Yale University Library

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YALE
UNIVERSITY LIBRARY

THE ART INSTITUTE OF CHICAGO

GENERAL CATALOGUE

OF

SCULPTURE, PAINTINGS AND
OTHER OBJECTS
FEBRUARY, 1907

CHICAGO
PRINTED FOR THE ART INSTITUTE
1907

Trustees of the Art Institute of Chicago

1906-7

EDWARD B- AYER
SAMUEL E. BARRBTT
ADOLPHUS C. BARTLETT
JOHN C. BLACK
CHAUNCEY J. BLAIR
CLARENCE BUCKINGHAM
DANIEL H. BURNHAM
CHARLES DEERING
HENRY H. GETTY
JOHN J. GLESSNER

CHARLES L. HUTCHINSON
BRYAN LATHROP
FRANK G. LOGAN
R. HALL MCCORMICK
STANLEY MCCORMICK
JOHN J. MITCHELL
SAMUEL M. NICKERSON
MARTIN A. RYERSON
HOWARD VAN D. SHAW
ALBERT A. SPRAGUE

Ex Officio
EDWARD F. DUNNE, LYMAN A. WALTON,
Mayor President South Park Commissioners
LAWRENCB E. McGANN, BDWARD J. RAINEY,
Comptroller Auditor South Park Commissioners

Offi

CHARLES I,. HUTCHINSON, President
ERNEST A. HAMII/L, Treasurer
WIIXIAM M. R. FRENCH, Director

cers MARTIN A. RYERSON,
Vice-President
WILLIAM A. ANGELL, Auditor
NEWTON H. CARPENTER, Secretary

Executive Committee
CHARLES L. HUTCHINSON JOHN C. BLACK
ALBERT A. SPRAGUE MARTIN A. RYERSON
FRANK G. LOGAN HOWARD VAN D. SHAW
CLARENCE BUCKINGHAM

Art Committee

CHARLES L. HUTCHINSON
MARTIN A. RYERSON
HOWARD VAN D. SHAW

BRYAN LATHROP
R. HALL MCCORMICK
FREDERIC C. BARTLETT

THE ART INSTITUTE OF CHICAGO was incorporated
May 24, 1879, for the "founding and maintenance oi
schools of art and design, the formation and exhibition of
collections of objects of art, and the cultivation and extension
of the arts of design by any appropriate means." The Museum
building upon the Lake Front, first occupied in 1893, is open to
the public every week day from 9 to 5, Sundays from 1 to 5.
Admission is free to members and their families at all times, and free
to all upon Wednesdays, Saturdays, and Sundays.
The Art School, in the same building, includes departments of
Drawing, Painting, Sculpture, Illustration, Decorative Designing,
Normal instruction, and Architecture.
All friends of the Art Institute are invited to become members.
Annual Members pay a fee of ten dollars a year. Life Members
pay one hundred dollars and are thenceforth exempt from dues.
Governing Members pay one hundred dollars upon election and
twenty-five dollars a year thereafter. Upon the payment of four
hundred dollars Governing Members become Governing- Life Mem
bers and are thenceforth exempt from dues. All receipts from life
memberships are invested and the income only expended.
All members are entitled, with their families and visiting friends,
to admission to all exhibitions, receptions, public lectures, and en
tertainments given by the Art Institute, and to the use of the
reference library upon art.

DESIGNATION OF GALLERIES
MAIN FLOOR

SEE PLAIT

Rooms Room Room
Room RoomRoomRoomRoom RoomRoomRoomRoom
Room RoomRoomRoom Room
RoomRoom Room

2, 3, 4, 5, 8, io, 12, Elbridge G. Hall Collection of Casts
of Sculptures.
Egyptian, Assyrian, Chaldean, Persian, Syrian and of
Asia Minor before the Grecian period.

Corridor.

Corridor, Bronzes.

Of Asia Minor and Early Greek
Greek of V and IV Centuries B. C.
Later Greek and Grseco-Roman Roman
Higinbotham Collection of Naples

Room 24,

Office of the Director
Modern Sculpture
Office of the Secretary
Renaissance Sculpture
Part of Historic French Sculpture.
American and other Modern Sculpture
Musical Instruments
American Sculpture
Original Egyptian and Classical Antiquities Paintings
Fullerton Memorial Hall, Lecture Room
Part of Historic French Sculpture.
Blackstone Hall. The T. B. Blackstone Collection of
Architectural Casts, including the greater part of the
Historical Collection of French Sculpture.
The Ryerson Library, and the Mrs. D. K. Pearsons
Collection of Braun Photographs.

8, Hall.
9.
10, .
11,12,13. 14.IS.16,
18, 19.20,

Corridor,

Corridor.

Corridor.

-I- '- I" ¦" -f •

PAINTINGS 16

CLASSICAL

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AND

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EGYPTIAN |

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| ANTIQUITIES

13

MODERN

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MODERN

12

20
feLAGKSTOPiE HALL.
ARCHITECTURAL CASTS

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RENAISSANCE IO

MAIN-FLOOR PLAN.

19

T T T

Ai A A

EGYPTIAN 1
ASSYRJAN

* 1

ut P
' GREEK 1
^ 1
° 1
2.
3
o 1
< r
I x L
PHIDIAN
cr 1
i < i
LATER GREEK
4
CHIEFLY CASTS OF SCULPTURE.
DESIGNATION OF GALLERIES
SECOND FLOOR

Room 25, . . • Temporary Exhibitions
Room 26, . . . ¦ Temporary Exhibitions
Room 27, Temporary Exhibitions
Room 28, . . ¦ • Temporary Exhibitions
Room 29, Corridor. . . . Temporary Exhibitions
Room 30, . . . • Temporary Exhibitions
Room 31, . . • • Temporary Exhibitions'
Room 32, . . . Paintings: Old Masters
Room 33, Corridor. Arundel Reproductions and Metal Work
Room 34, . . . . Trustees' Room
Room 35, Hall. . . . Sculpture and Paintings
Room 36, . . . . . Committee Room
Room 37, Corridor. . . . Miscellaneous Exhibits
Room 38, . Henry Field Memorial Collection : Paintings
Room 39, The Elizabeth Hammond Stickney Room : Paintings
Room 40, . . The A. A. Munger Collection : Paintings
Room 41, Nickerson Collection: Oriental Porcelains, Enamels,
Bronzes, Swords, Sword-Guards, Etc., Japanese Kake
monos and Color Prints, Japanese Shrine.
Room 42, Nickerson Collection : Jades, Crystals, etc., (Chinese,
East Indian, Japanese, etc. ; ) Useful Objects in Lacquer.
Paintings.
Room 44, Nickerson Collection: Water Colors and Engravings
Room 43, . . . . Applied Art Work.
Room 45, *
Room 46, « Collection of the Antiquarians of the Art Institute,
Room 47, f and other Applied Art work in various materials
Room 48,
Room 49, . . . . . . Store-room
Room 50, . . . . . . Print Room

r* r- ~r° i— f i?i„f

SCULPTURE.

THE ELBRIDGE G. HALL COLLECTION.
CASTS IN PLASTER OR STAFF
FROM REPRESENTATIVE ORIGINAL SCULPTURES.
This collection was purchased for the Art Institute with funds
provided by Mrs. Addie M. Hall Ellis, by whose direction it bears
the name of Elbridge G. Hall, a citizen of Chicago from 1849 to
1877. In accordance with the wishes of the donor it includes only
full-sized fac-similes of original works in sculpture. These re
productions occupy rooms 1-5, 8, 10 and 12 in an order approxi
mately chronological. They are briefly described on pages 9-78
of this catalogue. See note on page 78.

Rooms i and 2. Egypt, Assyria, Babylonia, Persia,
Syria, Asia Minor and Early Greece.

The art of Asia Minor, including the rock sculpture of the
Hittites, was influenced by that of Assyria and Babylonia. The
latter nations, in common with Persia, owed their art to the Chal
deans, at the head of the Persian Gulf. Farther back this great
art movement cannot now be traced.
But few remains of Chaldean art proper have come down to us,
and its development in Babylonia was restricted by the scarcity of
suitable material for sculpture. But its growth in Persia and
Assyria, under more favorable conditions, was wonderfully luxu
riant. Assyria took the lead in its propagation, carrying it west-

I o The A rt Institute of Chicago .

ward through Syria and Asia Minor. Egypt was also an indepen
dent worker in the same field, and the influence of Greece, still
archaic, was felt there. But the drift of all the living art west of
India in those days was towards Greece itself, where, from the
heterogeneous material thus acquired, was evolved a new and
rational sculpture in which it is now difficult to find a trace of the
original ingredients. Such traces were plain enough, however,
before Greek sculpture reached its highest development. See for
example the Assyrian anatomy in No. 29, p. 25.

EGYPT.

Room I.
chronology of the dynasties represented.
IV.
Memphite period.
Old kingdom.
2900-2750 B.
C
V.
Memphite period.
Old kingdom.
2750-2625 B.
C
XVII.
Hyksos invasion.
About 1700 B.
C,
XIX.
Theban period.
New kingdom.
1350-1205 B.
C,
XXI.
Theban period.
New kingdom.
1090-945 B.
C.
XXV.
Ethiopian invasion
712-663 B.
C
XXVI,
, Saitic period.
663-525 B.
C
EGYPTIAN SCULPTURE— ALL IN ROOM I.
1. Three Panels from the Tomb of Hesi, at Sakkara. The
originals, in the museum of Cairo, are of wood. On each
one is carved in low relief a figure of Hesi, with hieroglyphic
inscription. These figures differ in details. The inscriptions
also vary. Older, perhaps, than the IV dynasty.
2. The Sheikh-el-Beled (Chief of the Village). From a figure
of locust wood in the museum of Cairo, found in the tomb
of Ra-em-ke at Sakkara, Egypt, by Arabs, who gave it the
above title in consequence of its resemblance to their chief
magistrate. The oldest well-preserved wooden portrait statue
known. Memphite period, latter part of IV dynasty.
Casts of Ancient Sculpture, Hall Collection. 1 1
3. Scenes of Rural Life. From painted limestone carvings in
the tomb of Ti, a royal architect, at Sakkara. The tomb
was discovered and excavated by Mariette in the early fifties,
and restored by the Egyptian Vice-Regal Department of An
tiquities. It dates from the V dynasty.
4. King Khafre (Chephren), builder of the second pyramid of
Gizeh. The original, of variegated diorite, now in the mu
seum of Cairo, was found in a well of the temple excavated by
Mariette near the Sphinx at Gizeh. Khafre was of the IV dy
nasty, nearly 3000 B. C.
5. King Ra-en-Woser, Usr-en-RS, or Weser-en-Re (An). From
a red granite sitting statuette in the museum of Cairo.
6. Sphinx, with the body of a lion couchant, and a human head
representing an Egyptian king. Fore legs stretched out
straight in front and hind legs doubled under body. Tail
curled around right haunch. The original, of black granite,
in the museum of Cairo, was discovered by Mariette at Tanis,
in the delta of the Nile, in 1861. On the chest is the cartouche
of P'seb-Khanu I (Pesibkhenno) of the XXI dynasty; but
this is a substitution for an earlier cartouche which has been
chiseled out. Nor was P'seb-Khanu the only usurper of this
monument. He was preceded by Merenptah Amenptah,
(XIX dynasty), who substituted his cartouche for that of
Apepi (XVII dynasty), who may have been also a usurper of
monumental advertising privileges. Such confusion of history
was extensively practiced by Egyptian kings. Erman thinks
that this sphinx arid similar monuments may have originated
in a local Tanite school before the Asiatic invasion.
7. Head of a Sphinx, portrait of an Egyptian king. The origi
nal, of dark stone, in the museum of Cairo, was found at
Tanis in 1861. The Tanite sphinxes are often attributed to the
Hyksos rulers of Egypt (about 1700 B. C), but they may be
monuments of earlier native sovereigns. On the breast of this

1 2 The Art Institute of Chicago.
one is inscribed the name of Merenptah (Amenptah), son
and successor of Rameses II. Merenptah reigned about
1226-1216 B. C.
8. King Amenophis III (Amenhotep, 1411-1375 B. C). From
a seated statue of black granite in the British Museum.
XIX dynasty, Theban period. The two colossal statues near
Thebes, one of which was called Memnon by the Greeks, were
erected by this king.
9. Head of an Egyptian Princess, of family of King Harm-
hab, 1350-1315 B. C. Two copies, from a limestone original
in the museum of Cairo, found at Karnak. Theban period,
XIX dynasty.
10. King Rameses II (miscalled Sesostris), 1292-1225 B. C.
From the upper part of a colossal statue of granite in the
British Museum, London. Theban period, XIX dynasty.
(See 91.) •
11. Head of the Ethiopian King Shabaka (712-700 B. C.) wear
ing the white crown of Upper Egypt. Intaglio - rilievo .
Original of limestone in the Royal Museum, Berlin, 51x55
centimetres. XXV dynasty.
12. Queen Amenerltis, of the XXV or Ethiopian dynasty, VII
century B. C. From an alabaster statue in the museum of
Cairo, Egypt, found at Karnak by Mariette.
13, 14, 15. The God Osiris and the Goddesses Isis and Xathor, the
last in the form of a cow supporting Psamtik under her
chin. From statuettes of dark green basalt, found at Sak
kara in the tomb of Psamtik (Psammetichos ) , "Recorder of
the Offerings," who lived under the thirtieth dynasty,
four centuries before Christ. The original statuettes, with
two other pieces from the same tomb, are now grouped
together in the museum of Cairo. Osiris and Isis (his sister-

Casts of Ancient Sculpture, Hall Collection. 13
wife) are seated. The god wears the "Atef Crown" of Upper
Egypt and two large feathers. The two goddesses wear the
disk and horns, and Hathor's crown also has the "uraeus" and
the feathers. These 26th dynasty statuettes are good examples
of Egyptian sculpture of the Saitic period, 663-525 B. C. The
Osiris in this group is duplicated. (See Cases 8 and 9 in
Room 15.)
16. Opet Toeris (Thoueris, Ta-Urt), also called Apet. Goddess
of Maternity. Statuette in the form of a pregnant hippopot
amus standing upright. Original, of dark green basalt, in the
museum of Cairo. Found at Thebes. Saitic period. (See
Cases 8 and 9 in Room 15.)
CHALDEA AND BABYLONIA.
Room I.
51. Record Stone; A rude cylinder with round top ornamented
with various figures in low relief. On one side, cut away
to make a flat surface, is the figure of a king in low re
lief. A cuneiform inscription on the other sides records the
sale of a field in the time of King Merodach Adan Akhi.
From a stone found at Hadji-Abad, now in British Museum.
Chaldean, about 1120 B. C. Height, 25 in.
52. Record from a fragment of black stone in the Royal Museum,
Berlin, found in the ruins at Niffer, the ancient Nippur, near
the site of Babylon. The face of the stone is convex. On
it is a large eight-pointed star, in low relief, in a circular disc
which overlaps another circular disc. To the left is a smaller
star. Below is ah inscription in cuneiform characters. Chal
dean. See 96, 3.
53, 1-8. Ancient seal cylinders. Originals of stone in Royal
Museum, Berlin. (Case in Room 1.)
1. Seal of Gamil Sin, a king of Ur (earlier name of Edessa or of
Hieropolis — Bamby ce ) .

14 The Art Institute of Chicago.

2. God with sceptre, seated.
3. River god, seated.
4. Man with animal for sacrifice.
5. Sunset or sunrise.
6. Eagle and swans.
7. Goats. From Surgul.
8. Scorpion.
54, 1-6. From originals of stone in Royal Museum, Berlin. (Case
in Room 1.)
1. Hemispherical seal stone from El Hibba, near Surgul.
2. Weight, cylindrical, with top handle. On the side, figures of
a bull and calf before a hurdle — intaglio, as on a seal.
3. Weight, elongated ovoid.
4. Arrowhead. Original of flint.
5. Amulet. Head of a demon.
6. Head of a priest (small). Original of marble found in Warka.
54, 7. Deluge tablet, Chaldean. From two fragments in the
British Museum. (Case in Room 1.)
ASSYRIA.
Room I.
61. Obelisk of Shalmaneser II, of Assyria, 859-823 B. C. Ori
ginal of black marble in the British Museum, found by La-
yard in the centre of the mound at Nimrud. Upon it is an
inscription recording the conquests and other acts of the king.
Translated by Rawlinson. Each of the four sides of the
obelisk is divided into five compartments, one above another,
representing in low relief the bringing of tribute to the king.
Erected 828-825 B. C.
62. Sardanapalus I (Assurnazirpal of Assyria, 884-859 B. C). From
a limestone statue about half life size in the British Museum,
found at Nimrud (near site of Nineveh). Erected about 825
B.C.

Casts qf Ancient Sculpture, Hall Collection. 15

63. Winged Lion, with Human Head. From a colossal high re
lief, with long cuneiform inscription — a portal guardian found
by Layard at Nimrud. Now in the British Museum.
64. Winged Bull, with human head. From a colossal high re
lief, with long cuneiform inscription — a portal guardian found
by Layard at Nimrud. Now in the British Museum.
Note— The two figures described above show a curious contrivance for
making tbem complete, no matter how viewed. In front the forelegs are
parallel, as if the animal were at rest. On the side a fifth leg is introduced
to take the place of the hidden foreleg. This extra leg gives the impression
of walking.
65, 1-12. Nineveh Reliefs. From alabaster slabs of IX century
B, C, in the British Museum, found at Nimrud (near the site
of Nineveh) by Layard, 1845-1850.
The impression of bigness, strength, and semi-barbaric
dignity made by the Assyrian flat reliefs of Ancient Nineveh
is apt to cause the observer to overlook one of their greatest
beauties — the decorative work on the costumes and other
accessories. It is so delicate, and has been so much exposed
to injury, that it is now somewhat obscure ; but a close exam
ination (of the border of a robe, for example, in which floral,
animal and geometric motifs are most gracefully harmonized)
will show that the Assyrians of nearly 3000 years ago ha'd a
high standard of taste and skill in decorative design.
1. Two genii adoring the tree of life.
2, Kings and genii adoring the god Assur and the tree of life.
3. Eunuch and winged genius, attendants of a king.
4. King besieging a city.
5. Eagle headed and winged deity — Nisroch, facing left. Fir
cone in one hand, held up, and bucket or basket in the other .
6. A winged deity or genius facing right with bucket or basket
in one hand and fir cone held up in the other.
7. Man with three pomegranates.
8 Same figure as 6, enlarged.
9. Similar figure, without pine cone and with a twig of five
pomegranates in place of basket.

1 6 The Art Institute of Chicago.

10. Two groups of slabs, each in two parts, from a representation
of a royal lion hunt. (See 66, 11.)
11. A wounded lioness at bay. From an alabaster slab of about
700 B. C , found by Layard at Kuyunjik (Nineveh).
12. Part of a pavement, with lotos flowers and buds, rosettes,
and palmette ornaments in very low relief, arranged in rec
tangular panels and borders. From an alabaster slab in the
British Museum, found in the ruins of Kuyunjik, site, of
ancient Nineveh. Assyrian, between B. C. 668 and B. C. 626.

66, 1-15. Other Assyrian Flat Reliefs, from originals of gray
alabaster in the Royal Museum, Berlin. (All in Room 1.)
1. King and winged genius (like 65, 6) standing back to back.
Zone of cuneiform inscription across both figures and the field.
2. Gods, priests, or genii before a holy tree. Two horizontal
compartments with zone of cuneiform inscription between.
3. Same figure as 65, 5, much enlarged. Cuneiform inscription.
4. Four warriors in file, marching. Shields, swords, spears, as
well as figures, all strictly parallel.
5. Two archers, marching in file.
6. War chariot in action, with four warriors.
7. Warrior with a bull.
8. Camp before a fortress.
9. King with two armor bearers on the right. Horse led by a
eunuch on the left. The two groups are walking away from
each other.
10. Two servants before a table under a palm.
11. Royal lion hunt. (May be another panel of the series, 65-10.
Here the lion is still on foot, though overtaken and' twice hit.)
Cuneiform inscription on border.
12. King slaying a lion.
13. Flute player standing under a palm tree.
14. Head of a winged figure with horned cap.
15. Head of a flute player. Fragment of a relief. Original of
granite?

Casts of Ancient Sculpture, Hall Collection. 17
67. Standard Weight, in the form of a lion. Original of bronze,
IX century B. C, in the British Museum. Found at Nimrud
(near the site of Nineveh) by Layard, about'1847.
68. Stele of King Sargon. Front recessed and occupied by a life-
sized figure in relief. Edges covered with cuneiform inscrip
tion. The original, of dark stone, is in the Royal Museum,
Berlin. Assyrian, about 710 B. C. Found near Larnaka, in
Cyprus. The inscription records the subjection of that island
to Assyrian control.
69. Bell, with Clapper and Hanger. Original of bronze in Royal
Museum, Berlin. Standing figures in relief all around the
body of the bell, i. Case in Room 1.)
70. Seal Cylinder. Design: A god with bird legs. Winged sun
over head. Original of stone in Royal Museum, Berlin.
(Case in Room 1.)

PERSIA.Room 1.
81, 1-5. Persepolis Low Reliefs. From gray limestone slabs, in
the British Museum, found in the ruins of Persepolis. V cen
tury B. C.
1. Four men with staves and two with whips.
2. Man with staff (or soldier with lance?). Fragment.
3. Man and horse. Man driving a chariot. Fragments.
4. Half length of a man.
5. Chamberlain and soldier of the guard — one on each face of
a corner block.
81, 6. Old seal cylinder. King on a sphinx. Original, of stone,
in Royal Museum, Berlin. (Case in Room 1.)
81, 7. Part of a cuneiform inscription. Lines horizontal. 13x17 in.

18 The Art Lnstitute of Chicago.
ASIA MINOR AND NORTH SYRIA.
THE EMPIRE OS THE HITTITES.
Rooms i and 2.
91. Rock Sculpture. From a figure of a warrior with a spear
carved on a mountain side about twenty-five miles from
Smyrna on the road to Sardis. Herodotus described this figure
2400 years ago, but erroneously regarded it as a representation
of Sesostris, meaning Ramses II. 1 See 10. ) The style of the
relief, the costume, the figure and the hieroglyphic characters
are not Egyptian, but of the Hittite type. (Room 2.)
92, 1-13. Rock Sculpture of Boghaz-Koi, work of the Hittites,
about 1300 B. C. The originals are generally low reliefs in a
long and narrow rectangular court cut in the side of a moun
tain of calcareous rock. The figures are carved on the natural
rock walls of this court. They represent two processions, one
coming down each side from the front and meeting the other
on the end wall.
1. The heads of the processions, meeting. On the left is the leader
of the victors standing on the bowed heads of two figures. On
the right are three female figures and one male, representing
the vanquished, all standing on animals. (Room 2 )
2. Head of a figure (King? ) from the left wall. (Room 2.)
3. Symbol from above this head: A winged sun resting on two
pillars between which stands a figure (god?) with something
like a gigantic lotos bud on each side and a small lotos flower
at each foot. This piece is called a hieroglyph in the Berlin
catalogue of casts. (Room 2.)
4. Two female figures from the right wall. (This cast is here
attached to cast 5 ) (Room 2.)
5 Figure under winged sun. (Room 2 )
6. Hieroglyphic inscription. (Case in Room 1.)
7. King with lituus (a sort of shepherd's crook) walking with a
much taller figure The latter has his arm around the neck of
the king. From the left wall. (Room 2.)
8. Praying figure. (Room 1.)

Casts of Ancient Sculpture, Hall Collection. 19
9. Three warriors (and part of a fourth). From the left wall.
(Room 2.)
10. Two goat-footed figures holding above their heads a half-moon
shaped object. From left wall. (Room 2.)
11. Winged figure with conical cap. From left wall. (Room 2.)
12. Incomplete figure (in three parts) with a lion face and the
body of a lion upright forming each side. (Room 2. )
13. Miniature temple, with hieroglyphic characters. (Rooml.)

