£> to 4©- MUSEUM OF FRENCH ART f French Institute in the United States | First Annual Official LOAN EXHIBITION OF FRENCH ART January 29th to February 12th MCMXVIII Catalogue GOTHIC PERIOD TO THE REGENCE GALLERY OF THE MUSEUM OF FRENCH ART 599 Fifth Avenue, New York PRIVATELY PRINTED 1919 FRENCH INSTITUTE IN THE UNITED STATES NATIONAL IN SCOPE HON. VICE-PRESIDENTS His Excellency the Governor of the State of New York The Honorable the Consul-General of France at New York City The Honorable the Mayor of the City of New York PRESIDENT OF THE INSTITUTE Hon. McDougall Hawkes VICE-PRESIDENTS J. Sanford Saltus Samuel W. Fairchild George Norton Miller, M.D. Henry Alfred Todd Hon. William Andrews Clark SECRETARY-GENERAL Thomas Hastings MUSEUM OF FRENCH ART FRENCH INSTITUTE IN THE UNITED STATES BOARD OF TRUSTEES Hon. McDougall Hawkes, Chairman of the Board John G. Agar, President, National Arts Association VV. R. Britton, Treasurer of the Mu¬ seum of French Art Nicholas Murray Butler, Presi¬ dent, France-America Society, New York: President, Columbia University Hon. William Andrews Clark Samuel W. Fairchild, Chairman of the Committee on Trade,Chamber of Commerce of the State of New York; Chairman, Board of Trus¬ tees of the Science Section of the Institute (the Entente France- America) Samuel L. Parrish Lucien Jouvaud, President So¬ ciety Frangaise de Bienfaisance (French Hospital), N. Y. Thomas Hastings, President, So¬ ciety Beaux-Arts Architects Henry Hornbostel Otto H. Kahn, President, French- American Associalion for Musical Art Thomas Hughes Kelly, Trustee of the Catholic University of America George F. Kunz, President, Ameri¬ can Scenic and Historic Preser¬ vation Society Cass Gilbert John B. Lunger W. Francklyn Paris Edward T. Newell, President, American Numismatic Society George Norton Miller, M.D. Lawrence F. Peck, President, American Branch Society des Ar- chitectes Diplomes Joseph H. Freedlandf.r, Ex-Presi¬ dent, American Branch Societe des Architectes Diplomas J. Sanford Saltus Ormond G. Smith Henry Alfred Todd, Professor of Romance Philoloyy, Columbia University; Chairman, Board of Trustees of the Belles-Lettres Section of the Institute (the French Union) Rodman Wanamaker John I. Waterbury STANDING COMMITTEE OF THE DEPARTMENT OF EXHIBITIONS Mrs. Henry Mottet, Chairman Curator of the Department of Paintings and ex-officio Curator of the Department of Exhibitions President of the National Association of Women Painters and Sculptors The Curators of the Museum Miss Anna C. Pellew, Committee Secretary Miss Cecilia Beaux, Societaire des Beaux-Arts Mr. Ogden Codman Mr. Arthur Fhf.edlander DEPARTMENTS OF THE MUSEUM Lectures: (John Snnford Saltus Founda¬ tion). Library: Reference Division. Circulating Division (Eliza Forbes Hawkes and SV. Wright Hawkes Memorial Foundation). Reading Room Division (Periodi¬ cal Fund Foundation). Ceramics, Enamels: Miss Margaret B. Gould, Curator. Laces: Mrs. Charles B. Alexander, Curator. Documents: David Gardiner, Curator. Prints: McDougall Hawkes, Curator. Departments arc added as new found: The curator of each department is ej Appendix D of the Annuaire of the Institut: Muniments: Henry Alfred Todd, Curator. Numismatics: Edward T. Newell, Curator. Paintings: Mrs. Henry Mottet, Curator. Sculpture: Miss Anna V. Hyatt, Curator. Arrangements: Mrs. Adolf Ladcnburg, Curator. Textiles: Mr. Hurry Wcarnc, Curator. graphy.— Franco-Amcri- slgnlfleani ... further details concerning Foundal Jnder the By-Laws of the "Museum of what i: . s generally termed the Genealogy .. ...... cana.—Military Art.—Wood Work.