of the elect few to whom the cp —j— 1K DAYS PRES i @ | =) pe ed = RG 4 a ART INTERCHANGE finding of an unknown Madonna, or the digging up of an iron pot in a Roman garden, are of more importance than the balance of power in Europe or the pro- gress of the human race. Or at least they must be able to enter into the frame of mind of those with whom this is so. They must be cognoscenti, dilettanti, amatori, medizvalists, and above all, men of leisure; the book is one to be sipped, to linger over, to read once and then to read again, enjoying its delicate satire, its atmosphere of Italian leisurely living, its aroma of Shorthouse, of the essayists, of story—of Hawthorne, of half a dozen books with which it has the resemblance of kinship, which need not be a likeness in either form or feature. So read, by one for the nonce at least, 7 Gbans sense a not decided upon. convinced that ‘‘ luxuries, after all, are more important than necessaries,” the reader is in for ‘‘a calm, tranquil, re- poseful pleasure—one that comes quietly, but sinks in deeper and deeper”’ such as the writer finds best in ‘‘a stroll through the Pisan streets at an hour or so before sunset.” ‘‘What is it all about?” do you ask. It is about Italy, and a group of people who love her and to whom Art is no unknown goddess, neither do antiquities come under the head of rubbish, and whom we know in- timately and sympathize with and enjoy while we read. And it is as useless and delightful as music or pictures or poetry. No. 3. Pink and Yellow Chrysanthemums. Date 5I COURAGE. BY RUTH OGDEN A pleasant little story for children, writ- ten in rather too stilted a style, but pre- senting very attractively some agreeable people in unusual surroundings. Life on a lighter is charmingly described, but it must be owned it is rather hard to believe in any such idyllic existence among saintly longshoremen and noble-minded lighter- men. ‘Courage,’ the heroine, is too re- markable, considering her up-bringing, to be very well believed in, and Sylvia, the little ‘“kitchen-garden grajate,” difficult as it is to accept her almost superhuman talents and acquirements, is much the most natural and life-like of the charac- ters. The tone of the story is good, and it may be confidently recommended as a suitable gift. (F. A. Stokes & Co.) '\* | No. 4. Pink Chrysanthemums. Date not decided upon. A CHILD’S ROMANCE. BY PIERRE LOTI. BY MRS. CLARA BELL In spite of its title, this little book is not one for achild, any child at least, less precocious or more humanly childlike than its writer; but it is charming read- ing for any grown up person who has not forgotten childhood, or who, like the Queen ‘‘Carmen Sylva” to whom it is TRANSLATED dedicated, has retained the dreaminess and the unconscious poetry of childhood. It is the record of the inner life of a shy, dreamy, imaginative boy, bred among grown people almost exclusively, and sur- rounded with unusual care and precau- tions on account of his delicate health.
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52 How this boy develops into the young naval officer of ‘‘Karalm”’ and ‘‘ Ma- dame Chrysanthéme”’ is well if unin- tentionally shown. And the incidental descriptions of his outer life in Saintouge, with visits to the old two old maiden aunts in the Ile d’Oleron, to the charm- ing country house of la Limoise, and to the cousins in the south, make up an ex- quisite picture of that peaceful, joyous affectionate simple family life of the French upper middle class of which we are in danger of losing sight in our hasty assumption that the French nation must be made up of the sort of people who adorn the pages of M.M. Guy de Maupassant, Flaubert, Zola, et hoc. The style is very charming and the translation easy and excellent, although one would prefer to have ones explanatory notes at the foot of the page, rather than incor- porated in the sentence, as, e. g., page 49. (W. P. Gottsberger, & Co.) HER PLAYTHINGS MEN, BY MABEL EDMUNDS CAHILL After perusal of this remarkable book, the reviewer no longer wonders at a pre- ponderance of translations in recent pub- lishers’ lists, if this be the only sort of original material offered to them. A cer- tain Lady Adelaide Darcliffe, daughter of an English Earl, accompanied by her lover-cousin—Rutland Borradale—rides a ‘‘trial race,” she on one and he on another horse from the Earl’s stables— equine wonders who wear their saddles on the shoulders. After the public trial the cousins—still on the same horses as is the custom with owners and trainers of racing. stock—start for home (ten miles away) at a mad gallop, making desperate love as they ride. On the way they are attacked and pursued bya mad steer with his throat half cut, escaped from a_ neighboring slaughter house, so they naturally push their horses to a still wilder speed. In leaping a raging torrent (where the noble owner has, with praiseworthy foresight concealed himself behind a tree) the more valuable of the horses on which the Earl’s whole fortune is staked (a well-known universal custom of English Earls) falls and breaks his back. The Earl starting up, curses his daughter, draws his revol- ver (English Earls, as is well-known always go ‘‘heeled’’) and shoots the_ horse. Rutland Borradale, also cursed, is about to depart in despair when his cousin steps up to him, unbuttons his coat and takes from him a ‘‘tiny jeweled toy” (another revolver) and while bidding him live for her sake promises that he will always find her waiting for him. In the next chapter we encounter the Lady Adelaide, transformed from a tall, dark, tragic amazon, into a plump, fair, fascinating cigarette-smoking coquette, and married to a fat, dissipated Marquis of Trip—something. After compliment- ing him on his graceful dancing of a sailor’s hornpipe at a grand ball in Brus- sels, she casually remarks that having been deserted by her cousin she was henceforth free to make ‘‘ Her Playthings . Men,” and with this remark she disap- pears entirely from the pages of the book until the very last chapter, where she re-appears to play deaex Machina by placing herself in an equivocal position (just for fun), in place of another woman. The rest of the book is made up of the ’ breakfast. ART INTERCHANGE hysterically incoherent adventures of a lady who having been kept waiting fifteen minutes by her bridegroom, marries an- other man on the spot, of a couple of duke’s daughters (for we are all through - in the finest society), rejoicing in the names of ‘‘ Bopsie”’ and ‘‘ Topsie,’’ and of several other ladies of strict virtue, but of some remarkably eccentric ambi- guities of conduct, while— ‘* Lords and dukes, so plenty there, Respectfully make love—or swear.” The tale is furthermore embellished by a jeweled dog collar whereon is worked the word ‘‘ Never,” in rubies at an expense of five thousand pounds (to say nothing of a whole sentence in rose-diamonds) by a general atmosphere of boundless wealth, and its complete grasp of Italian places and things should endear it to scholars of every land, but its charming style removes it from those books which are more praised than read and makes it one always welcome for a desultory dip, as much so as the Breakfast Table volume of the best beloved author on either side of the Atlantic. Which mention of Oliver Wen- dell Holmes reminds me of a pertinent remark in course of conversation lately when he said, “of course you have written poems—every body has. Well there are times I think when a man is justified in quoting from his own work ; for certain things of hisown come to him with a pleas- ant comfort that neither Homer nor Shelley, Pope nor Swinburne could yield.” When laughingly asked if any circumstances PEN SKETCH—SUGGESTION FOR BEGINNERS by a good deal of vulgarity, and by such paraphrases as ‘‘a matinal ortolan”’ to inform us that the heroine eat a bird for The only reason for wasting words upon such a farrago of lurid, igno- rant trash is the hope that it may afford to some one as hearty a laugh at its wild absurdities as has been enjoyed by the re- viewer. (Worthington & Co.) Our London correspondent writes :— Judging from the comments of some of the leading reviews, and the warm appre- ciation shown by private readers, the famous ‘Chevalier of Pensieri-vani,” by Mr, Stanton Page is likely to find a circle of admirers here even beyond what it has been in America. The ex- quisite clarity of its style, its dainty wit, York : J. W. Bouton). justified a poetaster in quoting his own rhymes to others, the kindly Autocrat parried the remark and said, ‘I feel few things would give me more pleasure than to read through my Breakfast Talk books. I wish I could find time; I hope before long to be able to do so.” Then he walked to the window, he took up the silver goblet given him by some ladies of Boston on his eightieth birthday, and bade me note witha twinkle how he wasalways obliged to empty the draught, so as to be able to read the names of the donors engraven on its base, ‘¢ Antoine Watteau ” by Paul Mantz, is a new volume of artistic biography from ‘‘La Librairie Illustre,” of Paris (New It is a handsome octavo, illustrated with a portrait.
