+ Bap
Дир
.
30 Je 36
Lucia Evenin

WILSON
CLOSED
STACKS
CATALOGUE
AND CASTS
OF PAINTINGS
FROM THE ANTIQUE, T
ETC.
श
18
MINNEAPOLIS 8
INDUSTRIAL EXOSITION:
PRICE
TEN
CENTS
DESIGNED & ENGRAVED
BY THE.
RAMSDELL ENG.CO.

OF THE
REGENTS
い
​OF
MINNESOTA
Wilson Library
Minneapolis Industrial Exposition (4th: 1829),
CATALOGUE

4
WORKS OF ART
(FOURTH ANNUAL EXHIBIT.)
IN THE-
ART GALLERIES,
OF THE
MINNEAPOLIS INDUSTRIAL EXPOSITION.
CONSISTING OF
PAINTINGS FROM THE LEADING AMERICAN AND EUROPEAN
ARTISTS, WATER COLORS PASTELS, ETCHINGS, ARTISTIC
PHOTOGRAPHS, SCULPTOR'S STUDIO, CASTS FROM
THE ANTIQUE, ETC.
i
H. JAY SMITH,
ART DIRECTOR,
1889.
The Swinburne Printing Co., Minneapolis.
WILS
ND
190
. M 5 6 X
1889
OIL PAINTINGS.
AGE 7968
1. Roses; ($30.)
2. Making Hay..
i oni ☹ + in ó i ∞
ROOM A.
"The Letter that Never Came;" ($500.)
Marine View Near Naples; ($250.)
5. Tom's Creek, (Monroe Co., Pa.) ($800.)
6.
At the Sale; ($2,500)
N. R. Brewer
F. F. de Crano
L. Fagan
P. Barrucci
Carl Weber
J. H. Dolph
A Spur of the Hoodoo Mountain and Yellowstone Park. J. E. Stuart
Cañon of the Yellowstone.
Mt. Tacoma; (From Seattle Bay.)
The Falls of the Yellowstone.
9.
IO.
II.
The Pensioner; ($150.)
12.
Three Score and Ten; ($150.)
13.
-
J. E. Stuart
J. E. Stuart
Mt. Adams.
14. Fairy Tales.
15. Guilty of Murder; ($650.)
16. Mending Day; ($125.)
17. Peaches; ($175.)
18. Chrysanthemums; (Panel) ($125.)
19. Surf Scene at Cape Ann; ($75.)
20.
Twofold Screen for Dining Room; ($300.) ·
21.
Lilacs; (Panel) ($125.)
22.
Dark Day in October; ($150.)
23. "The Rivals".
24. Study of Birds; ($75.)
25. Fruit; ($50.)
26. "Bit of Birch Woods;" ($50.)
J. E. Stuart
F. J. Fisher
F. J. Fisher
J. E. Stuart
Stanley Middleton
W. H. Beard
-
W. H. Synder
Amalie Crook
Amalie L. Crook
L. Woodward
Amalie L. Crook
Amalie L. Crook
N. R. Brewer
F. F. de Crano
Amalie L. Crook
R. H. Cook
R. H. Cook
4
27.
A Young Elk; ($50.)
28.
Port Tack
29.
"Colossales Glück;" ($800.)
30.
"Hoboken Terror;"($100.)
31. Villiage Belle; ($150.)
32. A Capuchin at Prayer; ($175.)
33.
Newbold H. Trotter
Wm. M. J. Rice
W. M. Harnett
Wm. Verplank Briney
H. W. Hyneman
Walter Satterlee
Woods on the Battle Ground of Cedar Creek, Va. ($500.)
34. Philosophy and Christian Art; ($3000.)
Bertha von Hillern
- D. Huntington
35. Petrified Indian end Pinacles in Canon of Yellowstone;
36. Nubian head (bronze) Loaned by Mr. T. B. Walker.
37.
Cliffs of Monterey ;.
38. Landscape and Cattle; ($1000.)
39. Storm Beaten; ($1000.) -
40. Strawberries; ($125.)
41.
In the Terrace; ($200.)
42.
Still Life; ($50.)
43.
Civita Vecchia; (200.)
ROOM B.
44.
The Guard; ($135)
45. Late Afternoon in Autumn; ($2500.)
46. Autumn; ($75.)
47. Summer; ($75.)
48. First on the Field; ($100.)
49. Double Point; ($300)
50. "Le roi de Grenade;" ($1,200)
51. The Rising Tide; ($100.)
52.
53.
Autumn; (250.)
Brigantine Beach; (New Jersey.)
54. On the Loggia; ($350.)
55. Early Evening; ($80.)
56. The Picket Fire, before Paris; ($400)
57. Cattle in Pasture; ($175,)
58. "Gossip"; ($200.)
59. Moonlight off Hell Gate; ($125)
J. E. Stuart
F. L. Heath
J. H. Dolph
M. DeForest Bolmer
Amalie L. Crook
V. G. Stiepevich
H. C. Lane
P. Gabrini
A. G. Heaton
Albert Insley
J. A. Hekking
J. A. Hekking
A. J. Heaton
J. H. Dolph
Benj. Constant
Wm. J. Whittemore
W. Merritt Post
William T. Richards
H. W. Watrons
L. E. Van Gorder
P. Grolleron
F. J. Waugh
W. H. Snyder
N. R. Brewer
!
in
5
60. Washington Receiving the Supply Train; ($50,000.)
61. California Blossoms; ($75.)
62. Still Life;" ($250.)
63. "La visite de la tante;" ($500.)
64. Old Wine; ($200.)
65. Euphrosyne; ($225.)
66. On the Browne River; ($100.)
67. St. Peter; ($1,200.)
68.
A Break in the Clouds; ($550.)
69. In the Days of Rabelais; ($450.)
70. Study Head;
Imogene Robinson Morrèll
A. Binford McCloskey
George Frederick Munn
L. Delachaux
J. H. Dolph
J. J. Hammer
F. Rondel
Sr. M. D. Guillaume
J. C. Nicoll
- J. H. Dolph
Wm. J. McCloskey
71.
The Young Musician; (Not for sale.)
72.
The Farm Lane; ($150.)
Wm. Sartain
Bruce Crane
73. The Ploughman; ($400.)
Peter Moran
74. The Runaway Limber, (Recollections of Gettysburg.) ($400.)
Old Virginia Hounds; ($500.)
76. Civilization; ($750.)
77. "Twilight;" ($250.)
78. Clear Lake California; ($1000.)
79. Study from Nature; ($275.) -
80. Pasture Land; ($500.)
81. The Disputed Point;
82. Still Life; ($150.)
-
-
83. The First Battle of the Puritans; ($50,000.)
84.
The Pottery Artist; ($500.)
85. Summer Morning on the Coast; ($150.)
86. Study Head; ($75.) -
87. Landscape; ($400.)
88. Tropical Fruit; ($400.)
89. Waiting for the Breeze; ($450.)
90. Hyacinths; ($500.)
Wood Scene; ($400.)
92. Juanita; ($40.)
91.
J
W. H. Sheldon
H. R. Poore
Geo. W. Maynard
Robert C. Minor
A. Bierstadt
Geo. H. Smillie
Peter Moran
P. P. Ryder
Mary Call Perkins
Imogene Robinson Morrèll
-
E. Wood Perry
Charlton T. Chapman
J. C. Arter
Maria áBecket
A. Binford McCloskey
A. F. Bunner
.F. D. Millet
A. H. Wyant
H. C. Lane
6
ROOM "C."
93. Fruit; (Veritable Roman Antique.) Loaned by S. J.
94.
Ahern, St. Paul.
St. Jerome; Loaned by S. J. Ahern, St. Paul.
Painted by Ribera. (Known as the "Little Span-
iard,") born in 1580 and worked in Rome and Na-
ples. Examples of his work are found in the prin-
cipal European galleries.
95. Fruit; (Veritable Roman Antique,)
Loaned by S. J. Ahern, St. Paul.
96. Portrait of Artist; (by himself.)
Unknown
Ribera
-
Unknown
S. Jerome Uhl
97.. The Insurrection of the Peasants, 15th century; ($25,000.)
98. In Season; ($250.).
99. Roses; ($125.)
Georges Rochegrosse
G. Platt
100. Roses; ($200.)
101. A Misty Morning on Bridal Veil Creek; ($200.)
102. Vanishing Glories; ($3,000.)
103. Just from the Market; ($400.)
(6
66
Alex. Fournier
Geo. Platt
66
66
104. Fresh from the Lake; ($250.)
((
(6
105. The Moor; ($150.)
106. A Gray Day Near Chaska, Minn; ($200.)
107. Useless Relics;
108. The Home of the Pearl; ($100.)
109. “Marechal Niel;" ($125.)
110. "Mermets;" ($75.)
III. The Beauties of the Deep; ($100.)
112. Ophelia; ($2,000.)
113. Flowers of the Carnival; ($850.)
-
114. A Sunbeam from the South; ($2,500.)
115. Edwin Booth as Hamlet; ($2,000.)
116. Portrait; (Amelie Rives.) .
117. Edinburgh by Moonlight; ($3,000.)
ર
Alex. Fournier
Geo. Platt
P. Baumgras
:
M.
66
P. Baumgras
J. Wells Champney
118. Portrait of Lotta; loaned by Miss Lotta Crabtree.
119. Old New England Oaks; ($250.) -
120. The Striker; ($600.)
C. D. Weldon
- J. G. Brown
-
Oliver I. Lay
A. G. Heaton
J. A. Fairman.
Wm. Morgan
Warren C. Briggs
- Benoni Irwin
:
7
1
121. Midsummer Forest; ($6000.)
122. "Hydrangias ;" ($700.)
R. M. Shurtleff
A. Binford McCloskey
123. Topsy on Guard; ($400.) -
124. Spring Time; ($500.)
Amalie L. Crook
Alex Founier
125. The Declaration, (loaned by Mr. D. C. Bell ;) Reggeanini (Florence)
126. Strawberries; ($150.)
ROOM "D."
127. Oranges; (Valentia.) ($200.)
128. On Tip-Toe; ($200.)
129. Evening in Central Park, N. Y.; ($30.)
130. On the St. John's River, Fla.; ($500.)
131. Naiad;
132. Sheep Pasture; ($125.)
-
133. Down the Arroya to Santa Fee; ($2,500.)
134. Midnight; ($350.)
135. Resting; ($125.)
136. An Old Fashioned Garden; ($100.)
137. "The Castle of Cards;" ($600.)
138. A Woodland River; ($800.)
139. By the Brook; (Mt. Hope.) ($50.) -
140. "Sweet Memories ;" ($200.)
141. A Reverie; ($175.)
142. Wood Nymph; ($150.)
143. Off Cape St. Charles at Sunset; ($650.)
44. "Romaine;" ($850.)
145. Becalmed; ($85.)
146. "The Boar Hunt;"`
147. Wood Nymph; ($600.)
148. Moonrise; (Coast of Holland.) ($700.)
Wm. J. McCloskey
(6
66
H. N. Hyneman
N. R. Brewer
Maria J. C. á Becket
Wm. M. J. Rice
R. LeGrand Johnson
Peter Moran
Alexander Harrison
C. L. Van Vredenburgh
Agnes D. Abbott
Seignac
Maria áBecket
L. Woodward.
H. W. Hyneman
D. J. Gue
.6
Wm. Bradford
F. Miralles
E. M. Bicknell
Beigel
E. H. Blashfield
M. F. H. de Haas
149. Edge of the Wood, Saratoga Springs, N. Y.; ($300.)
150. The Caliph's Daughter; ($1,000.)
151. Mother's Treasure; ($500.)
152. Clearing Up After a Storm; ($500.)
153. Gulliver and the Lilliputians; ($10,000.)
Bertha von Hillern
V. G. Stiepevich
Zuber Buhler
Charles Melville Dewey
Vibert
8
154. Twin Lakes; ($1,500.)
155. At the Bath; ($750)
156. "Psyche;" ($300.)
157. Laughing Sallie; ($225.)
158. The Fields in July; ($400.)
159. Rainy Afternoon; ($250.)
Edward Gay
Sr. M. D. Guillaume
Herbert Denman
M. Brooks
Edward Gay
J. F. Cropsey
160. Vase of Flowers from an Italian Promenade; ($2,000.)
161. Roses; ($700.)
162. "Day Dreams ;" ($200.)
163. Nature's Trellace; ($150.)
164. The Lover's Quarrel; ($100.)
165. Awkward Lover; ($100.)
166. The Reprimand; ($350.)
167. The Toilet of Venus; ($4,500.)
168. A Decorative Panel; ($100.)
169. On Panther Creek, Pa.; ($100.)
Sr. M. D. Guillaume
66 (6
66
6.C
Percival De Luce
M. Brooks
Mrs. F. B. Kidder
170. Morning; (Baker's Island, Salem Harbor; ($350.)
: 171. Antelope Hunters, (Texas.) ($500.)
::
66
(6
σε
((
Perrault
A. B. Shepley
James B. Sword
A. T. Bricher
Chester Loomis
ROOM "E.”
172. Madonna and Child; ($5,000.)
173. A Good Story; ($250.)
174. Farm in Bavaria; ($600.)
175. "Rio de San Eustachio." ($350.)
176. What Shall I Play? ($750.)
177. Even-tide; ($150.)
Joseph Ridl
Bayard H. Tyler
Paul Weber
A. F. Bunner
E. Rau
M. Seymour Bloodgood
178. An Old Homestead, St. Anthony Park; ($350.)
179. On the Marsh; ($500.)
180. "Taking Doll's Portrait;
181. A Run for Exercise; ($500.)
182. "The Dancer;" ($2,500.)