— Philately.—Art Casting.—Art Printing. —Costume. — Drawings, Water-color, Gouaches. — Furniture.— Miniatures.— tions or other circumstances may warrant. ■o/Jlcio director of each free technical course which mny be attached t< ->, and ex-o/llcio chairman of the Standing Committee of the department, ions, sec Appendix E of the Annuaire of the Institute. French Art" the term "Art,” ns applied to the activities of the Museum Drama.—Music.—Tapestry.—Maps and Charts. — Architecture. — Archeology. — Metal Work. — Modeling. — Ivories. — Precious Melal Work.—Art Binding. Publications: The Secretary-General, e.r- ogicio, Curator. Exhibitions: The Curator of the Depart¬ ment of Paintings, ex-o/Jlcio. Curator. Archives: The Chairman of the Board of Trustees of the Museum of French Art, ex-o/llcio. Curator. :-of!lcio. : department (see t limited in Its This is Number 0/CJZ- of an edition limited to 100 copies, each signed (80 to subscribers and 20 for presentation) Chairman, Standing Committee of the Department of Exhibitions Subscriber V\r* S' W« Copy No. 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 PRESENTATION LIST Bibliotheque Nationale, Rue de Richelieu, Paris. Bibliotheque du Senat, au Luxembourg. Bibliotheque de la Chambre des Deputes, Palais-Bourbon. Bibliotheque de la Ville de Paris, Hotel Le Pelletier St. Fargeau. Bibliotheque du Ministere des Affaires fitrangeres, Quai d’Orsay. Bibliotheque de l’lnstitut de France, Academie des Beaux-Arts, Palais-Mazarin. Bibliotheque du Musee du Louvre. Bibliotheque de l’Union Ccntrale des Arts Decoratifs, Pavilion de Marsan, au Louvre. Bibliotheque du Cercle de l’Union Artistique, rue Boissy d’Anglas. Bibliotheque d’Art et d’Archeologie, fondation Jacques Doucet. Bibliotheque de la Direction des Beaux-Arts, Palais-Royal. Library of the Kensington Museum, London. The British Museum. Bibliotcca Nazionalc, Roma. Bibliotheque Royalc, Bruxelles. Biblioteca Nacional, Madrid. Library of Congress, Washington, D.C. Library of the University of the State of New York, Albany. New York Public Library, New York City. Public Library, Boston. T HE Museum of French Art was founded in New York in Decem¬ ber, 1911. It was the first expression in the United States of the French Institute in the United States— an educational move¬ ment, started in Paris, in June, 1911, by distinguished citizens of France and the United States to promote, in the latter country, a wider knowledge of France, her Belles-Lettres, her sciences and her arts, for the benefit of American citizens. The movement is national in scope; its Arts Section, under the title of “Museum of French Art,” with the descriptive sub-title of “French Insti¬ tute in the United States,” was chartered, in December, 1911, as an Institution of the University of the State of New York. The activities of the movement in the United States are divided at present between three sections: Arts, Sci¬ ences, Belles-Lettres. The members of the Arts Section of the “French Institute in the United States” (the Museum of French Art), have all the privileges which are at¬ tached to membership in the Science Section of the Institute (The Entente France-America—Commerce, Industry and Science Society, Inc.) and in the Belles-Lettres Section of the Institute (the French Union—Literature, History and Philosophy Association). The “Institut Francais aux Etats-Unis” is an organization in Paris which is the correspondent of the American Institution. The Institute aims to be a center in the United States for those who are attracted by the French language and literature, French