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the sky, only, as the first painting of the sky was done with a full body of color it will now be best to work thinly and while this thin color is still wet paint the trees. Work the cottage and landscape in both solid and thin color according to the quality of the various objects. The colors to be used in the sky are silver white, yellow ochre, madder lake and cobalt blue; a little vermilion and light cadmium may also be found useful. For grays make.a mixture of silver white, ivory black, yellow ochre, and vermilion and vary this as occasion requires with madder lake, burnt sienna and cobalt blue. For the chimney use silver white, vermilion, and yellow ochre modified with cobalt blue and madder lake. For brightest greens use light cadmium, silver white and Antwerp blue. Modify this with yellow ochre, burnt sienna and ivory black. For the brown tones in the tree trunks which are dead rushes use burnt sienna, ivory black and. yellow ochre. It is desirable to finish the work at the second painting if possible, but if that cannot be done allow the work to dry thoroughly and then rub out the unsatis- factory parts with a little pure linseed oil when they will be ready for such retouch- ing as may be required. MINERAL COLORS FOR DECORATIVE ARRANGEMENT OF BirDsS.—We will begin with the two birds in flight in the upper right hand corner, taking the highest coloring on the breasts for the first work. Take silver yellow for the pure yellow touches on the plumage, as this yellow combines safely with the reds, carnations and carmines. Wherever there are any touches of pure yellow on any of the birds put this color on while the brush is filled with it. Onthe breast of the lower of the two birds*referred to, use a very little carnation, No. 1, with silver yellow, so mixed as to produce a flesh tint and this will answer for the pinkish tinge around the yellow. Where gray tones appear use light gray, adding a little sky- blue for the bluish gray tints, and the car- nation, where pinkish gray is seen, as in the case of the coloring on the throat and breast of the upper bird. Deep blue with a little black added will give some of the blue tones, principally those on the back and upper part of the wing of the lower bird. A little chrome green, or even brown green may be mixed with blue for the tones on the head and lower wing of the lower bird. All these colors suggested must be mixed, sometimes in infinitesimal proportions to produce the given colors, but it is safe to match the tints in the design as nearly as possi- ble, as they will change but little in the firing. All the changes of blue and gray- ish blue on these two birds can be obtain- ed by mixing with the blue, black, Van- dyke brown, or one of the quiet greens. Vandyke brown will answer for all the brown touches on the head, beak and wings. A little green can be added to the brown to give the coloring at the ends of the wing feathers, and in some places a little blue may be needed. ‘For the light spot of. blue around the eye use sky-blue. Taking the next group of four birds in the middle of the sheet begin with the lightest tints on the breasts of the birds using silver yellow ART TPES OC ANSE for the touch of yellow and carnation, No. 1, mixed with it for the reddish tints. Gray and blue and gray and carnation will give the shades around the pink and yellow. All the lightest and brightest blue touches can be put on with sky- blue heightened with deep blue. On the upper bird of this group, the blue on the body, wings and tail feathers can be dulled by mixing a little black and a touch of brown. ‘Then use Vandyke brown for the brown on the head and on the wings lightening it with a little blue and in some places with a touch of the silver yellow or yellow-brown. On the bird next below place the touch of bright blue on the head and then mix black with the blue for the sombre coloring on wings and body. Use a little chestnut brown for the brightest brown around the beak and Vandyke brown for other parts. Add a little black to brown where very dark. On the third bird below use sky _ blue for the lightest blues, deep blue for the strongest color on head and wings and gray with brown and green added for the dull coloring on the back and under the wing. On the wings are touches of chrome green and brown green. Then come the browns again and brown and blacks for the darkest lines on the wings, and for theeye. A touch of carmine, No. 1, can be added to the blue, to give any purplish tint that is occasionally seen at tips of wing feathers. On the large bird of the group, the touches of yellow are done with silver yellow and carnation mixed with it for the bright flesh-colored plumage. Gray with red and with blue give all the coloring around the head and neck. Bright blue appears on the edge of the wing. Chrome green with little blue added is seen on the extended wing to the right. Over this wing are some touches of blue and brown, then green and brown, and the markings of the wing can be donein brown. On the wing extended to the left, greenish brown coloring pre- vails. Where yellow lights are seen use silver yellow and let brown mix with it at the tips of the wings. Mixa little brown green with brown for the under wing - feathers, defining them with Vandyke brown and chestnut brown as the differ- ent shades are wanted. For the eye and the bill use black with a little sky blue added to make it permanent in the fir- ing. For the three birds to the left flying upwards blues and browns are needed. Use sky blue for the lighter touches of blue and deep blue for the darker ones. On the smallest bird use Vandyke brown heightened by a little silver yellow. The same coloring can be followed out on the bird below. On the largest bird, of the group use deep blue, in a very delicate wash on the palest parts of the wing and possibly a touch of green added at certain points where a greenish tone is notable. For greenish gray a pale wash of green No. 7 is excellent, but it must be used delicately. Where such coloring is seen on the ex- tended wings this green can be used, then’ the brown can be added and also made lighter by mixing yellow with it. Van- dyke and chestnut browns can be used for all the shading and markings, adding yellow where yellowish tones occur. On the group of three birds in the left hand lower corner use mixing yellow on the 55 breast and body, and on the yellow patches on the wing of the middle bird. Take sky blue for all the lightest blue on the upper bird, adding deep blue for the darker touches. A very pale wash of green, No. 7, and mere touch of blue added will give the color on the wing extended to the left, use this also for the middle bird on the wing and on the tail. Silver yellow can be used on the breast and spots on the wing. Chrome green with touch, of black to subdue it can be put on the back. Green, No. 7, with a little brown to tone it down can go on the wing extended to the right. A patch of deep blue can be washed on the head. Brown and black and brown and yellow will give all the coloring of brown tints on head and wings and tail. “On the lower bird use silver yellow on the breast and on the bill. Leave the white of the china for the white around the eye. Sky blue will give the lightest shade of blue, and deep blue the darkest on the head, use sky blue on the top of the wing, then blend it into chrome green for all those lights on the back using brown green on the shaded parts, and on the head, a touch of brown mixed with green will give the band of color under the eye. On the tail a faint wash of green, No. 7, and little brown added can be used, also a touch or two of sky blue on the wing extended to the right, use yellow and little brown mixed, then green, No. 7 and brown mixed. This same green and brown is also seen on the right wing. Vandyke brown will give the brown touches on wings and tail feathers and the few light lines at the back of the head. Then add black to the brown for the darkest markings on head and eye and bill. On the group of birds at the lower right hand corner, the coloring on the breast plumage is done with silver yellow for the yellow coloring and with carna- tion, No. 1, added to the yellow for the reddish hues. Vary the quantities used, as more or less of a reddish or pink tone is required. Use carnation quite pure forthe bright spot over the bill and on the edge of the wing. Yellow added to Vandyke brown with a little black will give the color on the wings and back. And use Vandyke and carnation for the reddish brown touches. On the bird below use touches of blue on the tips of the wings. The salmon tints made from carnation and silver yellow appear on the edge of the tail feathers and on the wing at the right. On the side of the head carnation and brown appear, and a little of this same coloring on the tail feathers. On the wings brown green, heightened here and there by a little silver or mixing yellow, or subdued by alittle brown. Sometimes a little black. Black can be used on the eye and on the biil. About the same coloring appears on the third bird below. On the bird to the left, the same yellow and red appears on the breast. The blue and alittle carmine added appears on the wing feathers. Brown green and a little chrome green are added for the brightest green parts of the wings, and brown green and brown added for the darker touches. <A touch or two of duck green” can be put on just above the line of the head, Vandyke brown can be used on the head, lightened in two or three places with yellow, use black around the eye
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56 and on the bill. On the lowest bird of the flock use silver yellow, and the same combination of carnation, No. 1 on the breast, on the two or three light spots on the wings and yellow on the back. Some touches of blue appear on the wings, also a dash or two of bronze green. A little yellow and alittle green can be added to brown to give the different degrees of brown on the wings. Adding a little black to the salmon tint will give the shading just above the yellow and red onthe breast. Use Vandyke brown on the wings and tail feathers and black around the eye, on the bill and at the top of the wings. THe StTupies oF BirDs IN OIL CoL- ors.—As the method of painting all the different birds in this study is the same, we will give directions for painting the large bird in the centre of the study and these directions can be adapted to the others on the sheet. Begin by drawing carefully with a lead pencil, then take burnt sienna, ivory black and yellow ochre and lay in the beak, eyes and darker parts of the wings and tail. The lighter parts of the wings are painted into the darker parts while the color is wet and the brush should be worked in the direction of the feathers. Always begin by rubbing on thin color and then painting into it with a full brush. For the light grayish brown of the wing, take ivory black, burnt sienna and yellow ochre already given for the dark feathers and add silver white, light cadmium and madder lake until the proper tint is ob- tained. The breast is made principally of silver white, yellow ochre, light cadmium, ivory black madder lake and vermilion. The blue about the head is mostly cobalt blue and silver white modified with yel- low ochre and madder lake. The dull, warm gray green seen on the backs of the birds in the lower group at the left is made mostly with silver white, ivory black and light cadmium. If these birds are to be painted merely as study for practice it will not be necessary to paint a back ground but to select a canvas as white and smooth as possible. For dec- orative work the background may be made of any color desired. These birds will be found most useful in decorative work where branches and leaves form a prominent part. DIRECTIONS FOR TREATMENT OF BIRDS IN WATER CoLors.—The birds are use- ful for a number of different purposes. First of all as objects to study. Or they can be taken in their different groups and applied for different purposes of decora- tion, such as fans, cards, plaques, alma- nacs, and can be painted on silk, satin, or almost any textile fabric. Or they can be used in pictures as an acces- sory. For decorative purposes body color is most appropriate, use Chinese white with all the light colors. Paint freshly and rapidly. The drawing should be first secured, before attempting to paint. The bluer birds are made with Antwerp blue, cobalt blue, and a little black. The browns are Vandyke brown, touched with black, with a little burnt “sienna. And the orange color is made with vermilion and cadmium. ‘The white touches are pure Chinese white, or if painted in pure water colors, the whole paper should be left for the white touches. ART IR PTEROCHPAR GE PANEL WITH HERONS AND AQUATIC PLants.