183. Autumn on Mass. Coast; ($1000.).
184. "Cloudy Day." ($125.)
185. Forest in Winter; ($400.)
186. A Meadow Pool; ($500.).
Alex. Founier
Wm. Sartain
Amalie L. Crook
H. R. Poore
V. G. Stiepevich
Geo. H. Smillie
J. F. Cropsey
D. F. Hasbrouch
Peter Moran
9
187. "My Country;" ($1,000)
188. Twilight in the Ramapo Valley; ($300.)
189. The Parson's Thanksgiving; ($200.)
190. A Moderate Breeze; ($400.)
191. Woods in Winter; ($250)
192. "Youse a Beauty"; ($800.)
-
J. G. Brown
Kruseman Van Elten
Geo. B. Wood.
M. F. H. de Haas
W. S. Macy
J. G. Brown
193. Portrait Mr. K.; (on porcelain.)
194. Portrait of Little Robin;
195. Diana and Maids at at their Morning Toilet;
196. Shepherdess;
197. Miniature;
Miss Cecil Payen
66
66
6 6
66
66
6 C
66
198. A Minnesota Sunset near Excelsior, Minn.; ($200.) Alex Founier
199.
200.
LOANED BY MR. T. B. WALKER.
'Daily News Reading before the Barber Shop of Licinius."
This is regarded by the critics as one of the finest and most rea-
listic achitectual efforts put on canvas by any modern painter.
A very interesting picture, soft in color, yet strong and finish-
ed. Has many of the characteristics of Alma Tadema.
“Pleasant Hours in the House of Lucullus.”
Though quite as popular, has less strength and vigor, but more
delicacy and variety of color than No. 199. Both Pictures ex-
tensively engraved.
BOULANGER (Gustave Rudolphe Clarence). Paris. Artist.
Born at Paris, 1824. Pupil of Delaroche and Jollivet. Chevalier
of the Legion of Honor. Won the prize at Rome in 1849.
Medals in 1857, '59, '63, '78. Member of the Institute of
France, 1882.
"Without rivaling the wonderful variety of Gerome, M.
Boulanger has great affinities with him. He belongs to the
group of refined artists, who after 1848, created the neo-Greek
fashion, in which familliar scenes replaced the great tragic
subjects of the Academical School of David. His experiences
in Africa, have given another diriction to his talent, but here
again he may be classed with Gerome, in the series of traveled
ΙΟ
แ
201.
202.
203.
painters whose aim is to reproduce the types and customs of
a race. M. Boulanger's talent is more delicate than powerful,
but this artist will always find favor with the public." (Rene
Menard.)
Hadyn's Inspiration for the
Seasons and Creation.'
Haydn while crossing the English Channel encountered a ter-
rible storm, and was so impressed with the play of the ele-
ments, that he was inspired to write the above great oratorio.
HAMMAN (Edward Jean Conrad). Paris. Artist.
Born at Ostende, 1819. Pupil of the Art Academy at Antwerp
and DeKeyser. Settled in Paris, 1846. Gold Medal at Brus-
sels in 1848. Chevalier of the order of Leopold of Belgium,
1854. Medals at the Salon, 1853, 59, 63. Medal Exposition
Universelle, 1855. Cross of the Legion of Honor, 1864.
Hors Concours.
Speaking of Hamman's "Fugitives," Viardot says, "tech-
nically its merits are of a high order. A more faithful repre-
sentation of surf, of misty atmosphere, and of blending sea
and sky in a perfect perspective, is seldom seen; while in
drawing and expression the figures are masterly."
"Waiting for the Boat."
4
Four shockheaded little urchins are standing in the foreground
looking out over the river at the boat that is being towed
along the opposite shore.
The yellow sky and its reflection in the water are handled in a
broad, strong manner.
CLAUS. (Emil.) Artist.
This artist has exhibited at a number of the Paris Salons, winning
mention honorable once or twice.
"Christian Pilgrims at the Tomb of the Holy Virgin at Jerusalem.”
This great picture was exhibited at the Salon of 1878. It is full
of the suggestion we should expect of a pupil of Gerome. A
number of devout worshippers surround the traditional tomb
of the Holy Mother. A red light pouring through the open
door, and gleaming through the slit cross above the portal,
I I
indicates that a religious ceremony is in progress within the
chapel that covers the shrine. A group of fervent believers,
native Christians, outside, show reverence and ardent faith.
Some of them are pilgrims from afar off. They have come to
ask blessing from the Holy Virgin. The principal figure
among them is a mother, filled with devout enthusiasm and
hope. She believes that her sickly son beside her, will be
cured of his disease. A weakly, ailing child, in the last
stages of physical prostration, lies outstretched at the feet of
his mother, who turns her imploring eyes to the Throne of
Grace. Almost within the door is a cripple reading prayers
and hoping that his lameness will leave him. On the left
hand of the portal and guarding the shrine, is a Mohamme-
dan functionary accoutred with swords, pistols and daggers.
He listlessly smokes his pipes, and superciliously ignores the
Christian rabble. In the distance are hills of Zion, and typi-
cal of Moslemism a vulture is lowering over the the Sacred
City, while the moon, emblematic of the Blessed Mother, is
rising in the azure which is tipped with the rosy gleams of the
rising sun.
This is a painting full of religious sentiment, overflowing with
a wonderful diversity of color and representing a scene from
which a lesson must be learned by all who view it with a pro-
per spirit.
204. "Hamlet and Ophelia."
Ophelia." What means this my Lord ?"
Hamlet."We shall know by this fellow. The players can-
not keep counsel, they'll tell all. (Hamlet, Act II-Scene II.)
Who can look on a picture of that nearly distracted prince
of Denmark without feeling pity and consideration for his
youthful sufferings?
We are apt to think of Hamlet only as he is portrayed on
the stage. In the play we lose our feeling for the boy in our
admiration for the actor.
There is none of this in Ferrier's treatment of the subject.
12
There is no taint of the stage scene about it. The young
Hamlet, scarce more than a boy, his white drawn face, a piti-
ful contrast to his dark hair and mourning attire, stands erect,
his straight slim figure relieved by the sweeping folds of his
black mantle.
Ophelia seated by his side, one hand on his shoulder the
other clasped in his, her sweet, sad face questionably up-
raised to his, shows sorrowing frightened solicitude. Beyond
the play in progress, and the startled king and queen on their
throne can be seen.
The picture is pitiful and strong; the color soft and deli-
cate, dark and rich.
FERRIER (J. M. A. Gabriel). Rome. Artist.
Won
Born at Nimes, 1847. Pupil of Lecoq de Boisbaudran.
Grand Prix de Rome, 1872. Medals 1876, 1878. Legion of
Honor, 1884.
205. Little Mistress Dorothy; (pastel.) ($750.)
-
206. Old Worker; ($175.)
207. An Old Friend; ($100.)
208. "Sketching Her In ;" ($400.)
210. When Forest Leaves are Bright; ($1,800.)
209. The Old Favorite. ($150.)
J. Wells Champney
John A. McDougall
Müller Linke
H. W. Watrous
Geo. B. Wood
R. M. Shurtleff
211. The Guardsman, Time Louis XIII; ($125.) -
212. "The First Chapter;" ($125.)
213. Lucia; ($300.)
214. A Gray Day by the Sea; ($150.)
-
- J. H. Dolph
Wm. Verplanck Birney
William Sartain
Geo. H. Smillie
215. Sunset from the Foot of Mt. Hayes, N. H.; ($100.) W. L. Sonntag
216. Sur l'Oise; (France.) ($600.)
217. "The Roman Ladies" ($3,000.)
218. Springtime; (Broux River.)
219. Ideal Head; ($100.)
220. Sunset. ($125.)
221. A Visit Home; ($150.)
222. Kittens at Play; (175.)
223. A Woodland Brook; ($1000.)
Maria J. C. áBecket
E. H. Blashfield
R. W. Van-Boskerck
W. B. Kittell
D. F. Hasbrauck
Leon Delachaux
J. H. Dolph
Arthur Parton
1
13
224. Fruit; ($150.)
225. Spring Time; (Environs of Paris.) ($150.)
226. Hounds in Leash; ($175.)
227. "The New String;" ($200.)
228. First Bride's-maid; ($500.)
-
229. Evening; (A Study From Nature.) ($500)
230. Sunlight and Shadows; ($300.)
231. Nigara; ($2,500.)
232. Surf at Gloucester; ($175.)
-
ROOM "F."
233. Tapestry, Queen Louise; (Panel) ($100.)
234. Sofa Seat and Back; Tapestry, ($50,)
235. A Knight in Armour; ($300.)
236. Guinivere; (Panel, Tapestry) ($200)
237. Maid; ($300.)
238. Chair Seat and Back; Tapestry, ($25.)
239. Tapestry Panel; ($60.)
240. Titiana; ($150.)
241. The disputed Way; ($500.)
242. "Eleanore”
243. Lilacs; ($300.)
244. A Fool and His Lunch; ($125.)
245. Colorado Snowballs; ($200.)
246. Uncle Tom; ($300.)
247. Hamadryad; ($750.)
248. Normandie; ($75) -
249. Spring Time; ($75.)
*
-
C. P. Ream
Leon Delachaux
H. R. Poore
M. Brooks
S. Jerome Uhl
F. De Haven
F. H. M. Rehn
A. T. Bricher
((
66
Mrs. Emma Haywood
66
66
G. S. De Luza
Mrs. Emma Haywood
G. S. DeLuza
Mrs. Emma Haywood
(6
66
((
Walter Satterlee
W. H. Beard
F. J. Waugh
A. Binford McCloskey
Wm. Verplanck Birney
A. Binford McCloskey
-
E. M. Ward
Geo. W. Maynard
Ogdon Wood
66
166
250. "Reverie;" ($75.)
-
Room "G."
251. A Bit of Sunlight; ($600.)
252. A tete a tete; ($400.)
253. A Milk Maid. (Normandy) ($1,000.) -
254. Encampment on the Sea; ($1000.)
255. Off the Banks; ($150.)
256. Evening in the Harbor; ($150.)
J. Jolly
W. J. Baer
F. J. Waugh
Chester Loomis
F. S. Dellenbaugh
James B. Sword
(6
14
257. The Month of May; ($350.)
258. French Kitchen; ($500.)
259. Shepherd and Flock; ($1,200.)
260. October Evening; ($1,000.)
261. Perils of the Sea;
262. Actæon; ($1,200.)
263. Picardy Idyl; ($500.)
264. A Fisher Girl; ($200.)
265. Weaving; (Picardy) ($300.)
266. Spinning; (Picardy.) ($300.)
267 Sunday Afternoon; ($2,500.)
268. Still Life; (Normandy.) ($350)
269. Feeding the Baby; ($400.)
270. Jersey Cattle; ($125.)
271. Summer; ($400.)
272. Mill; ($600.)
273. Telling the Bees; ($800.) (Solon 1888)
274. Dutch Fisher Girl Mending Net; ($1,209.)
275. In The Pines; (New Hampshire.) ($250.)
276. On the Seine, near Houfleaf; ($600.)
277. Downs of Normandy;
278. At Close of Day; ($2,000.)
279. Study Head; ($200.)
280. "Come Along;" ($175.)
281. Four Score and Ten; ($1,200.)
282. Old Age; (Salon picture.) ($200.)
283. Winter Travel in Sweden; ($150.)
284. Morning on the East River; ($30.)
285. "Marie;" ($100.)
Max Weyl
H. Thompson
-
66
B. R. Fitz
Lionel Walden
H. R. Poore
H. Thompson
J. Ciddell Armitage
A. Decamps
66
66
O. C. Wigand
Roswell D. Sawyer
Helen K. Baker
Edward Osthaus
Mrs. L. C. McArthur
66.
" (
66
((
W. J. Baer
Roswell D. Sawyer
66
C. W. Chambers
H. R. Poore
W. J. Baer
O. C. Wigand
W. J. Baer
F. S. Dellenbaugh
Axel Ender
W. H. Snyder
Albert E. Sterner
286. Peat Ponds; (Valley of the Somme.) (Salon 1887.)
287. Evening Glow in Autumn; ($250.)
288. "A Good Story;" ($100)
289. Italian Peasant; ($100.)
290. At the Fountain; ($125.)
291. Boiling Lobsters; ($200.)
Roswell D. Sawyer.
Roswell D. Sawyer
Lavinia Ebbinghausen
F. Verni
A. Reyna
E. Wood Perry
15
292. Spring Blossoms; ($250.)
293. A Study of Sunlight; ($250.)
294. A Picardy Pastoral; ($1,000.)
295. Glen on Rock Creek; ($300.)
296. Sailing Ahead; ($150.)
297. French Garden; ($300.)
298. Quiet Hour; ($500.)
299. In the Sear and Yellow Leaf; ($750.)
300. Swedish Shepherdess; ($150.)
301. "The Hoar Frost;" ($300.)
Max Weyl
F. J. Waugh
Harvey Thompson
Max Weyl
A. C. Wigand
Wilson de Meza
Wm. Verplank Birney
Benoni Irwin
Axel Ender
Alexander Harrison
1
SCULPTOR'S STUDIO.
