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      The Project Gutenberg eBook of The Mentor 1918.06.15, No. 157, The Metropolitan Museum of Art, by Sydney P. Noe.
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<body>
<div>*** START OF THE PROJECT GUTENBERG EBOOK 51340 ***</div>

<h1>THE MENTOR 1918.06.15, No. 157,<br />
The Metropolitan Museum of Art</h1>

<div class="figcenter" style="width: 479px;">
<img src="images/cover.jpg" width="479" height="700" alt="Cover page" />
</div>

<div class="bbox" style="width: 25em; margin: auto;">

<p class="center gesperrt smaller">LEARN ONE THING<br />
EVERY DAY</p>

<p class="smaller noindent">JUNE 15 1918</p>

<p class="right smaller noindent" style="margin-top: -2em;">SERIAL NO. 157</p>

<p class="center"><span class="larger">THE<br />
MENTOR</span><br />
<br />
THE METROPOLITAN<br />
MUSEUM OF ART</p>

<p class="center smaller">By SYDNEY P. NOE</p>

<p class="smaller noindent">DEPARTMENT OF<br />
FINE ARTS</p>

<p class="right smaller noindent" style="margin-top: -3em;">VOLUME 6<br />
NUMBER 9</p>

<p class="center smaller">TWENTY CENTS A COPY</p>

</div>

<hr />

<div class="bbox-dashed">

<div class="bordered3">
<h2>DOES ART PAY?</h2>
</div>

<p>“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&mdash;and becomes a patron of Art.</p>

<div class="figcenter" style="width: 30px;">
<img src="images/book.jpg" width="30" height="30" alt="(decorative)" />
</div>

<p>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.”</p>

<div class="figcenter" style="width: 30px;">
<img src="images/book.jpg" width="30" height="30" alt="(decorative)" />
</div>

<p>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&mdash;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?’</p>

<div class="figcenter" style="width: 30px;">
<img src="images/book.jpg" width="30" height="30" alt="(decorative)" />
</div>

<p>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.</p>

</div>

<hr />

<div class="figcenter" style="width: 475px;">

<img src="images/plate1.jpg" width="475" height="650" alt="" />

<p class="captionleft">IN THE METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<p class="caption">PORTRAIT OF FEDERIGO GONZAGA, <span class="smaller">BY FRANCIA</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>Francia</i></span></h2>
</div>

<p class="line"><span class="linebg">ONE</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.”</p>

<p>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.</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="figcenter" style="width: 475px;">

<p class="captionleft">IN THE ALTMAN COLLECTION, METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<img src="images/plate2.jpg" width="475" height="650" alt="" />

<p class="caption">OLD WOMAN CUTTING HER NAILS, <span class="smaller">BY REMBRANDT</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>Rembrandt van Rijn</i></span></h2>
</div>

<p class="line"><span class="linebg">TWO</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.</p>

<p>“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&mdash;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.</p>

<p>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.</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="figcenter" style="width: 420px;">

<p class="captionleft">IN THE METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<img src="images/plate3.jpg" width="420" height="650" alt="" />

<p class="caption">JAMES STUART, DUKE OF LENNOX, <span class="smaller">BY VAN DYCK</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>Anthony van Dyck</i></span></h2>
</div>

<p class="line"><span class="linebg">THREE</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.</p>

<p>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.</p>

<p>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.</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="figcenter" style="width: 475px;">

<img src="images/plate4.jpg" width="475" height="650" alt="" />

<p class="captionleft">IN THE METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<p class="caption">YOUNG WOMAN WITH A WATER JUG, <span class="smaller">BY VERMEER</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>Jan Vermeer</i></span></h2>
</div>

<p class="line"><span class="linebg">FOUR</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-l.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.</p>

<p>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&mdash;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.</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="figcenter" style="width: 475px;">

<img src="images/plate5.jpg" width="475" height="650" alt="" />

<p class="captionleft">IN THE METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<p class="caption">SALOME, <span class="smaller">BY REGNAULT</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>Henri Regnault</i></span></h2>
</div>

<p class="line"><span class="linebg">FIVE</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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 <i>Prix de
Rome</i> 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.</p>

<p>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&mdash;here there is the shining black
of the touseled head in the midst of gleaming
silk and radiant spangles.</p>

<p>Everything superfluous has been eliminated.
What detail there is,&mdash;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.</p>