93, 1-16. From Sculptures in Sendschirli (Senjirli or Sicdjirli) ,
Asia Minor. Casts from dolerite originals in the Royal
Museum, Berlin — all Hethitic low reliefs except the first two.
(All in Rooml.)
1. Fragment of a colossal statue — feet and lower part of robe.
On the latter is an old-Aramaic inscription, a dedication to
Panammu.
2. The god Hadad. Colossal statue with inscription on robe in
old-Aramaic, one of the oldest examples of phonetic writing.
Erected 800 B. C. at Gertschin, near Sendschirli, by Panammu.
3. Lion.
4 Man with battle axe. Corner block to 3.
5. Lion-headed god of hunting, with falcon on wrist, holding up
a hare.
6. Bull.
7. God with trident and hammer.
8. Griffin headed god with wings.
9. Two goats rampant against a tree.
10. Group (in three pieces): Man playing guitar another clapping
hands; birds above.
11. Winged griffin.
12. Human headed sphinx, walking.
13. Sphinx with two heads (lion and human), walking.
14. King with sceptre and spear. Corner block to 13.
15. Warrior with shield and spear.
16. Woman with mirror. Corner block to 15.

20 The Art Lnstitute of Chicago.

94, 1-8. Mar'asch. Casts from granite or other stone low reliefs
in Mar'asch, North Syria; also from two other sculptures
brought from that district. Hittite. (All in Room 1.)
1. Stele with two figures seated on opposite sides of a cross-legged
table. Hieroglyphic inscription.
2. Team of horses. Fragment.
3 Praying figure, standing by cross-legged table.
4. Stele. Two figures, each holding up a bird. Cross-legged
table between them.
5. Torso of a statuette with inscription. Original of dolerite in
Royal Museum, Berlin, found in Mar'asch. (Case in Room 1.)
6. Lion. Relief with hieroglyphic inscription. Original of
granite in Constantinople, found in Mar'asch.
7. Fragment of tomb sculpture. Intaglio-Rilievo. Original of
stone in Mar'asch.
8. Seated female figure with child on knee. Something like a
sistrum in left hand and mirror in right. (Suggestive of the
Egyptian goddess Isis with the infant Horus.) Intaglio-
rilievo. Original of stone in Mar'asch. (See Cases 8 and 9
in Room 15.)
95, A Lion Hunt. Two men on foot and two in chariot. Low
relief. Original of granite in Royal Museum, Berlin, found
near Saktschegoezu, North Syria. (Room 1.)
96, 1-3. From Sculptures in Nimrud Dagh, Asia Minor. (AH in
Room 1.)
1. Antiochus and Helios. From a low relief on the tomb of
Antiochus of Kommagene. (Died 30 B. C. ) Original of
sandstone.
2. An ancestor of Antiochus. From the above tomb.
3 The sign of the lion, zodiacal. Large lion figure in high relief,
bespangled with eight-pointed stars. Crescent on breast.
Along the upper edge of the field is a Greek inscription somer
what obscured. Original of granite. (The eight-pointed star is
also a characteristic feature of the Chaldean record stone, 52. )

Casts of Ancient Sculpture, Hall Collection. 21
SYRIA.
Rooms 1 and 2.
97, 1. The Moabite Stone. From a thick slab of black basalt
with rounded top in the Louvre — the stele of King Mesha of
Moab, recording his battles with the Israelites, IX century
B. C The inscription is in Hebrew-Phcenician characters.
The stone was discovered by Rev F Klein at Dibhan, in the
land of Moab, Aug. 19, 1868. It was broken and the fragments
were scattered. Twenty-eight of them (about two-thirds) were
brought to the Louvre, where the restoration was made in
accordance with a paper impression taken before the breaking.
46x24x14^ in. (It has been charged that this stone is a
forgery; but the charge yet needs verification.) (Rooml.)
97, 2. Temple Sign. From an inscribed stone of variegated
marble — one of a number placed on a balustrade within the
portico of the Temple in Jerusalem. Discovered by Clermont-
Ganneau May 26, 1871. Preserved in the Imperial Museum,
Constantinople. The inscription, in Greek, may be freely
translated thus: "Let no alien pass within the balustrade
surrounding this sanctuary, for the trespasser will be guilty of
bringing about his own death " Other inscriptions were in
Latin. (Room 1.)
97, 3. Helios. Bust of the Sun-god seen over two eagles, between
which is a small lion's head From a high relief in limestone
in the Royal Museum, Berlin. Found in Baalbek (Heliopolis) .
Crude, barbaric work. (Room 2. )
98, 1. Woman's Head. From a marble sarcophagus lid, Phoeni
cian, in the Royal Museum, Berlin. (Room 1.)
98, 2. Scale of a Phoenician Balance, in form of a heavy, mortar
like bowl with four suspension rings in bulls' mouths. Hiero
glyphics and intaglio decoration between. Original of marble
in Royal Museum, Berlin. Brought from Sidon. (Case in
Room 1.) Of questionable authenticity.

22 The Art Institute of Chicago.
98, 3. Phoenician Goddess, seated in chair, with bowl held out in
hands. Side view, facing left. High relief. Left side limbs
completely in the round. Original of limestone in Royal
Museum, Berlin. Found in Tyre. (Case in Room 1. )
99. Sabaic Inscription. With ornamented head piece. Original
on limestone slab in Royal Museum, Berlin. "Found at
Hadakan, Arabia. (Room 1.)
100. Fragment of a Vessel from Cyprus (Kition). The upper part.
Wide mouth, with narrow, vertical rim. One lug with small
hole remaining, indicating suspension. Cypriote inscription
on shoulder. Original of alabaster in Royal Museum, Berlin.
About 9J^ inches high. (Room 1.)

THE ELBRIDGE G. HALL COLLECTION-
(See Note on page 9.)
Rooms 2 and 3. Prehistoric and Early Greek — Archaic,
Dorian, Aiolian and Ionian Sculpture, and Work of
V Century Masters: Myron, Pheidias, Polykleitos.
1. Heraldic Lions of Mykenai. From the limestone tympanum of
the principal gate of the citadel, still in place. Achaian, about
1250 B. C.
2. Perseus Slaying Medusa. From a metope, with traces of
coloring, of the old Doric temple of Apollo at Selinus, Sicily,
preserved in the museum of Palermo. Found at Selinus in
1822 by Angell and Harris. Dorian, VII century B. C.
3. Apollo of Actium. Torso. Height 39 inches. Original of
marble in the Louvre. Found at Actium, by Champoiseau.
Dorian, VII century B. C.
4. Apollo of Tenea (or a young athlete). ' From a Parian marble
in the Glyptothek, Munich, found in 1846, in the village of
Athikia, on the site of the ancient Tenea, near Corinth.
Dorian about 600 B. C. '
5. Seated Figures of a Wedded Pair, receiving after death the
homage of surviving kindred. From a marble sepulchral slab
in Royal Museum, Berlin, found at Chrysapha, near Sparta,
Lakonia. Lakonian, about 600 B. C.
6. Small Head of Zeus (Jupiter). From a bronze in the National
Museum at Athens, found at Olympia. Pelopbnnesian, VI
century B. C.
7. Combat of Gods and Giants. Twenty pieces, casts from frag
ments of a pedimental limestone group of the treasury of Meg-
ara, at Olympia. Originals in the museum of Olympia.
Dorian, VI century B.C. 23

24 The Art Institute of Chicago.

8. Head and arm of a warrior. From fragments of a marble
statue in the museum at Olympia. Found at Olympia. Greek,
about 500 B. C.
11-25. Aigina Sculptures. From Parian marbles in the Glypto-
thek, Munich, found in 1811 (by Linckh, Haller, Cockerell
and Foster) among the ruins of the temple of Athena, in the
Island of Aigina, in the pediments of which they had origi
nally been grouped, apparently to represent struggles between
Greeks and Trojans at the siege of Troy. Dorian, soon after
500 B. C. Restored by Thorvaldsen and Wagner.
Figures from the west pediment, complete, Nos. 11-20.
The kneeling posture of Nos. 12 and 19, exaggerated by the
restorations, was often used by early Greek artists to depict
runners.
11. Wounded Greek.
12 Advancing Greek spearman, apparently kneeling.
13. Greek archer, kneeling, probably Teukros (Teucer).
14. A Greek champion, probably the Telemonian Ajax, who
rescued the body of Achilles.
15. The fallen Achilles.
16. Athena, presiding over the battle.
17. A Trojan champion, probably Aineias (^neas).
18. Trojan archer, kneeling, probably Paris.
19. Advancing Trojan spearman, apparently kneeling — probably
Deiphobos, second husband of Helen.
20. Dying Trojan. The original was badly corroded from lying
in wet ground — a mere torso before restoration.
Figures from the east pediment, Nos. 21-25.
21. Wounded Trojan warrior.
22. A Trojan champion, probably Laomedon.
23. Fallen Trojan warrior.
24. Nude Greek snatching the fallen Trojan's sword.
25. Herakles as an archer in armor.

Casts of Ancient Sculpture, Hall Collection. 25
26. Archaic Winged Goddess, probably Artemis From a marble
in the National Museum, Athens, found in Delos, 1879. If the
inscribed base, found in two parts, 1880, 1881, was made for
the statue, the latter is the work of Mikkiades and Archermos
of Chios. Ionian, V century B. C.
27. Archaic Head (female?). From a marble in the British Museum,
broken from a statue. Greek, VI century B. C.
28. Head of a Young Athlete. From a fragment of a marble
sepulchral slab in the National Museum, Athens, found built
into the ancient city wall. Athenian, VI century B.C.
29. Sepulchral Slab of Aristion, an Attic warrior, From a marble
relief (originally colored) found at Belanidetsa in Attika, 1838,
and now in the National Museum, Athens. Athenian, by
Aristokles, VI century B. C.
30. Head of Dionysos, with frontal crown, called Jupiter Talley
rand. From a Parian marble in the Louvre, formerly owned
by Prince Talleyrand Greek, early V century.
31. Assos Reliefs, decorative and mythological. Seventeen pieces.
The originals, of dark gray andesite, are in the Louvre, Paris .
They were found among the ruins of a Doric temple on the
site of the ancient city of Assos, Asia Minor, in 1838 and
1881-1883 — some carved on metopes and some on solid blocks
of the architrave of the peripteros of the temple of Assos.
This temple is said to be the only known example of a Doric
building with a sculptured architrave. Aiolian Greek, VI
century B C.
These reliefs include the following subjects:
— Two sphinxes facing each other
— A lion devouring a stag.
— A lion devouring a wild boar.
— Two bulls butting each other.
— Centaurs pursued by Herakles.
— Banqueters reclining at table.
— Conflict between Herakles and Triton.

26 The Art Lnslilute of Chicago.

32. Ephesos Sculptures. From marble fragments in the British
Museum found in the ruins of an early temple of Artemis
(Diana). Excavations made by J. T. Wood, 1869-1874.
Ionian about 550 B. C. See 180.
The following pieces, a-d, in high relief are supposed to
have been decorations on the drum of a column or columns.
a. Upper part of a male figure, standing, facing right. Close
fitting tunic and lion's skin. Upper face broken away.
6. Lower part of s. male figure, standing, facing right. Wears
apparently a himation reaching to the knees
c. Head of a woman, facing right — formerly catalogued as Athena.
d. Fragment of right thigh, draped, facing right.
e. On the rectangular base of a column. Middle part of a draped
figure, facing left. Left hand pressing on thigh.
/. Head of a lion, fragment of cornice. The cast was formerly
catalogued as "The lion of Nineveh."

33. Archaic Head, with long tresses. Broken from a statue. Left
shoulder preserved. Original of marble from Branchidse, now
in the British Museum. Ionian, about end of VI Century B. C.

34. Portrait Statue, Seated. From a marble in the British Mu
seum, one of a series found in the Sacred Way connecting the
harbor Panormos with the temple of Apollo at Didyma, near
Miletos, Asia Minor. The temple was controlled by the priestly
clan of the Branchidas, the name of which came to represent
also the place. Ionian, VI Century B. C.

35. Harpy Monument Reliefs. Four slabs, representing the frieze
of the four faces of the grave monument, from marbles in the
British Museum found at Xanthos, Lykia, by Sir Charles
Fellowes in 1838. The figures which suggested the popular
name for the tomb have since been classed as sirens rather than
harpies. Lykian or Ionian, probably late VI century B. C.

Casts of Ancient Sculpture, Hall Collection. 27
36. Sepulchral Slab, with man and dog in relief. From the orig
inal marble by Alxenor of Naxos in the National Museum,
Athens. Found near Orchomenos, Bceotia. Ionian, early
V century B. C.
37. Apollo and Hermes, with (Nymphs and Graces. From three
marble reliefs in the Louvre, found by E. Miller in the island
of Thasos in 1864 (once parts of the same frieze). The orig
inal inscriptions forbid the sheep and the pig as sacrifices to
Apollo and the Nymphs, and the goat and the pig to the
Graces. An inscription of much later date shows that these
blocks were taken from their original place and used in the
tomb of . .istokrates, son of Eros. Ionian, V century B. C.
38. Tombstone of Philis, Daughter of Kleomedes. From a relief in
Parian marble in the Louvre found in the island of Thasos,
1864. The marble has traces of coloring. Ionian, V century
B. C.
39. Lo^Spinario (The Thorn Extractor). From a bronze statue in
the Palazzo dei Conservatori, Rome, an antique copy of a
Greek^work of the V£century B. C.
40. The Charioteer of Delphi. Terra-cotta fac simile of a bronze
statue in the Delphi museum, found at Delphi, 1896. Greek,
about 475 B. C.
41. Head of a Young Athlete. From an antique marble of the
Capranesi Collection, now in the British Museum — a copy of a
V century Greek bronze.
42. Herakles and Atlas, with the Apples of the Hesperides. Hera
kles, assisted by Athena or one of the Hesperids, supports the
firmament while Atlas brings him the golden apples. From a
marble metope slab of the temple of Zeus at Olympia, now in
the museum of Olympia. About 460 B. C.

28 The Art Institute of Chicago.

45. Winged Victory. From a marble statue by Paionios of
Mende in the museum of Olympia. The greater part of the
statue was found at Olympia in 1875; other fragments later.
It stood originally near the temple of Zeus, on a triangular
pedestal about twenty feet high. Erected about 420 B. C.
Northern Greek.
46a. Oombat of Greeks and Amazons. From six marble slabs of
the broad frieze of the Nereid monument, in the British
Museum. Found near Xanthos, Asia Minor. Lykian, IV
century B. C. (Room 4. )
464. Infantry Battle. Surrender of a walled town to a Persian
Satrap. From six marble slabs of the narrow frieze of the
Nereid monument in the British Museum. Lykian, IV cen
tury B. C. (Room 4.)
47. Aphrodite in Koan Raiment. From a marble statue in the
Louvre, commonly called the Venus Genetrix. Possibly an
imitation of the statue by Alkamenes, called "Aphrodite in
the Gardens." Found in Frdjus about 1650. Athenian,
about 400 B. C. (Room 4.)
48. The Apollo Choiseul-Gouffler. From a marble statue in the
British Museum, purchased in Constantinople in the XVIII
century. Athenian, V century B. C.
49. Diskobolos (prototype of the modern quoit-pitcher) in action.
From a marble copy of a statue by Myron in the Vatican,
found at Tivoli, 1791. Athenian, V century B. C.
50. Diskobolos, poised to pitch the disk. From a marble statue
in the Vatican, found by Gavin Hamilton on the Appian Way
near Rome in 1792 and sold to Pope Pius VI Probably Athen
ian, IV century B. C. Prof. Massi's catalogue of the Vati
can sculptures, 1892, calls this statue a copy from the famous
original in bronze by Naukides of Argos, but this opinion has
not been generally adopted. It has also been attributed to
Alkamenes.

Casts of Ancient Sculpture, Hall Collection. 29
51. The God Ares (Mars). From a marble statue commonly
known as the Achilles Borghese, now in the Louvre.
Brought from Rome in 1808. Greek, V century B. C.
52, Athena (Minerva). Cast taken from a marble statue in the
Dresden Albertinum after the head had been restored by
casts from a marble head in tlie Museo Civico, Bologna.
These two marbles, and another statue in tlie Albertinum are
believed to be good copies (somewhat marred by restorations)
of a bronze statue of the Pheidian period. Furtwangler ar
gues that the lost original was a masterwork of Pheidias him
self—the LEMNIAN ATHENA. Height, excluding base, 6
ft., 6^ in.
53. Athena Parthenos. From a marble statuette found in 1880,
near the Barbakeion (Varvakaion) Lyceum building in
Athens, and recognized as a late copy of the colossal statue
by Pheidias, mentioned below in the note on the Elgin Mar
bles, No. 101. Now in the National Museum, Athens. 40^
inches high. Athenian, V century B. C. See 55
54. Fragment of the Shield of Arthena Parthenos. From the
Strangford shield in the British Museum, which has been
supposed to be an antique copy in marble from the original
by Pheidias, showing sketchy portraits of the sculptor and
Perikles. Plutarch, in his life of Perikles, says that Pheidias
had carved on the shield of the original statue of Athena
Parthenos his own portrait and that of Perikles, the former
as a bald old man lifting a stone, and the latter brandishing a
spear so "that his arm covers his face. The Strangford mar
ble is generally supposed to be an antique copy of this shield;
but on it the bald man does not appear old and he is swing
ing an axe instead of lifting a stone. A. S. Murray contends
in Encyclopedia Brittanica, and in his book, "The Sculptures
of the Parthenon," that this shield is several centuries
later than the time of Pheidias and could not have been copied
from his work. He is also skeptical regarding Plutarch's
story of the portraits.

30 The Art Institute of Chicago.

55. Athena Parthenos. The Lenormant statuette, found in Athens,
1859, by Lenormant, and now in the National Museum there.
A marble copy of the colossal chryselephantine statue by
Pheidias, reduced [to a height of about 18 inches, See 53.
56. The Farnese Diadumenos, a Greek athlete binding his hair
with a fillet. From a Pentelic marble statue in the British
Museum, brought from Rome in 1864 — one of the most im
portant copies (made probably about the beginning of the
Christian era) of a celebrated statue by Polykleitos of Argos.
Dorian, V century B. C.
57. Doryphoros or Spearbearer. From a marble in the Naples
museum, found in the palaestra of Pompeii and recognized as
a copy of the celebrated bronze by Polykleitos of Argos.
Dorian, V century B. C.
58. A Greek Boxer, with cestus in place of the modern glove.
From a marble statue in the museum of Dresden, after a lost
statue by Polykleitos. Dorian, about 420 B. C. (Room 4.)
59. The God Pan, with cup and wine pitcher. From a marble
statue in the British Museum. Found by Gavin Hamilton,
probably in 1773, near Civita Lavinia (the ancientLanuvium),
near Rome. An inscription in Greek ascribes |the work to
Marcus Cossutius Cerdo, son of Marcus. Roman, I century
B. C, after a V or IV century Greek original. (Room 5.)
60. Head of an Amazon. From a marble head in the British Mu
seum, formerly in the collection of Lyde Browne, by whom it
was brought from Rome. Supposed to have been broken
from a statue of a wounded Amazon of which there were
several replicae, e. g., one in the Capitoline Museum and one
in the Vatican, Rome. The original was Greek, probably of
the^time of Polykleitos. (Room 3.)

THE ELBRIDGE G. HALL COLLECTION.
(See note on page 9.)
Rooms 3 and 4. V Century Greek Sculpture — continued.

100. The Akropolis. Plaster model of the Akropolis at Athens,
showing remains of the Parthenon, the Erechtheion, the
Temple of Victory, the Dionysiac theatre, etc. Base 28^x44
inches.
101-120, 123. Casts of the Elgin Marbles.
The collection in the British Museum called "The Elgin
Marbles" was brought from Greece to England by Thomas
. Bruce, Seventh Earl of Elgin, 1801-1803.
While Ambassador of Great Britain at Constantinople he
obtained from the Turkish government a permit to remove
certain relics of the art of ancient Greece, chiefly from the
Parthenon or temple of Athena (Minerva) on the Akropolis
of Athens. In 1816 they were purchased by the British gov
ernment and placed in the British Museum. Their origin is
contemporary with that of the Parthenon itself, which was
dedicated in 438 B. C, under the administration of Perikles.
The temple, of the Doric order of architecture, was built of
Pentelic marble, and its exterior was richly adorned with
sculptures in the same material, the design and superinten
dence of the execution of which have generally been attribu
ted to Pheidias. In the cella (that portion of the temple
enclosed by the solid walls) was one of the most celebrated
works of Pheidias, the colossal statue of Athena (39 feet
high), overlaid with gold and ivory, and hence called chrys
elephantine. (See 53.) The walls of the cella were decora
ted externally by a frieze in low relief representing the Pana-
thenaic procession or one of kindred character. The spaces
between the triglyphs (ends of the beams of the roof) were
filled in with blocks of marble sculptured in high relief, and
from their position, called metopes. The subjects of the fif-
3i

32 The Art Institute of Chicago.

teen metopes preserved in the British Museum, and the one
in the Louvre, are taken from the contest between the Cen
taurs and Lapiths, at the marriage feast of Perithoos. The
figures on the pediments were sculptured in the round. The
subject represented on the eastern pediment was the birth of
Athena from the brain of Zeus (Jupiter) ; on the western the
victory of Athena over-Poseidon (Neptune). For model of.
the Parthenon and its surroundings see 100.
102. Reclining male figure, called Theseus. From a marble at the
south end of the eastern pediment of the Parthenon.
103, 104. Two seated female figures, called Demeter and Persephone
( Ceres and. Proserpine) . From a marble group originally on
the left hand side of the eastern pediment of the Parthenon.
107, 108. Group of two female figures, one reclining in the other's
lap, two of the Three Fates. Also called Aglauros and Herse,
daughters of Cecrops. From a marble originally on the right
hand side of, the eastern pediment of the Parthenon.
109. Seated Femals Figure, called one of the Three Fates. From a
marble originally on the right hand side of the eastern pedi
ment of the Parthenon.
110. Head of the Horse of Selene (Luna, goddess of the night).
From a marble originally at the north end of the eastern pedi
ment of the Parthenon.
113. Kephisos, formerly called Ilissus, an Attic river god. From a
marble originally at the north end of the western pediment of
the Parthenon.
114. Torso of Iris. From a marble originally on the right hand
side of the eastern pediments of tiie Parthenon.

Casts of Ancient Sculpture, Hall Collection. 33

116 a. Centaur in combat with a Greek. From a marble metope of
the Parthenon.
116*. Centaur carrying off a woman. From a marble metope of
the Parthenon.
117-120. Frieze ofthe Parthenon — about one-third.
Head of a cow — fragment of the Parthenon frieze.
Figure of Eros (Cupid) — fragment of the Parthenon frieze.
Youth, facing right] Duplicates of figures in a group oc-
. „ r cupyine two slabs of the Parthenon
Youth, facing left j f ^
121. An Assembly of Deities, formerly called Trial of Hellas and
Asia before the tribunal of Zeus. From marbles of the temple
Nike Apteros (Wingless Victory) on the Akropolis, Athens.
Athenian, V century B. C. (Three slabs.)
122 a. Figure of Nike (Victory). From a high relief in marble,
originally on the balustrade of the temple of Nike Apteros or
Athena Nike, on the Akropolis of Athens. Found during the
excavations made by Ludwig Ross and others on the site of
the temple, 1835-38, which led to the restoration of the
edifice. Athenian, V century B. C.
122 b. Two Winged Victories, taking a cow to be sacrificed. From
a portion of the balustrade of temple of Nike Apteros, now in
the Akropolis museum, Athens. Athenian, V century B. C.
122 c. A Winged Victory Decorating a Trophy. From a marble re
lief of the balustrade of the temple of Nike Apteros, now in the
Akropolis museum, Athens. Athenian, V century B. C.
123. A Karyatid. From a marble in the British Museum, taken
from the portico of the Erechtheion on the Akropolis of
Athens by Lord Elgin. Athenian, about 400 B. C.