310. Mrs. Heiberg, Terra Cotta Bust;
311. Leif Erickson; (sketch.)
312. Mrs. Scheffer, Plaster Bust;
•
313. Muse of History (proposed) Figure for the Library
Building;
314. Portrait of Child; (Price in terra cotta $100.)
Jakob Fjelde
((
((
66
66
315. Bust in Clay of Mrs. Grevstad ;
66
316. Prof. G. Sverdrup, Marble Bust; ($600.) Loaned by
Augsberg Seminary
66
66
317. Prof. Sven Oftedal, Marble Bust; ($600.) Loaned by
Augsberg Seminary,
318. Sketch for Library Building Figure, Baked Clay;
319. Plaster Cast of Prof. Sverdrup;
320. Bust in Clay of Terslose;
321. Portrait Medallion;
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322. Plaster Cast of Prof. Oftedal;
323. Plaster Cast of Dr. A. A. Ames;
324. Mrs. Snider; (Plaster Cast.)
325. Medallion Mrs. Fjelde;
326. Winter Evening; ($250.)
ROOM "H.'
""
327. A Pasture (Chemung Co.) ($150.)
328. German Lunch; ($30.)
329. "Brittany"; ($2500.)
330. Near Plymouth, N. H.; ($2000.)
331. Hardunger Fjord, Norway; ($1000.)
332. Catskill Forest in Winter; ($450.)
333. Fish; ($200.)
334. A Clear Night: ($350.)
335. Oranges (Valentia); ($200.)
336. Florida Lemons; ($200.)
337. A Corner in Fulton Market; ($175.)
338. Winter in the Catskills; ($60.)
339. All Sorts in Our Class; ($400.)
340. A Pack of Fox Hounds; ($150.)
341. Sweeping Cobwebs from the Sky; ($200.)
342. Streets of New York; ($1500.)
343. The Witches' Night; ($1000.)
344. After Lunch; ($250.)
345. Landscape and Cattle; ($100.)
346. October Snow (near Bethel, Me.); ($150.)
347. Sunset in the White Mountains; ($150.)
348. Sunset off the Coast of Maine; ($250.)
349. Fog Rising off Hark Hill, N. H.; ($150.)
350. A View from the Glen House, N. H.; ($100.)
351. A June Morning; ($150.)
352. Portrait ;
353. Disregarded Advice; ($650.)
354. On the Old Homestead ;
355. Still Life; ($50.)
Jakob Fjelde
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6 6'
Bolton Jones
James D. Smillie
Emilie Frances Rose
Geo Frederick Munn
A. Bierstadt
Edward Gay
D. F. Hasbrouck
A. Wyderveld
F. K. M. Rehn
Wm. J. McCloskey
66
D. F. Hasbrouck
W. H. Beard
Hermann Simon.
W. H. Beard.
Jas. H. Beard
W. H. Beard.
Jas. H. Beard
W. L. Sonntag:
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Wm. M. J. Rice-
Frank Enders
J. N. Marble-
Mrs. Carroll Atwood.
17
356. Afterglow in the Offing, (Gloucester, Mass.); ($75) Miss L. Woodward
357. In the Hammock; ($200.)
358. The Old Homestead; ($400.)
359. On the Hackensack; ($100.)
360. Still Life; ($50.)
361. Still Life; ($250.)
362. In the Field; ($75.)
363. Fresh from the Vineyard; ($40.)
364. Sounds from Home; ($700.)
365. Low Land on the Potomac; ($150.)
366. The Carnival and a Funeral, ; ($800.)
E. W. Perry
A. C. Howland
F. Rondel
Mrs. Carroll Atwood
Mary Call Perkins
C. L. Van Vredenburgh
N. R. Brewer
F. J. Fisher
Max Weyl
Ringgli
367. Willow Banks, (Stockbridge, Mass.); ($150.) Miss L. Woodward
368. Old Esther Dudley Telling Stories to the Children
(from Hawthorne); ($75).
369. New York in Twilight; ($125.)
370. Yellowstone River, M. T.; ($400.)
371. "In Clover;"
372. "Portrait" Vivian Burnett; (700.)
373. Feeding the Chickens; ($50.)
374. Contentment; ($350.)
375. The Bathing Hour; (500.)
376. Twilight; ($35.)
377. The Zither Player; ($50.)
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378. The Home of the Brownies; ($250.)
379. Landscape and Cattle; ($250.)
Alice Barber
N. R. Brewer
M. Seymour Bloodgood
Edward Gay
S. Jerome Uhl
Helen C. Brown
John A. McDougall
A. G. Heaton
D. F. Hasbrouck
Alice Barber
Seymour J. Guy
380. "I Done Gets Dar all de saim;" "Watermelon days.
Jas. M. Hart
are come, the Happiest of the Year. ($600) S. Jerome Uhl
381. On the River; ($300.)
382. Summer; ($150.);
383. A New England Pasture; ($150.)
384. Down the Mountain;
385. Tra-la-la; ($125.)
Edward D. Osthaus
Chas. H. Eaton
W. L. Sonntag
J. N. Marble
M. Brooke
18
}
WATER COLORS,
ROOM "I.”
392. Wild Apple Blossoms; ($40.)
393. August; ($40.)
394. After Dinner; (Sold.)
395. A Sea Effect; ($75.)
396. Late Afternoon; ($35.)
397. Twilight ;*($40.)
398. Evening; ($40.)
399. A Pueblo of the Southwest; ($75.)
400. June; ($40.)
401. Ocean Symphony;
402. Autumn; ($35.)
403. Inspecting the Provost Guard; ($75.)
404. Scene in Florida; ($100.)
405. Afternoon
-
406 "Shrine and Devotee ;" (Loaned by S. J. Ahern.)
407. Yachts at Anchor;
408. Salt Meadows; ($40.)
409. Lowlands; ($40.)
410. Surf at Southhampton; ($100.)
Victor Mindeleff
Arthur Hoeber
B. E. Perrie
De Lancey Gill
Arthur Hoeber
66
((
De Lancey Gill'
Arthur Hoeber
A. T. Bricher
Arthur Hoeber
W. H. Shelton
Granville Perkins
· D. W. Tryon
Amici
D. W. Tryon
Arthur Hoeber
A. T. Bricher
411. A Quiet Spot; ($28.)
412. Along the Potomac ; ($35.)
413. Souvenir of Tangier; ($75.)
414. Still Life; ($25.)
415. Oyster Boats (Blue Point.) ($100.)
416. Landscape; ($35.)
417, Late October; ($40.)
418. "Gray Day;" ($30.)
419. “Rose;" ($50.) (Robt. Elsmere)
B. E. Perrie
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Mrs. R. Le Grand Johnston
B. E. Perrie
A. T. Bricher
Arthur Hoeber
66
W. J. Baer
66
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}
19
420. "Blackberry Jam." ($60.)
421. Mistress Anthea; ($55.)
422. "Bubbles as Light as Air;" ($250.)
423. Modern Joseph; ($50.)
424. A Winter Twilight; ($25.)
425. "Polly;" ($150.)
3
426. Blossom Time; ($60.)
427. "Bessie;" ($85.)
428. A View near Springfield; ($100.)
429. The Suburbs of Washington; ($100.)
430. Fisherman at Work; ($125.)
431. Spring Morning; ($75.)
432. Off Newport; ($65.)
433. Twilight; ($75.)
334. Cornish Headlands, Eng.; ($450.)
435. Thoughts of the Past; ($200.)
436. Sunset at Sea; ($350.)
437. Evening in the Shadows; ($75.)
438. A Swollen Stream; ($75.)
439. A Gateway to Wonderland;
James Henry Moser
Percy Moran
J. Wells Champney
James Henry Moser
N. W. Metcalf
Wm. Verplanck Birney
Albert Insley
B. E. Perrie
Agnes D. Abbott
DeLancey Gill
Frank Enders
Albert Insley
E. M. Bicknell
De Lancey Gills
William T. Richards
- Wm. Verplanck Birney
Granville Perkins
F. Ronde
Jas. G. Tyler
W. H. Holmes
440. By the Sea;
441. King of the Gypsies; ($250.)
442. A Corner in the Village; ($40.)
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443. Freda; ($100.)
444. Glouchester Light; ($100.)
445. Interrupted Work;
446. Souvenir of Granada; ($250.)
447. Evening; ($50.)
448. The Aljerian; ($25.)
449. Interior French Peasant Home; ($50.)
450. Spring Landscape;
451. Berkshire Rocks; ($75.)
452 Dolly; ($40.)
453. Swedish Garden; ($125.)
454. Grapes; ($150.)
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Walter Sattlelee
Agnes D. Abbott
J. Wells Champney
Agnes D. Abbott
Walter Sattlelee
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R. W. Van Boskerck
H. C. Lane
E. M. Bicknell
W. H. Holmes
James Henry Moser
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L
A. B. Shepley
J. Symington
Ada H. Kent
20
455. On the Zwyderzee; ($150.)
Jas. Symington
456. August Day on Salt Marshes; (On Jersey Coast.) ($250.)
457. Along the Sound; ($60.)
458. The New Magazine; ($50.)
459. Little Flower Seller; ($60.)
460. "Rose;" ($100.)
461. Reaping; ($75.)'
462. A Flirtation; ($250.)
463. A Lancer of the Provost Guard; ($50.)
464. "Portia ;"
465. A Noonday Rest; ($350.)
466. The Storm; ($50.)
467. A Canal in Venice; ($150.)
-
468. Old House, Mt. Hope, N. Y.; ($40❤)
469. Minding the Flock; ($125.)
470. A Rocky Hillside;
471. Herefort Inlet, New Jersey; ($60.)',
472. Morning on the Deleware; ($40.)
473. A Sketch from Normandy;
474. Castleman Bay of Naples ;
475. The Passing Herd; ($250.)
476. "Melody" ($250.)
477. Indian Summer; ($60.)
478. Coming Shower; ($40.)
479. "From over the Sea;" ($100.)
480. Near Washington; ($75.)
Granville Perkins
L. E. Van Gorder
- B. E. Perrie
James Henry Moser
Jas. Symington
A. D. Weldon
W. H. Shelton
Walter Satterlee
Peter Moran
F. DeB. Richards
Wm. Sartain
Miss L. Woodward
Frank Enders
R. M. Shurtleff
F. DeB. Richards
Carl Weber
Walter Satterlee
W. H. Holmes
James D. Smillie
C. D. Weldon
Wm. J. Whittemore
Carl Weber
Carlton T. Chapman
De Lancey Gill
481. Castle Eltz, (Built in 11th Cent., Still inhabitable.) ($95.) P. Toft
482. The Susquehanna; ($75.)
483. The Homestead; ($40.)
F. DeB. Richards
((
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484. The Stable Door; ($250.)
485. A Barn Yard; ($250.)
486. Dunnotlar Castle, near Aberdeen, Scotland; ($85.)
Ancestral Castle of the Keith family.
487. Autumn; ($100.)
488. Sunshine and Fog; (Bar Harbor.) ($40.)
Peter Moran
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((
P. Taft.
M. DeForest Bolmer
Agnes D. Abbott
21
489. Near Germantown; ($40.)
490. Salt Marshland; ($90.)
Carl Weber
Wm. J. Whittemore
491. Feeding the Chickens; (Scene in White Mts.) ($50.)
W. Louis Sonntag, Jr.
492. Proposed Court House and City Hall. View from 4th ave.
and 4th st. W. H. Dennis & Co., Architects.
J. Anderson, Del.
493. Jersey Meadows; ($60.)
Geo. H. Smillie
494. The Flagman's Home. (A study on the Long Island R. R.)
($30.) W. Louis Sonntag
495. Carter Dome from Carter Lake; ($35.)
496. Proposed Court House and City Hall, View from 3rd ave.
and 4th st. W. H. Dennis & Co., Architects.
497. "Wash Day;" ($30.)
498. Pansies, ($25.)
6.
J. Anderson, Del.
A. Louis Sonntag
N. S. J. Smillie
499. On the Andrew Scoggin River, (A view near Berlin Falls.)
500. Proposed Office Building.
($30.) W. L. Sonntag
W. H. Dennis & Co., Architects
J. Anderson, Del.
501. On the Old Country Road, (Shelburn, N. H.) ($25.)
W. Louis Sonntag, Jr.
502. The Miller's House. (A New Hampshire study.) ($25.)
W. Louis Sonntag Jr.
ROOM "K."
503. Morning After the Storm; ($40.)
504. Driven Ashore; ($40.)
505. First of the Fleet; ($40.)
506. Stranded Collier; ($40.)
507. Outward Bound; ($40.)
508. Rough Weather; ($40.)
509. Departed Tune; ($100.)
510. Summer Evening; ($100.)
511. Soul of the Morning; ($100.)
512. Soft Winds, (Marine), ($50);
513. The Melting Snow; ($50.)
F. F. English
66
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66
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Robert Burns Wilson
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514. The After Glow; ($100.)
515. “The Blue-bird Hath Returned;" ($350.)
516. The Rocky Coast; ($50.)
517. The Gloaming; ($70.)
Robert Burns Wilson
(6
66
66
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518. The Wintry Sea; ($50.)
519. Autumn, (Valley of Benson, Ky.); ($75.)
520. The Summer Fields; ($150.)
521. The Quiet Hour; ($40.)
522. The Twilight Moon; ($75.)
523. Rising Summer Moon;
524. Roses in Glass; ($25.)
525. Sunset Roses; ($40.)
526. A Large Pearl; ($40.)
527. In Full Bloom; (25.)
528. Sweet Peas; ($15.)
7
529. Roses of Yesterday; ($50.)
530. Wild Roses; ($20.)
531. Yellow Roses; ($25.)
532. A Brilliant Trio; ($50.)
66
66
66
66
66
Amy Cross
፡፡
66
66
66
66
((
66
533. Jonquils and Tulips; ($40.)
534. Fading; ($30.)
535. "Mermets and Brides;" ($55.)
