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diff --git a/old/51340-0.txt b/old/51340-0.txt deleted file mode 100644 index 8ae971c..0000000 --- a/old/51340-0.txt +++ /dev/null @@ -1,1617 +0,0 @@ -The Project Gutenberg EBook of The Mentor: The Metropolitan Museum of Art, -Vol. 6, Num. 9, Serial No. 157, June 15, 19, by Sydney P. Noe - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Mentor: The Metropolitan Museum of Art, Vol. 6, Num. 9, Serial No. 157, June 15, 1918 - -Author: Sydney P. Noe - -Release Date: March 1, 2016 [EBook #51340] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: METRO MUSEUM OF ART, JUNE 15, 1918 *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - - THE MENTOR 1918.06.15, No. 157, - The Metropolitan Museum of Art - - - - - LEARN ONE THING - EVERY DAY - - JUNE 15 1918 SERIAL NO. 157 - - THE - MENTOR - - THE METROPOLITAN - MUSEUM OF ART - - By SYDNEY P. NOE - - DEPARTMENT OF VOLUME 6 - FINE ARTS NUMBER 9 - - TWENTY CENTS A COPY - - - - -DOES ART PAY? - - -“Art is a vain pursuit,” says the shop-keeper. In that conviction many -an immortal painter, like Corot, has, in his youth, been packed off -from home by a shop-keeping parent, and made to shift for himself. “The -stomach must be filled,” exclaims the shop-keeper, “let Art wait on -that.” To which the young painter answers, “Art must find expression -first. Let the stomach wait.” And so the shop-keeper and painter pursue -their separate ways, and it often happens, in the course of time, -that they come together again. The painter gains recognition, and his -pictures make him famous. The shop-keeper rises to be a millionaire -merchant--and becomes a patron of Art. - -[Illustration] - -It is all very well to talk, as some cultured people do, about Art as a -kind of goddess that calls into existence paintings, statues, temples, -and museums, but, as William C. Prime observed some years ago, “Art is, -after all, a practical work. Her noblest products and her homeliest -always did and do cost money. That was a wise thought, in the earliest -days of Art, of the monarch who recorded on the Great Pyramid the -quantity of onions, and radishes, and garlic consumed by its builders.” - -[Illustration] - -There are still left some who ask, ‘What is the use of beauty? What -is the practical good of increasing art production? How does it pay?’ -The life blood of modern commerce and industry is the love of beauty. -A great city, its wealth and power, rest on this foundation--trade in -beauty, buying and selling beauty. Is there any exaggeration in this? -Begin with the lowest possible illustration and ask the questioner, -‘Why are your boots polished? Why did you pay ten cents for a shine? -How many thousand times ten cents are paid every day in a city for -beauty of boots?’ - -[Illustration] - -Take from the people their love of color, their various tastes in -cotton prints, and one factory would supply all the wants supplied by -fifty. Consider for one instant what is the trade that supports your -long avenues of stores crowded with purchasers, not only in holiday -times, but all the year around. Enumerate carpets, upholstery, wall -papers, furniture, handsome houses, the innumerable beauties of life -that employ millions of people in their production, and you will -realize that, but for the commercial and industrial love of beauty, a -city would be a wilderness, steamers and railways would vanish, wealth -would be poverty, population would starve. Yes, there is money in -teaching people to love beautiful things. - - - - -[Illustration: IN THE METROPOLITAN MUSEUM OF ART, NEW YORK - -PORTRAIT OF FEDERIGO GONZAGA, BY FRANCIA] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_Francia_ - -ONE - - -Though Francia can hardly be ranked with the giants of Italian art, he -has given us a number of placid altarpieces and a few exceptionally -attractive portraits. The portrait of Federigo Gonzaga is one of the -best from his brush. Francia, a shortening of Francesco, was born in -Bologna, Italy, in the year 1450 or thereabout. He took the family -name of the goldsmith, Raibolini, to whom he was apprenticed at the -beginning of his artistic career. As a worker in metal he did some -die-cutting for medals, and designed some highly decorative pieces of -jewelry. We have an indication of his interest in this phase of art in -the necklace worn by Federigo Gonzaga. When Lorenzo Costa, later known -as the head of the Bolognese School of painters, settled in Bologna, -Francia became his intimate friend, and from that time on seems to -have devoted his attention to painting. As regards the graceful pose -and expression of his figures, he belonged among the followers of -Perugino, a painter who had a strong influence upon the work of his -most illustrious pupil, Raphael. Francia’s earliest dated altarpiece -was completed when he was about forty-five, but he had probably been -working in conjunction with Costa for a number of years before that -time. Professor John C. Van Dyke, in his “History of Painting,” tells -us that Francia’s “color was usually cold, his drawing a little sharp -at first, as showing the goldsmith’s hand, the surfaces smooth, the -detail elaborate.” Francia died in the year 1517. - -The tale of the way in which the commission was received to paint the -portrait shown in this gravure is interesting. Federigo was the son of -Francesco Gonzaga, Marquis of Mantua, and Isabella d’Este, the famous -art patron. While fighting in the company of the Milanese against -the Venetians at Legnago, the Marquis was captured, but through the -intervention of the pope was liberated. However, the pope demanded as a -hostage Francesco’s son, Federigo, then ten years of age, stipulating -that he be sent to the papal court at Rome. The boy’s mother, on being -parted from him, insisted that she have a portrait of him, and on the -journey to Rome, in July, 1510, he halted at Bologna, where his father -was, and visited the studio of Francia. In ten days the artist had -completed the portrait with the exception of the background, which was -finished later. The noble mother was much pleased with the result, and -in expressing her gratification to the painter sent him thirty ducats -of gold. We have in her own words the statement that “it is impossible -to see a better portrait or a closer resemblance.” - -The panel, a singularly perfect example of Francia’s careful manner -of painting, passed from Isabella d’Este to a gentleman who had done -her a service, and thereafter remained in obscurity until, over three -centuries later, it appeared in a London auction room in the collection -of Prince Jerome Bonaparte. Later it came into the possession of Mr. -Altman, who bequeathed it to the Metropolitan Museum of Art. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE ALTMAN COLLECTION, METROPOLITAN MUSEUM OF ART, -NEW YORK - -OLD WOMAN CUTTING HER NAILS, BY REMBRANDT] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_Rembrandt van Rijn_ - -TWO - - -The keeping of a few dates in mind greatly aids in understanding -Rembrandt’s pictures. His birth date has been variously given as -1605, 1606, and 1607. Rembrandt’s story has been told at length in -previous numbers of The Mentor. It is said that “whatever he turned to -was treated with that breadth of view that overlooked the little and -grasped the great.” His earliest work dates from 1627. In 1632 came -his first great success, the famous “Lesson in Anatomy.” He was at -that time living in Amsterdam, having moved there from his birth city, -Leyden, Holland. Pupils and patrons flocked to his studios, and the -world was very bright. He became the best-known portrait painter of the -richest art and commercial center of Holland. In 1634 he married Saskia -van Uylenborch, daughter of an aristocratic family and a young girl of -attractive qualities, who brought him many friends and bore him four -children. Rembrandt loved his wife devotedly. He made many portraits -of her, including one of her with himself that hangs in the Royal -Gallery at Dresden. In 1641, the fourth child was born, a son, whom -they named Titus. A portrait of this “Golden Lad,” as his father liked -to call him, hangs in the Metropolitan Museum. It was painted when he -was fourteen: “The wide-set eyes and full upper lids mark his artistic -inheritance, but the far-away haunting expression seems a premonition -of his death in early manhood.” Saskia’s death came in 1642, when Titus -was less than a year old. - -Broken by the loss of his wife, Rembrandt continued to paint under -increasingly bitter circumstances, but his work showed no diminution in -merit, only a deeper feeling. When he was about thirty-five he received -an order to paint Captain Banning Cock’s company of Dutch musketeers. -His manner of handling the lights and shadows of this renowned -masterpiece was misunderstood by French writers of a later period, who -called it “The Night Patrol,” and Sir Joshua Reynolds, falling into the -same error, named it “The Night Watch,” instead of “The Day Watch.” -Great dissatisfaction followed the original exhibition of this sortie -of the civic guards through the jealousy of those that thought they had -been slighted in the composition of the grouping. This dissatisfaction -cost Rembrandt much subsequent patronage, and thereafter he was no -longer the darling of Amsterdam, but a man saddened by personal griefs -and overwhelmed by adversity. - -“The Mill,” now in the Widener Collection in Philadelphia, was executed -during this dark period of Rembrandt’s life. Under the same influences -he painted “The Old Woman Cutting Her Nails,” judged one of the rarest -gems of all the Rembrandt pictures owned in this country. It portrays -the sympathetic feeling of the artist for old age, and is “typical of -the careworn, sorrow-wrecked woman of all time.” Says a critic, “This -picture is simply of a poor old woman intent on cutting her nails, with -a pair of sheep-shears it seems, yet we are overcome with the power of -it--no details, dull in color, homely in subject, but bathed with a -light that never was on land or sea. Rembrandt’s light! What cared he -for poverty or neglect with such a comforter at hand?” The “Portrait of -Rembrandt” in the Museum was painted by himself when he was fifty-four, -and is one of about sixty self-portraits. In 1668, he painted the “Man -with a Magnifying Glass.” This, too, hangs in the Museum, and also the -grim “Pilate Washing His Hands.” The last picture purchased by Mr. -Altman, whose entire collection was obtained in the space of a few -years, was “The Toilet of Bathsheba,” thought by many judges to be the -loveliest of Rembrandt’s pictures that tell a story. It was painted in -1643. - -Rembrandt died in 1669. Twelve years before, he had been sold out -of house and home. It is said that there are in America today more -paintings by this greatest of Dutch masters than in any one country of -Europe. Thirteen pictures signed by him became a part of the Altman -Collection. There are now about one hundred Rembrandt paintings owned -in this country. The “Orphan Girl at Window” is in the Art Institute, -Chicago. Mr. Frick, of New York, acquired the so-called “Polish Rider” -and “Rembrandt Seated.” Other examples of Rembrandt’s genius are in -galleries in Boston, Philadelphia, New York, and Cincinnati. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE METROPOLITAN MUSEUM OF ART, NEW YORK - -JAMES STUART, DUKE OF LENNOX, BY VAN DYCK] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_Anthony van Dyck_ - -THREE - - -The Metropolitan Museum offers an unusual chance for the study of -Van Dyck’s (dike) portraits, though it possesses none of his figure -subjects. In point of time, the “Portrait of a Man” from the Marquand -Collection in the Museum is probably the earliest of the eight -portraits attributed to him. For a long time it was attributed to -Van Dyck’s master, Rubens. The “Portrait of a Lady” (holding a black -feather fan) from the same source, seems also to belong to the first -Antwerp period. Van Dyck was born in Antwerp on March 22, 1599. In -1621, when he was twenty-two years of age, Rubens advised him to visit -Italy. Aside from some occasional journeys, he seems to have spent -his time at Genoa, and for nearly five years he painted the nobility -of that thriving port. It was during these years that the “Marchesa -Durazzo” of the Altman Collection was done, as was also the portrait of -his friend and fellow-townsman, Lucas van Uffel, whose activities as -a merchant had brought him to Genoa. Upon his return Van Dyck worked -for five years in Antwerp, painting during that time many altarpieces -and religious subjects for the churches and chapels of the city. The -portrait of Baron Arnold Le Roy (Hearn Collection) was probably painted -within this period. - -From Antwerp, Van Dyck went to London at the invitation of Charles -I. Many portraits of the king, of Queen Henrietta and their children -testify to the high esteem in which he was held. His popularity was so -great and his commissions so numerous that he was compelled to hire a -number of assistants. The helpers painted the costumes and draperies of -the portraits, while their employer limited his brush to the painting -of the faces and hands. - -The portraits of the famous art patron, The Earl of Arundel and his -grandson, and of James Stuart, Duke of Lennox, came in this period, -when the artist’s short life of forty-two years was drawing to a close. -The Duke of Lennox was a cousin of the king, who created him first Duke -of Richmond. The Duke is said to have offered to ascend the scaffold -in the place of his noble cousin when Charles I was condemned. Whether -the rank of the sitter prevented Van Dyck from allowing his assistants -to have anything to do with the portrait we cannot know positively, -but seldom has a more superb portrait come from his brush. How -remorselessly the weakness of his character is given! Note the mastery -in the placing of the star of the Order of the Garter, and the emphasis -given to the devotion of the superbly painted greyhound. - -There came into the market a few years ago a number of portraits -from one of the old Genoese palaces, where they had hung since Van -Dyck painted them. A majority of these pictures passed into American -collections. Two were secured by Mr. Frick, and three more became a -part of the Widener Collection in Philadelphia, where they hang in the -company of two others of this master’s fine canvases. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE METROPOLITAN MUSEUM OF ART, NEW YORK - -YOUNG WOMAN WITH A WATER JUG, BY VERMEER] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_Jan Vermeer_ - -FOUR - - -Less than two score of Vermeer’s pictures are known to us today, and, -of these, eight or nine are now in the United States. Any one of them -is worth a fortune. In this case artistic and commercial values go -together. Little is known about Vermeer. The dates of his birth and -death (1632-1675) have been found in his native Delft. There he lived -and worked for forty-three years. An early traveler, describing Delft, -mentions Vermeer, and states that his pictures were much sought after. -They were originally valued at six hundred livres, equivalent to about -one hundred and fifty dollars, in those days considered a large sum. -Vermeer’s family was large, and he was fairly prosperous. But after his -death, for some unknown reason, he seems soon to have been forgotten. -Houbraken, the chronicler of the Dutch painters, did not mention him, -and this neglect possibly accounts partly for the oblivion into which -his work sank. - -The reason why Vermeer’s contemporary fame was not greater is not far -to seek. The Dutch artists were all finished craftsmen. De Hooch, -Terborch, and Metsu are painters of the same high rank as Vermeer. -Jan Steen, the Van Ostades, and some of the lesser men were hardly -inferior. Moreover, not only was there little traveling on the part of -the art patrons in those days, but the artist could seldom think of -moving from one town to another because he would have had to purchase -burgher-rights and guild-rights in each new place of residence. After -settling, and having once established a demand for their pictures, we -seldom find the Dutch artists moving on to evils they knew not of in -other cities. In consequence, the artist’s fame, however well-deserved, -rarely spread beyond a very limited range. Vermeer’s early death and -the small number of pictures finished by him prevented his work from -being widely known, and contributed more than anything else to its -being soon forgotten. - -In 1866, interest in Vermeer revived through the publications of E. T. -J. Thore, who wrote under the pen name of W. Bûrger. The greater part -of Vermeer’s pictures consist of light-flooded interiors, with usually -but a single figure. Sometimes a “Music Lesson” will show master and -pupil, but seldom are there more than three or four figures. There are -two famous outdoor scenes--the smaller in the Jan Six Collection at -Amsterdam, the larger in the Maritshuis (marits-heuse) at The Hague. -Then there are three or four portraits, surrounded by atmosphere, and -brilliant in lighting. Lastly there are a few canvases very different -from any of these others, painted with a broad brush on a larger scale -and with great fluency. This seems to be the style towards which -Vermeer was changing when he died. Five of this artist’s pictures were -shown at the Hudson-Fulton Exhibition. The one in the Altman Collection -has suffered seriously through cleaning and restoration, and is not so -fine as the subject of this gravure. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE METROPOLITAN MUSEUM OF ART, NEW YORK - -SALOME, BY REGNAULT] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_Henri Regnault_ - -FIVE - - -This picture, “Salome” (sa-lo´-mee), is the masterpiece of a French -artist of great promise who was killed in battle at the close of the -Franco-Prussian War. Born at Paris, October 30, 1843, Henri Regnault -(rane-yoe) was brought up in surroundings where the best of taste -reigned, his father being connected with the porcelain establishment -at Sèvres (sayvr). He early showed artistic promise, and after three -trials carried off the _Prix de Rome_ at the age of twenty-three. The -income from this prize, together with the additional funds which his -family provided, enabled him to travel in Spain and Morocco after he -had finished his novitiate at Rome. He had been drawn to the study of -oriental color through having come under the influence of Fortuny’s -work while at Rome, an influence which affected all of his later -pictures. - -His love of color is well shown in the “Salome.” The model was an -Italian gypsy girl of the Campagna (cam-pan-yuh), and it was not until -the picture was well advanced that this title was given to it. It is -hardly as a characterization of the light-footed daughter of Herodias -that the painting charms, though the naming was apt. Its attraction -lies in the marvelous harmony of yellows, and in its daring reversal of -the Rembrandt method. Rembrandt surrounded his light with shadow--here -there is the shining black of the touseled head in the midst of -gleaming silk and radiant spangles. - -Everything superfluous has been eliminated. What detail there is,--the -chest, the salver, the rug, is all in keeping with the design as a -whole. No description can do justice to the handling of the textiles, -or suggest the accuracy of their values. The marvel of it is how -so many tones of yellow could be heaped one upon the other without -wearying the eye. - -Regnault’s death was deeply mourned by his fellow-artists. He was -exempt from military duty because of having won the _Prix de Rome_, but -at the outbreak of the war he insisted that he was needed, and enlisted -as a private in the 60th Battalion. When urged to accept a commission -he replied, “I cannot allow you to make of a good soldier an inferior -officer.” Just a few days before the capitulation of Paris, he was -killed in a sortie at Buzenval, January 19, 1871. - -Two of his pictures, a portrait of General Prim and the “Execution -without Judgment under the Caliphs,” are in the Louvre. One of his -finest canvases, “Automedon with the Horses of Achilles,” is in the -Boston Museum of Fine Arts. A study for the Boston picture is in a -private gallery in Philadelphia. