works exhibited, but it contains in addition an
extremely interesting survey of the entire Fine Art
Section, by Mr. M. H. Spielmann, filling some 120
pages, and it is this, with the large number of full-
page reproductions of important works, that gives
to it its high value as a record of a display which,
as regards the British Section at all events, was
unique in its representative character.
83
Digitized by
Google
T
The Lay Figure
HE LAY FIGURE: ON THE
TRAINING OF THE CRAFTS-
MAN.
"I WONDER whether we shall ever realise pro-
perly what is the right function of the Art School ?"
said the Art Critic. " It seems to me that we are
spending a great deal of money in this country on
art education which is of little practical value."
" We are training a large number of students in
the principles and practice of a very important
profession," returned the Art Master, " and we are
spreading a knowledge of art through all classes of
the community. Is not that a sufficient return for
the money expended ? "
" It all depends upon the sort of training that is
being given to the students," replied the Critic.
" Does it make them efficient as art workers, and
does it enable them to deal with practical details
in the right way ? "
"Does it, you mean, produce skilful and well-
equipped craftsmen, or only half-educated ama-
teurs?" broke in the Man with the Red Tie.
" That is the point you want to make."
" Precisely," answered the Critic. " Do we train
students for the work they propose to do in after
life, or do we only give them a mere smattering of
general art knowledge and turn them loose on the
world to muddle out their future as best they
can?"
" That is not quite the right way to put it ! "
cried the Art Master. " I think you might more
fairly ask whether the system of art education
officially recognised in this country is the best that
could be devised, or whether it could be improved
in any direction?"
"That is the same question in other words,"
laughed the Critic ; " but put it so if you wish. Is
the system a perfect one ? "
"I think it is about as good as it could be,"
returned the Art Master. "It takes fully into
account the needs of all types of art workers and
gives them all a solid grounding in those rudiments
of their profession which are essential for all real
achievement. The students in our schools learn
to draw, to paint and to design, and that know-
ledge, I hold, is all that any school can be expected
to impart."
"But when the student has gone through his
school course, is he fully fitted as a worker?"
asked the Critic.
" Yes, has he practical knowledge, or is he only
learned in theories which he does not know how
to apply ? " added the Man with the Red Tie.
84
"I take it that he has thoroughly practical
knowledge," asserted the Art Master ; " but of
course the way in which he applies this knowledge
must depend upon himself. No school course can
do away with the need for personal effort"
"That is obvious," replied the Critic, "and I
should be the last person to discourage personal
effort. But it seems to me that under the official
system too much attention is given to general
teaching and too little to particular practice. The
student's actual education does not b^in till he
leaves school."
" How can you say that when we fit the student
to follow any branch of art?" protested the Art
Master.
"The Jack-of-all-Trades is master of none,"
laughed the Man with the Red Tie.
" Master of none ! Yes, that is just the point,"
cried the Critic " The man who is fit to follow
any branch of art is, as a rule, unable to succeed
in any. You teach him to draw and paint, but
you cannot put into him those capacities by which
he would rise to eminence as an artist ; you teach
him to design, but you give him no understanding
of the way in which designing should be carried
out. By the time he has learned the things you
have not taught him he has become too old to
work at all."
"How would you teach him?" inquired the
Art Master.
"Well, for one thing I would give up the idea
that a school can produce great artists by any
system that was ever invented. The great artist
will be great without your aid," replied the Critia
" For another, I would pay far greater attention to
the training of the craftsman, to whom you can be
of very great assistance. Teach him not only the
theory of design, but the actual application of it
Make him an efficient workman by showing him
how to produce the things he designs, and by
acquainting him thoroughly with the mechanism
of the particular form of design in which he is
likely to excel. This is how the craftsman is
being trained in Germany, in Austria, in Japan;
why should he not have the same chances here
too?"
" You mean that the practical side of design
should be taught him at school," said the Art
Master.
"I mean that as part of his school course he
should be required to prove that the things he
invents can be actually made," declared the Critic
"There is the real test of the efficiency of his
training." The Lay Figure,
Digitized by
Google
The Cockcroft Cottage
COTTAGE FOR EDWARD T. COCKCROFT, EAST HAMPTON, L. I.
ALBRO AND LINDEBERG, ARCHITECTS
THE COCKCROFT COTTAGE AT
EAST HAMPTON, LONG ISLAND
The cottage built for Edward T.
