The Art Interchange: An Illustrated Guide for Amateurs and Students With Hints on Artistic Decoration [partial] (April, 1893)
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| | Whe April: Nasaber of THE ART INTERCHANGE has 5 Supplements Maas uous RICE SETS cs —Three in Color, and two in Black and White a APRIL + 1893 _ eal ~ Sy pales simurennmnrrnenrcieonnaennmannsd 0d — To Su — : AWE =-7¥ semaattecencea ements ‘ — , : pup Ls as ARMS W HINTSS ON : ahs HINTSS 4WAE - ~—s mae ne: * : 1p ~ 2? \"\\"° ra > AE , é ‘ eS Nie ee 4 Wy i N \ YW ; ’ f, , . ~* NN \\) my a cn 3 € ay an —- Bi Aas 7, U7 aaa 4 ‘ LA XN \ Ss i! ei \ ity om, o> a St\\\¥ Ny et ake \ N Rae a, © /; ate f, A ‘ s By ZO WY ere oy A AN A . S . eho of! ~ ; N y H Whe’ A . , = : ea\\\) (eee Ri ye i t a. ‘ \ rm < “hy nN \ \ if is Se =~ ee} - - ~ / 7 ~ YS My TS zie Mr : WSS AK fe | A ' ~~ Cm 3 &, To per TT 7, \ \ ¥en yi WX. % A \issrOCHA) ee Ty uu ——————— =G\V-IMAAQN; = ’ t \ / ff! \ \ * = — , Get | hd / TT a \ a Or aN r Lh f M = il vale i) . * : - einai 15937 Oy* THE sARt “INTERCHANGE - conpany — —— PUBLISHED rr “Nos 9 sae hava ‘STREP? igs ‘YORK = aecistereo ATs Post: OFFICE NEw yorK AS SECOND: CLAD: AATTER — SINCLE: COPIES INCLUDING - COLORED pape " 435-CEDTS DEW YORK Yearly Subscription, Price $4.00, This Includes 36 Colored Plates and {2 Monthly issues.
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artists, will be furnished on. application. il. : aay : ; ir “THE ART [NTERCHANGE-ADVERTISING ie IMPORTER OF ARTISTS MATERIALS, 817 BROADWAY, One Door below rz2th Street.) NEW YORK, I offer the following Goods of which I make Specialties at Very Low Prices: Dr. Fr. Schoenfeld’s Oil and Water Colors. Winsor & Newton's Otl and Water Colors. flardy Alan's Celebrated French Oil Colors. Devoe's, Masury’s and Raynold’s Amerz- can Oil Colors, P. J. Tyck's Antwerp Colors. Keim's Munich Colors. Complete lene of French China for Deco- rating. h German and American Artists’ Canvas and Brushes. Lacrotx’s Mineral Paints for China Painting. J.. Cooley's Gold. Postage prepaid, $2 cents per box. Sevin's Tapestry Dyes in Bottles. d.inen and Woollen Tapestry Canvas in all the different widths. Giraull’s & Mengs Pastels in boxes ana sinele sticks. Pastel Boards, Canvas and Paper. Lie most complete line of Studies for Ot, Vater Color, Tapestry and China Painting. Special Attention Given to Mail Orders. SEND FOR LATEST PRICE LISTS. THE LATEST AND BEST BOOK ON CHINA PAINTING Ask your Art Deaer, or Bovkseller for the OSGOOD ART SCHOOL Piactical Hand-b.ok upon China Painting— 200 pages—10th Edition now Ready— PRICE 75 CENTS, ENTITLED, HOW TO APPLY Natt, wer Bronze, La Croix, Dresden Colors and Gold to China, A Complete and Reliable Guide for China Painters. especially those who are compelled to depend upon books for self-instruction. All the Osgood Specialtie8, 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 dealers. Send for complete price list and mention this Magazine. Osgood Art School, 43 Union Square, 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—impalpable fineness, freedom from lint and other vexatious substances, and positive uniformity of strength and shade. NOTICE.—Our Single Tubes, with fw exceptions, are double the size of a-ty foreign now in the market. Price List and pam- phlets, giving opinions of some of the most eminent Among others who have used them, and attest. their merits, are. D..Huntington, President N.A., Julian Scott, A.N,.A., Geo. Inness, N.A., Jo. Beard, N.A., Wm. ri Sontag,. N.A,, E. Wood Perry, N.A,, ’R. W. Hub- bard, N.A., A. T. Bricher, N.A. JOHN” W. MASURY & SON, | MANUFACTURERS, Tye NEW YORK;; P. O. Box 34993 Office, 55 Pearl St., \. . -Brookl CHICAGO: Masury Building. x90, 191, 192 Michigan Avenue, a ye BB Pd M.H. Hartmann, 7 THE LATEST NOVELTIES Unlike Unsoluble Cocoas, which are Indigestible, z; and Cocoas adulterated with Starch, VnSB wlertsCoceoa —(BEST & GOES FARTHEST)— leaves no Sediment on the bottom of the cup. Bl POUDDE OD Oe PASEO OX DO eG POND SIO 4 POG HEB Ge p REPOS OS IN WHITE CHINA FOR AMATEUR DECORATING, If your dealer cannot furnish detailed price list of our white ware for amateur decorating, write to us for illustrated sheets (1, 2, 3, 4. 5, 6. 7, 8, 9, 10), mentioning THE ART INTERCHANGE, and they will be mailed to your address upon receipt of application, BAWO & DOTTER, 28, 30 and 32 BARCLAY STREET, NEW YORK F, WEBER & CO., Successors to JANENTZKY & WEBER, MANUFACTURERS AND IMPORTERS OF Artists’ Materials F, W. & Co.’s Superfine Artists’ Oil Colors, OIL & WATER COLOR PAINTING OUTFITS, Tapestry Canvas, Colors, etc., CHINA PAINTING MATERIALS, Lustre Metallic Colors. DRAWING AND PAINTING STUDIES, Etchers’ and Modelers’ Tools, NOVELTIES FOR DECORATING, Engineers’ and Draughtsmen’s Supplies, 1125 CHESTNUT STREET, PHILADELPHIA. Send for Catalogue. Branch Stores :—No. 918 Olive Street, St, Louis, Mo. No. 5 North Charles Street, Baltimore, Md. P, O. BOX 1872 BP -PRIEDRICHS,: 140 SULLIVAN ST., NEW YORK. MANUFACTURER OF ARTISTS’ CANVAS, In all Widths and Sizes up to 18x30 Feet. Academy Boards, Oil Sketching Paper, Ease s, Pal- ettes, Stretchers of all sizes and shapes. Strainers, Drawing Boards, Malsticks, etc. Finest pre- pared MAHOGANY PANELS a Specialty. Importer of G. B. Moewes’ (Berlin), and Or. Fr. Scho- enfeld & Co,’s (Dusseldorf) Oil and Water-Colors ; also M. Fuchs & Co.’s German Oil Colors at § cents per tube and upwards (of regularsize). HEADQUARTERS OF Linen and Woolen French Tapestry Canvas, and DEALER IN ARTISTS’ MATERIALS IN GENERAL. Catalogue free tf Art Interchange be mentioned TIFFANY GLASS AND DECORATING COMPANY FURNISHERS AND GLASS WORKERS. DOMESTIC AND ECCLESIASTICAL DECORATIONS. MEMORIALS. 333 TO 341 FOURTH AVENUE, NEW YORK. TABLE OF CONTENTS OF THE ART INTERCHANGE AND HOME DECORATION FOR APRIL 1893 PAGE, PAGE Illustrations. Rose Plates, Nos. 3 and 4...... 66. -eee ee eee tees 1i2 Ritted Asleep. i. 0.cisguocetn vod giewe ray ok) ae pata A Finishing Touch (Color Supplement). Rose Plates, Nos, 5 and 6........0...ceeseeecees 113 The Return from the Festival (Color Supple- Kitten Playing.....-.. seeceeee sees Breet (epic 113 ment), Drawing Room Interior....... 2 ....e..-se sees 114 Sprays of Violets (Color Supplement). CaDinete ays iwesose sae Wy ng SEK written W.6 Ue 116 Outline of Return from Festival (Black and Colonial Mantel—Detarls...........0. 00s ee ARO) 5 118 White Supplement), Embroidery Design (Decorative Art Work Sup- Text. plement). An Art Pilgrimage.......... eee OA Walia od nal gt AWeanolitam. Tit sick oi etdc < 205 405%. \ awed sy ease. .02' | Rawig. Lord Weeks feces nes sik peied ts Bin ae 04 The Road to Castellamare......... 0.2... ssee 0s Oa h OREOR THR ee ei ec dv cok bch eo as cee Cote eat ve 96 Italian Peasant.........s-es-. 0 Saker F cahvin’e ales OF 4b SG) LADCGEG, 6 sarc ts wna ng cd Sis vig veh pioralns 98 The Ravine—Sorrento.... ccc. cece ese e ce ceeses eS Be Sap Tt SRE RT CRS Pee EO Deeb RAM ASTM RD tn SA a9 Peasant Woman..e. 2. wccseesevee cenescssvees 94 | Return from the Festival, in oil colors.......... 106 E. L. Weeks’s Portrait and Studio.............. 95 | Sprays of Violets, in oil colors......60...ese0.--. 106 Un Rajah de Jodhpore............. bidet bb ces a 97 | Sprays of Violets, in water colers..........+..... 107 April—Decorative Tile Design.............. .-. 100] Practical Hints for Tapestry Painting........... 107 Cupid: Taniale:< £72 and Poof eases. Seti as 101 | The Return from the Festival, 1m tapestry dyes.. 109 Rose. Plate) NO. a7) cents ve psd eaeevencste stews 164 1} How. To Do lty ives seer ee dices Gby ees upwine kal PE Suggestions for Hall and Stairway..../..... I 4, 105 | Suggestions for Decorating Parlor............... 117 Conventional Ornament.......2..eseeeeeee0-+ee- 107 | Color for Hall Carpet and Wall Paper, etc....... 117 Doyley Design......-...000.5. 0008s She ibis 108 | Editor’s Notes............. aikApown Sebes ABET RTe Doyisy Desig iiss. ie fn hbo pesado bvwgcewe 110 | Description of the Finishing Touch..¢.......... 117 Doyley Desi gales ia sk eT AASS paces e ok o¥e We 111 | A Finishing Touch, in water colors,....... .... 117 JOHN W. VAN _.OOST, © ARTIFICER IN WOOD AND METAL. Ecclesiastical and Domestic Metal Worker, Hammered Shapes for Amateurs to decorate. Amateurs | Work Brazed, Mounted and put together. Designs of every Description Made to Order, ALMS DISHES A SPECIALTY. Address, rg EAST 16th ST., N. ¥.. CITY. Wood Carving and Repoussé Taught by iced Write for be hittin HALL’S ROMAN GOLD AND BRONZES, or China, Earthenware and Glass, are acknowled to be the best, both in quality, quantity and durability, as hundreds of unsolicited testimonials prove. We make our Gold in the following colors. Roman or Matt, Hard Gold for over color, Light Green, Red, also Copper and Green Bronze, For sale by all principal dealersin Artists’ Materials, . at 80 cents per box, with full practical directions for ‘use, or by mail postage paid. New price list free on application, JAMES F. HALL, 467 Franklin St., Philadelphia, Pa. MENTION THE ART INTERCHANGE S. GOLDBERG. ARTISTS’ MATERIALS. New line of Tapestry Canvas in different Widths and Qualities. ALSO, Handsome Studies, China Colors, Oil and Water Colors of the Best Makes. Send for Catalogue, free by mail. 285 Sixth Avenue, New York. HENRY LEIDEL, ARTISTS’ MATERIALS, THE MOST COMPLETE STOCK IN AMERICA. gor and go3 Sixth Avenue, cor. 51st Street, New York. New Catalogue, pust published, by maél. Part I.—On Materials for Painting in Oil Colors. Part If.—On Materials for Painting in Water Colors, Part III.—On Materials for Pastel'and Crayon Drawing. STATE WHAT PART.OR PARTS ARE WANTED. MENTION THE ART INTERCHANGE ROUTE G CZ ONY 7 72 L.L.ROUSH. Deg Very i important changes faved recently been made in round- trip California tickets. We are prepared to offer ex- traordinary inducements and ‘facilities to intending travelers. FOR FULL. PARTICULARS ADDRESS JOHN SEBASTIAN, Gen. Ticket & Pass. Agt., G eat Rock Island Route, Curcaco, Itr. 4 : : 50 cess _4 Combination Sun or "9 Lamp Sketching Camera. / i] for making large pictures by , hand from small ones, Sent os Catalogue Free. Mention this paper. AMI three days’ trial. CR. JENNE, Fort Wayne, Inv., U.S, A. ie ry eee ng ee A ye Ce
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THE: ART CHINA DECORATORS to obtain perfect results, should employ only the best of materials. PROFESSIONAL DECORATORS use POWDER COLORS, and mix them as they use them. Amateurs should do likewise, and thereby obtain a greater variety of tints. Send for our special list of Vitrifiable Powder Colors. MARSCHING’ 3 ber se SO 0. siting FOR CHINA. Thin the Gold with Turpentine ; if very dry, use a little fat oil. Lay on thickly and as evenly as possible, using a broad brush for large surfaces. If it becomes hard hold before the fire to soften, J. MARSCHING & CO., : 27 PARK PLACE, * — fi Wh i | WHT i e— = = — WW AI) HA ANT : ANNU —> —— a *s NWN 4) iy sila il i = \ ANNI FAVOR, RUHL & COMPANY, SOLE SELLING AGENTS, 27 PARK PLACE, NEW YORK, SUCCESSORS TO J. MARSCHING & CO.S ARTISTS’ MATERIALS’ DEPARTMENT THE STUDIO CHINA KILN. | : ne = - ns — woe J We wu il : | mint M 1) ALL a Sn 5 a num ae ri & i MW x For Firing Decorated China with Natural or Artificial Gas or Gasoline. how high or low the pressure, we guarantee success. No matter how poor the Gas ; ‘* Not a toy but a practical Kiln. An assured success, Has never failed to give satisfaction.” MADE IN SIX SIZES. Guaranteed to fire China successfully and without any discoloration from fuel used. Thousands in use, and not a single failure. Directions for firing furnished with each Kiln sold, by which any amateur can fire it successfully, without any previous knowledge of this branch of the work. Send for descriptive circular. ADDRESS F. A. WILKE, Richmond, Indiana. INTERCHANGE—ADVERTISING iil. F. W. DEVOE & C. T. RAYNOLDS CO., Cor. FULTON anp WILLIAM STREETS, NEW YORK, Anp 176 RANDOLPH ST., CHIGAGO, ILL. MANUFACTURERS OF Artists’ Materials, OIL COLORS IN TUBES, ACADEMY BOARDS, FINE BRUSHES, DECORATORS’: SUPPLIES, PREPARED CANVAS. OIL AND WATER COLOR PAINTING, SKETCHING, CHINA AND PASTEL PAINTING, MODEL- ING, DESIGNING, ETCHING, FRESCO AND SCENE PAINTING, PY ROGEAPTHY. FINE COLORS, READY: MIXED PAINTS; VAK- NISHES, OIL FINISH, WOOD STAINS. SUPPLIES FOR INTERIOR AND EXTERIOR DECORATION. Materials for TAPESTRY PAINTING a Specialty. FROM MACPHERsSON's '‘ TAPESTRY PAINTING.” Contains 60 desigus of these skeen and Studies. The New Handbook on Tapestry Painting By Mrs. E. Day MACPHERSON, Sent by mail to any address on receipt of 40 cents. Contains 60 illustrations. F.-W.. DEVOE:® CoO’S Enlargements and Studies for Tapestry Painting (lilustrated above). ‘The difficulty heretofore experienced by those desiring to take up the study of Painted Tapestry, has been the lack of appropriate studies of sufficient size to enable those who have not the necessary knowledge of drawing to accomplish the difficult subjects generally used in the work.” The Enlargements i in outline, with accompanying design which is colored with the Tapestry Colors, or Dyes, and the written scheme of color, supply this deficiency, and will enable the amateur to accomplish successfully Tapestry Painting and the production of wall hangings and other fabrics decorated with the Liquid Indelible Dyes. The enlargements are furnished in two sizes, 54x 72 and 27X36 inches, at the same price. PRICED LIST. Enlargements in outline, 54x72, or 27x36 in........ each, $1.00 COMMAS FRU. oo CBS oa ak 5 tn ch ened ca aoauetts wie 48 1.65 SCHEME OF COOOL, os Was poten a cng cee ns bob 4a ae ty 35 The set complete, of any one subject..............046. st 2.80 All subjects and both sizes are one price.
