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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..de30df2 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50673 (https://www.gutenberg.org/ebooks/50673) diff --git a/old/50673-0.txt b/old/50673-0.txt deleted file mode 100644 index 1da9adb..0000000 --- a/old/50673-0.txt +++ /dev/null @@ -1,1564 +0,0 @@ -The Project Gutenberg EBook of The Mentor: American Mural Painters, vol. -2, Num 15, Serial No. 67, September 15, 1, by Arthur Hoeber - -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: American Mural Painters, vol. 2, Num 15, Serial No. 67, September 15, 1914 - -Author: Arthur Hoeber - -Release Date: December 12, 2015 [EBook #50673] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN MURAL *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - - THE MENTOR 1914.09.15, No. 67, - American Mural Painters - - - - - LEARN ONE THING - EVERY DAY - - September 15, 1914 - Vol 2 No. 15 - - THE - MENTOR - - AMERICAN - MURAL - PAINTERS - - DEPARTMENT OF - FINE ARTS - - Serial Number 67 - - FIFTEEN CENTS A COPY - - - - -The Mentor Association - -ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, -LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - -[Illustration] - - -THE ADVISORY BOARD - - _JOHN G. HIBBEN_ _President of Princeton University_ - _HAMILTON W. MABIE_ _Author and Editor_ - _JOHN C. VAN DYKE_ _Professor of the History of Art, Rutgers College_ - _ALBERT BUSHNELL HART_ _Professor of Government, Harvard University_ - _WILLIAM T. HORNADAY_ _Director New York Zoölogical Park_ - _DWIGHT L. ELMENDORF_ _Lecturer and Traveler_ - - -THE PLAN OF THE ASSOCIATION - -The purpose of The Mentor Association is to give its members, in an -interesting and attractive way, the information in various fields of -knowledge which everybody wants and ought to have. The information is -imparted by interesting reading matter, prepared under the direction of -leading authorities, and by beautiful pictures, produced by the most -highly perfected modern processes. - -The object of The Mentor Association is to enable people to acquire -useful knowledge without effort, so that they may come easily -and agreeably to know the world’s great men and women, the great -achievements and the permanently interesting things in art, literature, -science, history, nature, and travel. - -The purpose of the Association is carried out by means of simple -readable text and beautiful illustrations in The Mentor. - -The annual subscription is Three Dollars, covering The Mentor Course, -which comprises twenty-four numbers of The Mentor in one year. - - -THE MENTOR - -SUBSCRIPTION, THREE DOLLARS A YEAR. SINGLE COPIES FIFTEEN CENTS. -FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. -ENTERED AT THE POST-OFFICE AT NEW YORK, N.Y., AS SECOND-CLASS MATTER. -COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND -TREASURER, R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, -L. D. GARDNER - - _Issued Semi-Monthly by_ - THE MENTOR ASSOCIATION, INC. - 52 EAST 19th STREET, NEW YORK, N. Y. - - - - -[Illustration: THE PLEIADES, by Elihu Vedder. In the Metropolitan -Museum of Art, New York City.] - - - - -American Mural Painters - -ELIHU VEDDER - -Monograph Number One in The Mentor Reading Course - - -Elihu Vedder said of his parents, “My mother went to church; but I know -that wherever a fish was to be found my father went fishing,” and of -his mother he said further, “It had always been my mother’s wish that -I should be a great artist, and for her sake I wish it could have been -so.” - -Vedder was born in New York City on February 26, 1836, and as a boy -attended the Brinkerhoff School in Brooklyn. In this institution the -greatest virtue was a good memory; the pupil who could best memorize -his lessons stood highest. Consequently Vedder, who always had a bad -memory, stood at the foot of his class. Nevertheless he showed early -evidences of his talent. - -He first studied under the genre (jonr) and historical painter Tompkins -H. Mattison, at Sherburne, New York. Then he went to Paris to study -in the atelier of the French painter Picot. He went to Italy in 1857, -where he worked for some years, and then returned to the United States -and remained there until 1865. In that year he was elected to full -membership in the National Academy of Design, New York City. He went -back to Paris and spent one winter there; but in January, 1867, moved -to Rome, where he has ever since resided. He has made many visits to -the United States; but Italy is his favorite dwelling place. - -At first Vedder devoted himself to the painting of genre pictures. -These, however, attracted only a little attention until 1884, when he -illustrated the Rubaiyat of Omar Khayyam. This immediately gave him a -high place in the art world. His important decorative work came later. -These subjects are principally imaginative. - -A pen picture by H. T. Carpenter, of Vedder in his Italian home, -gives a good idea of the personality of the man: “The picturesque -personality of the painter would impress one, whatever and wherever -the surroundings. As he came down those stone steps” (of his studio in -Rome), “a bunch of large keys in his hand to open the gate, explaining -the while the reason for the absence of the porter and attendant of -all work, with a gentleness born of a natural sympathy for the under -dog, he looked the man one might imagine the creator of such work as is -shown in the series of drawings of the Rubaiyat of Omar Khayyam, or the -Congressional Library and the Bowdoin College decorations, or the mural -work in the Huntington house, with its incomparable central figure, -Luna,--his abundant wavy white hair, features of marked strength, -penetrating blue eyes, which alternately twinkled and analyzed, a long, -flowing white mustache, a striking head on massive shoulders, tall in -height; in fine, a picture of rugged picturesqueness that stood out -even in that land of artistic individuality, but never for a moment -taken for anything but a fine type of American. His manner was cordial, -frank, sincere, and unaffected, and one soon found out he was a good -hater of shams.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL, by E. H. -Blashfield. - -In the Church of the Savior, Philadelphia, Pennsylvania.] - - - - -American Mural Painters - -EDWIN HOWLAND BLASHFIELD - -Monograph Number Two in The Mentor Reading Course - - -Edwin Howland Blashfield has a place in the front rank of American -mural painters through his elevation of thought and his masterly -execution. His imagination is fertile and his treatment of subjects -highly decorative. He has been able to paint both history and legend, -and has placed them side by side in the same compositions. - -He was born on December 15, 1848, in New York City. He is a son of -William Henry Blashfield, and a brother of Albert Dodd Blashfield, the -illustrator. - -Blashfield studied first at the Boston Latin School. Then, in 1867, he -went to Paris to study under Leon Bonnât. He also received valuable -advice from Gérôme and Chapù. He exhibited for many years at the Paris -Salon, and also at the Royal Academy in London. In 1881 he returned to -the United States and married. - -For some years he was a painter of genre pictures; that is, pictures -of common life and its associations. Then he turned to decorative -work, which was marked by rare delicacy and beauty of color. At the -World’s Fair in Chicago in 1893 he painted mural decorations for a -dome in the Manufacturers’ Building. Later he did the great central -dome of the Congressional Library at Washington, the drawing room for -the Huntington residence, the decoration for the courtroom in the -courthouse at Baltimore, the decoration of the entire chancel in the -Church of the Savior at Philadelphia, and many other masterpieces of -mural art. - -Blashfield is well known as a lecturer on art, and has written many -articles dealing with the subject. With Mrs. Blashfield he wrote, in -1900, “Italian Cities,” and together, with A. A. Hopkins, they edited -Vasari’s “Lives of the Painters.” - -At one time Blashfield was president of the Society of American -Artists. He is a member of the American Academy of Arts and Letters, -and many other societies. He makes his home in New York City. - -Blashfield has received many honors and medals, including a bronze -medal at the Paris Exposition in 1900, a gold medal at the St. Louis -Exposition in 1904, a Carnegie prize in 1911, and others. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: Copyright by M. G. Abbey. - -From a Copley Print. Copyright by Curtis & Cameron, Inc. - -THE APOTHEOSIS OF PENNSYLVANIA, BY E. A. ABBEY. - -IN THE PENNSYLVANIA STATE CAPITOL AT HARRISBURG] - - - - -American Mural Painters - -EDWIN AUSTIN ABBEY - -Monograph Number Three in The Mentor Reading Course - - -Walk into the Public Library at Boston, and you will find yourself in -the midst of some of the most magnificent mural decorations in America. -There we find the great frieze of The Prophets, by John Sargent, and in -the delivery room is the great decoration by Edwin Austin Abbey which -is called “The Quest of the Holy Grail.” - -In the early part of his life Edwin Abbey was an illustrator, -celebrated chiefly for his pen drawings. In later life his work became -larger in character, and he turned naturally to mural painting. - -Edwin Austin Abbey was born in Philadelphia, April 1, 1852. He studied -first at the schools of the Pennsylvania Academy of Fine Arts; but at -the age of nineteen left this and entered the art department of the -publishing house of Harper & Bros., New York City, where he became -successful as an illustrator. Associated with him were such artists -as Howard Pyle, C. S. Reinhart, and Joseph Pennell. In 1878 Harpers’ -planned to publish the poems of Robert Herrick, and sent Abbey to -England to gather material for the illustrations. These were published -in 1882, and attracted much attention. Illustrations for Goldsmith’s -“She Stoops to Conquer,” for a volume of old songs, and for the -comedies and a few of the tragedies of Shakespeare, followed. His water -colors and pastels were successful in the same degree. - -Abbey by this time had become closely identified with the art life of -England. In 1883 he was elected to the Royal Institute of Painters in -Water Colors. His first oil painting was exhibited at the Royal Academy -in London in 1890, which was called “A May Day Morning.” He became a -full Royal Academician in 1898. - -His mural decoration called “The Quest of the Holy Grail,” in the -Boston Public Library, on which he was occupied for several years, -deserves special mention. In 1901 King Edward VII commissioned him to -paint a picture of the coronation. During his life many honors were -showered upon him. Abbey died in 1911. - -In “The Apotheosis of Pennsylvania,” below to the left are Sir Walter -Raleigh, who had a grant in Pennsylvania; Henry Hudson, who discovered -and sailed up the Delaware River; Captain Minuit, the explorer and -navigator, and others. To the right are a pioneer and representatives -of various religious sects that settled in Pennsylvania. Below these, -beginning at the left, are ships on the stocks, the city troopers, -General Wayne, Atkinson (the first American judge), the first provost -of the University of Pennsylvania, Bishop White (the first American -bishop), and others, among them Dr. Caspar Wistar, Benjamin Franklin, -William Penn, and Robert Morris. At the left are Governor Curtis and -Thaddeus Stevens cheering the soldiers of 1861 marching to defend the -state, officered by Generals Hancock and Meade. On the right are miners -and workers in steel and iron, machinery, and so forth. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: Copyright by Edward Simmons. - -From a Copley Print. Copyright by Curtis & Cameron, Inc. - -RETURN OF THE BATTLE FLAGS, by Edward Simmons. In the Massachusetts -State House. Boston, Massachusetts.] - - - - -American Mural Painters - -EDWARD EMERSON SIMMONS - -Monograph Number Four in The Mentor Reading Course - - -Edward Emerson Simmons had many disappointments to contend with during -the early part of his life; but he overcame them all, and has made for -himself a place in the foremost rank of American artists. - -He comes from good old Massachusetts stock. His mother was a sister of -Ralph Waldo Emerson, the famous American poet and essayist. Simmons was -born at Concord, Massachusetts, on October 27, 1852. He went to Harvard -University, and graduated from there in 1874 with great honor. It is a -fact worthy of remark that the class of 1874 contains many men who have -achieved distinction. - -After graduating Simmons went to Paris to study art, where his teachers -were Lefebvre and Boulanger. At the schools he was very popular, and -his easel was the favorite loafing place for the other members of his -class. - -In 1881 he exhibited at the Salon a portrait of a gentleman in Highland -costume, which attracted great attention. The following summer he -went to Brittany, where he remained for sometime. He made his home at -Concarneau in Finistère, a fishing port famous for its sardines. There -Simmons experimented with all kinds of painting,--landscape, marine, -and figure,--and took the lead in the art life of the colony, among -whom were painters from France, England, and America. - -In 1882 he sent to the Salon a painting called “La Blanchisseuse,” a -picture of a Breton girl carrying the clothes from the brookside, where -she had been washing them, which is a custom in Brittany. The picture -received honorable mention. - -In 1891 his class at Harvard decided to give a memorial window, and -Simmons got the commission. Then came the World’s Fair at Chicago in -1893, and Simmons obtained the commission to decorate the dome of -the Liberal Arts Building. He chose for his subject four objects of -American labor,--wood, iron, stone, and fiber. This painting shows -strength, directness, simplicity, and dignity. It was his first mural -decoration, and was a good experience. He saw his opportunity and made -the most of it. - -Almost immediately came the commission to decorate the Criminal Court -Buildings of the Courts of Oyer and Terminer in the city of New -York, which he worked out with enthusiasm. The subject represented -is Justice, in the shape of a stately, dignified figure with a globe -in one hand and the scales in the other. He draped this figure in an -American flag; a hard problem, but cleverly worked out. The side panels -to the right represent the Three Fates; those to the left, Liberty, -Equality, and Fraternity. - -Then came the commission for decorating the Congressional Library at -Washington. He chose as his subject the nine muses. - -Following this he received many commissions for work in private -residences, and for a series of paintings for the Waldorf-Astoria -Hotel, New York City. - -Simmons was one of the original members of the Ten American Painters, -and is a member of the National Institute of Arts and Letters. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: FROM A COPLEY PRINT. COPYRIGHT BY CURTIS & CAMERON, INC. - -HOSEA--DETAIL OF THE PROPHETS, BY JOHN SARGENT - -IN THE PUBLIC LIBRARY. BOSTON, MASSACHUSETTS] - - - - - “Hosea,” a detail of the frieze of “The Prophets,” by - John Singer Sargent, in the Public Library, Boston, is - the subject of one of the intaglio-gravure pictures - illustrating “American Mural Painters.” - -JOHN SINGER SARGENT - -Monograph Number Five in The Mentor Reading Course - - -John Singer Sargent has been called the most “modern of moderns, one of -the most dazzling men of talent of the present day.” - -Sargent is in reality an American only by parentage; for he was born -at Florence, Italy, on January 12, 1858, and since 1884 has lived in -London. Sargent’s father was Dr. Fitzwilliam Sargent, a distinguished -Boston physician. Sargent as a child was very sensitive, and was -greatly influenced by the art treasures of his birthplace. He received -his early education in Italy and Germany, and his impressionable nature -amid such surroundings was shaped by the atmosphere of the famous -Tuscan city, which left its refining mark upon all his work. The -parents of many artists of genius have attempted to dissuade their sons -from becoming painters. On the contrary, however, Sargent’s parents -encouraged him to draw from the canvases of Veronese, Titian, and -Tintoretto. - -In 1874, when Sargent was only eighteen, he went to Paris to study, -entering the atelier of Carolus-Duran. A portrait of his teacher -painted toward the close of his studentship won the commendation of the -best judges. He received an honorable mention in the Salon in 1878, -and in 1881 a second-class medal for his “Portrait of a Young Lady,” -which has been made famous by the appreciation of Henry James, the -distinguished American novelist. As an artist with a future he turned -his steps to Spain. In Madrid he studied the canvases of Velasquez -carefully, and this master has influenced his entire art career. He -seemed to come so close to this great painter that he was enabled to -bring into the nineteenth century the power of the most modern of -fifteenth century painters. - -Sargent returned to Paris in 1882 and exhibited “El Jaleo,” a picture -representing a Spanish woman dancing, which attracted a great deal of -attention, and is now in the Boston Art Museum. Soon afterward Sargent -drifted to London, and in 1886 his “Carnation, Lily, Lily, Rose” -brought him immediate recognition. He rapidly became known in London as -a brilliant portrait painter, and year by year his Academy portraits -were the features of the exhibitions. His success was now assured, and -his sitters included the men and women of greatest distinction in the -literary, artistic, and social life of both Europe and America. - -He is best known as a portrait painter; but at the same time he has -done much excellent decorative work, and his decorations for the Boston -Public Library, “The Pageant of Religion,” among which was the frieze -of “The Prophets,” which were completed in 1903, placed him among the -leading mural painters of America. - -Sargent was elected a member of the Royal Academy in London in 1894, -and in addition to this he has won many other honors. And unlike -many American artists residing in Europe, he has always retained his -directness and independence. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: Copyright 1907 by DeW C. Ward. - -THE BENEFICENCE OF THE LAW by Kenyon Cox. In the Essex County -Courthouse, Newark, New Jersey.] - - - - -American Mural Painters - -KENYON COX - -Monograph Number Six in The Mentor Reading Course - - -Not only has Kenyon Cox placed himself in the front rank of American -artists through his paintings, but he has also made a name for himself -as an art critic. - -He was born at Warren, Ohio, on October 27, 1856. His father was -General Jacob Dolson Cox. He studied art when quite young, first at -Cincinnati and Philadelphia, and then at the age of twenty-one went to -Paris to study. There for five years he was under Carolus-Duran and -Gérôme. - -In 1882 he returned to New York and opened a studio there. Shortly -after this he began teaching in the Art Students’ League, and had much -success in that line. In 1892 he married Louise Howland King, who is -well known as a painter herself. - -The earlier work of Cox consisted mostly of the nude. He received -little encouragement for these pictures, however, and turned to mural -decoration, in which he has achieved prominence. His first step -toward mural work was the painting of two decorations for the Library -of Congress at Washington. In two tympanums (the flat, triangular -part of a pediment) each thirty-four feet in length, he has painted -the Arts and the Sciences. Among his better known examples are the -frieze for the courtroom of the Appellate Court, New York City, and -the decorations for the Walker Art Gallery at Bowdoin College, for -the Capitol at St. Paul, Minnesota, and for other public and private -buildings. His decoration, “The Beneficence of the Law,” in the Essex -County Courthouse at Newark, New Jersey, is one of his best-known -paintings. - -Of late years Mr. Cox has spent much time on wall decorations. He is a -maker of pictures and a master of line; but is not an interpreter of -life nor an exploiter of ideas. - -He is the author of a number of books on art, among which are “Old -Masters and New,” and “Painters and Sculptors,” in addition to some -poems. He was elected to the National Academy in 1903, and has received -many medals and honors. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67 - COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC. - - - - -[Illustration: Copyright, by Hotel Imperial - -Bowling on the Green, by E. A. Abbey. - -In the grill of the Hotel Imperial, New York City] - - - - -AMERICAN MURAL PAINTERS - -By ARTHUR HOEBER - -_Author, Artist, and Critic_ - -[Illustration] - -THE MENTOR · DEPARTMENT OF FINE ARTS · SEPT. 15, 1914 - -_MENTOR GRAVURES_ - - RETURN OF THE BATTLE FLAGS By Edward Simmons - THE APOTHEOSIS OF PENNSYLVANIA By E. A. Abbey - THE BENEFICENCE OF THE LAW By Kenyon Cox - HOSEA--DETAIL OF THE PROPHETS By John Sargent - DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL By E. H. Blashfield - THE PLEIADES By Elihu Vedder - - -[Illustration: DAWN, by T. W. Dewing - -Ceiling decoration in the grill of the Hotel Imperial, New York City - - “Oh, tenderly the haughty day - Fills his blue urn with fire!” - ---Ralph Waldo Emerson.] - -The story of mural painting in America dates back just a trifle over -half a century; yet so rapidly do we develop things in this country -that today the names of half a hundred men and women who have done -distinguished work in this direction come to mind in any review of -native accomplishment. However, the art of decoration is one of the -oldest in the history of the world, examples of which have been handed -down from almost prehistoric times. Traditions reach us--examples -too--from the great civilizations of Egypt, Assyria, Greece, Rome, -in Europe; while on our own continent there remain records of art in -the way of wall decorations in Mexico and Central America, of beauty, -taste, and invention, that baffle all efforts to classify as to their -age. Says a great art writer, “No society, however rudimentary, -has altogether ignored art.” Within the last few years prehistoric -paintings by men who probably lived on reindeer flesh have been -discovered in caves of the Pyrenees, paintings of no little artistic -merit and surely artistic instinct. - -With the name of John La Farge must begin any account of the history of -mural painting in America. The name is an honored one in the annals -of our art development, and he has been dead only a few years, after -a long life of devotion to high artistic ideals. It was in 1861 that -he completed a panel for the church of the Paulist Fathers, in New -York. The theme was “Saint Paul Preaching at Athens.” The architects, -however, rejected the work for reasons that seem never to have been -recorded, and the next year La Farge began a large triptych[1] of “The -Crucifixion”; though he completed only two of the smaller divisions -of the composition. These he kept in his studio for many years, until -they were purchased by the late William C. Whitney. But his work in -the meantime had been remarked, and he received an order for some -decorations for a dining room; while the architect H. H. Richardson, -in 1876, offered him a commission to take charge of the interior -decoration of Trinity Church, Boston. This work was completed in about -four months. La Farge chose as assistants Francis Lathrop, Francis D. -Millet, George W. Maynard, and Augustus Saint-Gaudens the sculptor, -among others. The work was satisfactorily completed, and remains today -one of the great accomplishments in this country. After this La Farge -was asked to decorate Saint Thomas’ Church in New York, which was -followed by his decorations for the Church of the Incarnation in the -same city. - - [1] A picture on three panels side by side. - -[Illustration: Copyright, 1904 - -THE EDICT OF TOLERATION, by E. H. Blashfield - -This is the central section of a decoration in the courthouse at -Baltimore, Maryland] - -[Illustration: THE LIGHT OF LEARNING - -By Kenyon Cox - -Lunette in the public library at Winona, Minnesota] - - -LA FARGE’S MASTERPIECE - -In the Church of the Ascension, however, is La Farge’s masterpiece, -without doubt the greatest piece of church decoration in this country. -The theme is “The Ascension of Our Lord,” a composition arranged in two -groups, one of the ascending Christ amid the clouds, the other of the -disciples with Mary the Mother standing on the ground gazing upon the -wonder passing beyond their vision. The composition is one of great -dignity and deep religious feeling; the vision of the painter is most -distinguished; while there are both balance and harmony, and the color -scheme is highly decorative and rich. - -The work was immediately followed by many others, including a music -room for the residence of the late Whitelaw Reid, rooms in the -residence of Cornelius Vanderbilt, and many churches; while later -was to come the work for great public buildings, culminating in the -decorations for the Supreme Court room of the new capitol at St. -Paul, Minnesota, a colossal undertaking comprising many large panels. -La Farge did not, however, confine his activities entirely to mural -painting; for during his long career in art he was identified with work -in stained glass, to which he gave great attention. His achievements in -this direction were among the most distinguished that have ever been -attained in the history of the world. - -[Illustration: EGYPTIAN DANCE - -By William De L. Dodge - -In the Majestic Theater at Boston, Massachusetts] - - -WILLIAM M. HUNT - -Before we come to the group of present workers in mural painting -it is necessary that we consider an earlier man, again one of the -pioneers, the artist William M. Hunt of Boston, who in 1878 obtained -the commission to decorate the New York state capitol at Albany. The -result was a fine series of pictures, well composed; but unfortunately -they