XXXII. ART, ARCHEOLOGY, MUSIC, AND DRAMA PAINTING, SCULPTURE, AND HANDICRAFTS DAVID LLOYD of Franz Hals, a portrait of Philip IV of Spain by Velasquez, the subject of an intermuseum war of attribution a few years ago; a Vermeer of Delft, "The Sleeping Girl." Mr. Altman had the unique privilege of making his own no less than 13 of Rembrandt's paintings. Three of them, from the Kann collection, were shown in the Hudson-Fulton loan exhibition at the Museum in 1909. The others include the "Old Woman Cutting Her Nails" (1658), and the collector's last purchase, "The Toilet of Bathsheba After the Bath" (1643). The Altman Museum, had it been called into being, would have stood in the first rank of the world's small galleries. Its unusual quality was sufficient excuse for the Metropolitan's admitting it as an inviolable unit into a growing and orderly system. Museums. - Benjamin Altman, acclaimed Ruysdael is the landscape whose collection of paintings, ceram- called "Cornfield." There are four ics, textiles, and other art objects Memlings, three of the earlier works has been known to students in Europe and America as important, not to say priceless, died in New York City on Oct. 7. He disposed a great fortune by an amazing will. None of its several philanthropic bequests came with less surprise than that of his art collection. A tradition is growing in this country which limits our wealthy collectors to a life interest in their treasures. Mr. Altman, who left no children, was sweeping in his generosity, painstaking and exact in his plans for the public. The Metropolitan Museum of Art received the offer of the collection on the condition of agreeing to keep it intact, apart, and unmixed. In case the Museum should decline, the executors were directed to incorporate the Altman Art Museum of New York and dedicate the collection to the public in a suitable building, preferably Mr. Altman's own house and galleries. J. Pierpont Morgan died in Rome The trustees of the Metropolitan, on March 31. He had been interested meeting on Oct. 20, voted to accept in the Metropolitan Museum since its the bequest on the conditions named. inception. He had been trustee of the The collection has been assembling corporation since 1888 and its presiquietly for over 30 years. Without dent since 1904. During this latter attempting a full account of it here, period the Museum had entered a some of its items may be recalled. new stage in growth and prosperity. Among Italian masters it affords ex- Its demands upon his time and atamples of Fra Angelico, Botticelli, An- tention were never postponed, not tonello da Messina, Francia, Gior- even, as Mr. de Forest, the newly gione, Titian, Filippino Lippi, Verro- elected president, has recalled, by such chio, and Cosimo Tura. The "Holy pressing business as the famous bankFamily" of Mantegna tipped auction- ers' conference on staying the 1907 room records at the Weber sale in panic. He was liberal of his treas1912 at $150,000. Holbein's portrait ures, too. As a collector, his position of Lady Lee added a similar notoriety was all but fabulous in two hemito its fame at purchase. A long-spheres and his insatiable interest in the acquisition of objects of artistic the importance of the Metropolitan's merit resulted in an extraordinary windfall lies in its cultural promise private collection. At the time of his death it had been transferred to this country and loaned to the Museum for exhibition. Twenty-nine paintings had been hung in January, among them the Colonna Raphael and portraits by Rubens, Van Dyck, Gainsborough, Reynolds, Romney, and Raeburn. Fourteen panel decorations painted by Fragonard for Madame du Barry have been added. The strength of the collection, how-, ever, does not lie so much in the canvasses. The famous group of miniatures numbers 900. The enamels include the Swenigorodskoi and the Hoentschel collections. There are Della Robbias among the Italian Renaissance sculpture and the bronzes, mainly of this period, comprise 260 pieces. For the rest, there are jew elry, silver, metal work, watches and clocks, crystals, amber, Italian majolica, early French faience, French, German, and Chinese porcelains, Venetian glass, tapestries, furniture, ivories, small carvings in boxwood and honestone, all told, about 4,100 objects. The ultimate disposition of this collection was left by Mr. Morgan's will to his son, J. Pierpont Morgan, Jr. No decision has yet been announced; but the loan exhibition which the collector had intended for the planned south wing of the building has been advanced in date by Mr. Morgan's suggestion, and will be seen on the upper floor of the new northeast addition early in 1914. Though the Morgan collection does not pass as an outright gift, it constitutes the Museum, at least for the present, a richly stocked storehouse of matter far beyond the reach of such an institution; and with the Altman gift in addition the Metropolitan has shot ahead in the course