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iv. Vy ire) Armour y Extract of BEEF, Armour’s Extract enables a poor cook to rival the - **‘creations’’ of the most celebrated chef. Our little Cook Book tells how to use Armour’s Extract in Soups and Sauces—a difterent soup for each day in the month. We mail Cook Book free; send us your address. & Company THE ART INTERCHANGE—-ADVERTISING “100 Many Cooks spoil the broth.” Probably because they don’t use UNMOUNTED PHOTOGRAPKS FOR ART STUDIES. We supply at $1.50 per dozen, photographs in cab- inet size, which are most useful to the Art Teacher and Amateur, including pretty heads, figure studies, animals, landscapes, ma- rines, etc., etc., reproduced from the paintings of the SSS aM most famous masters. Cat- alogues of 12,000 subjects mailed for 15 cents. Send $1.50 for sample dozen photos, always mentioning THE ART INTERCHANGE. SOULE PHOTOGRAPH CO., 334 Washington St., Boston, Mass. 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, HANCOCK’S OVERGLAZE COLORS. HANCOCK’S GOLD AND _- BRONZES. Fine Camelhair Pencils, Glass Brushes, Burnishers, Genuine Mengs’ Pastel Crayons. Write for Catalogue containing instructions how to mix and apply colors for China Painting. 28 BARCLAY ST., NEW YORK. MENTION ART INTERCHANGE. TYPEWRITERS. Unprejudiced advice given. All makes half-price. Shipped anywhere for examination. Exchanging a Sheed Monthly payments. 52-page cat. free. TYPEWRITER et Broadway, New York. HEADQUARTERS, § 186 Monroe St., Chicago. of experience LAD ad would like sew- ing by hand or machine, to do at her residence. Please address by note. Miss L.W.,259 W. 54th St.,N.Y. References. WOOD “Psst? | SSiws." 8 . Les) Turning Lathes { POR S Work anne 3 LITTLE’S TOOL STORE, 69 Fulton Street, NewYork. FOR YOUR NEW GOWN, Vy Why not use the Best Dress-Stay made? It does away with all wrinkling at the seams, and insures a much better fit. There is but one best, and that is DR. WARNER'S CoRALINE DREsS- STAY. They are lighter and more flexible than whalebone and are absolutely un- breakable, while they cost but little more than steel or French Horn. Put up in yard lengths the same as whalebone, and also muslin covered, 6 to 10 inches long. | Sample dozen for one dress, by mail, 25 cents. Sold by leading merchants. Warner Bros., 359 Broadway, New York. Chicago, y ns \ 2 2 7 | aoe ! =f SAL b fs) ( ART FOR ART’S SAKE. JOHN C. VAN DYKE. ings. 12mo, $1.50. ‘** An admirable volume. every point clear.—Boston Beacon. With 24 By EUGENE FIELD. characterize this new volume of poems, Charles Scribner's Sons’ New Books. Seven University Lectures on the Technical Beauties of Painting. By reproductions of representative Paint- Prof. Van Dyke has fu'l command of his subject and makes SECOND BOOK OF VERSE. 16mo, $1.25. & The same charming individuality, the same wide range of sympathy, and the same literary grace which gave extended popularity to Mr. Field’s ‘* Little Book of Western Verse’ (now in its eleventh thousand), and his “‘ Little Book of Profitable Tales’’ (in its tenth thousand), NEW EDGEWOOD EDITION. Reveries of a Bachelor, and Dream Life. Each 16mo, 75 cents. By DONALD G. MITCHELL. ‘**In charming covers of blue and gold. They are of convenient size, the type is large, and they have the latest revisions and prefaces by the author.”’—JN. FY. HOW TO KNOW THE WILD FLOWERS. By MRS. WILLIAM STARR DANA. With too illustrations by MARION Square 12mo, $1.50 mez. _ Mrs. Dana devotes to each of more than 4co wild flowers a brief description of -its recog- nizable traits as well as its botanical characteristics, also noting in a pleasing manner the ro- SATTERLEE, mantic and lite1ary associations of the subject. THE DUCHESS OF BERRY AND THE REVOLUTION OF 1830, Saint Amand. With Portrait. The dramatic Revolution which brought about the July monarchy of Louis Philippe has never been more vividly and intelligently described thanin this the last of three volumes de- voted to the Duchess of Berry, in the Famous Women of the French Court. ** Like its predecessors it is fascinating reading.” — Boston Times. CHARLES SCRIBNER’S SONS, 743 & 745 Broadway, New York. Times. From the French of Imbert de 12mo, $1.25. “THE WEEK,” A Canadian Journal of Politics, Society, and Literature. . Published every Friday. $300 per annum. ‘*The Week’”’ Co., 5 Jordan St., Toronto, Ontario SAMPLE COPIES FREE. E. F. BONAVENTURE. ART ROOMS, 45 and 47 West 31st Street, Cor, Broadway, New York (HOTEL IMPERIAL.) PATENT PORTABLE KILNS In several sizes. gas and NATURAL GAs, GAS KILN, lar. STEARNS FITCH & FOR FIRING DECORATED CHINA, GLASS, BISQUE, Etc. With charcoal, manufactured _ —are not an experiment, but an assured success. The firing pots are flat on bottom and have straight sides, po waste space whatever, Eleven years in market Send for circu- CHARCOAL KILN. CO., Springfield, Ohio. WESTERN DECORATING WORKS CHICAGO, ILLS. ARTISTIC GILDING AND SATISFACTORY FIRING GUARANTEED AND PROMPTLY EXECUTED. COLORS of every make, DESIGNS and all other MATERIALS for CHINA PAINTING always in stock, 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. CRUNEWALD & BUSHER, 331 WABASH AVENUE. Mention THe Art INTERCHANGE, Dyspepsia | aes wee. F Andrews, Jefferson Medical College, Philadelphia, says of Horsford’s Acid Phosphate. “A wonderful remedy which gave me most gratifying results in the worst forms of dyspepsia.” It reaches various forms of Dyspepsia that no other medi- cine seems to touch, assisting the weakened stomach, and making the process of diges- tion natural and easy. Descriptive pamphlet free on application to Rumroro Cuemicat Works, Provivence, R, I, Beware of Substitutes and Imitations. For sale by all Druggists. Rub it, Scrub it! It wont come off ! GOLDENGLOSS is a brilliant gold en- amel, exceedingly hard, but flexible. Unlike gold paints, it does not tarnish, and can be washed with soap and water. It adheres with such tenacity to any surface that it cannot be removed by the most power- ful solvents, You can gild furniture, picture frames, gas fixtures, steam and water pipes, wall and ceiling decorations, leather, plastet, paper, etc., and it will retain its brilliancy with con- stant handling. NO SKILL REQUIRED TO USE IT. Sold by dealers in Fancy Goods, House- furnishings, Hardware, Artists’ Materials, Drugs, Stationery, etc. Ask for GOLDENGLOSS, there is no substitute. A large size bottle sent, prepaid, for 50 cents, W. BeWires -& CO.,; ORANGE, N. J. Consumption carries oft many of its victims need- lessly. It can be stopped sometimes; sometimes it cannot. It is as cruel to raise false hopes as it is weak to yield to false fears. There is a way to help within the reach of most who are threatened—CAREFUL LIV- ING and Scott’s Emulsion of cod-liver oil. Let us send you a book on the subject; free. Scott & Bowne, Chemists, 132 South sth Avenue, New York, Your druggist keeps Scott’s Emulsion of cod-liver oil—all druggists everywhere co. $1. 32
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Tae ART INTERCHANGE AN ILLUSTRATED GUIDE FOR ART AMATEURS AND STUDENTS, WITH HINTS ON ARTISTIC DECORATION Vot. XXX, No. 4 NEW YORK, APRIL, 1893 With 5 Supplements; three in color, and two in black and white. The J colored surplements are, (1) The Return From The Festival, tapestry painting; (2) The Finishing Touch, water color; (3) Sprays of Violets. THE ART INTERCHANGE Established in New York, September, 1878 MRS. JOSEPHINE REDDING, Editor, New York, U.S.A. AN ART PILGRIMAGE—SOR- RENTO III HE sun was pouring warmly into the hotel breakfast room and coffee and rolls were al- ready on the table in the . corner that overlooked the bay waters. The men had gathered promptly and Madame and Estelle were not behind in sharing the exceptionally delicious beverage and bread. Estelle had been heard to say, that even the delight of hot Boston brown bread faded beside the cold crispiness of crescent. ‘*And then the shape,” the Marches- ina had added; ‘‘how much more that symbol of the Sultan appeals to the artis- tic imagination than a shapeless hunk of baked brown dough.”’ ‘* Where is the Marchesina ?’”’ queried Bimbo. He had taken a seat that com- manded the door, and his eyes sent fre- quent glances thither over the rim of his upraised coffee cup. ‘‘Always a trifle late,’ answered Madame, herself a Waterbury watch for punctuality. ‘‘ Girls of this generation spend more time at their toilet than their mothers and grandmothers did.” As this impeachment was _ uttered Miss Newhall appeared, proving, to the satisfaction of the three men at least, that if more time were spent the result fully justified it. A® tailor-made gown, perfect in fit, gaitered feet, a smart sailor hat with a wisp of veiling across the de- mure face and in her hand gloves anda scarlet parasol. ‘‘There was never a decade,” re- marked Bimbo, with an air of a connois- seur, as he pulled out a chair for her, ‘‘when women dressed so appropriately for given occasions as now.” ‘*T agree with you,” said the Marches- ina, glancing over her costume with calm approval, ‘‘and yet there are men who want us to go trailing about in Botticelli garments! Imagine frying doughnuts with one hand and with the other holding up a yard of extra front breadth! ”’ ‘‘Yes,’’ concurred Estelle seriously, ‘‘it never seems to occur to these male critics of female attire, that the drapery of those figures in painting and statuary that they tell us to copy, trails before as well as behind. We could not walk, much less run, without getting unspeak- ably coiled up in boa-constrictor folds.”’ ‘* Besides,” laughed Etherbridge, who had a sister and sometimes saw her dress- maker’s bills—‘‘ think of the expense of so much extra and unnecessary stuff at $4.87 a yard. Also ——”’ ‘*' You will have to save your ‘also’ for the cab, if we are to catch that early train to Sorrento.”’ Von Laenert as he spoke held up his watch. While the men bounded for their coats and the cabs, and the Marchesina cast wistful glances at two unfinished cres- cents, Madame, dignified and unhur- ried, had buttoned the last button of her glove and taken up her Baedecker (cov- ered with brown linen), that being the only concession she would make to Bim- bo’s remonstrances against a guide-book. Madame had stated with decision that she despised no source of information, however Philistine, as she had been a Philistine herself not so long ago. That morning showed the effect of hurry on different natures, for it was a bolt from the hotel to the train. . Es- tional complications with a peppery Frenchman who had glued himself to the ticket window, Finally, on seeing Etherbridge and the Marchesina whisked into one compart- ment by the guard, while the rest scram- bled for seats in an adjoining carriage, Bimbo relinquished any claim to being a ‘* philosopher ’”’ on the half-hour’s jour- ney to Castellamare. But, let it be said, -he was himself again as the cabs jaunted slowly out of Castellamare streets and past the Monastery of Santa Maria a Puzzano. He leaned back and sniffed the air luxuriously, smoothing out imag- inary wrinkles from his forehead with the tip of his forefinger. Madame knew the signs and closed her Baedecker, which she had covertly opened as it lay on the seat beside her. But Estelle was the one to set off the slow match of his desultory talk. Estelle had lost her usual repose as the view widened and deepened under lifting haze, and the eternal smoke phantom of Vesu- vius seemed poised just above her head. She quivered with tremors of subdued pleasure and appreciation. It seemed as if the girl’s quiet New England nature, trained to self-repression by the chill of ? > va i \. GS oe wz fcr ¥ rm “Rn > ~ a deg X% we =NO ais A NEAPOLITAN BIT telle sat and winced at each whir-r-r of the lash across the flanks of the unlucky cab horse. The Marchesina, firmly but gracefully wedged beyond the possibility of jolting off the slippery seat, reflected what a fine note of color her upraised, uplifted, open scarlet parasol made in the dirty, clamorous street. Bimbo, as ‘guide, philosopher and friend,” sank the last in the first, and peremptorily hustled the phlegmatic Von Laenert and denounced Etherbridge, who, patient and diplomatic, was trying to avert interna- straight-laced creeds and of the unre- sponsive temperaments that had borne and reared her, was now, like an_ice- locked fountain at the touch of spring, bubbling and bursting forth in a very luxury of unrestraint. ‘‘ How can any one live in this land and not love and paint Nature?’”’ she exclaimed. ‘‘ There is such space and size, such masses, that every picture would have at least the quality of grandeur, if it lacked every © other.” ‘On the contrary,” answered Bimbo.
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92 THE“ ART ‘‘Nature here in the south does not strike the artists by that bigness or mas- siveness which you seem to see. The proof is in the work of the more and the less famous southern artists who have depicted these very scenes. Such gen- eit ptt “ ‘ ‘‘Then you think,” said Estelle, ‘‘ that where Nature is more colorless, more grave, where the light is less strong, mak- ing the ensemble, therefore, more syn- thetic, as in the German or English coun- tries, the artists show a corresponding A = AO a : — THE ROAD TO CASTELLAMARE erosity of sun and color bring out, to the practiced eye, a multitude of details that have to be dealt with. A painter who sits down to do Vesuvius, for instance, or that superb half circle stretching away to our left, is in despair after the first moments. A_ hundred colors and distinct objects are there that he never dreamed of; but if he is faithful he must render them. If they are given, then the sense of bigness and mass is gone and we have a mosaic of details instead. ‘¢That word, mosaic, is the best of words to describe, say, Fortuny’s work. He was deeply sensitive to the influence of what he saw, and his work is the finest example of exquisite detail.”’ ‘¢ All ultra-southern painters have that characteristic,” asserted Etherbridge; ‘‘the Neapolitans carry it as a distin- guishing trait. The modern Spaniards show it nearly as markedly, and if their work is compared to the northern pain- ters who are so largely lacking in it, that bend of their natures may well be at- tributed to climatic influence and the vast difference in northern and_ southern landscape.” largeness and seriousness in their por- trayal of it ?”’ | ‘‘Without doubt, as to the majority,” answered Bimbo. ‘¢ But all this is generalization,” added Etherbridge, ‘‘and open to numerous ex- ceptions. Take Morelli: his painting has the mysticism and heroic conception of the medieval Germans, and his color and handling are absolutely simple, yet he is a Neapolitan of the Neapolitans.” ‘¢T can readily understand the quality of the Art here,’ said the Marchesina, ‘¢for it is a reflection of the people them- selves. They are all grace and charm. You see that first, and only afterwards think whether they have solidity and en- durance. But I like that—for myself, I dearly like grace and charm and often, too, just the froth of things. It is similar to the eternal conflict between pleasure and duty. Your conscience _ tattoos Duty with a capital D, stern, heroic and ‘¢ Virtue is its own reward ’’—small com- fort to those whose hearts are up in arms and long for just pure honey, not caring if they get a bit cloyed for once.” The Marchesina’s color deepened as she talked. She had been pricked once INTERCHANGE or twice by the seriousness of her com- panions, who, she thought, were inclined to make of a nominal pleasure trip a fun- eral procession, with Pleasure in the hearse and Duty driving. She was not unwilling now to air her heretofore silent sentiments. \ ~ NN x > x = > \% SS > = 2 ~ ” : i S= ; S f - ; ‘ \ 4 : ‘ AH . '* ~ he ~ Pa ASS . ; AY) “ = : “Ee ~ \ RA oN 4 \ si ML \ XN i OR M4 = Si} “Y Me y > “s : SCANS SESS ys Pn, ¢ — a Ge att ‘ _ at ee eS a om Pe as — “ tl Pe pet we os Bimbo had ordered that when the car- riages reached Sorrento they should turn down a narrow by-street, this side of the Piazza, and so they presently drew up, not at one of the officious and overweening Albergos—but at a little pension villa, where all got down and entered. This villa’s chief delight was a garden, whose narrow path, rose lined, ran down to an arbor overlooking the loveliest of
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93 2%. INTERCHANGE THE ART 4 ‘ c ~- ' \ , \ ‘ - . a o- . 14 ' be 4 — ' 4 ‘ ; Chee (os es za. pee AS ; Le bia} hej r.¢ ans adie : ae ‘a rs iy ’ \ j \ et . ‘ o nee x . S aa: SNS et : A : \ . . SS = A df 1; Va t 4 f ff 4 ql ‘ m 5! . = a x , = La Sat AN J = Z A > eri . } \ Pd - 3 SS, - de yp’ ~ ~ ni . . 4 U ee . - . "2 = > : . > 'w . . 2 *- —= = \ 2 . 9 . ne \ i : Mae 2 ——— 4 ' rs 3 - : ; = A> xg . > —~jS - ; “s ¥ pe ; : ‘ vn b see 3 = 18> ~ 4 > 4, a - : S . As = we = — : ' 4 Per vs - tigen ~ rf M 4 es , * ‘ ple Ba ~ . Rs wy ¢ ted! ‘ ~>4 t ere no NA . P i mae i ¥, 7 ~*: . SJ wa - . ~ ‘ = + 4 = 7 e ~~, S\N . 3 ‘a 2 3 fi == . f . . Pars ’ s d “+ - SG, > ‘ “J ~ 3 ' - ‘ = . n _ “ w- 4 4 ' ‘ ‘ : shew \ me +3 Ns a: é - x t - ww at ‘ =~ SS rs ad ‘ tog fe — - : ~ > ‘ New y re aN a Sg = : . 3 Sy Sen : 4. Az AF ¥ a , ? v a> NP et Thee \ we ~ 2h L y ‘ é ry { J eS de : ek SS SARU. ) Se f /" As , = 7 ~— . cn eS) ‘een cs bc << @- AY 2S 4 SNES SS: ; AS J te - ne ae nd SRS SS COONS spy GOLLY “2N ~ a. ’ Rs SORRENTO THE RAVINE
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94 THE ART views. At the enthusiasm, ardently ex- pressed, Bimbo felt repaid. Half of that sweet summer night they sat and talked there, watching the lights of Naples twinkle across the water, and listening to the soft plit-plat of the little waves on the stones, a hundred feet below the para- pet. A song came up from the darkness there, where a fisherman, with a torch held low over the water, was spearing the dazzled fish. When the last plaintive note of his musical invocation died out in echoes, Etherbridge took up the thread of talk again. ‘‘T honestly think,” he continued ‘‘ that a certain type of traveler should be legally prohibited from visiting Italy. A type, I regret to add, that is peculiarly American, Their appearance is a visible disturbance to this placid atmosphere. It is an ex- cited emigration of ants, without purpose, except to hurry somewhere, they don’t know why, or because somebody, they don’t know who, has possibly been there before them.” ‘* Before we Americans come here to travel or study,’ said Etherbridge, ‘‘I wish we could come first to learn to idle. It is the dolce far niente that is the beauty and charm of this life, and we shall never acquire it.” ‘*Do you think, then, that Americans are incapable by nature of the deepest sympathy with the spirit of Italy?”’ asked the Marchesina. ‘*Yes, sometimes,’’ answered Bimbo, reluctantly. ‘* But out of New England,” exclaimed Estelle, ‘‘has come a true and exquisitely poetical interpretation of the life and love and art of Italy. I mean ‘The Marble Faun.’”’ ‘*And who is more sensible of, too, or has better rendered the influences you mean than the author of the ‘ Chevalier of Pensiere Vani?’’”’ Madame felt that she had spoken with effect, since neither ar- tist responded—leaving it to Estelle to say with her accustomed discernment: ‘‘Ah, well! artists are artists, and poets poets, all the world over; they have no nationality.” The next morning the party gathered from various quarters at the piccola mar- ina to embark in a four-oared boat for the row to Capri. Madame and Estelle, together with Etherbridge and Von Laen- ert, had been wandering about the town. The Marchesina, appropriated by Bimbo, had gone with him to sketch, in the fresh- ness of earliest morning, up the winding ravine path: above the Piazza. Bimbo had found a bridge and a villa roof and windows hiding amid a superb tangle of foliage. Why should the incentive of a pretty woman’s eyes, overlooking his shoulder, have given birth in the sketch to more sentiment than existed even in so beautiful a mass of leaves and house walls. ‘* My soul to-day, Is far away, Sailing the Vesuvian bay. My winged boat— A bird afloat— Swims round the purple peak, remote. ‘* Round purple peaks, $ It sails and seeks Blue inlets and their crystal creeks, Where high rocks throw, Through deeps below A duplicated golden glow.” tk x “x “fe f x * ‘* No more, no more, The worldly shore Upbraids me with its loud uproar, With dreamful eyes _ My spirit lies Under the walls of Paradise.” quoted Estelle, leaning back to trail her hand in the water as the boat cleft the rippling sea. The lines fitted well to the mood of all, with the warm mezzo giorno blowing in their faces and the Sorrento shore dissolving in delicate haze behind them, while Capri rose purple and mysterious before. INTERCHANGE and Verestchagen. The charm of the immemorial east is upon him, and yet he cannot shut his eyes to her absurdities— he paints very frankly the inelegant cut of an India gentleman’s back hair, and of his white linen pantaloons. He will not deliberately embellish and smooth away like Fromentin and Huguet; he has much more sentiment and right feeling than the much-advertised Russian traveling painter; and he has not quite that admir- able science of the artist which makes him to render his facts faithfully, and yet make them truly artistic and satisfac- tory—e. g., Géréme, who is not gener- EDWIN LORD WEEKS FROM THE PEN OF AN EMINENT ART CRITIC RESIDENT IN NEW YORK OZMGSS HIS painter of Indian and other A a © Oriental climes was born in awe the incompatible city of Bos- i; ~ ton about the dat As oA e 1849, but in his twenty-sixth year found himself seeking his true vocation in the Paris Ecole des Beaux-Arts, and in the atelier of M. Bonnat. This academical study was diversified, during a long period, with excursions to the east, where he conscientiously filled his portfolio with sketches and studies, and his head with im- pressions and souvenirs, while forbearing to paint ‘‘pictures.”” When he returns to his European studio he is enabled to put all these impressions and studies together and produce elaborate compositions that apparently have been painted directly from nature and art in the blazing sun- shine of Jetnan or Delhi. His very first excursion was made into Egypt and Pales- tine; in later years he has explored Algiers, Morocco, India and Spain. In all these countries he has found themes, which have appealed particularly to his temperament, and which he has translated for the bene- fit of the curious untraveled with great cleverness and technical ability, and ina mood that apparently hesitates between the frankly and brutally realistic and the judiciously poetical. As an Orientalist he may be said to stand about half way between Fromentin ally esteemed a good painter, and Guil- laumet, who is. This is what the artists call ‘‘ literary ”’ criticism; the real painter’s criticism of painters, to believe them, consisting in the comparison and estimation of their various palettes and methods of working, only. But back of an artist’s choice of pigments and attitude toward painting at premier coup, lie certain qualities of mind and spirit which govern his concep- tion of all things, and which come under the head of literary cognizance. A Parisian correspondent, who recently visited this artist in his studio, relates that she asked him frankly which he consid- ered the most successful of his works, and that he answered, very naturally, that it was difficult to tell. The most widely known, and probably the most popular, he thought, was the ‘‘ Last Voyage,” but many painters considered the ‘‘ Rajah of Jodhpore”’ as the most successful rendering of a difficult technical problem. But in his own judgment, his four most valuable works were, in their order of merit, ‘‘The Pearl Mosque of Agra,” ‘*The Last Voyage,” ‘‘The Three Beg- gars of Cordova,” and ‘‘ The Restaurant at Lahore.” Three of these are Indian scenes ; the ‘‘ Three Beggars” are Span- ish mendicants, wrapped in their ragged mantles and dozing in the sunshine ona low bench. This painting received a gold medal at the Philadelphia Art Club in 1891, and goes to the Chicago World’s Fair from that city. ‘*The Hour of Prayer in the Pearl Mosque at Agra,”’ and ‘‘A Restaurant in the Open Air, at Lahore,” both appeared in the Salon of 1889; ‘‘ The Last Voyage, Souvenir of the Ganges,” in that of 1883. In 1884,