survive only in reproductions, the originals having been painted -directly on the walls. These, owing to faulty construction, did not -long remain intact, falling out of plumb, and they had to be supported -by beams until they were finally entirely destroyed. Hunt had been a -pupil of Thomas Couture (koo-toor´) in Paris, a man who had strong -influence on his work, and these decorations were very reminiscent of -his master. The pictures were fifteen by forty-five feet in size, and -the themes were “The Flight of Night” and “The Discoverer,” of which -only photographs remain to tell the tale. - -Today the mural painter produces his work on canvas instead of on the -wall, a process that enables him to do most of the labor in the studio, -and in case of necessity this, after being attached to the walls, can -be taken down again and so preserved. - - -MURAL ART AT “THE WHITE CITY” - -It was on the occasion of the planning of the World’s Columbian -Exposition of 1893 in Chicago that the first real impetus to mural -decoration was given in America. This occasion disclosed to the citizen -the possibilities of the native artist, as well as the esthetic value -of such embellishment in public edifice and in private home. The -administrative body of the fair, determining upon a decorative scheme -to be properly carried out, appointed to take charge of the mural -painting Francis D. Millet, and as assistant, Charles Yardley Turner. -A selection of artists was made to execute the work, who were J. Alden -Weir, Edwin Howland Blashfield, George W. Maynard, Robert Reid, Edward -Simmons, Charles Stanley Reinhart, Carroll Beckwith, Kenyon Cox, Gari -Melchers, William De L. Dodge, and Walter McEwen. - -[Illustration: THE CUMÆAN SIBYL, by Elihu Vedder - -At Wellesley College] - -[Illustration: Copyright, 1898, by E. Vedder. From a Copley Print, -copyright, 1899, by Curtis & Cameron, Inc. - -SAMSON, by Elihu Vedder] - -Blashfield and Maynard had had some slight experience in decorative -work; but the rest were practically novices, though all had been -serious, capable students in Paris, and were familiar with examples of -the decorative arts of history. Millet was a rare executive, a man who -was subsequently to do an enormous amount of just such work. It will be -remembered that he went down to his death in the ill-fated Titanic. Of -the rest of the group Weir, Reinhart, Beckwith, Melchers, and McEwen -returned to their easel picture work after the Chicago fair, with only -an occasional decoration. Blashfield, Maynard, Simmons, Cox, and Dodge -have, however, continued to be strongly identified with mural work, -and these men must receive closer attention. The decorative scheme at -Chicago was a remarkable achievement, all things considered, and the -grounds were referred to as “The White City,” “The Fair City,” “The -City of Dreams,” and finally, alas! as “The Vanishing City”; but in -reality nothing like it was ever seen before and probably never will be -again. - -[Illustration: THE PROPHETS, by John Sargent - -In the Boston Library. Center panel, showing Elijah, Moses, and Joshua] - - -EDWIN HOWLAND BLASHFIELD - -Of this group Mr. Blashfield has been more largely identified with -decorations all over the land than the rest. The list of his mural -work is a large one. A pupil of Bonnât’s (bo-nah´) in Paris, a writer -of great charm, and a most serious student of his profession, Mr. -Blashfield brought to his art scholarly endowments of a high order. -After his work of decorating the dome of the Manufacturers’ Building -at Chicago came a series of commissions to embellish various homes -of private individuals,--Collis P. Huntington, the Drexels, the -Vanderbilts, Adolf Lewisohn, and others,--with work for the Library -of Congress, the Appellate Court of New York, the ballroom of the -Waldorf-Astoria Hotel, the Prudential Life Insurance Company of Newark, -New Jersey, the state capitols of Minnesota, Wisconsin, Idaho, and -other states, with innumerable courthouses at Baltimore, Newark, -Hudson County (New Jersey), Youngstown (Ohio), the Federal Building at -Cleveland, some schools, and many more. In these he disclosed enormous -invention, great facility, a good pictorial sense of composition, and -generally a scholarly grasp of decorative requirements. - - -KENYON COX - -Kenyon Cox, likewise a pupil of the Paris schools under J. L. Gérôme -(zhay-rome´), has been largely identified with decorative work -throughout the land. A distinguished draftsman and a writer on art -as well, Mr. Cox is represented with decorations in the Walker Art -Gallery, Bowdoin College, in various state capitols and public -libraries, in the Appellate Court of New York and other courthouses -throughout the Union, and was awarded the medal of honor for mural -painting by the Architectural League in 1910. He too is represented in -the mural decorations of the Congressional Library at Washington. - -[Illustration: THE LIGHT OF LEARNING - -By Robert Reid - -Copyright, 1909, by Robert Reid] - - -JOHN SINGER SARGENT - -Mr. Sargent, perhaps the most prominent figure in the modern world of -art, a man whose success has rarely been duplicated, a painter of the -portrait above all, has confined his mural work to the decorations in -the Boston Public Library. These are of such superlative quality as -to cause regret that the man, in the course of a most active artistic -life, could not have found time to do more. Mr. Sargent’s parents were -Americans. They are his sole claim to nationality; for he was born in -Italy, received his art education in France, and has resided for many -years in England. Sargent, in short, is thoroughly cosmopolitan in -himself and in his art. His Boston Library decorations are singularly -original, of profound symbolism, disclosing deep intellectuality and -serious study. His work here, says William A. Coffin, “as a whole is -like a casket of jewels.” It consists of a frieze, a lunette,[2] and an -arched ceiling. In the latter are depicted the gods of polytheism and -idolatry; there are panels of the Prophets in the lunette, and the Jews -are represented by twelve nude figures in subjection to the Egyptians -and Assyrians, typified by figures of Pharaoh and the Assyrian king. -It is a most elaborate symbolism, thoroughly consistent, wonderfully -worked out, and of absorbing interest. - - [2] A form of decoration over door, window or in - arches--shaped like a half moon. - - -EDWIN A. ABBEY’S DECORATIONS - -Edwin A. Abbey, in another chamber of this Boston Library, the delivery -room, has his now world-famous decoration, the story of the Holy Grail, -perhaps the most popular mural work in this country, certainly the best -known, and the shrine for many years of the tourist. It is a series of -panels narrating the history of the knights of the Arthurian legend, -exquisitely told, for Abbey was a master illustrator, and there is -great charm of arrangement and color, all making a popular appeal. -Mr. Abbey was further commissioned to decorate the state capitol at -Harrisburg, Pennsylvania. He attacked this work with great interest -and enthusiasm, but his labors were interrupted by his death. The task -was then taken up by Miss Violet Oakley, herself a distinguished mural -painter, who, though handicapped by the circumstances of having to -follow out the scheme of another artist, nevertheless disclosed great -capacity and has made a success of the performance. - -[Illustration: FAMOUS WOMEN, by Barry Faulkner - -Decoration for the house of Mrs. E. H. Harriman at Arden, New York. -From left to right the women pictured are Cornelia, Beatrice, Judith, -Queen of Sheba, Joan of Arc, Helen of Troy, and Pocahontas] - - -PUBLIC LIBRARY DECORATIONS - -The Boston Library, it may be stated, offered opportunity for -decorative work of an unusual nature, which was taken advantage of -by several of the better known men. Elmer E. Garnsey made remarkable -designs for the Pompeian lobby, and John Elliott a ceiling in the -children’s reference room. The Congressional Library at Washington -offered still greater opportunities, engaging the attention of a long -list of painters. Here again is seen the hand of Mr. Garnsey, who -planned the color scheme; while prominent among the decorations are -the works of Elihu Vedder,--six large panels representing Government -in its various phases, good and corrupt, of much invention in their -allegorical way; for the artist is a highly imaginative man. Mr. -Brownell places Vedder in the front rank of the imaginative painters of -the day, adding, “Their name is not legion.” Other men who contributed -to the Library of Congress include John W. Alexander, who is further -represented at Pittsburgh, in the Carnegie Institute, with most -important wall decorations; Gari Melchers; Robert Reid, whose list -of other work is extensive, including decorations for the capitol at -Boston; Henry O. Walker, also represented in the Appellate Court in New -York. - -[Illustration: PENNSYLVANIA EXCAVATIONS, by Fred Dana Marsh] - - -EDWARD SIMMONS, ROBERT BLUM, AND OTHERS - -In addition to these was a painter who has also been one of the most -prominent of the decorative men, Edward Simmons. Years ago he won -the competition for a decoration for the Criminal Court room in New -York, a prize awarded by the Municipal Art Society. A pupil of the -Paris schools, a master draftsman, a singularly capable man, his three -panels of the Fates won him instant place, and when he further made two -decorations for the Massachusetts state capitol there was opened to him -a field which he has since followed with distinction. Decorations for -the ballroom of the Waldorf-Astoria, panels for the Appellate Court, -for various state capitols and public buildings, and finally enormous -embellishments for the Panama fair in San Francisco, place the man in -the front rank. - -For pure beauty of invention, for charm of drawing and delicacy of -vision, no American decoration has surpassed the two lovely panels -executed by the late Robert Blum for the frieze of the assembly room -of the Mendelssohn Glee Club in New York. They attracted enormous -attention when they were first completed, and have been reproduced in -many forms. Blum was a highly original painter, and these many figures -representing “Music” and “The Dance” have a grace quite their own. - -[Illustration: Reproductions of these paintings made by The Detroit -Publishing Co. - -Copyright, 1912, by The Curtis Publishing Co. - -Copyright, 1914, by The Detroit Publishing Co. - -THREE PANELS, by Maxfield Parrish - -These three panels are part of a series called “A Florentine Fête,” -which decorates the entire front of the dining room of the Curtis -Publishing Company’s building in Philadelphia] - -Thomas W. Dewing, more identified with easel work, has nevertheless -executed several charming decorations, one in the Imperial Hotel, New -York, “Dawn,” ranking high indeed. It has all the man’s personal color -vision, and is exquisitely dainty and graceful. - -Several men were concerned in the wall decorations of the Appellate -Court, among them H. Siddons Mowbray and Willard L. Metcalf. The first -named chose for theme “The Transmission of the Law,” which he rendered -in a scholarly as well as artistic manner. Mr. Mowbray has executed a -ceiling for the library of the University Club of New York, a large -work for the Newark courthouse, and many private commissions. - -The Waldorf-Astoria Hotel gave early opportunities for the work of -Will H. Low and Frank Fowler, both of whom carried out interesting -schemes of decoration; while work in the church of the Paulist Fathers -in New York offered a similar chance for William Laurel Harris. Fred -Dana Marsh showed the possibilities of large engineering achievements -for decorative material in a large panel in the rooms of the United -Engineering Societies. It is an apotheosis[3] of labor, of the pick, -the shovel, and the iron and steel worker, and Mr. Marsh was singularly -original in the composition. - - [3] An apotheosis celebrates and exalts a subject in ideal - forms of expression. - -[Illustration: THE CITY OF NEW YORK, THE EASTERN GATEWAY OF THE -AMERICAN CONTINENT - -By Taber Sears, in the New York City Hall] - -John W. Alexander, better known as a portrait painter, also chose -similar themes with which to decorate the Carnegie Institute of Art in -Pittsburgh, a successful piece of work. Robert van V. Sewell, for the -home of George Gould, at Lakewood, did a fine frieze representing “The -Canterbury Tales.” And a later man is Barry Faulkner, whose panel for -the home of Mrs. Harriman, “Famous Women,” is a happy arrangement of -the many celebrated feminists. The work of Albert Herter is specially -noteworthy. Hugo Ballin has executed large decorative work, and Howard -G. Cushing has made strikingly original panels. Other men are Taber -Sears, with altar pieces, Joseph Lauber, Charles M. Shean, Douglas -Volk, and William B. Van Ingen. Walter Shirlaw occupied himself at -times with decorations, and Abbott H. Thayer has likewise executed a -few notable mural paintings. - - -SUPPLEMENTARY READING - -MURAL PAINTING IN AMERICA _By