536. Forgotten; ($35.)
537. Old Friends and New; ($60.)
538. Harmony; ($200.)
539. Roses; ($40.)
540. Roses and Old Venetian Vase; ($60.)
541. The Full Bloom; (25.)
542. Companions; ($35.)
543. Venetian Glass and American Beauties
544. White Peonies; ($35.)
545. Past Their Prime; ($40.)
546. Rosebuds; ($20.)
547. American Beauties; ($75.)
548: Chapel Pond, Adirondacks
549. Yellowstone River, M. T.; ($75.)
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66
66
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66
M. Seymour Bloodgood
66
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1
550. Shores of Connecticut Island; ($75.)
551. Landscape
James B. Sword
J. C. Nicoll
552. Morning After the November Snow; ($50.) Wedworth Wadsworth
553. October Morning; ($80.)
554. Woods at Arkville; ($50.)
555. Off Marblehead; ($60.)
556. Surf and Rocks; ($20.)
557. Near Bushkill; (40.)
557½. In the Field; ($30.)
558. A Breaking Wave; ($60.)
559. On the Schuylkill; ($175.
560. The Relay; ($125.)
561. Harvesting Seaweed; ($100.)
562. Mountain Pasture; ($150.)
I
563. "Cloister" English Cathedral; ($50.)
564. Roses; ($50.)
565. Evening Glow; ($65.)
566. Foggy Morning off Gloucester Bay; ($35.)
567. Fishermen's Houses (Cape Ann ;) ($150.)
568. Still Life (Group ;) ($80.)
569. Even-Tide; ($50.)
James D. Smillie
Geo. H. Smillie
M. Seymour Bloodgood
Carlton T. Chapman
Carl Weber
Agnes D. Abbott
J. G. Tyler
Peter Moran
William T. Richards
Peter Moran
Mrs. Emma Haywood
66
James G. Tyler
L. Woodward
George A. Smillie
Mrs. Emma Haywood
Albert Insley
Exhibits of the Minneapolis School of
Fine Arts.
DOUGLAS VOLK, DIRECTOR.
ROOM "L."
570. Still Life Study
571. Peonies
572. Radishes
573. Figure Study from Life
574. Onions
575. Lillies.
576. Still Life Study
577. Portrait from Life
1
1
Miss Julia Walker
Miss G. E. Man
Miss Nettie Waite
Mrs. Kirkham
Miss G. Man
Mrs. VanCise
Miss Nettie Waite
Mr. B. O. Eggleston
24
578. Daisies
579. Sketch from Nature
580. Sketch from Life
581. Still Life Study
582. Still Life Study
583. Portrait from Life
584. Fruit Study'
585. Study from Life
586. Study from Life
587. Study from Life
588. Sketch from Nature
589. Onion Study
590. Study from Life
591. Still Life Study
593. Onion Study
594. Figure Study
592. A Head
Miss Gertrude Jenkins
Mr. B. O. Eggleston
Mr. B. O. Eggleston
Miss Jessie Ellis
Miss Gertrude Jenkins
Mr. B. O. Eggleston
Miss Marion Mudgett
Miss M. E. Norris
Miss Julia Walker
Miss Marion Mudgett
Mr. B. O. Eggleston
Miss Marion Mudgett
Miss G. McKinstry
Mrs. VanCise'
B. O. Eggleston
Miss Julia Walker
((
((
((
595. Still Life Study
596. Roses
597. Still Life Study
598. Study from Life
599. Figure Study from Life
600. Still Life Study
601. Fruit Study
602. Study from Life
603. Sketch of a Chinaman
604. Still Life Study
605. Flower Study
606. Charcoal Study from Life
607. Charcoal Study from Life
608. Charcoal Study from Life
1
Miss M. E. Norris
Miss Marion Mudgett
Mr. B. O. Eggleston
Miss G. McKinstry
Miss Jessie Ellis
Mrs. Van Cise
Mr. B. O. Eggleston
Mrs. Van Cise
Miss Marion Mudgett
Mr. B. O. Eggleston
Mrs. Van Cise
Miss M. C. Lockwood
Mrs. Van Cise
፡፡
609. Charcoal Study from Life
!
610. Charcoal Study from Life
611. Charcoal Study from Life,
612. Charcoal Study from Life,
-
Mr. H. M. Paquin
Miss Marion Mudgett
Mr. H. M. Paquin
25
613. Charcoal Study from Life,
614. Charcoal Study from Life,
615. Charcoal Drawing from the Antique.
616. Charcoal Drawing from the Antique
617. Charcoal Drawing from the Antique.
618. Charcoal Drawing from the Antique
619. Charcoal Drawing from the Antique
620. Charcoal Drawing from Life,
621. Charcoal Study from Life
622. Charcoal Study from Life
623. Charcoal Study from Life
624. Charcoal Study from Life
625. Charcoal Study from Life
626. Charcoal Study from Life
A
627. Charcoal Study from Life
628. Charcoal Drawing from the Antique
629. Charcoal Drawing from the Antique
630. Charcoal Study from Life
Mr. H. M. Paquin
Miss J. A. Walker
Mrs. Van Cise
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Miss G. E. Man
Miss M. A. Howe
Miss May N. Dunn
Miss May N. Dunn
Mr. H. M. Paquin
Miss Gertrude Jenkins
Miss M. E. Norris
Miss Marion Mudgett
Mr. B. O. Eggleston
Miss M. E. Norris
Miss M. C. Lockwood
Mrs. Van Cise
Miss N, E. Norris
-
Miss G. E. Man
631. Charcoal Study from Life
632. Charcoal Study from Life
633. Charcoal Study from Life
634. Charcoal Study from Life
635. Charcoal Study from Life
635a Charcoal Drawing from the Antique
636. Charcoal Study from Life
-
636a Charcoal Drawing from the Antique
637. Charcoal Study from Life
637a Charcoal Drawing from the Antique
638. Charcoal Drawing from the Antique
639. Charcoal Drawing from the Antique
640. Charcoal Drawing from the Antique
641. Oranges;
642. Apple Blossoms
643. Still Life
644. Study of a Chinaman;
Mr. H. M. Paquin
Miss Nettie E. Waite
Mrs. Kirkham
Miss Gertrude Jenkins
Miss Marguerite Henderson
Miss Marion Mudgett
Mr. B. O. Eggleston
Miss M. E. Norris
Miss Gertrude Jenkins
Mr. H. M. Paquin
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t
Mr. B. O. Eggleston
Miss Marion Mudgett
Mrs. Van Cise
Miss Nettie E. Waite
Miss Jessie Ellis
26
645. "Still Life" Study
646. Snow Balls;
647. Study from Life
648. Still Life Study
649. In the Pasture
650. Still Life Study
651. Still Life Study
652. Still Life Study
-
Mr. B. O. Eggleston
Mrs Van Cise
Miss Julia Walker
Miss Nettie Waite
Mr. B. O. Eggleston
Miss M. E. Norris
Miss Nettie E. Waite
Miss Jessie Ellis
Mrs. Wm. Hinckle
Mrs. Kirkham
Miss May E. Norris
653. Portrait from Life
654. Still Life Study
655. Figure Study from Life
656. Study from Life
66
66
66
657. Daisies.
657a Plaster Caste. Modeled by
Miss Julia Walker
Miss Hattie Walker
ROOM "M.”
SPECIAL EXHIBIT OF PROOF ETCHINGS.
Peter Moran
658. Labourage (after Rose Bonheur); ($10.)
659. On the Commons; ($5.)
660. The Pool; ($15.)
661. A Summer Afternoon; ($28)
662. Summertime; ($40.)
663. Hiawatha (after T. Moran); ($18.)
664. A New Mexican Road; ($20.)
665. The Apple Orchard; ($18.)
666. A Pastoral; ($15.)
667. Borders of the Marsh of St. Picknell; ($10.)
668. A Meadow Pool; ($10.)
669. An Old Orchard; ($35.)
670. The Ford; ($50.)
671. "Why Can't I Go Too?" (After Tracy.) ($20.)
672.-York Downs; ($25.)
673. Spring; ($50.)
674. Crossing the Stream; ($7.)
675. Nearest Way Home; ($6)
676. A New England Road; ($20.)
677. Santa Barbara Mission; ($25.)
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27
678. Cattle and Landscape; (After Van March.) ($8.)
679. Pueblo of Shemopare (Arizona); ($15.)
680. June; ($25.)
681. Under the Willows, ($10.)
682. Old Mill.
683. The Perkivmen Creek; ($7.)
684. A Hazy Morning; ($35.)
685. A Race for Life; ($8.).
686. Evening; ($16.)'
687. Noonday; ($5.)
688. Evening-Cattle Drinking; ($10.)
689. Ploughing Stubble; ($45.)
690. A Corner in Spanish Taos, N. M.; ($5.)
691. A Dusty Road; (6.)
692. Winter; ($8.)
693. Church of San Miguel (Santa Fee); ($7.)
694. Going to Pasture; ($18.)
695. On the Neshamoni; ($30.)
696. Going to the Fair. (After Pollizzi) ($15.)
697. A Road in the Park; ($15.)
698. York Downs; ($25.)
699. A Street in Albuquerque; ($25.)
700. League Island, (Roulette); ($10.)
Peter Moran
66
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66
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701. Cat and Rats, (Fable); ($12.)
702. A Passing Storm; ($30.)
703. A New Mexico Burro Train; ($12.)
704. The Lowing Herd; ($35.)
705. Going to the Fair, (after A Bonheur.) ($40.)
706. The Ploughman; ($30.)
707. A Country Road; ($5.)
708. The Noonday Rest; ($5.)
709. Landscape, (after C. Jacques); ($6.)
710. Study of Sheep; ($5.)
711. The Harvest; ($45.)
712. A Meadow Stream; ($18.)
713. Danger, (after Voltz); ($12.)
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714. The Downs, (York Harbor, Me.); ($10.)
1
Peter Moran
715. Wolves on a Buffalo Trail; ($12.)
716. York Downs; ($5.)
717. Church of Our Lady of Guadeloupe, Santa Fee; ($14.)
66
718. Low Tide on the Schuylkill; ($20.)
66
719. The Harvest; (San Juan, N. M.); ($10.)
720. Burro Train; ($5.)
721. An August Afternoon; ($30.)
66
722. Return of the Herd; ($10.)
723. Study of Donkeys; (5.)
724. On the Road to Santa Fee; ($23.)
725. A Stream by the Willows; ($5.)
726. The Forest of Fountainbleau, (after Pollizzi); ($10)
727. New Mexican Burro Train; ($15.)
728. Fall Ploughing; ($8.)
729. An Alley Way, (Puebla of Tuin); ($20.)
730. A Country Lane; ($8.)
731. Cow and Calf; ($5.)
732. On the Neschomoni; ($8.)
733. On the Neschamoni; ($10.)
66
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66
734. A New England Orchard; ($30.)
735. A Country Smithy; ($5.)
736. Source of the Stream; ($5.)
737. At the Watering Place.
738. An Old Song; ($24.)
739. St. John's River; ($15.)
740. Moonrise; ($25.)
741. Atlantic Dock; ($10.)
742. John Aldin's Letter; ($36.)
743. The Fisherman's Courtship; ($36.)
744. The Young Musician; ($12.)
745. Solid Comfort; ($9.)
746. Mt. Holy Cross; ($50.)
747. The Mill Race; ($18.)
66
66
Percy Moran and W. Sartain
M. N. Moran
H. Farrer
C. A. Platt
C. Y. Turner
Hamilton Hamilton
Wm. Sartain
W. H. Lippincott
T. Moran
Kruseman VanElten
29
ROOM. "N."
748. Old Wharf, East Gloucester; ($5.00)
749. A Gloucester Waterside; ($6.00)
750. Noon on the Beach; ($5.00)
751. Winter Afternoon; ($3.50)
752. December Twilight; ($3.50)
753. Sundown; ($3.50)
754. Winter Twilight; ($3.50)
Carlton T. Chapman
Charles E. Whittemore
66
66
66
""
፡፡
66
((
(C
755. The Parson's Daughter; ($24.)
756. Welcome News; ($60.)
757. A Road Past a Mill;
758. Portrait, (Chester Cousins.) (Not for sale.)
759. Woodcock Shooting;
760. Duck Shooting;
761. Beach Bird Shooting;
762. Retriever;
763. Florida Snipe Shooting;
764. Dead Game;
Frederick A. Freer
Emily Sartain
A. H. Shelton
A. M. Gregory
Jas. B. Sword
66
66
765. Rail Shooting;
(6
66
766. Quail Shooting
767. Grouse Shooting;
768. Prairie Shooting;
769. A Fisherman's Home; ($3.00)
770. Evening; ($6.00)
771. "Returning to the Fold;" ($5.00)
772. Bay View (Lake, Michigan ;) ($3.00)
773. The Ferry; ($5.00)
774. White Wings; ($20.)
775. Going into Action; ($18.)
Frank Enders
H. Pruett Share
66
6i
Frank Enders
Francois Norje
Carleton T. Chapman
Wm. H. Shelton
776. The Dinner Call; ($20.)
777. A Bright Lookout; ($30.)
778. The Dominie's Daughter; ($18.)
779. Day's Peaceful Ending; ($18.)
780. In the Day's of Our Youth; ($12.)
781. "Infantry in Arms;" ($15.)
782. A print from Destroyed Plate
H. Pruett Share
Hamilton Hamilton
H. Pruett Share
Joseph Lanber
Wm. H. Lippincott
1
30
1
APPENDIX.