—The sepia design of aquatic plants and herons is intended for a panel in a three fold screen, the centre panel being of fretwork curtained with silk. The right hand panel which will be published later is of similar design to this one now described. The student or decorator can copy it in water colors or in oil colors. If in the former medium Chinese white should be used in all the lighter colors. Much depends on the groundwork on which the design is painted and such a material should be chosen as will serve for a background to the subject. By observing this sugges- tion infinite trouble will be saved and the effect will be more satisfactory. Pongee in its natural color will make an excellent background and will be harmonious in tone and satisfactory to work on. It will tone in with the fretwork and is stronger than most of the silks. There is also tapestry cloth, satin sheeting or Roman satin, tinted paper or canvas. ‘The sepia tint of the original will tone prettily with the pongee. But the following color scheme is given for those that may wish to use it: Tne blossoms are creamy white with bright pink lips; for the former use Chinese white, yellow ochre, shaded with a little black and cobalt blue. The pink is made with rose madder pure. (These directions are for water color work.) The blossoms in the back have more of a delicate purple hue and for them use cobalt blue, with the rose madder. ‘Thestems are a clear yellowish green made with cadmium and Antwerp blue. It must be constantly remembered that this work is distinctly decorative and the colors must not be made very strong either in the shadows or very brilli- ant in the lights. Keep rather to a quiet harmonious effect on the whole. The leaves are painted with cadmium, Antwerp blue, and burnt sienna. The light that falls on parts takes more of a bluish hue, use cobalt blue with a tinge of rose madder. ‘The herons are gray on the back with bluish tints about the neck and almost white on the breast. The beak is dark brown color, the legs are dark. The colors to use in the birds are cobalt blue, light red, and yellow ochre with Chinese white and black in the ac- cents. The ground and grass are differ- ent shades of green made with yellow ochre, Antwerp blue, burnt sienna, cad- mium and occasionally rose madder to tone down the greens. A drawing should be carefully traced of the whole before starting to paint. A large brush should be used and plenty of material such as water and color. For painting in oil colors, much the same treatment should be used, Chinese white should be substituted for silver white and rose mad- der for madder lake. THE ART INTERCHANGE ART COMPE- TITION Yielding to the urgent solicitations of art schools and individual art workers, we have decided to en- large the scope of our art competition and extend the date to April, so that all interested may have an op- portunity to acquaint themselves with the require- ments and ample time to prepare designs. We are surprised and gratified at the widespread interest shown in the subject and we feel encouraged to make art competitions a regular feature of THE ART INTERCHANGE. As amplified our offer stands now as follows : With a view to stimulating an interest in serious work in decorative designing, THE ART INTER- CHANGE Company have decided to offer from time to time money prizes for artistic designs. The first of these prizes will be $25 in gold for the Best Book Cover design, and $10 in gold for the second best. I. The competition is open to any American artist or art student under twenty-five years of age. II. Competitors will send in their drawings so that they will reach this office between April 5th and April 15, 1892. No drawings will be received be- fore or after these dates. III. The transportation charges on the drawings must be fully prepaid. No deficit either in postage or express charges will be made up in this office. The object of this competition is to familiarize art students with the practical as well as the artistic qualities that affect designs for book covers. It should be borne in mind that fashions change in decorative design as in most other matters, and that the practical designer is one who is able to dress a book artistically in the prevailing fashion. In order to make the competition as instructive as possible, it has been decided that contestants shall observe the following conditions. The competitive designs may be any one of the following subjects and sizes, and each competitor may submit designs for any number or all of the subjects proposed, viz. : (1) (a) For Poetry—‘‘* Tennyson’s” In Memoriam ; side, 3% x6 inches; back, % inch. (b) For Fiction—‘‘ Dickens’s”” Tale of Two Cities ; side, 5 x 7% inches ; back, r inch. (c) For Art—‘‘ Ruskin’s” Seven Lamps of Ar- chitecture ; side, 6xg% inches; back, 14% inches. [The back and one side only to be shown in each design. | (2) Not more than two colors and either gold or sil- ver may be used, besides the ground color of the cloth, i. e., should the cloth be blue, either silver or gold may be added (but not both), and two other colors. (3) For the Dickens cover a special design may be submitted for a paper cover. ‘The colors used must not require more than five litho- graphic printings besides gold or silver, used as freely as the designer may wish. If both gold and silver are used, the other colors must not require more than four printings. (4) The designs should be signed by a pseudonym or emblem, and the real name, address and directions for return of each design should be enclosed in sealed envelope, marked with a corresponding pseudonym or emblem. (5) The designs receiving award prizes will be illus- trated in THE ART INTERCHANGE, the copy- right remaining the property of the designer. Those honorably mentioned will be described in THE ART INTERCHANGE and the design- ers’ names and addresses published. All de- signs will be returned to the designers at their own expense as directed by them. THE ART INTERCHANGE will have no proprietary rights in the designs other than the publica- tion of the two receiving prizes, and will not undertake to negotiate their sale on any terms. | In determining the awards, (1) suit- ableness, (2) artistical excellence, (3) attract- _ iveness, and (4) economical manufacture will be considered. Gold or silver add more than any other thing to the cost of printing a de- sign, and should be used sparingly. This economical question will be considered in awarding the prizes. All designs will rank alike. In the event of the first and second prizes being awarded to the same competitor, the second prize will be re-awarded. (7) The announcement of the awards will be made in THE ART INTERCHANGE of May, 1892. ) Correspondence relating to this Art competition is to be addressed to Mrs. JOSEPHINE REDDING, Editor of THE ART INTERCHANGE, No. g Desbrosses Street,- - - - New York. TO CORRESPONDENTS All letters relating to the purchase by us of col- ored studies, designs in black and white or manu- script, should be addressed to Mrs. Josephine Red- ding, Editor of THE ART INTERCHANGE, 9 Des- brosses Street, New York, who decides all questions connected with the acceptance or refusal of proffered paintings, drawings or manuscript. All letters pertaining to club offers, changes of address, rates of subscription, should be addressed to THE ART INTERCHANGE Co.
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rts ee mig PS ET a TT TT NT i LE a CET LT TE Ae PE a a ee - mens or : ; Sy a”) — — = —— oe ee oe (i i t im: { i ripe adda, raght ‘ A ne 1 ; { HINTS FOR PROSPECTIVE ENTERTAIN ERS AND DECORATORS {These ‘‘ hints” describe the gatherings and forms of entertainment in the most fashionable New York society, where money is very lavishly expended. (New York Society, let it be stated for the benefit of the uninitiated, 1s migratory. It is to be found at Lenox, London, Newport, Florida, Paris and Vienna.) Those of our subscribers whose means will not admit of extravagance in social intercourse can carry out most of the suggestions contained in this department inexpensively, using fewer and less costly decorations and refreshments, but following out the color schemes, methods of service, etc.] a: DINNER of eighteen was aN 2 given recently in honor of cP . a newly married couple at ayit which taste and beauty of uN) decoration were conspicu- ous. The large drawing-room was charm- ingly arranged with growing plants and trailing vines in jardiniéres and china vases placed upon pedestals. In the library—a pleasing room furnished in soft tones of browns and yellows—there were yellow flowers in jars and vases placed about the room, and upon the library table laid upon a scarf of golden brown plush stood a beautiful open jar of fine yellow porcelain filled with yellow roses, white hyacinths, mignonnette and heliotrope. The dining-room, separated from the drawing-room by a curtained archway, was beautiful with palms and foliage plants. A large bay window in it was filled with palms and vines, and Q 5 around the walls forming an almost con-. tinuous dado, were jardiniéres wreathed with ropes of smilax, and containing ferns and other growing plants. The wide oblong table was exquisitely beautiful in its appointments. Laid upon the fine white damask cloth was a long scarf of soft white plush gathered up in delicate waves, and thickly strewn with double purple violets. A wide border of maiden hair ferns and white carnations enclosed the plush scarf, down the centre of which a wide white satin ribbon was placed, having the name of the bride at one end and that of her husband at the other in golden letters. Occupying the central space was a huge basket of American Beauty roses lifting up their gorgeous bloom from amid a groundwork of maid- en hair ferns. The compotiers, of white and gold, and held rolled wafers and other dainty things tied up with satin ribbons. The china was simply exquisite being a duplicate service of one made for the Em- press of Russia. The name cards were very beautiful, each one being distinct ee ae - a | ~ —_ COPYRIGHT, 1892, BY THE ART INTERCHANGE CO. from the other. They consisted of two leaves of white satin fastened together at the top, and fringed out at the ends. A decorative painting of flowers was upon the upper left end corner of each card, and the name and date inscribed in the field in painted letters to correspond with the ° 4 ai Ly) N PX) : y We ‘a IPCI. Ser i i) OS YG Feil 1 en Se \ | ene ————— vi i | y { Dy OS Ming ‘ ” | : A ~—s* Wy y.) 7 fi fi) ry uf Wy, LLL LIT OSL LLL Ut tp OTT LLL LLL tle a Y Wf ¢ hwy ’ Vike oe geh ed color of the flowers mixed with gold. On the back of the second leaf were the names of bride and groom in gold. Among the prettiest of the cards, if any distinction could be made, where all were so artistic, may be mentioned the orange blossoms (given of course to the bride), the forget- b YY] Y hy US e = | | ey i// | Uy) Ua Wij), Uh —___ ee ——s el ——_ zx — ——y, —————. " ——— A pare A HALL BENCH