<p>Regnault’s death was deeply mourned
by his fellow-artists. He was exempt from
military duty because of having won the
<i>Prix de Rome</i>, 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.</p>

<p>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.</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="figcenter" style="width: 650px;">

<p class="captionleft">IN THE FLETCHER COLLECTION, METROPOLITAN MUSEUM OF ART, NEW YORK</p>

<img src="images/plate6.jpg" width="650" height="460" alt="" />

<p class="caption">GLEBE FARM, WITH THE TOWER OF LANGHAM CHURCH, <span class="smaller">BY CONSTABLE</span></p>

</div>

<div class="chapter">
<h2><i>THE METROPOLITAN MUSEUM OF ART</i><br />
<span class="smaller"><i>John Constable</i></span></h2>
</div>

<p class="line"><span class="linebg">SIX</span></p>

<div>
<img class="dropcap" src="images/dropcap-plain-t.jpg" width="100" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.”</p>

<p>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.</p>

<p>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.”</p>

<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157<br />
COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.</p>

<hr />

<div class="bordered">

<p class="center larger">THE MENTOR · · JUNE 15, 1918<br />
DEPARTMENT OF FINE ARTS</p>

</div>

<h2>The Metropolitan Museum
of Art, New York</h2>

<p class="center">By SYDNEY P. NOE</p>

<div class="figleft" style="width: 30%;">

<p class="center"><i>MENTOR GRAVURES</i></p>

<p class="center smaller">PORTRAIT OF
FEDERIGO GONZAGA</p>

<p class="center smaller">By Francia</p>

<p class="center smaller">OLD WOMAN CUTTING
HER NAILS</p>

<p class="center smaller">By Rembrandt</p>

<p class="center smaller">JAMES STUART,
DUKE OF LENNOX</p>

<p class="center smaller">By Van Dyck</p>

<div class="figcenter" style="width: 30px;">
<img src="images/book.jpg" width="30" height="30" alt="(decorative)" />
</div>

</div>

<div class="figright" style="width: 30%;">

<p class="center"><i>MENTOR GRAVURES</i></p>

<p class="center smaller">YOUNG WOMAN WITH
A WATER-JUG</p>

<p class="center smaller">By Vermeer</p>

<p class="center smaller">SALOME</p>

<p class="center smaller">By Regnault</p>

<p class="center smaller">GLEBE FARM, WITH
THE TOWER OF
LANGHAM CHURCH</p>

<p class="center smaller">By Constable</p>

<div class="figcenter" style="width: 30px;">
<img src="images/book.jpg" width="30" height="30" alt="(decorative)" />
</div>

</div>

<div class="figcenter" style="width: 240px;">

<img src="images/illus15.jpg" width="240" height="300" alt="" />

<p class="caption">PORTRAIT OF HENRY G. MARQUAND.
By John S. Sargent</p>

<p class="caption">Mr. Marquand was the second president of the
Metropolitan Museum</p>

</div>

<div class="blockquote smaller">

<p class="center">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.</p>

<p>NOTE.&mdash;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.</p>

</div>

<div>
<img class="dropcap" src="images/dropcap-italic-t.jpg" width="113" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.</p>

<div class="figleft" style="width: 229px;">
<img src="images/illus16a.jpg" width="229" height="300" alt="" />
<p class="caption">TITUS, SON OF REMBRANDT.
By Rembrandt</p>
</div>

<p>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.”</p>

<div class="figright" style="width: 300px;">
<img src="images/illus16b.jpg" width="300" height="234" alt="" />
<p class="caption">WHEATFIELDS. By Jacob van Ruisdael</p>
</div>

<p>The pictures by Rembrandt and his school are the chief glories of the
Museum&mdash;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&mdash;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”&mdash;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!</p>

<p>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.</p>

<div class="figleft" style="width: 300px;">
<img src="images/illus17a.jpg" width="300" height="287" alt="" />
<p class="caption">A VISIT TO THE NURSERY. By Gabriel Metsu</p>
</div>

<h3><i>Dutch Masters</i></h3>

<p>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.</p>

<p>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.</p>

<div class="figright" style="width: 223px;">
<img src="images/illus17b.jpg" width="223" height="300" alt="" />
<p class="caption">PORTRAIT OF A MAN.
By Dirk Bouts</p>
</div>

<p>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&mdash;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.</p>