34 The Art Institute qf Chicago.

124. A Karyatid. From a marble in the British Museum, found
on the Appian Way, Rome, in the XVI century; a copy of an
earlier Greek work adapted to the support of a portico.
Roman, II century B. C. (Room 4).
125. Combat between Centaurs and Lapithai, at the wedding of
Peirithoos. From marbles of the western frieze of the suppos
ed temple of Theseus or of Hephaistos at Athens — still in their
original positions. Athenian, V century B. C. (Four slabs).
126. Battle of Greeks and Amazons. From four marble reliefs in
the British Museum, discovered by Cockerell and others in
1811, near Phigaleia in the Peloponnesos, forming part of the
interior frieze of the temple of Apollo Epikourios at Bassai in
Arkadia. Greek, about 435 B. C.
127. Sculptures of the Heraion of Argos, Fragmentary. From mar
bles discovered in the unearthing of that temple in 1892 by the
American School of Classical Studies in Athens. Greek, of the
time of Pheidias and Polykleitos, V century B. C.
a. Life size head of Hera (Juno) .
b. Female head in helmet, about half life size.
c. Female head in helmet, somewhat larger.
d. Lion head fragment, 8% inches high, 7 wide.
e. Lion head fragment, 11 inches high, about 8 wide.
f. Male torso, less than life size.
g. Shoulder with drapery.
h. Fragments of horizontal moulding with relief ornament of
anthemia and birds.
129. Hera, of Girgenti. Head. From a marble in the British Mu
seum known as the Juno Castellani. Greek. Said by some to
be a forgery, but only an example of unintelligent restoration.

Casts qf Ancient Sculpture, Hall Collection. 35

IV CENTURY B. C.
131. Athena, in helmet and aegis. From the marble statue in the
Vatican known as the Giustiniani Minerva, or the Pallas
Giustiniani, found in the ruins of a temple in Rome under the
church of Santa Maria Sopra Minerva. Copy of an Athen
ian work of the IV century B. C In the XVII century
it belonged to the Giustiniani family, and later to Lucien
Bonaparte, who sold it to Pope Pius VII for the Vatican. (On
front Loggia).
132. Athena (Minerva). From a marble head with bronze restora
tions in the British Museum. A late adaptation of the style of
the V century B. C. The bronze restorations (helmet, chiton,
aegis, etc.,) were made on the insufficient ground of resemb
lance to a bust in the Vatican so finished.

150. Sepulchral Slab of Hegeso, daughter of Proxenos. From a
Pentelic marble relief on a monument in the cemetery just
outside the Dipylon gate of Athens, where it was discovered in
1870. Athenian, IV century B. C.
151. Damasistrate, Daughter of Polykleides, with members of her
household. High relief. From a marble sepulchral slab in
Athens. Athenian, IV century B. C.

152. Polyxene Embracing Her Child. High relief from a marble
sepulchral slab in Athens. Athenian, IV century B. C.
(Room 4 )

153. A Young Man Reading, commonly called " A Philosopher."
From a marble tombstone (Stela) in the Greek monastery of
Grotta Ferrata, near Rome. Athenian, IV century B. C.

36 The Art Institute of Chicago.

154. Lustration of a Horge (by Demeter, with Persephone standing
behind her?). Aman holds the horse facing right. A low
altar is between him and the lustrator. A narrow upper panel
contains a representation of a Sacrifice to the Nymphs and
Hermes. The two panels are separated by a raised band bear
ing a Greek inscription, much defaced. Athenian.
155. Hermes Leading Three Nymphs, in a grotto of Pan. From a
marble relief in the Imperial Museum, Vienna, said to have
been found at Lampsakos. Late Athenian.
161-180. SCHOOLS OF PRAXITELES AND SKOPAS.
161. Eirene, Goddess of Peace, with the infant Ploutos, God of
Wealth. From the marble group in the Glyptothek, Munich,
probably copied from a bronze by Kephisodotos of Athens,
father of Praxiteles. Athenian, IV century B. C.
162. Hermes (Mercury) with the infant Dionysos (Bacchus). From
a marble group by Praxiteles, in the museum of Olympia,
found at Olympia, 1887. Athenian, IV century B. C.
163. Hermes. From a marble statue of the same type as the
Hermes in the Vatican Belvedere formerly called Antinous, but
better preserved. A copy of a Greek statue of great merit,
formerly in Farnese palace, Rome, now in the British Museum.
By different authorities the original has been credited to vari
ous schools of the fifth and fourth centuries B. C, viz ; those
of Pheidias, Polykleitos, Praxiteles, Skopas and Lysippos.
166. A Young Satyr at Rest. From a statue in the Capitoline Mu
seum, Rome, the "Marble Faun " of Hawthorne. Found in
1701, near Civita Lavinia, the ancient Lanuvium. A copy of a
work by Praxiteles. Athenian, IV century B. C.
167. A Young Satyr Playing a Flute. From a marble statue in the
Louvre. Greek. (Head of stairs. )

Casts of Ancient Sculp lure, Hall Collection. 37
168. Ganymedes and the Eagle of Zeus. From a marble group in
the Vatican, found in 1780 in the Tenuta del Quadraro, before
the Porta S. Giovanni, Rome. Ganymedes wears a. Phrygian
cap and carries a cup in his right hand. The eagle stands on
the ground at his left hand. Greek. (At head of stairs.)
169. Apollo Sauroktonos (the Lizard-Killer). From a marble
statue in the Vatican, found in Rome, 1770, copied from a
bronze statue by Praxiteles. Athenian, IV century B. C.
170. Apollo at Rest. From a marble statue in the Ufiizi Gallery,
Florence, known as the Apollino. Probably copied from a
statue by Praxiteles. Athenian, IV ceutury B. C.
171. Eros, commonly called the Genius of the Vatican. From a
mutilated marble statue in the Vatican, Rome, discovered at
Centocelle, on the Via Labicana, near Rome, by the Scotch
painter, Gavin Hamilton, and sold to Clement XIV. Generally
regarded as a copy of the Thespian Cupid of Praxiteles (lost).
Athenian, about 400 B. C.
174. Aphrodite. From a marble statue (the Towneley Venus) in
the British Museum. Found at Ostia, by Gavin Hamilton, in
1775. Roman copy of a Greek original of about 400 B. C.
(Room 5. )
175. Demeter (Ceres), seated. From a marble in the British Mu
seum, found in Knidos, 1858. The head is of finer marble
than the body. Greek, IV century B. C. (Room 3.)
176. A Dorian Maiden Clasping Her Cloak. From a marble statue
in the Louvre, commonly called Diana of Gabii. Found near
Gabii, Latium, 1792. Has been attributed to a copyist of Prax
iteles. Greek, IV century B. C. (A marble copy, presented
by Charles W. Fullerton, is in Fullerton Memorial Hall.)

38 The Art Institute of Chicago.

179. Combat Between Greeks and Amazons. Five slabs from the
marble frieze of the Mausoleion of Halikarnassos, by Skopas
of Paros, Leochares and Bryaxis, of Athens, and Timotheos,
about 300 B. C. Now in the British Museum. Found in 1857
by Charles T. Newton, at Budrun (Halikarnassos), Asia Minor.
(Room 4.)
180. Group in Relief , supposed to represent Alkestis returning from
or going to Hades. From a sculptured marble in the British
Museum, originally the drum of a column discovered by J. T.
Wood in 1871 upon the site of the later temple of Artemis (Di
ana) at Ephesos. Greek, IV century B. C, (Room 4). See
32 above. 181-190. IV CENTURY PORTRAITS.
181. Portrait Statue of Sophokles, the Athenian tragic poet. Greek,
495-405 B. C. From a marble in the Lateran Museum, Rome,
found at Terracina, about 1839. (Room 3.)
183. Sokrates, Athenian philosopher. From a marble bust in the
Palazzo dei Conservatori, Rome. Copy of a Greek work of IV
century B. C. (Room 4.)
185. Head of a Young Woman. From a marble in the Glyptothek,
Munich, discovered in Corfu. Greek, about 300 B. C.
(Room 4. )
186. Head of a Victor in the Olympian games. From a bronze in
the National Museum, Athens, found at Olympia. Greek, IV
or III century B. C. (Room 4.)
187. Alexander the Great. From a marble bust in the Louvre,
found in Tivoli on the estate of the Marquis of Azara, and
known as the Azara herm. Copy of a portrait from life taken
about 325 B.C. (Room 4.)

Casts of Ancient Sculpture, Hall Collection. 39
190. Alexander the Great. From a marble statuette, commonly
called Mars of Gabii, in the Louvre. Probably copied from a
work by Lysippos of Sikyon. Found at Gabii. Greek, IV
century B. C. (Room 5.)
191. Head of Zeus ( Jupiter), formerly called Asklepios(Esculapius).
From a marble in the British Museum found on the island of
Melos in 1828. Greek, IV century B. C. (Room 3.)
192. Mask of Zeus (Jupiter) . From a marble head in the Vatican,
found at Otricoli in the XVIII century. Greek, IV century
B. C. (Room 4 )
193.- Apollo of the Belvedere. From a marble statue found at
Grotta Ferrata in a retreat of Cardinal Giuliano della Rovere,
afterwards Pope Julius II, who installed it in the Belvedere
of the Vatican. Restorations made by Montorsoli, who died
in 1546, leave in doubt the action intended to be represented
by the statue. The question has been long and warmly dis
cussed; but the preponderance of argument at present seems
to favor the theory that the left hand held a bow, not an aegis;
and the right a branch of laurel and a knotted fillet. These
attributes, with the bow, indicated the god who wards off
darkness and disease. There has also been much difference of
opinion regarding the authorship and purpose of the work. It
may, however, be safely characterized as a copy, probably
Roman, of IV century Greek statue, probably by Leochares. A
good summary of the controversy regarding this statue is given
by Furtwangler, in his "Masterpieces of Greek Sculpture."
(English version, p. 405.) (Room 5.)
194. Artemis with the Hind [Diane & la Biche, Diana Huntress,
or Diana of Versailles). From a statue of Parian marble in the
Louvre, brought into France from Rome by Francis I, and
kept in various places (Versailles the last and best known)
until after the opening of the present century. Greek III
century B. C (Room 5.)

4o The Art Institute of Chicago.

195. A Kneeling Boy, previously catalogued as Ganymedes
Shrinking from the Eagle (?), commonly called Ilioneus, son
of Niobe. From a statue of Parian marble in the Glyptothek,
Munich, found in Rome about the middle of the XVI century,
Head and arms wanting. Greek, IV or III century B. C.
Possibly after Leochares. (Room 3 )
197. An Athlete Using the Strigil. From a marble statue in the
Vatican known as the Apoxyomenos. Found in Rome 1839.
A copy of a bronze by Lysippos of Sikyon. Greek, IV century
B. C. An original strigil, of bronze, is shown in Case 17,
Room 15. (Room 3.)
198. Ares (Mars) seated, with a cupid at his feet. From a marble
group in the Boncompagni Museum, Rome, commonly known
as the Mars Ludovisi, found in Rome early in the XVII cen
tury. Greek, IV century B.C. Perhaps a copy of a statue by
Lysippos. (Room 3. )
199. Nike of Samothrake (Victory). From a marble statue in the
Louvre, reconstructed there from fragments found in the island
of Samothrake in 1863. The torso alone is made up of 118
pieces. The head, arms, feet, part of the bust, part of the
wings and several folds of the drapery were not found. The
original figure stands on the prow of a great galley, and was
probably intended to commemorate the naval victory of Demet-
rios Poliorketes, King of Macedonia, over Ptolemy I of Egypt,
in a battle fought off Salamis, in 306 B. C. ( Room 4.)
200. Royal Sarcophagus, found in Sidon. The original marble,
in the Constantinople Museum, is Greek work of the V or IV
century B. C. Supposed to be unfinished. The sides and ends
are plain, but the elaborate composite moulding of the cornice
has six bands of artistic ornament — the base three. The cover
is a ribbed roof of classic pitch, with a row of palmette orna
ments along the ridge — one at the junction of each pair of
ribs. There is also a similar ornament at the foot bf every
other rib on each side, and a lion-head spout under the eaves
opposite each alternate rib. The gables are decorated with
foliated scroll work in high relief and palmette acroteria.
Presented by Charles A. Coolidge. 1903. (Room 3.)

THE ELBRIDGE G. HALL COLLECTION.
(See note on page 9.)
Room 4. Late Greek.

Ill CENTURY B. C.
251. Demosthenes. Statue. From a marble statue in the Vatican,
probably copied from a bronze by Polyeuktos of Athens.
Erected 280 B. C.
252. Aischines. Statue. From a marble statue in the National
Museum, Naples. Athenian, III century B. C.
253. A Praying Youth (Adorans). Statue. From a bronze in the
Royal Museum, Berlin, formerly in Venice. Probably a Greek
original. Boedas (known 296 B. C), son and pupil of Lysip
pos of Sikyon, was the author of an Adorans. (Room 5. )
254. Hermes (Mercury). Seated statue. From a bronze in the
Naples Museum, found in Herculaneum in 1758. School of
Lysippos (known 355 B. C). A bronze cast of this statue is in
the Higinbotham collection, No. 538. (Room 8.)
255. Herakles with the apples of the Hesperides (held in right
hand behind him). From a marble statue in the National
Museum, Naples, commonly known as the Farnese Hercules.
The torso was found in the baths of Caracalla, Rome, 1540,
and the head in a well in the Trastavere. Legs were made for
it by Delia Porta after Michelangelo had refused, on the
ground that he could not make them worthy of the torso. In
1560 the original legs were found in the farm of La Frattochie,
ten miles from Rome. The modern legs were then removed and
placed in the museum of the Villa Borghese. The completed
statue was taken to Naples in 1786. Athenian, I century B. C.
By Glykon of Athens, after an original by Lysippos. (Room 5.)
4i

42 The Art Institute of Chicago.
256. Seilenos Carrying the Infant Dionysos (Silenus with the
Infant Bacchus). From a Borghese statue of Asiatic marble
now in the Louvre. Found near the gardens of Sallust, Rome.
School of Lysippos, IV or III century B. C. (Room 3.)
257. Dead Amazon. Prostrate statuette. From a marble in the
National Museum, Naples — probably after a Pergamene
original of the III century B. C.
258. Dead Persian. Prostrate statuette. From a marble in the
National Museum, Naples — probably after a Pergamene
original of the III century B. C.
259. Crouching Persian. Statuette. From a marble in the Vatican
—probably after a Pergamene original of the III century B. C.
260. Galatian at Bay. Statuette. From a marble in the museum
of Venice— probably after a Pergamene original of the III
century B. C.
261. Dying Galatian (Byron's "Dying Gladiator"). Reclining
statue. From a marble in the Capitoline Museum, Rome.
King Attalos I, of Pergamon (241-197 B. C.) had monuments
erected to commemorate the subjugation of the Galatian
invaders. This statue is probably a copy from one of the
monuments— possibly the original. (A reduction in marble,
lent by Mrs. E. M. Schreyer of Carlinsville, Ohio, is in
Room 37.)
262. A Paniskos (Little Pan), drawing a thorn from the foot of a
satyr. From a Parian marble statuette group in the Louvre,
formerly in the Villa Borghese. Probably after a Perganene
original of the III century B.C.

Casts of Ancient Sculpture, Hall Collection. 43
263. L'Arrottino (The Knife Grinder)— called also Lo Spione
(The Spy), and by other names. From a marble statue in the
Tribune of the Uffizi Gallery, Florence. Found in Rome
before 1538 and taken to Florence in 1677. The statue repre
sents a nude male figure whetting his knife on a low flat stone
which rests upon the ground. He squats before his work and
bends over it, but looks up, nevertheless, with an expression
suggestive of intent listening. ' 'The Listening Slave' ' is one of
the many names by which this work has been known. It has
also been supposed to represent Cincinnatus and other historic
characters; but archseologists generally recognize it as an ideal
of the Scythian whom Apollo ordered to slay the satyr Marsyas.
(See 264.) Probably after a Pergamene original of the III
century B. C. (Room 5.)

264. The Satyr Mariyas, suspended by the arms from a tree to
be flayed. (See 263). Statue lacking extremities. From a
white Fentelic marble in the Louvre, formerly in the Borghese
collection. Probably after a Pergamene original of the III
century B. C.
265. Dionysos Received by Ikarios, so called. From a marble
relief formerly in the Casa Maffei, Rome, about 1535; later in
the Villa Montalto (Negroni); now in the British Museum.
Greek, III century B. C.

266. Votive Relief to Dionysos, representing part of a Thiasos or
Dionysiac procession. Three Mainads (Maenads, Bacchantes
or priestesses of Bacchus). One at the left, facing left, carries
a sword and the hind-quarters of the " torn kid". The middle
one, facing left, has the fore-quarters and a thyrsus. The one
at the right, facing right, plays a tympanum or tambourine.
From a, Pentelic relief in the Uffizi gallery, Florence. Late
Athenian after V and IV century types. (Room 5. )

44 The Art Institute of Chicago.

267. Youth (called Castor) Holding a Horse, followed by a dog.
From a marble relief in the British Museum found by Gavin
Hamilton, 1769, in Hadrian's Villa, Tivoli. The recent cala-
logue of British Museum sculptures regards it as probably
executed in the time of Hadrian in imitation of a relief of
about 500 B. C. See 455.
II CENTURY B. C.
281. Zeus in Combat with Three Giants. High relief. From
marbles in the Royal Museum, Berlin, found at Pergamon,
Asia Minor, 1879. Part of the frieze of the great altar of Zeus,
built to commemorate victories of King Eumenes II (197-159
B. C.)
282. A Reduced Restoration of the above relief, by Alexander
Tondeur of Berlin, colored after the antique manner by Mrs.
Alice Helm French.
283. Selene (Luna) Riding. High relief. From a marble in the
Royal Museum, Berlin. From altar of Zeus. See 281.
285. Torso of the Giant Klytios, with Head. High relief. From
a marble in the Royal Museum, Berlin. See 281.
288. A Sleeping Fury. From a Pentelic marble head in the
National Museum, Rome, formerly in the Villa Ludovisi, and
known as the Ludovisi Medusa or the Dying Medusa. The
head belonged to a group of two sleeping Erinyes. The relief
ground is a modern addition. Greek, II century B. C.
(Room 5.)
289. Aphrodite (Venus). From a marble head in the Royal
Museum, Berlin, found at Pergamon. Greek, II century B. C.
290. A Goddess, formerly called Dione, mother of Aphrodite.
From a restored marble head in the British Museum now dis-
restored by removal of drapery.

Casts of Ancient Sculpture, Hall Collection. 45
291. Bust of Niobe. From a marble in the collection of Lord
Yarborough, England. Greek, II century B. C. (Room 3.)
292. Niobe and Her Youngest Daughter. From a marble group
in the Uffizi Gallery, Florence, found in Rome, 1583. Greek,
II century B. C. (Room 3.)
293. A Daughter of Niobe. From a marble statue in the Vatican,
found near Rome in the XVI century. Head and part of arms
wanting. Greek, II century B. C. (Room 3.)
294. The Wrestlers. From a marble group of statues in the
Uffizi Gallery, Florence, found in 1583 with the Niobe group,
in Rome. Greek, II century B. C.
295. Aphrodite (Venus) stooping in the bath. Statue. From a
marble in the Vatican found in 1775 at Prato Bagnato. Prob
ably copied from a work of Daidalos of Bithynia. Greek,
II century B. C.
296. A Goddess (Aphrodite?). From a marble head in the British
Museum. Formerly in the Pourtales collection. Late Greek.
301. Aphrodite of Melos (Venus of Milo). From a marble statue
in the Louvre, found in 1820 on the island of Milo, the ancient
Melos. There was found with the statue an inscribed block
which fitted as a part of the plinth. It was at first regarded as
a fragment of another work used to repair the plinth; but it is
now believed that the block was part of the plinth originally,
and that the inscription on it named the author of the statue —
Agesandros of Antioch, II century B. C.
302. An Athlete (or Hermes) Tying His Sandal. Commonly
called Jason. From a marble in the Louvre, brought from
Rome. School of Lysippos. Greek, probably II century B. C.
(Room 3.)

46 The Art Lnstilute of Chicago.

303. A Greek Warrior in Action, commonly known as the Fight
ing Gladiator, or the Borghese Gladiator. From a marble
statue in the Louvre, by Agasias of Ephesos, found at Capo
d'Anzio in the XVII century. Greek, II century B. C.
(Room 3.)
304. Helios, the Sun, (called also "Spain"). From a colossal
mask, of the same type as that on the Rhodian coins, in an
elliptical medallion of Pentelic marble in the Louvre, formerly
in the Villa Borghese. (Room 5.)
305. Polymnia, the Muse of the Hymn, also regarded as the
patroness of mimes and pantomimes. From a marble statue
in the Louvre, formerly in Rome. Greek, probably II century
B. C. The upper part is by Agostino Penna, a modern Roman
sculptor.
306. Thaleia, the Muse of Comedy. Seated figure, with tam
bourine and mask. From a marble statue in the Vatican, found
in Tivoli, 1774. Greek, probably II century B. C.
307. Pourtales or Giustiniani Apollo. From a marble head in the
British Museum, formerly in Rome. Greek, II century B. C.
308. Apotheosis of Homer. From a marble relief in the British
Museum by Archelaos of Priene. Found at Bovillae, near
Rome. Athenian, about 100 B. C. (Room 3.)
309. Homer, epic poet. Draped bust, from a marble in the
Naples Museum. Greek, II century B. C. (Room 24.)
310. Homer, epic poet. From a marble bust in the British
*- Museum, found at Baiae, 1780. Greek, II century B. C.

Casts of Ancient Sculpture, Hall Collection. 47
321. A Young Goddess, perhaps Aphrodite or Hebe, but popularly
called the Flora Farnese. From a colossal marble statue in the
National Museum, Naples, found in the baths of Caracalla,
Rome, 1540. Greek, probably II century B. C. Presented by
C. F. McKim. (Room 5.)
322. The Farnese Bull. Amphion and Zethus binding Queen
Dirke of Thebes to a bull in the presence of Antiope, their
mother, whom she had cruelly treated. From a marble group
in the National Museum, Naples. Apparently the group
mentioned by Pliny as belonging to Asinius Pollio, made by
Appolonios and Tauriskos, natives of Tralles in Asia Minor,
and brought from Rhodes to Rome. These sculptors of the
Rhodian school flourished in the II century B. C. Found in
1546 or 1547 in the baths of Caracalla, Rome. First installed
in the Farnese palace. Taken to Naples in 1786. Greek.
Presented by C. F. McKim (Room 20 ) (A reduction in
bronze, lent by Mrs. E. M. Schreyer of Carlinsville, Ohio,
is in Room 33.)
323. Dancing Bacchanate (Mainad). From a marble statue (lack
ing head) in the Royal Museum, Berlin. Brought from Rome
in 1874
324. Head of a Girl. From a statue of a girl playing knuckle
bones, in the Berlin Museum. Greek, II century B. C.
325. Boy Strangling a Goose. From a marble statue in the
Louvre, probably copied from a composition by Boethos of
Carthage. Greek, about 200 B. C.
326. Eros (Cupid), stringing his bow. From a marble statuette
in the British Museum, found near Rome in 1776 by Gavin
Hamilton. Greek, about II century B. C. Regarded as a copy
of an earlier work. (Room 3.)

48 The Art Institute of Chicago.

327. Venus de' Medici. A Venus Anadyomene, i. e., rising
(from the sea). From a marble statue in the Uffizi Gallery,
Florence, found in Hadrian's villa at Tivoli, and transported
to Florence about the year 1677 under Cosimo III (de' Medici).
Kleomenes, son of Apollodoros of Athens, was the sculptor,
according to a modern inscription on the base supposed to
have been carefully copied from the original when the base
was restored. Greek, II century B. C.