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88 me-not for a young girl who was to go abroad almost directly, the holly, and one on which there was a lovely grouping of white and purple lilacs. The hostess received her guests in the large drawing- room. She wore a gown of rich white satin, covered with white embroidered chiffon and handsome diamond orna- ments. Half-tone views of this dinner decoration and a picturesque view of the library will be found in this issue. A wonderful change from gloom to _ brightness may be wrought in an ‘‘ inside”’ room by the use of yellow silk or cheese cloth in decoration. Yellow silk sash curtains placed in windows from which hang draperies of yellow muslin make an excellent substitute for sunshine, as light . diffused through that color gives a sense of warmth and brightness which is the next best thing to sunshine. A room with window opening upon a shaft in an apartment house, and which with other furnishings would be dismal and gloomy to a degree, has been made cheerful and bright by the following method. ‘The walls are covered with a paper showing a design of bright yellow flowers ona white ground. Upon the ceiling is a white paper with a little spider-web pattern of gilt lines. The dressing table is painted over with white enameled paint with some gilt lines forafinish. The bedstead of iron, enameled in white and finished with brass balls, has a valance and spread of cretonne at 12 cents the yard, the pattern,: yellow roses on a white ground. The window curtains are of yellow cheese cloth fastened back with ribbons of the same color, and upon the floor covering of white matting, a cream white rug of goat-skin is laid. A pretty white enam- eled rocking chair, two ordinary chairs painted white, and a little square table covered with a white linen cloth embroid- ered in yellow, complete the furniture, and make of this room a cozy and cheer- ful place filled with brightness. An upper hall ina country house, which has a rather dreary northern window, is seemingly flooded with sunshine from the use of yellow panes of glass in different shades and gradations of color, but while each pane differs from the others they make a harmonious whole, one tint blend- ing with the other so as to produce a gra- dation of tones giving a soft glow, far re- moved from glare, yet full of rich color. The same effect is obtained from yellow shades upon lamps and candles, the light of which coming through this color sheds a soft radiance over the room, and is far more becoming than the pink tones that are so widely used. A yellow silk shade gathered up full at the top, and put over the globe of a chandelier, and made suff- ciently long by fringe or lace to soften the glare below the globe will mellow the light of a room, and give a beauty to all its furniture, however plain and simple it may be. Hardwood floors have become almost indispensable in modern house-building, and the advantages of healthfulness, cleanliness and comfort gained by their use can scarcely be overestimated. For- merly a hardwood floor was an expensive luxury, obtainable only by the rich, but since the introduction of wood carpeting AKT INTERCHARNG® and thin parquetry, such a floor may be had at an expense of little more than an ordinary carpet. They are both com- posed of small pieces and strips of hard wood about half an inch thick glued to heavy strong cloth, but in thin parquetry the strips and pieces are not only glued to the cloth but to each other as well. Wood carpet (which is generally made of oak) comes in sheets which may be rolled up and relaid in other rooms even after being in use for years. In thin parquetry flooring different kinds of wood are used in almost endless combinations. Walnut, oak, maple, mahogany, ebony and holly are the woods most frequently used. In thick parquetry the pieces of wood are glued to a.backing of hard wood which makes it very solid and also more expen- sive than the thinner kinds of flooring. The latter, however, are very durable and may be laid upon any ordinary cheap flooring. They compare favorably with the more expensive kinds both in beauty and lasting qualities. A floor of wood carpet 14 x 18 feet in size made of quar- ter sawed oak with border of the same, may be bought for $40. Another of the same size and also of oak, showing field in basket pattern with arabesque border of mahogany and maple costs $70. A very handsome wood carpet is in dia- monds of quartered oak with border of oak and black walnut, and for a room 14 x 18 feet including bay, costs $75. The combinations for thin parquetry floors are more varied as so many woods enter into their construction. Maple, oak, cherry and walnut being used for the fields as well as the borderings. ‘The prices are higher, a floor in thin parquet- ing 14 x 28 ,eet, made of oak, mahogany and maple costing in the neighborhood of $120. ‘The designs show a great vari- ety of arabesques and geometrical forms in which Japanese patterns are frequently used. End wood mosaic, which consists of small blocks of various woods made with grooves and fastened together by molten lead is a very solid floor, and more expensive than any of the above. The woods most used in mosaics, are ash, oak, cheery, maple and mahogany. Where the latter is used in any quantity it com- mands a special price. When only one kind of wood is used, as in the case of wood carpets, variety is still attained, as there are scarcely ever two pieces of wood alike. These ornamental floors make a perfect background for rugs and are to be recommended from an artistic as well as an economic point of view. Some care is required to keep a hard wood floor in order. The mode of doing this de- pends upon the finish. A shellac or a hard oil finished floor should be swept with either a soft brush or a broom over which a towel has been pinned and occa- sionally wiped with a rag dipped and wrung out in linseed oil and .turpentine. All superfluous oil should be carefully wiped off, and the rag burned, or kept in the open air after using. Wax, however, is the handsomest finish for a hard wood floor. Its only objection is its slippi- ness. Neither oil nor turpentine are used to renew the gloss, a_ weighted brush being employed for the purpose and occasionally a little wax is used to touch up the spots which have become worn, The ‘‘cotillon”’ as it is called in New York, which answers to the ‘‘ german ”’ for other cities is an old institution which made its first appearance here more than thirty years ago and was then called the ‘*German Cotillon.” It is as popular now as it was then, and society seems to have decided that nothing has ever been devised as a means of amusement to young people that can equal the cotillon. It is susceptible of so much variety both in figures and favors, that the dance of one winter differs in most respects from that of the preceding ones, although many of the old figures have never lost their popularity and still remain favorites. Formerly there were no ‘‘favors’”’ used in the dance, but by degrees this fashion crept in, and from a flower or bit of rib- bon which were the first favors, a pitch of extravagance was reached in this respect from which a reaction has set in, and the cotillon favors, now in fashion are pretty dainty trifles, which belle and beau may carry away without any over- powering feeling of indebtedness to the hostess. The leader of a cotillonis a very important personage, and upon him the success of the dance depends. He must be clear in his mind as to the figure he is directing, firm, yet quiet, in his orders, and show unvarying patience and courtesy to all. A noisy leader is con-.- sidered vulgar, and in New York at least all the orders are issued in a gentle, quiet voice, and all infringements of discipline treated with perfect good-nature and politeness. People living in apartments where space is limited and closet-room of the most meagre description find much convenience from the use of window boxes and couches with a long deep receptacle un- der the tufted seat, for dresses. Hand- some gowns, folded along their length are thus securely kept from dust or wrinkles, and the window seats give pro- tection to hats and bonnets that no mere bandbox can do. A thoughtful woman, living in a flat has placed in each of the three bed-rooms an ottoman made by herself, from an ordinary square pine box about two feet high or more. ‘The out- side of the box is covered with a plaiting of cretonne to match the coloring of the room. ‘The inside is neatly lined with wall paper put on with flour paste. The lid, made soft and rounding by layers of cotton batting has a preliminary cover of cambric, over which the cretonne is laid, and finished with a narrow ruffle. This pretty ottoman is used as a receptacle for shoes. A cotillion of only thirty-five couples ‘was given on Christmas eve, and proved to be a most enjoyable affair for the young people who were present. The dancing took place in the spacious dining- room, leaving the drawing-room free for those who did not join in the cotillon. Chairs, of the folding kind, which are hired out for these occasions, were placed side by side around the room, the great dining table was, of course, removed, and the musicians were placed in a cor- ner which was cut off from view by screens of smilax and laurel. All the decorations told of the season. From the centre of the ceiling a huge bell of holly was hung, and from this long ropes
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aoe NET eS > NOTES 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 THe 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 I.— ‘* Elementary Drawing,” Price, 10 cents. LEAFLETS II AND III.— ‘* Drawing in Crayon,” Part 1, Price Io cents ; ‘¢ From Cast, Nature and Life,” Part 2, Price 1o cents. LEAFLET IV.— ‘* Perspective,” Price 10 cents, LEAFLETS V AND VI.— ‘Water Color,” Part 1, Price to 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). THE ART INTERCHANGE Co., g Desbrosses Street, New York, U. S. A. HOW SUBSCRIBERS SHOULD APPLY OUR HoME DECORATION NOTES. (M)...Q... Please accept my sincere thanks for the studies sent in re- turn for the $1 forwarded. They are very lovely, and you sent a more than generous number. I want to congratulate you also upon the improvements in your paper, I especially like the readable articles in regard to artists, etc. The designs and engravings are very fine. May I make one suggestion—or rather I’ll put it in the form of a question. Are not a good many of the directions in regard to furnish- ings, etc, for the much favored few, to whom money is not a consideration, rather than to the great mass of women, who like myself, have limited means, and yet are reaching up, and trying to learn? We can profit but little, when things are so far out of our reach. Still I enjoy the INTERCHANGE very much, and think you give us a great deal for our money. ..A ..If you had made much of a study of the answers to queries on furnishing, etc., in these col- umns, you would not have failed to learn the sub- stance of their teachings, which makes them of benefit to any person who follows them. The sub- stance of the instruction conveyed in these answers is, that color, form, and proportion produce artistic and pleasing, or ungainly and unpleasant results in home decoration and furnishing according to their quality, good or bad. One might use the most costly fabrics and the greatest variety of colors, good, each, in itself, in aroom of poor proportions, and have the most costly furniture without producing a harmonious whole. One might also use inexpensive devices to give a room the appearance of being in pleasing proportions, and furnish it with inexpen- sive fabrics and furniture in good colors and designs, and have a room which would attract every apprecia- tive person by its artistic results. It has been re- peatedly urged on frequent occasions in these col- utns, that where fabrics and furnishings advised are too costly, lovely effects may be reached by simply following the color schemes and styles of designs in lower priced fabrics and forms. Inexpensive furni- ture may be as well placed in a room cis its pro- portions as the most costly, and an illy-proportioned Recommended by THE ART IR TEZRCRANG.E room may have its defects remedied as well by in- expensive papers and by inexpensive tinting and other devices as by the most costly. The richly fur- nished room will look more costly and luxurious, but it will not be a whit more refined than the less costly room where the colors and designs are perfect and harmonious, and the furniture of good design though of less costly wood and upholstering. Indeed such a room is more pleasing than a room where the richest colors and articles are heterogeneously placed. The aim of THE ArT INTERCHANGE is to teach the use of good color, good form, and good propor- tions in the home, without and within. Read our answers with this thought in your mind and you will find our suggestions of the greatest practical use. Accept our acknowledgments for your gracious ex- pression of appreciation. WHAT CAN BE DONE WITH A HID- EOUS BLACK MARBLEIZED MANTEL. (D)...Q... 63 We live in apartments that are prettily decorated in delicate tints, the ceilings having dainty floral ornamentation done in water color. The walls are also pretty but I amin despair over the atrocious mantel. It’s an enormous affair with over-mantel and glass and composed of black and green slate. It kills everything in the room with its aggressive ugliness. Draping it is out of the question as it is so large that it would resemble a sleeping car berth if it were curtained. What can I do?...A...Enclose the whole mantel from hearth to ceiling with pine boards. Have them properly fitted of course. On this apply Lincrusta-Walton, selecting some small unobtrusive pattern and using bordering on all the edges. Stain the Lincrusta the color of the wood- work in the room. This will make a satisfactory background for your bric-a-brac and you can use a mantel scarf. Do not use the pretentious showy Lincrusta panels on uprights under mantel shelf. Adhere to the small all-over pattern for all parts. TRG CA St PUB fd 2 - -- We GN = = —A-B BoGatr— ¢ DECORATION FOR CHINA CANDLESTICK (No. 2 ofa pair, No. 1 given with the December, 1891, issue] MINERAL CoLors FOR DESIGN OF CANDLESTICK.—This design can be painted with color to harmonize with the bed-room furnishings, or in some good contrasting color. The candlestick can be tinted throughout with deep red brown, put on in a very thin coat, mixing one-third flux with. it to ensure its holding well in the firing. Then, when thoroughly dry, the full strength of the color can be used to define the pattern and lay in the bands of deep color. rather put on two moderate coats of color. the coloring of this decoration, using deep-blue green for the underlying color, and deep blue for the tracery and bands of deep color. Do not paint thickly to secure a dark tint, but Two shades of blue can be selected for