drama and music, French science, and by the artistic, natural and architectural beauties of C7J France. It appeals to all those who desire to increase economic and intellec¬ tual relations between the two countries and to assist in furnishing in the Public and Private Schools and in the Universities the best equipment to American citizens for intercourse with foreign countries. The Institute’s educational work is manifold: in particular, it is making collections in various branches of French Arts (painting, sculpture, en¬ graving, numismatics, ceramics, laces, textiles, furniture, etc.); it is extend¬ ing a knowledge of French music; it is assembling a reference library cover¬ ing the Arts, Sciences, Economics and Belles-Lettres of France, and a circu¬ lating French library of fiction, etc.; it is bringing from France distinguished lecturers (through the revenues of the John Sanford Saltus Foundation); it is furnishing free practical knowledge of French Arts and Crafts and of the French language to workers; it is stimulating higher standards in taste, etc., etc. The “Museum” is supported entirely by voluntary contributions; it seeks large endowments; it needs gifts for its collections and an increase of mem¬ bership to help defray its running expenses, to which its trustees are contrib¬ uting; these expenses are rapidly increasing as its usefulness to its members and the public is enlarged. Various organizations are affiliated with the different sections of the In¬ stitute, which is extending its work in large centers of the United States as fast as opportunities and its revenues will permit; it seeks the co-opera¬ tion of all public-spirited citizens; it appeals to all friends of France. The Loan Exhibition of the Arts of France which is now offered to the public contains objects from the collections of the Museum and of the life members of the Institute, as well as from other private collections in the City of New York, many of which have never been exhibited before. The Exhibition is for the benefit of the Institute’s Building Fund. Preliminary plans for the floors of a proposed building will be found in this catalogue. For details of the Institute’s extended eleemosynary work other than its educational activities hereinbefore referred to, enquire of the Chairman of the Board of Trustees of the Museum of French Art. (Sec Appendix C of the Institute’s Annuairc.) First Annual Exhibition of the Arts of France 1918 Autographs on State Papers From the collection of the Museum of French Art Department of Muniments 1. Louis XII 2. Francois I 3. Henri II 4. Charles IX 5. Henri III 6. Henri IV 7. Louis XIII 8. Louis XIV 9. Marguerite de Valois 10. Catherine de Medicis 11. Marie de Medicis Bibelots and Fans 12. SHELL BONBONNIERE, gold mounts, in the manner of Berain. Loan of E. F. Bonaventure, Esq. 13. FAN, Diana and Adonis—Period of Louis XIV. Loan of E. F. Bonaventure, Esq. [ 11 ] 19. A. BOSSE—Traite des Pratiques Geometrales. Lecons donnees dans 1’Academic Royale de la Peinture et Sculpture. 1665. 1 vol. Loan of Hon. McDougall Hawkes 20. SEB. LE CLERC—Traite d’Architecture. 2 vols.