328. Torso of a Venus Pudica. From a marble torso in the
Vatican. Greek, n century B. C.
339. Libera (Ariadne), with panther. Thyrsus held in right hand
and rested on shoulder. Cluster of grapes in left hand. From
a marble statue in the Towneley collection, British Museum.
Found at Roma Vecchia, near Rome. Greek, II century B. C.
(Room 5.)
340.  — Same figure, without the attributes and with dif
ferent pose of arms. From a marble statue in the Louvre.
(Room 24.)

I CENTURY B. C.
351. Athena Paionia (Minerva). From a marble head in the
National Museum, Athens, of a colossal statue by Euboulides,
of that city (110-83 B. C). Found in the inner Kerameikos,
Athens, 1874.

352. Laokoon of Troy and his sons attacked by serpents. From
a marble group of statues in the Vatican, by Agesandros,
Athanodoros and Polydoros, of Rhodes. Found on the Esqui-
line, Rome, 1506. Greek, about 50 B. C.

Casts qf Ancient Sculpture, Hall Collection. 49
356. Torso of Herakles (The Belvedere Torso). From a marble
torso in the Belvedere of the Vatican, by Apollonios of Athens.
Possibly an enlarged copy of a bronze statuette made for
Alexander the Great by Lysippos of Sikyon. It has been
conjectured that the statue of which this torso is a fragment
represented Hercules, sitting, after his deification, with Hebe
ministering to him. The torso was the favorite study of
Michelangelo. It was discovered among the ruins of the
theatre of Pompey, Rome, XV century. Greek, I century B. C.
GREEK SCULPTURE OF THE ROMAN EMPIRE.
371. Hera. Mask from the colossal head of coarse-grained Greek
marble, known as the Ludovisi Juno, in the Boncompagni-
Ludovisi collection, Rome. Acquired by Cardinal Ludovisi in
1662 from the Villa Cesi. (Room 5. )
372. Hyakinthos, favorite of Apollo. From a marble statue in the
Vatican, commonly called Adonis, found at Centocelle, 1780.
380. A Terminal Pan, playing the flute. From a marble statu
ette in the British Museum, found by Gavin Hamilton in 1779,
near Civita Lavinia. II century.
381. A Sculptured Amphora. From a marble in the Louvre.
The figures, in relief, were in part copied from compositions
by Skopas of Paros and in part done in archaistic or pseudo-
primitive style by Sosibios of Athens in the II century.
382. A Votive Relief. From a marble slab in the Villa Albani,
Rome — probably of Roman origin, but in imitation of Archaic
Greek sculpture. In front of a high wall, over which appears
the upper part of a Corinthian temple, three figures advance to
a Nike (Victory). Apollo leads, followed by Artemis (Diana)
and Leto (Latona). The Nike pours a libation into a patera
held out by Apollo with his right hand. His left hand supports
a lyre. Probably a conventional type of votive relief dedicated
by victors in musical contests. (Room 5.)

50 The Art Lnstitute of Chicago.

383. Part of a Thiasos, or Dionysiac procession. From a marble
relief in the British museum. The foremost figure is a mainad
playing a tympanum or tambourine. The second is a young
satyr playing a double flute. The third is a satyr carryiug a
thyrsus and attended by a panther of Dionysos (Bacchus).
Found in 1775 at Roma Vecchia, by Gavin Hamilton. Prob
ably a copy of a relief of the type of the III century B. C.
384. The Portland Vase, decorated in low relief with a represen
tation of the wooing of Thetis by Peleus, father of Achilles.
The original, of blue and white glass, is in the British Museum.
It was found in 1859 in the Monte del Grano, near Rome,
popularly called the tomb of the Roman emperor. Alexander
Severus, but not known to be so. The' subject of the relief is
also conjectural.
385. A Leg of a Tripod Table. Made up of the hind leg of a
lion, with the lion's head at top (2 copies). From a marble in
the British Museum, Roman, II century after Christ. Backed
by a plain pilaster, the capital of which extends forward over
the lion's head.

THE ELBRIDGE G. HALL COLLECTION.
(See Note on page 9.)
Room 5. Roman.

403. Caius Julius Casar, Roman Dictator, 49-44 B. C. From a
marble bust in the Louvre, formerly in the Elysge Palace.
Roman, I century B. C.
404. Supposed head of Julius Csesar. From a statue in the Louvre.
Augustus, the first Roman emperor. Originally Caius Octavius,
afterwards Caius Jlius Caesar Octaviuanus, Emperor 31 B. C.
to A. D. 14. Received the title Augustus B. C. 27.
405. Octavianus, adopted son of Julius Caesar, afterwards em
peror. From a marble head in the British Museum, called the
young Augustus.
406. Augustus, wearing the civic crown. From a marble bust in
the Louvre.
407. Augustus. From a marble bust in the British Museum.
408. Augustus, in the toga, addressing the Senate. From a marble
statue in the Louvre.
409. Augustus in Armor, addressing his troops. From a colored
statue of Pentelic marble in the Royal Museum, Berlin.
According to the catalogue of the Royal Museum (1885, p. 69)
the acceptable ensemble of this statue is due in great part to a
modern restorer who put the head on and improved many
details. - First heard of in Richelieu's Castle in Touraine, then
in Malmaison, and finally in Berlin, where it was cleaned and
colored. 51

52 The Art Institute of Chicago.

410. Augustus in Armor, addressing his troops. From a heroic
marble statue in the Vatican, Rome. The reliefs on the cuirass
commemorate the wearer's principal naval and military ex
ploits. Found in the ruins of the imperial villa of Livia on
Flaminian Way at Prima Porta, near Rome, in 1863.
411. Tiberius Claudius Nero, Roman emperor, A. D. 14-37, with
civic crown. Adopted son and successor of Augustus. From
a marble head in the Louvre, obtained from Cardinal Fesch or
the Villa Albani.
412. Tiberius 01audiu3 Nero. From a marble bust in the Villa
Albani, Rome.
414. Portrait Bust of a Roman lady (Antonia?), commonly called
Clytie, because it is represented as springing from a base
resembling a sunflower (heliotrope). From a marble in the
British Museum. Roman, I century after Christ.
417. Nero (originally Lucius Domitius Ahenobarbus, later Nero
Claudius Caesar Drusus Germanicus), Roman emperor A. D.
54-68. From a marble head in the British Museum, brought
from Athens in 1740.
418. Nero, with military cloak. From a marble bust in the
Louvre.
421. Aulus Vitellius, Roman emperor 69 A. D. in military cloak.
From a marble bust in the Capitoline Museum, Rome.
426. Trajan, Roman emperor A. D. 98-117. From a marble bust
in the British Museum. Found in the Campagna of Rome,
1776.
427, Trajan. From a marble bust in the Louvre.

Casts of Ancient Sculpture, Hall Collection. 53

428. Two Griffons, facing a candelabrum. Relief (in two parts),
from a slab in the Capitoline Museum, Rome. Roman deco
rative composition, II century.
429. Head in relief.
430a. Part of an Arabesque Frieze. From a marble found in the
forum of Trajan, Rome. Designed by Trajan's architect,
Apollodoros of Damaskos, A. D., about 114. Roman.
4303. Foliated Scroll Work. "Acanthus design in high relief.
From a marble slab found in the forum of Trajan, Rome.
431-445. Reliefs from the Triumphal Arch of Trajan, which still
stands at Benevento, about forty-five miles N. E. of Naples.
See photograph hung in Room 5. Erected in honor of the
Emperor Trajan, in the year 115 A. D., at the beginning of
the Via Traiana; which led from Beneventum to Brundisium.
These reliefs are among the most important Roman sculptures.
They were reproduced in 1895-6, by the American School of
Classical Studies in Rome, upon the order of the Art Insti
tute of Chicago, the University of Michigan, and Princeton
University.
431, Victories sacrificing bulls in honor of the Emperor Trajan.
432. Trajan receiving military candidates.
433. Four figures of priests' assistants.
434. Victory crowning the Emperor Trajan; from centre of vault
of arch.
435. Four Deities: Bacchus, Ceres, Diana, and Silvanus.
436. Trajan raising a female figure representing Dacia.
437. Trajan receiving three male figures, behind whom are Apollo,
Hercules, and a sea-god.

54 The Art Institute of Chicago.

438-9. Fragments of frieze representing Trajan's triumphal pro
cession upon his return from the Dacian war.
440. Trajan's reception at Rome, by citizens and by Roma, upon
his return from.the Dacian war.
441. Seven Deities: Juno, Jupiter and Minerva, in foreground;
Mercury, Ceres, Bacchus and Hercules, in background;
welcoming Trajan.
442. Oath of Alliance with Trajan.
443. River goddess and season, Autumn.
444. Keystone of the arch, with headless draped female in high
relief.
445. River god and season, Winter.
446. Dancing attendants of Hymen. From a terra-cotta bas-relief
in the Louvre. Roman, about I century A. C. (Room 5.)
447. A Sculptured Cinerary Urn, semi-cylindrical in form with
tablet on front inscribed, "to the sainted spirit of T. C. L.
Heracles. ' ' A victory on each corner. From a marble original.
Roman, II century.
448. Sculptured Cinerary Urn, somewhat resembling a miniature,
short, square tower. Tablet on one side inscribed, "to the
sainted spirits of Q., Cornelius and Q. L, Saturninus Latro "
From a marble in the Louvre. Roman, II century.
449. A Sculptured Cinerary Urn, in the form of an amphora with
lid. From a marble in the South Kensington Museum.
Roman, II century. (2 copies.)
451. Hadrian, Roman emperor, A. D. 117-138. From a bronze
head in the British Museum, found in the River Thames.
452. Hadrian. From a marble bust in the British Museum,
formerly in the Villa Montalto.

Casts of Ancient Sculpture, Hall Collection. 55
453. Antinous (half length) Holding a Wreath. From a marble
high relief in the Villa Albani, Rome, found in Hadrian's
Villa, Tivoli. Roman, II century.

454. Hermes, commonly called Antinous of the Capitol. From
a marble statue in the Capitoline Museum, Rome. Found at
Tivoli. Roman, after A. D. 131.
455. The Genii of Sleep and Death, also called Hadrian and
Antinous, or Castor and Pollux. From marbles in the Museo
del Prado, Madrid, known as the Ildefonso Group — brought
from Rome in the XVIII century to the royal ch&teau
La Granja, at San Ildefonso, Spain, by the wife of Philip V.
The group consists of two youthful standing figures, with a
small altar between them, and a statuette at the right, set back.
The youth at the left, holding a shell in the palm of his right
hand, is supposed to represent Hypnos, genius of sleep; the
youth with the torches, Thanatos, genius of death; the statu
ette, Kora (Persephone) or Venus. The Hypnos is considered
a good ancient Roman reproduction of a Greek work of the
school of Praxitiles; the Thanatos, of the school of Polykleitos.
For a resume' of various theories of the symbolism of the com
position, and its extensive restorations, see Emil Htlbner's
"Die Antiken Bildwerke in Madrid," Berlin 1882. See 267.

457. Marcus Aurelius Antoninus, Roman emperor, A. D. 161 to
180. Prom a marble bust in the Louvre.

458. Lucius Verus, Roman emperor with Marcus Aurelius, A. D.
161-169. From a marble colossal bust in the Louvre.

459. Commodus, Roman emperor, A. D. 180 to 192. From a
marble head in the British Museum.

56 The Art Institute of Chicago.

460. Lucius Septimius Severus. Roman emperor, A. D. 193-211,
in tunic and military cloak. From a marble bust in the
British Museum.
461. Supposed Clodius Albinus, pretended Roman emperor, A. D.
211. From a marble head in the Louvre.
471. Bust of a Bearded Roman Emperor (?). From a bronze in
the Cabinet des Medailles, Paris.

THE HIGINBOTHAM COLLECTION OF
NAPLES BRONZES.
Room 6.
BEING REPRODUCTIONS OF OBJECTS IN THE NAPLES MUSEUM
FOUND IN HERCULANEUM AND POMPEII.
Presented by Harlow N. Higinbotham, 1893.

All the objects in this room are reproductions in fac-simile of
the interesting statues, busts and examples of ornament found in
the XVIII century, on the sites of the ancient cities of Hercula-
neum]and Pompeii, and preserved in the Naples Museum. These
cities were destroyed by the eruption of Mt. Vesuvius, A. D. 79.
Herculaneum was buried in volcanic mud and Pompeii in ashes
and pumice stone, and the bronzes from the latter may be distin
guished by their green color, while those from Herculaneum are
nearly black.
501. Archaic Apollo or Athlete. Herculaneum, 1756. Bust
severed from a statue. Probably Greek, VI century B. C.
502. Bearded Dionysos (Indian Bacchus), erroneously called
Plato. Herculaneum, 1759. Bust, perhaps severed from a
statue. Greek, V century B. C. (Room 35.)
503. Doryphoros, or Spearbearer. Herculaneum, 1753. Bust
copied about 100 B. C. from a statue by Polykleitos of Argos,
V century B. C. See 57.
504. Amazon. Herculaneum, 1753. Bust, supposed copy from
a statue by Pheidias, V century B. C.
505. Hermes (Mercury) or a young Athlete. Bust. Hercula
neum, 1752. Greek, IV century B. C.
506. Herakles, or a young Athlete. Bust. Herculaneum, 1752.
Greek, IV century B.C. 57

58 The Art Institute of Chicago.

507. Youth with curling hair. Bust, resembling a Hera in the
British Museum. Herculaneum, 1752. Greek, III century
B.C.
508. Head, with turban, miscalled Archytas. Herculaneum,
1753. Greek, about 200 B. C.
509. Bust miscalled Herakleitos. Herculaneum, 1753. Greek.
510. Bust miscalled Demokritos. Herculaneum, 1754. Greek,
about 290 B. C.
511. Youth with clasped chlamys (cloak). Bust. Herculaneum,
1754.
512. Ptolemy I, Soter, King of Egypt, 306-285 B. C. Bust.
Herculaneum, 1754.
513. Ptolemy II, Philadelphos, King of Egypt, 285-247 B. C.
Bust. Identity doubtful. Herculaneum, 1759.
514. Ptolemy VIII, Lathyros, King of Egypt, 117-107 and 89-81
B. C. Bust. Identity doubtful. Herculaneum, 1754.
515. Ptolemy IX, Alexander, King of Egypt, 107-89 B. C. Bust.
. Identity doubtful. Herculaneum, 1755.
516. Scipio Africanus, 234-183 B. C. Bust. Herculaneum, 1754.
517. Called Sulla or Sylla, Dictator of Rome, 81-79 B. C. Bust.
Identity very doubtful. Herculaneum, 1752.
18. Head in skull cap (or helmet'), Herculaneum, early exca
vation. The neck and shoulders are restorations.
519. Aulus Gabinius, Roman Consul, 58 B. C. Identity doubtful.
Herculaneum, 1759. Bust, of Greek, workmanship.
520. L. C. Piso Cesonius, Roman Consul, 58 B. C. , or perhaps a
Greek poet, Philetos of Kos, who flourished 305-280 B. C.
Bust. Erroneously called Seneca. Herculaneum, 1754.
521. Demosthenes. Herculaueum, 1752. Small bust (in case).
Greek, I century B. C.

Naples Bronzes, Higinbotham Collection. 59
522. Demosthenes. Herculaneum, 1753. Small bust (in case).
Greek, I century B. C. The mark on this bust served to
identify all other antique portraits of Demosthenes.
523. Epikouros. Herculaneum. Small bust (in case). Greek,
I century B. C.
524. Epikouros. Herculaneum, 1754. Small bust (in case).
Greek, I century B. C.
525. Hemarchos. Herculaneum, 1753. Small bust (in case).
Greek, I century B. C.
526. Metrodoros. Herculaneum, 1753. Small bust (in case).
Greek, I century B. C.
527. Zeno. Herculaneum. Small bust (in case). Greek, I
century B. C.
528. Agrippina. Herculaneum. Small bust (in case).
529. Agrippina. Pompeii. Bust.
530. Supposed Dancer or Actress. Herculaneum, 1754. Statue,
probably Greek, V century B. C.
531.532.
533.534.
535. "  ' (Less than life size.)
536. A Diskobolos or Quoit-thrower, or perhaps a wrestler or a
runner. Herculaneum, 1754. Statue. Greek, school of
Lysippos of Sikyon, III century B. C. See 49, page 28.
537. Antique copy, with some variation, of preceding. Hercu
laneum, 1754. Statue.
538. Seated Hermes (Mercury). Herculaneum, 1758. Statue.
Greek, school of Lysippos of Sikyon, III century B. C.
See No. 254, p. 41.

60 The Art Institute of Chicago.

539. Sleeping Faun. Statue. Herculaneum, 1756. Late Greek.
540. Drunken Faun. Statue. Herculaneum, 1754. Late Greek.
541. Gazelle or Fawn. Statue. Herculaneum, 1756.
542. Gazelle or Fawn. Statue. Herculaneum, 1756.
543. Apollo, with a plectrum. Statue. Pompeii, 1817. Possibly
a copy after Pheidias, V century Greek.
544. Apollo, having shot an arrow. Statue. Pompeii. Prob
ably copy from a Greek work of IV century B. C.
545. Boy Faun with wineskin. Statuette. Pompeii, 1880.
Served as water spout of a fountain.
546. Drunken Seilenos. Statuette. Pompeii. Apparently de
signed for an ornamental stand.
547. An Angler. Statuette. Pompeii. A fountain ornament
probably copied from a Greek work of II century.
548. Alexander the Great Equestrian statuette. Herculaneum,
1761. Probably copied from a battle group by Lysippos, a
contemporary of Alexander.
549. Cupid with a dolphin on left shoulder. Statuette. Pompeii,
1880. A fountain ornament.
550. Cupid with a goose. Statuette. Pompeii, 1880. Centre
piece of a fountain.
551. Venus at her toilet. Statuette. From Nocera, near Pom
peii. The left hand held a mirror.
552. Apollo. Small statuette (in case) . Pompeii, 1883 (?).
553. Satyr playing the flute. Statuette (in case). Herculaneum.
Copy of Greek work of about 300 B. C. The flute is lost.'
Under the right foot is a scabellum on which the player
beats time.
554. Dancing Faun with thyrsus. Small statuette (in case).
Herculaneum, 1754.

Naples Bronzes, Higinbotham Collection. 61
555. Fortuna as a Dancer. Statuette, with inlaid silver orna
ments (in case). Herculaneum.
556. Fortuna or Isis. Called also Abundance. Statuette (in
case). Egyptian crown silver plated. Inlaid silver and
copper ornamentation on pedestal. Herculaneum.
557. Venus detaching her sandal. Small statuette (in case).
Herculaneum. Bracelets and anklets of gold. See 626.
558. Seilenos astride of a wineskin. Statuette. Herculaneum,
1754 Greek, II century B. C. The centre piece of a
fountain.
559-562. Four statuettes from a fountain basin. Found in Her
culaneum. (In case.)
559. Seilenos with a panther.
560. Same subject. Left hand modified, showing palm.
561. Seilenos with a wineskin.
562. Same subject, with right hand raised.
563=572. Ten statuettes from a fountain basin. Found in Her
culaneum, 1754. Greek, II century B. C. (On shelves.)
563. Young Faun, with wineskin on right shoulder, and drink
ing horn.
564. Same subject, reversed.
565. Boy. Right hand resting on mask.
566. Same subject, reversed.
567. Boy. Right hand resting on vase.
568. Same subject, reversed.
569. Boy, with vase on right shoulder.
570. Same subject reversed.
571. Boy, with dolphin under right arm.
572. Same subject, reversed.

62 The Art Institute of Chicago.

576. Gladiator's Helmet. Herculaneum. The reliefs represent
scenes of the siege of Troy.
577. One of a pair of Gladiator's Greaves. Herculaneum. The
decorations are Bacchic masks, etc.
578. Mate of 577.
579. 'Steelyard, with female head for weight. Pompeii. (Incase.)
580. Steelyard, with female head for weight. Pompeii. (Incase.)
581. Bacchic tripod, composed of three one-leg satyrs supporting
bowl with openwork top. Herculaneum.
582. Sacrificial tripod. Winged sphinxes on goats' hind legs.
Herculaneum. Often erroneously said to be from Temple
of Isis in Pompeii.
583. Bisellium (double seat), or seat of honor at public cere
monies. Pompeiian. In use it was cushioned and steps
placed in front of it. The propriety of calling this exhibit
a bisellium is questioned. The name has been generally
used, however, on the authority of the Naples Museum
catalogue; and no definite substitute is available.
584. Hanging lamp, with three burners at ends of long tubes
radiating from bowl. Busts, and festoons on bowl between
tubes.
585. Lamp stand. Herculaneum.
586. Lamp stand. Herculaneum.
587. Lamp stand. Herculaneum.
588. Extension lamp stand. Herculaneum.
589. Lamp, with bat handle. Two burners.
590. Lamp, with dancing faun on lid. Two burners. Pompeii.
(In case.)
591. Another, with figure standing on lid of central opening.
Two burners. Floral handle. (Incase.)

Naples Bronzes, Higinbotham Collection. 63
592. Lamp, small. Boy with goose for handle. Two burners.
Pompeii. In case.
593. Candlestick, with stem formed of a cupid on dolphin,
diving. Pompeii. (In case.)
594. Handle of bronze vessel, springing from a mask. Pompeii.
(In case.)
595. Another. In case.
596. Handle of a bronze vessel. Herculaneum. (Incase.)
597. Handle connection of a bucket. Winged hermaphrodite
standing on the head of a cupid holding an eagle. Pom
peii. (In case.)
598. Cup. Original of silver. Herculaneum. Design, figures
iu floral arabesque representing the Iliad and the Odyssey.
(In case.)
599. Cup, with one handle. Original of silver. Pompeii. Bell
mouth. No stem. Ivy design. (In case. )
600. Similar cup. Pompeii. Grapevine design. (In case.)
601. Cup. Original of silver. Pompeii. Ivy design. (Incase.)
602. Mate to 601. (Incase.)
603. Kantharos. From silver cup found at Herculaneum. High
relief decoration of Alexandrian style. Cupids on centaurs.
Trees. (In case.)
604. Mate to 603. Herculaneum. (In case.)
605. Rhyton. Cup in form of staghead. Herculaneum. (In
case.)
606. Rhyton. Cup in form of doghead Herculaneum. (In
case. )
607. Ewer. Pompeii. Decorated with half figures of bacchante
and siren. (In case.)

64 The Art Institute of Chicago.

608. Ewer. Herculaneum. Decorated with an eagle. (In
case.)
609. Ewer. Herculaneum. Decorated with horse head and
mask. (In case.)
610. Ewer. Herculaneum patina. Handle, a nude satyr peeping
down the orifice. (Incase.)
611. Ewer. Herculaneum patina. Handle floral, figure of infant
below and two goats at top. (In case.)
612. Ewer. Herculaneum patina. Handle, a half length boy in
lion skin. (In case.)
613. Ewer. Pompeii patina. Handle decorated above with
mask, below with lion's paw. (In case.)
614. Ewer. Herculaneum patina. Body gadrooned. Handle, a
long-tailed dragon or wivern. (In case.)
615. Narcissus. Statuette. Pompeii, 1862. It is claimed in
Professor Mau's book on Pompeii that this statuette repre- '
sents a "listening Dionysus."
616. Dancing Faun. Statuette. Pompeii.
617. Sappho, so-called. Head — severed from a statue. Hercu
laneum, 1758
618. Berenice, so-called. Head. Herculaneum, 1756. (Room 35.)
619. Lucius Cascilius Jucundus, a Pompeiian banker and usurer.
Head. Pompeii, 1875. (Room 33.)
620. Nike (Victory). Springing from a globe, with extended
wings. Pompeii, 1823.