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64 EDITORIAL NOTES The March number of THE ART INTERCHANGE will have as its colored studies, a strong and bril- liant oil painting of white and purple clematis ; a charming water color sketch entitled a Venetian By-way, and a third supplement in color will be suit- able for an applied decoration. The text will, as usual, be entertaining and diversi- fied as to subjects and instructive. Among other arti- cles there will be a paper on The Island of Marken, a picturesque spot in Holland accompained by sev- eral half tone illustrations. An especially interest- ing topic ‘‘ Students’ work at the Ecole des Beaux Arts,” will also be given consideration. There will be foreign correspondence, a continuation of Modern ART INTERCHANGE not possible to send individual replies to so many correspondents and the Editor hopes her friends, THE ART INTERCHANGE readers, will accept this public assurance of her grateful appreciation of their kindly intentions. Ungracious indeed would be the Editor who would not be touched and pleased by such letters. Extracts from a few are given below: Words are powerless to express the great pleasure and satisfaction I felt on receipt of the picture, “Waiting.” It is so soft and lovely, and one of the art dealers in Staunton has framed it so prettily and artistically, and it now graces our parlor. THE ART INTERCHANGE deserves great credit for its en- terprise and liberality to its patrons, and is the only periodical I know deserving of the first rank. If it I like THE ArT INTERCHANGE better than any art magazine I have ever taken, for the reason that you give us an idea of what is coming from month to month ; and, furthermore, you always send just what you say you will. I take other magazines. They did not send the studies they promised, two. at the beginning of the year. Another thing I like is the Editor’s word to subscribers. It helps to en- courage us poor mortals who are so far removed from art centres. I hope I shall be in time to get the water color, ‘‘ Waiting.” I worked hard for it last year, and Christmas has kept us so busy we could not write before. i Mahe, Ohio. Inclosed find $4 for another year’s subscription. I thought this year I would not get it, but I don’t German Artists, reviews of current illustrations in the magazines, instruction in art work of all kinds and hints and suggestions for the beautification of the home. JHE Editor begs to acknowledge with many thanks the hundreds of commen- datory letters sent to this office during the last few weeks. ART INTERCHANGE readers when renewing their subscriptions have the delightful habit of accompanying their re- mittances with friendly letters in which they com- ment upon the special features that interest them, frequently specifying in what way they have been aided by our suggestions and instructions, It is GRACEFUL ARRANGEMENT OF CORN-FLOWERS has any more such surprises in store, may I be there. Yours truly, M. J. B., an old subscriber. Miss S.’s compliments and most cordial thanks for the very beautiful picture, ‘‘ Waiting,” just re- ceived, a gift from the ‘‘ Art Interchange Co.” BROOKLYN, N. Y. I have taken THE ART INTERCHANGE, or seen - every issue of it in a reading club ever since it was published, and could not get along without it, al- though I get very little time to paint. I think the last year the best. ‘‘ Little Pilgrim ”’ is the loveliest face I ever saw. Very truly yours, OLD SUBSCRIBER. believe I could do without it. Have been taking it for a number of years, and should feel as though I had lost one of my best friends in giving it up. Mrs. A. D., Missouri. The numbers of THE ART INTERCHANGE arrived safely and I am very much pleased. They far exceed my expectations and I now subscribe for the present year. Yours, H.E. | The fac-simile ‘‘ Waiting” gave me great pleasure. It is the first fac-simile I have ever seen. Neither myself nor friends to whom I have shown it can tell the difference between it and water color paint- ing. L, D., Pittsburg Pa,
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RT INTERCHANGE :::::: HOUSEHOLD TRADE NOTES BHOME of the reasons given why Pasadena (especially from a sanitary standpoint) is superior to the famous 4 health resort Lakewood, N. J. or any other location in the great Pine Belt of New Jersey near the sea shore, are (1) The Official Report of the State of New Jersey, by George H. Cook, Professor, 1888, Page 105, proves that it is the highest and dryest ground in the Pine Belt near the sea shore. (2) Being on the highest ground it must necessarily get the greatest benefit of the sea air, without the rough winds. (3) It has, in consequence, a pure, dry atmosphere, laden with ozone, as it passes through the balsam charged pines with which our land abounds. (4) It has not an acre of tide marsh, swamp or water land in the whole township, while Lakewood has more than 6,000 acres in its township. (5) It has double the num- ber of long needle forest pine trees in the township, that Lakewood has. (6) The soil is a natural one (sandy loam) while that at Lakewood is artificial. (7) It has the best drinking water in the State. The head of Rancocas Creek rises in or ad- jacent to the land. * * * Pasadena is only fifteen miles distant from Lakewood on roo feet higher ground, while Barnegat Park (the Army and Navy Resort) is only nine miles distant east of it. One-half of the property is being offered at. $25 to $100 per lot, the owners calculating that one tenth of the purchasers will build and thus make the half that they retain much more valuable than the whole now is. The cheapest lots at Lakewood are $500 each, while Pasadena can be had for one tenth of their price. As Lakewood land sold, only twelve years ago, at $15 per acre and now sells at the rate of $15,000 per acre, Pasadena ought with its super- ior advantages, to increase at a very rapid rate. The canned food industry has revolu- tionized the American table, placing, as it has, nutritious vegetables and delicious fruits during the whole year within the reach of people whose means will not per- mit them to pay hot-house prices for their bills of fare. Conspicuous among the can- ned goods benefactors are the FRANCO- AMERICAN Foop Co. Franklin Street and West Broadway, New York. This firm pre- pares French soups in cans and one quart deg glass bottles ; concentrated broths and teas for invalids; Royal English plum pudding ; game and chicken pdates and French entrees. They have won medals, degrees and diplomas for their canned goods at international exhibitions in Philadelphia, Paris, Sidney and Mel- bourne (Australia) and at Brussels. . EK. & H. T. Antuony & €o.,: 591 Broadway, New York, in their entertain- ing, and handsomely illustrated catalogue of photographic equipments and materials, lay stress upon the fact that they have had forty-eight years’ experience in the preparation of photographic supplies, and they are consequently thoroughly familiar with the needs of amateur as well as professional photographers, a fact which commends their supplies to the considera- — tion of those especially who are not with- in reach of expert advice, but who wish and need intelligent guidance. A _ neat equipment, the Eureka School Outfit de- signed to teach by experiment the ele- mentary steps of photography, comes as low at $7.50. It includes a 4x 5 camera, with lens, folding tripod and complete developing and printing outfit. There are numberless other larger, more com- plete and more expensive cameras; and a full line of all of the many kinds of appa- ratus used in connection with this most fascinating pastime. The Anthony Bicy- cle equipment (the weight of which is two pounds) will bring delight to photogra- phically inclined wheelmen. The 1892 catalogue of PETER Henper- son & Co. (35 and 37 Cortland street, _ New York), contains besides the usual illustrated descriptions of hundreds of flowers, plants and vegetables an ‘*Honor Arch” which is a monument to the enterprise and intelligence of the founder of the house. By it one learns that the beautiful Sunset Rose and the exquisite Pink Ostrich-plume Chrysan- themum owe their origin to Mr. Hender- son’s experiments, as do several other varieties of rose. These facts interest the esthetic folk, frequenters of metro- politan flower shows. For others the “Arch” shows that standard varieties of celery, cabbage, beans, melon, pea, to- mato, lettuce, oats, potatoes, cauliflower, buckwheat have been contributed by this house which has been in business since 1847. City dwellers interested in win- ART INTERCHANGE ADVERTISING dow gardening, and suburban town and country residents with garden space at hand, will be tempted at the sight of this catalogue to forswear the Easter bonnet and invest instead in the seeds of these exquisite blooms that return in beauty and fragrance a thousand fold the care that is bestowed upon them. ALBERT ALSTON of Burnley, Eng- land, has an art academy at 9 Grimhawe street, Burnley, under the patronage of the famous Sir John Millais, R. A. Mr. Alston makes a speciality of teaching crystoleum painting, at present a fashion- able pastime in England. Heretofore amateurs have been deterred in a great measure from taking it up on account of the difficulty in the use of adhesive sub- stances and sand-paper. Mr. Alston, has, however, invented two liquids. which smooth the way of the amateur worker. His two liquids have, it is said, revolu- tionized the art of crystoleum painting. Stained glass for interior decoration is now so universally used that the average housewife is as anxious for windows or transoms or screens of colored glass as she is for any other bit of beauty in her house. American decorative artists have done much to inspire and foster this taste. Among others may be mentioned Mr. ALFRED GODWIN 1325 Market street, Philadelphia, Pa., who makes special designs to order, and who offers to send a catalogue in color to those interested in the subject. THE BRAINERD & ARMSTRONG Co., 625 Broadway, New York, have figured Terry art satin, for sale, as well as other satin and silk face fabrics for decorative work. ‘Their silks and floss are known and valued by all embroiderers. They send free of cost an eight-page circular giving instructions for making umbrella cases, suspenders, slippers, purses. Mr. R. Bier, from the Royal Dresden and Crown Derby Porcelain Works has opened a studio and art school in The MacIntyre. Building, Broadway and Eighteenth street, New York, where he executes contracts for interior decoration, and gives instruction in china painting in Royal Worcester style, tapestry painting, and other classes of decorative work. Mr, Bier has on view an exhibition of tapesty, porcelain and miniature paintings to which the public is invited.