782. Game,
Geo. W. Platt
783. Psyche Returning from Hades; ($1000) Imogene Robinson Morrill
784. Portrait of W. W. Corcoran; ($3000)
66
66
785. Immaculate Conception, (after Murillo) ($2000)
66
66
786. Burial of Atala; ($1000)
787. "Neglected;" ($100)
E. Robson
788. A Bashful Youth; ($250)
789. Germantown Ave., Phila.; ($300)
790. The Coming Wave,
791. Sheep Pasture; ($125)
792. Haslebrook; ($125)
793. Evening; ($600)
794. On Peacock Brook; ($125)
795. Twilight on the Hudson; ($50)
796. Spring Time; ($175.)
797. On the Coast of Maine;
George Wright
Geo. B. Wood
F. L. Heath
R. LeGrand Johnson
James D. Smillie
Maria J. C. áBecket
Albert Insley
DeFresh Bolmer
D. F. Hasbrouck
798. "She is a Roman ;" (Loaned by S. J. Ahern, St. Paul.)
799. A Cloudy Day; ($150.)
800. View in Gloucester Harbor; ($150.)
801. A Quiet Corner; ($60.)
8oz. Ready for the Jar; ($100.)
803. The Gondolier;
804. St. Croix River; ($300.)
806. Group of Artistic Photographs,
805. Cattle; ($150.)
J. B. Bristol
Graf
F. DeHaven
Miss L. Woodward
Mrs. Carroll Atwood
E. Robson
Lionel Walden
Mrs. Woulfekotter
807. Collection of Hand Decorated China, painted and
fired by
808. The Cellar Master; Loaned by W. S. Mellen.
809. Romeo and Juliet, (marble).
810. The Wrestlers, (marble).
811. Silver Vase.
E. Schoeffel.
Geo. B. Wood
Edith Leasure
W. Haselback
Loaned by Mr. John T. West.
(C
(6
Presented by the citizens of Minneapolis to Mr.
812. Portrait of Mr. John T. West,
[John T. West
By Brush


:
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A.R.H.


SCENE IN SCULPTURE COURT.
HALL OF ANTIQUE SCULPTURE.
A
BRIEF reference to the history and features of Greek Sculpture
will be here appropriate. The art of Ancient Greece has been
to succeeding ages the inspiring source of excellence in sculpture
and architecture. Not only the well preserved temples and statues, but
even shattered fragments suggest their perfect glory and furnish models
for all time to come. The Greeks derived from Egypt and Asia the
mechanical and technical means of art, but freed these from all limiting
restrictions, and were thus enabled to develop their own original ideals
of beauty and character. The materials used were successively wood,
bronze, ivory, gold and marble, the neighboring island of Paros furnish-
ing the last material in perfection.
The history of Greek sculpture embraces the usual and natural
phases or stages of all art and life—those of birth, bloom and decay; of
beginning, perfection and declining; identical with the corresponding
phases of Greek national life, and roughly included in the nine centuries
immediately preceding the Christian Era. The first of these known as
Archaic, was characterized by simplicity of material and a childish
rudeness and stiffness of workmanship, the earliest representations of
the deities being nothing more than rudely carved wooden dolls. The
second culminated in the perfect work of Phidias, about the middle of
the fifth century, B. C., and the third was marked by that of his suc-
cessors, imitative and with less and less of high original motive, a gradual
lapse though, and often not without high and great quality.
iv.
A more minute classification, and one which would probably include
all those examples of which casts are found in the present collection,
would give us four epochs, as follows :
ARCHAIC.
From about 600 B. C., to about 450 B. C.
PHIDIAS AND POLYCLETUS.
From about 450 B. C., to about 400 B. C.
SCOPAS, PRAXITELES AND Lysippus.
From about 400 B. C., to about 323 B. C.
HELLENISTIC.
From about 323 B. C., to about 135 B. C.
With the conquest and enslavement of Greece by Rome, 146 B. C.,
her treasures of art were largely transferred to Italy, and there, too, her
artists found their principal occupation during the succeeding centuries.
of the empire. During the chaos of its disruption these treasures were
broken, scattered, hidden, or entirely destroyed, the same fate falling to
those in Greece itself, where, under the rule of the Turk, persistent.
destruction ensued. But in remote places, or buried in the earth, a few
have survived and been disclosed these latter centuries to instruct and
delight mankind, and systematic explorations now on foot in classic lands
are adding to their number. These remains are now preserved in the
great museums or private collections throughout Europe, and from them
the casts here exhibited are taken.
It should be borne in mind that the religions and mythologies of
Greece and Rome, though in some respects similar, were by no means.
identical, and the same is true of their respective deities, yet this fact is
popularly ignored and Greek deities called by the names of Latin deities
identified with them. Zeus has thus become Jupiter; Here, Juno;
Athene Minerva; Hermes, Mercury; Eros, Cupid; and so on through
the whole category, a fact to be regretted, and, it is hoped, in time:
corrected.
E. S. WATERS, A. M.
I.
"VENUS DE MILO."
CATALOGUE.
:
2.
This statue, now in the museum of the Louvre in Paris, and com-
monly called by its French name as above, has long been
supposed to represent Aphrodite, the goddess known in Latin
as Venus. But recent careful study of the figure and re-
searches into the circumstances of its discovery have led high
authorities to consider it a Nike or Victory. It was discovered
about 1820 in Melos, an island adjoining Greece, by a peasant
while digging on his premises, and with some difficulty secured
and carried off on board of a French frigate then lying in
those waters. To many it stands as the highest type of sculp-
ture representing feminine dignity and beauty combined. A
true goddess.
AUGUSTUS CÆSAR.
Louvre.
A portrait statue of the first of the Roman emperors, 30 B. C. to
14 A. D. Found near Rome in 1863, and “unsurpassed for
the nobleness of its expression and delicacy of artistic execu-
tion." Interesting from the remains of colors found upon it,
as an evidence of their use on ancient sculpture.
3. ESQUILINE VENUS.
4.
So called from its discovery on the Esquiline, one of the seven
hills upon which Rome stood.
DORUPHOROS.-SPEAR-BEarer.
By Polycletus, of Argos, fellow-pupil of Phidias of Athens, said
to have been the first to make the form rest on one leg. He
loved to represent the elastic beauty of manly youth harmoni-
ously developed by gymnastic exercise." Still this statue
conveys rather the idea Roman massiveness than of ideal
Greek lightness.
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vi.
5.
ம்
APOXYOMENOS.
Vatican Gallery.
The original was in bronze, the work of Lysippus, of the Argive
school, who stands at the head of the masters, who remodeled
the style which had been brought to perfection by Polycletus,
in harmony with the spirit of the new age, and who was so
esteemed and favored by Alexander that that great king would
allow no one else to represent him in sculpture. His art be-
trays unfailing adherence to nature and he devoted himself
principally to the representation of male figures. The excel;
lent marble copy from which this cast was taken was found at
Rome in 1846, and conveys an impression of the elegance
which marked the figures of Lysippus. The original which
Agrippa placed in front of his baths, near the Pantheon, was
so popular in Rome, that when Tiberius attempted to re-
move it to his palace, the displeasure of the people was
so great, that he was obliged to restore it to its place. The
statue represents an athlete scraping from his arm, with the
strigil the oil and dust of the arena. Athletes before entering
upon their exercises rubbed their bodies with oil.
6. HERMES AND DIONYSOS.
Mercury and Bacchus according to their Latin names.
Athens.
This work,
recovered by the efforts of German explorers at Olympia in
1877, is identified as that of Praxiteles by the account of
Pausanias, who in the second century, A. D., saw and de-
scribed it. Praxiteles, a great leader of the Attic or Athenian
school, born 392 B. C., sought to elevate the tender beauty
and refined grace of youth in ideal creations, and at the same
time was distinguished by great versatility and rich fertility of
invention. He gave a youthful form to several gods, such as
Apollo and Bacchus, yet excluded none of the twelve great
divinities of Olympus from his representations, but ably con-
ceived the grander and more serious characters of Neptune,
Juno, Ceres and Minerva. This personification of Hermes
differs from the usual ones of the god, but is especially beau-
tiful; his right arm, when entire, perhaps held a bunch of
grapes, and so called forth the pleased expression of the
youthful Dionysos.
vii.
APOLLO SAUROKTONOS (Lizard-killer).
Louvre.
This statue by the same artist, existing in several copies in marble
or bronze, exhibits the youthful grace and soft suppleness
found in others of his works. He has here made use of the
circumstance that the lizard as a creature of presage stands
in relation to the god of prediction.
8. SLABS OF THE PARTHENON FRIEZE, (38 pieces.)
British Museum
The original of these once formed the frieze of the cella or inner
temple of the Parthenon, or great temple of Athene Parthenos,
the patron goddess of Athens, the city named in her honor.
It represented in low relief the great Panathenaic procession,
a festival held every year, and with especial solemnities every
fifth year, at the head of which was borne aloft the sacred
peplos, or garment to be placed on the statue of the goddess;
then followed virgins with offerings, animals for sacrifice,
chariots, and lastly the mounted young nobility of Athens.
Mutilated as are these reliefs, it is impossible not to feel the
amazing genius of the great Phidias, shown in the endless
variety of attitude of the human figures and of the rushing
steeds, which last, in accordance with the method of the Greek
sculptors, were, when represented alongside of men, much
smaller than life. The frieze as shown represents two proces-
sions, which meet at the centre.
The Parthenon, constructed by Ictinus under the administration
of Pericles about 450 B. C. replaced the elder temple destroyed
in the Persian invasion of 480. It was of the Doric order of
architecture, built of white Pentelic marble, and with sculp-
tural decorations designed by Phidias. Down to 1687 A. D.
it remained entire except the roof, but being used as a Turkish
powder magazine, it was exploded by a bomb from the fleet of
the invading Venetians of that year, and irreparable damage
was done. Fortunately, however, the French painter, Carrey,
went to Athens a few years before and took sketches of the
sculptures, which are now preserved in Paris and give much
help in the study of the pediment groups, though even then
some of them had entirely disappeared. Some portions of the
fragments were carried away by the Venetians, and later, at
viii.
1
the beginning of the present century, a firman was granted by
the Sultan to Lord Elgin to carry away as many works of art
from Greece as he wished, and the purchase of these afterward
by the British museum has ensured their preservation since.
9. THESEUS.
British Museum.
This figure, one of Lord Elgin's acquisitions, taken from the east-
ern pediment (or gable) of the Parthenon, shows the reputed
hero-founder of Athens half,reclining on a rock, covered with
a lion's skin and drapery. Though mutilated, it is one of the
most valuable relics of Greek art. Though placed by Phidias
60 feet above the ground, where close inspection was impossi-
ble, the elaborate finish, even of the back of this and other
figures, is remarkable. In the words of Phidias, "the gods
:
IO.
II.
see them."
THALLO AND AUXO?
Characters of the group, thought to be the Attic Horae, Thallo
and Auxo.
PANDROSUS.
Daughter of Cecrops, mythical founder of Athens, as were also ·
11½. AGLAURUS AND HERSE.´
12.
13.
14.
Much life and action are expressed in the rich and graceful play
of the drapery in these female figures, mutilated as they are.
Last in the pediment comes
KEPHISSUS.
An Attic river god, "calmly reposing, though with incomparable
truth of action." This figure properly belongs in the west
pediment, which contains the victory of Athene over Poseidon,
which it raises itself upon its arm to witness.
HEAD OF DEMETER.
The Latin Ceres, goddess of the earth and harvest.
Often repre-
sented with a garland of corn ears, or with a torch and basket.
NEREID FRIEZE.
At Xanthos in Lycia in Asia Minor has been discovered the so-
called Nereid monument, probably the tomb of the rich Ly-
cian governor, Pericles, and very rich in remains of sculpture.
Among them are those of friezes of different widths, of which
the present example is the second in size. Of Parian marble
ix*
15.
The
and probably of the latter part of the fifth century B. C.,
and akin in style to friezes of that time in Greece itself. It
represents probably the successful siege of Telmessos by Peri-
cles of Lycia, and so pictures his career on his tomb.
army is seen marching in closed ranks, an attack made at the
city gate, while outside is seated the conqueror with an um-
brella held over his head, in Oriental state, receiving two
heralds of surrender. The largest frieze is represented in the
next number.
BROAD NEREID FRIEZE,
which pictures warriors in excited battle, which is divided
into single, highly excited groups of a few figures each, and
which recalls the horses of the Parthenon frieze. At stated
distances upon this tomb were placed the single statues of
female figures, which gave the name to the monument and of
which we have three examples in the next number.
16. NEREIDS. (3.)
The Nereids were mythically sea-nymphs, the daughters of Nereus
and Doris; they are here represented as light airy figures
in flowing transparent drapery, and poised on some symbolic
sea-animal, crab, fish or duck. One asks, "What their rela-
tion to a monument of this nature?" They were it seems
connected with the Isles of the Blest, and hence typified the
immortal after-life, into which Pericles had entered.
16½. PHIGALEIAN FRIEZE. (4.)
17.
From the Temple of Apollo at Bassae near Phigaleia in Arcadia,
built by Íctinus. Here are represented contests between
the Greeks and the Centaurs, and also with Amazons, Apollo
hastening to the scene with Diana in her chariot drawn by
stags. The conception of the work has been assigned to an
Attic artist, and the execution to Peloponesian workers.
COLUMNS. (4.)
From the front of an antique temple..
18. MAUSOLEUM FRIEZE.
(8.)
From the remains of the wonderful monument raised by Queen
Artemisia of Caria in Asia Minor to the memory of her hus-
band Mausolus, and hence called the Mausoleum, 353 B. C.,
•
}
X.