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TRE ART INTERCAARGSE a) SHERRY Ses EDP OVS sd. Ge Sega’ H s a oH eo) 20) DN yn nd nm oa) > EF... LL. MR. THE STUDIO OF
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96 THE DART Mr. Weeks received an Honorable Men- tion, and in 1889 a medal of the third class at the Salon, and one of gold at the Exposition Universelle, where the ‘‘ Last Voyage’ and the ‘‘ Rajah of Jodhpore ” both appeared. These rewards render him Hors Concours at the Annual Salons. In 1891 he was awarded a diploma of honor at Berlin for his ‘‘ Rajah of Jodh- pore,’ and the painting was purchased by the German Emperor. This picture, the ‘‘Shah Jehan leav- the Great Mosque at Delhi,” inthe Salon of 1886, and anumber of minor canvases, represent street scenes in India, stately processions with elephants, trappings and parasols, or hunting or pleasure parties riding gaily down the blazing street, while various picturesque groups watch them from the shade or kneel in humble adoration in the sun. The feeling of sunlight, warmth and color which per- vades these scenes constitutes their great- est charm. ‘The painter draws well, but not impeccably, and his compositions, though natural, are not strikingly origi- nal. In this latter respect the ‘‘ Last Voyage” is one of the most successful: the river Ganges, wide and deep, flows across the whole front of the great can- vas and on the farther shore are seen ris- ing in steep terraces the palaces, domes, temples and dark foliage of the holy city of Benares, the terraces crowded with figures and with gigantic umbrellas of all colors. All this city swims in blazing sunshine, and on a boat nearly as large as life, in the foreground, is stretched the nearly naked figure of a gray-bearded pilgrim, at the very end of his pilgrimage. One attendant bends over him with a palm-leaf screen, and another rows for the sacred strand, which the old man may not live to reach. This mournful group in the foreground with its dark tones and bronzed skins serves very well as an accent for the strange and mysterious city piled up on the farther shore. In his Salon exhibit of last year the | painter returned to Benares and painted the obsequies of a holy fakir on that de- sired spot; in 1891 he sent the ‘‘ Three Beggars,”’ and in 1889 the ‘‘ Golden Tem- ple at Amritsar.’’ His earliest canvases, as already related, were occupied chiefly with Moorish and Syrian subjects—a group of Arabs taking their coffee dur- ing a halt in the desert, and which was purchased by Ole Bull; ‘‘ Pilgrimage to the Jordan,” *‘ Scene in Tangiers,”’ ‘‘ Je- rusalem from the Bethany Road,”’ ‘‘ Al- hambra Windows,” ‘‘ An Arab Story Tel- ler,’ etc., etc. The last named was shown at the Philadelphia Centennial, in. 1876. At present Mr. Weeks occupies a hand- some studio in Paris, crowded with the trophies of his travels, by the aid of which and the atmosphere which fills such an interior, he is enabled to conjure up again, on the banks of the Seine, the life of the Ganges and the Jordan. Fortunate, in this work-a-day world, is he whose daily work is inspired by imagination and tem- pered with the sunshine and color of far- away lands! The May issue of THE ArT INTER- CHANGE will contain a pretty little tale of artist life, the scene being laid in New York. LONDON LETTER Mr. VAN DER WEYDE’S PHOTO-CORRECTOR —THE DALLASTYPE REPRODUCTION OF SHAKESPEARE’S PLAys—THE ECCEN- TRICITIES OF FASHION DRAWINGS IN THE ENGLISH MAGAZINES—AN EXHIBI- TION OF PAINTED GARDENS—A SERIAL PICTURED STORY OF THE SCENES AND SCENERY OF AN AUSTRALIAN VOYAGE uy N interesting invention has lately been patented by the renowned artist photogra- pher of London, Mr. Van der Weyde. Hecalls it the ‘* Photo-Corrector.”’ It is an invention to bring joy to the souls of professional beauties and society women who love to be photographed. It must also bring joy to both professional and amateur cameraists, for they, one and all, have to struggle with (and be beaten by) cer- tain peculiarities of nature which will in- sist upon appearing defects when repro- duced by photography. In the recent exhibition of the London Camera Club Mr. Van der Weyde showed the beauty and utility of this invention by a series of photographs, two of each _ subject, one taken without the aid of the ‘‘ photo- corrector,’’ the other with it. One of the subjects was a young princess-bride in her wedding gown. The princess is really of rather tall and slender figure; axa but she appears in the uncorrected pho- , tograph with the usual stumpy, dumpy stature we are quite accustomed to ac- cept in full-length photographs, especial- ly where a court train is introduced. In the second, the princess appears increased some inches in height and refined some inches in figure by the ‘‘photo-correc- tor.” Another pair of photographs rep- resented a lady’s feet, unduly large in one, being necessarily out of focus, diminished in the other to a very lady- like size. Mr. Van der Weyde has made use of the principle of refraction to man- ipulate the proportions of the human fig- ure according to the artistic ideal, cor- recting nature’s too frequent clumsiness, and rendering his own photographs, even more than they were, works of art. Mr. Van der Weyde, as is well known, was an officer of the famous New York Seventh at the breaking out of our civil war. He rose to the rank of Major before the close, and was imprisoned in Libby. He isa lineal descendant of the Dutch artist Van der Weyden. Major Van der Weyde’s only son has resumed the family name. He also is an artist, medalled by the Paris Salon in 1891. As Harry Van der Weyden he is well known among American art students, many of whom will greet him in his native Boston when he returns in March to open an ex- hibition of his lovely landscapes, in the Chase Galleries. Another interesting artistic creation is a fac-simile of Shakespeare’s plays, a re- production of every feature of the first folio edition of 1623, now preserved in | INTERCHANGE the British Museum. The first part con- tains the well-known portrait by Droes- hont and all the introductory matter as printed by Isaac Laggard and Ed. Blount. The queer type and _ time- stained paper are reproduced in amazing distinctness. We seem to gaze upon ‘*'The Tempest” in exactly the guise our ancestors saw it, albeit with a few shades of centuries added to its complexion. The reproduction is by the Dallastype. Lovers of Shakespeare and things antique cannot afford to do without this fac-sim- ile of Shakespeare’s own Shakespeare. Americans who follow the English magazines may be interested in an item concerning the fashionable waist. The grossest caricatures of the human form that were ever seen since fashion illustra- tions began are, in A. D. 1893, furnished by ‘‘The Gentlewoman” and ‘‘ The Ladies’ Pictorial.”” The woman never existed in a lunatic asylum or out of it with a waist like those of these drawings; waists the size of a human wrist and as stiff and formless as acurling-iron. These illustrations are by two illustrators who work under the respective names of ‘* Pillotelle,” and ‘‘ Etincelle.’’ Scarce a woman looks at their work without an expression of horror or disgust, even though the first named draughtsman has | an especial talent in expressing the qual- ity and texture of stuffs. Strange to say also, he is, outside fashion books, a cor- rect draughtsman with perfectly accurate ideas of the human figure, even when it is a woman’s. Some of the fashion illus- trations in ‘‘ Black and White,’ also some © in ‘‘ The Gentlewoman,” are remarkably superior to the work of these two illus- trators. ‘They are not hideous carica- tures and they really have something like waists. They look like gentlewomen, whereas the others are scarecrows. ‘They would have larger waists still if the au- thors of their being were free to follow their own taste, uncramped by the tradi- tion of ‘‘ Fashion Book.” The designer of these waists was highly spoken of during a late exhibition of woman’s art work for unusual skill in giving an artis- - tic character to fashion figures. It may be agreeable to women to know that while both ‘‘ Etincelle ” and ‘‘ Pillotelle ”’ are men, the ‘‘ Black and White”’ illus- ° trator is ayoung woman, ‘The drawings are always marked ‘‘ Lillian Young.” An exhibition of water colors at the Fine Arts Gallery is entirely of Gardens. Mr. Elwood of the Royal Institute ex- hibits seventy ‘‘Gardens, Grave and Gay.”’ They furnish examples of Italian, Dutch and French methods of ‘‘ artistic ”’ gardening, together with many English. Perhaps it is not surprising that the latter largely illustrate ‘‘Grave’’ gardens. They are chiefly gardens of old halls and ‘manors, and the artist evidently intended in the exhibition to contrast the sombre gravity of clipped yews, privet and box, and garden walks suggestive of hoops and stateliness, with the splendor of masses of unshorn shrubbery and flower beds of myriad hues in modern gardens. Another interesting exhibition is highly entertaining as well as clever, having just that human and personal interest that ap- peals to multitudes, and has its perfectly
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97 INTERCHANGE PHE <ART [SHOPMA “I “A “AW Aq Suyuried e sayy] auodHaof gd Hv{vua NO
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98 THE ‘Abt legitimate place in art. The president of the Royal Anglo-Australian Society of Artists represents the scenes and scenery of an Australian voyage on a P. and O. steamer. The pictures begin with pas- sengers taking their ease on deck in the Channel ‘‘ The First Day Out,” and ends with ‘‘Home on the Last Flood.” One of the most picturesque is ‘* Discharging Cargo at Aden,” a night scene full of the strange shadows of artificial light min- gled with moonlight. There are views of Gibraltar, Port Said, Suez, Mount Sinai, ‘‘ Light Trades,” ‘‘A Monsoon”’ and various waterside scenes full of novel and foreign character. The ewe is at the Dowdeswell Galleries. wes 3 THE LIBRARY LIFE OF CHRISTIAN DANIEL RAUCH, BY EDNAH D. CHENEY SCULPTOR. OR the materials of this bi- / ography, the author says in her preface, she is almost entirely indebted to the com- m prehensive ‘‘ Life of Rauch ” by 1 Dr. Karl Eggers, which was published in Germany, like a cyclopedia, in a series of five volumes, appearing at due inter- vals from 1878 to 1891. ‘To translate and condense these voluminous memoirs has been a labor of love, we are told, the purpose being to present the Berlin sulp- tor to the author’s fellow-countrymen in his ‘‘ very habit as he lived.” In this respect her success has not been very great. This presentation is not particularly vivid; and notwithstanding -these three hundred and twenty-five octavo pages, the subject of the biography remains a rather vague personification to the reader to the end. Something of this is doubt- less due to the placid and amiable char- acter of this hero, and much to the au- thor’s vague generalizations and her con- tinuous eulogistic, sympathetic strains. The details of Rauch’s prosperous and uneventful life are given at quite suffici- ent length, with the exception of the one or two incidents in which he emerged from the commonplace and tedious and displayed some of those characteristics which appertain to a definite personality. These are slurred over or suppressed, that the gentle stream of panegyric may flow on undisturbed. One of the very few minor traits recorded that enable us to see him approximately in his habit as he lived, was his reprehensible conduct to- ward his daughter on the occasion of the court balls and receptions. She was obliged always to submit her ball cos- tumes to his criticism and amendments, she was obliged always to leave at a prescribed hour, despite tears and en- treaties, and she had invariably to give up all the delicacies and rich viands which he despised ‘‘and enjoy the ham and potato soup whose [sic] fragrance al- ways greeted her return home.” With re- gard to Rauch’s position in modern art the author makes him stand midway be- tween the classic and realistic movements of his time—-between Thorwaldsen and ‘and broad basis,”’ Schadosur—and while giving ‘‘ full em- phasis to the independence of individual- ity,” uniting the idealism gained from his study of Greek art with the genuine real- ism which he drew from his study of na- ture and his sympathy with human life. ‘‘If he has not led modern art up to the very highest point he has placed it on a firm and broad basis; and on his shoul- ders others may climb still nearer to the heavens.”’ Of course, no one artist can establish the art of his era on ‘‘a firm but Rauch’s merit un- doubtedly lies in his recognition of the necessity of artistic expression through broad lines, neither clinging to old formu- las nor stooping to tricks of servile imi- tation. His purely ideal themes, such as the Victories of the Munich Walhalla, still retain something of that mingled heaviness and sentimentality that charac- terize German classicism; his realistic figures, such as those of the monuments of Frederick the Great and of Bliicher, have not all the accent of life, the vigor which has since been incorporated into portrait and monumental sculpture, but in both, and particularly in the latter, the advance which he made on the work of most of the sculptors, his contemporaries and compatriots was great. David d’An- gers wrote to Alexander von Humboldt that, for uniting in his work style and the expression of life, Rauch was much su- perior to Thorwaldsen—which was not saying very much. The truthfulness of his own observation, ‘‘ that two-thirds of all an artist thinks and executes is pre- scribed by the age in which he lives,”’ may be taken to account for many of his deficiencies, while his innovations and his merits were in a great measure his own. From many of the influences of his age, as from that of the mystic and catholic romantic school, he kept himself quite free—the vagaries of the ‘‘ Nazarenes”’ never entered his practical atelier. He has been justly praised for his courage in adopting the costume of the day in his portrait statues, and for the skill with which he sacrificed the less important details while retaining the salient points of his model and the general harmony and dignity, but he occasionally reverted to the much-abused classic drapery for these figures. For that statue of Goethe which was finally executed by Schwan- thaler, and for the proposed double mon- ument to Goethe and Schiller, Rauch prepared models draped in the antique style, and was quite unwilling to consider the modern costume, as was Goethe him- self. In these instances.two of his brother artists, Boisserée and Rietschel, were more modern than he. It is not generally known that the first of his recumbent statues of the beautiful Queen Louise, which established his fame, was very near coming to this coun- try as trophy of war. The English brig- antine conveying it from Leghorn to Hamburg, after its completion, was cap- tured in going out of the harbor of Lorient by an American privateer. As it happened, the American was captured in her turn, a few days later, by the British ship Eliza, and the statue conveyed safely to the Mortuary Chapel at Charlotten- burg, where it now reposes by the side of the similar effigy of the king, executed later. But very few of Rauch’s works INTERCHANGE have been seen in the United States, and the author complains in her preface that an American sculptor, ‘‘of fine intellect- ual culture as well as artistic feeling,” did not even know him by name. One or two copies of the Walhalla Victories have been brought over here, a portrait bust of Alexander von Humboldt, exe- cuted for Mr. Corcoran at Humboldt’s request, is in the Corcoran Gallery, Washington, and a marble bust of a Victory is in the Lenox Library in this city. Of his visit to the atelier of that great American, Hiram Powers, in Flor- ence, only the following account was found in his note-book: ‘‘ A pretty statue of a woman, Washington, modern, a dreary work in marble; very interesting in the mechanism, key and spatula of gutta-percha.”’ This biography is illus- trated by a portrait of Rauch and a few typogravures of his more important statues, and is supplemented by a long, chronological list of his works and a full index. (Lee & Shepard.) FRANCE IN THE NINETEENTH CENTURY: 1830- 1890. BY ELIZABETH WORMELEY LATIMER The general reader will find this con- densed and informal resumé of the his- tory of the rise and fall of the various governments of France since the Restora- tion of the Bourbons useful for the pur- pose of refreshing ~his memory. The amount of information he will find in it is about that which he already had; but many of the details will have slipped from his mind, and concerning others his knowledge is that sort of half-knowledge which answers us forso many subjects, but which we would find difficult to de- fine in good set terms. By consulting ~ the index and referring to the appropriate page he will here find his hazy outlines re- established in their original definiteness. With the foreign relations of France the author occupies herself no more than is absolutely necessary for the clearness of her narrative; the Italian, Crimean and Algerian wars and the expedition to Tonquin are dismissed in the briefest phrases as appertaining rather to the records of those foreign nations; the endless Eastern Question is scarcely mentioned by name; the futile interven- tion of Napoleon III in 1866, after the battle of Sadowa, and the rupture of the entente cordiale between France and England after Orsini’s bombs, are only alluded to. Her only contribution to the reader’s knowledge of the Italian cam- paign is her revival of the old stories concerning the taking of the vans as a carbonaro by both Louis Napoleon and his brother in their youth in Italy, in 1831, of the suspicion that the latter perished by the dagger of a member of the order rather than by measles, as was stated, and that it was his fear of a sim-. ilar fate for himself which led the Em- peror to undertake the regeneration of Italy. The events which led up to the fatal war with Germany are very briefly related, as are the campaigns of that dis- astrous year; the scope of the work lies rather in the personal histories of the many and very varied rulers who have presided over the destinies of the na- tion, for longer or shorter periods, a connected narrative of the events that led to their respective rises and downfalls,
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THE - ART and details taken from the testimony of eye-witnesses. Many of the latter are very vivid and interesting, and they have been selected from a great variety of sources. Among the most affecting of these is the Queen Amélié’s account of the accidental death of her son, the Duc d’Orléans, in 1842—that accident which is still deplored in France as the possible source of allher woes. Among the divert- ing ones is the narration of the author’s English governess, penetrating into the Tuileries after the flight of Louis Philippe, under the protection of-a good-natured blouse from the mob, who hacked off a piece of the red velvet and gold embroidery of the throne for her collection of souve- nirs ; and another is the story of a friend, then at Versailles, as to how Bismarck, doubtless moved by the haggard aspect of the emissaries from the starving capital, rode after the carriage in which Jules Favre and his secretary were proceeding back to Paris, and thrust into the window an enormous sausage. When Thiers mar- ried the beautiful Mlle. Drosne in 1834, he was by no means anxious to have his dis- reputable old father appear at the wed- ding, and for three weeks before the event he hired all the places in all the stage coaches running through Carpentras—a small town in the south of France, in which he had provided the old gentleman with a postmastership—to Lyons. When M. Grévy succeeded Marshal MacMahon as President of the French Republic in 1879 it was recalled that in 1830 a young law student, tearing down Charles X’s Or- donnances du Roi from the walls of Paris, was driven off with a kick by one of the king’s officers, and that the student’s name was Grévy, and the officer’s, Mac- Mahon. It ts also averred that during the Restoration the school books of the period mentioned Marengo, Austerlitz and the others as victories gained by the king’s lieutenant-general, M. de Bonaparte! Many of the author’s explanations of the phrases constantly recurring in French politics, and generally so obscure to a for- eigner—as the distinction between scru- tin de liste and scrutin d’arrondissement, and the various tenets held by the ‘‘ Lefts,” ‘‘ Rights,” and ‘‘Centres”’ of the Cham- ber of: Deputies—are clear, though very brief. Her theory of historical impartial- ity is somewhat broader than that to which the general reader himself will probably subscribe—it extends not only to the gen- eral toning down of eulogy, to the omis- sion of all harsh phrases in characterizing these actors, but to an industrious search for extenuating circumstances, in all cases, even to apologizing for Louis Napoleon and to finding Boulanger ‘‘ very hand- some.”’ (Chicago: A. C. McClurg & Co.) PRINCE TIP-TOP: A FAIRY TALE, BY MARGUERITE BOUVET. ILLUSTRATED BY HELEN MAITLAND ARMSTRONG : The difficulties in the way of combin- ing the old, well-known and apparently inevitable ingredients of a fairy tale into a new and satisfactory composition are well known, and in this present case, despite a good deal of ingenuity and the lugging in of some rather incongruous elements relating to the American ‘boy, the success can not be said to be great The attempt has been made to hit the judicious modern tone in which fairy stories should be told: not too seriously, nor with too much credulity; with a proper lightness of touch and a sort of taking the reader into your confidence as you go along. But the author has spoiled it in a great measure by that over-delight in her own work which has injured graver historians, and by a distinctly feminine tendency to gush and gurgle over her pretty little tootsy-wootsy of a hero. For any sterner audience than very little girls and elderly maidens this sweet little make-believe American prince will have no charms whatever, and it is very well known that any really rightly-conducted fairy story appeals to both‘sexes and to all ages. Plots being necessarily out of the question in these veracious narratives it behooves the historian to look most carefully after his style, and when that fails the excuse for his book vanishes. This little volume seeks an additional justification in a number of reproductions of pen drawings executed in the most pretty-pretty, young-lady-artist style of the art, the responsibility for which should be laid, not on the amateur who produced them, but on the inefficient editor who endeavors to impose them upon his public. (A. C. McClurg & Co.) ART WNE of the encouraging signs NOTES of the growth of that better feeling for Art, in which we are all requested to believe, has just been manifested in The Park Commissioners of this city. the metropolis, in their executive session of February 15th, took up a serious dis- cussion of the artistic merits of the statues in the city parks, and finally de- cided to request the sculptors, Augustus St. Gaudens, J. Q. A. Ward and Daniel > French to prepare a report for the board as to the character and artistic merits of the statues owned by the city, with the exception of those which had been exe- cuted by themselves. The mere passage of this resolution manifests a sensitive- ness, and an awakening, worthy of great praise. The discussion, which was held behind closed doors, was the outcome of the refusal of the Commissioners to accept the memorial statue of ex-Presi- dent Chester A. Arthur, lately offered to them, because of the adverse report of its Art Committee, composed of several of the most eminent art authorities in the city. This committee reported that this work was not up to the standard of the statues now in the city parks, and the unfortunate sculptor, Mr. Ephraim Keyser, justly considers this very severe criticism indeed. It appears that very soon after the death of ex-President Arthur an association of public-spirited citizens was formed to raise funds for the erection of a suitable statue to that gentleman, and when a sufficient amount had been subscribed Mr. Keyser was se- lected to prepare models for this work. Among these, one was chosen which met with the approval of the Association’s Ex- INTERCHANGE 99 ecutive Committee and officers, and no doubt was entertained that it would meet with the approval of everybody else. The figure is of heroic size, something over nine feet high, and represents Mr. Arthur standing erect, his head thrown back and one hand raised and holding his eye- glasses, while the other, at his side, grasps a roll of manuscript. In Decem- ber Mr, Stewart, the President of the Monument Association, wrote to the Park Commissioners that the memorial statue was completed, and requested that the plaza circle at the Fifth Avenue entrance to Central Park be given to it for a site, as the statue had been specially designed for this situation, which is one of the handsomest and most important in the city. It wasproposed to place the statue on a semi-circular pedestal, something in the manner of that of the Farragut statue in Madison Square, but much larger, and at the two extremities of the pedestal were to stand life-size female figures holding lamps in their upstretched hands. But the Advisory Art Committee of the Park Commissioners, to whom all such matters are referred, having inspected the statue in the foundry, made the adverse report above quoted. ‘This Art Committee is composed of three mem- bers—Henry G. Marquand, President of the Metropolitan Museum of Art; Thomas W. Wood, President of the Na- tional Academy of Design, and Napoleon Le Brun, President of the New York Chapter of the American Institute of Architects. The Monument Association are understood to be still deliberating as to the disposal of the statue thus left on their hands, and the Park Commissioners, having thus taken one good step, have been encouraged to take another. It has even been proposed to gather to- gether all the bad works of sculpture that now disfigure the public parks of the city and transfer them to some forsaken corner of one of the new parks in the an- nexed district. In Boston they have gone a step further, the Boston Society of Architects having decided to invite all persons interested in the embellishment of Copley Square in that city—architects, sculptors, engineers or landscape gar- deners—to send in designs for the same according to a programme prepared by the Society. All drawings must be sent in before April 3d, to the Secretary of the Society, H. Langford Warren, 9 Park Street, and it is hoped that from this concours may ensue a really noble mon- umental treatment of one of the most conspicuous architectural centres in Bos- ton. The Society offers five prizes of $50 each for the five designs which shall be adjudged the best. The Brooklyn Aldermen have passed a resolution authorizing the transfer of the statue of Henry Ward Beecher, designed by Mr. J. Q. A. Ward, and previously described in these columns, from the tri- angle in front of the City Hall to the site in Prospect Park for which it was originally intended. As now placed, the figure can only be seen in front from the City Hall, and turns its back upon every one ap- proaching that building by the main thoroughfares. There is at last a prospect of the completion of the Grant Monument at
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100 THE 2ARE INTERCHANGE Riverside Park in this city, the popular subscription having reached a sum con- siderably greater than the $500,000 re- quired. The architect having charge of the execution of this monument estimates that it will be completed by the autumn of 1895, the foundations being now com- pleted to the water table. Progress has also been made on the sculptures of the Washington Arch at the south end of Fifth Avenue, the scaffolding having been just taken down from the two trophy panels on the north front. These panels, which are . 4 ee é ( WE) * a) BYPOy es : y © v = Vy yy : : 4? ray l “ZT: “4 ee G; yy. ¥ [Yo “1 rectangular in shape, contain shields bear- ing on the eastern and western piers res- pectively the coat-of-arms, crest and motto of Washington, and those of the United States. The space around the shields is filled with trophies treated in a decora- tive manner, wreaths of oak and laurel, clustered banners and other insignia of war. There still remain to be executed the figures of victories in high relief which are to fill the four spandrels of the arch, but the sculptors who are to model these, being at work on the Exposition building in Chicago, it. will probably be some time before these figures are com- pleted. The Chicago Fair, indeed, has caused a Yj nS Vatiyet y Sie LW\\ = SL great activity among the sculptors of this country, both at home and abroad, and in- numerable paragraphs concerning them and their doings appear in the daily papers. One of the most recent of these chroni- cles the arrival of a very large and im- portant marble figure, by Mr. John Don- ohue, the sculptor of the young So- phocles dancing in the festival after Salamis, exhibited in this country two or three years ago. The new statue, called ‘‘The Spirit,’ personifies the Miltonian spirit of the abyss; the figure ff — WA is seated on a rock, the hands crossed in the lap, the head thrown back and the eyelids lowered, ‘‘as if gazing far off into space. The wings sweep round so that the tips are on a line with his knees ; from tip to tip they are forty feet apart, and the figure itself is thirty feet high.” This huge sculpture was executed in Rome, in one of the great halls of the ruined Baths of Diocletian, and is on its way to Chicago, but not having been completed at the date of the departure of the Constellation, bringing the other American exhibits from Italy, it had to be sent later, by itself. One of the most prominent statues on the World’s Fair grounds will be the statue of Colum- bus which is to stand on the plaza in front of the Administration Building, and the model for which has just been com- pleted in this city by a young lady, a pupil of Mr. St. Gaudens, who recom- mended her for this important commis- sion. ‘This lady, Miss Mary Lawrence, has been a member of the modeling class at the Art Students’ League, and it was the wish of Mrs. Potter Palmer and others of the Commissioners having charge of this project that the statue should be ex- ecuted by a woman. ‘The figure, as com- pleted, ‘‘represents Columbus with the standard of Castile and Aragon uplifted with the right hand, and the discoverer’s sword pointed downward in the left hand. The face has not that full, well-fed ap- pearance seen in some of the conceptions of him, but, as it is thrown back and up- ward, there is an expression of suppressed joy coming through haggard features and deep lines of care and anguish. The head. is bare, and the hair is thrown back and cut squarely around the back of the neck, after the custom of those days. The hands are incased in gauntlets, and about the body is the cuirass. Falling from the cuirass over the hips are the tasses or skirts-of sliding splints of steel. On the feet and ankles are the jambes. This figure is so accurate in proportions and
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THE “ART <ENWRERCHARGE IOI of catalogues at the Architectural League Exhibition were greater than at any previous annual display of that Society, and thus success bids fair to be surpassed by that of the present collection, in spite of the increased expenses and the very heavy insurance carried on these treas- ures loaned by many generous owners. The visitor, on first entering these galler- ies, is struck by the large and important display of the works of the famous Eng- lish school of the end of the last century —Constables, Cromes, Romneys, Gains- boroughs and Sir Thomas Lawrences, with an occasional Van Dyck and a few examples of the American portraits of the time, by Copley, West and Stuart—all these being, somewhat incongruously, flanked and, so to speak, put out of countenance by a little collection of Dutch wofks hung on the west wall, Rembrandt’s ‘‘ Gilder,’ his portraits of ‘¢Burgomaster Six”’ and his wife and of that wonderfully wrinkled old lady from the Navischkine sale and now owned by Mr. Havemeyer, and a_ beautifully SSeS SOS SS painted ‘‘ Interior”’ by Pieter de Hoogh. ek In the Sculpture Gallery beyond is a large and varied collection of works by various old masters of various schools ; in the large north gallery, called by the name of its donor, Mr. Geo. W. Vander- bilt, is a still larger collection of modern paintings, including a very strong display of the works of the school of 1830, anda very large model, one-sixth the size of the finished statue, of Mr. French’s co- lossal statue of the Republic for the Chi- dress, and so suggestive of the idea to cago Fair. To many visitors the most be expressed—Columbus in the act of : interesting room of the exhibition has taking possession of the newly discovered country—that the attention is involun- tarily attracted and held.” ‘The statue will be executed temporarily in ‘‘ staff” for the Fair grounds, and will be from twelve to fifteen feet in height. The Architectural League Exhibition has been succeeded in the galleries of the American Fine Arts Society by a Loan Exhibition even more handsome and im- portant, and this will be followed in its turn by the annual display of the Society of American Artists. ‘The financial ob- ject of the Loan Exhibition is to raise funds toward paying off the second mortgage on the building, and the various committees to whom were given the charge of collecting suitable works of art paintings by old masters and moderns, Greek terra-cottas, Barye bronzes, Japanese and Chinese ceramics, etc., have so well done their work that a considerable sum of money has already been assured toward this object, and the social, artistic and financial success of the exhibition established. ‘The enter- prising managers of the various societies interested in the building of the Ameri- can Fine Arts Society were considerably exercised at the smallness of attendance in the earlier days of the first exhibitions opened in these galleries and the apparent slowness of the public to discover that there were Art galleries in the unfamil- iar locality of Fifty-seventh Street and Seventh Avenue. It was even hinted that there was jealousy and underhanded opposition on the part of the vested inter- ests in the Academy in East Twenty-third CUPID INITIALS I, J. Street, But the attendance and the sale (Published by request.
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102 been the small East Gallery, in which, in addition to a number of Greek vases and bronzes, is a collection of some of the largest and most important of the so- called ‘‘Tanagra _ statuettes,’’—toilet scenes, mythological groups, genre groups—full of grace, humor and that — charming sense of intimacy and lifelike- ness that makes these works of art unique. It was doubtless moved by this inspiration of unbending from the formal dignity of a great exhibition that one of the exhibit- ors in this room, Mr. Henry G. Mar- quand, added, at the base of one of his contributions—a bronze Greco-Roman statuette of Eros flying—this legend : ‘‘On this figure, 2,000 years old, the United States imposed over $450 duty, in order to protect American manufac- tures.” Of the minor exhibitions of the month the most important was that of the col- lection of Mr. Henry M. Johnston, of Brooklyn, shown at the Ortgies Galleries previous to its sale at auction on the evening of February 28th. Mr. John- ston’s collection was rich in the works of the Barbizon painters, selected with some- what more judgment than American col- lectors always display, and he reaped his reward in the exceptionally high prices brought by his pictures. The seventy- four paintings, among which there were several by American. artists, brought a total of $108,810, an average of over $1,450 per picture. Perhaps Mr. John- ston had heard the mutterings of that storm which is said to be coming—that is to say, of a certain decline in the mar- ket value of the works of the school of 1830. The collection of Mr. Robert T. Wickenden, also sold by auction on the evening of February 21st, at the Ameri- can Art Galleries, was also largely de- voted to the works of this school— though composed of much less important examples—and was otherwise remarka- ble as being the collection of an artist and thereby entitled to a certain technical and professional interest. Among the col- lections of works of Oriental art—some- times insulted by the journalists with that journalistic word ‘‘ curios ’’—one of the most interesting and important was that of Baron von Brandt, late German Ambas- sador at Pekin, sold at the American Art Association rooms, beginning on the after- noon of February 21st, and consisting of the usual bewildering variety of porce- lains, tapestries, carvings, Jades, sword- hilts, etc., etc., in which the curious and infinitely patient Oriental mind works out its own theories of the relations of the seen with the unseen. The last monthly exhibit of the Union League Club was the first under the management of the new Art Committee, and, as was perhaps in- evitable, a certain falling off was manifest from the very high standard maintained by their illustrious predecessors. Never- theless, and notwithstanding a liberal con- tribution from the studios of contemporary New York painters, the decline was not felt to be too great, and the interest of the exhibition was well maintained. The Woman's Art Club held its fourth annual exhibition at the Lanthier Gallery, for a limited number of days in February, and with a limited number of works—only a hundred being allowed—the result tending THE AAR TE to manifest again the high technical stand- ard maintained among these young ladies, and a certain contemporaneousness of style which pervades their-works. The latest methods of open-air painting are those which find favor in their eyes. Of the exhi- bitions of the works of a single artist, that which attracted most comment was one of etchings and water colors of a compara- tively new man, Mr. Evert van Muyden, born in Italy, of Swiss parents, and bear- ing a Dutch name. Mr. van Muyden’s etchings, especially those of animals, were much more interesting than his works in color and they all bore certain traces of the influence of Barye. ‘The removal of some of the restrictions which have made the Lenox Library in this city so inaccessible to the general public was signalized by a formal opening on the 21st of February, on which occasion were displayed, in addition to the old gallery of paintings, the library of very rare books and the very valuable collection of Americana, the collection of paintings gathered by the late Robert L. Stuart and given by his widow to the library. Many of these paintings have rather an historical than an artistic value, but as a whole they constitute a decided addition to the art treasures of the city. Stories of the wild fluctuations in the values of Millet’s works are still coming to the surface. One of the latest con- cerns his ‘‘ La Bergére,’’ now one of the treasures of the collection of M. Chau- chard of Paris, one of the largest and finest in Europe. For this canvas M. Chauchard is said to have paid recently 200,000 francs, and it is also said that Millet gave it to M. Calmettes, a publisher and bookseller of Cahors, for a cask of old wine valued at 40 francs. Sometime afterward M. Calmettes sold it to Goupil for 1,600 francs. Concerning the famous ‘* Angelus,’’ M. Henner, the artist, tells the following: ‘‘ When that painting had acquired sufficient mark to cause it to be engraved it was intrusted, with scant ceremony, to the engraver, who took it from its frame, wrapped it in an old newspaper, and left it in the gate-room at the porter’s lodge where he lived. On returning to his rooms he forgot the picture entirely, and it was not until two weeks had nearly elapsed that he be- thought him of the commission. He then hunted through his rooms high and low, and was somewhat disturbed to find no trace of poor Millet’s production, for he knew that however insignificant it might be asa work of art, the painter, in all probability, considered it, after painters’ wont, a masterpiece. Luckily, the por- ter did not think fit to throw it away, but.called the attention of the engraver to the fact that an unwelcome canvas was knocking about his room; the latter then found himself repossessed of the forgot- ten loan.”’ - It appears that there are to be two con- temporaneous exhibitions of the works of Meissonier in Paris, instead of one. The terrible Mme. Meissonier, not content with the reputation she enjoyed during the life of her illustrious but somewhat dominated husband, has added fresh lau- rels to her brow. She lately addressed a letter to the Parisian journals, in INTERCHANGE which she stated that, her son _ hav- ing declined, last year, to take any part in the proposed organization of an exhibition of the works of his father under the presidency of the Comte Delaborde, Perpetual Secretary of the Institute, at the Ecole des Beaux Arts, she, in turn, refuses this year to take any part in the exposition projected by M. Meissonier fils in the Petit Gallery. Con- sequently, while the latter opened in the rue de Séze on March the 6th, that of the widow will take place in the month of April at the Ecole des Beaux-Arts. It will include—in addition to the works of her deceased husband remaining in her hands, and which, at her death, she will bequeath to the national museums—the bronzes cast for Meissonier by M. Bingen under the personal direction of Paul Dubois ; the model of Mercié’s monu- ment of Meissonier, to be erected by the side of the Louvre in the Garden of the Infanta; Chaplain’s large medal of bronze for the tomb of Meissonier at Poissy, and Saint Marceaux’s marble bust ordered by the Government for the Institute. On the other hand, it was announced that forty owners of the late master’s works had agreed to lend them to the exhibi- tion organized by the son, and that no less than eleven hundred paintings and sketches would appear. The proceeds of the exhibition are all to go to various charitable institutions, and the entrance fee, on the opening day, was fixed at 10a francs—this ticket, however, being good for the season. Much interest has been excited among the artists and architects of this city, as well as among those interested in the his- torical monuments of the metropolis, by the proposed removal or destruction of the old City Hall and the erection of the new municipal buildings contemplated on its site. The Architectural League ap- pointed a committee which called on the Mayor to make suggestions about the preparation of the plans, and being re- quested by that official to put their views in writing, did so, and submitted them to him. In this letter they urged the desir- ability of securing ‘‘ the co-operation of the most competent and skilful archi- tects, those best able by their knowledge and experience to carry successfully to completion a building of such impor- tance.” After stating the conditions under which, in their opinion, the rules of the competition should be drawn up, they recommended the appointment of a number of such architects to aid the commission by their professional advice, and named some ten of the more dis- tinguished for this purpose. After due consultation between the committee of the Architectural League and that of the new Municipal Building Commission, Messrs. R. M. Hunt, William B. Ware and Napoleon Le Brun were suggested as such consulting. counsel or advisory com- mittee, and this selection was approved -on the following day at a meeting of delegates representing the American In- stitute of Architects, the New York Chapter of this institution, the Society of American Artists, the New York His- torical Society, the Century Club and the City Club. These three gentlemen are understood to have signified their
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THs AR willingness to serve in this capacity un- der certain conditions which they stated ina letter to the Building Commission. The fear which actuates all these public- spirited citizens is, of course, that of see- ing the picturesque old City Hall, with all its historical traditions, replaced by some hideous Tammany edifice, opening up golden opportunities for public plun- der. Among the plans that have been proposed, one contemplates the presen- tation of the old City Hall to the New York Historical Society, to be taken down and erected on the grounds which the Society will occupy somewhere in the upper part of the city; and another, the removal of both the City Hall and the so-called Tweed Court House and their replacement by new and commodious municipal buildings, sufficiently exten- sive and well planned for the city’s future needs. Among other International Exhibitions announced is one of Catholic art, pro- posed in London for 1895, on the site of the great Catholic Cathedral of Westmin- ster, on the Vauxhall Bridge Road. It is thought that from the innumerable treas- ures contained in the collections of mon- asteries, churches, private chapels and in- dividuals abundant material can be ob- tained for a very large and interesting exposition. Another international dis- play of the fine arts has been established at Monte Carlo, to be held annually, and two galleries and a summer garden have been provided for this purpose. The first of these exhibitions is to be open from the 1st of January to the 15th of April of this year. The Commissioner of this exposition is M. A. Dupleix, Monte Carlo. The Paris “ Chronique de Arts” an- nounces that the process of taking casts -, SSF we Le GEL Oe a ost jw AS 1% ha sae aM mw ge wre Re Yn Nw a SS D ual > , ir 3 —_—- ae SDN Os at wy ROSE PLATE—NO. 2 OF A SERIES OF SIX [No 1 published March, 1893] from the objects in the Trocadéro the museum of the Arts Décoratif, and the Louvre, which has been going on under the direction of the French Government in conjunction with the committee of the Chicago World’s Fair, has been termin- ated. The American Committee has un- dertaken to defray all the expense of pack- ing and transportation, and the greater part of the cost of the casting, and the collection of casts will remain in this INTERCHANGE 103 country after the exposition, to form the nucleus, it is hoped, of an incomparable collection of works of comparative sculp- tors. The process of this art in France, from the eleventh to the nineteenth cen- tury, is represented by the most character- istic examples, many of them elaborate pieces of architectural sculpture. The London National Gallery has been enriched by four important paintings, a legacy from Sir Wm. Gregory. Of these, two are by Velasquez, a ‘‘ Christ in the house of Martha’ and a ‘‘ Duel on the Prado.” There is also an interior with figures, by Jan Steen, and an ‘‘ Ad- oration of the Shepherds,” by Savoldo. * = saeyameayy) Among the more beautiful and expen- sive favors are the different shaped, sized, and colored baskets. Some are merely tinted, others are in more brilliant color- ing, or show combination of colors. Many are trimmed over the handle with sprays and bunches of. flowers and bows of rib- bon. The basket is seemingly filled with flowers, but they are simply fastened on a cover under which is a space for gifts. Sometimes, however, only ribbon is used.