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE FLETCHER COLLECTION, METROPOLITAN MUSEUM OF ART, -NEW YORK - -GLEBE FARM, WITH THE TOWER OF LANGHAM CHURCH, BY CONSTABLE] - - - - -_THE METROPOLITAN MUSEUM OF ART_ - -_John Constable_ - -SIX - - -That the Metropolitan Museum should have so splendid an example of -Constable’s style is most fortunate. For it is just the richness -and glow of color that are seen in the “Glebe Farm” that make the -“Cornfield,” the “Hay Wain” and the “Valley Farm” of the London -National Gallery so supremely fine. While not so ambitious as these or -the much larger “White Horse,” shown at the time the paintings of the -J. Pierpont Morgan Collection were on exhibition, it is quite in the -same class. - -Constable’s struggle for recognition was long and arduous. After -persistent opposition on the part of his fiancée’s family, he was -married when forty years old. There followed twelve years of happiness; -the death of his wife at the end of that time was a blow from which -Constable never recovered. His election as an Academician came within -three months of her death, but his reply to the announcement was, “It -has been delayed until I am solitary and cannot impart it.” - -Constable was born in Suffolk County, England, June 11, 1776, and -lived to be sixty-one years of age. He became a student at the Royal -Academy when he was twenty-three. Three years later he exhibited his -first picture. Strangely enough, his work was appreciated in France -before it won its way at home. He exerted a marked influence upon the -rising school of French landscape painters. A medal was awarded him for -pictures exhibited at the Salon in 1824, and the next year the “White -Horse” won another for him at Lille. During the early years of his -career, commissions for portraits were undertaken as a temporary relief -to his finances. One of the best of these portraits hangs in the Hearn -Collection at the Metropolitan Museum. - -Constable’s pictures are very uneven in merit, but whether successful -or not, there is always evident a sturdy love for nature and a faithful -effort to record her moods. He never painted anything but his beloved -England, and few of her artist-lovers have surpassed him in depicting -her rural beauties. Many of his canvases are as glowing with color as a -hillside after a shower. His compositions are seldom grandiloquent, as -are some of Turner’s, but even Turner did not have a better eye for the -dramatic placing of a thunder-cloud. Like Corot, Constable portrayed -again and again a few scenes and localities that he knew thoroughly, -painting first from one angle and then changing to a new point of view. -The sincerity of the artist speaks from even the hastiest sketch. -England no longer withholds her admiration for his work; his pictures -now command the prices brought by “old masters.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 - COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC. - - - - -THE MENTOR · · JUNE 15, 1918 - -DEPARTMENT OF FINE ARTS - -The Metropolitan Museum of Art, New York - -By SYDNEY P. NOE - - _MENTOR GRAVURES_ - - PORTRAIT OF FEDERIGO GONZAGA - - By Francia - - OLD WOMAN CUTTING HER NAILS - - By Rembrandt - - JAMES STUART, DUKE OF LENNOX - - By Van Dyck - - [Illustration] - - _MENTOR GRAVURES_ - - YOUNG WOMAN WITH A WATER-JUG - - By Vermeer - - SALOME - - By Regnault - - GLEBE FARM, WITH THE TOWER OF LANGHAM CHURCH - - By Constable - - [Illustration] - -[Illustration: PORTRAIT OF HENRY G. MARQUAND. By John S. Sargent - -Mr. Marquand was the second president of the Metropolitan Museum] - - Entered as second-class matter March 10, 1913, at the - postoffice at New York, N. Y., under the act of March 3, 1879. - Copyright, 1918, by The Mentor Association, Inc. - - NOTE.--In choosing the illustrations for this number, we have - selected, for the most part, pictures that have not been - reproduced in The Mentor heretofore. The Mentor has drawn - largely on the Metropolitan Museum for illustrations, many of - the well-known masterpieces there having been reproduced in - one number or another. A list of Metropolitan Museum pictures - already published in The Mentor will be supplied on request. - - -The Metropolitan Museum of Art, among all the art collections in our -country, undoubtedly has the best claim to first importance, and is -becoming more and more a place of pilgrimage for the hosts that visit -New York each year. - -The Metropolitan Museum has grown so that it is no longer to be -compassed in a morning visit. The pictures alone require more than -that, many times more, and they form but one department. Much greater -benefit will come from part of a day or a whole day spent with a single -school of painting. As far as possible, this is the way in which the -pictures are hung, but several bequests have been conditional upon -their being kept intact, and a trip from one end of the building to -the other is sometimes necessary to compare pictures by the same -artist. The paintings now owned number about twelve hundred. Not all of -these are on exhibition, but loaned pictures bring the total to about -that figure. - -[Illustration: TITUS, SON OF REMBRANDT. By Rembrandt] - -New York was founded by the Dutch, and it is a singular coincidence -that the Dutch School is the strongest at the Metropolitan Museum. Both -Hals and Rembrandt, the leaders of this school, are well represented, -and in few European museums can Rembrandt and his school be studied to -better purpose. Hals was born in 1584, Rembrandt in 1606. Rembrandt -worked in Amsterdam, Hals at Haarlem, only fourteen miles away. There -are several pictures attributed to Hals, the elder and younger, and -the number is sometimes increased by loans. “The Merry Company,” in -the Altman Collection, is more pretentious than the others, but if it -could be hung between the two portraits in the Marquand Room at the -head of the main stairway, it would seem garish alongside the masterly -treatment of the blacks in the “Portrait of a Man,” or the wonderful -drawing of the hands in the “Portrait of a Woman.” - -[Illustration: WHEATFIELDS. By Jacob van Ruisdael] - -The pictures by Rembrandt and his school are the chief glories of the -Museum--no less than sixteen pictures are attributed to his hand. In -an earlier number of The Mentor, Rembrandt’s three styles have been -clearly distinguished. It is to the first or “gray” period that the -“Portrait of a Man” belongs, and most admirably does it represent the -class. “The Man with a Steel Gorget” falls in the middle or “golden” -period. The greater part of the pictures belong to the late period--the -years in which fortune no longer smiled, and sorrow succeeded sorrow. -The portrait of Titus, his son, while still a lad, must have come -early in this period, and before troubles thickened. A few years later -comes the “Old Woman Cutting Her Nails,” hailed by many as the finest -of the Museum’s Rembrandts, but different from anything else by him -there. Hanging beside it is the “Lady with a Pink”--a portrait with -an overpowering sense of reserve force. What luminous shadows and -what living color it has! So also with its companion piece, though to -a lesser degree. Compare them with the two portraits of men in the -Dutch Room at the other end of the building. They too come in the -late period. What tremendous dignity and poise show forth from these -canvases! - -Gerard Dou (dow) worked under Rembrandt in the “gray” period. The -small, crisp “Portrait of the Artist” shows his change of style -after leaving the studio. Dou trimmed his sails to catch the wind -of fashion, a thing that Rembrandt refused to do. Another pupil, -Nicolaes Maes, worked with Rembrandt during the “golden” period. He -gives us a brilliant piece of color, a “Young Girl Peeling Apples,” in -which the glow of red warms all the panel. Aert de Gelder portrays a -sturdy “Dutch Admiral,” and there is one of the far-stretching Dutch -landscapes by Philip de Koninck. - -[Illustration: A VISIT TO THE NURSERY. By Gabriel Metsu] - - -_Dutch Masters_ - -The “Little Masters of Holland” are present in strength. Metsu’s -“Visit to the Nursery,” which came from the Morgan Collection, is his -masterpiece. It is an intimate glimpse of home life that attracts -everyone, and is painted with a mastery that strengthens its human -appeal. But Metsu is far surpassed by Vermeer. Less than two score of -his pictures are known; the Metropolitan Museum already owns two of -them, and of these, the “Young Woman with a Water-Jug,” is of first -rank. - -The landscape men should not be overlooked. Cuyp (koip) has three -of his cattle pictures, filled with sunlight; and Hobbema, one of -the rarest-met of the Dutchmen, has a view of a Dutch village. -“Wheatfields,” by Jacob van Ruisdael (rize´-dale), shows him at the -summit of his powers. It is superior to anything by him to be found in -the European collections. With its low-lying horizon and broad sky, it -is typical of the best in the Dutch treatment of landscape. - -[Illustration: PORTRAIT OF A MAN. By Dirk Bouts] - -Next to the Dutch, the Flemish is the one best represented among -the older schools. High finish and purity of color are the chief -characteristics of these careful brushmen. There is a tiny fragment -by Jan van Eyck (ike) (?-1440), usually identified as a portrait of -Thomas à Becket. A monumental “Annunciation” is by Roger van der -Weyden, with rich velvets and brocades and careful painting of details. -In the Altman Collection there are four panels by Memling. All are of -superior quality--in fact, the “Portrait of an Old Man” was for a long -time attributed to Jan van Eyck. Another portrait, by Dirk Bouts, has -the same directness and force, and is almost equally fine. This is -portraiture of the highest order. - -[Illustration: PORTRAIT OF AN OLD MAN. By Hans Memling] - -Rubens (1577-1640) brought a new spirit to the school. One may obtain -at the Metropolitan a fairly clear idea of his power and of the -influence of his style upon his fellow-artists, although there are none -of his finest creations present. Rubens relied upon the help of his -assistants more than most other artists. Indicating his intentions, -whether by a small sketch or roughly on the canvas itself, he would -leave the carrying out to his pupils, and afterwards correct or retouch -the parts that did not satisfy him. The large “Wolf and Fox Hunt” was -probably handled in some such way, as were a number of these hunting -pictures. The “Holy Family,” nearby, is in his first style, and some -of Rubens’ brushwork may still be recognized in the figure of the -Christ-child. Rubens’ skill in another field is upheld by two good -portraits of men. There are several school pieces[1] of merit, and an -early copy of his “Susannah.” - - [1] A school piece is a picture done by a pupil, closely - following the style of his master. - -[Illustration: THE ANNUNCIATION. By Roger van der Weyden] - -Van Dyck, Rubens’ best pupil, is even better represented than his -master. We may trace his development in no less than eight portraits. -Two in the Altman Collection were done during his visit to Genoa, -and betray some of the influence of Italy. But Van Dyck hardly ever -surpassed the full-length of James Stuart, Duke of Richmond and Lennox. - - -_Italian Masterpieces_ - -Most of the masterpieces of the Italian School had been absorbed into -Europe’s national collections before the Metropolitan Museum entered -the field. It is quite remarkable that the present showing is possible, -in view of the difficulties in the way. Most of the works of the -“primitives”[2] are fixed on the walls of the palaces and churches -of Italy, but there is a scattering of them here. In the case of -Pollajuolo’s (polla-yoo-o´-lo) “St. Christopher,” the whole wall has -been transported. It has great value for the study of fresco technic. -An “Epiphany,” simple in its appeal, attributed to the School of Giotto -(jot´-to), but possibly by Giotto himself, has great charm of color and -composition. - - [2] The pioneers of a nation’s art. In Italy, Giotto and Duccio - are the two great primitives. - -One of the most important possessions of the Museum is Raphael’s -“Madonna of St. Anthony,” the gift of Mr. J. Pierpont Morgan. It was -painted before the artist had fully developed, and lacks the spirit -and brilliancy of his later productions. But study its composition. -Note the dignity in the single figures of St. Peter and St. Paul. How -exquisitely the adoring angels fill the lunette![3] The picture was -intended for the high altar, and, in its original position, it would -have been possible to see it only from a distance and from below, and -not close at hand as now. The central group shows some of the promise -so richly fulfilled in the years that followed. - - [3] The upper, semi-circular portion. The word refers to the - half-moon shape of the composition. - -[Illustration: VIRGIN AND CHILD ENTHRONED WITH SAINTS. By Raphael - -Also called “The Madonna of St. Anthony”] - -[Illustration: MADONNA AND CHILD. By Andrea del Verrocchio] - -[Illustration: GIRL WITH CHERRIES. By Ambrogio de Predis] - -Of the other Florentines, the pensive “Madonna” by Verrocchio -(ver-roke´-kee-o) is very attractive, and the Fra Angelico panel -and the circular composition by Mainardi should not be overlooked. -Neither of the subjects by Botticelli (bot-tee-chel´-lee) conveys -a fair conception of his artistic significance, although they are -well authenticated. There is a highly finished portrait of Federigo -Gonzaga (fed-er-ee-go gon-tha-ga) by Francia (fran´-cha), in perfect -preservation. The “Girl with Cherries,” now assigned to Ambrogio -de Predis, was for a long time thought to be by Leonardo da Vinci -(vin´-chee). - -[Illustration: ST. GEORGE. By Carlo Crivelli] - -There are several large and important altarpieces. One, by Correggio -(kor-red´-jo), was painted early in his career. It is rich in coloring -and is an important link in his artistic development. On the opposite -wall there is an “Entombment” by Moretto of Brescia, a leader in the -North Italian School. He is noted for the gray tone that pervades many -of his canvases. A “Pieta” (pee-ay´-ta), by Crivelli (kree-vel´-lee), -shows tragic power combined with great beauty of color and strength of -drawing. - -The late Venetian is the most satisfactorily represented of the Italian -Schools. There is an early “Madonna” ascribed