Long thought one of the wonders of the world. The subject
of the frieze is a favorite theme of Attic Sculpture, a fight be-
tween Greeks and Amazons, and as a work of art it holds a
high rank.
19. UNKNOWN HEAD.
20.
21.
22.
23.
ARCHAIC HEAD. (Early type of Apollo.)
DRUM OF COLUMN.
From the marble temple of Diana of the Ephesians, one of the
wonders of the ancient world whose columns were 60 feet
high. The bold relief of this one displays beautiful and grace-
ful figures. Hermes, the beautiful youth, messenger of the
dead, leads Alkestis from the lower world back to life, whilst
Thanatos, (Death,) winged and with a sheathed sword, beckons
his consent. Such sculpture of a column was foreign to true
Greek art, but natural in more luxurious Asia Minor.
HARPY FRIEZE.
British Museum.
From Xanthos in Lycia, Asia Minor. Lycia in early ages was prob-
ably one of the most important points, from which Eastern
art was transmitted into Greece, and through the Phoenicians
the Lycians were in connection with the lands of the Euph-
rates, and hence transmitters of that movement in civilization,
which extended from the East as far as Greece.
Remarkably are the elements of both civilizations combined in
the reliefs of this famous monument, essentially Greek and
of the latter part of the sixth century, B. C., Figures of Har-
pies or Sirens with the bodies of women and with large wings
and bird's claws, with irresistible power but with loving care,
are carrying off children. Male and female divinities sitting
on highly ornamented thrones are receiving various symbolic
offerings. In a style transitional from Assyrian to Archair.
Greek. Thought to combine a symbolical representation of
death with the anticipation of a permanent existence in
another life.
HEAD OF AN AMAZON.
Perhaps from a famous statue by Polycletus.
24.
HEAD OF A SATYR.
Capitol at Rome.
From a copy of a statue by Praxiteles, in which the animal organi-
zation was charmingly exchanged for the naive roguery of youth.
xi..
25.
The Satyrs were a class of beings who typified the luxuriant vital-
ity of nature, and were often represented with some of the
attributes of animals, and as sleeping, dancing voluptuously
with nymphs, and playing on pipes or flutes.
DISCOBOLOS. (Disk-Thrower.).
British Museum.
By Myron, of the Athenian school, an elder fellow pupil, with
Phidias, of Ageladas. His work was chiefly in bronze, and
comprised a wide field of subjects, statues of the Gods, heroic
and athletic figures and animals. He applied himself prin-
cipally to the representation of manly vigor and athletic or
heroic strength, which he generally depicted not merely with
the utmost life, but generally in moments of great excitement,
such as are depicted in the statue before us.
A noble image of youthful power and beauty,—a moment of rapid
action caught in marble. Greek art at this time (about 470,
B. C.,) had reached the highest freedom in the delineation of
the physical frame and the boldest action, and lacked only the
intellectual depth and thoughtful feeling, which were to be
given by a Phidias.
26. HEAD of Apollo.
27.
British Museum.
Once in the Giustiniani collection at Rome, and bought at the sale
of the Pourtales collection in 1865 by the museum for $10,000.
Compare with No. 29 and the Belvedere, No. 54. Attributed
to the school of Lysippus.
BACCHANTE.
Female follower of Bacchus in an ecstatic dance.
28.
HOMER.
British Museum.
The original found at Baiæ, in Italy, in 1780. Many copies, and
all doubtful, as portraits of the old poet.
29.
APOLLO.
British Museum.
Perhaps from a statue found at Olympia.
30. JULIUS CAESAR.
31.
Rome's great dictator, assassinated in the Senate House, B. C. 44,
in his 56th year. Compare with his successor,
CAESAR AUGUSTUS.
Louvre.
The great emperor, and this with the portrait statue, No. 2.
xii.
32.
NERO.
Louvre.
33.
34.
35.
One of the wickedest of Rome's emperors, his character develop-
ing for the worse as his reign proceeded.
A BARBARIAN.
British Museum.
The original was found in the Forum of Trajan at Rome, where
many similar ones were fastened as trophies to the walls.
HADRIAN.
One of the better Roman emperors, 117-138 A. D.
ANTINOUS.
Louvre.
As Bacchus. A beautiful youth, favorite of Hadrian, for whom he
gave his life, and by whom he was enrolled among the gods.
36.
SABINA.
37.
The beautiful but unprincipled wife of Nero.
ANTONINUS PIUS.
Vatican.
One of the best of the Roman emperors, A. D. 136-161, and suc-
ceeded by
38. MARCUS AURELIUS.
Louvre.
A. D. 161-180, great as an emperor and as a man, whose inner lífe
has come down to us through the fortunate preservation of his
writings.
39. FAUSTINA,
40.
his unprincipled wife, who died A. D. 175.
DOMITIAN.
Emperor of Rome, A. D. 81-96, and of the worst type.
41.
Caracalla.
!
42.
43.
Louvre.
Emperor of Rome, whose abominable reign of six years was ended
by his assassination, A. D. 217.
PERICLES.
British Museum.
499-429 B. C., the great statesman, warrior and patron of arts and
letters, under whose rule Athens reached the foremost place
in arms, sculpture, architecture and the drama. The friend
of Phidias.
ATHENE (Minerva).
Vatican.
The patron goddess of Athens-goddess of wisdom, war and of
useful arts. Fabled to have sprung full grown from the brain
of her father, Zeus (Jupiter). The wise serpent was her em-
blem and she bore, too, in one hand à statuette of Nike or
xiii.
44.
45.
Victory, the other resting on the shield bearing on it the head
of Medusa, which turned all looking upon it into stone.
SHIELD OF ATHENE.
After Phidias, and said to contain portraits of himself and Pericles
among the figures.
CARYATIDE.
Vatican.
One of those female figures used as external supports in architec-
ture, and so called from the women of Caryæ, in Laconia, who
were reduced to slavery by the Greeks because of their joining
the Persians in their invasion of Greece ·
46. THE HORSE-BREAKER.
British Museum.
Found in the villa of Hadrian at Tivoli; it represents Castor (the
twin of Pollux) vigorously holding back the fiery steed and
trying to bring him to a halt by the weight of his own body.
A production of Attic sculpture which may represent to us
the treatment of such subjects in the period just before that
of Phidias.
47.
EROS (Cupid).
British Museum.
The original by Praxiteles, “a slender boy just entering youth."
48. HERE (Juno).·
Villa Ludovisi, Rome.
49.
A superb head of the queen of the gods, probably after Alcamenes,
an Athenian, and a gifted pupil of Phidias.
ÆSCULAPIUS.
British Museum.
God of medicine, son of Apollo. Killed by a thunderbolt by
Zeus, who feared that men would learn to escape death. A
free copy of the type created by Alcamenes.
50.
ALEXANDER THE GREAT.
51.
52.
Capitol at Rome.
Probably after Lysippus, his favorite sculptor. Alexander was
born 356 B. C., conquered the East and died 323.
DEMOSTHENES.
Vatican.
The great Athenian orator, who vainly sought to arouse and unite
Greece against the fatal advances of Philip of Macedon.
LAOCOON.
Vatican.
The principal work of the school of Rhodes, which was itself a
final offshoot of Peloponesian art. The Laocoon group was ac-
cording to Pliny executed by the Rhodian masters, Agesander,
Athenodorus and Polydorus, and afterward stood in the palace
xiv.
53.
54.
of Titus, in the ruins of which it was found in 1506, when the
pope ordered a public festival in honor of its discovery. When
found the right arm was wanting, for which one by Bernini
was substituted, though there have been doubts as to the cor-
rectness of its position
Readers of Virgil will recall the story of Laocoon, Trojan priest of
Apollo, having been accused of blasphemy against the god,
and going forth to offer a sacrifice to Neptune, when two im-
mense serpents issuing from the sea, enfold and destroy the
ill-fated priest and his two sons; an act which decides the
Trojans to admit the fatal wooden horse within their walls and
so delivers them over to the Greeks. In the words of Lubke :
"Sudden and inevitable ruin could not be more strikingly de-
picted. There is no escape, no help.
Thus we see
in works like the Laocoon the last stage of an independent
development of Greek sculpture, and the extreme height of
which pathos was capable." Lessing says: "The master was
striving to attain the greatest beauty under given conditions of
bodily pain.
APHRODITE (Venus).
British Museum.
Lately found. This goddess was thought by the Greeks to have
sprung from the foam of the sea near the island of Cythera,
near Greece. She was often represented with her son Eros, or
Cupid, and to her were sacred the rose, poppy, myrtle and apple.
HEAD OF THE APOLLO Belvedere.
Vatican.
The famous and favorite statue, of which this gives the head, found
early in the sixteenth century in Italy, was placed by Michael
Angelo in the Belvedere gallery in Rome, whence its name.
Naples.
55. PSYCHE.
This delicate and beautiful torso personifies in the Greek mythol-
ogy the soul, and to typify her aerial character was often
represented with the wings of a butterfly. The allegory of
her marriage with Cupid is well known.
56. BOY EXTRACTING THE THORN.
Capitol.
Said to have been found in the Tiber. In truthfulness of attitude
*
and fine sense of nature it shows a purity and simplicity which
seem to point to the epoch of the followers of Lysippus, among
whom was Boethus of Chalcedon, to whom is attributed the
XV.
57. BOY WITH GOOSE.
Vatican.
Found in Civita Vecchia in Italy. The fresh grace and child-like
unrestraint in this group are expressed with the happiest life.
58. ARTEMIS (Diana.)
59.
Sister of Apollo, and daughter of Zeus, was Goddess of Hunting,
and typified by the Moon. As the former she often has the
quiver, arrows, spear, stags and dogs; as the latter she wears a
long robe, a veil, and upon her head a crescent.
GLADIATOR.
Louvre.
This statue, probably miscalled a "Gladiator," and apparently
representing a combatant opposing with his left hand a mount-
ed adversary in order to strike him with a sword in his right,
was the work of Agasias, of Ephesus, as the inscription on the
support testifies. It shows a rapid vehemence of action to an
extent that verges on the limits of plastic art. It belongs to
the last epoch of Greek excellence.
60.
DISKOBOLOS (Disk-Thrower).
i.
Vatican.
Probably after Naucydes, of Argos, of the school of Polycletus.
Compare with the figure by Myron, No. 25. "The beautiful
and athletic youth is standing in the attitude of action, testing
in his left hand the weight of the quoit, but holding the right
ready to receive it in a moment and to hurl it with a powerful
throw. The head also exhibits that expression of self-collect-
edness which must precede such a moment."
61. HERE (Juno.)
Wife of Zeus (Jupiter) and Queen of Heaven; compare with the
"Ludovisi" Juno, No. 48.
62. HERAKLES, (The Latin Hercules.)
Variously represented as a child, a hero, and a demi-god, and
personifying courage, strength and energy. This statue rep-
resents him holding in one hand the apples from the garden of
the Hesperides, to obtain which was one of his famous twelve
labors. Compare with No. 100.
63. APOLLO.
Earlier types of this god will be found in the collection.
Naples.
Rome.
These statuettes are of the general type of the Belvedere, No. 54,
64. APOLLO.
xvi.
though the latter surpasses them all. About 280, B. C.,
wild troops of Gauls invaded Greece and threatened the
shrine of Apollo, the temple at Delphi, but were repelled by
the interposition of the god, in memory of which defeat,
statues were executed as votive offerings.
65. APOLLO OF THERA.
Athens.
An early type, a crude figure of the sixth century, B. C. Found
near graves, and perhaps a funeral monument.
66. ZEUS. (Jupiter.)
67.
68.
King of the gods in the mythology of both Greeks and Romans,
represented often with thunder bolts in his hand, and with
the eagle sacred to him. His countenance expressed majesty
and power, yet benignity and mercy.
ARCHAIC FRAGMENT. (Dione?)
BELLEROPHON AND CHIMAERA.
A fragmentary bas-relief, representing the hero destroying the
fabulous monster, the Chimaera..
69. PERSEUS SLAYING MEDUSA.
This hero, son of Zeus and Danæ sent to slay Medusa, one of the
three frightful Gorgons, whose head wreathed with snakes,
turned to stone any one who looked upon it, effected his pur-
pose by looking upon the reflection of it in a mirror, given
him by Athene, upon whose shield the head was afterwards
represented. Compare No. 72.
70. ALCAEUS AND SAPPHO.
British Museum.
The famous poet and Lesbian poetess, who lived about the 6th cen-
tury B. C., and fragments of whose works have come down to us.
Of these last three numbers, bas-reliefs in clay, Lubke's ac-
count will prove of interest.
"How high must the taste for art have risen even at that time, (6th
century B. C., or earlier.) A similar feeling is excited in us
by some antique reliefs in burnt clay found in the islands of
the Œgean sea, which as productions of a subordinate branch
of skill, afford important evidence of the general discrimina-
tion of artistic taste. Several of these have been found in the
Doric island of Melos. One represents Perseus galloping
away and looking around triumphantly as he holds in his hand
xvii.
i
the head of Medusa. The Medusa herself is kneeling under
the horse with out-spread wings and arms, and Chrysaor is
springing from her neck. The same fantastic mythological
material forms the subject of a second relief found in the
same place representing Bellerophon on a similar horse killing.
the Chimaera. The style of these reliefs is severe and sharp.