of a year to the front rank. Mr. Morgan's advice and example are held responsible for the recently announced decision of N. K. Riggs to pass over the claims of Washington and transfer at once to the Metropolitan his important collection of armor. Superficially and for the moment this shifting of prestige may bring to light only the vexatious embarrassment of a lack of gallery space. But and its earnest of the next stage in the so-called American invasion, when the inspirational effect of our European plunder shall have gradually, yet inevitably, invaded the quality of American art and taste. Though the transfer of possession from private hands to public institutions has been going on continually in various parts of the country, a more magnificent scale has been struck during the year in New York. Other cities have other treasure in expectancy, some of it, as in the case of the Freer collection for the national capital, already designated. The death of George Arnold Hearn, which occurred in New York City, Dec. 1, removed another important benefactor of the Metropolitan. A trustee since 1903 and untiring in his gifts, he displayed a discriminating interest in contemporary work. The well known collection which bears his name fills two galleries. He had also given to the Museum four funds of which the income is applied to the purchase of American paintings. An unusual condition in his gifts was that subjecting the paintings to later rejection by the Museum authorities and providing for replacement. International Exhibition of Modern Art.-The newly formed Association of American Painters and Sculptors held its first international exhibition of modern art in New York City, Feb. 17 to March 15. The collection was seen later in Chicago. About 1,100 works were shown, or more than those of the Spring National Academy and the larger Pennsylvania Academy exhibitions combined. The declared purpose was to show the results of new influences, but no dead line was drawn. It was in many respects a notable affair. In the American exhibits the scope was narrowed to emphasize the qualities that have marked those painters in or out of the National Academy who became fretful of that institution. As the new society was organized in some sense of impatience with the older body, this result was perhaps at once natural and accidental. This reservation made, it should be said that the selection of American work was com prehensive and all the more interest- fellows announced the close of the ing for including several types which chapter of representation. From the had not before been accorded wall very beginnings of art the sanctions space in a general exhibition. The and limits of representation have foreign work ran back to Manet, been in a state of flux. Here was Monet, Corot, Courbet, Daumier. an arresting proposal, to do away There was another group in Pissarro, with this function utterly. Yet the Seurat, Sisley. The character of work itself showed that the fallacy Gauguin and Van Gogh had waited introduction, not to mention Cézanne. Forty specimens of the elaborated beauty of Odilon Redon's touch and fancy made an exhibition by them selves. Recent extremists were also on hand, post-impressionists and cubists, Henri Matisse, Francis Picabia, Paul Picasso, Marcel Duchamp. The futurists had been bidden, but like the wedding guests in the parable, had sent their condescending regrets. in the theory was one of hyperbole. The post-impressionists are still representationists after their fashion. Picabia and the cubists came nearer to expunging the awkward difficulty. Their chosen province was more strictly limited to the impartment of mood, another element in the painter's product which has varied in dominance at different periods. In means these painters sought to restrict themselves to a pied representation of compacted and contiguous geometric solids. Now, though visual experience, which always trails emotion, is instinctively reflected in terms of the identical experience, it might be possible to match or approximately evoke the emotion in terms of other experience. When, however, as in Picabia's essays, the two projects are merged, the vehicle of mood breaks down and betrays the fallacy of a jumble. Again Duchamp attacked one of the inveterate problems of art, the suggestion of movement. Kinematophotography was frankly taken as the sanction. The so-called instantaneous photograph, the single rapid exposure, had outmoded, for instance, all art's horses from the Parthenon frieze down and nevertheless falsified the optical fact. When Duchamp, offering to surmount this falsity, puts his kinematograph to the test, motion is suggested by a new multiform symbol, which, in itself, is, if anything, a representation of such a train of persisting images as the mind cannot preserve or a running overlay of moving-picture films such as the projecting lantern could only throw when out of order. The balance between the record