Edwin Howland Blashfield._ Charles -Scribner’s Sons, New York. - -AMERICAN MURAL PAINTING _By Pauline King._ Noyes, Platt & Co., Boston. - -THE HISTORY OF AMERICAN PAINTING _By Samuel Isham._ The Macmillan -Company, New York. - -THE STORY OF AMERICAN PAINTING _By Charles H. Caffin._ Frederick A. -Stokes Company, New York. - - - - -THE MENTOR READING CIRCLE - - -[Illustration: CHARITY, by Abbott Thayer - -In the Boston Museum] - -A mural painting is a decoration intended for the adornment of a wall -or ceiling. As a rule, it is painted in more or less simple, flat -tones, so as to carry some distance, and under the old methods, known -as fresco painting, it was a process of painting in water colors on -wet plaster, the portion of the wall on which the artist was to paint -being prepared over night, so as to be in proper state to receive the -color. The painter had to work from a scaffold. He was also hampered by -awkward positions and, frequently, bad lighting facilities. This method -was in general use from the early days of Giotto (1266-1337), to those -of Raphael (1483-1520). Some of the Italians use it even now. - - * * * * * - -So mural painting differs materially from a picture painted on an -easel. The easel picture has more detail, is placed in a frame when -finished, and is destined to make a decorative spot on the walls. The -modern mural painter now executes his design directly upon canvas in -his studio, and when it is completed it is applied to the wall space by -a composition of glue and white lead. When this is thoroughly dry it -becomes practically a part of the construction, though it is possible -at any time to remove it, by peeling it off, should it be necessary. -As a rule, the painter of a great mural work makes first a small -sketch. This is subsequently enlarged by himself, or his assistants, -by the process of “squaring up,” and so it is brought to the correct -size. These enlargements are known as “cartoons,” which are traced on -the canvas or the plaster, and when thus drawn in are ready for the -painter’s brush. - -Almost the first efforts of primitive man in picture making were -decorations of the walls of his rude house, and later his temples -and public buildings. There are examples from the civilizations of -Egypt, Greece, and Rome wherein the work was carried to the greatest -perfection. We have splendid specimens of brilliant coloring from the -great temples in the land of the Pharaohs, on their tombs and palaces, -that have remained fresh and well nigh perfect all these centuries, -while throughout Italy, in palaces and churches the work of the -Renaissance artists challenges the greatest admiration. - - * * * * * - -Upon the walls of the buried city of Pompeii still are frescoes that -seem painted yesterday, so fresh is the color. The work of Michelangelo -and of Raphael in the Vatican at Rome is perhaps the greatest of any -known decorative efforts. Throughout France and Germany the work -has been greatly fostered by commissions from the state for public -buildings of all sorts, for splendid mansions and palaces of royalty. -In France, particularly, great attention is given to mural work. The -work of the French painter Puvis de Chavannes today is a return, to -a certain extent, to the ideals and methods of expression, to the -simplicity of theme and treatment of the early masters. He remains -by general consent the greatest of all modern decorators, and we are -fortunate in America in having admirable specimens of his work in the -Boston Public Library. Our modern men, in their mural work, use as a -rule oil paints mixed with wax, in order to secure a flat effect and to -do away with any reflection on the surface. - - - - -Complete Your Mentor Library - - -Subscriptions always begin with the current issue. The following -numbers of The Mentor Course, already issued, will be supplied at the -rate of fifteen cents each. Send your list, and the numbers will be -shipped at once, charges prepaid. - -Serial No. - - 1. Beautiful Children in Art - 2. Makers of American Poetry - 3. Washington, the Capital - 4. Beautiful Women in Art - 5. Romantic Ireland - 6. Masters of Music - 7. Natural Wonders of America - 8. Pictures We Love to Live with - 9. The Conquest of the Peaks - 10. Scotland, the Land of Song and Scenery - 11. Cherubs in Art - 12. Statues with a Story - 13. Story of America in Pictures: The Discoverers - 14. London - 15. The Story of Panama - 16. American Birds of Beauty - 17. Dutch Masterpieces - 18. Paris, the Incomparable - 19. Flowers of Decoration - 20. Makers of American Humor - 21. American Sea Painters - 22. Story of America in Pictures: The Explorers - 23. Sporting Vacations - 24. Switzerland: The Land of Scenic Splendors - 25. American Novelists - 26. American Landscape Painters - 27. Venice, the Island City - 28. The Wife in Art - 29. Great American Inventors - 30. Furniture and its Makers - 31. Spain and Gibraltar - 32. Historic Spots of America - 33. Beautiful Buildings of the World - 34. Game Birds of America - 35. Story of America in Pictures: The Contest for North America - 36. Famous American Sculptors - 37. The Conquest of the Poles - 38. Napoleon - 39. The Mediterranean - 40. Angels in Art - 41. Famous Composers - 42. Egypt, the Land of Mystery - 43. Story of America in Pictures: The Revolution - 44. Famous English Poets - 45. Makers of American Art - 46. The Ruins of Rome - 47. Makers of Modern Opera - 48. Dürer and Holbein - 49. Vienna, the Queen City - 50. Ancient Athens - 51. The Barbizon Painters - 52. Abraham Lincoln: Volume 2 - 53. George Washington - 54. Mexico - 55. Famous American Women Painters - 56. The Conquest of the Air - 57. Court Painters of France - 58. Holland - 59. Our Feathered Friends - 60. Glacier National Park - 61. Michelangelo - 62. American Colonial Furniture - 63. American Wild Flowers - 64. Gothic Architecture - 65. The Story of the Rhine - 66. Shakespeare - - - - -THE MENTOR COURSE TO COME - - -The next number of The Mentor, to appear on October 1, will contain six -beautiful photogravures. - -CELEBRATED ANIMAL CHARACTERS - -Silver King, Ivan, Sultan, Czar, Gunder, The Bison Herd _By W. T. -HORNADAY, Director New York Zoölogical Park_ - -NUMBERS TO FOLLOW - -Oct. 15. JAPAN - -One of Mr. Elmendorf’s interesting travel articles, full of information -about a country that engages the interest of the whole world today. The -pictures are varied and most attractive. - -_By Dwight L. Elmendorf, Lecturer and Traveler._ - -Nov. 2. THE STORY OF THE FRENCH REVOLUTION - -Professor Hart presents in a style that is both scholarly and popular -the great drama of French history. There are many volumes treating of -single phases, or chapters of the French Revolution, but Professor -Hart’s article supplies a real need in picturing in large, simple -outlines the great subject as a whole, so that any reader may get a -complete impression. The illustrations picture the great personages and -important events of the Revolution. - -_By Albert Bushnell Hart, Professor of Government, Harvard University._ - -Nov. 16. RUGS AND RUG MAKING - -Mr. Mumford is qualified as few are to write on this subject. He has -traveled for years in pursuit of the study of rugs, and he is the -author of a standard work on the subject. He writes, moreover, in an -easy, entertaining, and informing way. The pictures, some of which are -in full colors, contribute great value, interest, and beauty to the -article. - -_By J. K. Mumford, Author and Expert on Oriental Rugs._ - -Dec. 1. ALASKA - -One of the most important and interesting travel articles that The -Mentor has offered. The writer, Mr. Belmore Browne, knows Alaska more -thoroughly perhaps than any living writer and artist. He has been for -years an explorer and hunter of big game in the far Northwest, and he -is celebrated especially for having achieved the conquest of Mount -McKinley together with Professor Herschel Parker. - -_By Belmore Browne, Explorer, Author and Artist._ - - - - -The Mentor Service - - -This service covers the needs of those who want to gain knowledge by an -easy and agreeable method. - -Send for our booklet descriptive of The Mentor Club Service. 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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: American Mural Painters, vol. 2, Num 15, Serial No. 67, September 15, 1914 - -Author: Arthur Hoeber - -Release Date: December 12, 2015 [EBook #50673] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN MURAL *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<h1>THE MENTOR 1914.09.15, No. 67,<br /> -American Mural Painters</h1> - -<div class="figcenter" style="width: 486px;"> -<img src="images/cover.jpg" width="486" 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="center smaller">September 15, 1914<br /> -Vol 2 No. 15</p> - -<p class="center"><span class="larger">THE<br /> -MENTOR</span><br /> -<br /> -AMERICAN<br /> -MURAL<br /> -PAINTERS</p> - -<p class="center smaller">DEPARTMENT OF<br /> -FINE ARTS</p> - -<p class="center smaller">Serial Number 67</p> - -<p class="center">FIFTEEN CENTS A COPY</p> - -</div> - -<hr /> - -<div class="bbox"> - -<h2>The Mentor Association</h2> - -<div class="blockquote"> - -<p class="noindent">ESTABLISHED FOR THE DEVELOPMENT OF -A POPULAR INTEREST IN ART, LITERATURE, -SCIENCE, HISTORY, NATURE, AND TRAVEL</p> - -</div> - -<div class="figcenter" style="width: 111px;"> -<img src="images/mentor-bldg.jpg" width="111" height="150" alt="(decorative)" /> -</div> - -<p class="center">THE ADVISORY BOARD</p> - -<table summary="Advisory board members"> - <tr> - <td><i>JOHN G. HIBBEN</i></td><td class="tdr"><i>President of Princeton University</i></td> - </tr> - <tr> - <td><i>HAMILTON W. MABIE</i></td><td class="tdr"><i>Author and Editor</i></td> - </tr> - <tr> - <td><i>JOHN C. VAN DYKE</i></td><td class="tdr"><i>Professor of the History of Art, Rutgers College</i></td> - </tr> - <tr> - <td><i>ALBERT BUSHNELL HART</i></td><td class="tdr"><i>Professor of Government, Harvard University</i></td> - </tr> - <tr> - <td><i>WILLIAM T. HORNADAY</i></td><td class="tdr"><i>Director New York Zoölogical Park</i></td> - </tr> - <tr> - <td><i>DWIGHT L. ELMENDORF</i></td><td class="tdr"><i>Lecturer and Traveler</i></td> - </tr> -</table> - -<p class="center">THE PLAN OF THE ASSOCIATION</p> - -<p>The purpose of The Mentor Association is to give its members, in an -interesting and attractive way, the information in various fields of -knowledge which everybody wants and ought to have. The information -is imparted by interesting reading matter, prepared under the -direction of leading authorities, and by beautiful pictures, produced by the -most highly perfected modern processes.</p> - -<p>The object of The Mentor Association is to enable people to acquire -useful knowledge without effort, so that they may come easily and agreeably -to know the world’s great men and women, the great achievements -and the permanently interesting things in art, literature, science, history, -nature, and travel.</p> - -<p>The purpose of the Association is carried out by means of simple readable -text and beautiful illustrations in The Mentor.</p> - -<p>The annual subscription is Three Dollars, covering The Mentor -Course, which comprises twenty-four numbers of The Mentor in one year.</p> - -<p class="center">THE MENTOR</p> - -<p class="noindent">SUBSCRIPTION, THREE DOLLARS A YEAR. -SINGLE COPIES FIFTEEN CENTS. FOREIGN -POSTAGE 75 CENTS EXTRA. CANADIAN -POSTAGE 50 CENTS EXTRA. ENTERED -AT THE POST-OFFICE AT NEW YORK, N.Y., -AS SECOND-CLASS MATTER. COPYRIGHT, -1915, BY THE MENTOR ASSOCIATION, -INC. PRESIDENT AND TREASURER, R. -M. DONALDSON; VICE-PRESIDENT, W. M. -SANFORD; SECRETARY, L. D. GARDNER</p> - -<p class="center"><i>Issued Semi-Monthly by</i><br /> -<span class="smcap larger">The Mentor Association, Inc.</span><br /> -52 EAST 19th STREET, NEW YORK, N. Y.</p> - -</div> - -<hr /> - -<div class="figcenter" style="width: 650px;"> -<img src="images/plate1.jpg" width="650" height="460" alt="" /> -<p class="caption">THE PLEIADES, by Elihu Vedder. In the Metropolitan Museum of Art, New York City.</p> -</div> - -<hr /> - -<h2>American Mural Painters<br /> -<span class="smaller">ELIHU VEDDER</span></h2> - -<p class="centerbold">Monograph Number One in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Elihu Vedder said of his parents, “My mother went to -church; but I know that wherever a fish was to be found -my father went fishing,” and of his mother he said further, -“It had always been my mother’s wish that I should be a -great artist, and for her sake I wish it could have been so.”</p> - -<p>Vedder was born in New York City on February 26, 1836, and as a -boy attended the Brinkerhoff School in Brooklyn. In this institution -the greatest virtue was a good memory; the pupil who could best memorize -his lessons stood highest. Consequently Vedder, who always had -a bad memory, stood at the foot of his class. Nevertheless he showed -early evidences of his talent.