to Giovanni Bellini -(jo-van´-nee bel-lee´-nee), firm in drawing and harmonious in color -scheme, but failing to show the strength to which he attained later in -his career. Titian’s (tish´-an) portrait of Filippo Archinto (fil-ee-po -ar-keen´-to), Bishop of Milan, is fine as a study of character--we must -hope that some of the more decorative pieces by Titian will some day be -secured. Like most of the portraits painted by Giorgione (jor-jo´-nee), -the one in the Altman Collection has suffered from restoration, but -anything by this rare painter is priceless. Carpaccio’s (kar-patch´-o) -mystic “Meditation on the Passion” is very important historically. - -[Illustration: SCENE IN VENICE. By Antonio Canaletto] - -There are no less than three canvases by Tintoretto. “A Doge in Prayer -Before the Redeemer” came from Ruskin’s collection. Though only a -sketch, and therefore less finished than the pretentious “Miracle -of the Loaves,” it is for that very reason the more convincingly -Tintoretto’s own handling. Paolo Veronese’s (pah-o-lo vay-ro-naze´-ee) -“Mars and Venus” shows what a late Venetian could do with a subject -that gave full play to a love of color and gorgeous textiles. By -Canaletto there is a “Scene in Venice” which is unsurpassed by anything -that represents him elsewhere. The “Investiture of Bishop Harold” is -the finest of several paintings by Tiepolo (tee-ay-po´-lo) in the -Museum. There are excellent portraits by Torbido (tor-bee´-do) and -Montagna (mon-tan´-yuh), who do not belong strictly to the Venetians. -They are much finer in workmanship than pictures sometimes attributed -to their more famous brethren. - -Both of the great men of the German School are well represented. -Dürer’s training as an engraver is very apparent in his “Madonna and -Child with St. Anne”--the sleeping Christ-child is delightful. Of -the three Holbeins, the early “Portrait of a Man” is perhaps the -best. According to the inscription, it must have been painted when the -artist was twenty years old. There are other fine portraits by Cranach -(kran´-ack) the elder and Beham. - - -_Early English Art_ - -The early English School is strong in numbers--it was greatly -strengthened by the Fletcher bequest. The large portrait group of The -Honorable Henry Fane with his Guardians shows Sir Joshua Reynolds -attempting a group on an ambitious scale. His half-lengths, especially -that of Elizabeth Reynolds, are more pleasant--in that particular -one he pays tribute to the style of Rembrandt. Gainsborough, Sir -Joshua’s most successful rival, shows his ability in the portrait of -“Miss Sparrow” and, in another field, in the “Landscape” in the Hearn -Gallery. He used to paint these landscapes as relaxation from the -portrait pieces. Romney and Opie (o´-pee) have attractively pictured -Lady Hamilton for us. One of the best pictures that ever came from -Lawrence’s brush is his portrait of the Reverend William Pennicott. - -[Illustration: MARIE MARGUERITE LAMBERT DE THORIGNY. By Largillière] - -[Illustration: PORTRAIT OF A LADY. By François Boucher] - -There are some good canvases by the landscape men. Constable has an -unusual portrait, as well as the gorgeous “Glebe Farm” in the Fletcher -Collection. John Crome, in his “Hautbois Common,” shows the influence -of the principles of the Dutch School. Wilson has an unusually rich -“Italian Landscape.” Turner, the greatest of the English landscapists, -is responsible for three pictures. The early “Saltash” is rich and -luminous; the “Grand Canal, Venice,” is one of the best of his pictures -of the island city, and the “Whale Ship” is in his late style. There -are some wonderful water-colors by him on loan. - -[Illustration: ARABS CROSSING A FORD. By Eugène Fromentin] - -The French School of the seventeenth and eighteenth centuries is -represented by pictures few in number, but excellent in quality. -Boucher (boo´-shay), Largillière (lar-geel´-yare), Nattier -(nat´-ee-ay), Drouais (droo´-ay)--all these men show amazing strength -on the decorative side, and, always, exquisite taste. Chardin -(shar´-dahn) has a beautiful low-toned still-life, “Preparations for -a Breakfast.” David’s portrait in the Fletcher Gallery is a marvel of -directness. In the Morgan Wing there are eight decorative landscapes by -Hubert Robert well worth looking up in this connection. - - -_Modern French Artists_ - -Some of the modern French artists were appreciated by Americans before -their genius was recognized at home. Certainly the Modern French -Section is one of the strongest in the Museum. Romanticism, realism and -impressionism are all to be seen in the work of their chief exponents. -An afternoon might profitably be spent with the men of Barbizon -(bar´-bee-zong). Corot’s (kor´-ro) poetic outlook upon nature is plain -in each of twelve landscapes. The “Lane Through the Trees,” with a -sense of cool shadow after the heat of a dusty road, is perhaps the -best of them. - -[Illustration: ENGLISH LANDSCAPE. By Thomas Gainsborough] - -[Illustration: LANDSCAPE WITH FIGURES. By George Morland] - -Rousseau (roos-so) speaks a more rugged and direct language in -the fifteen subjects by him. The sober “Gorges d’Apremont (gorge -da´-pre-mong); Evening,” with a still luminous sky above the hills, is -magnificent. Millet (mee´-yay) is represented by the famous “Sower,” -with its rhythm and swing, an almost equally fine “Water-Carrier,” -the impressive “Autumn” in the Fletcher Collection, and half a dozen -others. Dupré (dyu´-pray) and Diaz (dee´-ath) have good pictures, and -when has Troyon ever surpassed his superb “Holland Cattle”? Daubigny -(daw-been´-yee), though he comes a bit later, is usually associated -with these men. There are eight or nine of the subjects he used to find -in punting about among the streams and back-waters of the Seine (sane) -and Oise (wahz)--how intimate they seem! - -[Illustration: LADY WILLIAMS. By Ralph Earle] - -[Illustration: BOY WITH A SWORD. By Edouard Manet] - -[Illustration: LANDSCAPE. By Charles François Daubigny] - -The Museum is fortunate in owning a number of pictures that are -recognized as the masterpieces of their respective artists. -Bastien-Lepage’s (bas-tee-en lah-pazsh´) “Joan of Arc” is one of -these. Realism?