—1714. Loan of Hon. McDougall Hawkes 21. BINDING—XVI Century. Loan of Henry Golden Dearth, Esq. 22. NOUVEAU RECUEIL—Illustrations. Printed in Strasburg, 1706. Collection of the Museum of French Art Bronzes 23. MAIN RELIQUAIRE—XII Century. From SigismondBardac Collection. Loan of Emile Rey, Esq. 24. RELIQUAIRE—Silver gilt. Gothic Period. Loan of E. F. Bonaventure, Esq. 30. AUMONlERE—Louis XIV Period. Loan of Mrs. Albert Blum 31. PURSE—Woven in the manner of tapestry—La Fontaine’s Fables in Medallions. Period of Louis XIV. Loan of Mrs. Dewitt Clinton Cohen 32. PURSE—Woven in the manner of tapestry. Phoenix rising from the flames and device in French. Loan of Mrs. Dewitt Clinton Cohen 33. PURSE—Woven in the manner of tapestry. Coat of arms of the Grand Dauphin. Period of Louis XIV. Loan of Mrs. Dewitt Clinton Cohen 34. PURSE of white satin—embroidered in colors. Reg'ence. Loan of Mrs. Dewitt Clinton Cohen 35. HANDKERCHIEF — Embroidered with Figures and Flowers. Border of Mechlin lace. Early XVIII Century. Loan of Mrs. Dewitt Clinton Cohen 36. DAMASK NAPKIN—Mars surrounded by military trophies. Period of Louis XIV. Loan of Mrs. Dewitt Clinton Cohen Engravings 37. ROBERT NANTEUIL, 1630-1678, born in Rheims. Portrait of Charles de la Porte, Due de la Melleraye. Pair et Mareschal de France. Chevalier des Ordres du Roy. Engraved in 1662, after painting by Juste Sustermans. Only one state mentioned in Charles le Blanc, Manuel de 1’Amateur d’Estampes. Loan of Hon. McDougall Hawkes Enamels 38. PLAQUE.—Probably the cover of a missal. Overlaid with copper-gilt and champ-leve. First half of XIII Century. From the Taylor Col¬ lection. Loan of Emile Rey, Esq. 39. PYX—Champ-leve—XIII Century. Loan of Henry C. Lawrence, Esq. 40. CHASSE—Reliquaire. Limoges. XIII Century. Loan of Henry Daguerre, Esq. 41. AGRAFE—Limoges. XIII Century. Loan of Henry Daguerre, Esq. 42. FIGURE—Limoges. XIII Century. Loan of Henry Daguerre, Esq. 43. CRUCIFIX—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 44. CRUCIFIX—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 45. PYXIDE—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 46. AGRAFE—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 47. PLAQUE—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 48. FRAGMENT FROM A BINDING—Limoges. XIII Century. Loan of Henry Golden Dearth, Esq. 49. PLAQUE—Resurrection of Christ. Limoges. XVI Century. Loan of E. F. Bonaventure, Esq. 50. PLAQUE—Venus. By Leonard Limousin. Limoges. Grisaille. XVI Century. From the Mannheim and J. Pierpont Morgan Collections. Collection of the Museum of French Art 51. PORTRAIT—Elizabeth of Austria, wife of Charles IX, by Leonard Limousin. After a portrait by Clouet. Limoges. 2nd half of XVI Century. Loan of Emile Rey, Esq. 52. MIRROR—By Suzanne de Court. Limoges. 3rd quarter of XVI Century. From the Efdakinoff Collection. Loan of Emile Rey, Esq. [ 22 ] .... ^ ' i _.. French Coins 53 LOUIS IX (Saint Louis), 1226-1270. “Gros tournois.” Obverse inscrip¬ tion :LVDOVICVS :REX„ BNDICTV: SIT : NOME : DNI : NRI : DEI : IHV:XPI. Reverse inscription: TVRONVS.CIVIS. Collection of the Museum of French Art 54. PHILIPPE IV LE BEL, 1285-1314. “Gros tournois.” Obverse inscrip¬ tion : PHILIPPVS.REX, BNDICTV : SIT : NOME : DNI : NRI : DEI : IHV:XPI. Reverse inscription: TVRONVS.CIVIS. Collection of the Museum of French Art 55 JEAN LE BON, 1350-1364. “Mouton d’Or.” Obverse inscription: IOH’ REX. Around: AGN.DEI.QVI.TOLL.PECA.MVDI.MISERERE.NOB. Reverse inscription: XPC.VINCIT.XPC.REGNAT.XPC.IMPERAT. Loaned by Mrs. Edward T. Newell 56. JEAN LE BON, 1350-1364. “Franc-a-cheval.” Obverse inscription: IOHANNES: DEI: GRACIA :FR ANCORV :REX. King in armour, with surcoat decorated with fleur-de-lis, on charger to left. Reverse in¬ scription the same as on the previous coin. Loaned by Mrs. Edward T. Newell 57. CHARLES V, 1364-1380. “Franc-a-pied.” Obverse inscription: KAROLVS: DI: GRA: FRANCORV :REX. King with sword and sceptre in Gothic portico. Reverse inscription the same as on previous coin. Loaned by