OTHER REPRODUCTIONS IN BRONZE AND MARBLE.
625. The Borghese Faun. Bronze reproduction of a marble
statue in the Villa Borghese, Rome, found near Monte Calvo,
about twelve miles from Rome, in 1824. Venturi's catalogue
of the Borghese collection, 1893, treats this statue as a copy or
adaptation of a bronze of the school of Lysippos. Greek,
IV century B. C. Presented by H. N. Higinbotham, 1893.
(Room 35.)
626. Nike (Victory) loosening her sandal. Marble copy of a
relief from the parapet of the temple of Nike Apteros on
the Akropolis at Athens. Now in the Akropolis Museum.
Athenian, V century B. C Presented to the Chicago Academy
of Design by William E. Doggett. (Room 33.) See 557,
for same motif in statuette called Venus.
Meade, Larkin Goldsmith — Florence. Born in Chesterfield, N. H.,
1835. Pupil of Henry Kirke Brown. Settled in Florence,
Italy, 1862.
627. The Young Augustus. Marble copy of a marble head
in the Vatican, Rome. Presented by S. M. Nickerson, 1900.
(Room 37.)

For other reproductions of Greek and Roman Sculpture —
mostly plaster or terra cotta copies of architectural, decorative or
monumental work — See No. 1001 et sea., in the Blackstone Col
lection.

65

THE ELBRIDGE G. HALL COLLECTION.
(See note on page 9.)
Room io. Italian Sculpture — Renaissance and Modern.

Unknown Sculptors.
631. Bronze head, inscribed "Dantes." From a death mask
of Dante Alighieri (born in Florence 1265; died in Ravenna
1321). Original bronze in Naples Museum, made from a death
mask. (Room 33.)
632. Head of Lucrezia Borgia, so called.
633. Madonna and Child. Relief. From a marble altar
front in Westminster Abbey, London.
XV CENTURY.
Nanni di Antonio di Banco — Florentine, 1374?-1421.
636. An angel's head in high relief. From a figure in a
composition representing the Assumption of the Virgin, on the
tympanum of a door of the cathedral in Florence — popularly
known as the Mandorla, from the almond-shaped shield on
which the Virgin is seated.
Ghiberti, Lorenzo — Florentine, 1378-1445. Son of a Florentine
goldsmith, Cione di ser Bonaccorso, and pupil of another
Florentine goldsmith, Bartoluccio, his step-father. Was work
ing successfully as assistant to a fresco painter at Rimini when
called back to compete for the work mentioned below. Until
the age of 65 Ghiberti was known as Lorenzo di Bartolo.
637. A Sibyl. ") Small border figures in niches, from the
> second gate of the Baptistery of San Gio-
638. Joshua. ) vanni, Florence. 66

Casts of Renaissance and Modern Sculpture. 67

Donatello, properly called Donato di Niccolo di Betto Bardi —
1386-1466. Florentine.
641. St. George. From a marble statue formerly in a niche
on the exterior of the church of Or San Michele, Florence.
Recently replaced by a copy in bronze, the original marble
having been transferred to the National Museum (the Bar-
gello). 642. David with the head of Goliah. Bronzed terra-cotta
fac-simile of a bronze statue in the National Museum, Florence.
57 inches high.
643. Bust of Marcus Aurelius Julianus, called Julian the
Apostate. Died A. D. 363. High relief. Original in Florence.
644. St. Cecilia. From a low relief in marble in the posses
sion of Lord Elcho.
645. A saint. From a bronze bust in a church in Padua (?).
646. Twelve small panels of cherubs singing and playing on
musical instruments. From bronze reliefs on the high altar
of the basilica of San Antonio (II Santo) of Padua. Part of
the work done by Donatello and pupils under his direction in
II Santo, 1444-1449.
647. Head of a child (one frequently posed as St. John the
Baptist). Panel 16x12, with rounded top, from a low relief on
black stone in the Louvre. Executed about 1450.
648. Head of a laughing child. From a marble in the Miller
collection in Vienna.
Donatello, or his pupil, Desiderio da Settignano — 1428-1464.
Florentine.654. Head of the infant Jesus. From a marble in the Drey
fus collection, Paris.
655. Bust of a girl. From a marble bust in Florence.

68 The Art Institute of Chicago.

656. Head of a girl in high relief. Original in the National
Museum, Florence.
657. Madonna and Child. From a marble relief in the
Turin Museum.
School of Donatello.
659. Head of Julius Caesar in bas-relief. Crowned with
bays. Original of marble in the Louvre. (Room 10.)
Authorship Unsettled.
661. Portrait of a young lady. Original of marble in the
Louvre, known as "La femme inconnue." (Desiderio?
Laurana?) 662. Portrait of Marietta Strozzi, so called. Polychromed
and gilded terra-cotta fac-simile of a marble bust in the Royal
Museum, Berlin, formerly in the Palazzo Strozzi, Florence.
In controversy as to subject and sculptor. A princess of
Naples and a duchess of Aragon are placed in competition as
subject, and the following artists as sculptor: Agostino di
Duccio (1418-C.1500), Desiderio da Settignano (1428-1464),
Francesco da Laurana (late XIV century).
663 . Portrait of a lady. Polychromed and gilded terra-cotta
fac-simile of a bust of wood in the Louvre. (Donatello?
Desiderio?)
Lorenzo di Pietro, called II Vecchietta — Siennese, 1412-1480.
664. Head of an old nun, perhaps Annalene Malatesta.
From a bronze in the National Museum, Florence. (Recently
attributed to Donatello and called a portrait of the wife of
Cosmo de' Medici. Both attributions rejected in a late cata
logue of the National Museum.)
Luca della Robbia— Florentine, 1399-1482.
665. Head of Brontolone.

Casts of Renaissance and Modern Sculpture. 69

Pollaiullo, Antonio— Florentine, 1429-1498.
671. A young priest, f From terra-cotta busts in the
672. A young soldier. ^ National Museum, Florence.
No. 672 is also attributed to Verrocchio.

Andrea, Cione de Michele, called Verrochio — Florentine, 1432-1488.
675. David with the head of Goliah. Bronzed terra-cotta
fac-simile of a bronze statue in the National Museum, Florence.
Purchased in 1476 by the conservators of the Palazzo Vecchio
della Signoria from Lorenzo and Giuliano de' Medici. See
672, above, and 1040 below.
Benedetto da Majano— Florentine, 1442-1497 or 1498.
681. Pietro Mellini. From a marble portrait bust in the
National Museum, Florence. (1474?)
682. Young St John the Baptist. From a marble statue iu
the National Museum, Florence. (This statue has been
attributed to Donatello, who apparently used the same model
for some of his St. Johns.) (About 1481.)
XVI CENTURY.
Michelangelo, or Michelangiolo, or Michelagnolo, Ludovico Buon
arroti Simone— Florentine, 1474-1563.
687. Colossal Head of David. From a marble statue in the
Academy of Fine Arts, Florence. 1501.
688. Madonna and Child. From a marble relief in the
Royal Academy, London. Circular medallion. Between
1500 and 1510.

689. Sleeping slave.
690. Chained slave.

From marble statues in the Louvre
executed soon after 1512 for the tomb
of Pope Julius II, the plan of which
was afterwards changed.

jo The Art Institute of Chicagd.

691. Colossal statue of Moses. The original of marble, in
the church of San Pietro in Vincoli, Rome, was made for the
above tomb.
692. Apollino. From an unfinished marble statue in the
National Museum, Florence. Made for a present to Baccio
Valori, Papal Commissioner during the siege of Florence,
1529-30. 693. Cupid, without wings. From a marble statue in the
South Kensington Museum, London.
694. Tomb of Lorenzo de' Medici, Duke of Urbino. The
original, of marble, is in the church of San Lorenzo, Florence.
The statue of the duke, seated in a niche, is called "II Pen-
soso," the thinker. The two reclining figures below represent
Dawn and Twilight. 1521-1535.
695. Tomb of Giuliano de' Medici, duke of Nemours. The
original, of marble, in the church of San Lorenzo, Florence,
is a companion to No. 694. The statue of the duke is seated in
a niche. The two reclining figures below represent Day and
Night. 1521-1535.
696. Head of Lorenzo de' Medici, j Prom figureg Qn fte
697. Head of Giuliano de' Medici, j above tombs.
By an Early Pupil of Michelangelo.
701. Jason with the Fleece.
Tatti, Jacopo (called Sansovino). Florentine sculptor and archi
tect. Born 1477, died 1570. Pupil of Andrea Sansovino.
Worked fn Florence, Rome and Venice.
703. Panel of a Door. Figures in high and low relief. Orig
inal of bronze in —
704. Bacchus. Terra-cotta fac-simile of a marble statue in
the National Museum, Florence.

Casts of Renaissance and Modern Sculpture. 71

Giovanni da Bologna (John of Bologna) — Florentine of Flemish
birth. Born in Douai, 1524 or 1530. Studied in Antwerp.
Went to Rome about 1550. Spent two years there, and the
rest of his life in Florence. Died in 1608. His first important
work was the fountain in Bologna, ordered by the Pope in
1563. Finished 1567.
706. Mercury. From a bronze statue in the National Mu
seum, Florence, formerly (1598) on the fountain of the Villa
Medici, Rome.

Attributed to Raphael (Rafiaello Sanzio da Urbino — Roman, 1483-
1520). (Attribution now discredited).
708. Head of a Girl. From a colored wax bust in the Wicar
Museum, Lille, France. (In the Blashfield and Hopkins
edition of Vasari, on p. 52, vol. 2, is the following note:
"Herr von Fabriczy * * * adds that the character of the
work * * * shows it to be of the end of the 16th or even
the beginning of the 17th century.")

MODERN.
Canova, Antonio — Venetian, 1757-1822. Born in Passagno, a village
at the foot of the Venetian Alps. Pupil of Giuseppe Bernardi,
called Toretti, in Venice, and later of Giovanni Ferrari in the
same city. Studio in Rome after 1780. " The most popular
sculptor of his day: author of many widely known works, of
which much has been written in unstinted praise.
711. Bust of Calliope. Original in the house of Prof. Rosini
of Pisa, to whom it was presented by the sculptor. (Room 12.)
712. Copy in marble of a marble statue of Venus coming
from the bath. Original in the Pitti Palace, Florence.
Presented by Mrs. Perry H. Smith, 1891. (Room 37.)

72 The Art Institute of Chicago.

Bastianini, Giovanni. Florentine, 1830-1868.-
721. Giuseppe Bonianti, an Italian workingman. Cast of a
bust made in Florence in the latter half of the XIX century.
The original terra-cotta was purchased and exhibited by the
Louvre, before 1868, as a XV century portrait of Benevieni,
a Florentine poet of that time. The chief swindler in this
transaction (perhaps the only one) was the dealer who ex
ploited the poor sculptor. (See Magazine of Art, 1886 and
1903.) (Room 12.)
Benzoni, G. M.
724. Flight from Pompeii. Group of three figures in marble.
Gift of S. M. Nickerson, 1900. (Room 37. )

For other reproductions of Italian Sculpture. See No 1031
et seq. in the Blackstone Collection.

THE ELBR1DGE G. HALL COLLECTION.
(See note ou page 9.)
Room 12. Modern French.

French Renaissance sculpture, with some examples of earlier
and later work, is catalogued in the collection of French Historic
Sculpture, included in the Blackstone collection. See numbers
1051-1200, below
MODERN.
Houdon, Jean-Antoine — French, 1741-1828. Born in Versailles.
Pupil of Slodtz, Lemoyne and Pigalle. Prix de Rome, 1761.
Came to the United States and made studies of Washington
from life. The marble statue for which these studies were
made is in the Capitol, Richmond, Virginia.
731. Diana, huntress. From a bronze statue in the Louvre.
732. Statue of Voltaire, seated, plaster. Original of bronze
in the Com£die Frangaise, Paris.
733. Bust of Moliere, French dramatist, 1622-1673. From a
marble bust in the Com^die Frangaise, Paris. (Room 10. )
734. Bust of Washington. Original of terra-cotta in the
Louvre, from life studies made in 1785 for a statue at Rich
mond, Va. Head finished late 1786.
Unknown Sculptors.
738. Return from the Chase. Low relief. From a marble
in the Louvre.
739. A Marriage. From a bas-relief in the Louvre. (Room
10.)
Giraud, Jean-Baptiste— French, 1752-1830.
741. Phalante and Ethra. From a wax bas-relief in the
Ijcole des Beaux-Arts, Paris. Antique style. (Room 10.)
73

74 The Art Institute of Chicago.

Bosio, Frangois Joseph (Baron). Born in Monaco, 1768 or 1769.
Pupil of the French sculptor, Pajou. Became sculptor to the
King of France. Gave Barye his first lessons. Died in 1815.
744. Statue of Henry IV of France as a child. Electrotype
copy, silvered, from a silver statue in the Versailles Museum,
cast by Odiot and chased by Soyer — itself a reproduction of a
marble statue by Bosio in the Chateau de Pau. Height 50 in.,
base 15x18 in. (Room 33.)

Antommarchi, Dr. Francesco.
745. Napoleon I Mask. From a cast taken from his face
after death, by Dr. Antommarchi, 1821.
Barye, Antoine-Louis — French, 1796-1875, Born in Paris. Pupil
of Bosio, sculptor, Gros, painter, and Ecole dex Beaux-Arts.
Ch. L. H. 1833; O. L. H. 1855; M. I. 1868.
746. Jaguar and Hare. Plaster. From a bronze group in
the Louvre.
747. Lion strangling a Boa. Plaster. From a bronze group
in the garden of the Tuileries, Paris. Cast in 1885, by
"Honore" Gonon and his two sons." The model from which
the bronze cast was taken was signed Barye, 1832.
Cain, Auguste — Paris. Born in Paris, 1822. Died in Paris, 1894.
Pupil first of Rude, and later of Barye. Medals, Salon 1851,
E. U. 1878.
761. Rhinoceros attacked by Tigers. From a bronze group
in the garden of the Tuileries, Paris. Signed A. Cain, 1882.
(Basement.)
762. Lio'n strangling a Crocodile. From a bronze group in
the garden of the Tuileries, Paris. Signed A. Cain, 1888.
Presented by the artist, 1893. (Basement.)

Modern French Sculpture, Hall Collection. 75
Gerome, Jean-L^on. French painter and sculptor. Born at Vesoul,
1824. Died in Paris, January 10, 1904. Pupil of Paul Dela-
roche. Medals of Salon, 1847, 1848, 1874 (d'honneur); E. U.
1855, 1867 (d'honneur). Membre de l'lnstitut 1865. Chev.
Legion d'honneur 1855; Ofncier 1867; Commandeur 1878.
See No 159, Paintings.
766. Anacreon, with infants Bacchus and Cupid in arms.
Bronze statuette group. Signed J. L. GEROME [and] F. Bar-
bedienne, Fondeur, Paris. Presented by G. Le B. Barbe-
dienne, Paris, 1893. (Room 35.)
Chapu, Henri-Michel-Antoine. Born at Le M£e, France, 1833.
Pupil of Pradier, Duret, and L£on Cogniet. Prix de Rome
1855. Medal, 3d cl., 1863; d'honneur, 1875, 1877. O. L H.
1872. M. I. 1880. Died 1891.
767. Joan of Arc, seated on the ground, with hands clasped
on knee. From a marble statue in the Luxembourg Museum,
Paris. (Room 12 )
Fremiet, Emmanuel — Paris. Born in Paris, 1824. Nephew and
pupil of Rude. Medal, 3d cl., 1849; d'honneur, 1887. H. C.
(E. U.) 1889; M. I. 1892. Grand Prix, E. U., 1900.
G. O. L. H;, 1900.
769. A man of the Stone Age. From a figure executed for
the Jardin des Plantes, Paris, 1872. Signed Fremiet, with
title, "Age de la Pierre," and the words "Le crane et les
armes sont copies sur des objets de l'^poque." (The skull and
the arms are copied from objects of the period.) (Room 8.)
770. The Wounded Dog. From a bronze in the court of the
Luxembourg Museum, Paris. Signed E. Fremiet. (Room 12.)
Dubois, Paul — Paris. Born at Nogent-sur-Seine, France, 1829.
Medal of Salon, 2d cl., 1863; d'honneur 1865 and 1874; E. U.,
2d cl., 1867. Member of Jury, E. U 1900. Member Inst. 1876.
G. C. L. H., 1896.

76 The Art Lnslitute of Chicago.

772-775. Four figures, from bronze originals on the tomb of
General Lamoriciere in the cathedral of Nantes, France.
772. Charity. (Room 8.)
773. Meditation. (Room 24.)
774. Military Courage. (Room 8.)
775. Faith. (Room 12.)
Cros, Henri — Paris. Born in Narbonne, France. Silver medal,
E. U. 1889; gold, 1900. Ch. L. H. 1895.
777. Colossal bust of George Washington. Bronze. Signed
H. Cros. Sc , Paris 1875. 66x28x24 inches. Presented [with
pedestal) by Field Columbian Museum, 1903. (Room 35.)
Falguiere, Jean- Alexander- Joseph. Born in Toulouse, France, 1831.
Pupil of Jouffroy. Prix de Rome 1859. Medal, 1st class, at
E. U. 1867; d'honneur at Salon 1868. Rappel, E. U. 1878.
Com. L. H. 1889. Mem. Inst. 1882. Died April, 1900.
778. Diana. Plaster. From a marble statue.
Delaplanche, Eugene — Born in Paris, 1836. Died in Paris, 1890.
Pupil of Duret. Prix de Rome 1864. Medal of Salon 1866;
d'honneur 1878; E. U., 1st cl., 1878. O. L H. 1886.
779. Security. Signed E. Delaplanche, 1883.
Barrias, Louis-Ernest. Born in Paris, 1841. Died 1904. Pupil of
Cavelier, Jouffroy and Cogniet. Prix de Rome 1865. Medals
at Salon 1870; d'honneur 1878. Grand Prix at E. U. 1889,
1900. Com. L. H. 1900. Membre de l'Inst. 1884.
781. The First Burial. Dated 1883. From a marble group
in the Hotel de Ville, Paris.
782. Mozart as a child. Bronze statuette. Signed E. Bar
rias, 1883. Fac-simile of a bronze in the Luxembourg, Paris.
(Room 35.)

Modern French Sculpture, Hall Collection. 77

Idrac, Jean-Antoine-Marie. Born in Toulouse, France, 1849. Died
in Paris, 1885. Pupil of Guillaume, Cavelier and Falguiere.
Prix de Rome. Ch. L. H.
783. Salammbo, the title character of a novel by Gustave
Flaubert. From a marble statue in the Luxembourg Museum,
Paris. Signed A. Idrac, 1881.
Daillon, Horace. See Mrs. J. W. Scott, owner, in Loan Supplement.
Massoulle, Andr£-Arthur-Paul — Paris. Born at Epernay, France.
Died June 19, 1901. Pupil of Salmonson and Cavelier.
Medal, 2d class, at Salon 1882; gold, at E. U. 1900. Ch. L. H.
1894. 784. One of our Ancestors. From a bronze statue owned by
the city of Paris. A Gaul, with foot on a Roman Standard,
examining a sword. Signed A. Massoulle. (Room 8.)
Rodin, Auguste — Paris. Born in Paris, 1840. Pupil of Barye and
Carrier-Belleuse. Medal at Salon 1880. H. C. at E U. 1889,
1900. Com. L. H. 1904.
785. A Citizen of Calais surrendering the keys of the city.
One of six figures designed for a monument in Calais, France.
Signed A. Rodin. (Room 12.)
Mercie, Antonin — Paris. Born at Toulouse, France, 1845. Pupil
of Jouffroy and Falguiere. Prix de Rome 1868. Medal of
Salon, 1st cl., 1872; d'honneur, 1874. Grand Prix, E. U.,
1889; H. C 1900. G. O. L. H. 1900.
790. Quand MSme (Even if  , i. e., Even in the most
desperate condition conceivable there will be no yielding.)
The original in bronze is at Belfort, France. Signed Mercie\
(Room 12.)
791. David Victor. From a bronze statue in the Luxem
bourg, Paris. (Room 12.)

78 The Art Institute of Chicago.

Saint-Marceaux, Rene" de— Paris. Born in Reims, France, 1845.
Medal of Salon, 2d class, 1872; 1st cl. and d'honneur, 1879;
gold, E. U., 1889. H. C. 1900. O. L. H. 1889.
792. Spirit guarding the secret of the tomb. From a marble
statue in the Luxembourg Museum, Paris. Signed St. Mar-
ceaux, 1879. (Room 12.)

The catalogue of casts in the Elbridge G. Hall Collection
(begun on p. 9 and continued to the present page) is interrupted
from p. 57 to p. 64 by the Higinbotham Collection — given that
place to preserve the chronological arrangement. For the same
purpose there have been distributed on other pages allotted to the
Hall Collection a few individual gifts, distinguished by the names
of the donors in italics. Four casts of the Hall Collection, not
belonging to any of the preceding groups, are described below
under numbers 831, 832, 854, 877.

EUROPEAN SCULPTURE OTHER THAN ITALIAN
AND FRENCH.

GERMAN.

Vischer, Peter — Nuremberg. Admitted as a master in 1489.
Called to the service of the Electoral Court at Heidelberg
in 1494. Soon returned to Nuremberg, where he died in 1529.
831. Arthur, King of England. From one of the bronze
statues of the tomb of Maximilian I in the Franciscan Church
at Innsbruck. (Hall collection, Room 10.)

Stoss, Veit — Nuremberg. The first certain date in the biography of
this sculptor is that on which he lost or gave up his citizenship
in Nuremberg, 1477. From that year until 1496 he lived and
worked in Cracow, where he may be said to have founded
a school of sculpture He returned to Nuremberg in 1496.
Died in 1533 (?), very old and blind. Stoss and Vischer were
leading pioneers in the German Renaissance.
832. The Nuremberg Madonna. From a wooden statue
formerly in the Frauenkirche (Church of the Virgin), Nurem
berg, now in the Germanic National Museum, Nuremberg.
(Hall collection, Room 10.)

Rauch, Christian Daniel — German, 1777-1857. Born in Arolsen,
died in Dresden. Pupil of Valentine, in Arolsen, and of
J. C. Ruhl, in Cassel (1790-1797) . In 1797 he came to Potsdam
as a lackey of the Prussian court, giving his spare time to the
Academy. In 1802 he was sent under royal protection to study
in Dresden. Later he studied and worked in Italy. His
master work was the monument of which No. 841 is a copy.
79

80 The Art Institute of Chicago.

841. Monument of Frederick the Great. A reduced copy in
bronze on the scale of one-eighth. The original in Berlin
(bronze figures and panels on granite pedestal) is forty-four
feet high. It was designed and executed between 1834 and
1854. This copy was presented to the Art Institute in 1894
by Thies J. Lefens, William C. Seipp, Edward G. Uihlein,
Leo Ernst, John A. Orb, Rudolph Brand, George Bartholomae,
and Charles H. Wacker. (Room 35.)
842. A reduced copy in bronze of the equestrian statue on
the monument to Frederick the Great in Berlin. Scale of
one-fourth. (See 841.) Presented by M. A. Ryerson and
C. L. Hutchinson in 1890. (Room 35.)
SCANDINAVIAN.
Thorvaldsen, Bertel. — Danish. Born 1770 in Copenhagen, or on the
sea. Died in Copenhagen, 1844. Student of Royal Academy
there in 1781. Awarded the Large Gold Medal in 1793; and a
three years stipend for study in Rome 1796 — extended to five
• years. After he became his own master Thorvaldsen estab
lished his studio in Rome, but returned to Copenhagen a short
time before his death. The Thorvaldsens Museum, in Copen
hagen, contains a full collection of his works, including
original models of finished works held elsewhere. The colossal
relief of a lion dying on the shield of France, carved on the
rocks near Lucerne, was designed by Thorvaldsen and exe
cuted by his pupils. It commemorates an episode of the
French Revoluiion, the massacre of the Swiss guards in Paris,
August 10, 1792.
854. Venus Victrix, about 5 feet high. Eug&ne Plon's cata
logue of Thorvaldsen 's works mentions a Venus Victrix
modeled in Rome in 1805 and afterwards cut in marble for the
Countess Woronzoff and Herr von Ropp. It was only 2 ft.
7'A in. high. Dissatisfied with the size, the sculptor destroyed
the model, after making these two copies. He afterwards

European Sculpture.

modeled a similar Venus 4 ft. 5)4 in. high which was cut in
marble five times. Three copies are in England, one in the
Pitti Palace, Florence, and one in the Thorvaldsens Museum,
Copenhagen. Thiele, in his "Thorvaldsen and his Works"
(English translation by Sinding), mentions another, 4 ft. 11 in.
high, finished in May, 1816. Either that or the original model
for it is doubtless in the Thorvaldsens Museum, and is the
original of the present cast. (Hall collection, Room 12.)
Eriksson, Christian — Stockholm. Born in Arvika, Sweden. Pupil
of Falguiere and Hasselberg. Medal of Paris Salon 1888,
Gold medal of E. U., 1900.
861. Portrait of Carl von Linne (Linnaeus) in high relief.
Full length figure with accessories. From a marble in the
National Museum, Stockholm. Plaster. Signed Chr. Eriksson .
Paris, 1890, Presented by P. S. Peterson, 1893. (Room 8.)
Hasselberg, Per — Swedish. Born in Ronneby, Sweden, Mention
Honorable at Paris Salon 1881; medal 1883. Hors Concours,
E. U., 1889.
862. The Snowdrop. Nude female figure. Plaster. Pre
sented by S. E. Gross, 1893. (Room 12.)