</p> - -<p>He first studied under the genre (jonr) and historical painter Tompkins -H. Mattison, at Sherburne, New York. Then he went to Paris to study -in the atelier of the French painter Picot. He went to Italy in 1857, -where he worked for some years, and then returned to the United States -and remained there until 1865. In that year he was elected to full -membership in the National Academy of Design, New York City. He -went back to Paris and spent one winter there; but in January, 1867, -moved to Rome, where he has ever since resided. He has made many -visits to the United States; but Italy is his favorite dwelling place.</p> - -<p>At first Vedder devoted himself to the painting of genre pictures. -These, however, attracted only a little attention until 1884, when he -illustrated the Rubaiyat of Omar Khayyam. This immediately gave -him a high place in the art world. His important decorative work came -later. These subjects are principally imaginative.</p> - -<p>A pen picture by H. T. Carpenter, of Vedder in his Italian home, -gives a good idea of the personality of the man: “The picturesque personality -of the painter would impress one, whatever and wherever the -surroundings. As he came down those stone steps” (of his studio in -Rome), “a bunch of large keys in his hand to open the gate, explaining -the while the reason for the absence of the porter and attendant of all -work, with a gentleness born of a natural sympathy for the under dog, -he looked the man one might imagine the creator of such work as is -shown in the series of drawings of the Rubaiyat of Omar Khayyam, or -the Congressional Library and the Bowdoin College decorations, or the -mural work in the Huntington house, with its incomparable central figure, -Luna,—his abundant wavy white hair, features of marked strength, -penetrating blue eyes, which alternately twinkled and analyzed, a long, -flowing white mustache, a striking head on massive shoulders, tall in -height; in fine, a picture of rugged picturesqueness that stood out even -in that land of artistic individuality, but never for a moment taken for -anything but a fine type of American. His manner was cordial, frank, -sincere, and unaffected, and one soon found out he was a good hater of -shams.”</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate2.jpg" width="460" height="650" alt="" /> -<p class="caption">DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL, by E. H. Blashfield.</p> -<p class="caption">In the Church of the Savior, Philadelphia, Pennsylvania.</p> -</div> - -<hr /> - -<h2>American Mural Painters<br /> -<span class="smaller">EDWIN HOWLAND BLASHFIELD</span></h2> - -<p class="centerbold">Monograph Number Two in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Edwin Howland Blashfield has a place in the front -rank of American mural painters through his elevation of -thought and his masterly execution. His imagination is -fertile and his treatment of subjects highly decorative. He -has been able to paint both history and legend, and has -placed them side by side in the same compositions.</p> - -<p>He was born on December 15, 1848, in New York City. He is a son -of William Henry Blashfield, and a brother of Albert Dodd Blashfield, -the illustrator.</p> - -<p>Blashfield studied first at the Boston Latin School. Then, in 1867, -he went to Paris to study under Leon Bonnât. He also received valuable -advice from Gérôme and Chapù. He exhibited for many years at the -Paris Salon, and also at the Royal Academy in London. In 1881 he -returned to the United States and married.</p> - -<p>For some years he was a painter of genre pictures; that is, pictures -of common life and its associations. Then he turned to decorative work, -which was marked by rare delicacy and beauty of color. At the World’s -Fair in Chicago in 1893 he painted mural decorations for a dome in the -Manufacturers’ Building. Later he did the great central dome of the -Congressional Library at Washington, the drawing room for the Huntington -residence, the decoration for the courtroom in the courthouse at -Baltimore, the decoration of the entire chancel in the Church of the -Savior at Philadelphia, and many other masterpieces of mural art.</p> - -<p>Blashfield is well known as a lecturer on art, and has written many -articles dealing with the subject. With Mrs. Blashfield he wrote, in -1900, “Italian Cities,” and together, with A. A. Hopkins, they edited -Vasari’s “Lives of the Painters.”</p> - -<p>At one time Blashfield was president of the Society of American -Artists. He is a member of the American Academy of Arts and Letters, -and many other societies. He makes his home in New York City.</p> - -<p>Blashfield has received many honors and medals, including a bronze -medal at the Paris Exposition in 1900, a gold medal at the St. Louis -Exposition in 1904, a Carnegie prize in 1911, and others.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<p class="captionleft">Copyright by M. G. Abbey.</p> -<p class="captionright">From a Copley Print. Copyright by Curtis & Cameron, Inc.</p> -<img src="images/plate3.jpg" width="460" height="650" alt="" /> -<p class="caption">THE APOTHEOSIS OF PENNSYLVANIA, <span class="smcap">By E. A. Abbey</span>. IN THE PENNSYLVANIA STATE CAPITOL AT HARRISBURG</p> -</div> - -<hr /> - -<h2>American Mural Painters<br /> -<span class="smaller">EDWIN AUSTIN ABBEY</span></h2> - -<p class="centerbold">Monograph Number Three in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Walk into the Public Library at Boston, and you will find -yourself in the midst of some of the most magnificent mural -decorations in America. There we find the great frieze of -The Prophets, by John Sargent, and in the delivery room is -the great decoration by Edwin Austin Abbey which is called -“The Quest of the Holy Grail.”</p> - -<p>In the early part of his life Edwin Abbey was an illustrator, celebrated -chiefly for his pen drawings. In later life his work became larger -in character, and he turned naturally to mural painting.</p> - -<p>Edwin Austin Abbey was born in Philadelphia, April 1, 1852. He -studied first at the schools of the Pennsylvania Academy of Fine Arts; -but at the age of nineteen left this and entered the art department of -the publishing house of Harper & Bros., New York City, where he became -successful as an illustrator. Associated with him were such artists -as Howard Pyle, C. S. Reinhart, and Joseph Pennell. In 1878 Harpers’ -planned to publish the poems of Robert Herrick, and sent Abbey to -England to gather material for the illustrations. These were published -in 1882, and attracted much attention. Illustrations for Goldsmith’s -“She Stoops to Conquer,” for a volume of old songs, and for the comedies -and a few of the tragedies of Shakespeare, followed. His water colors -and pastels were successful in the same degree.</p> - -<p>Abbey by this time had become closely identified with the art life -of England. In 1883 he was elected to the Royal Institute of Painters -in Water Colors. His first oil painting was exhibited at the Royal Academy -in London in 1890, which was called “A May Day Morning.” He -became a full Royal Academician in 1898.</p> - -<p>His mural decoration called “The Quest of the Holy Grail,” in the -Boston Public Library, on which he was occupied for several years, deserves -special mention. In 1901 King Edward VII commissioned him -to paint a picture of the coronation. During his life many honors were -showered upon him. Abbey died in 1911.</p> - -<p>In “The Apotheosis of Pennsylvania,” below to the left are Sir Walter -Raleigh, who had a grant in Pennsylvania; Henry Hudson, who discovered -and sailed up the Delaware River; Captain Minuit, the explorer -and navigator, and others. To the right are a pioneer and representatives -of various religious sects that settled in Pennsylvania. Below -these, beginning at the left, are ships on the stocks, the city troopers, -General Wayne, Atkinson (the first American judge), the first provost -of the University of Pennsylvania, Bishop White (the first American -bishop), and others, among them Dr. Caspar Wistar, Benjamin Franklin, -William Penn, and Robert Morris. At the left are Governor Curtis -and Thaddeus Stevens cheering the soldiers of 1861 marching to defend -the state, officered by Generals Hancock and Meade. On the right are -miners and workers in steel and iron, machinery, and so forth.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<p class="captionleft">Copyright by Edward Simmons.</p> -<p class="captionright">From a Copley Print. Copyright by Curtis & Cameron, Inc.</p> -<img src="images/plate4.jpg" width="460" height="650" alt="" /> -<p class="caption">RETURN OF THE BATTLE FLAGS, by Edward Simmons. In the Massachusetts State House. Boston, Massachusetts.</p> -</div> - -<hr /> - -<h2>American Mural Painters<br /> -<span class="smaller">EDWARD EMERSON SIMMONS</span></h2> - -<p class="centerbold">Monograph Number Four in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Edward Emerson Simmons had many disappointments -to contend with during the early part of his life; but -he overcame them all, and has made for himself a place in the -foremost rank of American artists.</p> - -<p>He comes from good old Massachusetts stock. His -mother was a sister of Ralph Waldo Emerson, the famous American -poet and essayist. Simmons was born at Concord, Massachusetts, on -October 27, 1852. He went to Harvard University, and graduated from -there in 1874 with great honor. It is a fact worthy of remark that the -class of 1874 contains many men who have achieved distinction.</p> - -<p>After graduating Simmons went to Paris to study art, where his -teachers were Lefebvre and Boulanger. At the schools he was very -popular, and his easel was the favorite loafing place for the other members -of his class.</p> - -<p>In 1881 he exhibited at the Salon a portrait of a gentleman in Highland -costume, which attracted great attention. The following summer he -went to Brittany, where he remained for sometime. He made his home -at Concarneau in Finistère, a fishing port famous for its sardines. There -Simmons experimented with all kinds of painting,—landscape, marine, -and figure,—and took the lead in the art life of the colony, among whom -were painters from France, England, and America.</p> - -<p>In 1882 he sent to the Salon a painting called “La Blanchisseuse,” a -picture of a Breton girl carrying the clothes from the brookside, where -she had been washing them, which is a custom in Brittany. The picture -received honorable mention.</p> - -<p>In 1891 his class at Harvard decided to give a memorial window, and -Simmons got the commission. Then came the World’s Fair at Chicago -in 1893, and Simmons obtained the commission to decorate the dome of -the Liberal Arts Building. He chose for his subject four objects of American -labor,—wood, iron, stone, and fiber. This painting shows strength, -directness, simplicity, and dignity. It was his first mural decoration, -and was a good experience. He saw his opportunity and made the most -of it.</p> - -<p>Almost immediately came the commission to decorate the Criminal -Court Buildings of the Courts of Oyer and Terminer in the city of New -York, which he worked out with enthusiasm. The subject represented -is Justice, in the shape of a stately, dignified figure with a globe in one -hand and the scales in the other. He draped this figure in an American -flag; a hard problem, but cleverly worked out. The side panels to the -right represent the Three Fates; those to the left, Liberty, Equality, -and Fraternity.</p> - -<p>Then came the commission for decorating the Congressional Library -at Washington. He chose as his subject the nine muses.</p> - -<p>Following this he received many commissions for work in private residences, -and for a series of paintings for the Waldorf-Astoria Hotel, New -York City.</p> - -<p>Simmons was one of the original members of the Ten American Painters, -and is a member of the National Institute of Arts and Letters.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 225px;"> -<p class="captionleft">FROM A COPLEY PRINT. COPYRIGHT BY CURTIS & CAMERON, INC.</p> -<img src="images/plate5.jpg" width="225" height="650" alt="" /> -<p class="caption">HOSEA—DETAIL OF THE PROPHETS, <span class="smcap">by John Sargent</span></p> -<p class="caption">IN THE PUBLIC LIBRARY. BOSTON, MASSACHUSETTS</p> -</div> - -<hr /> - -<div class="blockquote"> - -<div> -<img class="dropcap" src="images/dropcap-fancy-h.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">“Hosea,” a detail of the frieze of “The -Prophets,” by John Singer Sargent, in -the Public Library, Boston, is the -subject of one of the intaglio-gravure -pictures illustrating “American Mural Painters.”</p> - -</div> - -<h2>JOHN SINGER SARGENT</h2> - -<p class="centerbold">Monograph Number Five in The Mentor Reading Course</p> - -<p>John Singer Sargent has been -called the most “modern of moderns, -one of the most dazzling men of talent -of the present day.”