Mrs. Helen Foster Barnett (25J 58. CHARLES VI, 1380-1422. “Ecu-d’or.” Obverse inscription: KAROLVS • DEI : GRACIA : FRANCORV : REX. Crowned shield of France. Re¬ verse inscription the same as on previous coin. Collection of the Museum of French Art 59. CHARLES VI, 1380-1422. Gros dit “Florette.” Obverse inscription: KAROLVS :FRANCORV: REX. Reverse inscription :SIT:NOME DNI • RENEDICTV. Collection of the Museum of French Art 60. FRANCOIS DUC DE BRETAGNE. Obverse inscription: FRANCISCVS. DEI.GRACIA.BRITON.DVX. The duke in armour on charger to right. Reverse inscription: DEVS.IN.ADIVTORIVM.MEVM. Collection of the Museum of French Art 61. CHARLES VII, 1422-1461. “Roval d’or.” Obverse inscription 1 KAROLVS: DEI:GRA: FRANCORV:REX. King in royal mantle standing facing. Reverse inscription: XRC:VINCIT:XPC-REGNAT- XPC: (MPERAT. Collection of the Museum of French Art 02. FRANCOIS Ier, 1515—1547. Ecu au soled.” Obverse inscription: FRANCISCUS : DEI : GRACIA : FRACORV : REX. Reverse inscrip¬ tion the same as on preceding coin. Collection of the Museum of French Art 03. FRANCOIS Ier, 1515-1547. “Ecu du Dauphine.” Obverse inscription: FRANCISCVS.DEI.GRA.FRACOR.REX. Quartered arms of France and Dauphine. Reverse inscription the same as on preceding coin. Loaned by Mrs. Edward T. Newell 64. FRANQOIS Ier, 1515—1547. “Teston.” Obverse inscription: FRANCISCVS : D : GRA : FRANCOR : REX. Crowned and ar¬ moured bust of Francis. Reverse inscription: NO:NORIS:DNE: SED :NOI :TVO :DA:GLORIA. Collection of the Museum of French Art 65. HENRI II, 1547-1559. “Teston du Dauphine.” Obverse inscription: HENRICVS.II.DEI.G.FRANC.REX. Rust of king in armour. Reverse inscription: XPS.VINCIT.XPS.REGNAT.XPS.INP.1561. Collection of the Museum of French Art 66. CHARLES IX, 1560-1574. “Teston.” Obverse inscription: CAROLVS. VIIII.D.G.FRAN.REX. Laureated bust of king in armour. Reverse inscription: SIT.NOMEN.DOM.BENEDIC.MDLXII. Collection of the Museum of French Art 67. HENRI III, 1574-1589. "Franc.” Obverse inscription: HENRICVS.II1. D.G.FRANC.ET.POL.REX. Laureated bust of king in armour. Re¬ verse inscription the same as on preceding coin. Date 1579. Collection of the Museum of French Art Furniture 68. CHAIR—Canopied. Gothic Period. Loan of Charles Lamb, Esq. 69. CHAIR with high back. Auvergne School, circa 1530. From the Cha- briere Arles Collection, Paris. Loan of Joseph Duveen, Esq. 70. CHAIR—Ecclesiastical. Renaissance—XVI Century. Loan of Felix Wildenstein, Esq. 71. CABINET—Carved Walnut. XVI Century, Henri II. Loan of Mitchell Samuels, Esq. 72. TABLE—Carved. Period of Henri II. Loan of Mrs. Chauncey J. Blair 73. MEUBLE A DEUX CORPS. School of Lyons, End of XVI Century. From the Hochon Collection. Loan of Emile Rey, Esq. 74. SCREEN—Painting on Canvas. Period Louis XIV. Loan of Thomas Hughes Kelly, Esq. 75. MARRIAGE CHEST—XVII Century. Loan of Joseph B. Thomas, Esq. 70. ARM CHAIR—Tapisserie a Pavot. Regence. Loan of Mrs. Albert Blum 77. FOUR ARM CHAIRS—Tapisserie de Beauvais. 1720—Regence. Loan of Emile Baumgarten, Esq. 78. CABINET—Carved. Renaissance. Loan of Jacques Seligmann, Esq. 79. TWO CHAIRS—Carved. Coat of Arms on back. XVI Century. Loan of Jacques Seligmann, Esq. [ 33 ] 85. BARBE- -Point de France. Period of Louis XIV. Loan of Mrs. McDougall Hawkes 86. BARBE- -Point d’Argentan. Period of Louis XIV. Loan of Mrs. McDougall Hawkes 87. LAPPETS—Point d’Argentan. Regence. Loan of Mrs. McDougall Hawkes 88. POINT D’ARGENTAN—Late XVII Century. Loan of Mrs. Dewitt Clinton Cohen 89. POINT D’ALENQON—Late XVII Century. Loan of Mrs. Dewitt Clinton Cohen 90. EARLIEST