of things seen and the notation of the mental abstract sprung from them, the degree to which expression may be fruitfully concentrated on the artist's reflex of The uncouth guise of the debated feeling, the means for communicating work alone was not so much the cause by immobile statement the sense of of the stir as its illustration of the movement, these three puzzles were well-ventilated theoretic programmes not answered; but the putting of them, even if phrased in a lingo ring Unfortunately for the due appreciation of the Association's vigorous and welcome enterprise, the novelty of these new fashions, the extraordinary aspect of the sculptures and canvasses and their voluble defense swamped the solid merits of the exhibition as a whole. No such hubbub had been raised in many years, no such chatter about the province of art. The cool and urbane gauged the tempest on the teapot scale; more rapturous temperaments seemed to adopt the sigh of du Maurier's intense bride over Algernon's teapot, "Ah, let us live up to it!" Convinced defenders of beauty cited the art impulse of the insane for comparison. Critics were reminded that they had rejected impressionism; they were warned to reject post-impressionism at their peril. In Chicago the vice commission of the legislature, then sitting, felt called upon to investigate; and after the close of the exhibition there the official bulletin of the Art Institute comforted its patrons with the assurance that no one had been really harmed. Though this interest, aroused by a small section only, was disproportionate, it marked the year with a benefit which the customary round of the art season too often lacks: hundreds of people for once were genuinely interested in art. f the innovators. Matisse and his ing with the suspicion of charlatanry the city's parks and boulevards of or fanaticism, was a wholesome and sculpture commemorating American well-heeded reminder that the technical expedients of the artist and the postulates of the æsthetician have been and remain continuously open to the joint challenge of reason and taste. Other Exhibitions.-The fourth biennial exhibition at the Corcoran Gallery of Art in Washington, D. C., continuing to Jan. 26, gathered 246 paintings, most of them invited. They were hung on a single line with at least six inches between frames. John S. Sargent, as has happened before at the Corcoran, held the place of honor, this time with six paintings of women. The Pennsylvania Academy (Feb. 8 to March 30) brought together 480 paintings and 193 sculptures, the work of 410 artists, a large number of exhibitors, 103 more, for instance, than were represented in the International Exhibition. The Spring display at the National Academy (March 15 to April 20) was generous to outsiders, admitting 171 works by 143 non-members, against 144 by 104 academicians and associates out of a total membership of 266. Lucien Simon was selected this year for the honor of a separate room of exhibits at Pittsburgh's international salon, where the Carnegie Institute kept its display (April 24 to June 30) down to its usual figure of 350. The MacDowell Club began a third season of its exhibitions of selfconstituted groups of eight without jury. In the two seasons past there have been shown 29 groups. comprising some 1,500 works by 254 artists. Sculpture. A new nickel five-cent piece, designed by James Earle Fraser, was first put in circulation at Fort Wadsworth, on Feb. 22, on the occasion of inaugurating the Indian Memorial. Though not a faultless coin, it followed a great tradition with vigor and simplicity and was so far superior to earlier issues, that the general coolness with which it was received throughout the country was discouraging to intelligent efforts at enhancing the coinage. The will of B. F. Ferguson left the greater part of his estate to the Art Institute, Chicago, as a fund of which the income was devoted to the erection in worthies and events. The fund now amounts to over $1,000,000 and the annual income available to $34,000. The first monument was dedicated Sept. 9, Lorado Taft's "Fountain of the Lakes." The same sculptor has been commissioned by the trustees to complete his "Fountain of Time," for which designs have been exhibited. A similar fund has been provided for Philadelphia by the will of Mrs. Ellen Phillips Samuel, who left a bequest of $500,000, subject to a life interest, for the erection of sculpture on the east bank of the Schuylkill. Handicrafts.-The Handicraft Club of Baltimore held a current and retrospective exhibition in the galleries of the Peabody Institute of that city March 15 to April 2. The Museum of Fine Arts, Boston, repeated its last year's invitation to the Society of Arts and Crafts, Boston, which held an exhibition there April 3 to April 24. At the annual meeting of the Society, which reports a membership of 906 members, including 679 professional workers, the bronze medal of merit was awarded to I. Kirchmayer, woodcarver; Arthur J. Stone, silversmith; Henry C. Mercer, potter. The National Society of Craftsmen, New York, which held its usual exhibitions, has advanced its bulletin to the scope of an independent publication under the title the Arts and Crafts Magazine, now appearing quarterly. American Federation of Arts.