Cockcroft at East Hampton, Long Is-
land, intended for summer occupancy, responds to
the spirit of the season in many features. The
architects, Messrs. Albro & Lindeberg, chose a
material which has become popular for this class of
building in deciding on stucco over wire lath. The
walls of the building are a warm white in color.
The local sand found in the neighborhood has been
used in mixing, to enrich the tone. Seen from the
front, as in the illustration, no little color is effected.
Over the pergola is trained a Dorothea Perkins rose,
flowering late. Salmon geraniums are potted along
the base line and wistaria grows over the entrance in
the center. Against the warm tint of the walls the
blinds stand out in pale green. Privet is used for
darker spots of color and the cedar, with its positive
shadow, adds a dash of contrast to the picture. The
surrounding country is flat, so that a careful ar-
rangement of color relief by an occasional touch of
bright hues is important. The shingle is unstained
WALL ARRANGEMENT IN DINING ROOM
XI
Digitized by
Google
The Cockcroft Cottage
VIEW OF THE DINING ROOM, COCKCROFT COTTAGE
and is weathering to a deep gray that comports
with the quiet wall tone.
The placing of shadows in the building itself has
also been done with care, as well as the breaking
up of the wall spaces with window openings. The
grouping of the windows in long, rectangular sur-
faces combines an opportunity for making the ex-
terior balanced and reposeful, with the merit of
allowing a copious lighting of the interior.
The general
scheme of the plan
is simple. Oppo-
site the front en-
trance the driving
entrance lies at the
rear. The living
room is to one side
and the dining
room to the other,
as one stands at
the'front entrance
looking in. Be-
yond the dining
room is a spacious
porch, which is de-
signed to afford an
outdoor living
room. Beyond the
living room at the
other extreme is
the pergola.
Holding to the
holiday mood of
emphasis is put on the stairway as a
feature of the plan. The noble old
stairways which customarily domi-
nated the center of the first floor of,
for example, our Colonial houses,
express, for all their attractiveness,
the settled, permanent aspect of the
dwelling. Here the architects seem
to have felt that the changed con-
ditions of country life altered the
need of emphasis. Such a house is
only used as a dwelling for part of
the year and at a season when much
of the living will be done out of
doors. Accordingly, the first floor,
thrown open in the main, and com-
municating on all sides with the
grounds without, is made to express
a sense of being complete in itself,
and the fact of communication with
the floor above is passed over lightly. The effect
is obtained by tucking the stairway between
walls and leaving it inconspicuous. The flight is
straight, the tread easy and the passage well lighted,
yet the structural fact is all but forgotten in viewing
the lower rooms. The thought is carried at one
point and another out at the windows or into a
neighboring room, but not up toward the seclusion
of the householder's more personal realm.
the building no
VIEW INTO DINING ROOM, ACROSS LIVING ROOM, WHICH HAS LOWER LEVEL
xn
Digitized by
Google
OBLIQUE FRONT VIEW, SHOWING
PERGOLA AND VARIOUS SHADOW RESULTS
COCKCROFT COTTAGE, EAST HAMPTON
ALBRO AND LINDEBERG, ARCHITECTS
Digitized by
Google
The Cockcroft Cottage
Above stairs on
the second floor
the space is di-
vided for sleeping
apartments.
There are six mas-
ter's bedrooms
with four bath
rooms and three
servants' bed-
rooms with one
bath room.
The roof design
is a noteworthy
feature of this cot-
tage. Perhaps it
might be said that
the roof in country
houses is almost a
hobby of the two
architects in ques-
tion. They have,
at any rate, realiz-
ed the importance
of this feature and
THE PORCH IS A MOST SUCCESSFUL FEATURE OF THE COCKCROFT COTTAGE
DRIVING ENTRANCE, REAR, COCKCROFT COTTAGE
have developed it with considerable
charm. The arrangement of the
main ridge, flanked at right angles
by a subordinate ridge, with in-
cidental gables breaking through
the several skirts, is not, perhaps,
novel, but is carried out with that
peculiarly pleasing effect of convex
surfaces, rounded ends and vary-
ing widths of courses which the
architects have made a signature to
their work. T. B.
The greatly increasing use of lat-
tice work, both as a purely decora-
tive feature and as a trellis for vines,
is characteristic of modem work.
The contrast between delicate shad-
ows cast by the lattice work and the
heavy shadows of the cornices and
projecting portions of the house
makes it a particularly effective dec-
oration, while forming, by the
growth of vines upon it, an invalu-
able link between the structure and
grounds, conveying a sense of fitness
of the house to the site. \From
**One Hundred Country Houses.^^]
— Aymar Embury II.