</p> - -<p>Sargent is in reality an American only -by parentage; for he was born at Florence, -Italy, on January 12, 1858, and -since 1884 has lived in London. Sargent’s -father was Dr. Fitzwilliam Sargent, -a distinguished Boston physician. -Sargent as a child was very sensitive, and -was greatly influenced by the art treasures -of his birthplace. He received his early -education in Italy and Germany, and his -impressionable nature amid such surroundings -was shaped by the atmosphere -of the famous Tuscan city, which left its -refining mark upon all his work. The -parents of many artists of genius have -attempted to dissuade their sons from -becoming painters. On the contrary, -however, Sargent’s parents encouraged -him to draw from the canvases of Veronese, -Titian, and Tintoretto.</p> - -<p>In 1874, when Sargent was only eighteen, -he went to Paris to study, entering -the atelier of Carolus-Duran. A portrait -of his teacher painted toward the -close of his studentship won the commendation -of the best judges. He received -an honorable mention in the Salon -in 1878, and in 1881 a second-class medal -for his “Portrait of a Young Lady,” which -has been made famous by the appreciation -of Henry James, the distinguished -American novelist. As an artist with a -future he turned his steps to Spain. In -Madrid he studied the canvases of Velasquez -carefully, and this master has influenced -his entire art career. He seemed -to come so close to this great painter that -he was enabled to bring into the nineteenth -century the power of the most -modern of fifteenth century painters.</p> - -<p>Sargent returned to Paris in 1882 and -exhibited “El Jaleo,” a picture representing -a Spanish woman dancing, which -attracted a great deal of attention, and -is now in the Boston Art Museum. Soon -afterward Sargent drifted to London, and -in 1886 his “Carnation, Lily, Lily, Rose” -brought him immediate recognition. He -rapidly became known in London as a -brilliant portrait painter, and year by -year his Academy portraits were the -features of the exhibitions. His success -was now assured, and his sitters included -the men and women of greatest distinction -in the literary, artistic, and social life -of both Europe and America.</p> - -<p>He is best known as a portrait painter; -but at the same time he has done much -excellent decorative work, and his decorations -for the Boston Public Library, -“The Pageant of Religion,” among which -was the frieze of “The Prophets,” which -were completed in 1903, placed him -among the leading mural painters of -America.</p> - -<p>Sargent was elected a member of the -Royal Academy in London in 1894, and -in addition to this he has won many other -honors. And unlike many American artists -residing in Europe, he has always -retained his directness and independence.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<p class="captionleft">Copyright 1907 by DeW C. Ward.</p> -<img src="images/plate6.jpg" width="460" height="650" alt="" /> -<p class="caption">THE BENEFICENCE OF THE LAW by Kenyon Cox. In the Essex County Courthouse, Newark, New Jersey.</p> -</div> - -<hr /> - -<h2>American Mural Painters<br /> -<span class="smaller">KENYON COX</span></h2> - -<p class="centerbold">Monograph Number Six in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-n.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Not only has Kenyon Cox placed himself in the front rank of -American artists through his paintings, but he has also -made a name for himself as an art critic.</p> - -<p>He was born at Warren, Ohio, on October 27, 1856. His -father was General Jacob Dolson Cox. He studied art when -quite young, first at Cincinnati and Philadelphia, and then at the age of -twenty-one went to Paris to study. There for five years he was under -Carolus-Duran and Gérôme.</p> - -<p>In 1882 he returned to New York and opened a studio there. Shortly -after this he began teaching in the Art Students’ League, and had much -success in that line. In 1892 he married Louise Howland King, who is -well known as a painter herself.</p> - -<p>The earlier work of Cox consisted mostly of the nude. He received -little encouragement for these pictures, however, and turned to mural -decoration, in which he has achieved prominence. His first step toward -mural work was the painting of two decorations for the Library of Congress -at Washington. In two tympanums (the flat, triangular part of a -pediment) each thirty-four feet in length, he has painted the Arts and -the Sciences. Among his better known examples are the frieze for the -courtroom of the Appellate Court, New York City, and the decorations -for the Walker Art Gallery at Bowdoin College, for the Capitol at St. -Paul, Minnesota, and for other public and private buildings. His decoration, -“The Beneficence of the Law,” in the Essex County Courthouse -at Newark, New Jersey, is one of his best-known paintings.</p> - -<p>Of late years Mr. Cox has spent much time on wall decorations. He -is a maker of pictures and a master of line; but is not an interpreter of -life nor an exploiter of ideas.</p> - -<p>He is the author of a number of books on art, among which are “Old -Masters and New,” and “Painters and Sculptors,” in addition to some -poems. He was elected to the National Academy in 1903, and has received -many medals and honors.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 2, No. 15. SERIAL No. 67<br /> -COPYRIGHT, 1914. BY THE MENTOR ASSOCIATION. INC.<br /></p> - -<hr /> - -<div class="figcenter" style="width: 400px;"> - -<img src="images/illus15.jpg" width="400" height="117" alt="" /> - -<p class="captionleft">Copyright, by Hotel Imperial</p> - -<p class="caption">Bowling on the Green, by E. A. Abbey. In the grill of the Hotel Imperial, New York City</p> - -</div> - -<h2>AMERICAN<br /> -MURAL PAINTERS</h2> - -<p class="center">By ARTHUR HOEBER</p> - -<p class="center"><i>Author, Artist, and Critic</i></p> - -<div class="figcenter" style="width: 40px;"> -<img src="images/book.jpg" width="40" height="40" alt="(decorative)" /> -</div> - -<p class="center">THE MENTOR · DEPARTMENT OF FINE ARTS · SEPT. 15, 1914</p> - -<p class="center"><i>MENTOR GRAVURES</i></p> - -<ul> -<li>RETURN OF THE BATTLE FLAGS<br />By Edward Simmons</li> -<li>THE APOTHEOSIS OF PENNSYLVANIA<br />By E. A. Abbey</li> -<li>THE BENEFICENCE OF THE LAW<br />By Kenyon Cox</li> -<li>HOSEA—DETAIL OF THE PROPHETS<br />By John Sargent</li> -<li>DETAIL OF THE ANTHONY DREXEL MEMORIAL CHANCEL<br />By E. H. Blashfield</li> -<li>THE PLEIADES<br />By Elihu Vedder</li> -</ul> - -<div class="figright" style="width: 300px;"> - -<img src="images/illus16a.jpg" width="300" height="300" alt="" /> - -<p class="caption">DAWN, by T. W. Dewing</p> - -<p class="caption">Ceiling decoration in the grill of the Hotel Imperial, -New York City</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="verse">“Oh, tenderly the haughty day</div> -<div class="verse">Fills his blue urn with fire!”</div> -<p class="right">—Ralph Waldo Emerson.</p> -</div> -</div> - -</div> - -<p>The story of mural painting in America dates back just a trifle over -half a century; yet so rapidly do we develop things in this country -that today the names of half a hundred men and women who have -done distinguished work in this direction come to mind in any review of -native accomplishment. However, the art of decoration is one of the oldest -in the history of the world, examples of which have been handed down -from almost prehistoric times. Traditions reach us—examples too—from -the great civilizations of Egypt, Assyria, Greece, Rome, in Europe; -while on our own continent there remain records of art in the way of -wall decorations in Mexico and Central America, of beauty, taste, and -invention, that baffle all efforts to classify as to their age. Says a -great art writer, “No society, however rudimentary, has altogether -ignored art.” Within the last few years prehistoric paintings by men -who probably lived on reindeer flesh have been discovered in caves of the -Pyrenees, paintings of no little artistic merit and surely artistic instinct.</p> - -<p>With the name of John La Farge must begin any account of the history -of mural painting in America. The name is an honored one in the -annals of our art development, and he has been dead only a few years, -after a long life of devotion to high artistic ideals. It was in 1861 that he -completed a panel for the church of the Paulist Fathers, in New York. -The theme was “Saint Paul Preaching at Athens.” The architects, however, -rejected the work for reasons -that seem never to have been recorded, -and the next year La Farge -began a large triptych<a name="FNanchor_1" id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">[1]</a> of “The -Crucifixion”; though he completed -only two of the smaller -divisions of the composition. -These he kept in his studio for -many years, until they were purchased -by the late William C. -Whitney. But his work in the -meantime had been remarked, -and he received an order for some -decorations for a dining room; -while the architect H. H. Richardson, -in 1876, offered him a commission -to take charge of the -interior decoration of Trinity -Church, Boston. This work was -completed in about four months. -La Farge chose as assistants Francis Lathrop, Francis D. Millet, George -W. Maynard, and Augustus Saint-Gaudens the sculptor, among others. -The work was satisfactorily completed, and remains today one of the -great accomplishments in this country. After this La Farge was asked -to decorate Saint Thomas’ Church in New York, which was followed -by his decorations for the Church of the Incarnation in the same city.</p> - -<div class="footnote"> - -<p><a name="Footnote_1" id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">[1]</span></a> A picture on three panels side by side.</p> - -</div> - -<div class="figcenter" style="width: 400px;"> - -<img src="images/illus16b.jpg" width="400" height="209" alt="" /> - -<p class="captionleft">Copyright, 1904</p> - -<p class="caption">THE EDICT OF TOLERATION, by E. H. Blashfield</p> - -<p class="caption">This is the central section of a decoration in the courthouse at Baltimore, Maryland</p> - -</div> - -<div class="figcenter" style="width: 400px;"> - -<img src="images/illus17.jpg" width="400" height="208" alt="" /> - -<p class="caption">THE LIGHT OF -LEARNING</p> - -<p class="caption">By Kenyon Cox</p> - -<p class="caption">Lunette in the -public library -at Winona, -Minnesota</p> - -</div> - -<h3>LA FARGE’S MASTERPIECE</h3> - -<p>In the Church of the Ascension, however, is La Farge’s masterpiece, -without doubt the greatest piece of church decoration in this country. -The theme is “The Ascension of Our Lord,” a composition arranged in -two groups, one of the ascending Christ amid the clouds, the other of the -disciples with Mary the Mother standing on the ground gazing upon the -wonder passing beyond their vision. The composition is one of great -dignity and deep religious feeling; the vision of the painter is most distinguished; -while there are both balance and harmony, and the color -scheme is highly decorative and rich.</p> - -<p>The work was immediately followed by many others, including a -music room for the residence of the late Whitelaw Reid, rooms in the residence -of Cornelius Vanderbilt, and many churches; while later was to -come the work for great public buildings, culminating in the decorations -for the Supreme Court room of the new capitol at St. Paul, Minnesota, a -colossal undertaking comprising many large panels. La Farge did not, -however, confine his activities entirely to mural painting; for during his -long career in art he was identified with work in stained glass, to which he -gave great attention. His achievements in this direction were among the -most distinguished that have ever been attained in the history of the world.</p> - -<div class="figcenter" style="width: 400px;"> - -<img src="images/illus18.jpg" width="400" height="243" alt="" /> - -<p class="caption">EGYPTIAN -DANCE</p> - -<p class="caption">By William De L. -Dodge</p> - -<p class="caption">In the Majestic -Theater at -Boston, -Massachusetts</p> - -</div> - -<h3>WILLIAM M. HUNT</h3> - -<p>Before we come to the group of present workers in mural painting -it is necessary that we consider an earlier man, again one of the pioneers, -the artist William M. Hunt of Boston, who in 1878 obtained the commission -to decorate the New York state capitol at Albany. The result was -a fine series of pictures, well composed; but unfortunately they survive -only in reproductions, the originals having been painted directly on the -walls. These, owing to faulty construction, did not long remain intact, -falling out of plumb, and they had to be supported by beams until they -were finally entirely destroyed. Hunt had been a pupil of Thomas Couture -(koo-toor´) in Paris, a man who had strong influence on his work, and these -decorations were very reminiscent of his master. The pictures were fifteen -by forty-five feet in size, and the themes were “The Flight of Night” -and “The Discoverer,” of which only photographs remain to tell the tale.</p> - -<p>Today the mural painter produces his work on canvas instead of on -the wall, a process that enables him to do most of the labor in the studio, -and in case of necessity this, after being attached to the walls, can be -taken down again and so preserved.