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. MS ?? BOI Ce ~ $@ INSTRUCTION a) SD EPAR TME NT 2, SALE, VHB eT aN RETURN FROM THE FESTIVAL, IN OIL CoLors.—Select a medium-grain canvas, preferably, one with a warm tint. It will be necessary to draw the study very carefully with a pencil and then to fix it. Omit the palm until the background is painted, which we will begin with so as to enable us to better judge the flesh col- ors and hair, and the drapery. Use for the middle strength white, and a fair proportion of black; to which add yellow ochre and madder lake or a little vermil- ion. In the lights use less of red and more white and ochre; the deepest tones require ultramarine and more madder lake. Add the markings last. Use plenty of color but do not allow it to stop abruptly near the heads; rather let it blend into the drawing of the heads and all other edges. Now go over to the purplish drapery of the figure nearest us. Paint the depths first with rather thin mixtures of burnt umber, madder lake and ultramarine blue, and a little yellow ochre to give it weight; add white and omit umber for the next lightest tones, and for the lights use cobalt, white, mad- der lake and possibly a little terre verte to gray it. In this, as in all other drap- eries, block in the colors, rather than mix them too much. Then work the col- ors from the darks into the lights which are to be painted more solidly. The red drapery on the central figure is painted with vermilion, light red, medium cad- mium, terre verte and white, keeping the cadmium out of the lightest and cooler tones. Add burnt umber in the shadows. The grays of drapery on the left are a repetition of the background colors as used below, adding light cadmium and yellow ochre near the lyre. Do not use too much blue lest your lights become too green instead of golden. The gold braid should be added last. Next in order paint the palm leaf, using ultrama- . rine blue, medium cadmium and white or some of your lighter background gray in various mixtures of warm and cold tints; add burnt sienna in recesses near the hand. It will require from three days to a week, according to your ' experience, The rest may be done in two-thirds more to do the parts described. time. It may be interesting to know that the time consumed in painting the original picture was certainly longer— possibly a month of days—wherefore you should be patient and persevering. You must not hang the picture too near your work while painting. Keep it away at least four or five feet, otherwise your work will tend to spattiness in effect, where the reverse, quiet and tenderness, are desirable. In continuing the work we may go to the head farthest to the left. In all cases, lay in the shadows first and paint the light next. Various mixtures of white, yellow ochre, cobalt blue and madder lake will produce the soft shadows in all the drawing. Vary these tints with terre verte and light red instead of cobalt and madder. For the light use plenty of white with yellow ochre, light red and a little terre verte, use vermilion, yellow ochre and a little white in different proportions for the lips and add a little vermilion and mad- der lake for the red on cheeks, cooling it with cobalt where it comes near the shad- ows and eyes. ‘The hair should be painted with the faces. For the light golden hair use yellow ochre and -your background grays for the shadows; add a little light red and raw sienna for warmth. For the black hair use black, ultramarine blue and madder lake with a little white, add more white in the light and be sure that you keep your edges soft where it comes next the flesh. The hair on the head nearest us has various mixtures of burnt umber, cobalt blue, madder lake and a little black for great- est depths, with yellow ochre and white for warm and cool lights. Do not resort to camel’s hair brushes to get the finer drawing of hairs, rather use one of your worst old bristle brushes, jab it onto your palette and then use the straggling hair for the delicate markings suggesting single hairs. For the red braid in the hair add burnt sienna to light red and white, also using yellow ochre for the high light and some of the dark color of the hair for the folds in shadow. For the white draperies use white, terre verte, a little black and madder lake in the shadows, add also a few touches of raw sienna in the warmer, darkest places. The half tints have cobalt blue added. Paint them rather too broadly and finish by cutting them into proper shape with the color of your positive light which contain, besides white, a little terre verte and yellow ochre, and a very little mad- der lake or light red. Avoid pure white always and in anything; it is colorless and lacks luminosity and quality. The harp and hands holding it are our last work. The rich brown can be made from light red, burnt sienna, and a little black and burnt umber; for the darkest parts. The gold is a mixture of yellow ochre and a little white, with very little cadmi- um and your background grays, yellow ochre, and madder lake or vermilion with white. The hands, of course, are same as the face in color in this study. Paint them on wet surroundings and if neces- sary repaint the things near them to enable you to paint them without getting them hard and wooden. Witha long haired, thin brush paint the strings. SPRAYS OF WHITE AND PURPLE VIO- LETS, | will best suit this study. The drawing should be done carefully and rather with outline only; erase mistakes with a bit of bread—preferably rye bread, worked to dough between the fingers. Since the work is very small, we will have to re- sort to the use of a few ox-hair or cam- el’s-hair brushes that vary ‘in width from one-sixteenth to one-eighth of an inch. Wider brushes should be of bristle; those having one-fourth inch width or less are best to manage, and keep in good shape if they are about five-eighths inches long; beyond that length they grow unmanage- able to one not used to long-haired bris- tles. Do not paint too thinly; you will get a stronger effect, your work will model better and remain fresher, and you will learn more, if you work with body. Scrape off clean all bad attempts or dull mixtures; it will save time and worry where, as here, there is really not much labor required to produce a result. The background may be omitted or may be carried out further than in the water col- or work. Another point: keep your greens away from your violet tints on your pal- ette; also keep your white free from green when mixing purplish tones. For the greens of all leaves a mixture of white, medium cadmium, ultramarine blue and the two siennas will be sufficient. Add various proportions of a little’ Antwerp blue or ivory black for the shadows, which you will finish by pulling them gently into the general tone already
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THE ART painted. Then draw the sharpest veins on the leaves, and finish with the highest lights of white, yellow ochre and cobalt blue (add cadmium in the warm green lights). The stems are similar, and should be drawn with a rather long- haired and thin camel'’s-hair brush. Paint them in thinly, with a medium strong green, after which add your shadows and then the lights;.it will require a_ little practice to do them gracefully. Do not worry them much; scrape clean, if you fail, and do them again and again until you acquire the touch. For the dark violets use different strengths of a thin tone of ultramarine and Antwerp blue, madder lake and very little black for the darkest parts; add white and a very little terre verte in the lighter parts. the lights are reddish use a little less blue, and where the darks are not blue merely add more madder lake. The white violets are made from white, yellow ochre, light red and a little cobalt blue. Finish with the centres, which are made of me- dium cadmium and madder lake added in parts. The background color is com- posed of white, a little ivory black, yel- low ochre and madder lake; and if paint- ed as in the study, should be painted with the flowers or leaves adjoining. Keep the background a little thinner, however, than the leaves or flowers, to avoid gray- ing the brightness of the various sprays. SPRAYS OF WHITE AND PURPLE VIO- LETS, IN WATER CoLors.—The flowers may be painted on Whatman’s double ele- phant or on smoother paper. Draw them carefully with a medium hard pen- cil. For the leaves, which are similar in all the groups, use one set of colors. Select one of the groups of blossoms, and begin work by laying a solid strong wash of green on the leaf. Let this be equal to the color of leaf in its lightest part, and for which use medium cadmium, ultramarine blue and very little raw or burnt sienna to give warmth where needed ; next place the middle tints— these can be made from same mixture, using less cadmium, however. Put in the full strength of the color in sharp and well-drawn patches, thinning the color where it blends in parts with the light. The same should be done with the darkest green. For this use, in ad- dition, a little lamp-black where the greens are very grayish. Where the leaf is acold blue green omit excess of cadmium or siennas, but, where the greens are tender, soft and warm use less blue, and more of yellow ochre to replace cadmium yellow. The dark blue violets should be laid in with a wash of cobalt and ultramarine blue and rose madder. When dry add, in different mixtures strong markings of ultramarine blue and rose madder in different proportions ; break the pureness of your color with yellow ochre or a very little black. The lighter flowers have weaker washes of the same colors, allowing the rose madder and ochre to tell stronger in the light on the sprays to the left of the centre, and cooler (more bluish) in most of the other lighter flowers. The white violets have simple tones of gray made from cobalt, ochre and rose madder, and, like the others, a touch of medium cadmium, heightened in color with vermilion in Where © their centres. The soft gray washes, back of each group, are composed of ul- tramarine or cobalt blue, yellow ochre and rose madder. Put these washes in loosely and irregularly, allow them to overlap your darks, being careful to pre- serve the drawing where this tone edges against the white violets. ‘The stems are like the leaves. Lay in a general tone first and model when dry, with delicate touches, by stronger mixtures added on the shadowed sides. INTERCHANGE 107 be done by employing the dyes. Tapestry canvases are made of silk, wool, linen and cotton. Those made of silk or wool must be used when the paint- ing is to be steamed. The fibre of linen or cotton canvas is too hard to absorb sufficient color to produce the best ef- fects. The use of cotton canvas is to be discouraged, as it does not: hold the colors with either the brilliancy or the permanence of the other materials. Tap- tapestry CONVENTIONAL ORNAMENT FOR CHINA PAINTING OR EMBROIDERY PRACTICAL HINTS FOR TAPES- TRY PAINTERS Paper No. 1 HE methods of painting tap- estry canvas in the tapestry dyes differ somewhat from those used with oil colors, : and it is not possible to rep- resent the real tapestry effects by the use of diluted oil colors as effectively as can estry canvas is woven in either fine or coarse ribs, and imitates in texture and weave the various kinds of tapestry proper that are made in looms. In copy- ing woven tapestries it is, therefore, an important point to select the proper weave of canvas. The warp of woven tapestry is either vertical or horizontal. The loom itself is made by fastening two cylinders together by uprights and cross- beams, ‘These cylinders are placed ver-
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108 tically in high warp looms and horizon- tally in low warp looms. ‘l'echnically, these cylinders are called lisses. The high warp looms are called haute lisse and the low warp looms basse lisse. The tapestry is called haute lisse or basse lisse as it is woven in one or the other of these looms. The Gobelin is the only Pee CART the light tints, as it is very necessary that they be kept pure while working in the lighter portions of the painting. The medium used in dye painting comes already prepared, and must be mixed with all the tints if the painting is to be steamed. It serves to hold the tints upon the canvas while working. In the steaming process SS SIS Yi Gi, GO, WA i AG Vd . yi | haute lisse tapestry made at present. The tapestries of Beauvais, Aubusson, Fontainebleau and of Flanders have al- ways been basse lisse. The sample book of tapestry canvas furnished by THE ArT INTERCHANGE Co. gives samples of the different weaves imitating these tapes- — tries. The brushes for tapestry painting differ | “= antif \) te ent ~ AQ}! aaa a from those used with oil colors. They are of short, stiff bristles, and are gen- erally cut to chisel shape. They are made very firm, in order to endure the hard scrubbing in of the color washes, which is necessary to get the colors well absorbed by the canvas. A number of brushes should be reserved for use with P= SUN 7, ky am le, y ) Tity Compe dig = SSA the greens of which the medium is com- posed are dissolved and the color sinks into the canvas more fully and evenly than is possible in any other method. It will, however, be readily seen that the medium must be used with great care to secure the best results. ; As a general rule it is suggested that the steaming of the painting be done at a 4 Y d 0) . “A, ‘= SY “4 FO > irs” Y \ \\ “y oe Tuy ith gy 7m AN KS DOYLEY DESIGN—NEW SERIES dyeing establishment. The painting should receive what is called a dry steam, and this is a very difficult process for an ama- teur to accomplish. A small painting on a thin material may be steamed as follows: Fasten a thick cloth, thoroughly wet, on a smooth table; to this fasten the paint- ing face up. lLaya thin cloth over the INTERCHANGE painting and iron it until the wet cloth underneath is entirely dry. ‘This opera- tion will generate sufficient steam to fix the colors thoroughly. The strainers upon which the canvas is to be stretched before painting are of various kinds, but the simplest, and per- haps the most useful one, is an ordinary wooden strainer, firmly stayed by cross- pieces. It must be of wood so well sea- soned that it will not warp under the re- peated wettings it will receive. ‘The easel must be of such construction that it will stand firm during all work, and will admit of the canvas being tilted at various angles. In large canvases the strainer can be made to serve the purpose of an easel by fasten- ing a hook or screw-eye to the centre of the top and securing it, by means of a cord, to the wall or ceiling. ‘The canvas can then be tilted over to any angle without inconvenience. This is of the greatest advantage during the progress of the work, and is an important item to be con- sidered in mounting the canvas. The design selected for tapestry paint- ing should be chosen, in point of subject, color, size and shape, with reference to its relation to the place it is to occupy. Especially is this true in regard to the scheme of color. The mass of color ef fect ought to harmonize with that of its surroundings. We would not think of putting into our homes a musical instru- ment that would continually give out notes discordant. But colors that do not har- monize produce a color discord that, in- tangible as it may be to most persons, is yet as potent for evil as is that of sound.
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RES - REST A ENREERCHA NG E By using a color analogy or color contrast between the mass of color effects in the painting and that of the room furnishings a treatment is secured that will be in per- fect key to harmonious thought and feel- ing. It is a wise woman indeed who has learned to adjust the finer forces that en- ter into our daily life. In small apartments light and luminous painting should find place. It is also well adapted to the needs of tapestry work, _ because of the fact that it gives more value to the mass and does not show de- tail. Thisis a great point in its favor, as painting upon textiles is best done in this manner. John Ruskin tells us that ‘‘ It is the very best possible sign of a color when nobody, when he sees it, knows what to call it, or how to give an idea of it to anybody else.” By this he means that glaring tones of crude colors should be avoided, and the blended softness of harmonious hues be sought for. In regard to the subject of the painting there is, of course, no fixed standard. Schiller says: ‘‘ Life is earnest, but art is gay;’’ and perhaps no better guide than this sentiment could be chosen. The de- signs of the French school of the epoch of Louis XVI are especially well adapted — to home decoration, while that of the epoch of Louis XIV should be left for that of public buildings and state apart- ments. ‘The school of Antwerp and the Venetian school of the XVI century offer many and various paintings that are es- pecially suited to decorative work. It is a growing fashion to copy the easel pic- tures of favorite artists of to-day. Many of these compositions lend themselves to decorative treatment and are a great re- source to the amateur, as good copies can easily be secured. Circular containing full particulars as to Tapestry Department sent for three two- cent stamps. Address THE ART INTER- CHANGE Co, THE RETURN FROM THE FESTIVAL, IN TAPESTRY Dyres.—The best results will be obtained by using the silk or wool tapestry canvas and steaming the paint- ing. Choose a coarse-ribbed canvas for all large sizes, screen or wall and hang- ing; the fine-ribbed for small ones. It is necessary to stretch the canvas before beginning the work. Get an ordinary wooden strainer of seasoned wood, and have it well stayed by cross bars. Fasten the canvas to it by tacking it at top and at one side with thin, short, large-headed tacks about one inch apart, then stretch it well over the edge of the strainer at the other side and bottom, tacking as you go. Becareful to keep the ribs running straight or else in steam- ing the work will be pulled out of line. A correct outline is absolutely necessary to a successful treatment of this design. Unless certain of drawing every line correctly at the first attempt do not put in the sketch directly upon the canvas, as erasure injures its working qualities very much. It should first be drawn upon paper and then transferred by pouncing to the canvas. This is done by pricking the outlines with a large needle called a pouncing needle. Fasten the paper, face up, with pins or tacks to the face of the canvas. Secure it so that it cannot be moved. ‘Then put finely-powdered char- - tint with pure medium: coal into a coarse muslin bag and sift it over the outlines by lightly dragging it over the paper. Never pass it twice over any spot, as a blurred line will be the re- sult. On lifting the paper from the can- vas a clear dotted outline will be seen. This must all be gone over with a finely- pointed pencil of Faber or Coute Crayon, No. 2. The charcoal is then to be all beaten out of the canvas from the back. THE ART INTERCHANGE Co. furnishes outlines of this design on paper for pouncing, in three sizes; twenty-nine, forty-two and fifty-four inches long. Outlines will also be drawn directly upon the tapestry canvas in any size that may _ be ordered. Begin the work of painting by putting in the shadows of the flesh with the fol- lowing tints: Figure in centre, brown, No. 1, and vermilion. Other two, orange and a little vermilion; mix with medium and water equal parts, and keep the col- ors light. When the shades are nearly dry the outlines of the features and the accents of shade and shadow can be drawn into them with brown, No. 1, and vermilion, mixed with medium and water in equal parts. The copy should be carefully studied at this point, as the whole expression depends greatly upon the correctness of these ‘‘ accents.” Pre- serve the reflected lights, especially on the arms. When thoroughly dry wash over all a flesh tint as follows: Figure at right vermilion and orange, figure in centre orange, figure at left vermilion. Mix these washes with pure medium and use only enough color to tinge it very slightly. While quite wet put in the car- nations in the cheeks, lips, at the end of the chin, ears, and on the forehead, with vermilion and pure medium. At this point the shadows will look too hot and red. This will be changed by washing over them a complementary tint of green made by mixing indigo, No. 2, and raw sienna in pure medium. Do not let it run over into the pure flesh tints, as it will ruin it. The flesh tints should be quite dry before doing this. The black eyes of the central figure are touched in with medium and indigo, No. 2, and brown, No. 2; the blue eyes of the figure at the right with French blue, and of the figure at left with Antwerp blue; shade both with orange and black; shade the eye-ball with a gray made of black with the least hue of violet. Touch in the inner corner with mauve. Next wash in the shades of the hair with the following washes and pure medium: Fgure at right, brown, No. 1; figure at left, brown, No.2; figure in centre, brown, No. 2. When dry add the local Figure at right, raw sienna; figure at left, vermilion and raw sienna; figure in centre, indigo, No. 1. The shadows of the colored draperies can now be made with pure medium and figure at right, orange; figure at left, violet; figure in centre, indigo and yel- low. Local tints with pure medium. Figure at right, crimson and _ indigo; figure at left, raw sienna and brown, No. 1; figure in centre, vermilion. The white draperies can be made with black and pure medium in the shades leaving the canvas bare for the lights. Delicate tints of emerald green and ver- milion can be washed into the shades, 109 which will serve to give variety of tint to the whole. The background shades can be made with maroon and orange used in separate washes with medium and water in equal parts. Local tint, emerald green and a very little vermilion. Use these tints very light and mix with pure medium. When thoroughly dry put in the palm with emerald green, indigo, violet and raw sienna mixed to various tints and hues with pure medium. Shade with brown, No. 2, violet and maroon. The shadows of the musical instrument -are put in with emerald green, violet and black. Local tint, brown, No. 2, and lemon yellow for top, and brown, No. 1, and maroon for bottom; accents, maroon and violet and brown, No. 2, as may be required. ‘The ribbons in the hair are of the same tints as the corresponding drap- eries used in lighter tones. The gold ornaments are kept well toned down. Shade with violet and orange; high lights, lemon yellow; local tint, raw sienna and vermilion. The high lights can be scooped out after the local tint is thoroughly dry and tinted with the lemon yellow. The picture is now ready for the fin- ishing touches. The flesh tints will probably look too red and hot. ‘They can be welltoned bya grey tint of indigo, No. 2, vermilion and raw sienna, mixed to a greenish hue (by using less red), for the figure in the centre, and to a violet hue (by using less yellow), for the other two figures, mix all with medium and _ water in equal parts. The modeling must be carefully ar- ranged and the half tints used in light, thin washes or else the flesh will have a muddy look. Leave the reflected lights quite warm in tone, and soften the edges with the above half tints. The same half tints can be used to modify the shadows in the hair. Keep the locks wavy by following the lines with the brush and looking well to the reflected lights and accents of light and shade. ‘The draperies can be finished by washes of thin color that will modify the tints; use for these the various colors of the local tints, as they may be needed. When the tint is too crude wash with a complementary color and put on the ac- cents with the shadow tints. A very thin wash of pure violet over the preced- ing washes will often help to give tone to the drapery at right. After the painting is brought up to as fine a finish as is pos- sible, greater brilliancy can be obtained by skilfully scraping off accents of high lights with a steel ink eraser or penknife, but this must be done with strict atten- tion to the values of the picture. Study the whole effect of the painting at a dis- tance from the canvas and carefully model all details with reference to their color, tone, and values, balancing each against the other. Strive to attain to that charm of line and color—delicacy of tone and variety of expression—which alone can secure an harmonious effect throughout the whole painting. PRICE LIST OF SUPPLIES FOR TAPESTRY PAINTING Drawings upon canvas or paper . $2 00 Tracings upon paper from our de- signs. : : yl a