XIV
Digitized by
Google
In the Galleries
N THE GALLERIES
T
I The engravings of Marc-Antonio Raimon-
X di, from the collection of Dr. William Engle-
mann, of Leipzig, seen at the galleries of R.
Ederheimer, in West Fortieth Street, New York,
have formed one of the most important exhibitions
of the month.
The beautiful example of the high qualities of
the engraver, shown in the accompanying reproduc-
tion, is from the celebrated cartoon of the Battle of
Pisa by Michelangelo, known as "The Climbers."
The print Lucas van Leyden^ Mahomet and the
Monk Sergius con-
tains one fact of
great interest.
While the figures
follow closely the
design of Michel-
angelo, the land-
scape offers an ex-
act copy of the
plate by Lucas van
Leyden, represent-
ing Mahomet and
the monk Sergius,
of the year 1508,
with the only ex-
ception that the
tree in the middle
has been omitted
by Marc-Antonio.
His plate, which is
dated 15 10, shows
how in his early
period he was in-
fluenced not only
by Diirer but also
by the Leyden
genius, a fact all
the more interest-
ing because the
latter shows in the
work of his last
period the very
strong influence of
Marc-Antonio's
style.
Another inter-
esting plate was
Th€ Massacre of Courtesy of R. Ederheimer
the Innocents, engraving by marc-antonio,
shown in two a group of three figures
states^ with and pisa by Michelangelo
without the "chicot, " the little fir tree in the upper
comer on the right. The two versions of this subject
have received the attention of authors as well as con-
noisseurs in all periods, and have given rise to a lit-
erary dispute which does not seem to have been de-
cided yet. Malvasia, who gives a very romantic story
about the two plates, states that both were engraved
by Marc-Antonio ; Abb^ Zani attributes the version
without the chicot to the master, and says that
Marco da Ravenna was the engraver of the repeti-
tion. Bartsch agrees with him upon the point that
one version was engraved by Marco-Dente, but ex-
presses his conviction in strong terms that the plate
KNOWN AS "THE CLIBfBERS"
FROM THE CELEBRATED CARTOON OF THE BATTLE OF
XV
Digitized by
Google
In the Galleries
Courtesy of the Ehrich Galleries
THE SHEPHERDESS
BY PAUL MOREELSE (1571-1638)
with the chicot was the one engraved by Marc-
Antonio. Delaborde follows this opinion, while
Passavant again strongly opposes, stating that the
plate without the tree, being far superior in detail to
the plate with the tree, could alone be the original.
While he conjectures that the other plate was en-
graved by George Pencz, the German artist, be-
longing to the group of the Little Masters, who
studied while in Italy under Marc-Antonio and
adopted his style very closely, there seems, however,
to be nothing to uphold this view. In the reproduc-
tion of the British Museum prints the fir-tree ver-
sion is given as the original, while in Lippman's
great work the other plate is reproduced as such.
Mr. Frank Weitenkampf also reproduces the latter.
Ottiey, on the other hand, is fully persuaded that
both plates were engraved by Marc-Antonio, an
opinion with which Mr. Ederheimer is inclined to
agree. While in the plate without the chicot there
is certainly more dramatic expression in the horror-
stricken faces, the work in the other plate seems to
be more delicate and finished. The Massacre oj
the Innocents has been considered to be one of the
masterpieces in engraving during all times. We
XVI
have no painting of Raphael of the
subject, and can assume that he
made the design solely as the basis
of an engraving. From the num-
ber of sketches left for his drawing
we can conclude that Raphael him-
self attached special care to his com-
position. It is, therefore, not at all
impossible that after the great suc-
cess the engraving had met with
Marc- Antonio, himself, repeated it,
after the first plate had been worn
out. As both plates are equally
beautiful and equally rare, it is hard
to say which one is the more valu-
able of the two. It may be interest-
ing to note part of the account given
by Vasari of the engraver.
"During the time that Francesco
Francia practised painting at Bo-
logna," says Vasari, "one amongst
his numerous disciples, because more
ingenious than the rest, was espe-
cially brought forward ; this was a
young man, called Marc-Antonio,
who,, having been many years with
Francia, and being much beloved
by him, acquired the surname of
de'Franci. This artist, therefore,
who was a more skilful designer
than his master, and managed the burin with
ease and taste, made girdles and many other
things ornamented with * niello,' which were then
in use, of great beauty ; he being in that mode
of workmanship truly excellent. Becoming at
length, as happens to many, desirous to travel,
that he might see the productions of other masters,
and observe the different processes used by them in
their works, he took leave of Francia and repaired
to Venice, where he was well received by the artists
of that city.