</p> - -<h3>MURAL ART AT “THE WHITE CITY”</h3> - -<p>It was on the occasion of the planning of the World’s Columbian -Exposition of 1893 in Chicago that the first real impetus to mural decoration -was given in America. This occasion disclosed to the citizen the -possibilities of the native -artist, as well as the -esthetic value of such -embellishment in public -edifice and in private -home. The administrative -body of the fair, -determining upon a decorative -scheme to be -properly carried out, -appointed to take -charge of the mural -painting Francis D. -Millet, and as assistant, -Charles Yardley Turner. -A selection of -artists was made to execute the work, who were J. Alden Weir, Edwin -Howland Blashfield, George W. Maynard, Robert Reid, Edward Simmons, -Charles Stanley Reinhart, Carroll Beckwith, Kenyon Cox, Gari -Melchers, William De L. Dodge, and Walter McEwen.</p> - -<div class="figleft" style="width: 300px;"> - -<img src="images/illus19a.jpg" width="300" height="195" alt="" /> - -<p class="caption">THE CUMÆAN SIBYL, by Elihu Vedder</p> - -<p class="caption">At Wellesley College</p> - -</div> - -<div class="figright" style="width: 300px;"> - -<img src="images/illus19b.jpg" width="300" height="226" alt="" /> - -<p class="caption">Copyright, 1898, by E. Vedder. From a Copley Print, copyright, 1899, by Curtis & Cameron, Inc.</p> - -<p class="caption">SAMSON, by Elihu Vedder</p> - -</div> - -<p>Blashfield and Maynard had had some slight experience in decorative -work; but the rest were practically novices, though all had been serious, -capable students in Paris, and were familiar with examples of the decorative -arts of history. Millet was a rare executive, a man who was subsequently -to do an enormous amount of just such work. It will be remembered that he went -down to his death in -the ill-fated Titanic. Of -the rest of the group -Weir, Reinhart, Beckwith, -Melchers, and McEwen -returned to their -easel picture work after -the Chicago fair, with -only an occasional decoration. -Blashfield, -Maynard, Simmons, -Cox, and Dodge have, -however, continued to -be strongly identified -with mural work, and -these men must receive -closer attention. The -decorative scheme at -Chicago was a remarkable achievement, all things considered, and the -grounds were referred to as “The White City,” “The Fair City,” “The -City of Dreams,” and finally, alas! as “The Vanishing City”; but in reality -nothing like it was ever seen before and probably never will be again.</p> - -<div class="figleft" style="width: 300px;"> - -<img src="images/illus20.jpg" width="300" height="265" alt="" /> - -<p class="caption">THE PROPHETS, by John Sargent</p> - -<p class="caption">In the Boston Library. Center panel, showing Elijah, Moses, and Joshua</p> - -</div> - -<h3>EDWIN HOWLAND BLASHFIELD</h3> - -<p>Of this group Mr. Blashfield has been more largely identified -with decorations all over the land than the rest. The list of his -mural work is a large one. A pupil of Bonnât’s (bo-nah´) in Paris, a writer of -great charm, and a most serious student of his profession, Mr. Blashfield -brought to his art scholarly endowments of a high order. After his work of -decorating the dome of the Manufacturers’ Building at Chicago came a -series of commissions to embellish various homes of private individuals,—Collis -P. Huntington, the Drexels, the Vanderbilts, Adolf Lewisohn, and -others,—with work for the Library of Congress, the Appellate Court of -New York, the ballroom of the Waldorf-Astoria Hotel, the Prudential -Life Insurance Company of Newark, New Jersey, the state capitols of Minnesota, -Wisconsin, Idaho, and other states, with innumerable courthouses -at Baltimore, Newark, Hudson County (New Jersey), Youngstown (Ohio), -the Federal Building at Cleveland, some schools, and many more. In -these he disclosed enormous invention, great facility, a good pictorial sense -of composition, and -generally a scholarly -grasp of decorative -requirements.</p> - -<h3>KENYON COX</h3> - -<p>Kenyon Cox, -likewise a pupil of -the Paris schools -under J. L. Gérôme -(zhay-rome´), has -been largely identified -with decorative -work throughout -the land. A distinguished -draftsman -and a writer on -art as well, Mr. Cox -is represented with -decorations in the -Walker Art Gallery, -Bowdoin College, in -various state capitols -and public libraries, in the Appellate Court of New York and other -courthouses throughout the Union, and was awarded the medal of honor for -mural painting by the Architectural League in 1910. He too is represented -in the mural decorations of the Congressional Library at Washington.</p> - -<div class="figcenter" style="width: 400px;"> - -<img src="images/illus21.jpg" width="400" height="203" alt="" /> - -<p class="caption">THE LIGHT OF -LEARNING</p> - -<p class="caption">By Robert Reid</p> - -<p class="caption">Copyright, 1909, -by Robert Reid</p> - -</div> - -<h3>JOHN SINGER SARGENT</h3> - -<p>Mr. Sargent, perhaps the most prominent figure in the modern -world of art, a man whose success has rarely been duplicated, a -painter of the portrait above all, has confined his mural work to the decorations -in the Boston Public Library. These are of such superlative -quality as to cause regret that the man, in the course of a most active -artistic life, could not have found time to do more. Mr. Sargent’s parents -were Americans. They are his sole claim to nationality; for he was -born in Italy, received his art education in France, and has resided for -many years in England. Sargent, in short, is thoroughly cosmopolitan -in himself and in his art. His Boston Library decorations are singularly -original, of profound symbolism, disclosing deep intellectuality and -serious study. His work here, says William A. Coffin, “as a whole -is like a casket of jewels.” It consists of a frieze, a lunette,<a name="FNanchor_2" id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[2]</a> and an -arched ceiling. In the latter are depicted the gods of polytheism and -idolatry; there are panels of the Prophets in the lunette, and the Jews -are represented by twelve nude figures in subjection to the Egyptians -and Assyrians, typified by figures of Pharaoh and the Assyrian king. -It is a most elaborate symbolism, thoroughly consistent, wonderfully -worked out, and of absorbing interest.</p> - -<div class="footnote"> - -<p><a name="Footnote_2" id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">[2]</span></a> A form of decoration over door, window or in arches—shaped like a half moon.</p> - -</div> - -<h3>EDWIN A. ABBEY’S DECORATIONS</h3> - -<p>Edwin A. Abbey, in another chamber of this Boston Library, the -delivery room, has his now world-famous decoration, the story of the -Holy Grail, perhaps the most popular mural work in this country, certainly -the best known, and the shrine for many years of the tourist. It is -a series of panels narrating the history of the knights of the Arthurian -legend, exquisitely -told, for Abbey -was a master illustrator, -and there -is great charm of -arrangement and -color, all making a -popular appeal. Mr. -Abbey was further -commissioned to -decorate the state -capitol at Harrisburg, -Pennsylvania. -He attacked this -work with great interest -and enthusiasm, -but his labors -were interrupted by -his death. The task -was then taken up -by Miss Violet Oakley, -herself a distinguished -mural -painter, who, though -handicapped by the -circumstances of having to follow out the scheme of another artist, nevertheless -disclosed great capacity and has made a success of the performance.</p> - -<div class="figleft" style="width: 300px;"> - -<img src="images/illus22.jpg" width="300" height="270" alt="" /> - -<p class="caption">FAMOUS WOMEN, by Barry Faulkner</p> - -<p class="caption">Decoration for the house of Mrs. E. H. Harriman at Arden, New York. -From left to right the women pictured are Cornelia, Beatrice, Judith, -Queen of Sheba, Joan of Arc, Helen of Troy, and Pocahontas</p> - -</div> - -<h3>PUBLIC LIBRARY DECORATIONS</h3> - -<p>The Boston Library, it may be stated, offered opportunity for decorative -work of an unusual nature, which was taken advantage of by several -of the better known men. Elmer E. Garnsey made remarkable designs -for the Pompeian lobby, and John Elliott a ceiling in the children’s -reference room. The Congressional Library at Washington offered still -greater opportunities, engaging the attention of a long list of painters. -Here again is seen the hand of Mr. Garnsey, who planned the color scheme; -while prominent among the decorations are the works of Elihu Vedder,—six -large panels representing Government in its various phases, good and -corrupt, of much invention in their allegorical way; for the artist is a -highly imaginative man. Mr. Brownell places Vedder in the front rank -of the imaginative painters of the day, adding, “Their name is not legion.” -Other men who contributed to the Library of Congress include -John W. Alexander, who is further represented at Pittsburgh, in the Carnegie -Institute, with most important wall decorations; Gari Melchers; -Robert Reid, whose list of other work is extensive, including decorations -for the capitol at Boston; Henry O. Walker, also represented in -the Appellate Court in New York.</p> - -<div class="figright" style="width: 400px;"> - -<img src="images/illus23.jpg" width="400" height="162" alt="" /> - -<p class="caption">PENNSYLVANIA EXCAVATIONS, by Fred Dana Marsh</p> - -</div> - -<h3>EDWARD SIMMONS, ROBERT BLUM, AND OTHERS</h3> - -<p>In addition to these was a painter who has also been one of the most -prominent of the decorative men, Edward Simmons. Years ago he won -the competition for a decoration for the Criminal Court room in New York, -a prize awarded by the Municipal Art Society. A pupil of the Paris -schools, a master draftsman, a singularly capable man, his three panels -of the Fates won him instant place, and when he further made two -decorations for the Massachusetts state capitol there was opened to him -a field which he has since followed with distinction. Decorations for the -ballroom of the Waldorf-Astoria, panels for the Appellate Court, for various -state capitols and public buildings, and finally enormous embellishments -for the Panama fair in San Francisco, place the man in the front rank.</p> - -<p>For pure beauty of invention, for charm of drawing and delicacy of -vision, no American decoration has surpassed the two lovely panels -executed by the late Robert Blum for the frieze of the assembly room of -the Mendelssohn Glee Club in New York. They attracted enormous -attention when they were first completed, and have been reproduced in -many forms. Blum was a highly original painter, and these many figures -representing “Music” and “The Dance” have a grace quite their own.</p> - -<div class="figcenter" style="width: 500px;"> - -<img src="images/illus24.jpg" width="500" height="453" alt="" /> - -<p class="captionright">Reproductions of these paintings made by The Detroit Publishing Co.</p> - -<p class="captionleft">Copyright, 1912, by The Curtis Publishing Co.<br /> -Copyright, 1914, by The Detroit Publishing Co.</p> - -<p class="caption">THREE PANELS, by Maxfield Parrish</p> - -<p class="caption">These three panels are part of a series called “A Florentine Fête,” which decorates the entire front of -the dining room of the Curtis Publishing Company’s building in Philadelphia</p> - -</div> - -<p>Thomas W. Dewing, more identified with easel work, has nevertheless -executed several charming decorations, one in the Imperial Hotel, New -York, “Dawn,” ranking high indeed. It has all the man’s personal -color vision, and is exquisitely dainty and graceful.</p> - -<p>Several men were concerned in the wall decorations of the Appellate -Court, among them H. Siddons Mowbray and Willard L. Metcalf. The -first named chose for theme “The Transmission of the Law,” which he -rendered in a scholarly as well as artistic manner. Mr. Mowbray has -executed a ceiling for the library of the University Club of New York, a -large work for the Newark courthouse, and many private commissions.</p> - -<p>The Waldorf-Astoria Hotel gave early opportunities for the work of -Will H. Low and Frank Fowler, both of whom carried out interesting -schemes of decoration; while work in the church of the Paulist Fathers in -New York offered a similar chance for William Laurel Harris. Fred Dana -Marsh showed the possibilities of large engineering achievements for decorative -material in a large panel in the rooms of the United Engineering Societies. -It is an apotheosis<a name="FNanchor_3" id="FNanchor_3"></a><a href="#Footnote_3" class="fnanchor">[3]</a> of labor, of the pick, the shovel, and the iron and -steel worker, and Mr. Marsh was singularly original in the composition.</p> - -<div class="footnote"> - -<p><a name="Footnote_3" id="Footnote_3"></a><a href="#FNanchor_3"><span class="label">[3]</span></a> An apotheosis celebrates and exalts a subject in -ideal forms of expression.