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Pia 110 Painted copies of any design, 8x1o inches in size $5 00 . Colored Photographs, 8x10 inches in size, of any design. I 50 Uncolored Photographs, 8x10 inches in size, of any of our designs. ; I 00 Special letter of instruction on any design . I 00 Scheme of color containing list of dyes for flesh tints, aeig ian: etc. . . 25 Sample book of tapestry canvas . 25 Canvas cut to any size for outline en- largements. A circular containing de- signs suitable for tapestry painting and interior decoration in general, together with full price list and directions for ordering, will be mailed to any address on receipt of three two-cent stamps. Orders must invariably be addressed to THE ART INTERCHANGE Company and accompanied by cash. Remittances may be made by check, draft on New York, money order or in currency, sent by registered mail or by express. . Opp Notres.—A young woman of en- terprise is about, it is said, to carry out a long-thought-of scheme for the benefit SaaS QW f" == SSS TN a } | 1 \ & ei . YS. Ue Lg Ah Ay Se fa ———— | | II ft (t In) I FTH@AART of women of business, or those whose time is taken up in various ways and who have little leisure to bestow on small af- fairs. She is to establish a ‘‘ Mending Agency,” where house linen, underwear, stockings, gloves and gowns will be taken in for needed repairs. It is to be run on strictly business principles, the parcels are to be sent for from the main office, taken away by the menders in her em- ploy, neatly repaired by them, and re- turned to the office, from which place they are sent to their destination. Dress skirts will be re-faced and new braids sewn on, button-holes made and buttons sewn on shoes. All the thousand and one stitches so needful to take in order to save wear and tear, and which busy women are obliged to neglect, will be taken charge of by competent hands, and neat gloves, skirts and boots will be as easily attainable as clean linen. The cost of mending will be moderate and soon be saved, as the garment, shoe or glove will last much longer. Bachelors who throw away stockings with rents, or buttonless shirts, will hail this institution with rapture, and as it supplies a long- needed want, the future of the ‘‘ Mend- ing Agency ”’ seems to be fully assured. AW | Wh | ) lal — ew A Q My 2 XY f x Q@ l \\ 1 @ iy il Dp: fe A tt \ il Ni i (a DOYLEY DESIGN—NEW SERIES I} i | AN INTERCHANGE it ————_—_—_ aa ahi Among the latest of the losses of her art treasures which Italy has to deplore, is that of an ancient well curb in the courtyard of the Ca’d’Oro, which, not- withstanding its great size and weight, disappeared one night, leaving no trace behind. There was a rumor that a dealer in antiquities had bought it for 30,000 francs, for some foreigner. ‘‘ It was figured as early as 1761 in a work by G. Grevenborch, a Fleming, and forms one of Signor Organia’s examples in his Italian work on decorated well curbs.” Every visitor to Venice will remember the numerous objects of this description which form so important a feature in the daily life of the city, and particularly the two elaborate bronze ones in the court- yard of the Ducal Palace. » The sale of the great Spitzer collection, with the exception of the arms and armor, will take place in Paris, in the months of April and May of this year. The cata- logue of the sale, which will include nearly 3,300 articles, will consist of two volumes of text, and of an album contain- ing sixty-eight plates, giving reproduc- tions, it is said, of about 2,200 of these objects. This catalogue, which is to be ready soon, will be sold at fifty francs, SE eS = wat Ne a °
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Lme ieee? PNTERCHANGE III cited a set of chocolate cups and saucers. The cups are vase-like in shape and have twisted coral handles in reddish pink. The upper part is white with a reddish pink rim around the top. The bases of the cups show excellent work in relief —S— representing cupids, goddesses, trees and noted. An example is a_pitcher-like vase, about eighteen inches high, in dull ivory white. The stopper and neck show fine scroll work of oxidized silver on a polished silver ground. The handle and long spout are of dull gold. The body is ivory white with dull gold scroll work, and on each side is a medallion entirely of delicate openwork studded with small jewels. The metal effects in this vase are wonderfully well carried out. ——— = ~~ flowers in brilliant natural colorings. — ———_ The saucers are decorated with garlands —— =_ of bright flowers connected by shield- ——— a \) = shaped medallions which are surrounded — ——— by floating draperies and ribbons, all in ) / =a i (( low relief. The set is very odd and Se a: Iie IK Sutin) M charming. Among many beautiful vases cil Wl some in Royal Worcester were especially O. Silk wound eggs in lengthwise stripes and also in solid colors—all having the appearance of the glossiest of satin, are sold for favors, as well as for Easter gifts. Fishes, rabbits, owls and different kinds of birds, are made of paper and covered with different, brightly-colored feathers, are really boxes to hold confectionery, fashioned in the curious Japanese way. “Among the oddest favors are small and medium sized Japanese lanterns,.each one looking as if it could be flattened, like those that are in use for decorations. . © KN ———— Ps nei } al ut i ie ‘ 1 | @é and as the edition is limited those wish- —_ A ing to obtain a copy are requested to Ur ct “ send their subscriptions promptly to M. Paul Chevallier, commissaire-priseur, or to M. Charles Mannheim, experte. Every subscriber will receive in time a condensed list of the articles composing the collec- tion, and, after the sale, the price of each article, At the annual convention of the Société des Artistes Francais, M. Bonnat presid- ing, held in December last, an important change in the regulations of the annual Salons was announced by the Committee of Ninety. ‘This was to provide for the election of the jury, not by the votes of all the artists, as heretofore, but by the votes only of those who have received awards or have exhibited for the last five years. This proposal was met with in- dignant remonstrances, and a petition signed by more than one hundred mem- bers was presented against it; but after a heated discussion the old plan of univer- sal suffrage was rejected by a vote of 294 against 194. At the meeting in January, M. Bonnat was unanimously re-elected President. S:—oa pi Gann aD Some recent importations of Capo di $s is, Monti are good examples of the best Acmuse® modern work. Among these may be DOYLEY DESIGNS—NEW SERIES ~
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Z / FT hhh hid dd bbbdhdbbtelch =A, dh LZ 7) 7 CLETLILIALLLL, LZ susnra ladies, ~ ‘ = Adi de! ac! - Sion 7 aD pas Ye B - a e 4 _ } e) oO Thay # Hn "y ne nao ATTY i Sy HK GR 5 Hh UT Wl il ky a G Jai Ub if }\ | f ! y) A shit AWA “= & DRAWING ROOM IN A NEW YORK HOUSE-—-THE FESTOONED MANTEL DRAPERY IS NOT TO BE COMMENDED, HOWEVER
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1 HE ARF? HOW TO DO IT WEDDINGS K@HE etiquette of weddings is by no means as rigid as that of other social functions, Syne such as dinners and balls. DTILO By this is meant that there is more latitude allowed for. personal taste in dress and expenditure, and while, in a sense, all weddings are alike, there is really an immense difference between them as to costume, decoration and dis- play. The style of ceremony most in vogue at present is the church wedding, and of late years this generally occurs at twelve o’clock noon and the entertain- ment afterwards is styled the wedding breakfast. The three o'clock afternoon wedding followed by a reception, once so fashionable, has now passed away, and we are indebted to our mother country, Great Britain, for this present innovation. Evening weddings are rare, and this is perhaps to be regretted, as they are so much more brilliant by reason of the evening toilettes worn by all the guests and the exquisite effects produced by lights softly shaded and delicately tinted. The church wedding of to-day is of two kinds. Oneis splendid and ornate. Ex- pensive hothouse flowers and _ tropical plants decorate the chancel. The altar rails are covered with rare blossoms, the bride and her bevy of attendant damsels wear gorgeous gowns with rare jewels and laces and bouquets of exotics, and all the means and appliances of wealth are brought to bear to outdo in splendor other ceremonials of the same _ kind. The other is simple, quiet and unassum- ing. The first is better adapted to a fashion- able winter season in a large city; the second to spring, early summer, or-au- tumn in a smaller town, or in the country. Nothing can be more beautiful than a wedding out of town in late spring, when all the out-door flowers, such as jonquils, hyacinths, lilies, daisies, buttercups, lilacs and roses are in bloom, and make the most charming of wedding decorations; combining grace of form, beauty of color, and delicate fragrance. May is supposed to be ruled out of marriage months, from the old superstition that the May bride is sure to be unlucky; and although wed- dings do occur in May it is still quite true that April and June are preferred for spring weddings. Early in June of last year a charming church wedding took place, in one of our suburbs. ‘The church was decorated with spring flowers, gathered and arranged by girl friends of the bride, whose family were thus spared all trouble in the matter. Arbutus and other vines were trailed over the chancel rails, and the spaces filled in with marguerites. Dogwood branches mingled with yellow laburnum, jonquils and buttercups were made into panels and put up between the windows of the church. A rope of white daisies was made to serve for the white ribbon usually placed by the ushers to secure the upper pews for the families of the bride and groom. In each pew a lovely bouquet of hyacinths, lilies and lilacs mingled with ferns and long grasses was fastened in the corner near the door, and the space inside the chan- cel rails was filled with flowering plants. At most weddings, whether simple or grandiose, the usher seems to be a per- manent institution. Four or six ushers are usual, according to the number of guests expected. Their duties are vari- ous. ‘They arrive at the church some time before the bridal party, in time to rectify any errors that may have been made, to look to the placing of the boun- dary ribbon, and to be ready to receive and to conduct to places the guests who arrive. ‘The guests should all be seated before the arrival of the bridal party. The near relatives of the bride and groom are not included in the bridal party, un- less a sister or brother are among the bridesmaids or ushers. The relatives are escorted by the ushers to the pews re- served for them at the head of the church. The ladies among them are usually with- out bonnets and very much dressed, al- though there seems to be a growing dis- taste to appearing in church without bonnets. The guests wear street and carriage costumes more or less elaborate, and of light or dark colors, according to the season. It is purely a matter of taste how the bridal party proceed to the altar. The rule most frequently ob- served is this: The groom and best man take places upon the altar steps having come in from the vestry just after | the clergyman, and await the bride’s ar- rival. A few seconds later the church doors are thrown open, the organ peals out a wedding march, and the ushers ap- pear two by two followed by the maid of honor if there is one. The bride comes next upon her father’s arm and some- times there. are two little pages bearing the bride’s train. The bridesmaids are last in the procession and they number two, four or six according to the elabor- ateness of the wedding. They all pro- ceed very slowly up the aisle, and it must be acknowledged that the pageant is a very beautiful one. A pretty fashion was introduced a year or two ago somewhat different from this. The ushers and bridesmaids emerged at the same time from the doors on either side of the chancel, joined at the head of the middle aisle, and walked in pairs to the church door, to meet the bride and her father, preceded them as they returned, and parted again to range themselves on each side of the bridal pair before the _altar. A best man is really necessary, for certain duties always devolve upon him. He relieves the groom of all responsibil- ity at a time when he might naturally be confused or excited. It is the best man who sees that the clergyman is sent for and sent back again. He gives him the fee from the groom. He goes himself in a carriage for the groom, and stands by him as he awaits the coming of the bride at thealtar. It iscustomary for the bridal party to go to the church a day or so before the wedding and rehearse the ceremonies. ‘There is nothing irreverent in this custom, and it is very necessary, as any mistake during the ceremony would be most embarrassing for every one. When the ceremony is ended the guests all remain seated, and the bridal cortége INTERCHANGE 115 walk down the aisle in the same order, except that the bride has her husband’s arm. Some kind of triumphal hymn or wedding march is again played by the or- ganist, after which the guests leave the church. | When there is a wedding breakfast, and the house of the bride’s parents is not a very large one, only the most intimate friends and relatives of the newly wedded pair are invited. The invitations to the church, however, include all the visiting list on both sides, and are usually en- graved on a sheet of note paper. The wording is as follows: Mr. and Mrs. John G. Dent request your presence at the marriage of their daughter, Mary Adelaide, to Mr. James L. Burton, on Wednesday, June the second, at half after twelve o’clock. Calvary Church, Fourth Avenue and Twenty-first Street A card, or separate note, is enclosed with the invitation to those who are bidden to the breakfast. When a wedding is fol- lowed by a reception the hour of the ceremony is a little later, and a card is enclosed in each invitation, reading thus: Mr. and Mrs. John G, Dent. At Home from three until five o’clock. At a wedding breakfast the guests are usually seated at small tables, that of the bride being the most elaborately deco- rated. If the dining-room is not large enough, some of the tables are placed in other rooms, frequently inthe large hall, if it is a country house, and on the piaz- zas if the weather is warm. The breakfast consists of the viands usually served at luncheons, and wine always appears. When there is a recep- tion the guests come at any time between the hours named in the invitation, and there is: an elaborate collation, with wines, spread upon the large table in the dining room, the men among the guests assisting the attendants in serving the ladies. Many weddings take place quietly at home, the bride not caring to face the ordeal of a crowded church, or other reasons making it more convenient. In this case it 1s customary to invite only relatives and very near friends to the ceremony, which is performed in the large drawing room. The decorations should be floral and to suit individual taste. Sometimes the bridal pair stand under a floral bell of white blossoms, which is a very graceful accessory. Palms are sometimes arranged so as to form a sort of bower, under which the bridal party stand. . The bride and groom, bridesmaids and ushers form a line during the ceremony much as they would in a church, that is, they stand with their backs turned to the guests, the clergyman facing them, and usually there are two cushions placed at their feet, so that they may kneel when the blessing is pronounced. After the cere- “mony the newly wedded pair and the bridesmaids face the guests who, escorted by the ushers, come up one by one to ten- der their congratulations. - From this time on the guests who have been invited to
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116 THRE AR the reception begin to arrive, and the bridal party never leave their places un- til the incoming stream has ceased. Then the bride, after taking some refreshment, retires to an upper room to change her wedding gown for a traveling costume. The best man attends the groom also to a private room where he makes some nec- Him p \ > Gor CY c G - ~~ - EEC & Some CXS NOE essary alterations in his attire, for al- though it is an unwritten law that the groom, no matterhow gorgeously gowned the bride may be, should wear only fault- -less morning dress to his own wedding, he cannot well go on a journey in a frock coat and gray trousers. ‘The company get one more glimpse of the happy pair as they come down the stairs on the way to the carriage, and it is at this time that the facetious young people among the guests think it the proper thing to throw rice, or an old slipper after the departing pair. So much latitude is allowed in the way of dress both for bride and bridesmaids that no rules can be laid down for either. . The bride, unless she be a widow, or an elderly person, wears white as a rule, yet there are many weddings where both bride and groom are married in traveling dress. With a white gowna veilis always worn and tulle is the favorite material used for this purpose. It is often perfectly plain, but lately it has become the fashion to trim it with a narrow edging of Mechlin, Point, or other real lace. White satin, peau de soie, corded silk and bengaline are some of the fabrics most used for wedding gowns, a fine quality of each being manu- factured for the purpose. Tulles and other thin materials are no longer used, although a white satin wedding gown is frequently veiled with costly lace. Many brides do not wear flowers in the hair or on the gown, the veil being simply fas- tened by a pearl or diamond ornament. Orange blossoms, however, have been in demand lately. On no account must the wedding gown GAGA GRGS RC RCE } (49> ( uy SK SOBA Gf xe 2 ona 7 / wt me CALOF a SEAS wae So § EWES “ - —- = —— —= 4 = HALL CLOSET OR CABINET At a church wedding the bridesmaids and maid of honor generally wear hats to match their costumes, ‘These function- aries, however, are sometimes dispensed with entirely, and in their place are one or two little girls, who walk up the aisle narrow ruche of white ostrich feathers. A plume of white and green feathers was the trimming in each. They carried eighteenth century white wands, upon which clusters of white water lilies were tied with pale green ribbons. There