VALENCIENNES—Late XVII Century. Loan of Mrs. Dewitt Clinton Cohen 97. PORTRAIT OF A GENTLEMAN—By Corneille de Lyon (1520—1576). Loan of Michael Dreicer, Esq. 98. PORTRAIT OF TRIBOULET, Jester of Francois I—By Corneille de Lyon (1520-1576). Loan of Michael Dreicer, Esq. 99. PORTRAIT OF A MAN—By Corneille de Lyon (1520-1576). Loan of J. Pierpont Morgan, Esq. 100. PORTRAIT OF A MAN—Bv Corneille de Lyon (1520-1576). Loan of J. Pierpont Morgan, Esq. 101. PORTRAIT OF A MAN—1571—French School—XVI Centurj'. Loan of Roland F. Knoedler, Esq. 102. PORTRAIT of Marie-Madeleine Pioche de la Vergne, Comtesse de La Fayette. By Pierre Mignard, 1610-1695 (formerly in Collection of Comte de Gallatin, Paris). Loan of Albert Eugene Gallatin, Esq. 103. BIRDS—Jean Baptiste Monnoyer, 1634-1699. Loan of William Michel, Esq. 104. PORTRAIT—Largilliere, 1656-1746. Loan of Felix Wildenstein, Esq. 105. PORIRAIT—A LADY AS FLORA—Alexis Simon Belle, 1674-1734. Loan of William Michel, Esq. 106. A YOUNG GIRL HOLDING A BIRD—Jean Raoux, 1677-1734, Loan of George Aubry Kelly, Esq. 107. TWO GRISAILLES—By DeWitt. Paris—Regence. Loan of Mrs. E. H. Harriman Picture Frames 108. ORIGINAL FRAMES—Period Louis XIII. Period Louis XIV. Period Regence. Loan of Jean Jory, Esq. Stones 109. STATUE—Sainte Genevieve, Patron Saint of Paris. Gothic Period. Loan of Mrs. Chauncey J. Blair 110 . GROUP—Donatrice making offerings to St. Jacques, tury. Loan of Dikran G. Ivelekian, Esq. Early XVI Gen¬ ii 1. HEAD OF AN APOSTLE—Probably by Robert de Launay. Early XIV Century. Found in the foundations of the Church of St. Jacques, Paris. Loan of Dikran G. Kelekian, Esq. 112. STATUE—St. Louis as a Crusader. Early XV Century. Loan of Frank Harris, Esq. 113. STATUE—Sainte Claire. Loan of Frank Harris, Esq. 114. FOUR SINGING ANGELS—XVI Century. From a church in Tours. Loan of Mitchell Samuels, Esq. 122. TWO PANELS—Gros point. Louis XIV Period. Loan of Mrs. W. J. McCune. 123. PANEL—Young Beggar. Savonnerie, early XVIII Century, executed after a Dutch painting. Loan of Emile Rey, Esq. 124. PANEL—Petit point. Entourage of gros point. 1718—Regence. Loan of Mrs. Albert Blum 125. CUSHION—Petit point. Regence. Loan of Mrs. Albert Blum 126. GOBELIN—Arms of France. By Charles Lebrun. Period of Louis XIV. Loan of Thomas Hughes Kelly, Esq. 127. GOTHIC TAPESTRY. Loan of A. Murray Corse, Esq. Wood Carvings 128. CRUCIFIX— Showing Christ robed and with feet uncrossed—charac¬ teristics which are peculiar to the earlier period—XII Century- Southern France. Loan of Henry C. Lawrence, Esq. [ 49 ] 135. TWO PORTRAIT PANELS—Period of Francois I. Loan of Mrs. Chauncey J. Rlair 136. PANEL—Carved. Loan of William M. Odom, Esq. 137. COUPE IN BOXWOOD—Rape of the Sabines. Middle of the XVII Century. Loan of E. A. Bonaventure, Esq. 138. PANEL—Carved. Regence. Loan of Mrs. Chauncey J. Blair 139. WOOD CARVING—XV Century. From the Spitzer Collection, Paris. Loan of F. Kleinberger, Esq. 140. PANEL—Front of Chest—XIV Century. Loan of Gregor Aharon, Esq. FRENCH INSTITUTE IN THE UNITED STATES MUSEUM OF FRENCH ART FOR THE PUBLIC AND FOR MEMBERS OF THE MUSEUM Free evening courses in the French language (see Special Circular). Free technical competitive courses for salesmen, designers, artisans, etc. (French art applied to In¬ dustry—see special circular on tapestry, bookbinding, etc.) Prizes, medals, etc., in the Schools and Universities of the United States, for proficiency in French, French art, etc. Free public lectures. - FOR MEMBERS OF THE MUSEUM PRIVILEGES Lectures ( conferences ) in French by distinguished visitors—morning, afternoon and evening. Causeries and Cours for advanced students of French. Drama. Concerts of French music. Gallery—Exhibitions of French Art,—permanent collections. Library—French, reference and circulating.