BRITISH.
Gibson, John — Born near Conway, North Wales, 1790. Appren
ticed at the age of 15 to a wood carver; and soon after, at his
own urgent request, transferred to the proprietor of a marble
working business. Went to Rome in 1817, with a letter of
introduction to Canova. Died in that city. Among his
important works is a statue of Queen Victoria. Models of all
his works, and the greater part of his fortune, were given to
the Royal Academy, London.
877. Venus. From a marble statue in possession of Joseph
Neeld, England. (Hall collection, Room 12.)

82 The Art Institute of Chicago.
Joy, A. Bruce— London. Born in Dublin, 1842 Pupil of Foley
881. Bust of Edward White Benson (1829-1896), 93d Arch
bishop of Canterbury. Wax composition. Signed Albert Bruce
Joy, Sculpt., 1885. Presented by the artist, 1893. (Room 12.)
Thornycroft, Walter Hamo — London. Born in London, 1850. Son
of Mary Thornycroft, sculptor. Sculptor of the statue of
Boadicea, on the Thames Embankment, London. Gold medal
of R. A. 1875. Royal Academician 1888. Grand Prix, E. U.,
Paris, 1900.
882. Teucer, a hero of the Trojan war. Bronze statue-
duplicate of statue purchased by R. A. 1882. Signed Hamo
Thornycroft, Rome, 1884. Presented by George A. Armour,
1891. (Room 35.)

AMERICAN SCULPTURE.
Room 14 and Others.

Greenough, Horatio. Born in Boston, 1805. Went to Europe in
1824 and studied in Florence and Rome Lived in Florence.
Returned to America in 1851. Died in 1852.
911. Abdiel, the Faithful Angel Marble bust. Presented
by Elizabeth H. Bartol, Boston, 1894. (Room 37.)
Rogers^Randolph. American. Born in Waterloo, New York,
1825. Died in Florence, Italy, 1892. Designed the doors of
the Capitol in Washington, 1858.
912. The Lost Pleiad. Marble statue. Signed Randolph
Rogers, Rome. Presented by Mrs. E. S. Stickney, 1889.
(Room 12.)
913. Nydia. Marble statue. Signed Randolph Rogers,
Rome, 1858. Bequest of Mrs. Uri Balcotn, 1896. (Room 12.)
914. Young Psyche. Marble head. Executed in Florence.
Gift of S. M. Nicketson, 1900. (Room 37.)
Volk, Leonard W. — An American sculptor, born in Wellstown,
New York, 1828. Professional life mainly spent in Chicago.
Died 1895.
918. Face and hands of Abraham Lincoln in bronze. From
plaster casts from life. The cast for the mask was made in
Chicago in April, 1860; those of the hands somewhat later.
(In small case in Room 33.) Presented by the sculptor, 1891.
See Supplement for bust loaned"" by Hempstead Washburne.
83

84 The Art Institute of Chicago.
Ward, John Quincy Adams— New York. Born in Urbana, Ohio,
1830. Pupil of Henry K. Brown. N. A. 1863. First president
of N. S. S. (1896-1904.) Member of Advisory Committee of
1902 on a Sculpture Scheme for the St. Louis Exposition of
1904. Member of International Jury of Awards for same ex
position, and recipient of its Gold Medal of Honor.
920. The Pilgrim. Plaster statue of heroic size. Original of
bronze in Central Park, New York.
921. A student. Reclining statue. Plaster. Heroic size.
From bronze detail of Garfield monument, in Washington.
Presented by the artist.
Kemeys, Edward — Washington, D. C, formerly of Chicago. Born
in Savannah, Georgia, 1843. Studied American wild animals
in their natural condition in the far West. Medal at W. C. E.,
Chicago, 1893; and at L. P. E., St. Louis, 1904.
Small Figures in Bronze, Signed and Copyrighted.
Presented by Margaret S. Watson, Anita McC. Blaine, Thomas
D. fones, Cyrus H. McCormick, Stanley McCotmick.
923. The still hunt. A jaguar, crouching.
924. "Playing possum." An opossum, apparently asleep,
watched by a wild cat.
925. A grizzly grave digger. Bear with carcass of Rocky
Mountain sheep.
926. Battle of the bulls— buffalo.
927. Deer and panther fighting.
928. A mountaineer. Rocky mountain sheep.
929. Locked in death. Deer and jaguar.
930. Fast in the coils. Jaguar and serpent.

American Sculpture. 85
931. The soul of contentment. Bear licking his paws.
932. While the mother sleeps. Female jaguar with two cubs.
933. Racoon. Frog under foot.
934. Opossum.
935. Wolf.
936. Deer, lying down, two.
937. Buffalo. Buffalo mask remarque.
938. Mountain lion
939. Mountain lion and lizard.
940. Bear, standing upright.
941. Deer with large antlers, standing.
942. Bear sitting.
943. Bear standing, with right forepaw upraised. Dead deer
remarque.
944. Two tigers, lying down.
945. A tiger. A nude boy is drawing the animal down by a
cord twisted around its upper jaw.
946. Peacock and sleeping rabbit.
947. Lion sitting.
948. The Rogue Elephant.
949. A wolf at bay.
950. Panther on rock. Ink well.
951. Fox and rabbit.
952. Mad panther.
953- Watching the beaters.
The colossal lions flanking the entrance were modeled by
Mr. Kemeys.

86 The Art Institute of Chicago

Bringhurst, Robert P.— St. Louis. Born in Jerseyville, 111. Pupil
of School of Fine Arts in St. Louis and Ecole des Beaux-Arts
in Paris. Medal of W. C. E., Chicago, 1893. Cash prize,
Nashville, 1897. Silver medal L. P. E., St. Louis, 1904. Mem
ber N. S. S.
954. Awakening Spring. Young female figure, standing.
Plaster. Presented by the artist.
St. Gaudens, Augustus — New York. Born in Dublin, Ireland, 1848,
Brought to America in infancy. Was a. cameo cutter Pupil
of N A.D and Cooper Union, New York, and of Jouffroy, and
of Ecole des Beaux-Arts, Paris. N. A. 1889 Grand Prix of
E. U., Paris, 1900. Medals of Honor, P. A., Buffalo, 1901; L
P.* E., St. Louis, 1904. Member of the Advisory Committeeof
1902, on Scheme of Sculpture for St. Louis Exposition of 1904.
Corresponding member of Inst, de France S. A. A. 1877. N.
A. 1889. N. S. S.
956. Angel in high relief holding a tablet overhead bearing
the words "Amor. Caritas." Signed with full name. Date
in Roman characters, partly obliterated. Copy in plaster of
cast exhibited in the Exposition Universelle of 1900 The
same figure in bronze is in the Luxembourg Gallery, Paris. It
is a modification of a figure in Tennessee marble in the ceme
tery of Newport, R. I. (Room 35.)
957. The Puritan, an ideal statue commemorative of Deacon
Samuel Chapin, a magistrate of Springfield, Mass., about 1652.
Plaster. From bronze erected in Springfield in 1887. (Room
35.) See 1341
Sullivan, Louis H. — Chicago. Fellow of Am. Inst of Architects.
959. Design for bronze door of tomb. Plaster. Presented
by the Yale & Towne Manufacturing Co , 1892. (Room
20.)
Daveneck, Frank— Cincinnati (Art Academy). Born in Covington,
Ky., 1848. Pupil of Prof Diez, in Munich. Studied also in
Venice. Medal of W. C. E , Chicago, 1893 Member of Inter
national Jury of Awards, L. P. E., St. Louis, 1904. S A. A ,
1880. A. N A., 1905.

American Sculpture. 87
960. Memorial statue of Elizabeth Boott Duveneck, wife of
the artist. Supine, on plain rectangular sarcophagus. Plaster
cast. Original bronze in Florence. Marble replica in Boston
Museum. (Room 35.)
French, Daniel Chester — New York. American. Born in Exeter,
New Hampshire, 1850. Studied under Thomas Ball in Flor
ence, Italy, 1875-6. Medal of Paris Salon, 1892 Grand Prix,
E. U. 1900. S. A. A. 1882. A. N. A. 1901. N. S. S. (Pres.
1904-5 ) . Member of the Advisory Committee of 1902 on Sculp
ture Scheme for St. Louis Exposition of 1904; and of Interna
tional Jury of Awards at same Exposition.
961. Bust of A. Bronson Alcott. Plaster. Presented bv the
artist. 962. Death and the Sculptor. Designed as a memorial of
Martin Millmore, Sculptor. Plaster. From a bronze group
in Forest Hill Cemetery, Boston. Presented by ihe artist, 1894..
(Room 35.)
963. Girl with bowl. Statue in plaster. In the Chapman
Memorial, Forest Home Cemetery, Milwaukee, this figure is
represented with wings. (Room 24.)
964. Portrait bust of Mary Harris Thompson, M. D.— 1829-
1895. Marble, with verd antique pedestal inscribed " To ihe
Art Institute Jrom the friends oj Mary Harris Thompson."
Bust signed D. C. French, 1902. (Room 37. )
965. Alma Mater. Plaster cast of a heroic seated figure
erected in bronze, 1903, on the steps of the Columbia Univer
sity Library, New York. Presented by the artist, 1903. On
the back of the chair or throne, in low relief, is a shield sup
ported by cupids with torches On the shield is an adaptation
of the University's seal with inscription: I Pet. II. 1. 2. 7.
Above the seal, a crown; below, a scroll with inscription:
In Lumine ¦ Tuo • Videbimus • Lumen. (Room 8 )

88 The Art Institute of Chicago.

966. Bronzed plaster casts of three double bronze doors in
Boston Public Library Building, cast in 1903 Each door is
decorated with a pair of figures in low relief —one on each leaf.
These figures symbolize
(a) Truth and romance.
[b) Music and poetry.
(c) Knowledge and wisdom.
The doors are about 11 feet high by 6 feet wide. Presented by
the artist.
See supplement for works loaned by Mr. French and by
Mrs. Boynton. See also 1363.
Gelert, Johannes Sophus — New York. Born in Sleswick, Denmark,
1852. Pupil of Royal Academy, Copenhagen. Italian Scholar
ship, 1882-83. Citizen of United States, 1892 Mention hon
orable E. U., Paris, 1900. Gold medal, Nashville, 1897; Art
Club of Philadelphia, 1899. Member N. S. S.
969. Bust of the late John W. Root, architect. Bronze,
dated 1891. Gift of Friends, 1892.
970. Bust in bronze of the late James H. Dole, Vice-President
of the Art Institute 1891-1902. Presented by Mrs. fames H.
Dole, 1904. (Room 33. )
Donoghue, John— Born in Chicago, 1853. Found dead on the shore
of Lake Whitney, near New Haven, July 2, 1903. Pupil of the
old Academy of Design in Chicago, and of Jouffroy in Acad6-
mie des Beaux-Arts, Paris. Much of his work was done in
Rome. He is represented in the U. S. Congressional Library
by a statue of St. Paul.
971. The Young Sophocles leading the chorus of victory
after the battle of Salamis. Plaster statue. Presented by the
World's Columbian Exposition. (Room 35.)
Elwell, F. Edwin. See supplement for group loaned by Mr. Elwell.
Taft, Lorado. See supplement for group loaned by Mr Taft.

American Sculpture. 89

Tilden, Douglas — Oakland, Cal Born in Chico, California, 1860.
Pupil of N A D. under Ward and Flagg; of A. S. L. under
Mowbray; and of Paul Choppin, Paris. Medal of E. U , 1900.
N. S S.
974. The tired boxer. Plaster statue. Signed Tilden, 1890.
Presented by the artist, 1894.
Partridge, William Ordway — New York. Bom in Paris, 1861, of
American parents. Pupil of Pio Welonski in Rome, and of
Elwell in New York. N S. S.
975. Bust of John Greenleaf Whittier, American poet. Pre
sented by the artist, 1894.
Peterson, George D. See supplement for work loaned by L H.
McCormick.
Barnard, George Grey — New York. Born in Bellefonte, Penn., 1863.
Pupil of the Art Institute, Chicago, and of Cavelier at the
Ecole des Beaux-Arts, Paris. Gold medal of E. U., 1900.
Early in 1903 Mr. Barnard began work in a temporary studio
at Moret, France, on the marble sculpture for the new capitol
building in Harrisburg, Pennsylvania.
976. "Je sens deux hommes en moi." (Victor Hugo.)
Group of two figures of heroic size. Plaster cast. Original of
marble in Metropolitan Museum, New York. Presented by
Arthur M Barnhart, 1899. (Room 12.)
Bartlett, Paul Wayland — Paris. Born in New Haven, Conn., 1865.
Pupil of Fremiet, Paris. H. C at E U., Paris, 1889-1900.
Gold medal at P. A , Buffalo, 1901. Ch.L. H 1895. S A. A.
1897. Grand prize at L. P. E., St. Louis, 1904.
978. Michelangelo. Statue in plaster. From the bronze in
the Library of Congress, Washington D C. (Room 35 )
See supplement for group loaned by Mr. Bartlett.
Bracony, Leopold. See supplement for bust loaned by Miss How
ard.

90 The Art Institute of Chicago.
Loeher, Aloys.
981. Bust of the late Prof. David Swing, (1830-1894.)
Bronze. Signed A. Loehr, 1894. Gift of members of the Cen
tral Church, 1894.
Potter, Edward Clark— Greenwich, Conn. S. A. A., 1894. A. N.
A., 1905. Gold medal, L. P. E., St. Louis, 1904. N. S. S.
982. Sleeping infant faun — visited by an inquisitive rabbit.
Marble. Presented by Charles H. Wacker, 1891. (Room 37.)
McNeil, Hermon Atkins — College Point, Long Island, N. Y Born
in Chelsea, Mass., 1866. Pupil of Mass. Normal Art School,
Boston; Chapu, in Acad6mie Julien, and Falguiere, in £cole
des Beaux-Arts, Paris. Roman Rinehart Scholarship, 1896-
1900. Silver medal, E. U. Paris, 1900. Gold medal, A. P.,
Buffalo, 1901. Member of International Jury of Awards, L. P.
E., St. Louis. 1904. N. S. S.; S. A. A , 1901; A. N. A , 1905.
983. The Moqui prayer for rain The returning of the snakes.
Bronze statuette. Signed H. A McNeil, sc. (with title as
above), and " Fond. Nelli, Roma " (Room 33.) See 1371.
Potter, Bessie Onahotema (Mrs. R. W. Vonnoh! — Rockland Lake,
New York. Born in St. Louis, 1872. Pupil of Lorado Taft in
Art Institute of Chicago Medal of E. U , Paris, 1900. Mem
ber S. A. A., and recipient of its Shaw memorial prize, 1904.
Gold medal, L. P. E , St. Louis, 1904; and member of Interna
tional Jury of Awards at same Exposition.

Presented by ihe
Archt Club, 1893

985.

Seven statuettes in plaster, viz -

1
2
3. 4.

Chrysanthemum girl. Tinted.
Girl reading.
The dancing girl.
Portrait of lady, sitting with
fan.

5.

An American Girl.

6

Girl standing. Venetian cos

tume.

7.

The young mother.

(Room 14, in case.)

American Sculpture. 91
Heber, Carl Augustus — American. Born in Germany, 1874. Pupil
of A. I. C, under Taft. Medal of L. P. E , St. Louis, 1904.
986. Pastoral. Nude figure of a reclining youth, playing on
double pipe. Plaster. Presented by the artist, 1903. (Room
12.)
Longman, Evelyn Beatrice — New York. Born in Winchester, Ohio,
1874. Pupil of A. I. C. under Lorado Taft, and of D. C.
French, in New York. Silver, medal of L P. E., St, Louis,
1904 First prize, 1906, in competition for two bronze doors to
be placed in the U.S. Naval Academy in honor of the class
graduated in 1868.
987. Study for statue of victory surmounting dome of Festi
val Hall, at L. P. E , St. Louis, 1904 Male figure standing
erect on toes, both arms raised, nearly vertical, wreath in left
hand. Presented by the artist, 1903.

THE T. B. BLACKSTONE COLLECTION OF
ARCHITECTURAL CASTS.
Room 20. Blackstone Hall.
With the proceeds of Mr. Blackstone's bequest of $25,000, used
in the erection of Blackstone Hall, and an additional $50,000 pro
vided by Mrs. Blackstone in March, 1903, a fund has been estab
lished for the purchase of architectural casts and their installation
in the new sculpture hall. The collection at present is represented
by 175 numbers, distributed between 1001 and 1300 — lacunse being
left for increase in various groups. Many of the architectural casts
are especially noteworthy for their sculptural work; and the collec
tion includes separate examples of monumental and decorative
sculpture. GREEK.
1001. Temple of Neptune. A cork model, by Wellington
Jarard Reynolds, Chicago. The original temple, in Paestum,
southern Italy, measured 189x84 feet. Dorian, probably VI
century B. C.
1002. The Medici Vase. Terra-cotta fac-simile of a marble
krater in the Ufiizi Gallery, Florence, formerly in the Villa
Medici. The reliefs surrounding the bowl represent the sacri
fice of Iphigenia at Aulis. Greek work of the best period.
Found at Tivoli. 59^ x 52 inches, on square plinth 3^x28
inches.
1005. Fountain basin. Terra-cotta fac-simile of a marble
original in the Vatican. A hemispherical gadrooned bowl on a
stem formed by the intertwined tails of three sea-horses. The
bodies of the sea-horses face outward in the direction of
equidistant radii of a circle. They rest upon a massive base
that would be circular but for three deep indentations which
separate the figures. Late Greek. 48x31 inches.
92

T. B. Blackstone Collection. 93
1008. Well curb. Terra-cotta fac-simile of a marble in the
Vatican. A cylinder surrounded with figures in high relief
representing Hermes giving the infant Dionysos to his nurse,
Nysa. Seilenos and a nymph are present; and a revel of satyrs
and mainads is in progress. Greek, imperial age. 37J£x39j£
inches.
ROMAN.
1011. The Pyramid of Cestius. A cork model. The original
pyramid, in Rome, is of brick, faced with marble, 98 feet square,
and 116 feet high. It was built for the tomb of Caius Cestius,
Praetor, Tribune, etc., who died B. C. 12. Executed and pre
sented by Wellington farard Reynolds, Chicago.
See supplement for another model loaned by Mr. Reynolds.
1015. Candelabrum. Terra-cotta fac-simile of a bronze in the
Naples museum, found in the Temple of Piety, Rome. A tri
angular base, with winged lions at the angles, supports an or
namental triangular plinth with ram's heads at the angles. On
this plinth stand three cranes, with backs against a cylindrical
shaft. Height, 104 inches. Sides of base 27 >£ inches. Impe
rial age. BYZANTINE.
1023. Altar screen, 38J£x33j£ inches. Cast by Prospero Man-
tani from original in Church of S Apollinare Nuovo, Ravenna.
Three pairs of rectangular openings in centre, placed one above
another to form a larger rectangle. The middle pair is decor
ated with two peacocks, facing. Surrounding this compound
rectangle is an open-work border — vine pattern. Enclosing
all is a solid frame with a vine patteren in relief between two
rows of bead and reel moulding. Presented by Prospero Man-
tani, Ravenna, 1903.

94 The Art Institute of Chicago.

SARACENIC-EGYPTIAN .
1029. Balcony and corbel. Original wood-carving and gril
work. Two oriels in front and one at each end. Part of the
"Streets of Cairo" in the Louisiana Purchase Exposition, St.
Louis, 1904. Size about 10x10x4 feet.
ITALIAN.
1031. II Marzocco, the lion of Florence, sitting, supporting
the "red lily" shield. Terra-cotta fac-simile. The original,
of pietra serena, is in the National Museum, Florence It
stood originally in the Piazza della Signoria, where its place is
now filled by a copy. Attributed to Donatello; but not with
out question. 50x19x29 inches.
1032. Escutcheon, Florentine. Rampant lion in low relief.
Terra-cotta fac simile of a marble relief by Donatello in the
Palazzo Martelli, Florence. 51^x41^" inches.
Andrea, Cione di Michele, called Verrocchio (Florentine, 1432-1488)
and Alessandro Leopardi (Venetian, born several years before
1447; died after 1522.
1040. Equestrian statue of Bartolommeo Colleoni, Venetian
general. Plaster cast, full size, from the Royal Museum in
Berlin. The original bronze stands in the square of the Scuola
di San Marco, adjoining the church of SS. Giovanni e Paolo,
Venice. The work was finished, after the death of Verrocchio,
by Leopardi. It bears the following inscriptions: BARTO-
LOMEUS COLEONIUS (on back of saddle) and ALEXAN
DER LEOPARDUS V. F. O. I. (on saddle girth). See 675.
Solari, Tullio (called Lombardi in Venice, where he worked, be
cause he had come from Lombardy). Some of his latest work
was done in the S. Antonio chapel of the church of S. Antonio,
Padua.
1041. Memorial statue, supine, of a cavalier of the XV cen
tury, in armor. Plaster, cast from a marble in the Academie

Architectural Casts, Blackstone Collection. 95
di Belli Arti, Ravenna, formerly in the chapel of the Braccio-
forte. According to a pamphlet by Corrado Ricci, evincing
exhaustive study of the questions of subject and authorship
(published in Ravenna, 1897) the statue represents Guida-
rello Guidarelli, a cavalier of Ravenna, who was assassinated
at Imola, in 1501, by Paoli Orsini, a Roman of bad record in
the service of Pope Alexander VI. Ricci also names Tullio
Solari as the sculptor of the statue, though it was attributed to
Giacomo Baldini by the Academy. Augustus Hare ignores
both these names and calmly gives the credit of the work to
" Baldaldo Giovenaldo da Ravenna." And there are others.
Architectural Casts.
1042. Doorway (called Roman). Fac-simile in terra-cotta.
The jambs are broad and fluted, forming pilasters with Corin
thian capitals. Band of rosettes on inside of jambs and lintel .
Frieze of ox-heads (for bucrariia), rosettes and festoons.
Overhanging cornice with small lion heads projecting from
most advanced member. 118x91-^ inches.
1043. Interior doorway, finished in gold and color. Terra
cotta fac-simile of wooden original in possession of Signior
Biondi. Venetian, XVI century. 97^x69 inches.
1044. Coffered ceiling, six panels, squares in rectangle, with
deeply undercut central rosettes. Terra-cotta finished in gold
and blue on terra-cotta. Fac simile of a wooden original of
the Italian Renaissance period, owned by the Manifattura di
Signa, near Florence. 53x36^ inches.
1045. Coffered ceiling, four panels, octagons in square, other
wise similar to 1044. 43 j£ inches square.