Still more remarkable is another clay relief found in the same
place in which the sphere of heroic legend and mythology is
left, and a step is taken into real life and even into the
domain of artist anecdote. The representation refers to the
love with which Alcaeus was burning toward Sappho, and ·
which once drew from him the words, "Thou black-haired
chaste and smiling Sappho, I should like to say something to
thee, but shyness restrains me." To which she replied. "If
a fine and noble feeling impelled thee, and thy lips desired not
to speak evil, thou would'st not cast down thine eyes with
shame, but would'st speak what was right." This scene has
been well depicted by the old sculptor. Sappho is seated on
a stool, with the lyre in her hand. In the midst of her play-.
ing she is interrupted by Alcaeus, who leaning on his staff,
has been listening to her till he is so carried away by love
that he seizes her lyre and accosts her. She drops her right
' hand that holds the plectrum and, with the left, she draws
from the instrument a few strong tones, while she looks at him
sharply, and the keen rejoinder hovers on her lips. It is one
of the most spirited compositions in relief, perfectly surpris-
ing in an art that still preserves the native expression of an
earlier period."
-
71. THE PORTLAND Vase.
British Museum.
As the original of this vase is of a dark rich blue colored glass with
the figures exquisitely cut in white cameo relief, this plaster
copy, is, as may be supposed, a very inadequate representa-
tion of it. It was probably executed at Alexandria in Egypt,
then famous for such fine works, about the first century,
and was found in the sixteenth in the tomb of the Roman
emperor Alexander Severus, who died about 235. It was
considered the finest antique vase ever found and was known
by the name of the family to whom it long belonged, the
xviii.
Barberini, but about 1780-90, having been brought to Eng-
land it was bought by the Duchess of Portland, (whence its
present name,) from whose son, the Duke, it passed to the
British Museum, having in the meantime been lent to Wedg-
wood who produced from it exquisite copies in his "jasper
ware." No entirely satisfactory explanation of the scenes.
depicted upon it has ever been given.
72. PERSEUS SLAYING MEDUSA.
Museum of Palermo.
From a metope relief of the central temple at Selinus in Sicily,
which city was founded about 627, B. C. This work belongs
to the Archaic school and illustrates the transition from Ori-
ental to Greek art. "Perseus is depicted in the presence
of Athene holding the distorted and ghastly Medusa by the
hair and smilingly severing the neck. Pegasus, the winged
horse sprung from the drops of her blood, is already seen in
her hands. A work grotesque at the first glance; the exag-
gerated compactness of the figures and the antique distortion
of their positions, presenting a profile view below and a front
view above, recalling oriental treatment. Still it evidences
no contemptible striving after truth and life, and is far re-
moved from the conventional stamp of Eastern art.
*
The material is a tufaceous lime stone; on the edge of Ath-
ene's dress and in the background are distinct traces of red
coloring.
A great part of its antique character is due to the fact that it is the
work of a colony somewhat remote from the mother country,
and that a Doric colony."
73.
NIKE.
74.
(Victory.)
A delicately flowing drapery and light step; in her hand a helmet.
METOPE OF THE PARTHENON.
British Museum.
The Metopes were spaces occurring at intervals upon the friezes
of temples, ornamented with reliefs of which Nos. 74, 112,
139 and 140 are examples; these of the Parthenon were ap-
parently executed by different hands, and apparently by artists
whose designs belonged to earlier schools and could not en-
tirely follow the spirit of the new art created by Phidias, they
being more skillful in depicting manliness and vigor than
grace and delicacy. The scenes largely represent combats
xix.
75.
NIKE.
between Centaurs and elastic and nobly formed youths, sub-
jects of the Lapith king Peirithoos.
(Victory.)
British Museum.
This fragmentary relief indicates by its flowing drapery the main
figures as those of Victories, sacrificing to Athene.
76. NIKE.
77.
British Museum.
This, as well as the preceding, represented as loosing her sandal,
from the temple of Athene Nike at Athens, commonly called
of Nike Apteros.
APOTHEOSIS OF HOMER.
British Museum.
Homer is
This relief representing the enrollment of Homer among the gods
was probably made by order of Tiberius, first century, A. D.,
by Archelaus of Priene. Found about the middle of the sev-
enteenth on the Appian Road about ten miles from Rome.
In the upper compartment Zeus is seated with a sceptre in
his right hand and the eagle at his feet. Apparently listening
to a Muse who asks the concession of divine honors to the
poet. On the range below Zeus are six other Muses. The
conclusion of the ceremony is in the lowest range.
seated and behind him stand Earth and Time. The youth
Fable stands at the altar ready to offer a libation, and a bull
stands ready for sacrifice. Behind is a train of female figures
representing History, Poesy, Tragedy, Comedy, Virtue, Mem-
ory, Faith and Wisdom." The work with its insipid allegory
presents a decline of the relief style into the picturesque; and
this combined with weak execution robs it of all artistic im-
portance, however interesting otherwise it may be.
78. DIONYSOS RECEIVED BY IKARIOS.
79.
British Museum.
Dionysos (Bacchus) son of Zeus and Semele visited many nation
PAN.
>
and taught the cultivation of the vine. Ikarios, a mythical
Athenian received him on his first visit to Attica. He is here
represented of an older type than usual, heavy with wine and
accompanied by his usual companions, Silenus, Satyrs and
Bacchantes. Work not earlier than Roman Empire probably.
A terminal statue, such as was often set up in the open air, of this
deity of universal nature represented as sensual, merry and
mischievous with a goat's feet and horns, and often playing
XX.
80.
on a pipe. His sudden frights of travellers often threw them
into confusions known from his name as "Panics." The treat-
ment of the hair indicates archaic work.
ASTRAGALIZUSA,
British Museum.
Or female playing at astragals, or "knuckle-bones." The bow
lying at her side would indicate a nymph of Diana. This
statue was found in 1766 in Rome, on the supposed site of
Sallust's Garden.
81. HEAD,
82.
83:
84.
Laborde Collection, Paris.
Believed to be that of a Nike charioteer of Athene in a group, front
of the Parthenon pediment bought by Count de Laborde at
Venice, 1846.
DIADUMENOS,
British Museum.
A youth binding a fillet about his head, by Polycletus, was imi-
tated by a statue of heavier proportions, discovered at Vaison,
in France, of which this is a cast.
STELE OF XANTHIPPUS.
A Stele was an upright tablet generally decorated with a relief or
marked with an inscription. It corresponded sometimes to
the modern grave or tomb-stone, as in the present instance.
Though how much superior in taste, many examples in this
collection testify.
FEMALE WITH BIRD.
An example of Archaic work.
85. DYING AMAZON.
Naples.
One of the mythical race of warlike women perhaps a poetic trans-
靠
​formation of the armed priestesses of the East, said to have
come from the Caucasus and to have invaded Attica in the
time of the hero Theseus. The obtaining of the girdle of
their queen Hippolyte was one of the twelve labors of Her-
cules. Their combats were a favorite subject of Greek sculpt-
ure. The original of this cast was one of the gifts of Attalus
I, King of Pergamon in Asia Minor, to Athens, the latter part
of the third century, B. C.
86. TORSO.
Of a youth-perhaps Eros.
1
xxi.
37.
88.
•
NIOBE AND YOUNGEST DAUGHTER.
Uffizi, Florence.
The two central figures of the great group of "Niobe and her chil-
dren" in the act of being slain by the arrows of Apollo and
Diana, children of Latona or Leto, over whom Niobe had
boasted as the mother of so many more children.
"We must now," says Lubke, "turn to the grandest work of statu-
ary which the Attic art of that period (fourth century B. C.)
produced. Probably placed in the pediment of a temple of
Apollo in Asia Minor, it was afterward brought to Rome in 38
B. C. It was doubtful even in antiquity whether it were to be
ascribed to Scopas or Praxiteles; how far less therefore are
we able to decide the matter, possessing the work only in later
copies.
We find here the same moral idea so often
expressed in Greek poetry, the punishment of human arrogance
which, presuming on good fortune or on power, rebels against
the gods."
form of the mother
Apollo and Diana
The figures, full of
sublime figure of
The group was found in Rome in 1583 and afterward conveyed to
Florence. We must conceive the grand
as the central point of the composition.
may be supposed as outside of the group.
terror, instinctively fly to the mother, the
Niobe, this mater dolorosa of antique art, a mother and
queen to the last. In her look lies neither defiance or suppli-
cation for pity; nothing but the agonized and yet majestic
expression of heroic resignation to the unalterable destiny de-
creed by the gods. See No. 104.
Zeus changed Niobe into a stone and placed it on Mount Sipylus,
where, during the summer, it always shed tears.
PLATO.
"Like Niobe, all tears."
The great Athenian philosopher, 448-347 B. C.
89. LION'S HEAD.
An Archaic fragment.
90.
INFANT PLUTOS.
Munich.
From the beautiful group by Kephisodotos, the father of Praxiteles,
representing Eirene (Peace) holding in her arms the child
Plutos (Wealth) signifying the growth of wealth in time of
peace.
xxii.
་
FRAGMENT OF INSCRIPTION.
91.
Perhaps from the Erectheion at Athens.
92.
93.
94.
95.
1
FRAGMENT Of Bust.
Unknown.
TORSO.
Of a warrior from the pediment of the Treasury of the Megareans at
Olympia; the oldest pedimental group known.
STATUE AT MILETUS.
British Museum.
One of the colossal marble figures which lined the sacred way at
Miletus, in Asia Minor, from the harbor to the temple of the
Branchidæ, dedicated to Apollo. Ten in all, of both sexes,
and larger than life. The execution is massive, and the or-
ganic structure but slightly indicated. The toes rather intimate
than exhibit an understanding of the physical form of all Greek
works. They are executed with that Egyptian-like adherence
to nature which is fettered by conventional ideas and subject
to architectural rules. Yet the fullness and breadth of form,
the type of head and the treatment of the drapery evidence an
independent and early Greek style. They probably belong to
the middle of the sixth century B. C. This statue bears in
archaic Greek the inscription, "I am Chares, son of Klesis,
ruler of Teichnisa, an offering to Apollo." See No. 99.
APOLLO GOUFFIER.
British Museum.
art.
A reproduction of a high rank of a type of Apollo of ripe archaic
This statue was obtained in Constantinople by the French
ambassador, Choiseul Gouffier.
96. APOLLO Kyrene.
97.
A head of the same type found in Kyrene, a Greek colony in Africa.
APOLLO STRANGFORD.
British Museum.
An archaic figure illustrating the peculiarities of Æginetan work.
98. HORSE'S HEAD.
99.
100.
One of the steeds of Selene, from the Parthenon frieze. A spir-
ited work.
HEAD FROM MILETUS.
Female head of one of the seated figures described under No. 94.
HEAD OF HERCULES.
From the celebrated Farnese statue.
}
xxiii.
ΙΟΙ.
I02.
103.
104.
105.
SATYR.
An attendant upon Bacchus.
TORSO OF VENUS.
DIOMEDES.
ILIONEUS.
Glyptothek, Munich.
From a general resemblance to the figures of the Niobe group, No.
87, thought to be Ilioneus, the last of the children to die, and
whose fate excited the compassion of Apollo. The exquisite
grace and beautiful modeling are indications of original Greek
work of the second half of the fourth century, B. C., probably
of the school of Praxiteles.
ASSYRIAN RELIEF.
In this and the next four numbers one gets a glimpse of the later
Assyrian art, which, however, antedated that of the Greeks
which this collection illustrates. How much the Greek was
indebted to it is still a problem; the great differences between
the arts of the two nations, however, even an uneducated eye
can perceive.
The treatment of the human form and face, the elaborate pains
given to the treatment of different accessories of dress, equip-
ment, ornament and surroundings, and the superior represen-
tation of animals, are evident. These Assyrian remains were
largely brought to light by the unearthing of the city of Nine-
veh by Mr. Layard, about 1850; and others have worked suc-
cessfully in the same field.
This relief represents a king-perhaps Assurbanipal (Sardanapalus)
-reclining on a couch or throne, under a vineclad arbor,
pledging a companion apparently in a cup of wine, and with
ministering attendants about him; his harper also discoursing
music. The work is probably of about the 7th century B. C.
106. DYING LIONESS.
107.
This exhibits the wonderful skill of Assyrian art in depicting ani-
inal life; one can almost see the paralysis of the wounded
beast.
LION HUNT.
The same life and truthfulness of motion and attitude are here
noticeable.
xxiv.
108.
109.
IIO.
III.
I 12.
113.
1 [4.
115.
HUNTING SCENE.
This illustrates also the minute and conventional treatment be-
stowed upon the horses' trappings, as well as upon the dress
of the figures.
HUNTING SCENE.
This work in lower relief apparently belongs to a somewhat earlier
epoch.
CHARIOT FRIEZE.
SLAIN PERSIAN.
One of the figures from the group representing the battle of Mara-
thon, in which the Athenians overcame the Persians-given to
Athens by Attalos of Pergamon. See No. 85.
METOPE OF PARTHENON.
See No. 74.
STELE OF ARISTION.
Athens.
This tombstone, the work of Aristocles before the end of the sixth
century, B. C., marks a warrior of Attica of the olden time,
before the battle of Marathon, and probably all prepared for
battle. We notice that the eyes are in full front view, while
face and form are in profile.
STELE OF ALxenor.
Athens.
Another tomb-monument, by Alxenor of Naxos, found at Orcho-
menos in Boeotia, and assigned to about the same time as
No. 113. A man about life-size, leaning on his staff, offers a
grasshopper to his dog, who leaps up toward it. We doubt-
less hardly admire the work as much as its maker, who has
inscribed at its base, "Only look at it!"
STELE OF Demokleides.
116. THE LION GATE OF MYKENAE.
Athens.
Perhaps the most interesting piece of the collection, as it is the
oldest sculptured work in Greece and that by many centuries.