"Marc- Antonio in Rome engraved on copper a
most beautiful design of Raffaelle da Urbino, repre-
senting Lucretia killing herself, which he executed
with so much care and delicacy of manner that,
upon its being inmiediately carried to Raffaelle by
some of his friends, he presently thought of having
prints published of several of his compositions ; and,
amongst others, of a design which he had already
made of the Judgment of Paris, in which Raffaelle
had fancifully introduced the Chariot of the Sim,
and this being determined upon, it was so finely
engraved by Marc-Antonio as to occasion the
astonishment of all Rome."
Digitized by
Google
In the Galleries
The exhibition of Dutch paint-
ings of the seventeenth century on
view at the Ehrich Galleries is es-
pecially interesting in connection
with the Hudson-Fulton memorial
exhibition at the Metropolitan, de-
scribed elsewhere in this issue. Some
thirty canvases are on view; the
catalogue gives twenty-three impor-
tant names in the history of Dutch
art of the period. Paul Moreelse
(15 71-1638) was known as a painter,
engraver and architect. He con-
tributed to the fame of the seven-
teenth-century work in Dutch
portraiture. He painted at first
under Mierevelt, visited Rome, and,
returning to Utrecht, produced a
number of portraits, several of which
were destroyed in the fire of the
Boymans Museum. Nicholas Maes
is represented in two canvases, the
portrait of the Princess of Orange,
which exemplifies the artist's later
manner, and the Holy Family. The
works signed by this painter divide
into two such distinct groups that
they are sometimes held to have
been painted by two different men.
Very little is known of his life, and various
conjectures have been made to account for his
two styles. It is not impossible, however, if the
dates of birth and death are accepted as those of one
painter (1632-1693), that a pupil of Rembrandt liv-
Courtesy of the Ehrich Galleries
WILLIAM in OF ORANGE AND FAMILY
BY UCHTERVELDT
Made by Tiffany b* Co., New York
TROPHY FOR TWELVE-OARED CUTTERS AND FIRST AND
SECOND PRIZE CUPS FOR WARSHIP^ROWING CONTEST,
HUDSON-FULTON CELEBRATION
ing SO far into the next period might have altered his
manner extensively, and this view is often held. It
would be difl&cult to find a more striking contrast
between two types of work than that shown by the
Princess oj Orange and the Old Women (painted
about 1650-1655), lent to the Hudson-Fulton Met-
ropolitan exhibition by Mr. Johnson. Nicolaas
Pietersz Berchem (1620-1683), represented by a
striking study in lighting and unusual pose, St.
Peter, is shown at the Metropolitan in a different
sort of subject, a landscape with figures, and the
comparison is interesting. He is best known for
his landscapes, which he carried out with so much
of the Italian manner, bbth in selection and execu-
tion, that it has been surmised that he paid a visit to
Italy. The Goyen canvas. Twilight on a Dutch
River, is of the clouded air and the somber neutral
cast of color characteristic of this painter. His own
master, Esaias van de Velde, is represented by a
striking Man on Horseback, a large, spirited paint-
ing, in which the force of the oncoming rider and
mount is intensified by the device of a low horizon
with woods. The management of the aerial per-
spective makes an arresting composition. Jan
Davidsz de Heem is represented by a still life.
xvn
Digitized by
Google
Interior Decorations for an Amateur Printer
INTERIOR DECORATIONS
EARLY ENGLISH THEMES
BY FRED
DANA MARSH
D
ECORATION BY FRED DANA
MARSH IN THE HOUSE OF AN
AMATEUR PRINTER
An interesting problem in interior decoration is
worked out by Frederick Dana Marsh in a house
at Lake Forest, 111., designed by Mr. Howard
Shaw, of Chicago. The room decorated is used for
the printing of choice works by writers of early Eng-
lish, this period (approximately from the tenth to
the thirteenth century) being the favorite epoch
of the owner of the house. Printing is his hobby.
The press does not show in the illustration, being
moved to the side when not in use. The bench
along the wall, however, contains type cases and
accessories.
In selecting a subject for treatment in the frieze
a search was made in early literature for a theme
pleasing to the owner and his wife that would lend
itself to pictorial expression, and at the same time
something that had not been pictured before — at
least, something not hackneyed.