<div class="figleft" style="width: 225px;">
<img src="images/illus18a.jpg" width="225" height="300" alt="" />
<p class="caption">PORTRAIT OF AN OLD MAN.
By Hans Memling</p>
</div>

<p>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<a name="FNanchor_1" id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">[1]</a>
of merit, and an early copy of his “Susannah.”</p>

<div class="footnotes">

<div class="footnote">

<p><a name="Footnote_1" id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">[1]</span></a> A school piece is a picture done by a pupil, closely following the style
of his master.</p>

</div>

</div>

<div class="figright" style="width: 188px;">
<img src="images/illus18b.jpg" width="188" height="300" alt="" />
<p class="caption">THE ANNUNCIATION.
By Roger van der Weyden</p>
</div>

<p>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.</p>

<h3><i>Italian Masterpieces</i></h3>

<p>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”<a name="FNanchor_2" id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[2]</a> 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.</p>

<div class="footnote">

<p><a name="Footnote_2" id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">[2]</span></a> The pioneers of a nation’s art. In Italy, Giotto and Duccio
are the two great primitives.</p>

</div>

<p>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!<a name="FNanchor_3" id="FNanchor_3"></a><a href="#Footnote_3" class="fnanchor">[3]</a> 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.</p>

<div class="footnote">

<p><a name="Footnote_3" id="Footnote_3"></a><a href="#FNanchor_3"><span class="label">[3]</span></a> The upper, semi-circular portion. The word refers to the half-moon
shape of the composition.</p>

</div>

<div class="figcenter">

<div class="figmulti" style="width: 213px;">
<img src="images/illus19a.jpg" width="213" height="300" alt="" />
<p class="caption">VIRGIN AND CHILD ENTHRONED WITH
SAINTS. By Raphael</p>
<p class="caption">Also called “The Madonna of St. Anthony”</p>
</div>

<div class="figmulti" style="width: 222px;">
<img src="images/illus19b.jpg" width="222" height="300" alt="" />
<p class="caption">MADONNA AND CHILD.
By Andrea del Verrocchio</p>
</div>

<div class="figmulti" style="width: 233px;">
<img src="images/illus20a.jpg" width="233" height="300" alt="" />
<p class="caption">GIRL WITH CHERRIES.
By Ambrogio de Predis</p>
</div>

</div>

<p>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).</p>

<div class="figright" style="width: 141px;">
<img src="images/illus20b.jpg" width="141" height="400" alt="" />
<p class="caption">ST. GEORGE.
By Carlo Crivelli</p>
</div>

<p>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.</p>

<p>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&mdash;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.</p>

<div class="figleft" style="width: 300px;">
<img src="images/illus20c.jpg" width="300" height="300" alt="" />
<p class="caption">SCENE IN VENICE. By Antonio Canaletto</p>
</div>

<p>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.</p>

<p>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”&mdash;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.</p>

<h3><i>Early English Art</i></h3>

<p>The early English School is strong in numbers&mdash;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&mdash;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.</p>

<div class="figcenter">

<div class="figmulti" style="width: 230px;">
<img src="images/illus21a.jpg" width="230" height="300" alt="" />
<p class="caption">MARIE MARGUERITE LAMBERT
DE THORIGNY. By Largillière</p>
</div>

<div class="figmulti" style="width: 238px;">
<img src="images/illus21b.jpg" width="238" height="300" alt="" />
<p class="caption">PORTRAIT OF A LADY.
By François Boucher</p>
</div>

</div>

<p>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.</p>

<div class="figcenter" style="width: 400px;">
<img src="images/illus21c.jpg" width="400" height="324" alt="" />
<p class="caption">ARABS CROSSING A FORD. By Eugène Fromentin</p>
</div>

<p>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)&mdash;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.</p>

<h3><i>Modern French Artists</i></h3>

<p>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.</p>

<div class="figcenter">

<div class="figmulti" style="width: 400px;">
<img src="images/illus22a.jpg" width="400" height="327" alt="" />
<p class="caption">ENGLISH LANDSCAPE. By Thomas Gainsborough</p>
</div>

<div class="figmulti" style="width: 400px;">
<img src="images/illus22b.jpg" width="400" height="312" alt="" />
<p class="caption">LANDSCAPE WITH FIGURES. By George Morland</p>
</div>

</div>

<p>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)&mdash;how intimate
they seem!</p>