--yes, but so combined with imagination that the -result is gripping. Rosa Bonheur’s “Horse Fair” is one of the -best-known pictures in the Museum. Many are familiar with it in black -and white reproduction, in which it shows to good advantage. The -original painting is somewhat disappointing in color. Meissonier’s -(may-sone-yay) “Friedland, 1807” is an example of his careful -brushwork, but is less successful than some of his smaller panels that -are shown in the Museum. Regnault’s (rane´-yoe) “Salome,” a daring -harmony in yellow, shows the dancer awaiting her reward from Herod. -“Madame Charpentier (shar-pen´-tee-ay) and her Children,” by Renoir -(ren´-wahr), is one of the most charming groups to be found anywhere. -Renoir employed the methods of the impressionists, but he never -allowed his subject to become secondary to the medium--a thing his -brother-impressionists sometimes seemed to do. There are pictures by -the other exponents of these principles to speak for themselves, and -some of them speak very well. Manet (mah-nay) in the “Boy with a Sword” -is following Velasquez to good advantage. A portrait by Fantin-Latour -(fahn´-tang-la-toor´) depicts the wonderfully sensitive face of a lady -in black. A turquoise brooch gives a piquant touch of color that is -repeated in the other jewels she wears. There are many other pictures -that one could ill afford to pass by--Couture’s “Day Dreams,” for -example, and “Arabs Crossing a Ford” by Fromentin (fro-mahn-tang), or -the pictures by Delacroix (del-lah-krwah), Courbet (koor-bay), Jacque -(zshock), and Dagnan-Bouveret (dahn´-yahn-boo´-ver-ray), to mention -only the more important. Last, but far from being least, is the group -by Puvis de Chavannes (poo´-vee de sha-van´) to show the power of that -great mural painter. - -[Illustration: FORENOON, ADIRONDACKS. By Alexander H. Wyant] - - -_American Artists_ - -Naturally, American artists are well represented in the Metropolitan -Museum. Nine pictures stand sponsor for Gilbert Stuart’s skill, and -several are surprisingly fine. Such work as John Singleton Copley’s -“Mrs. Bowers” and Stuart’s “Mrs. Anthony” do not suffer from comparison -with the productions of the English School of their time. Indeed, -Ralph Earle’s “Lady Williams,” sometime previous to its purchase in -London, masqued as a Gainsborough! Its simplicity and slightly awkward -directness are captivating. Do not fail to observe, however, that -the table accessories are exceedingly well painted. One of the most -interesting of these early pictures is a group of pupils in the studio -of Benjamin West. As president of the Royal Academy, his aid was sought -by almost every American with any artistic ability who could obtain -passage money to London. Matthew Pratt, one of those whom West helped, -here shows him criticizing the sketch of one of a group. Prominent -among the men of the next generation is Morse, the inventor of the -telegraph, but also a painter of no mean order, and the author of good -portraits of Henry Clay and De Witt Clinton. Sully, another man of -exceptional taste for his time, has ten pictures, including the sketch -for his portrait of Queen Victoria. - -[Illustration: MARBLE QUARRY AT CARRARA. By John S. Sargent] - -Nowhere else can the “Hudson River School”[4] be studied so well. To -our eyes these beginnings seem a bit hard and crude, but such canvases -as F. E. Church’s “Heart of the Andes” and “Parthenon” are really -impressive. But most of these men interest us today chiefly as the -forbears of a later group. Inness, Wyant, Homer Martin and Blakelock -have only a point of view in common, and yet they form a transition -group that leads out of the “Hudson River School” to the landscape -men of the present day. In no other gallery is the work of these four -artists so well represented. In some of the canvases the inspiration -of the Barbizon men is very apparent. Inness succeeds best, perhaps, -in his oft-reproduced “Autumn Oaks” or his “Delaware Valley.” Wyant’s -work is very even--“An Old Clearing” is the best of his ten pictures. -Blakelock’s “Pipe Dance” is fine in a very different way. Homer Martin, -perhaps the most interesting figure of them all, reached his highest -level in the “View on the Seine,” or as his wife named it, “The Harp of -the Winds.” That picture may fairly claim to be the best-known and most -loved landscape by any American artist. His sight was almost gone when -the last touches were added. No less impressive, to some, is his “Sand -Dunes, Lake Ontario.” All the desertedness and barrenness of the dunes -seem to have been caught and expressed on his canvas. - - [4] The Hudson River School of Art is considered at length in - Monograph Six, Mentor No. 136, “The Story of the Hudson.” - -Sargent, Whistler, La Farge, Chase--all are here, and in many phases. -Sargent’s portraits are fine, but do not miss his water-colors, or -his “Marble Quarry at Carrara.” Winslow Homer was one of the first -Americans to realize the possibilities of the sea as a subject, -and there are eight paintings by him, as well as a dozen forceful -water-colors. Carlsen, Dougherty (dock´-er-tee) and Waugh (wah) are -sea-lovers too. And as for the figure-painters, Dannat’s (dan´-nah) -“Quartette,” Abbey’s “Lear” and Mary Cassatt’s “Mother and Child” -should not be omitted. Among the landscapists come Twachtman and Tryon, -Groll with his Arizona mesa, Lie with “Culebra Cut” for his subject, -and Ben Foster with a fine “Late Summer Moonrise.” Here is a rich -assemblage of American art. - -[Illustration: SAND DUNES, LAKE ONTARIO. By Homer Martin] - - -SUPPLEMENTARY READING - - THE ART OF THE METROPOLITAN MUSEUM OF NEW YORK _By David C. Preyer_ - - WHAT PICTURES TO SEE IN AMERICA _By Lorinda M. Bryant_ - - A HISTORY OF THE METROPOLITAN MUSEUM OF ART _By Winifred E. Howe_ - Issued by the Museum. - - CATALOGUE. - Issued by the Museum. - -⁂ Information concerning the above books may be had on application to -the Editor of The Mentor. - - - - -THE OPEN LETTER - - -[Illustration: THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY] - -The story of the Metropolitan Museum of Art begins with an address by -John Jay before a company of Americans at a Fourth of July dinner in -Paris in 1866. In the course of his address Mr. Jay stated that “it -was time for the American people to lay the foundation of a national -institution and gallery of art.” This suggestion commended itself -to a number of notable American gentlemen who were present, and who -formed themselves into a committee for inaugurating the movement. This -committee subsequently addressed an appeal to the Union League Club of -New York City, urging the importance of founding a permanent national -gallery of art and museum of historical relics for the benefit of -the people at large, and suggesting that the Union League Club might -properly institute the means for promoting this great object. - -Mr. Jay, on returning home from Paris, was elected president of the -Union League Club, and the letter from the committee came up for his -own official notice. The result was a meeting at the Union League Club -on November 23, 1869, to consider the founding of a museum, and a -committee of fifty, made up of some of the most distinguished men of -the day, was appointed to carry out the project. - -It is interesting to read today that the sum of money that the founders -placed before them as the goal of their ambition with which to -establish this great art institution was only $250,000--a sum $100,000 -less than the present administration’s expenses for one year. And yet -this distinguished committee, after more than a year’s effort, raised -less than half of the desired sum--only $106,000. Such, financially, -was