—Documents. Reading Room—Important periodicals of France. Views of private collections. Bulletin, illustrated—Accessions to Museum, Revue Bibliogrnphique of French books as they appear; notes from Paris, etc., etc. All classes of members of the Arts Section of the Institute (Muse'um of French Art) have the right to attend personally all lectures, functions, etc., of the Science and Belles-Lettres Sections of the In¬ stitute. All classes of members will be admitted to Lectures and Exhibitions, etc., on presentation of their membership cards or tokens. For public lectures, etc., all classes of members may obtain extra ad¬ mission tickets. For members' lectures, exhibitions, etc.. Patrons, Perpetual Fellows, Life as well as Fellowship and Sustaining Members have at their disposal, free of charge, for each lecture, etc., one extra admission ticket (yellow) for two persons. Members who pay dues annually of $10 have at their disposal extra admissions for their friends upon payment, for each admission ticket for each lecture, exhibition, etc., of one dollar for the bene¬ fit of the Library Fund. There are two classes of tickets for extra admissions for the benefit of the Library Fund: 1st —Pink tickets which members may send to non-members and for which members will be charged one dollar for each ticket for the benefit of the Library Fund. Each month bills will be ren¬ dered to members for all pink tickets presented. Each pink ticket admits two persons. 2nd —Blue tickets which members may send to non-members and which will entitle bearer to admission upon payment by bearer of one dollar for the benefit of the Library Fund. Each blue ticket admits two persons. No yellow, pink or blue ticket will be of any validity until signed by the member who gives it out. All classes of members may issue any number of pink or blue tickets for each lecture, etc., not exceeding ten. Additional books of yellow, pink and blue tickets may be had on application. All ad¬ missions are subject to the capacity of the auditorium. Membership cards and tokens are strictly personal and not transferable without a permissive vote of the Board of Trustees. MEMBERSHIP Members pay dues annually of $10. Sustaining members pay dues annually of $25, applied as follows: General Expense Fund, $10; Endowment Fund, $10; Library Fund, $5. Become life members after ten years—dues then cease. Fellowship members pay dues annually of $50, applied as follows: General Expense Fund, $10; Endowment Fund, $20; Library Fund, $10; Purchase Fund, $10. Become life members after five years—dues then cease. Life members pay a fee of $100 (applied to Endowment Fund). Perpetual Fellows (fellowship is transferable to successor) contribute $1,000 (applied to Endow¬ ment Fund). Patrons contribute $5,000 (applied to Endowment Fund) and have a privilege of perpetual fellowship. Life members, Perpetual Fellows and Patrons are exempt from annual dues; they have the privilege of establishing memorial memberships (see Appendix B to Institute’s Annuaire). Life members are eligible to be elected Perpetual Fellows or Patrons whenever their contributions aggregate $1,000 or $5,000 respectively. All classes of members are elected by the Board of Trustees. C543 For information concerning the Science and Belles-Lettres Sections of the Institute, apply to the Secretary General, 599 Fifth Avenue, New York City.