</p> - -</div> - -<div class="figright" style="width: 175px;"> - -<img src="images/illus25.jpg" width="175" height="300" alt="" /> - -<p class="caption">THE CITY OF NEW YORK, THE EASTERN GATEWAY -OF THE AMERICAN CONTINENT</p> - -<p class="caption">By Taber Sears, in the New York City Hall</p> - -</div> - -<p>John W. Alexander, better known as a portrait painter, also chose -similar themes with which to decorate the Carnegie Institute of Art in -Pittsburgh, a successful piece of work. Robert van V. Sewell, for the -home of George Gould, at Lakewood, did a fine frieze representing “The -Canterbury Tales.” And a later -man is Barry Faulkner, whose -panel for the home of Mrs. Harriman, -“Famous Women,” is a -happy arrangement of the many -celebrated feminists. The work -of Albert Herter is specially noteworthy. -Hugo Ballin has executed -large decorative work, and -Howard G. Cushing has made -strikingly original panels. Other -men are Taber Sears, with altar -pieces, Joseph Lauber, Charles -M. Shean, Douglas Volk, and -William B. Van Ingen. Walter -Shirlaw occupied himself at times -with decorations, and Abbott H. -Thayer has likewise executed a -few notable mural paintings.</p> - -<h3>SUPPLEMENTARY READING</h3> - -<ul> -<li>MURAL PAINTING IN AMERICA<br /> -<i>By Edwin Howland Blashfield.</i><br /> -Charles Scribner’s Sons, New York.</li> - -<li>AMERICAN MURAL PAINTING<br /> -<i>By Pauline King.</i><br /> -Noyes, Platt & Co., Boston.</li> - -<li>THE HISTORY OF AMERICAN PAINTING<br /> -<i>By Samuel Isham.</i><br /> -The Macmillan Company, New York.</li> - -<li>THE STORY OF AMERICAN PAINTING<br /> -<i>By Charles H. Caffin.</i><br /> -Frederick A. Stokes Company, New York.</li> -</ul> - -<hr /> - -<h2>THE MENTOR READING CIRCLE</h2> - -<div class="figcenter" style="width: 208px;"> - -<img src="images/illus26.jpg" width="208" height="300" alt="" /> - -<p class="caption">CHARITY, by Abbott Thayer</p> - -<p class="caption">In the Boston Museum</p> - -</div> - -<p>A mural painting is a decoration intended -for the adornment of a wall or -ceiling. As a rule, it is painted in more -or less simple, flat tones, so as to carry -some distance, and under the old methods, -known as fresco painting, it was a process -of painting in water colors on wet plaster, -the portion of the wall on which the -artist was to paint being prepared over -night, so as to be in proper state to receive -the color. The painter had to work -from a scaffold. He -was also hampered -by awkward positions -and, frequently, bad -lighting facilities. -This method was in -general use from the -early days of Giotto -(1266-1337), to those of -Raphael (1483-1520). -Some of the Italians -use it even now.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>So mural painting -differs materially from -a picture painted on -an easel. The easel -picture has more detail, -is placed in a -frame when finished, -and is destined to -make a decorative -spot on the walls. The -modern mural painter -now executes his design -directly upon canvas -in his studio, and -when it is completed -it is applied to the wall space by a composition -of glue and white lead. When this is -thoroughly dry it becomes practically a -part of the construction, though it is possible -at any time to remove it, by peeling it -off, should it be necessary. As a rule, the -painter of a great mural work makes first -a small sketch. This is subsequently enlarged -by himself, or his assistants, by the -process of “squaring up,” and so it is -brought to the correct size. These enlargements -are known as “cartoons,” -which are traced on the canvas or the -plaster, and when thus drawn in are -ready for the painter’s brush.</p> - -<p>Almost the first efforts of primitive -man in picture making were decorations -of the walls of his rude house, and later -his temples and public buildings. There -are examples from the civilizations of -Egypt, Greece, and Rome wherein the -work was carried to the greatest perfection. -We have splendid specimens of -brilliant coloring from the great temples -in the land of the Pharaohs, on their -tombs and palaces, that have remained -fresh and well nigh -perfect all these centuries, -while throughout -Italy, in palaces -and churches the work -of the Renaissance -artists challenges the -greatest admiration.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>Upon the walls of the -buried city of Pompeii -still are frescoes that -seem painted yesterday, -so fresh is the -color. The work of -Michelangelo and of -Raphael in the Vatican -at Rome is perhaps -the greatest of any -known decorative efforts. -Throughout -France and Germany -the work has been -greatly fostered by -commissions from the -state for public buildings -of all sorts, for -splendid mansions and -palaces of royalty. In France, particularly, -great attention is given to mural work. -The work of the French painter Puvis de -Chavannes today is a return, to a certain -extent, to the ideals and methods of expression, -to the simplicity of theme and -treatment of the early masters. He remains -by general consent the greatest of all -modern decorators, and we are fortunate -in America in having admirable specimens -of his work in the Boston Public -Library. Our modern men, in their mural -work, use as a rule oil paints mixed with -wax, in order to secure a flat effect and to -do away with any reflection on the surface.</p> - -<hr /> - -<div class="bbox"> - -<h2>Complete Your Mentor Library</h2> - -<p class="noindent">Subscriptions always begin with the current issue. The following -numbers of The Mentor Course, already issued, will be supplied -at the rate of fifteen cents each. Send your list, and the numbers -will be shipped at once, charges prepaid.</p> - -<p>Serial No.</p> - -<ul> -<li>1. Beautiful Children in Art</li> -<li>2. Makers of American Poetry</li> -<li>3. Washington, the Capital</li> -<li>4. Beautiful Women in Art</li> -<li>5. Romantic Ireland</li> -<li>6. Masters of Music</li> -<li>7. Natural Wonders of America</li> -<li>8. Pictures We Love to Live with</li> -<li>9. The Conquest of the Peaks</li> -<li>10. Scotland, the Land of Song and Scenery</li> -<li>11. Cherubs in Art</li> -<li>12. Statues with a Story</li> -<li>13. Story of America in Pictures: The Discoverers</li> -<li>14. London</li> -<li>15. The Story of Panama</li> -<li>16. American Birds of Beauty</li> -<li>17. Dutch Masterpieces</li> -<li>18. Paris, the Incomparable</li> -<li>19. Flowers of Decoration</li> -<li>20. Makers of American Humor</li> -<li>21. American Sea Painters</li> -<li>22. Story of America in Pictures: The Explorers</li> -<li>23. Sporting Vacations</li> -<li>24. Switzerland: The Land of Scenic Splendors</li> -<li>25. American Novelists</li> -<li>26. American Landscape Painters</li> -<li>27. Venice, the Island City</li> -<li>28. The Wife in Art</li> -<li>29. Great American Inventors</li> -<li>30. Furniture and its Makers</li> -<li>31. Spain and Gibraltar</li> -<li>32. Historic Spots of America</li> -<li>33. Beautiful Buildings of the World</li> -<li>34. Game Birds of America</li> -<li>35. Story of America in Pictures: The Contest for North America</li> -<li>36. Famous American Sculptors</li> -<li>37. The Conquest of the Poles</li> -<li>38. Napoleon</li> -<li>39. The Mediterranean</li> -<li>40. Angels in Art</li> -<li>41. Famous Composers</li> -<li>42. Egypt, the Land of Mystery</li> -<li>43. Story of America in Pictures: The Revolution</li> -<li>44. Famous English Poets</li> -<li>45. Makers of American Art</li> -<li>46. The Ruins of Rome</li> -<li>47. Makers of Modern Opera</li> -<li>48. Dürer and Holbein</li> -<li>49. Vienna, the Queen City</li> -<li>50. Ancient Athens</li> -<li>51. The Barbizon Painters</li> -<li>52. Abraham Lincoln: Volume 2</li> -<li>53. George Washington</li> -<li>54. Mexico</li> -<li>55. Famous American Women Painters</li> -<li>56. The Conquest of the Air</li> -<li>57. Court Painters of France</li> -<li>58. Holland</li> -<li>59. Our Feathered Friends</li> -<li>60. Glacier National Park</li> -<li>61. Michelangelo</li> -<li>62. American Colonial Furniture</li> -<li>63. American Wild Flowers</li> -<li>64. Gothic Architecture</li> -<li>65. The Story of the Rhine</li> -<li>66. Shakespeare</li> -</ul> - -<p class="center larger">THE MENTOR COURSE TO COME</p> - -<p class="center">The next number of The Mentor, to appear on October 1, will contain -six beautiful photogravures.</p> - -<p class="center larger">CELEBRATED ANIMAL CHARACTERS</p> - -<p class="center">Silver King, Ivan, Sultan, Czar, Gunder, The Bison Herd<br /> -<i>By W. T. HORNADAY, Director New York Zoölogical Park</i></p> - -<p class="center larger">NUMBERS TO FOLLOW</p> - -<p class="hanging">Oct. 15. JAPAN</p> - -<div class="blockquote"> - -<p class="noindent">One of Mr. Elmendorf’s interesting travel -articles, full of information about a country -that engages the interest of the whole world -today. The pictures are varied and most -attractive.</p> - -<p class="noindent"><i>By Dwight L. Elmendorf, Lecturer and Traveler.</i></p> - -</div> - -<p class="hanging">Nov. 2. THE STORY OF THE FRENCH REVOLUTION</p> - -<div class="blockquote"> - -<p class="noindent">Professor Hart presents in a style that is -both scholarly and popular the great drama -of French history. There are many volumes -treating of single phases, or chapters of the -French Revolution, but Professor Hart’s -article supplies a real need in picturing in -large, simple outlines the great subject as -a whole, so that any reader may get a complete -impression. The illustrations picture -the great personages and important events -of the Revolution.</p> - -<p class="noindent"><i>By Albert Bushnell Hart, Professor of Government, -Harvard University.</i></p> - -</div> - -<p class="hanging">Nov. 16. RUGS AND RUG MAKING</p> - -<div class="blockquote"> - -<p class="noindent">Mr. Mumford is qualified as few are to write -on this subject. He has traveled for years -in pursuit of the study of rugs, and he is the -author of a standard work on the subject. -He writes, moreover, in an easy, entertaining, -and informing way. The pictures, some of -which are in full colors, contribute great -value, interest, and beauty to the article.</p> - -<p class="noindent"><i>By J. K. Mumford, Author and Expert on -Oriental Rugs.</i></p> - -</div> - -<p class="hanging">Dec. 1. ALASKA</p> - -<div class="blockquote"> - -<p class="noindent">One of the most important and interesting -travel articles that The Mentor has offered. -The writer, Mr. Belmore Browne, knows -Alaska more thoroughly perhaps than any -living writer and artist. He has been for -years an explorer and hunter of big game in -the far Northwest, and he is celebrated -especially for having achieved the conquest -of Mount McKinley together with Professor -Herschel Parker.</p> - -<p class="noindent"><i>By Belmore Browne, Explorer, Author and -Artist.</i></p> - -</div> - -</div> - -<hr /> - -<h2>The Mentor Service</h2> - -<p class="noindent">This service covers the -needs of those who want to gain knowledge -by an easy and agreeable method.</p> - -<p class="noindent">Send for our booklet descriptive of -The Mentor Club Service. It presents -many varied Mentor courses specially planned -for the use of reading clubs.</p> - -<p class="noindent">The Mentor Association will supply to its members -supplementary reading courses dealing -with any or all of the subjects in The Mentor -Courses. These courses of reading are prepared -under the direction of the Advisory Board of -The Mentor—all of them prominent educators.</p> - -<p class="noindent">The Mentor Association will also secure books -for members, supplying them postpaid at publishers’ -prices.</p> - -<p class="noindent">The Mentor Inquiry Department gives to its -members a full and intelligent service in answering -inquiries concerning books, reading, and all -matters of general information having a bearing -on The Mentor Courses.</p> - -<p class="noindent">MANY READERS HAVE COME TO KNOW THE -VALUE OF THE MENTOR SERVICE. IN THE -FULLEST SENSE IT SUPPLEMENTS AND -ROUNDS OUT THE PLAN OF THE MENTOR. -ALL MEMBERS OF THE ASSOCIATION ARE INVITED -TO TAKE ADVANTAGE OF THIS SERVICE</p> - -<p class="center">THE MENTOR BINDER</p> - -<p class="noindent">Every page of The Mentor, cover included, contains matter that -readers want to keep. The Mentor Association is now supplying to -its members a binder which holds twelve or thirteen Mentors and -has proved satisfactory in every way. This binder has been arranged -so as to hold The Mentor complete and it has tapes to which the -pictures are attached, so that they swing freely in their place and -the pictures can be enjoyed as well as the text on the back.</p> - -<p class="center">The price of these binders is One Dollar each.</p> - -<p class="center larger">MAKE THE SPARE<br /> -MOMENT COUNT</p> - -<div class="figcenter" style="width: 482px;"> -<img src="images/back.jpg" width="482" height="700" alt="Back cover page: The Mentor Service" /> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Mentor: American Mural Painters, -vol. 2, Num 15, Serial No. 67, Septe, by Arthur Hoeber - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN MURAL *** - -***** This file should be named 50673-h.htm or 50673-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/6/7/50673/ - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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