-The fourth annual convention of the Federation held in Washington, D. C., drew the appointment of 113 delegates from 83 chapters. Its deliberations were focussed on two topics, the small art museum, especially as an adjunct of educational institutions, and industrial art. Tariff on Art Objects. The new Tariff Act practically reënacted the provisions of the Act of 1909 on the importation of art objects, although a strong effort was made to have all duties removed. With the exception of the removal by the Act of 1894 and the partial removal by the tariffs of 1832 and 1846, art importations have been taxed since the founding of the Government. ARCHITECTURE LLOYD WARREN Notable Structures of the Year.-|tectural treatment which seems never The year 1913 has been remarkable in before to have been thought of, and the history of architecture in Amer- promises to be supremely successful, ica as having seen the completion, or while on the projects for the Lincoln the design for future construction, of Memorial in Washington have been a number of buildings which are the lavished every care and study, so that most important of their kind of any a monument may be erected worthy that have been heretofore erected in of the sentiments which Lincoln's this country, either in the artistic genius inspires in the heart of every quality of their design, the studied American. (See also I, American fitness of their plan, or for their great History.) size. The buildings of this list impose by their evident importance, but besides them very many edifices have arisen in many states which the space at our disposal does not permit us to review; state capitols, university buildings, residences, post offices, and commercial buildings are on every hand, but the buildings we have named will serve the purpose of this review, for they express admirably the position of this last year in the advance of the material, if not altogether of the spiritual, civilization of the country. Three things they seem to typify: organization and centralization essentially; and, not less, ostentation, of success, of wealth, of power, and of vitality A review of the buildings just completed, or planned during the year, brings this fact overwhelmingly into prominence, and it is difficult, in excellence of design, 'ingenuity of planning, or titanic mass of construction, to differentiate between these structures. Ecclesiastical, educational, administrative, and commercial buildings have exceeded all former limits. The Protestant Episcopal Church has, in New York, completed St. Thomas', perhaps the most admirable study of Gothic we have, and has held a competition for a vast Cathedral in Baltimore, which will rival in extent the greatest minsters of England. The Educational Building at Albany rears its lofty colonnade in emulation of the great Corinthian order at Baalbec. The Grand Central Station in New York is a triumph in the solution of the most complicated problems for the transportation and circulation of crowds, such as has never been achieved else where, while the vast resources and extraordinary conveniences of the McAlpin and Biltmore Hotels attends to housing them. The Woolworth Building exceeds in height any building for Occupancy yet executed. The New The plots of ground allotted to York County Court House, in ingenu- these buildings were in each case of ity not only of arranging extremely very irregular shape, a thing unusual difficult interior requirements, but of in our American cities and almost alplacing a monumental building on an ways disregarded in utilitarian ediirregular lot of ground, is of the high-fices, the perimeter of buildings usually est interest. The New York Municipal Building houses the vastest single system of civic offices in the country. On the Pacific Coast rises the great group of buildings for the PanamaPacific Exposition, which, in its conception of monumental courtyards in long succession, has found an archi New Principles of Design. — The competitions for the Municipal Building and the N. Y. County Court House have brought to the fore a principle of architectural design which is sure to influence the planning of many monumental buildings in the near future, and for this reason it is proper to take them especially into consideration, so that the origin of this characteristic can be clearly attributed to the year 1913. following that of the lot in order to utilize every foot of available land, or to give façades of the greatest development possible. But contrary to practice, in these two cases, designs were chosen which violated this principle entirely. The principles of design which seem |