<div class="figcenter">

<div class="figmulti" style="width: 244px;">
<img src="images/illus23a.jpg" width="244" height="300" alt="" />
<p class="caption">LADY WILLIAMS.
By Ralph Earle</p>
</div>

<div class="figmulti" style="width: 221px;">
<img src="images/illus23b.jpg" width="221" height="300" alt="" />
<p class="caption">BOY WITH A SWORD.
By Edouard Manet</p>
</div>

</div>

<div class="figleft" style="width: 305px;">
<img src="images/illus23c.jpg" width="305" height="400" alt="" />
<p class="caption">LANDSCAPE. By Charles François Daubigny</p>
</div>

<p>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?&mdash;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&mdash;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&mdash;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.</p>

<div class="figright" style="width: 400px;">
<img src="images/illus24a.jpg" width="400" height="315" alt="" />
<p class="caption">FORENOON, ADIRONDACKS. By Alexander H. Wyant</p>
</div>

<h3><i>American Artists</i></h3>

<p>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.</p>

<div class="figleft" style="width: 400px;">
<img src="images/illus24b.jpg" width="400" height="311" alt="" />
<p class="caption">MARBLE QUARRY AT CARRARA. By John S. Sargent</p>
</div>

<p>Nowhere else can the
“Hudson River School”<a name="FNanchor_4" id="FNanchor_4"></a><a href="#Footnote_4" class="fnanchor">[4]</a> 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&mdash;“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.</p>

<div class="footnote">

<p><a name="Footnote_4" id="Footnote_4"></a><a href="#FNanchor_4"><span class="label">[4]</span></a> The Hudson River School of Art is considered
at length in Monograph Six, Mentor No. 136,
“The Story of the Hudson.”</p>

</div>

<p>Sargent, Whistler, La Farge, Chase&mdash;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.</p>

<div class="figcenter" style="width: 400px;">
<img src="images/illus25.jpg" width="400" height="246" alt="" />
<p class="caption">SAND DUNES, LAKE ONTARIO. By Homer Martin</p>
</div>

<div class="bordered2">

<h3>SUPPLEMENTARY READING</h3>

<table summary="books">
  <tr>
    <td>THE ART OF THE METROPOLITAN MUSEUM OF NEW YORK</td><td class="tdr"><i>By David C. Preyer</i></td>
  </tr>
  <tr>
    <td>WHAT PICTURES TO SEE IN AMERICA</td><td class="tdr"><i>By Lorinda M. Bryant</i></td>
  </tr>
  <tr>
    <td>A HISTORY OF THE METROPOLITAN MUSEUM OF ART</td><td class="tdr" rowspan="2"><i>By Winifred E. Howe</i></td>
  </tr>
  <tr>
    <td class="smaller">Issued by the Museum.</td>
  </tr>
  <tr>
    <td>CATALOGUE.</td><td rowspan="2"></td>
  </tr>
  <tr>
    <td class="smaller">Issued by the Museum.</td>
  </tr>
</table>

<p class="center smaller">⁂ Information concerning the above books may be had on
application to the Editor of The Mentor.</p>

</div>

<hr />

<div class="bordered">
<h2>THE OPEN LETTER</h2>
</div>

<div class="figcenter" style="width: 500px;">
<img src="images/illus26.jpg" width="500" height="284" alt="" />
<p class="caption">THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY</p>
</div>

<div>
<img class="dropcap" src="images/dropcap-ornate-t.jpg" width="55" height="100" alt="" />
</div>

<p class="dropcap">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.</p>

<p>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.</p>

<p>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&mdash;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&mdash;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.</p>

<p>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
&amp; 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.</p>

<p>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.</p>

<p>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.</p>

<div class="figright" style="width: 200px;">
<img src="images/signature.jpg" width="200" height="94" alt="(signature)" />
<p class="caption">W. D. Moffat<br />
<span class="smcap">Editor</span></p>
</div>

<hr />

<div class="bbox-dashed">

<h2>A Letter From Japan</h2>

<p>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.</p>

<p>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.</p>

<p>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
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who find a great education in the twice-a-month text and pictures.</p>

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<p>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
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such a heritage of good art of her own, Japan should know more of our
best things&mdash;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
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<p>With every good wish for your continued success,</p>

<p class="right">F. ELIZABETH COLEMAN.</p>

<p>10 Hinoki Cho, Ahasaka, Tokyo.</p>

<div class="bordered2">

<p class="center larger"><span class="smcap">The Mentor Association</span></p>

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