In the "Percy Reliques" was found a charming
xvin
verse which seemed to fill these requirements, and
"The Lady Turned Serving-man" was chosen. It
seemed to contain the characteristics of medieval
incident, such as combat, adventure and love mak-
ing. The heroine in her varying costumes and
moods weaves the thread of the tale, as it were,
through the various incidents depicted. These in-
cidents are subdivided by heraldic shields, there
being no architectural break in the length of the
wall space. This division of scenes, was left
largely to the artist, who refers to it as the source
of many diverting and entertaining conferences of
the persons concerned, "a sort of diversion," he
says, "which, if concluded as sympathetically, ought
to prove of interest more generally in this country
where the personal note in domestic decoration is
practically undiscovered."
Light in the room being rather subdued, color
almost as intense as those of antique illuminating
was used — as well as a rather free use of gold. Ex-
cerpts from the legend form a running pattern of
gilt letters on the oak board at the base, enriching
the effect.
Digitized by
Google
in
^ <
fa <
Q PQ
Digitized by
Google
IVilkeS'Barre Court House Decorations
Copyright, 1909. h W^»W H. Law
PROSPERITY XJNDER THE LAW
MURAL DECORATION FOR CX)URT HOUSE AT WILKES-BARRE, PA.
BY WILL H. LOW
Copyright, 1909, by W. T. Smedley
THE AWAKENING OF A COMMONWEALTH
MURAL DECORATION FOR COURT HOUSE AT WILKES-BARRE, PA.
XX
BY W. T. SMEDLEY
Digitized by
Google
IVilkeS'Barre Court House Decorations
Copyright^ 1909, by Kenyan Cox
THE JUDICIAL VIRTUES
MURAL DECORATION FOR COURT HOUSE AT WILKES-BARRE, PA.
BY KENYON COX
Ccpyrigta^ I909« by E, H. Blash/idd
JUSTICE
MURAL DECORATION FOR COURT HOUSE AT WILKES-BARRE, PA.
BY EDWIN H. BLASHFIELD
XXI
Digitized by
Google
Japanese Lacquer
JAPANESE LACQUER APPLIED TO TIFFANY OBJECTS OF ART IN SILVER
AND TORTOISE SHELL
JAPANESE LACQUER
The usual objection to small objects of
personal use decorated in Japanese lacquer
lies in the sometimes overquaint and some-
times quite too fantastic shapes which the Japanese
themselves affect. Though the form of decoration
may be desired, the style of the object itself is often
too foreign to suit our Western taste. This difficulty
has been met in some recent work of Tiffany & Co.
by the clever expedient of consigning a number of
popular articles of their own manufacture in silver
xxn
and tortoise shell, etc., to
expert enamelers in Japan
to whom the application
of the authentic lacquer
has been entrusted. Some
of the results of this ex-
periment have recently
been returned from Japan
and are now to be seen at
the Tiffany BuUding..
In far the larger num-
ber of objects of artistic
lacquer, writes Edward
Dillon in *The Arts of
Japan," the ground will be
found to be either black or
of an orange-brown tint;
in both cases the decoration
is given by gold applied in
various ways. The black
tint is given to the lacquer
before application by the
addition of certain ingredi-
ents that correspond closely
to those used in the prepa-
ration of our ordinary writ-
ing ink (acetate of iron,
etc.). In the case of the
orange tints the natural
color of the lacquer is
strengthened, generally by
the addition of gamboge.
The effect is frequently
heightened and a surface
resembling avanturine is
obtained by the addition
of fine metallic particles —
not always gold, for in the
honey-colored base any
white spangles take on a
golden aspect. It is thus
that the famous nashiji
(pear rind) ground is produced — perhaps the
best-known variety of Japanese lacquer. But gold
may be applied in many other ways. It may be
dusted onto the still moist ground, it may be
added piece by piece in small rectangular fragments
of foil (kirigane), or the gold may float in flakes in
the substance of the lacquer (giyobu nashiji). The
lacquer may at times be so changed with metallic
particles as to assume the aspect of a dull-gold
ground. The greatest stress is laid by the Japanese
on the various qualities of their gold grounds, often
associated with the names of famous artists.
Digitized by
Google
The Fall Art Books
From " Dutch Art in the Nineteenth Century," J. B. Lippineott Co.
THE FIRST LESSON ALBERT NEUHUIJS
THE FALL ART BOOKS
David C. Preyer, well known for
his work in art criticism, brings a special
knowledge of Dutch painting to the new
volume in the Galleries of Europe series, "The Art
of the Netherland Galleries" (Page). The book,