96 The Art Institute of Chicago.

FRENCH HISTORIC SCULPTURE.
This collection includes casts of sculpture, mostly as applied
to architecture, from the eleventh to the nineteenth century. It
was formed under the direction of the French National Committee
on Historic Monuments, from the Museum of Comparative Sculp
ture (Palace of the Trocadero, Paris), the Museum of the Louvre
and the Museum of Decorative Arts, Paris.
Room 20, except when otherwise Specified.

XI CENTURY.
From Church of Notre Dame du Port, at Clermont-Ferrand.
1051. Portal of the south front. Late XI century. Original
of stone. At the sides of the opening are the figures of Isaiah
and St. John the Baptist. The adoration of the Magi is repre
sented on the lintel, together with the "Presentation in the
Temple and the Baptism of the Saviour." In the middle of
the tympanum, the Saviour is seen seated between two angels.
Above His head the letters Alpha and Omega are engraved,
and beneath Him are the symbols of the Evangelists. Two
groups, representing the Annunciation and the Birth of the
Saviour, are carved at the sides of the arch.
XII CENTURY.
From Church of St. Martin, at Brive, Coreze.
1052. Capital of an engaged column, from angle of north
transept. Original of stone. Early XII century.
From Cloister of St. Trophime, at Aries.
1053. Capitals of a double colonnette, united by a plinth.
Original of stone. XII century.

French Historic Sculpture, Blackstone Collection. 97
From the Cathedral of Bourges.
1054. Acanthus frieze, from the stone lintel of the north
portal. XII century.
From Church of Sainte-Croix, at La Charitd (NiSvre).
1055. Tympanum from door of south tower of front. Origi
nal of stone, now in south arm of transept. XII century.
From Cloister of Church ef St. Pierre, Moissac, Tam-et-Garonne.
1056. Five plinths from capitals of double colonnettes. Ori"
ginals of stone. XII century.
From Church of St. Eutrope, at Saintes. XII century.
1057. Two capitals of pilasters in nave. Originals of stone.
From the Abbey Church of Saint Gilles (Gard).
1058. Central portal and part of west front. XII century.
Original of stone. The main arch springs from a cornice sup
ported by consoles of chimerical forms. Below this cornice is
a long frieze representing the holy passion. Beginning at the
left are seen the money-lenders being driven from the Temple,
the Resunection of Lazarus, and the Saviour prophesying
Peter's denial. On the lintel the Last Supper is shown, and
on the right, Peter and Malchus, the Kiss of Judas, the Saviour
before Pilate, and the Flagellation. The base of the front is
decorated with carved bands of fretwork and acanthus-leaf de
signs, framing the following bas reliefs: on the left, the Sacri
fice of Cain and Abel; on the right, an Archer killing a Stag,
and a Lion Hunt. At the sides of the doorway there are two
pedestals supporting double Corinthian columns, on the com
mon base of which are shown hunting scenes and scenes in the
History of David.

98 The Art Institute of Chicago.

From the Abbey of Charlieu (Loire).
1059. Part of west front. XII century. Original of stone.
On the lintel of the doorway the Saviour is represented seated
between two angels, with a row of six apostles on each side.
In the tympanum, a nimbus, supported by two angels, contains
a bas-relief of the Saviour pronouncing a blessing. Around
the nimbus are the symbols of the four evangelists. Figures
of angels are used as terminals for the semi-circular arches.
The lintel rests on two" pilasters carved in foliated forms: on
the left reveal a bas-relief represents a woman with a snake
wound about her and a toad biting at her breast, symbolizing
lewdness. Underneath are small medallions containing chi
merical animals. The soffit of the semi-circular arch of the
doorway is composed of three archivolts. The pilasters sup
porting the lowest one also support two small figures wearing
stoles. A figure of David stands on the middle pilaster on the
right side ; St. John the Baptist on the left. The uppermost
archivolt (with the Lamb in high relief, on the keystone, and
terminal figures of angels with musical instruments) rests on
free colonettes. The window shows the following subjects :
In the tympanum, on the arch, the Saviour and Apostles ; on
one of the capitals of the reveal, a demon ; on the opposite
capital, the Holy Trinity. The lintel seems to represent a
sacrifice. Above it, and set in the wall, there is a small bas-
relief of a figure issuing from clouds. The subject of this is
not known.

From Cathedral of Chartres.
1060. Two figures with nimbuses and scrolls, from a pier of
the central portal on the west side. Original of stone. XII
century. For later Chartres sculpture see No.

French Historic Sculpture, Blackstone Collection. 99
XIII CENTURY.
From the Cathedral of Amiens.
1061. Basement of the St. Firmin portal on the west front at
the left. The upper half of the wall on each side of the open
ing is ornamented by fourteen medallions — signs of the zodiac
(with the works of the month corresponding to each sign) and
two others. The four extra medallions represent the Temple
ruined, the Temple rebuilt, the Lord appearing to Haggai and
the Drought. The lower half of the wall is diapered with leaf
patterns. Original of stone. XIII century.
1062. Middle pier and lintel of Saint-Honor^ portal, west
front. A statue of the Virgin with the infant Christ holding a
globe. On the pedestal are two tiers of niches containing
figures of Saint Honore" and his disciples. Above the lintel are
statues of the twelve apostles. Original in stone The statue
called the Gilded Virgin, executed at the end of the XIV cen
tury, occupies the place probably intended for Saint-Honor^
The other figures may belong to the XII century.
1063. Pier of central portal, west front, with the statue of
Christ, known as "le beau Dieu d' Amiens," and a crowned
king in a niche below. Original of stone, early XIII century.
1064. Tomb of Evrard de Fouilloy, 45th bishop of Amiens,
who laid the first stone of the Cathedral of Amiens in 1220,
Original, of bronze, in the Cathedral of Amiens, XIII century.
For other tombs and tomb statues see 1087, 1088, 1092-1094,
1106, 1113, 1134, 1135.
From the Cathedral of Notre Dame, at Paris.
1065. West front, tympanum of left portal (the Portal of the
Holy Virgin"). Early XIII century. Original of stone This
tympanum is divided into three parts ; the first one (the lintel)
represents, on one side three prophets holding a scroll ; on the
other side three crowned kings. Between the two groups is a
reliquary, under which is the statue of the Holy Virgin. The
second part, above the lintel, represents the entombment of
the Virgin. Two angels hold the shroud in which she lies

loo The Art Institute qf Chicago.
while in the background the Saviour, surrounded by the Apos
tles, gives His blessing. The third, or uppermost part, repre
sents the crowning of the Virgin. Here she is seen, seated at
the right of the Saviour, holding a crown, which an ange-
seems to have handed her. On either side there is a kneeling
angel holding a torch. All these figures are in high relief, al
most in the round. (Only the entombment, and two prophets
and two kings are at present shown).
1066-1070. Fragments of foliage bordering archivolt of por
tal in west front. (1067 has the foliage growing out of a
womanbird and running into another bird). Originals of
stone. 1071. Hinge of door in west front. Original of wrought
iron.
From Cathedral of Reims.
1072. Tympanum of an interior door of the left arm of the
transept, formerly opening into the cloister. Virgin and child
enthroned in centre High relief. Original of stone with
traces of coloring Early XIII century.
1073. A prophet. Relief in niche. Original of stone, interior
decoration of west wall. Late XIII century.
1074. Base and capital of pillar. Original of stone, on south
side of nave. Late XIII century.
1075. Decoration of the inner face of the west front — three
figures in niches above a dado simulating drapery. Original
of stone. Late XIII century.
1076. Model of two bays, showing the whole interior and ex
terior of the building within those limits. The buttresses are
continued above the spring of the flying buttresses, and capped
by pinnacles ornamented with heads. The section of the verti
cal extension of each buttress immediately under the pinnacle
is deeply recessed. The pinnacle, half supported on two tall
pillars, forms a canopy for an angel. The model was made at
the School of Architecture of Harvard University in 1906.

French Historic Sculpture, Blackstone Collection, ioi
From Cathedral of Laon. XIII century.
1077. Capitals of triple column of the Triforium. Originals
of stone.
1071. Capital of column of Triforium. Original of stone.
1079. Another of different design.
1080. Another of different design.
1081. Another of different design.
1082. Another of different design.
From Cathedral of Rouen. XIII century.
1083. Foliage. Original in stone on pier of west doorway.
See also No. 1113. XIV CENTURY.
From Cathedral of Bordeaux.
1084. Portal of the north transept. First quarter of XIV
century. Original of stone. The subject of the statue against
the mullion is BertratiddeGoth, Archbishop of Bordeaux, after
wards Pope Clement V (1305), On the imposts are statues of
six mitred bishops in niches. The first archivolt contains ten
statuettes of angels ; the other two contain statuettes of the
twelve apostles and fourteen prophets and patriarchs. In the
tympanum there are three rows of high reliefs ; the lower one
represents the Last Supper ; the next one the Ascension, and
the upper one shows the Saviour seated under a canopy be
tween two angels— one of which holds a lance and the other
the napkin of Saint Veronica There are besides these, two
kneeling angels holding symbols of the sun and moon.
From the Church of St. Urbain, Troyes.
1085. Finial of the outer gallery of the choir. Original of
stone. XIV century.

102 The Art Lnstitute of Chicago.
From the Cathedral of Lyons.
1086. Canopy of a niche in a door pier on the west front.
Original of stone. XIV century.
Tomb Statues.
1087. Guillaume de Chanac, Bishop of Paris. Died 1348
Original of marble in the Louvre, formerly in the chapel of the
Abbey of St. Victor, Paris. Middle of XIV century.
1088. Philip VI, of France. Original of marble in the Lou
vre, formerly in the Church of the Jacobins, Paris. Attributed
to Andre" Beauneveu, sculptor and painter who worked during
the latter half of the XIV century.
For other tombs and tomb statues see 1064, 1087, 1088, 1092,
1093, 1094, 1106, 1113.
From Chapel of St. Germer, Osei. Late XIII century.
1089. Reredos of main altar. Figures in high relief . Christ
on the Cross between the Virgin and St. John. The original
of stone is now in the Cluny Museum, Paris. The figures
were formerly painted and gilded. (Room 11.)
From the Chateau de la Ferte-Milon, Aisne.
1090. Coronation of the Virgin From the high relief in
stone over the entrance, Executed between 1392 and 1407.
The Virgin, in the middle of the tympanum, is kneeling to re
ceive the blessing of Christ, who is seated at the right. Five
angels attend the Virgin, one coming from the clouds and
holding the crown over her. Three other angels, on the lintel,
support the shields of Orleans and France.
XV CENTURY.
Barbet, Jehan, of Lyons.
1091. Angel weather-cock of the Chateau du Lude, Sarthe.
Original of copper repousse" made in 1475. Inscription on one
of the wings : Le XXVII^ jour de Mars l'an MIL CCCCLX+
XV, Jean Barbet, dit le Lion fist cet angelot. (Room 19.)

French Historic Sculpture, Blackstone Collection. 103
Tomb Statues, of XV and early XVI centuries.
1092. Philippe de Morvillier, first president of the Parlia
ment of Paris. Died 1438. In the original the head and hands
are of marble and the body of other stone. The robe was
painted red. Now in the Louvre. Formerly in the St. Nicho
las chapel ofthe monastery of Saint-Martin-des-Champs, Paris.
XV century.
1093. Children of Charles VIII, of France. The original, in
marble, in the Cathedral of Tours, formerly in the Church of
St. Martin. Finished in 1506, by Jean Juste, who died about
1535. 1094. Francis II, last Duke of Brittany, and Marguerite de
Foix, his second wife. The original, of black, white and green
marble, is in the Cathedral of Nantes, whither it was brought,
in 1817, from the Carmelite Church. Executed 1502 to 1507,
by Michel Colombe (see 1095) from designs by Jehan Perreal
(died 1529).
For other tombs and tomb statues see 1064, 1087, 1088, 1106,
1113. XVI CENTURY.
Colombe, Michel, Born about 1430. Lived in Tours. Was work
ing in 1512. See 1094.
1095. St. George-and the Dragon. From a marble bas-relief
in the Louvre, formerly in the Chateau de Gaillon. Early
XVI century.
Artists of Rouen. Early XVI century.
1096. Stall of a choir, Chapel of Chateau de Gaillon, Eure.
Original, of wood, now in Church of St. Denis, Paris Made
in 1509. The upper part of the back is carved in relief with a
representation of the birth of John the Baptist. The subject
of the lower panel, Justice, is represented in marquetry, and
is, therefore, not seen in the cast.

104 The Art Institute of Chicago.
From the Cathedral of Aix, Bouches-du-Rhone.
1097. Portal of the west front. On the lower half of the pier,
which is projected forward as a pedestal, is a statue of the Vir
gin with the Child ; on the doors figures of the four prophets
in niches in high relief, symbols of the four evangelists, and
twelve statuettes of sibyls. Original of stone and wood. Early
XVI century.
From Church of Saint Jean at Troyes, XVI century.
1098. The Last Supper. From one of the alabaster panels of
the high altar. The figures are in very high relief. Two of
them — standing, one at each end of the table, are practically
statuettes. (Room 11.)
Le Texier, Jean, called Jean de Beauce. Died 1529.
1099-1103. Pilasters of choir screen. Cathedral of Chartres.
Originals of stone. Executed 1514-1529. See 1060.
Le Pot, Jean, of Beauvais. Died about 1563.
1104. The two leaves of the door of the south transept of the
Cathedral of Beauvais. Conversion of St. Paul on the middle
panel of the right leaf, and St. Peter curing the lame man on
the left. Original of wood. XVI century.
From Cathedral of Limoges, (St. Ijtienne).
1105. Rood-loft. Original in stone. Executed 1533-1534 for
Jean de Langeac, Bishop of Limoges. Name of designer un
known. This complex work, full of carved pilasters and col
umns, niches and pendants, reliefs representing the labors of
Hercules and statues representing the virtues, of arabesques
and foliations, is highly characteristic of the French Renais
sance. The device: Marcescitinocio virtus is carved in many
places.

French Historic Sculpture, Blackstone Collection. 105
Tomb Statue. See 1064, 1087, 1088, 1092-1094, 1113.
1106. Guillaume du Bellay, Seigneur de Langey, Governor
of Piedmont, for the King of France, who died in 1543. The
original, of marble, in the Cathedral of Mans, was erected in
1557. Attributed to Jean Cousin or Germain Pilon. See 1113,
and 1133.
From Church of St. Nicholas, at Troyes. XVI century.
1107. Adoration of the Magi. From a bas-relief in stone.
From Hoteljde Bourgtheroulde, Rouen.
1108-1112. The meeting of the Field of the Cloth of Gold.
Five bas-reliefs. Originals of stone. XVI century. (Room
11).1108. Francis I, of France, coming out of the town of Ardres.
1109. Francis I and his retinue advancing.
1110. The Meeting.
1111. Henry VIII of England and his retinue advancing.
1112. Henry VIII coming out of the town of Guines.
From the Cathedral of Rouen.
1113. Tomb of Louis de Br£ze\ High Seneschal of Normandy
and husband of Diane de Poitiers (d. 1531). Executed 1535-
1544, by Jean Cousin (d. 1590) and Jean Goujon (d. about
1572). Original of marble, alabaster, etc.
In the original the nude statue of de Br^ze" is in alabaster,
lying on a sarcophagus of black marble, bearing the inscrip
tion : " Misericordes oculos ad nos convertite."
At the head of the sarcophagus, Diane de Poitiers is portray
ed kneeling. At the foot are the Holy Virgin and the infant
Saviour. On either side of those are Corinthian columns sup
porting an entablature with a frieze of masks and garlands.
Above this and under an arch is an equestrian statue of Louis
de Br^ze" in warrior's dress, with his sword in his hand. On

106 The Art Institute of Chicago.
each side draped caryatides support another entablature. The
caryatides on the left side represent victory and faith ; those
on the right, prudence and glory, the following inscriptions
being engraved on the various pedestals :
" Cum triumpho vivet."
" Fidelis semper."
" Prudens omni tempore."
" Mortuus cum gloria."
In the spandrils are two small figures representing fame.
The monument is crowned by a winged figure in the centre,
under a tabernacle, while at the extremities carved goats sup
port escutcheons on which are the letters L. B., interlaced
with palms. On the background ahove the sarcophagus are
long inscriptions on two blocks of black marble, enumerating
the honors and virtues of de Br£ze\
For other tombs and tomb statues see 1064, 1087, 1088, 1092,
1093, 1094, 1106.
From the Church of Saint-Maclou, Rouen.
1114. Face of left side door of west front. Decorated with
many figures in relief, and statuettes of St. John, Baptist, St.
John, Evangelist, Moses and Abraham — supported by a consol
half way up. In the panel above, Jesus explains the parable
of the good shepherd to a pope, a king, a bishop and a layman.
The hand of Jehovah reaches out from a cloud overhead. On
the right of this panel is the figure of St. Peter ; on the left,
Melchisdek. The lower panel is similarly flanked by figures
of St. Paul and Aaron. Original of wood. Attributed to Jean
Goujon. XVI century. See 1115-1127.
1115. Face of a double door in the north transept, with a col
umn covering the junction of the leaves and serving as a tru-
meau or pier. A vine spray twines around the shaft of the col
umn ; and a statuette of the Virgin stands on the capital, which
is very ornate and very difficult to classify. Four smaller fig
ures, representing saints, are supported by a consol half way
up on each leaf of the door. In the panel above, on the left,

French Historic Sculpture, Blackstone Collection. 107
is a medallion showing Israelites carrying the Ark of the Cov
enant, with God the Father over all ; on the right, the Death
of the Virgin, with God the Son over all. Original of wood
and stone. Attributed to Jean Goujon, about 1540. It has a
canopy over the Virgin, which is lacking in this cast. (In
gallery of Room 20.)
Goujon, Jean. Born about 1515. Said to have been killed in the
massacre of St. Bartholomew. Later investigations, however,
indicate that he died in Italy at a much earlier date. See 1113-
1115 and the following numbers.
1116. Head of Diana, huntress, from a reclining statue of
marble in the Louvre. This statue is grouped with a stag
couchant and two dogs. The group was designed for an orna
mental fountain and originally placed in the left court of the
Chateau d'Anet, residence of the favorite of Henry II of France,
Diane de Poitiers, Comtesse de Br£ze" and Duchesse de Val-
entinois (1499-1566). The statue is popularly called a portrait
of Diana of Poitiers; but, says Louis Gonse, " flattery could
not go so far, The Duchesse de Valentinois, whose face had
never been tempting, must have passed the age of fifty" when
the statue was modeled Jean Goujon was employed from
1548-1554 in embellishing this chateau. (Room 10.)
1117-1119. Three low reliefs from stone slabs in the Louvre,
originally placed as a frieze to the Fountain of the Innocents
in its first position against the wall of a house at the corner of
the rue aux Fers and the rue St. Denis, Paris.
1117. Nymph of the Seine, back.
1118. Tritons and Nereids.
1119. Nymph of the Seine, face. See also 1121.
1121. Five naiads symbolizing rivers of France. Tall, erect
figures in narrow panels, from stone bas-reliefs of the Fountain
of the Innocents, Paris, as reconstructed in 1550. See 1173.

108 The Art Institute of Chicago.
1122. Two children supporting an escutcheon. From a me
dallion in stone on the front of the H6tel Carnavalet, Paris,
now occupied by the historical museum of the city. XVI cen
tury. (Room 19. )
1123. Abundance. Relief, from the keystone of an arch on
the front of the H6tel Carnavalet, Paris. (Room 19.)
1124. Diana. Bas-relief from the stone keystone of an arch
on front of Hotel Carnavalet, Paris. Apparently belongs to
1125. (Room 19.)
1125. A pair of spandrils. From stone originals surmount
ing an arcade of the court in the H6tel Carnavalet, Paris.
Each spandril is decorated with a winged female figure (Fame)
in low relief. One bears a laurel spray, the other a palm. See
685. (Room 19.)
For other Hotel Carnavalet sculpture see 1138-1142.
1126. Two victories, framing a circular window in a court of
the Louvre. Original of stone.
1127. Child with trumpets. From a high relief in stone in
the Hall of the Caryatides, Palace of the Louvre, Paris. XVI
century. (Room 19.)
Staircase of Henry II, Palace of the Louvre, Paris.
1128. Compartment of a ceiling. Centre piece, a figure of
young Jnpiter in a panel with semi-circular ends. Framed in
a rectangle of ornamental mouldings, with spandrils decorated
with festoons flowing from a central mask. Only half of the
framing shown.
1129. Another, of different design, with centre piece of two
young Tritons with pipes.
1130. Panel of ceiling with lion's head centre. Original of
stone.

French Historic Sculpture, Blackstone Collection. 109
1131. Panel of ceiling, witlrstag's head centre. Original of
stone 1132. Group of children, with cartouche and garland of
fruits. Original of stone.
Pilon, Germain, 1535-1590. See 1106.
1133. The Three Graces. From a marble group in the
Louvre, probably designed to represent Faith, Hope and
Charity. Originally placed in the church of the Celestins,
Paris, where it supported a bronze urn containing the heart of
Henry II. The bronze urn has been replaced by a vase of gild
ed wood. (Room 10.)
1134. Lower part of the tomb of Henry II of France (died
1559) and Catherine de Medicis (died 1589). Original of
marble in abbey church of Saint Denis, Paris. The queen is
represented young, as at the death of her husband.
1135. Charity. From a bas-relief on the tomb of Henry II
in the Abbey Church of St. Denis, Paris. (Room 10. )
For other tomb sculpture see 1064.
1136. Henry III of France. Died 1589. From a marble por
trait bust in the Louvre. (Room 10, )
1137. The Virgin of Grief (Mater Dolorosa) of St Cyr. From
a seated terra-cotta statue in the Louvre. Executed by Ger
main Pilon, 1585 or 1586 and first placed in the Sainte Chapelle,
Paris whence it was removed about 1816 to the chapel of the
school of St. Cyr, and finally installed in the Louvre. (Room
10.)
Ponce, Paul, a Florentine sculptor (Ponzio) who worked in France
in XVI century.
1138-1139. Two lions in bas-relief . Originals of stone on the
front of the Hotel Carnavalet, Paris.
1140-1141. Trophies, from bas-reliefs on stone on front of
Hotel Carnavalet, Paris. XVI century. (Room 19.)

no The Art Institute of Chicago.
1142. Nine keystones of arches, each decorated with a mask
of a faun or satyr. Originals of stone in Court of Honor of
Hotel Carnavalet, Paris. XVI century. (Room 19.)
For other Hotel Carnavalet sculpture see 1122-1125.
XVII CENTURY.
Puget, Pierre— 1622-1694.
1143. Portal of the City Hall, Toulon. On each side is a
terminal half figure of Atlas emerging from draperies decorated
with shell work. These figures support a balcony. Over the
keystone of the doorway is an escutcheon surmounted by a
mask, which furnishes additional support to the balcony. Or
iginal of stone. XVII century.
Prieur, Barthelemy. Pupil of Pilon. Died 1611.
1144. Marie de Barbancon-Cany. From a marble tomb
statue, kneeling, in the Chateau de Versailles. Early XVII
century. (Room 11).
From Chateau de Versailles, XVII century.
1145-1146. Door of Salon d'Hercule, face and back. Original
of wood.
Nos. 1147-1160 and 1162-1164 are from the Park of the Chateau
de Versailles.
From the Cascade de 1' Allee d' Eau— 1147-1151.
The originals are reliefs in gilded lead. The panels are sepa
rated by satyr terms of stone, with masks and feet of bronze.
XVII century.
By Etienne Lehongre, 1628-1690.
1147. Nymph and cupid on a dolphin. From left front.
(Not placed).
1148. Two panels. Boy with fruit and flowers and River
God. From left of main front.