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FORECAST of Tue Art In- TERCHANGE for 1892, in- cludes as its most showy feature, a series of thirty-six reproductions in oil and water colors of the works of prominent American artists. On this page are shown five.of these colored supple- ments from original paintings by Messrs. A FIFTEENTH CENTURY GENTLEMAN Size 17 x12 inches One of 36 reproductions in color to be given with ** The Art Interchange" in 1592 4 Toaspern, Hoeber, Cookman. and Has- brouck, all of whom it is perhaps need- less to add, are artists of ability. These models are excellent guides for amateurs, and they are also beautiful for wall dec- oration. i There will bein all twelve reproduc- tions of oil paintings, twelve from water color paintings, and twelve applied de- PANSIES IN A BIRCH BARK CANOE A Souvenir of a Bar Harbor—New York, Flirtation Size 16 x 12 inches One of 36 reproductions in color to be given with ‘* The Art Interchange’ in 1892 signs. These latter include Dresden fig- ure designs (the first published with the January, 1892 number of THE ART INTERCHANGE. There are three sheets of designs in color (1) butterflies, (2) pansies and (3) arbutus, which will be of the greatest practical use to all classes of decorators, as the insects and flower . sprays are arranged so that any one of them can be detached and used separ- whole ately, or the sheet can. be € AN AUTUMN LANDSCAPE Size 20 x 14 inches \ One of 36 reproductions in color to be given with y “* The Art Interchange” in 1892 applied as it is, care having been taken to arrange these designs so that they would be applicable to a large variety of AN AUTUMN AFTERNOON Size 14x11 inches One of 36 reproductions in color to be given with ““ The Art Interchange”’ in 1892 objects—cards, articles of china, silks, bolting cloth, etc. Our oil and water color supplements for 1892 include a very beautiful and what might be termed (‘‘high art’’) composi- tion showing lovely pink and yellow roses in a vase, by F. J. Boston, and two very charming and cleverly conceived studies of pansies, one in water color and one in oil. We regard ourselves as very fortunate in being able to present the charming pansy in two new compositions, one of which is shown on this page. The other is simply a mass of pale purple drapery against which, at the right, are thrown a small group of pansies, a few scattered ones at the left complete the simple and unique composition. THE ART INTERCHANGE, the oldest art paper (established September, 1878), the first to offer art students studies’ in color; PROSPECTUS 1892 the first to publish biographies of artists; the first to give practical full-sized work- ing models for the use of art amateurs: the first to publish a series of American art text-books, offers subscribers for 1892 a wide variety of models and pictures in color and in black and white, suitable for oil and water colors, mineral painting, crayon, penand ink, engravings on metal, carving and poker work, accompanied by detailed and practical instructions. These features are of interest mainly to students. To the general reader as well as to the student we offer our series of papers on Modern German artists; the illustrated biographies of American artists; illus- trated and critically descriptive articles on art exhibitions and collections; in- structive articles on our native museums; foreign art correspondence from Paris, London and other European capitals; criticism at least bi-monthly on art in the magazines, For women we offer all of the forego- ing, and in addition a department where TE CaS IN THE SUNSHINE To be published during 1892 the needs of the home decorator will be considered, where she will be told how to mitigate faults of construction, how best to dispose her furnishings, light her rooms and how to entertain her guests. For $4 we offer a year’s subscription, beginning at any time the subscriber chooses. The $4 entitles you to twelve issues of THE ART INTERCHANGE, and 36 colored supplements. 12 for oil painting, 12 for water color painting, 12 applied designs, 24 large decorative art work supple- ments, giving full-size working models for all kinds of art work. Send for our illustrated catalogue of studies and our descriptive circulars. THE ART INTERCHANGE CoO., ~ g Desbrosses Street, New York.
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MRT INTERCHANGE : : :: : - NOTES TO READERS oil color supplement to the February issue of THE ART INTERCHANGE, 1S an excellent example of animal portraiture, and in order that art workers may receive the greatest amount of benefit from copying it, we have left the painting nearly life-size. The result is that the study is so much larger than the magazine, that it could not be sent through the mails without running the risk of being crushed on the ‘edges. THE ART INTERCHANGE CoO., with its accustomed liberality, has gone to the heavy extra expense of having all subscription copies of the February issue mailed in stout pasteboard tubes, the use of which will insure ‘‘ Jack”? reaching his thousands of destinations in good condi- tion. Our readers can be counted up- on to appreciate our liberality and thoughtfulness. So many good friends of THE ART INTERCHANGE Co. have written. us that, owing to the rush of holiday work and engagements, they were unable to take advantage of our offer of ‘* Waiting,’ which was sent to all subscribing before January 1, 1892, that we have decided to make a second ‘‘ Waiting,” offer which is as follows: A copy of our exquisite $10 fac-simile ‘* Waiting ” (after a $500 water color by Percy Moran), will be given to any one who sends in two yearly subscriptions at $4 each. DIRECTIONS FOR TREATMENT OF CHINA PAINTING DESIGNS IN SUPPLEMENT MINERAL COLORS FOR DESIGN FOR TEA PoT,— This decoration will be effective if carried out in monochrome, in any one of the reliable colors. Old blue is is always good, carnation No. 1, is a reliable pink or if used in full strength gives a good red. Another scheme of coloring is to paint the flowers in flat color taking either carmine No. 1, or carnation No. 1, and putting it on delicately and not shading the petals, but after the wash is perfectly dry, take either carmine and carnation in full strength for de- fining and outlining all parts of the flower. Olive green can be used in a medium wash for the leaves and stems and calyxes of the flowers, outlining with the same in strongercolor. The handle of the cover can also be painted in green, using but one wash of color if a delicate green is preferred, but two washes of color if a darker green is wanted, a line of this color can edge the cover, also the top of the teapot and a line around the nose of the teapot. MINERAL COLORS FOR-DESIGN FOR TEA CUP AND SAUCER.—If it is desired to have the cup and saucer match the tea pot in its coloring the same treatment can be carried out on this piece as already given above.—This decoration will be effective if carried out in monochrome, in any one of the relia- ble colors. Old blue is always good, carnation No. 1 gives a reliable pink, or if used in full strength gives a good red. Another scheme of coloring is to paint the flowers in flat color, taking either carmine No. I or carnation No. 1 and putting it on delicately, not shad- ing the petals, but after the wash is perfectly dry, take either carmine or carnation in full strength and outline and define all parts of the flower wita it. Olive green can be used in a medium wash for the leaves and stems and calyxes of the flowers, outlin- ing with the same in stronger color. The handle of A STUDY OF PANSIES—A SYMPHONY IN PURPLE (Against a background of lavender drapery are shown sprays of pansies) One of three colored pictures given with the April, 1892, issue of THE ART INTERCHANGE Price of issue, with 5 supplements, 3 in color, 35 cents. Order from your newsdealer. the cup can also be painted in green, using but one wash of color if a delicate green is preferred, but two washes of color if a darker green is wanted. A line of this color can edge both top and bottom of the cup and also the edge of the saucer. MINERAL COLORS FOR DESIGN OF CUP AND SAU- CER.—The flowers of this decoration can be painted in yellow using jonquil yellow in a flat wash, outlining and defining all parts of flower and bud with olive green. Olive green can be used ovet the leaves in PURPLE AND WHITE CLEMATIS A rich and beautiful study One of three colored pictures given with the March, 1892, issue of THE ART INTERCHANGE Price of issue, with 5 supplements, 3 in color, 35 cents. Order from your newsdealer. } a med-um wash then outlined with the same, or with green, No. 7. The handle can be painted in olive green using but one wash of this color and dabbing it smoothly if a somewhat pale green is preferred. Use two washes of this color for a darker, more opaque effect. A line of this color can edge the saucer, also the top and bottom of the cup. MINERAL COLOR FOR DESIGN FOR COVERED DisH.—A monochrome treatment is always effective for this style of decoration. It can be carried out C\pyright, 1891, by THE/ART INTERCHANGE CO. — LITTLE FRIAR One of three cocored pictures gtven with the April, 1892, issue of THE ART INTERCHANGE Price of issue, with 5 supplements, 3 in color, 35 cents. Order from your newsdealer, in old blue, in carnation, or in green, using any of the greens preferred. This design can also be treated in yellow and green taking jonquil yellow for the flowers, putting on the color in a flat wash and then defining all parts of the flowers and outlin- ing it with olive or brown green. Use the same green in a medium wash over the leaves and stems A VENETIAN SCENE One of three colored pictures given with the March, 1892, issue of THE ART INTERCHANGE Paice of issue, with 5 supplements, 3 in color, 35 cents. Order from your newsdealer. and calyxes. Then outline and put in the veinings with green, No. 7, or with brown green. One wash of brown green can be used on the handle of the cover and handles of the dish for a medium depth of green, or two washes can be put on for a darker, more opaque green. Lines of green can edge the cover and the dish,