the modest beginning of the great Metropolitan Museum which now, -besides its extensive buildings and its priceless collections, has an -endowment for a purchase fund of over ten million dollars. - -The idea of locating the art museum in Central Park originated with -Andrew H. Green, known as the father of that great park. From 1870 -until 1879 the Museum was housed, first on Fifth Avenue, and then -on Fourteenth Street. The original building, in Central Park, was -completed in 1880, and was opened by President Rutherford B. Hayes. -Additions were erected in 1888, 1894 and 1902. Since then more -contributions have been made to the complete plan which, when realized, -will comprise a group of buildings that will cover an area of 18½ -acres, and will cost about $20,000,000. The architects were Calvert -Vaux, then Theodore Weston, Richard M. Hunt and McKim, Mead & White. -The Museum had first to rely largely upon voluntary service. This ended -in 1879 with the election of a salaried director, General di Cesnola. -At his death, in 1904, he left a valuable memorial in the collection -of antiquities that he gathered together while United States consul -in Cyprus, and which includes over 30,000 specimens. A new era in the -affairs of the Museum began with the election of Mr. J. Pierpont Morgan -as president. Under Mr. Morgan’s presidency the Metropolitan became -one of the richest museums in the world, and on his death, in 1914, it -received for exhibition his great collection of art objects, valued at -$50,000,000. Of this, the greatest private collection in the world, -a large part has now become the property of the Museum through the -princely gift of Mr. Morgan’s son, the present J. Pierpont Morgan, and -is being installed by itself in a wing called the Pierpont Morgan Wing. -The Museum has been the recipient of many large endowments, and many -fine private collections. Notable among the benefactors may be named -three of New York’s most distinguished merchants, A. T. Stewart, James -A. Hearn and Benjamin Altman. - -During its existence many of the most prominent citizens of New York -City have been connected in some active capacity with the Museum. The -past presidents of the Institution were John Taylor Johnston, Henry -G. Marquand, Frederick W. Rhinelander and J. Pierpont Morgan. Mr. -Robert W. de Forest, for many years secretary of the Museum, is now -its president. Among the vice-presidents were William Cullen Bryant, -Andrew H. Green, General John A. Dix, A. T. Stewart, John S. Kennedy, -D. O. Mills, Joseph H. Choate, and others. The affairs of the Museum -were directed during the first years by General di Cesnola, then by Sir -Casper Purdon Clarke, and now by Mr. Edward Robinson. - -Under the direction of the present secretary, Mr. Henry W. Kent, the -history of the Metropolitan Museum has been written by Winifred E. -Howe, and published in a luxurious volume of 360 pages. This beautiful -book affords a most interesting and instructive lesson in what can be -accomplished in less than fifty years in the development of a great art -institution. - -[Illustration: W. D. Moffat - -EDITOR] - - - - -A Letter From Japan - - -I have been interested in The Mentor ever since a warm morning in -June four years ago when, as a delegate to the General Federation of -Women’s Clubs held that year in Chicago, I found in my seat a sample -copy. “American Sculptors” was the title of the number. I was delighted -with it. I asked if it would be all right to take some extra copies, -and I was told “yes.” So I loaded myself down with them, thinking of -the many young men in Tokyo with whom we were in touch, who would be -so delighted to have them. This was exactly the case. Every Mentor I -brought was used in the best way possible, and many of the pictures -were given out singly, so that more could have them. - -Fortunately my mother has been sending The Mentor to me. She began -to take it through seeing my copy, and it is one of the delightful -visitors to our home. - -I have been much interested in the letters that you have printed. No -one has said how helpful The Mentor is to a missionary. First: to keep -one from forgetting what has been seen and known; second, to make -friends for one of the things one ought to know; third, for the sake of -one’s children, who find a great education in the twice-a-month text -and pictures. - -Aside from the personal value to the missionary and his children, is -the value to the foreign people with whom he associates. His home is a -center, and many an ideal of a foreign home comes from his. Those of us -that teach students, and children especially, are forming standards of -taste. The Mentors on the library table are valuable because they are -attractive to look at, and the brief descriptions on the backs of the -pictures are easy to understand by anyone who knows a bit of English. - -I have at present a very interesting class of university men, with whom -I talk once a week. We have had some delightful times using The Mentor -pictures. The foreign things shown in Japan are usually crude. With -such a heritage of good art of her own, Japan should know more of our -best things--and The Mentor gives this to them. This is my plan for -our own seven-year-old lad: I have six frames the size of The Mentor -gravures, and I change the pictures as often as new ones come. - -With every good wish for your continued success, - -F. ELIZABETH COLEMAN. - -10 Hinoki Cho, Ahasaka, Tokyo. - - * * * * * - -THE MENTOR ASSOCIATION - -ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, -LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - -THE MENTOR IS PUBLISHED TWICE A MONTH - -BY THE MENTOR ASSOCIATION INC., AT 114-116 EAST 16TH STREET, NEW -YORK, N. Y. SUBSCRIPTION, FOUR DOLLARS A YEAR. FOREIGN POSTAGE 75 -CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES TWENTY -CENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; -SECRETARY, W. D. MOFFAT; TREASURER, J. S. CAMPBELL; ASSISTANT TREASURER -AND ASSISTANT SECRETARY, H. A. CROWE. - - - - -THE MENTOR - - -THE MENTOR IN BOOK FORM - -The Mentor bound in book form makes the most interesting and valuable -library that it is possible to obtain. The hundreds of full page -gravures, the authoritative, interesting and condensed form in which -every subject is treated make it a work that will be invaluable for all -time. Tens of thousands of copies of the issues that make up this set -are purchased every month by the members of The Mentor Association, -which proves more than any thing we might say the value of every number -that goes to make up a volume. - -We have just received from the binders a number of sets, finished in a -beautiful three-quarter morocco. It is complete in five handy volumes, -containing all the material that has been published up to and including -issue 120. It contains 2,000 text pages, 720 full page gravures, and -over 1,800 other rare illustrations. 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