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as eee ee were two little pages in white satin cos- tumes, with zouave coats edged with sil- ver braid, and with deep lace ruffles at neck and wrists. The white satin breeches were buckled at the knees with silver clasps. Their long stockings were of fine white silk, and they wore white kid shoes with silver buckles. 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 ArT INTERCHANGE, New York, U.S. A. SUGGESTIONS FOR DECORATING PAR- tor. (A.)...Q...The parlor is 12%x17% in size, facing east ; has a triple window in front un- der piazza, with two single windows on the south side under piazza. There are sliding doors into hall and sitting-room. A mahogany mantel, with over- mantel and mirror. The preference is for old rose, pale green, or gray green and cream. We want the latest styles, if they are artistic. Thought of hav- ing cream white enamel for woodwork, as it is not hard wood. Color and material for walls, pale rose or gray green? Paint on paper, or Lincrusta-Wal- ton painted? What for frieze? Style of furniture and upholstery? Slender Empire style, with an edge of wood, and if so, what kind of wood? Do not admire the gilt so much shown. Style of car- pet ? Wilton or Axminster? and colors? Material and color for over-drapery at windows and for por- ti¢éres ? The mantel can be done over or changed, if necessary, but it seems as though it might ‘‘ tone in” with the old rose scheme, with drapery. Thought of onyx. Isit used much now? Would you advise festoon style of frieze ?...A...Any of the colors you suggest would be pleasing, but a par- ticularly lovely room would result from the follow- ing treatment: Enamel the woodwork in old ivory effect rather than in cream, and use on the walls an Empire damask paper showing a soft old rose ground, with the design thrown up in_ ivory white. The frieze should be in relief, carried out in the composition now used for that purpose, and known to all experienced deco- rators. Have the design in harmony with the festooned garland effects of the Empire paper ; let the ground of the frieze be a light creamy green and the garlands of roses show soft old rose tints and touches of wood-brown and the vase forms be thrown up in antiqueivory. The ceiling should be a lighter old rose than the side walls and have suitable relief ornament in old-ivory composition. The carpet could be one of ‘‘Smith”’ Axminster, showing a soft, warm shaded old-rose ground with a small, all- over foliated scroll design thrown up in ivory-tones deepening to wood-brown shades in the outlining of the whole design. This will have a delightfully restful effect and afford an admirable ground work for the display of furniture of the slender Empire style. The frames of some of the chairs could be rosewood, and since one is not now confined to special sets in a special wood, you could have also an ebony piece or two and an occasional piece in burnished gold—say a gossip chair or a corner chair. Upholster the furniture in several colors. It is not necessary to confine one’s self to one color. Upholster the rosewood pieces in old-gold and old- rose brocatelle with trimmings of old-gold satin; the ebonized pieces with old-rose silk damask and silver- green and rose brocatelle. The gilt pieces might be in silver-green and cream satin damask. For portiéres use the pink and yellow changeable silk canvas of the Associated Artists embroidered with one of their conventional white water-lily designs for one, and one of their tea-rose subjects for the other. Suspend by ornate brass rings from antique ivory poles. Do not have the old rose of the wall- paper too delicate, as in that case a mahogany mantel would not suit. Select a warm old-rose ground for paper, but a little lighter than the carpet ground. The embroidery of the silk canvas porti¢res may show gray-greens and touches of wood-brown. Use old-rose silk plush for the window curtains and line them with old-gold silk. The under curtains should be of cream lace—Russian lace or some other handsome lace of a cream tone. Avoid pure white, or blue-white lace curtains: they will not harmonize with anything. If your magogany mantel is old mahogany of an almost rosewood-like hue, it will harmonize with a warm old-rose wall, but if a crude new tone it will not. Anonyx mantel with old-ivory effect over mantel would be far handsomer with an open fire-place faced with small, narrow, gray-green tiles set in slender silver mountings. ‘The fire set in this case would be handsome in Persian silver finish. Use cream Angora rugs for fire-place and door to hall. Enclose frieze of wall between richly carved antique ivory molding and picture-rail. In your Empire furniture there need be no gilt, but simply inlays of brass and the usual small ornamen- tations in brass which characterize the furniture of that period. COLOR FOR HALL CARPET AND WALL- PAPER, PARLOR PORTIERES AND FOR DINING- ROOM, OPENING INTO LIBRARY. (B. F.)...Q... Can I use a red carpet on a hall, the woodwork of which is cherry, and what color paper must I put on wall? The front door opens on south side and there are two windows on the west side. The car- pet I want is somewhat similar to the one on floor of Broadway Theatre, in New York City. What color should the portiéres be on folding doors opening from hall into parlor and also into dining-room? I thought of getting carpet with tan ground and deli- cate floral pattern for the two parlors and laying a fur rug in the door between parlor and hall that would harmonize with the two colors. I have a Wil- ton carpet with red ground and rather large floral pattern that I thought of using for dining-room. The front parlor is 15 x 15, with large window opening on the south side and two smaller ones on the east, but there is a veranda on both sides. The back parlor, or library, is 15 x 22 feet, with one window on south and two on north, witha small conservatory opening on east. In this doorway I thought of hanging a bead portiére. © The woodwork in back parlor and dining-room is oak and I think the front parlor has cherry, like hall. All the ceilings are eleven feet high. ...A...One is hampered in advising you, because you give no information as to the coloring of your parlor, library, or dining-room, when, perhaps, you need advice as to them also. You could use a car- pet a certain shade of red, for the hall described, but would have to be careful in this selection. Terra- cotta reds would probably be appropriate. As you intend purchasing carpets of a tan ground with a delicate floral design for the parlors, I strongly advise you to select a hall carpet in shades of tan only, choos- ing a continuous scroll design in shades of tan ap- pearing on a tan ground of exactly the same tan shade as that in ground of‘ parlor carpet. This will prevent any difficulty of harmonizing them. In a hall of such proportions the walls would look best papered in shades of a soft medium greenish blue, an interlacing design in outline with a tracery of tan outlining the interlacings. The ceiling paper could be in a shade of tan lighter than ground of car- pet, and ceiling color carried down on wall ina frieze, at least twenty inches deep, with a design of foliated scrolls in deeper tans carried along the walls to continue ceiling color and give sense of better proportion to hall. This coloring suits your well- lighted hall. A large black fur rug, or else a creamy- white fur, will look well in door-way to parlor. Let portieres break length of hall by a contrasting color, say golden-olive for the body color, with touches of terra-cotta, tan, ecru, and olive green in an upper woven or embroidered border mainly in dull greenish blue. The bead and bamboo portiére will be very suitable for an entrance to the conservatory. fulfilled by the publication, with this issue, of ‘‘ A Finishing Touch,” which is the first of our costume plates in color. The gown there shown was designed especially for ART INTERCHANGE readers and manufactured from imported materials. As green is to be one of the two leading colors this season, and velvet and lace the most fashionable trimmings, this color and these fabrics were selected. For it is not our in- tention to depart from prevailing styles, but to pre- sent artistic color combinations and models shorn of exaggerations. It is noticeable that in the costume under notice the extreme and absurdly flared skirt is reduced to reasonable limits, and the exaggerated masses at shoulder and sleeve seen on many gowns are here presented in a modified and more becom- ing style. The credit for the creation of this cos- tume belongs to a New York modiste, Miss Dou- gan, of 109 West Forty-fourth Street. INTERCHANGE 117 THE FINISHING TOUCH DEscRIPTION.—A home reception gown of osier leaf green silk with a pattern of moss rose buds scattered over the surface. The skirt is gored so as to give the flaring shape so fash- ionable at present. It is lined with plain glacé silk of the same color. It is five yards around the bot- tom and made so as just to touch the ground. It is trimmed with two rows of Alencon lace insertion, the upper row two and a half inches above the lower one which heads a flounce of the same lace six inches deep. The corsage is round in shape and trimmed with a bertha of green mirror velvet which defines the yoke. It is plain except over the sleeves where there are some gathers. The velvet sleeves, balloon shape, reach to the elbow, where they meet long tight ones of the silk. The bertha is trimmed with Alengon lace to match that of the skirt, and reaches the waist line. The belt is of green mirror velvet, made in irregular folds, and at the side divides in two pieces—one fastening at the waist line the other under the left arm. The yoke is covered with lace, and the high velvet collar hooks at the back with a butterfly bow of the same. To PAINT A FINISHING TOUCH, IN WATER CoLors,—Select a medium smooth Whatman paper for this. Draw the study and all the very decided markings with a pencil, omitting all the smaller folds and the pattern in the dress ; these should be drawn with color only. For the waist and sleeves use co- balt blue, terre verte and rose madder in a thin wash, as an undertone over the dark portions ; then draw with small full brush the darkest markings (folds), for which use cobalt, ivory black and terre verte. Then draw the lighter, more superficial folds, with the same color, leaving out the black and adding rose madder in parts. For the lace use cobalt blue, yel- low ochre and rose madder, at first putting in the larger washes and adding the smaller ones when your colors are dry ; add a little more cobalt blue in the sleeve and waist where seen in deep shadow. The dress may be painted with varied mixtures of gamboge and cobalt blue, adding a little rose mad- der and yellow ochre in the warmer washes. For the trimmings use cobalt blue, rose madder and yel- low ochre. When finished touch in the pattern with your green and little touches of ochre and light red ; then paint the flowers, using rose madder, yellow ochre and a little cobalt for the roses, and varied strengths of cobalt, rose madder, black and yellow ochre for the suggestion of leaves; the same holds good for the flowers on the table. The face should be most delicately outlined, and perhaps gone over with a little burnt sienna and cobalt, after which the pencil lines may be erased. Use yel- low ochre, terre verte and rose madder for the light of flesh and add a little cobalt blue for the tender gray modeling. Allow the color to run over the hair to which we add yellow ochre ; use cobalt blue, rose madder and yellow ochre, - for shadows or the drawing. ‘The warm color on the walls can be made from yellow ochre, rose mad- der and cobalt. The drapery has varied thin washes of gamboge, black and rose madders in light and half tints and sharp touches of vermillion, cobalt blue and yellow ochre in varied strengths in the depths. Keep them rather light, however, so that they will not interfere with the figure. The panels are drawn with loose washes of cobalt blue and very little rose madder. All the gold in decorations and table is made from gamboge, cobalt blue and a very little rose madder. The floor should be laid in with a simple wash of cobalt blue, yellow ochre and rose madder ; while still damp, have the vertical re- flections added. For these use additional cobalt blue and less rose madder. Throughout the study decide as deliberately as you please just what you will do, think of your color, think of your drawing and then do the work quickly and deftly—rather miss the shape of a fold than bungle it when it is once on the paper. If you are at all timid draw in the color very light and wet, and then add the proper strength by dotting it onto the very wet shape, taking care, however, that it blends and models properly, avoid stipple. If necessary in the face, then do it with light tones and in long touches —never in dots. Mr. Thomas E. Waggaman of Wash- ington, the owner, it will be remembered, of the beautiful Israels water-color ex- hibited at the last display of the Water- Color Club, has recently issued volume first of a catalogue of his ‘‘ collection of oil-paintings and water-colors by Ameri- can and European artists, and of Orien- tal art objects.”’ (Evening Post.)
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THE ARTs INPTERCHANGE © 2 ee ADVERTISING DEPARTMENT HOUSEHOLD TRADE NOTES INTERCHANGE—ADVERTISING V. PERFECT waterproof floor covering is found in the Nairn Linoleum to be had of RCV ANIA) Messrs. W. &. J. SLOANE, DISS Broadway and _ Eighteenth and Nineteenth Streets. It is made in plain coloring and a great variety of artis- tic designs. For use in kitchens, halls, bath-rooms and wherever a _ serviceable, noiseless and easily cleaned floor covering is desired, it is recommended. Just published! China painting, with glaze colors, explained in its three depart- ments : Chapter 1.—The Nature of China Colors ; Chapter II.—How to Use Colors; Chapter II1I.—How to Burn in China Col- ors. By A. J. Burgeon. Price 35 cents. Chicago, 1892. Copyright by A. J. Bur- geon, 331 Wabash Avenue, Chicago, Ill. The True Southern Route to California is via. St. Louis, Mo. and Iron Mountain Route, Texas & Pacific and Southern Pa- cific Railways. Through Pullman, Buffet, Parlor, Palace Sleeping cars, from St. Louis Union Depot to Los Angeles and San Fran- cisco without change. For reservation _ write or call on Wm. E. Hoyt, General Eastern Passenger Agent, 391 Broadway, New York, or H. C. Townsend, General Passenger and Ticket Agent, Missouri, Pa- cific Railway and Iron Mountain Route, St. Louis, Mo. SARA HADLEy, 923 Broadway, New York, supplies the newest designs for workers in lace. Hand Made laces only, from original and exclusive designs are manufactured in every conceivable pattern. A Combination Sun or Lamp Sketching Camera, for making large pictures by hand from small ones, sent on three days’ trial by C. R. Jenne, Manufacturer, Fort Wayne, Ind. . The Hall Keramic Kilns, for firing decorated glass, china, and bisque are now made with new and improved gas burn- ers. W. M. CRANE & COMPANY, sole makers for the United States, 838 Broad- way, N. Y., supply them for professionals and for amateurs. Mr. C. Pu1Lie SMITH, 2 West Fourteenth Street, is conducting the most advanced school of Artistic Keramic. Decoration. This School has met with most flattering success during the past year, and spring classes have rapidly filled since the Holi- day recess. A visit to the studio of Mr. Smith is an event to be remembered and is fraught with many valuable suggestions 5 to the artistically inclined. _ crayons, “Every Woman Wants it.” Send 10 cents in stamps to E. O. McCormick, gen- eral passenger and ticket agent, C., H. & D. general office building, Cincinnati, and get the Cincinnati, Hamilton and Dayton special edition of the Martha Washington Cook Book, 320 pages fully illustrated. This cook book is in use on the dining- cars on the C., H. & D. between Cincin- nati and Chicago, on which are served meals unequalled for their perfect cooking. The book will be sent prepaid to any ad- dress on receipt of the 10 cents in stamps. The C., H. & D., in connection with the Monon, is the World’s Fair route between Cincinnati and Chicago. In the gallery of N. E. Montross, 1380 Broadway, there is being shown D. W. Tryon’s “Springtime,” the oil painting which is to go to the World’s Fair Art Exhibit, and which Mr. Tryon has just finished. It isa masterpiece. Here also can be seen the painting for which he was awarded the Gold Medal at Munich in 1892. Mr. Montross has just received at the hands of M. Elbridge Kingsley, Sc., a fac-simile of Mr. D. W. Tryon’s famous ‘‘Winter Evening.” Hand-proofs from this wood-cut signed by Mr. Tryon and Mr. Kingsley may be had of Mr. Mon- tross. Le MEsuRIER artists’ tube colors are now found in every well equipped material store in this country. The leading Ex- hibitors at the National Academy in the Spring of 1890, including J. F. Cropsey, NA, Cu. OC. Sawer, NAL os Sonntag, N. A., Wordsworth Thompson, N. A., W. Parker Newton, William Ver- planck Birney, Childe Hassam, Elliot Dangerfield and many others have given their testimony in favor of these colors, Messrs. JOHN W. Masury & SON, 55 Pearl St., Brooklyn, N.Y., who manufacture these colors guarantee them to possess all of the desirable features found in the do- mestic or foreign manufactures, and to excel them in many essential qualities, such as, impalpable fineness, freedom from lint and positive uniformity of strength and shade. Perhaps as complete stock of Artists’ Materials as is found anywhere, is that of M. H. HarTMANN, 817 Broadway, N. Y. Here can be found at all times oil and water colors of every known make as well as pastel, mineral paints, gold for every use, tapestry dyes, linen and woolen tapes- try canvas, German and American artists’ canvas and brushes. If you want to get a thorough insight into the methods of preparing pastel 5, write to Messrs. MULLER & Hennic of Dresden, who will be glad to correspond with both the trade and the interested consumer, concerning their use. Our subscribers in the States ot Wiscon- sin, Minnesota, and the two Dakotas, should all avail themselves of the oppor- tunity to obtain one of the FREE Scholar- ships in the MINNEAPOLIS SCHOOL OF FINE Arts, to be awarded during the year, by the publishers of THe Art INTERCHANGE magazine. Pamphlet with full information sent by THE ART INTERCHANGE COMPANY on receipt of stamp. Metal ceilings can be applied over old plaster, without removing same. They are suitable for residences, offices, stores, schools, hospitals and churches. Such a ceiling can be made exceedingly decorative, and has many other good points to recom- mend it. Send for catalogue and prices. Give measurements for estimate. Address, N. Y. METAL CEILING COMPANY, 36 and 38 Eleventh Avenue, New York. If you wish to obtain an artistic effect in color on the exterior of your house, you will get the most satisfactory results by the use of Cabot’s Creasote Shingle Stains. Samples on wood, and sheaf of (25) sketches of houses will be sent for three two-cent stamps, on application to SAMUEL CasorT, 72 Kilby Street, Boston. The H. B. Graves branch of the AMErR- ICAN WALL PAPER Company, 583 Fifth Avenue, issue an elaborate book of designs of interior decorations, showing complete schemes in color for furnishing and decor- | ating every room in the house. It is planned in excellent taste and is really unique. Visitors to the World’s Fair should visit the establishment of Messrs. G. A. FLEISHER & COMPANY, 207 and = 209 Wabash Avenue, where they will find a magnificent stock of statuary, bric-a-brac, china, and artistic materials generally. A catalogue of white china and artists’ ma- terials sent on application. A crochet silk with high lustre, wash dyes, free from imperfections and one that will not split in working is Heminway’s, to be had at all stores. Your address on a postal sent to M. Heminway & Sons’ SILK COMPANY, 74 and 76 Green Street, New York, will procure an_ illustrated primer. | PWS SE