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a | ART INTERCHANGE—ADVERTISING PASADENA, (IN THE PINES OF NEW JERSEY.) Nature’s Winter Health Resort AT HOME. NEAR THE FAMOUS WINTER HEALTH RESORT, LAKEWOOD, And 100 Feet Higher, on the Same _ Railroad. SIXTH AVENUE, 20th to 2ist STREET, N.Y. N. B.—Thie ccmbination of sea air with the balsem charged pines has been pronounced by the medical fiaterni‘y as being superior to all other cl mates for THROAT AND LUNG AFFECTIONS. It is folly to go so far as Fio:ida or Bermuda, when the t*my erature at than here. No air 1s more pure or PASADENA LAKEWOOD bas increased from $15 per acre, only 12 years ago, to $15,000 per acre being in the highest ard most healthy part of the PASADENA ciated, for we have sold, in two years, over 3,000 lots, and are cffering, during the is 15 degrees warmer invigorating, Land at 4 g now. famous PINE BELT, is, in consequence, being fully appre- — = = IMPORTERS AND RETAILERS FINE MILLINERY, DRY COODS, DRESS TRIMMINGS, ""Fancy COODS, Etc.:: CATAL = NOTICE. Winter only, ONE LOL PRE for every three purchased, at from $25 to $200 each, according to location, THIS IS A.GOLDEN OPPORTUNITY, which is being appreciated by far-seeing ones. No investment can be more sure of a great increase than this. Buy while the:e is yet time at these prices. i PASADENAN_I. : | cere Ba 9 ~ ° e ry | . a i) We are now bc 1s for our Spring and rie ees “% Summer ‘Catalo;: will be issued about > g can have no supcrior as a HEAL CH RESOR T, which 1s ch “KONMCEINTION TETIS PAPER.” zs y ees Land investments are safer than all else, Neither a panic > oO . tt & 6G HO nor fire can deprive ; 4 oi 7 you of tt. H. ONE! 1) 6th AVE., N.Y.]| 25 ai: 7 ye Cali or write for particulars, if you appreciate what we e a > (x) a - say, and we will furnish circulars and maps more fully ex- 6 M%* es ee) Q 2 2, RAYNOLDS: &- CO. nde SEZ ESTABLISHED ae se + Bee a MANUFACTURERS OF Ln = P S DEN : fe | oS ARTISTS OL1L: €CO-ORS mare a a = A A A PL cre. IN ms hs. ” & re : n “ Double” or “ Large Size” TUBES, E 2 Room A., 239 Broadway, New York, 3: § ASK YOUR DEALER OR SEND TO US FOR PRICED on : oO LIST OF THIS LINE OF COLORS WHICIL vA ott - a | INCLUDES TWENTY- F1VE * OPPOSITE POST-OFFICE. Ry MADDERS PURE 2 = eisikxhs Famaerone ee HARD 8 ELEVATOR ENTRANCE, PARK PLACE. a. ese ipa NAWEL COLORS. PAINTING. 18 desirable tints in bottles and cans ready for use. |! POPULAR MANUALS OF ART WORK 720.27 avoms: ON RECEIPT OF PRICE. Artists’ Prepared Canvas, DRAWN-WORK Painting on Plush, Silk and Satin. R e: : Copiously Illustrated, and with supplement of full-size : Desi table f FINE BRUSHES. An elementary Text-Book, Illustrated. Aneat| 4 ., Sar eae ottaatig pe San call eee pce sixteen-page manual, copiously illustrated with 8 “page Kiandbook, treating of 108 SUPERIOR OILS. MEDIUMS AND VARNISHES examples of this beautiful and attractive work. the best way to tise Ofls-and. Water Colors on’ thane ) ( { materials, proper Vehicles, Appropriate Subjects to The directions are clear and practical, the matter | attempt, Difficulties and How to Overcome Them, FULTON MATERIALS FOR CHINA DECORATION fresh and original, the designs new and uncom- | Painting Parasols, Screens, etc, STREET AND A COMPLETE LINE OF mon. Price 35 cents. Price 35 cents, : RT INTERCHANGE CO., 9 Desb Street, NEW YORK. A R 6 ee S gig S ’ MAT E RIA y:. S. THE A 9 Desbrosses Street, New York A. A. VANTINE & CO, 877, 879 Broapway. DRAPERY SILKS, comprising all the latest designs and art shades. MOUCHA BROCADE, pure white and latest shades; also embroidered in gold and silver thread. HECHIMA CLOTH CURTAIN MATERIAL, stamped with gold, silver and copper leaf, singly or in combination effects. KUDZUFUORI CLOTH, an entirely new material, made expressly for us. Used for portieres and hangings of all descriptions.
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ART INTERCHANGE—ADVE\RTISING X1 [ These Notes continued from page iv. | An effective drapery for tables at bazars, is made ot ordinary straw matting fringed to the depth of about half a yard, and secured at the top with gilt nails, Nail embroidery is very popular and fancy nails in various forms and colors are manufactured for the pur- pose. It is decorative for wooden or leather furniture, or for wall panels, and many antique and rich effects may be secured when used for the latter purpose. The writing board which has been so popular this winter, was invented by 'a°French woman for an invalid. These boards may be made of a piece of pine of any size desired, but 23x15 inches isa good proportion. Cover with colored felt, and arrange sheets of blotting paper in the centre. These may be held in place with triangular pieces of leather, or the telt cloth at the corners, secured by brass headed nails. Pockets to hold paper and en- velopes are placed at the left, also a pen-wiper made of the cloth. At the right hand, glue a leather covered ink- stand, with strips of cloth to hold pens, pencils and _ scissors, as well as a small scratch pad and a calendar. These boards sell in the shops for $5, but are easily made by anyone with a taste for such work. An Aolian harp to hang on the door of one’s room announces the ar- rival of a guest very musically. ‘They are made in white and gold, orin dark woods, and are $15. : A novelty for the library table is a moistener for postage stamps and en- velopes. This is a small glass tube filled with water which filters through to a sponge, keeping it always of the requisite moistness, price $o. Violet baskets of Minton china are four inches in diameter with a perfor- ated movable tray to hold the flowers. The decorations are tiny blossoms in Dresden pattern, and the price is $2.50. The tourmaline isa favorite stone this season, and recalls Saxe Holmes’s odd story. 3 A piece of jewelry which serves the three-fold purpose of a brooch, a pen- dant, and a hair ornament, consists of a bunch of flowers made of different colored tourmalines, with stems and leaves of small diamonds set in plati- num, Thisis $2co. Ear screws are very fashionable again, either in single stones or in clusters, and small dia- ~ monds are now set in the cluster form with so little gold showing, that the effect of a solitaire is secured. Beautiful printed cottons of Indian manufacture are $5 apiece. ‘They are long and wide, and are really intended for curtains, but they make excellent bedspreads, or wall draperies, or they may be cut up into small curtains, table covers, or coverings for sofa pillows, and the colorings will be found very harmonious and pleasing ‘whatever use they serve. (Jas. Mc- Creery & Co.) For RHEUMATISM Which is caused by an acid in the blood, the best remedy is Ayer’s Sarsa- paril‘a. Abundant testimony shows that where all other treatment fails, the persevering use of Ayer’s Sarsaparilla effects a complete cure. H. P. Green, of Johnstown, Ohio, writes: ‘‘For over fifteen years I suf- fered untold misery from rheumatism. Physicians’ prescriptions, as well as the various specifics, proving of no avail, I at length concluded to give Ayer’s Sarsaparilla a persistent trial. I have used in all about eighteen bottles, and am now enjoying perfect health. The expense for this medicine was nothing compared with what I had put out for doctoring that did me no good whatever.”’ ‘‘About three years ago, after suffering for nearly two years from rheu- matic gout, being able to work only with great discomfort, and having tried various remedies, including mineral waters, without relief, I saw by an advertisement in a Chicago paper that a man had been relieved of this distressing complaint, after long suffering, by taking Ayer’s Sarsa- parilla. I then decided to make a trial of this medicine, and took it regu- larly for eight months, and am pleased to say that it has effected a com- plete cure. I have since had no return of the disease.” — Mrs. R. Irving Dodge, 110 West 125th street, New York City. Ayer’s Sarsaparilla Prepared by Dr. J. C. Ayer & Co., Lowell, Mass. Cures Others, Will Cure You “WORTH A GUINEA A BOX.” : PAL VP LIVI OPI Laborers and alltroubled with Con- stipation or Sick Headache will find a prompt, safe and economical cure ina dose of a mat ready for framing A specific for all Bilious and Nervous Dis- > orders, arising from Impaired Digestion, > Constipation, Disordered Liver, etc. Of all druggists. Price 25 cents a box. New York Depot,365 CanalSt, 2 Kumiss Face CREAM FOR THE COMPLEXION. eal oe Lamp Sketching Camera sn: El eb ~ SSS i =. | hand from small ones. } si" | Catalogue free. I SEND 10 CENTS FOR SAMPLE. = B Nl Nae —~il| Jenne, Ft. Wayne, Mention this paper : caret cell te . >? = 7420 Chestnut St.. - - Phila. We Cut Down the price of Washing Powder from 15 cts. a pound to 6 cts, a pound. yr em aa ieee al AQ HA s Gold Dust R es asi t Washing Powder Has D one It The — deanite asi eae ne 2 us asnin 6 der than with ANY Soap or other ee Half the Cost. Washing Powder, and at less than Your grocer will sell you a package—4. pounds—for 25 cents. N. K. FAIRBANK & CO., Sole Manufacturers, CHICAGO, ST. LOUIS, NEW YORK, PHILADELPHIA, BOSTON, BALTIMORE, NEW ORLEANS, SAN FRANCISCO, PORTLAND, ME., PORTLAND, ORE., PITTSBURGH AND MILWAUKEE including all colored plates, to each of the two addresses given below. A Combination Sun and for making large pictures by Sent C.O.D. on three days’ trial. R. Ind, PATENT PORTABLE KILNS \ Neon (he Cees atin inal pect a NAN { th Ly aa 48 Hat 1 i] at? = & Hitt Iii if th tt? = Sa dT iit, 7 | ” iit 7 GAS KILN. CHARCOAL KILN a aE SS é 7 SSS of ehh . 