It dates from a time even before Homer, and represents a
civilization earlier than the Hellenic. By comparison with a
precisely similar design found in Phrygia it proves that the
old tradition that Mykenai was founded by a race coming
from Asia Minor had some foundation, and explains the
presence in Greece of a type foreign to that race. The Greeks
XXV.
117.
1172.
118.
themselves ascribed it to the Cyclopes, a race of prehistoric
mythical giants. This gateway was old when the oldest pre-
served monuments of Greek art were young.
The slab decorated by these lions was inserted in a triangular
opening over the principal city gate, the walls themselves be-
ing built of huge blocks of stone carefully fitted to each other,
though laid without cement or mortar, and standing firmly at
the present day. The heads of the lions were affixed and
perhaps of metal. These remains are sometimes known as
Pelasgic, a name given to the earlier inhabitants of Greece.
Upon this site Dr. Schliemann made some of his interesting
researches.
Olympia.
NIKE, (Victory) OF PAIONIOS.
Among the most thorough and successful searches for remains
were those made by the German government about 1875.
The field of their operations was the sacred ground at Olympia
in the Peloponesus, where for centuries in the living days of
Greece had been accumulated treasures of art, votive offer-
ings from all parts of Greece. Here stood the great temple
of Zeus as well as lesser ones of other divinities, and here
have been found rich accessions to the stores of art.
One of these treasures was the celebrated statue here given.
A life sized, winged figure in Pentelic marble, represented as
shooting down to earth through the air, clothed in the light
drapery which the wind blows against her slender form, and
through the clouds below her an eagle flies aslant.
INSCRIPTION OF PAIONIOS.
METOPE.
The Metopes of the great temple to Zeus finished about 460, B. C.,
represented the twelve labors of Hercules, of which that of
getting the golden apples from the garden of the Hesperides
is here given.
Hercules, sent on his task by Eurystheus comes to King Atlas,
who alone can get them for him, whom he finds as usual bear-
the burden of the world upon his shoulders, and therefore as-
sumes his burden while Atlas goes upon his errand. Atlas on
his return, glad to be relieved of his load offers to carry the
apples to Eurystheus in person, and Hercules apparently con-
119.
120.
I21.
I22.
!
sents, merely asking him to bear the load briefly while he
goes for a cushion to soften its weight upon his head.
consents, but the hero returns not.
METOPE.
Atlas
In this one another labor is given the catching and binding of the
Cretan bull sent by Poseidon to waste the land.
ZEUS.
This head, giving an archaic type of the great god to whom the
temple was built, was also found at this place. How different
from the later representations of him!
EAST PEDIMENT OF THE TEMPLE OF Olympian Zeus.
In this sculpture of the great temple were represented scenes con-
nected with the chariot race of the Lydian Pelops for the hand
of Hippodameia, daughter of Oinomaos, the neighboring king
of Pisa. Pausanias, a traveller of the second century A. D.,
who saw so many of the Greek shrines in their completeness,
thus describes the scene. "In the middle is the figure of
Zeus, on his left stands Oinomaos with a helmet on his head
and beside him his wife Sterope. Myrtilos, his charioteer, sits
before the horses. * * At the end lies a figure stretched
out, which represents the Kladeos, that river, next to the Al-
pheios, being most honored by the Elians. On the right of
Zeus are Pelops and Hippodameia, besides his charioteer,
horses and grooms. A statue of the Alpheios, also a figure
resting on his hand, with a troubled look as if foreseeing
Oinomaos' defeat, and a young man in a half-sitting posture."
The group of this pediment, as well as that of the western,
No. 122, has been found well preserved enough to be recon-
structed by the sculptor Grüttner, of Berlin, whose restora-
tions in small casts are shown in the cases as numbered.
WEST PEDIMENT.
In this the scene is as excited as in the other quiet. A battle be-
tween the Lapithæ and Centaurs, both descendants of Apollo,
a manly youth who towers in the centre, his repose in contrast
to the excited action of the rest. The recumbent position
of the witnesses of the scene, the old woman grasping her
head, and others, may have been caused by the want of upright
space, thus limiting the sculptor. The two little statuettes,
xxvii.
123.
I24.
125.
Hermes and Dionysos, and Hermes bearing a Ram are evi-
dently interlopers in the case. Several of these individual
figures of life size are given in the ensuing numbers.
APOLLO.
This head of the statue just mentioned was found detached.
HIPPODAMEIA.
HEAD OF WOMAN.
From the recumbent figure in the group tearing her hair.
HEAD OF LAPITH.
126.
I27.
TORSO OF Centaur.
128.
Of the one represented as biting the arm of a Lapith.
RECLINING FIGURE.
Perhaps a River-god.
129. YOUNG MAN.
The sitting figure of the East Pediment.
1292. THE SEER.
130.
A name given to the half-upright, half-reclining contemplative
figure of the same group.
Other figures or fragments were found at Olympia, among which
were
HEAD OF HERE.
An archaic fragment.
131. HEAD OF EPERASTHOS.
A victor in the Olympian games. The original was of bronze, ap-
132.
133.
parently from a portrait statue
Personal beauty was appar-
ently not a requisite of success.
PORTRAIT HEAD.
Perhaps of Phorrus, the Arcadian, an old warrior. At Olympia was
found also No. 93.
ZEUS.
- Berlin.
From the great altar, at Pergamon, in Asia Minor, where in the
popular belief Zeus and Athene were born, forty feet high and
representing the combats of the gods with the giants. Long
in good preservation, but mainly destroyed by the Christians
who settled near its site and used its materials for building
purposes. As they hated too the whole Greek Pantheon, they
mutilated the statues whose heads are gone. The numerous
xxviii.
!
134.
serpent coils of the Giants may have identified this temple
with Satan in their minds, and called forth the passage in
Revelation to the angel of the Church of Pergamon, "I know
where thou dwellest, even where Satan's throne is."
In 1861, through German effort the destruction was stayed and
successful excavations made. In Mrs. Mitchell's excellent
History of Ancient Sculpture may be found a. graphic pict-
ure of the restored ruins. From the remains we get some
conception of the regal form and majesty with which the infu-
riate king of gods was represented.
GIANT.
Berlin.
This second figure from the same frieze represents one of the
winged giants sinking below Zeus' dreadful blows, while one of
his snaky coils is attacked by the sacred eagle of the god.
135. DYING GIANT.
Berlin.
This head, strongly resembling the Laocoon, is taken from one
dying in the folds of Athene's serpent.
136. APHRODITE.
137.
Berlin.
This head, found on the spot is thought to be that of Aphrodite,
who was engaged in the melee, as well as the other gods and
goddesses.
HERAKLES AND TELEPHOS.
A group from the small frieze of the Pergamon altar, whose figures
were of a peaceful character.
Herakles, father by Auge, priestess of Athene, of Telephos, is
represented standing under a tree watching his infant son
playing with the udder of a feline nurse.
138. PRIENE FRIEZE.
139.
140.
-
British Museum.
At Priene, in Asia Minor, was a temple in which a frieze was prob
ably placed in the second century B. C., which was an echo
of the battle of the gods at Pergamon.
ΜΕΤΟΡΕ.
See No. 74.
METOPE.
See No. 74.
141.
STELE OF AMENOKLEIA.
Athens.
This tombstone known as that of Amenokleia, daughter of Andro-
menos, represents her as steadying herself with one hand on
xxix.
her maid's head, while the latter arranges her sandal, a com-
panion holding her toilet casket.
142.
STELE OF HEGESO.
143.
Athens.
A similar piece, that of Hegeso, daughter of Proxenos, is of Pentelic
marble and in the shape of a small temple with pediment.
The scene is a similar one, and both are pervaded by a spirit
of simplicity and refinement.
STELE OF Dexileos.
Found 1863 lying by its original site on which it has been re-
placed. One of the few Attic grave-monuments which give
their exact date. An inscription on its pedestal shows that
its subject died in the battle of Corinth B. C., 394, in his
twentieth year. He is represented in the moment of triumph
over an enemy, who, fallen on one knee, tries to ward off the
lance thrust with his sword. The marble shows that color
was applied, and that bronze was used for the reins and bridle,
also for a wreath on the head of Dexileos, for his lance and
the sword of his opponent.
1432. GREEK INSCRIPTION.
144.
145.
This inscription relating to the above subject was found upon the
base of the stele.
FRAGMENTS OF RELIEF.
Perhaps from the Erechtheion at Athen
CHORAGIC MONUMENT FRIEZE.
Athens.
In Athens at the expense of some wealthy citizen a choir was fur-
nished to add to the brilliancy of a public sacred festival, and
to the victor (Choragos) in a contest between such choirs was
awarded a prize, usually a brazen tripod, for which often a
small temple was built, such as the Choragic Monument of
Lysicrates, a graceful round building of the Corinthian order
from which this Frieze is taken. Its date was about 335 B. C.
The story represented is that of the Sixth Homeric hymn to
Dionysos, who walking on the shore one day was seized by
Tyrrhenian pirates, unaware of his identity. Finding that
out, and the god taking the form of a lion, the affrighted sail-
ors leaped into the sea, where they were changed into dol-
phins.
XXX.
146. METOPE OF THE THESEION.
Athens
From the so-called Temple of Theseus at Athens, one of its early
heroes. It represents his struggle with a mythic beast, the
wild sow of Crommyon.
147.
METOPE OF THE THESEION.
148.
149.
Here is shown his crushing of Kerkuon.
ATHENE PARTHENOS.
Athens.
A marble statuette found at Athene in 1859 gives an idea of the
archaic primitive representation of this goddess; a calm atti-
tude, the Gorgon shield at her left, with her attendant ser-
pent in its hollow.
ARCHAIC NIKE.
The original, of fine white Parian marble, by Archermos of Chios,
was found at Delos. Its date was early in the sixth century
B. C., and its maker was the first to give his subject wings,
though this statue has lost them.
150. ARCHAIC CHAIR.
I5I.
152.
This chair, called that of a priest of Dionysos, found in the Diony-
siac Theatre, Athens, in 1862, was of Pentelic marble, and occu-
pied, as it still does, the seat of honor there, in the centre of
the front row. It is covered with low relief decoration, and
the inscription reads: “Of the priest of the Eleutherean
Dionysos." The date is of about the first century A, D.
IMAGE FROM DELOS.
This crude figure, dedicated by a lady Nicandra to the goddess
Artemis was found in a heap of broken statues before the
temple of Apollo at Delos; it is easy to suppose it a copy of
some earlier wooden figure, such as Pausanias saw in that
island in the second century A. D. It belongs to the early
part of the sixth century B. C., and perhaps represents the
early type of Artemis who was here worshipped as well as
her brother Apollo.
HERMES.
€
1
Athens.
This fragment of a bas-relief was found on the Acropolis in 1859.
Although archaic it was surely and delicately modeled, Her-
mes is represented bearded and wearing the petasos or shep-
herd's hat. Compare this rude type with the beautiful one of
xxxi.
1
153.
154.
155.
No. 6, into which it had in time developed. It was originally
part of a frieze to which it belonged.
CHARIOTEER.
Athens.
Apparently a youth mounting his chariot, the doubtful sex of the
figure being settled probably by the dressing of the hair,
which is the same as that of Hermes in the preceding number,
who doubtless was here his companion. Found partly in 1822
and partly in 1852. The eager naturalness of gesture is in
contrast to the sterner Eginetan art.
VESSEL WITH ROWERS.
A relief fragment of about the same date, early in the sixth century
B. C..
TOMB RELIEF.
One of a remarkable series of monuments lately discovered near
Sparta, in a mound of earth and stone, and dating from the
same epoch. A male and a female figure seated upon a throne,
the former holding out a kantharos or drinking cup, the latter
upon her lap, a pomegranate. This with the cock and egg
brought as offerings by the two smaller figures had a symbolic
significance, as did also the snake rearing itself behind the
throne. These seated figures were probably to represent the
heroed dead receiving the homage of friends.
156. FRIEZE Relief.
157.
From the Parthenon-Eros at the knees of his mother Aphrodite,
with the figure of an Athenian magistrate leaning on his staff.
NIKE.
Perhaps from a relief of the birth of Athene, found at Madrid.
158. AMAZON.
Perhaps from the Mausoleum Frieze.
UNKNOWN RELIEF.
159.
A male figure gracefully draped.
160.
ARCHAIC HEAD.
Perhaps of Athene, from the Acropolis, giving an ancient concep-
tion of the great national goddess, here represented with large
ear-rings; quite different from the later types.
161.
HYPNOS (Sleep).
British Museum.
This exquisite head of the god of sleep, wearing the wings of the
xxxii.
C
night hawk, is the only fragment left of a statue of which sev-
eral copies in bronze and marble exist. Probably of the fourth
century B. C.
BUST OF A ROMAN LADY.
ARCHAIC RELIEF.
162
163.
It tells its own story.
Oxford.
164. APOLLO OF TENEA?
165.
An early type.
FRAGMENT OF DRAPED FIGURE.
Archaic.
166. FEMALE HEAD.
167.
Archaic type.
OLD GREEK INSCRIPTION.
168. ISIS.
Statuette of the Egyptian goddess afterward taken into the Roman
worship.
169. ARCHAIC TORSO.
170.
The drapery indicating a transition to the graceful treatment of
after times.
NARROW FRIEZE.
171. "JOHN Of Bologna's DEVIL.“
Lent by Mr. P. D. McMillan.
This grotesque figure, a gargoyle or waterspout for the roof of a
building, belongs of course to a very different school of work
from that of the rest of the collection, and was a caprice of the
sculptor above named, who flourished in the latter part of the
sixteenth century, A. D., the last of the great sculptors of the
Renaissance.
*

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