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vi. THE ART INTERCHANGE—ADVERTISING EDUCATIONAL. R. BIER'S ART SCHOOL, Cor. Broadway & 18th St. (MacIntyre Building), N.Y. Mr. Bier’s Io years’ experience in the Royal Dresden and 3 years’ in the Crown Derby China Works insures competent in- struction in all branches of China Painting FIGURE and PORTRAIT PAINTING, also, Flower Painting in the Royal Dresden Style are some of the Specialties Taught. EDUCATIONAL. ESTABLISHED 1877. OSGOOD ART SCHOOL, 43 Union Square, New York. OPEN THROUGHOUT THE YEAR. Special Summer Classes for the convenience of Teachers and others whose vocation leaves them no time for self-improvement in the Winter, Practical Instructors in all departments. The through course includes Drawing—from Casts, Still Life, Lan scape, etc. THE CHINA CLASS is in charge of a thorough, practical decorator, whose experience in all branches of China Painting insures competent instruction in Royal Worcester, Doulton, Figures, Heads, Landscapes, Flowers, Fruit, Fish and Game. Pupils are supplied with original designs in the classes to copy from without extra charge. Tapestry Painting in Dyes and Oil Colors. Freehand Miniature Portraits on China and Ivory to Order. RoyaAL DRESDEN GOLD FOR SALE, 75C. A PACKAGE, ORIGINAL SCHOOL OF INDUSTRIAL ART AND TECHNICAL DESIGN FOR WOMEN 134 Fifth Avenue, New York City. Classes in Practical Design as applied to Carpets, Wall-Papers, and all Art Industries. Pupils can enter Terms ;—$t.00 for 3 hour lessons. $5.00 for six les- ab ate tiecs, sons. Special rates by the month. Circulars on ap- Tucstveiedions os ‘ate dP ; ; given by letter Most complete method plication. Mention this paper. existing of HOME INSTRUCTION. For circulars and further particulars, address the Principal, Mrs, FLorENCE EvizABetu Cory, R. WALTER SATTERLEE’S Art Classes for Men and Women.. Opens Oct. 1st., and EDUCATIONAL. MINNEAPOLIS SCHOOL OF FINE ARTS, Mr. DOUGLAS VOLK, Director. Eighth Year. 1 First Term, Sept. 22to Dec. 22. Second ‘* Jan. 2to June 1. TERMS: Tuition payable in advance. F Per Month. : Per Month. Antique Class, . . $5.00/ Children’s Class, $2.00 Still Life ** . + 10.00| Night Antique ‘* = 2.50 Portrait ‘ . «+ 10.00] Night Life on Life ste . «+ 10.00 | Sketching ‘* 200 A reduction of 10 per cent. will be made to Students paying for the entire term. All correspondence should be addressed DOUGLAS VOLK, Public Library Building, Minneapolis, Minn, The New York School of Applied Design for Women, 200 West 23rd Street, New York, Affords thorough instruction in Wall Paper and Carpet Designing, and makes a specialty of the ARCHITECTURAL DEPARTMENT. It is the only school of the kind in the world. in which the instructors are the practical head designers, and architects from the leading establishments in the city. Tuition $50.00 a year. Catalogues free. For further information apply to EDUCATIONAL, Classes in Painting and Photography OPEN FROM SEPTEMBER TILL JULY. Instruction given in Oil and China Painting, in- cluding es Worcester and Dresden, and in Photo- graphy. ut-door classes in Photography in the Spring. Full particulars on application, Address, Miss Nevius, Room 78, Franklin B’ld’g. 186 Remsen Street, Brooklyn, N.Y. THE SHARP ART SCHOOL, 744 Broadway, Room 18, top floor, cor. Astor Place, New York. Men's Life Class. Drawing from the Nude Life. Every Mon- day, Wednesday and Friday Evening, from 7.30 till ro o'clock. Evening Life Class for Women. Tuesday and Saturday Evenings, from 7.30 till ro o’clock. Cast Class, same evenings and hours. Thursday Evening Sketch Class, Every Thursday Evening, 7.30 till to o'clock Sunday Morning Lite Class. Painting from the Nude Life. Every Sunday Morning from 8.30 till 12.30. Sunday Afterno-n Head Class. Painting from the Head or Draped Figure. 1.30 till 4.30. Private Instruction in Drawing and Painting and Decoration. JOHN S. SHARP, Proprietor. Send two-cent stamp for a copy of OUR LATEST CATALOGUE, illustrated. they offer every facility for those wishing to study trom the model and still life—and to those wishing to pursue art professicnally. 52 East 23d Street, N. Y. ‘PLASTER STATUARY, ANTIQUE, ROMAN and MEDIA-VAL. Casts for the use of Schools, Colleges, Artists, etc, L. CASTELVECCHI, 143 GRAND ST., Send for Catalogue. New York PERPETUA FRESCO. Thereis noricher surface for painting on than satin. Pict- ures painted on cream, white, or the light colors, and framed in contrasting shades of plush (or painted satin), with silver edges or corners, look charming, They can only be done to perfec- tion in ‘*‘ PERPETUA FRESCO ’”’ (the velvet oil method), in which portraits. figures, flowers and landscapes can be done with an exquisitely softeffect, It can be adapted to fan paint- ing and decorative work ofallkinds. Thestudies of THE ART INTERCHANGE are excellent models for satin painting. None genuine without signature of Inventor, M. F. O’Connell. S. Goldberg, Sixth Avenue, New York. Frost & Adams, 37 Cornhill, Boston. Wholesale Agents, } A. H, Abbott & Co., Chicago. ART ACADEMY OF CINCINNATI. FOUNDED 1869. Regular Term, September 19, 1892, to May 27, 1893. Tuition ee, $20. Complete courses in drawing and painting in oil and water color, composition, pen drawing, modeling, decorative design, wood carving, china painting, etc. f rt Za The Academy occupies a large, well-lighted building in Eden Park, adjacent to the Museum, to which students have free ac- cess. For circulars and other information, address i A. T. GOSHORN, Director. Cincinnati, O. ESTABLISHED 186s. THE CARL HECKER ART SCHOOL, 60 West 22d Street, New York. [ NSTRUCTION in Portrait, Landscape, Still Life, and Flower Painting, Crayon Portraits, India Ink, Pastel, Water-Color, and China Painting. Cir- culars on application. Sketching Classes for the sum- mera special feature. Special attention paid to the thorough education of beginners and teachers, MENTION THE ART INTERCHANGE THE ART INTERCHANGE Co. Miss ELLEN J. POND, Secretary. C. PHILIP SMITH School of China Decoration, NO. 2 WEST FOURTEENTH STREET, - - - - - NEW YORK MATT, ROMAN GOLD and BRONZES, SUPERIOR TO ALL OTHERS IN QUANTITY AND QUALITY. SEND FOR TRIAL BOX. PRICE, 80 CENTS, The Most Advanced School of Modern Ceramic Art. SEND FOR CATALOGUE. 6s EAST 13TH STREET, ARTISTS’ MATERIALS. Winsor & Newton's Goods a Specialty, Imported Oil and Water Colors, Varnishes, Oils, Brushes, Canvas, Sketching Stools, Umbrellas, Easels, Drawing Papers, Pencils, Crayons, Mounted Papers ‘for Crayon Artists on stretchers and in sheets. CHINA FOR DECORATING. The largest and best selected stock of any house in the We have a standing order abroad for the United States. M. T. WYNNE, latest novelties in Bric-a-Brac China, and receive a fresh importation weekly. A full line of Belleck and Ivory White Ware, . Our new illustrated catalogue of china, containing 1,000 illustrations, sent free upon application. COLD 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 Worcester, in all the different tints—these colors are carefully ground -and are ready for mixing—Royal Wor- cester 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. SOMETHING NEW. PYROGRAPHY OR BURNT WOOD ETCHING. Vulcan Machines and Platinum Points used in this fas- cinating art, for sale, also the hand-book on Pyrography by Mrs. Maud Maude. Price by mail, 50 cents. Samples of this work now on exhibition. M. T. WYNNE, 65 EAST 13TH STREET, Mention this paper. jpununnan ern = NEW YORK. PLATE e I1I,—From the revised edition of the hand-book ‘‘ How to Paint Tapestry.”’ COR. BROADWAY, N. Y. TAPESTRY PAINTING MATERIALS. Now ready, the revised edition of the hand-book ‘“‘ How to Paint Tapestry,” price by mail, 50 cents, containing may 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 Indelible Tapestry Dyes. Special Medium and Brushes, Bolting Cloth, Moleskin, etc. Designs and enlargements of suitable subjects for Tapestry Painting. Painted subjects by the best artists to rent for copying. a =e —— = ax: i SS semana neooe ene
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THE ART INTERCHANGE-ADVERTISING : OWE sa an Our Wash Silks are absolutely reliable. : MADAM BARNES BRUCE, No. 305 Fifth Avenue, New York City. R. H. MACY & CO., New York City. J. McCUTCHEON & CO., New York: City. Probably no one doubts that this is true. If any do, we refer all such to JOHN WANAMAKER, Philadelphia. T. D. WHITNEY & CO: Boston, Mass. CHICAGO SOCIETY DECORATIVE ART, Chicago. We might name thousands of other first-class dealers and teachers of Art Embroidery. If you’ve never used our Roman Floss or Filo, try them. For sale by over 12,000 first-class dealers throughout the United States. ‘Brainerd & Armstrong’s WASH SILKS Wiil Wash.” joe iD) 2 | B. ALTMAN & C0. r8th St., roth St. and Sixth Ave., are*showing “choice ‘designs in ORIENTAL and Hangings, Draperies, Scarfs, Cushions, Curtains, Screens and fabrics for decorative purposes, NEW AND ARTISTIC COLORINGS, Boge ee any Elegant Variety, Exclusive Designs. We call special attention to our new and extensive line of Royal Wiltons and Wilton Velvets (which we believe to be the best wearing carpets made), At Prices Within Reach of All. MATTINGS Our new importation of Japanese and China Straw Mattings, Warehouse samples (choice grades) at asc. per yard, or $93.00 PER ROLL OF 40 YARD». The Finest Ningpoo Warp in Japanese and Chinese Straw for Artists’ use, FOR DECORATIVE PURPOSES. IMPORTED ONLY BY US, SHEPPARD KNAPP & CO., SIXTH AV., 13TH AND 14TH STS., N.Y. IF YOU WANT A CROCHET SILK With high lustre, Wash Dyes, free from imperfec- tions and one that qw#d/ not split in working, USE HEMINWAY’S. At all stores, large and small. Your address ona 9 postal will procure one of our illustrated primers. M. HEMINWAY & SONS SILK CO,g, 74 and 76 Greene Street, New York. BROOMS BORO SRO CRO ORO ROMO CRONO ARORO. CROHO ROBO CRMC PHILADELPHIA SCHOOL OF 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 embroid- ery for sale. oK#O eeu SRO OK BS BO OK OR BOCK HO ROO CRMO SKS CRMC CK BO CRC KD OK KOK SARA HADLEY, 23 BROADWAY NEW YORK. idatutacturer of HAND- gener LACES from original inclusive signs: NEEDLE POINT, Royal Battenbute and Ideal Honiton, for Table decoration. TABLE CLOTHS, Centre Pieces, Tea Cloths, Doyleys and Buffet Pieces designed and made to order. MATERIALS supplied and pieces commenced for ladies’ own work, Instruction given in all branches. Book of Instruction, with stitches and designs, aires 50 cents. Send stamp for illustrated price list of braids, threads, etc. Crests, Monograms, Coats-of-Arms, etc., designed for table linens, NEW YORK, IMPROVED PALETTE CUP. , The great advantage feof this cup over the y old style is that from the shape, the con- tents will not be easily spilled when the cup is in use on the palette ; all impurities will settle into the hollow of the base, and the cup can be easily cleansed ; also the fur- ther convenience of a tight Patented Sept. 8,188; cover. If your dealer does not. have it, send 15 cents for a sample.—N. E. MONTROSS, Artists’ Materials 1380 B’way, N. Y. ¥APANESE RUGS, IN Very yikaeoe Prices. Pian Celebrated for their Pure Tone, Elegant Messrs. F. W. Devoe and C. T. Raynolds Designs, Superior Workmanship, and Co., Fulton Street, New York, are sole agents | Great Durability. Sold on easy terms. Old for the sale of THE ART INTERCHANGE colored | instruments taken in exchange. Write for studies in America. is referred to them. catalogue and full information. 170 Tremont St., Boston, Mass. The artist material trade DIXON’S AMERICAN GRAPHITE ARTISTS’ PENCILS DIXON’S we American Graphite = PENCILS. KINNEAR’S PATENT STEEL CEILING WHAINSCOTING, Ete. ARE avopaLr ED FOR UNIFORMITY OF GRADING, AND SmootnH, TouGH LEApDs, If your stationer does net keep them, it will pay you to mention ArT INTERCHANGE and send 16 cents in stamps to the Joseph Dixon Crucible Co., of Jersey City, N. J., for samples worth double the money. AH.ABBOT Chicago favo St ome UO. 5 DRAWING SUPPLIES. : Studies, White China Colors, Gold, Poi ehcann ses dveahateanthd odeeak ta Webern eso Statuary Plaster Casts for Artists and Schools, 2500 Designs. Descrip- tive Pamphlet Free yg ks MATERIALS. WINSOR NEWTON Ayyerseds . & sispig Tew SEB SAR TEED PRR PD BE NIE SIE and Bas- Keliefs for Dece- orative Purposes, 2000 styles, Pamphlet sent FREE. Art Studies C. HENNECKE CO., Milwaukee, Wis. The beauty and great variety of our designs, the superiority of our method and invention, are points worthy of note. Any person inter- ested may receive, on request, descriptive Catalogue of ceiling, etc., of our manufacture. THE KINNEAR & GAGER CO. COLUMBUS, OHIO. ALFRED GODWIN, 1325 Market Street, Philadelphia, Pa. G TAINED LASS, SPECIAL DESIGNS MADE, Send two 2-cent stamps for Colored Catalogue Messrs. Lechertier, Barbe & Co., of 60 Regent Street, London, W., are wholesale agents for the sale of ART INTERCHANGE colored studies in Great Britain. This firm carries in stock a full line of our studies and the foreign trade is referred to them. Bi | emp | € ii power born of this depth and blackness seized me and drew me slowly to itself. Icried aloud for help. _I heard avoice say “Turn around.” I turned and saw 4 lightin the distance. Andlo! the awful power that eld me vanished. THE GREAT DIVIDE WAS SAFE. It has accom lished i in four years a success not equaled by any Magazine. It’s entirely different from any other. Human bein ngs, thinking minds, cowboys, scouts, miners, scientists, and travelers tell stories in their own quaint way. THE Great Divive is an elegan'ly printed, magnificently illustrated, extremely curious and interesting It’s an ornament to any library, and a necessity in And we will send the Great Divipe for Send One Dollar #7 "eitie fear Uka'aive you fee 16 Gemstones as follows: SARD ONYX INDIAN AGATE, TIGER EYE MOSS AGATE, PETRIFIED WOOD CROCiDOLITE, BLOOD STONE, AND 8 OTHERS. F All cut and polished ready to set into scarf pins, rings, etc., or to serve as a valuable picturesque ree study in semi- prow mineralogy. Send $1 to-day, the Gems willbe sent at once and Tuz Great Divine for a whole y Always Aeaseet "THE GREAT DIVIDE, I aa a dream; I stood on the brink of a lake; it was inky black and bottomless. A might y Monthly Magazine, each number of which wins us friends. every inte'ligent family. Sample copy, 1) cents. CARNELIAN Arapahoe Street, Denver, CoLorapo. A.A.VANTINE &CO., GOLD AND TINSEL NETTINGS, DECORATIVE CORDS, in all Sizes and Colorings. PLAIN (JAPAN ESE (SILERS, 3 PINEAPLELPLE SAMPLES AND PRICES SENT UPON APPLICATION. IMPORTERS from JAPAN, CHINA, INDIA, TURKEY AND PERSIA, 18th ST._877, 879 BROADWAY, NEW YORK—28th ST. Offer a fine selection of JAPANESE GOLD EMBROIDERY THREADS, in all qualities. ‘ Fine and Coarse, 12 inch, 18 inch and 24 inch Widths. Also Fine Art Fabrics for all Styles of Fancy Work GATLES: AND GRASS, LINE.
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Vill. 3 * XN THE ART? INTERCHANGE ADVERTISING Unlike the Dutch Process No Alkalies iOR = Other Chemiceals are used in the preparation of W. BAKER & COS \BreakfastCocoa which is absolutely pure and soluble. It has morethan three times || the strength of Cocoa mixed with Starch, Arrowroot or : Sugar, and is far more eco- nomical, costing less than one cen#a cup. It is delicious, nourishing, and EASILY DIGESTED. RES be Loe Sold by Grocers everywhere. W, BAKER & CO., Dorchester, Mass. SEND TWO CENT STAMP For our latest catalogue with illustrations of over 100 Colored Studies. THE ART INTERCHANGE CO,, 9 Desbrosses St., New York. hy yj : ee * BN ad FY Swed Li \ P bs yor SAN Sie y) d j ; . Dy, ij 1 x » ‘ . “ ai bi Y ian ? y, Mag > s/s A / Vw). mas fi ~ AZo WE iy i De Are You Building or Remodelling ° ee E can give your pew ’ house an elegant hard- Spurr Ss wood finish at moder- Natural ate cost with our Ven- eers—lasting and beautiful. In W ood remodelling the old home, these Veneers are applied to plastered Veneers. walls and ceilings,doors, frames and base boards with flour paste poate —by any one. ? UR patent Wood Carv- Spurr Ss () ings are used by many architects in connection Patent with solid woodwork. Wood | Can be hadina large variety ° of designs, and are’ indistin- Carvings. guishable from hand carving. 24 Selected Samples of Veneers, with full directions, and catalogue of wood carv- ings, will be sent on receipt of ten cents, CHAS. W. SPURR COMPANY 93 Lincoln Street, Post Office Box 3072. BOSTON, MASS. Mention Tre Art INTERCHANGE. angen Shingles are more artistic than Clapboards, and a Warmer Covering. Stains are more artistic than Paint and cost much less. THEREFORE, Shingle your House and Stain the Shingles with CABOT’S CREOSOTE SHINGLE STAINS. Send 6 cents postage for Samples, Color Studies and Sketches. Samuel Cabot, 72 Kilby St., Boston, Mass. Moenold, | | On | po | Const e Ks Co | Cotton Dress Fabrics, |" Eyreres Koechlin’s”’ PRINTED ORGANDIES, Mulls, Nainsooks, Printed Plumet es, PLAIN AND: GLACE BATISTES. “D & J} Anderson's” CELEBRATED Scotch Zephyrs, Beautiful Combinations in Colorings, PLAIN, PLAID AND STRIPED. FANCY CREPES. —_—+ New Spring Designs and Colorings in INDIA PONGEES, PRINTED CORAHS, RONGEANTS, CHINA SHIRTING SILKS. A Beatiful Selection of Designs and Colorings. EB BROADWAY \anp I9TH ST. NEW YORK. ESTABLISHED 1860. ne oe ep —_ zy . anny Cc y YAEL ELE | esa fob) \ : ° = ° eaagaage | i AG —} = Se a — r—) sil aati - | Wall a oe” T CRITERION AND PARABOLON MAGIC LANTERNS, and Stereopticons, O1z, Lrwz, or ExLEectric Lieut, made by us, are simply perfect for PUBLIC or PRI- VATE use. So are out Slides. We can fill the bill from Ato Zin apparatus, Views and Accessories, Catalogues FREE. Mention this publication. d B, Colt & Co, 16 Bbekman St. 189 La Salle St, NEW YORE, CHICAGO, ILL, a. W. BOUGHTON, Philadelphia, Pa., Largest Manufacturer . LOORS Thick and Thin. For Par- Plain QUET EEE eRRURRRARED j Ce, % a bs x x] Pe coDP Pee fA YS ORS ed em acatitice, KS AOS R654 faa Waw aw ai. W ii: Wasi: With, NTA TNT NT a ea lors, Halls, Libraries, an BORDERS for RUGS. Also Man. ufacturer of Egyptian and Moorish Fret Work, Grilles, Folding Screens, Fire Screens, &c, Branches:—BOUGHTON & TERWILLIGER. 93d St. under 5th Ave, Hotel, N.Y., 286 Fulton St. Brooklyn, BOUGHTON & LINVILLE, 201 Tremont St. Boston, Send for book of designs. No charge for estimates. PASTEUR: Economy. Aside from their excellence, there is economy in buying pf PRICES DELICIOUS Flavoring ~ Extracts as they are the most natural flavors made, and in strength, quality, and quantity there are no flavoring ex- tracts that can compare with them. It is not economy to buy the flavoring extracts in the market because they are sold at a low price. Cheapness is an indication of inferiority. Price Flavoring Extract Co. Dr. V. C. PRICE, Pres’t. New York. Chicago. GERM PROOF : WATER FILTERS Are constructed on scientific principles to meet every requirement for pure drinking water, The filtering me- dium will remove CHOLERA, TYPHOID AND AL DISEASE GERMS. The Filter is applicable to city water supply or for cistern or well water. Medals and diplomas awarded by Scientific societies and expositions. The filteré nemedium is of jine unglazed porcelain, made at the celebrated Potteries of ** H. B. & Cie, choisy-le-Roz.’ CornEce University, ITHaca, N. Y., September 5, 1892. 1 know of no filter which, in my opinion, can be depended upon to remove disease germs but the Pasteur. I should have no fear of water for drinking purposes, no matter how epidemic and violent the disease prevailing, provided it were filtered with a ies Roe ete Pasteur Filter, I use the filter in my house all the time. j CHCOCK, JR., Professor of Hygiene and Physical Culture. Letters Patent of the United States covering any germ-proof filtering medium of unglazed porcelain have been granted to Chas, Chamberland, of Paris, France. The undersigned being the sole licensee for this coun- try, warns all infringers, whether makers, sellers or users, to respect our rights under penalty of prosecution, Write us for Catalogue and prices. Discounts to dealers only, THE PASTEUR-CHAMBERLAND FILTER CO. Dayton, Ohio, U.S. A. Sole Licensee for the United States, Canada and Mexico, R. C, ANDERSON, Manager Eastern Department, No 4 West 28th Street, New York City. BOSTON CHINA DECORATING WORKS. TENNYSON STREET, near Park Square, BOSTON, MASS. L. COOLEY, Proprietor. Practical Decorators and Manufacturers of Cooley’s Golds, Bronzes, Oils, etc., the same as ased in our factory the past thirty years, Evérything thoroughly tested before put on the market, and warranted. Our preparations can be found at retail. at all stores handling Artists’ Materials throughout the United States |. Canada, and the Provinces, and at wholesale, by Jobbers of Artists’ Supplies, If parties will write us, should they meet with any failure when using our preparations, we will be pleased to give full information by mail, Importers of Blank Ware from all cotintries, for decorating, at wholesale and retail, Our new Photo Sheets of White China, with price lists, including materials, etc., sent to any address on receipt of 20 cents, which amount will be allowed on first order, or refunded on return of Photos. China decorated to order. A specialty made. of matching broken sets, however elaborate the pattern, and satisfaction guaranteed. Every Practical Requisite for China Decorating Always on Hand. Always mention THE ART INTERCHANGE. CHINA PAINTERS ©: :::: - : IMPERIAL COLORS SHOULD USE THE because they are the simplest, most reliable and dest that are manufactured. They are mixed and put up in tubes expressly for the use of Amateur Decorators. Write for a circular and price list to THE COSMOPOLITAN CHINA CoO., 95 FIFTH AVENUE, NEW. YORK. WHOLESALE. AGENTS FOR THE UNITED STATES. G. A. FLEISCHER & CO., 207 and 209 Wabash Avenue, Chicago. IMPORTERS AND DEALERS IN White China for Decorating, Materials for China Painting, Statuary, Bric-a-Brac, Etc. New shapes for decorating, in American Belleek, French, English and German China, always on hand. Write for Catalogues of White China and Artists’ Materials. A Word to The Newsdealer. ee May number of THE ART INTERCHANGE will be especially attractive, and a large sale is antici- pated. | Be sure and place your order with your News Company early; THE ART INTERCHANGE Co. THE BEST FINISH FOR WOOD FLOORS IS Butcher’s BOSTON POLISH BUTCHER POoLIsH Co., *; 9 Haverhill Street, Boston. Send for Circular. French | Cretonnes. _ Spring, 1893. Attention is directed to our Select Stock of these popular fabrics— this seasons’s importations — in such a complete variety of ° High-Class Designs and Colorings that a harmony of decoration can be. obtained for the complete Upholstery Furnishings of a room or suite in the Louis XV. and XVI., Empire, Renais- Ssance, and other periods. Samples on request. W. & J. Sloane, Broadway, 18th and roth Streets,. New York.