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 forcircular. STEARNS FITCH & CO., Springfield, Ohio. ESTABLISHED 1860. Boston China Decorating Works, 38 Tennyson Street, Boston. Practical Decorators and Manufacturers of Cooley’s Golds, Bronzes, Oils,etc. In practical use in our factory for past 30 years. Everything tested before putting on the market, and warranted. Try our NEw Tinting Oils, for Worcester and ali dry colors. Directions with each bottle. All our preparations for sale by the lead- 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 painting, including the largest variety of White 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 for miniature photos, price list, etc., free to any address. Ks use glasses, or how to discard them; meth- ods of treatment w7thout the knife. E, H. BEMIS, Oculist, Glens Falls, N. Y. ILLUSTRATED PAMPHLET, 1o cts. tells all about eyes; how diseased ; when to Date 1892. Enclosed find $8, for which send THE ART INTERCHANGE for one year, This entitles me, the sender, to one copy of your $10 fac-simile ‘‘ Waiting,” with Have You a Camera ? ry Y] [fj Lf not, examzune ours. if 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. a Chaty Cincinnati, Cars Hamilton on and Day Reliread ad aa is Eleeping Cars the on “ed The on he 6 A raing Running : between Pullman’s F t Cincinnati, Siri Nes se io e cago, Vestibulea St. Louis, = tS Dining Cars, parece between air Cav Cincinnati, Farth between a i Cincinnati an : an Chicago. Keokuk, M. B. WOODFORD, President & General Manager, & @ MeCORMICK, Gen--*i Passenger & Ticket Agent CINCI ATI, Q,
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vi “he | ages GOLD MEDAL, IDAL, PARIS, 1873. @ W. Barer & Cos & Breakfast Cocoa from which the excess of oil-has been removed, yi Is Absolutely Pure and itis Soluble. No Chemicals are used in its preparation. It has more than three times the strength of Cocoa mixed with Starch; Arrowroot or Sugar, and is therefore far more economical, costing less than one ceiit a cup. It is delicious, nourishing, strengthening, EASILY DIGESTED, and admirably adepted for invalids as well as for persons in health. Sold by Grocers everywhere. W. BAKER & CO., DORCHESTER, MASS, B. ALTMAN & UO. (8th St., 19th St. & 6th Ave... NEW YORK, SHOWING IN THEIR Upholstery Art Embroidery Departments A great variety of Turkish Rugs, Table Covers, Cush- hion Tops, Pillows, Scarfs, Draperies, etc. ALSO, Unique patterns in Stamped Linen Squares, Scarfs, Cov- Cis. CLC., etG. ARE Perforated Stamping Patterns for Embroideries TO ORDER AND FOR SALE. OUTFIT OF 100 PATTERNS, POWDER PAD ALPHABETS, INSTRUCTION, ETC., $t.00. FRENCH PERFORATING MACHINES FOR SALE. with Preparation, Pens and Direc- WOO Dc me PP be sy | Sohetts A. BERNARD, 401 Canal Street, New York BTCHING WHITING’S INDELIBLE tions, $1.co. DELIVERED FREE! WHITING BROTHERS, pices Tee AMATEUR ™ Turning Lathes ‘ AND WORKMAN. §& 4 ETCHING INK, LI N E N. lp. O. Box 2%o, LOWELL, MASS. LITTLE’S TOOL STORE, 69 Filton Street, New York. UDIRON'S Au eae ARTISTS” Pencils are made in hexagon are only, beautifully finished in the natural color of cedar wood, and are in ten grades of leads. They are unequalled for smooth, tough leads. If your stationer does not keep them, mention ART INTERCHANGE and send 16 cents in stamps for samples worth double the inoney. JOSEPH DIXON CRUCIBLE CO., Jersey City, N. J. “~ fe a i Moenold, Conia st io LINENS. Spring Sale. BARNSLEY SHEETINGS, HUCK | TOWELS, TOWELLINGS, 1,500 Damask Table Cloths, Particular attention is called to this lot of CLOTHS. The purchase was made from ERSKINE BEVERIDGEH, the BELFAST. LINEN CO., -and WILLIAM LIDDELL & CO., pre- vious to the passage of the McKinley Tariff Act, and the Cloths will be of- {fered at prices impossible to be re- yeated. 4-4 IRISH LINENS, PILLOW LINENS, HOUSEKEEPING GOODS, QUILTS, BLANKETS AND FLANNELS. SPRING COTTONS. D. & J. ANDERSON’S ZEPHYRS, Embroidered and Printed Mulls Freres Koechlins Cottons, Plain and Striped Batiste, FIGURED CREPES, White and Colored Piques.\ LYONS SILKS. -MOIRE ANTIQUE, RAYE, FACONNE, GLACE. Corded Bengaline, Plain and Glace Veloutine, White Saten, Fazlle and Veloutine FOR WEDDING GOWNS. * Colored Satins, Shades. CREPE, GAZE, GRENADINE, FOR BALL DRESS: Evening BROADWAY anp tot ST., NEW YORK. INTERCHANGE-ADVERTISTNG 9 Pears Soap. Why is the best soap in the world sold at [5 cents a cake, when poor soaps are sold at 25 and socents? Go back to the beginning. Pears Soap (unscented) was made by request of the Senior Surgeon of St. John’s Hospital for Skin Diseases, London. I had not long commenced my ‘investi- gations at St. John’s Hospital, now some twenty-seven years ago, before I found that, do what I would, the want of a pure, unir- ritating soap constantly nullified all my efforts; the soaps which | tried dtd so much mischzef that many patients, of their own accord, substituted thin gruel, oat- meal and water, and so on. The phar- maceutical chemists, to whom I applied, recommended sometimes their own partic- ular soap (that is, some fancy soap manu- factured for them, and stamped with their names, by one or other of the many soap- makers), sometimes the soft soap of the Pharmacopoeia: the latter, besides being very expensive, is too soft, and requires to be kept in a pot. The fancy soaps, with “fancy ’’ names, one and all proved fail- ures, and quite as potent for mischief as the commonest yellow. It was under these circumstances that my attention was drawn particularly to the soap question. I was naturally driven to rely a good deal on my own observations, and the following It is sold all over the world. Here is his account: paragraphs are accordingly based almost exclusively on these researches. . . . In the difficulties, then, which I found surrounding the question of soaps, and the mischief which I have already alluded to as resulting from the use of so many of them amongst the patients at the hospital, I consulted Messrs. Pears, the very old es- tablished and well-known soap-makers and they agreed to prepare for me an un- scented transparent soap, which should contain the smallest gnantity of alkalé compatible with due saponification of the fatiy maiier, and which should yet be sold at sucha a cimenie price as to be within the reach of the hospital patients. Such was the origin of Pears’ Hospital (or Unscented) Transparent Soap, which has now deservedly made its way into so many hospitals, and which I have continued to use at. St. John’s Hospital as well as per- sonally for twenty-five years with unabated confidence.—J/@zlton’s Hyg tene of the Skin, pp. 80, 81 and 89 (Ed. 1891). Enormous quantity makes the cost extremely small. The fancy soaps at fancy prices are many. The sale of them altogether 1s very large in- deed. A great deal of money is wasted on them—more than is saved c on 1 Pears. CARPETS| GREAT CLEARING-UP SALE PRIOR TO OUR ANNUAL INVENTORY, FEB. IST. In the magnitude of a season’s business like ours there isan accumulation of Odd Pieces and Patterns of every description we do not intend duplicating, some of which we have made up into CARPETS AND RUGS of various sizes. suitable for all kinds of rooms, which we will close out AT REMNANT PRICE. BRING OR SEND SIZE OF ROOM, MATTINGS FOR DECORATIVE PURPOSES. The finest Ningpoo Warp in Japanese and Chinese traw for artists’ use. IMPORTED ONLY BY US, UPHOLSTERY: $100,000 worth Furniture Coverings, Plush, &c., AT LOWEST PRICES IN THE CITY. FURNITURE. Some elegant PARLOR SUITS, our own exclusive designs, which we will close out at prices far below that charged for first class work elsewhere. Parties purchasing their coverings from us can have their furniture reupholstered and covered in the best manner at moderate charces, SHEPPARD KNAPP & CO., SIXTH AV.,13TH AND 14TH STS.,N.Y. Hangings, FOR OVER FORTY YEARS have enjoyed a high reputation. Brilliant and musical ; tone of rare sympathetic quality; beau- titul for vocal Aecotenne tical ura ly con- structed of finest material by most skilful’ work- men. Exceptional i in retaining original richness and fulness of tone. Require tuning less often than any-other piano. Mopgratx Prices. Rea- SONABLE TERMS, SEND FOR CATALOGUE, BOSTON 174, TREMONT S? NEW YORK 92 FIFTH AVE. ‘185; x; » D + THEIR Pure Tone, Elegant Designs, Superior Vorkmanship, and Great Durability. SOLD ON BASY TERMS. - Old instrumentsetaken in exchange.. Write. for catalogue and full information, i70 Tremont Si., Boston, Mass.