French Historic Sculpture, Blackstone Collection, in
By Pierre Legros, 1629-1714.
1149. Two panels. From right of main front.
1150. Nymph and cupid on a dolphin. From right front.
(Not placed).
By Francois Girardon, 1628-1715.
1151. Nymphs at the bath. From central motive of the prin
cipal front.
From the Bosquet de la Danse, 1152-1154.
1152. Torch-stand, by Masson (1627-1684). Original of lead.
(Room 8.)
1153. Torch-stand, by Etienne Lehongre, (1628-1690). Orig
inal of lead. (Room 8.)
1154. Decorative vase, by Etienne Lehongre, (1628-1690).
Original of lead. A joyous sea-procession, with Neptune and
Amphitrite in a chariot drawn by sea horses, is represented in
relief around the bowl. (Room 11.)
From the Parterre d'Eau, 1155-1160.
1155. Two children with a cupid riding a swan. Original of
bronze. XVII century. (Room 19.)
1156. Cupid with children. Original of bronze, by Corneille
or Joseph Van Cleve. 1644-1732 (Room 19,)
Magnier, Phil , 1647-1715.
1157. Nymph, with a cupid fighting a crocodile. From
a bronze group in the park of the Chateau de Versailles.
Signed Phil. Magnier. Cast by the Kellers, 1689.
1158. Nymph, with a cupid blowing a conch. From a
bronze group in the park of the Chateau de Versailles. Signed
Phil. Magnier. Cast by the Kellers in 1689.

1 12 The Art Institute of Chicago.
Coyserox, Antoine, 1640-1720. See 1165-1168.
1159. The river Garonne. From a bronze group in the park
of the Chateau de Versailles. Signed A. Coysevox, 1686. Cast
by the Kellers, 1688.
1160. The river Dordogne. Companion to 1159.
1161. Mask of Louis XIV of France. Died 1715. From a
bronze statue erected in the court of the old Hotel de Ville,
Paris, 1689 ; now in the centre of the court of honor of the
Mus£e Carnavalet, Paris.
1162. Nymph with shell. From a marble reclining statue
now in the Louvre. Its original place in the Parterre de La-
tone is occupied by a copy. XVII century. (Room 11.)
XVIII CENTURY.
Dedieu, Jean, of Aries.
1163. Terminal figure of a Bacchante. From a marble in the
Parterre de Latone. XVIII century. (Room 8. )
Lecomte, Felix, 1737-1817.
1164. Terminal figure of Hercules. From a marble group in
the Parterre de Latone. XVIII century. (Room 8.)
Coyzevox, Antoine, 1640-1720. See 1159-1162
1165. Hamadryad and child. From a marble group in the
garden of the Tuileries, originally in the grounds of the Cha
teau de Marly. XVIII century. Signed and dated 1709.
(Room 11.)
1166. Shepherd and young satyr. From a marble group in
the Louvre. Signed and dated 1709, executed for the Chateau
de Marly. XVIII century. (Room 11.)
1167. Flora and Cupid. From a marble group in the garden
of the Tuileries, made for the Chateau de Marly, where it
was originally placed. Signed and dated 1710. (Room 11.)

French Historic Sculpture, Blackstone Collection. 113
1168. Marie-Adelaide de Savoie, Duchess of Burgundy, as
Diana. From a marble portrait statue in the Louvre, dated
1710. (Room 11.)
Coustou, Nicolas, 1658-1733.
1169. Adonis resting after the chase. From a marble statue
in the Louvre, executed at Lyons, 1710, for the Chateau de
Marly. (Room 11.)

1170. Mercury with symbolical accessories. From a high re
lief of the pediment of the old custom house at Rouen. Orig
inal of stone. XVIII century.

Julien, Pierre, 1731-1804.
1171. Amalthaea — Nymph and goat. From a marble group
in the Louvre, formerly in the dairy of the Chateau de Ram-
bouillet. XVIII century. (Room 11.)
Lelorrain, Robert, 1666-1743.
1172. The Horses of the Sun, called the Horses of the Water
ing Place. From a high relief in stone over the door of the
Imprimerie Nationale, Paris, formerly the H6tel de Rohan.
XVIII century.

Pajou, Agustin, 1730-1809.
1173. A naiad, from the Fountain of the Innocents, Paris.
Original of stone. When the fountain was remodeled, in 1789,
and transferred from the wall against which it had stood, to
the centre of the Place du Marche" des Innocents, Pajou added
this figure and two others to the five by Goujon, described
above. See 1121.

1 1 4 The A rt Institute of Chicago.

XIX CENTURY.
Rude, Francois, 1784-1855.
1174. Neapolitan fisher boy, playing with a tortoise. From
a marble statue in the Louvre. 1831. (Room 12. )
For XIX century French sculpture not included in the
Blackstone collection see pp. 73-78.
AMERICAN ARCHITECTURAL MODELS.
1211. Model of public library building given by Martin A.
Ryerson to the city of Grand Rapids, Michigan. Charles A.
Coolidge, Architect. Presented by Martin A Ryerson.
1212. Model of Blackstone Memorial, a branch of the Public
Library, Chicago. Architect, Solon S. Beman.

ARCHITECTURAL FRAGMENTS.
BLACKSTONE COLLECTION.
Room 20.

1251-1255. Models of Capitals and Bases of the Five Orders of
Architecture. Doric, 1251.
Ionic, 1252.
Corinthian, 1253.
Tuscan, 1254.
Composite, 1255.
1256. Akroterion of a stele. Plaster cast of a marble in the
Museum of Fine Arts, Boston. A similar stele is now standing
in the Street of Tombs, Athens. Presented by Charles A,
Coolidge, 1903.
1257. Leaf Moulding. From the temple of Mars Ultor. Ro
man. 1258. Two Rosettes.
1259. Byzantine Capital.
1260. Byzantine Panel, from Bonn, Germany.
1261. Two Alhambra Panels.
English Gothic.
1262. Capital from Temple Church, London.
1263. Capital from Stone Church, Kent, England.
1264. Another capital from the same church.
1265. Spandril from the same church.
1266. Spandril, 8'A in. high. Originalof marble in the Poet's
Corner, Westminster Abbey,
1267. Finial, from Lincoln, England.
"5

1 1 6 The Art Institute of Chicago.

1268. Curved Moulding. Two concentric bands — the upper
of oak ornaments, the lower of quatrefoil.
1269. ¦> Foliage. From marble originals in the Architec-
1270. J tural Museum, London. .
1271. Fragment of Tracery. Original of wood.

Italian Renaissance.
1272. Half of a Pilaster of a Chimney Place. Original of
marble in the South Kensington Museum, London. School of
Donatello. 1273. Pilaster, from Florence.
1274. Part of the Frieze of the Tomb of Henry VII in West
minster Abbey. Two pieces. By Piero Torrigiano (1472-1528),
a Florentine sculptor who worked mainly in England and
Spain. 1275. Foliage. By Jacopo Tatti, called Sansovino. See 703,
p. 70.
1276. Two Panels. Figures in arabesques. From bronze re
liefs on the tomb of Marc Antonio Martinengo, in the Museo
Medioevale, Brescia, Italy. XVI century.
1277. Tombstone. A ram's head projects from each end of
the cornice, and a sphinx from each end of the moulding be
tween shaft and plinth. On the shaft is a cupid in arabesques.
1278. Venetian Panels, two, with Griffins.
1279. A Venetian Frieze.
1280. A Venetian Column or Pilaster.

French Byzantine.
1281. Scroll Work Hinge. Original of iron, in the Cathedral
of Notre Dame, Paris.

Architectural Fragments, Blackstone Collection. 117
French Renaissance. Nos. 1282-1285.
1282. Four Pilasters from Tomb of Louis XII. Originalof
marble in the abbey church of St. Denis, Paris.
1283. Pilaster. Period of Louis XV. Original of marble in
the Cathedral of Notre Dame, Paris.
1284. Acanthus Leaf. From ornamental sculpture in the
Church of St. Eustache, Paris.
1285. Small Pilaster from Cathedral of Chartres. See 1060.
Original Wood Carvings— Louis XVI style— Nos. 1286, 1287.
1286. Symbols of music in arabesques and festoons. White
panel, 22^ in. x 56, in black frame under glass. (Gallery of
Room 20.)
1287. Vase, grain and grapes in arabesques. White panel,
18^ in x 53^", in black frame under glass. (Gallery of Room
20.) 1288. Pilaster from the Madeleine. Original of bronze in
church of the Madeleine, Paris. By Henri de Triquetti. 1802-
1874.
1289. Six Flemish Renaissance Panels. Cupids and chimer
ical animals in arabesques. Two of the panels have tablets for
inscriptions. Originals of wood in the council chamber door
of the city hall of Audenarde, Belgium, carved by Paul van
Schelden, 1531.
1290. American architectural decoration. Fragments from
the Fisheries Building of the World's Columbian Exposition,
Chicago, 1893. Original, plaster, 22 pieces. Henry Ives Cobb,
Architect, Chicago.

MEDALS AND PLAQUETTES.
MOSTLY ELECTROTYPE copies.
PRESENTED BY MARTIN A. RYERSON AND CHARI.ES I,.
HUTCHINSON. Room 33.
Roty, Louis Oscar — Paris. Bora in Paris. Pupil of Dumont and
Ponscarme. Medals of Salon 1873, 1882, 1885. Prix de Rome,
1875. Grand Prix, E. U., 1900. Membre de l'Institut, 1888.
Officier L£gion d'Honneur, 1889 ; Commandeur, 1900. Medal
of Honor, 1905.
1301. Struck medal of French Alpine Club. Silver? 2f6x
1^". Face. A genius leading a youth upwards. Motto : Per
Ardua.
Reverse. Winged youth, nude, seated, holding out a flower.
Near the upper edge the words, Club Alpin Frangais. In
cartouche, just below centre : Epreuve d'Auteur. Signed O.
Roty, 1882.
1302. Struck medal, silver? Diameter Z% inches.
Face. Figure of Scientia, floating in air, with background of
light drapery and clouds. Inscription : Exposition Interna
tionale d'Electricite\ Signed O. Roty, 1882.
Reverse. An arrangement of laurel and palm branches, below
and to the left of a cartouche for name of recipient. Inscrip
tion in field : Jules Grevy — etant President de la Republique.
Adolphe Cochery — Ministre des Postes et des Telegraphes.
Georges Berger — Commissaire General. Paris, 1881. Signed
O. Roty, 1882.
1303. Cast plaquette, bronze, 5^x4^-. Head of young wo
man in circular, sunken field, with inscription : Marie Au
gustine Roty. Below, in margin : Tuum Clarissima Conjux
vultum aere fixi ut te semper ante oculos habeam juvenem
semper et felicia. 118

Medals and Plaquettes. 119
1304. Cast plaquette, bronze, 5^x6^. Portraits of the
sculptor's parents, with date, 1886. Inscription below : Ut
Fido Amore Conjuges sic Filii Pietate et Manu Parentes
Juncti. 1305. Cast plaquette, bronze, 5^ in. x 3J^. Two copies.
Face. Bust portrait. Inscription, in field above : Georges
Duplessis ; on right : Hommage de Profond Respect ; in car
touche, below : Conservateur du Department des Estampes a
la Bibliotheque Nationale. Signed in field, O. Roty.
Reverse. Female figure, draped, with accessories to illustrate
the history of engraving in France. Dated March, 1886.
1306. Struck plaquette, with arched top. Silvered bronze,
2 in. x 2fV.
Face. Woman seated under a tree at the right. Extended
landscape beyond. Inscription : In Lahore Quies
Reverse. Plant decoration on the left. Inscription : DeMie"
£ mes chers amis pour l'anniversaire d'un beau jour * * *
3 Decembre. Signed O. Roty, 1890.
1307. Struck plaquette. Silvered bronze, 2,^ in. x \\\.
Face. Bust portrait. Inscription below : Jules Cambon.
Signed O. Roty.
Reverse. A cupid holding a lion shield. Inscription, in
field, to Jules Cambon, Prefect of the Rhone, 1887-1891, ap
pointed Governor General of Algeria. From his Lyonnaise
friends. 1308. Struck plaquette, silvered bronze, 2^ in. x \\\. Two
copies, to show both faces.
Face. Bust portrait. Inscription below: L A. Collin.
Signed O. Roty, 1892.
Reverse. A woman, with hammer resting on anvil Facing
her is another woman with pencil and paper. Inscription :
Conciliis Regit Artificem. Signed O. Roty.

1 20 The Art Institute of Chicago.

1309. Struck plaquette, silvered bronze, 2^ in. x 1)4-
Face (Separate). Head of Gustave Adolph Hirn, born in
Logelbach, 1815. Inscription below: Ses compatriotes, ses
amis, ses admirateurs. Signed O. Roty, 1892.
Reverse. (Separate). Figure of Scientia before an altar.
Inscription: Amicus Plato sed Magis Amica Veritas. Signed
O. Roty.

1310. Struck plaquette. Silvered bronze, 2& in. x 3%. Two
copies.Face. Three panels. In the middle is a portrait of M.
Christofle, seated in an arm-chair, with Scientia showing him
a cup. Inscription: (above) Science Applique" et Vulgaris^;
(below) Charles Christofle, 1805-1867. Tin: side panels re
spectively illustrate art and industry, the former by a nude
youth in the foreground of a landscape, the latter by a similar
figure with an extended view of industrial establishments
beyond.
Reverse. The middle panel contains a long inscription re
cording the creation of a new industry by the application of
electro-chemical processes to the work of the goldsmith and
silversmith by Charles Christofle, and the foundation of his
establishment in 1842 ; and the celebration thereof in 1892, by
his successors. The left hand panel illustrates silver plating;
the right goldsmith's work.
1311. Carnot medal, silver, rectangular.
Face: Draped figures carrying coffin to Pantheon. Inscrip
tion in field : SADI CARNOT, PRESIDENT DE LA RE-
PUBLIQUE FRANCAISE. In upper right corner : ler juil-
let. Signed at bottom, O. Roty.
Reverse : Three panels. Top : XXIV JUIN MDCCCXCIV
in landscape. Middle : Female figure standing by corpse.
Bottom : DANS LE DEUIL DE LA PATRIE.

Medals and Plaquettes.

1312. Struck medal, commemorative. Silver, rectangular,
2'A in. x H/s.
Face. Young male figure with wings, taking torch from a
female figure sinking to the ground. Inscription : LUMEN ¦
VENTURIS i TRADIT • MORITURA ¦ PERENNE. 1800.
1900 above.
Reverse. Exposition buildings, with branches of laurel on
clouds. Inscription : EXPOSITION ¦ UNIVERSELLE •
INTERNATIONALE ¦ DE • 1900 ¦ PARIS. Signed on low
er border, O. Roty.
Chaplain, Jules-Clement — Paris. Born at Mortagne, Oise, France.
Pupil of Jouffroy and Oudine\ Prix de Rome, 1863. Medals
of Salon, 1870, 1872, 1877 ; of E. U., 1878, 1900 (Grand Prix).
Membre de l'Institut, 1881. Officier Legion d'Honneur, 1888 ;
Commandeur, 1900.
1316. Struck medal, silvered copper, diameter 2^ in.
Face. Portrait bust. Circumscription : L£on Gambetta,
2 Avril, 1838, 31 Decembre, 1882.
Reverse. Reading desk in front of a tree struck by lightning.
Inscription in field : Quo Jussa Populi. Dated 1882. Signed
J. C. Chaplain.
1317. From face of cast medal, bronze, diameter 3% inches.
Head of Jean-Paul Laurens in his 48th year, 1886. Signed J.
C. Chaplain.
1318. From face of cast medal, bronze, diameter 3ji inches.
Head of Eugene Guillaume, sculptor, in his 64th year. Signed
J. C. Chaplain, 1886.
1319. From face of cast medal, silvered bronze, diameter 4J4"
in. Heads of four children of the medalist ; Louis 1877,
Marcel 1879, Suzanne 1882, Maurice 1884. Signed J. C. Chap
lain, 1886.

122 The Art Institute of Chicago.
1320. From face of cast medal, diameter 4>£ in. Head of a
girl with long, straight hair. On the left a flower [Marguer
ite] . On the right the words Simon, Decembre, 1888.
1321. From face of cast medal, bronze, diameter 3i/% in.
Head of Alexandre Cabanel, with name circumscribed.
Signed J. C. C.
1322. From face of cast medal, brotfze, diameter 3ji in.
Head of Meissonier, in his 75th year. Signed J. C. Chaplain,
1889. 1323. Cast plaquette, silvered bronze, £% in. x 3%. Head
of a lady. Inscription, in field : Sarah Gustave Simon. Sign
ed J. C. Chaplain, 1890.
1324. Plaquette, silvered bronze, 4in. x 2%£. Bust portraits
of two young ladies, accolated. Inscription, in field, at top :
Anna • Germaine ; on border, below : Futurce Uxores et
Matres Familias. Signed J. C. Chaplain, MDCCCLXCII.
1325. Plaquette, silvered bronze, 3T\ in. x 3. Signed J. C.
Chaplain, 1892. Bust portrait of two young ladies, accolated.
Inscription, above : Helene et Anna de Brancovan.
1326. Struck medal, silvered bronze, diameter 2^ in. Two
copies.
Face. Domestic scene.
Reverse. Inscription : Sociele" Francaise des Habitations a
Bon Marche\ Signed J. C. Chaplain.
See 1351, 1352.
Dutert, Charles-Louis-Ferdinand — Douai. Prix de Rome, 1869.
Gold medal, E. U., 1889. Officier L€gion d'Honneur, 1889.
1331. Apparently designed for the face of a prize medal for
students of architecture. Silvered bronze, diameter 2%( in.
Genius handing a flower to a youthful student. Architectural
background. Signed Fred. Dutert, Architecte.

Medals and Plaquettes. 123

Coudray, Marie-Alexandre-Lucien — Paris. Born in Paris. Pupil
of Thomas, Allouard and Ponscarme. Prix de Rome, 1893.
Silver medal, E. U., 1900.
1333. Medal. Silver or silvered bronze. Diameter 1% in.
Two copies.
Face. Bust of nude male figure with flowing hair, holding
lyre. Laurel crown. Signed L. Coudray.
Reverse. Figure of Fame with trump and pen, over a car.
touche provided for inscription when awarded. Presented by
Charles L. Hutchinson.
Daniel-Dupuis, Jean-Baptiste — deceased. Born in Blois, France.
Pupil of Cavelier and Farochon. Prix de Rome, 1872. Gold
medal, E. U., 1889. Officier Legion d'Honneur, 1898.
1335. Cast plaquette, silvered bronze, iy% in. xl^. Two
copies.
Face. Horticulture. Two women caring for a tall plant in a
pot. Signed, 1892, Daniel-Dupuis.
Reverse. Nude child, seated, with back against a tree at
right, picking to pieces a flower. Field blank. Presented by
Charles L. Hutchinson.
See supplement for medal loaned by Miss Bennett.
Cazin, J. M. -Michel — Paris. Born in Paris. Pupil of Jean-Charles
Cazin. Bourse de Voyage (traveling scholarship), 1888. Sil
ver medal of E. U., 1900.
1337. Medal (cast) for l'Orphelinat des Arts.
Face (separate). Woman soothing a little girl. Inscription:
l'Orphelinat des Arts. Signed M. C, in monogram. Electro
type in silver. Diameter 2^ in. Presented by Mar tin A Ry
erson and Charles L. Hutchinson,

124 The Art Institute of Chicago.

Saint Gaudens, Augustus. See 956, p. 86, and 1364, 1365, 1378, below.
1341. Design for Columbian Exposition Medal. Bronze. Di
ameter, 4 in.
Face (Separate). Columbus stepping ashore in the New
World. Inscription : Christopher Columbus, Oct. XII,
MCCCCXCII. Signed Augustus St. Gaudens fecit.
Reverse (Separate). Nude male figure standing. His left
hand rests on the top of a tall shield and holds three wreaths.
His right hand, outstretched across the field, holds a: torch.
The large shield is decorated with the national emblems and
the motto, E Pluribus Unum. In the background, partly hid
den by the shield, is an oak tree. Inscription, in field : The
Columbian Exhibition (sic) in Commemoration of the Four
Hundredth Anniversary of the Landing of Columbus. To
Williams Bradford, 1892-1893. Presented by Martin A . Ryer
son and Charles L. Hutchinson.
See 1364.

GIFTS FROM VARIOUS DONORS,
Chaplain, J.-C. See note before 1316.
1351. Medal of the brewing industry. Silver, rectangular,
2^x 2 inches.
Face. Woman with flag and sword. Inscription, above: NY-
CARLSBERG ; below : LABOREMUS - PRO - PATRIA, On
bottom border : ifi 1871, Februar, 1896. s
Reverse. Draped female figure, standing, facing a seated fig
ure at the right by a border of foliage. The former holds in
both hands a small retort (?). Signed J. C. Chaplain (1895).
On bottom, border : 1817—1847—1871. At top s. Presented
by Carlfacobson, Dr., h. c. Director of the Mus^e des Beaux
Arts, Ny Carlsberg, Copenhagen.

Medals and Plaquettes. 125
1352. Struck medal, awarded by Exposition Universelle et
Internationale, Paris, 1900. Bronze, 2^ in. diam.
Face. Profile of France, facing right, under an oak tree with
one small branch stretching across her head like a wreath.
Circumscription : REPUBLIQUE FRANCAISE.
Reverse. Genius bearing torch, seated on flying Victory with
palm. Circumscription : EXPOSITION UNIVERSELLE
INTERNATIONALE, 1900. In cartouche below figures :
I$coi,E DES Beaux-Arts, Chicago. Signed J. C. Chaplain.
Unknown Medalist.
1361. Vernon medal, in bronze. Elliptical, with diameters
of 1 and iy% inches. Struck in 1740, to commemorate the tak
ing of Porto Bello from the Spaniards by a British fleet under
Admiral Vernon. This medal is much worn, but on the face a
figure and the word Vernon are distingishable, while on the
reverse two opposing fleets may be plainly seen, and much of
the inscription (he took Porto Bello with six ships only) may,
with some difficulty, be deciphered. Presented by Wayne B.
Chatfield.
French, Daniel Chester. See p. 87.
1363. The Dewey medal, bronze, diameter. l}-f in.
Face. Bust portrait of Admiral Dewey. Inscription in field :
The gift of the People of the United States to the Officers and
Men of the Asiatic Squadron under the Command of Commo
dore George Dewey. Signed D. C. French. 1898.
Reverse. Sailor in fighting trim, seated on gun, with flag in
lap. Border inscription : In Memory of the Victory of Ma
nila Bay, May 1, 1898. Cartouche belowfor name of recipient.
Presented By D. C. French.
St. Gaudens, Augustus, and C. E. Barber.
1364. The World's Columbian Exposition Medal as awarded.
Bronze. Diameter, 3 inches.
Face. A reduction of that of 1341.

126 The Art Institute of Chicago.

Reverse. A tablet between torches. Above, two kneeling fe
male figures with wings— a globe between them. Below, the
lower part of a caravel on conventional waves — the tablet be
ing supposed to hide the upper rigging. Inscription on the
tablet : World's Columbian Exposition in Commemoration of
the Four Hundredth Anniversary of the Landing of Columbus
MDCCCXCII-MDCCCXCIII. To Art Institute. Signed CE.
Barber [Engraver for United States Mint] Fecit.
Saint Gaudens, Augustus (See 1341), and Philip Martiny (Bom in
Alsace, 1858. Worked in various studios in France. Came to
America in the early eighties and became a pupil of St. Gaud
ens. S. A A., 1891 Studio in New York.)
1365. Medal designed and copyrighted by A. St. Gaudens
and modeled by Philip Martiny.
Face. Bust of Washington. Fascis at back. Inscription:
George- Washington, Pater Patria MDCCCLXXXIX — the
name arched over the head and the epithet and date in two
lines across the middle. Near the rim a circle of thirteen
stars. Signed under the bust.
Reverse. Spread eagle with E Pluribus Unum shield. In
scription : To Commemorate the Inauguration of George
Washington as First President of the United States of America
at New York April XXX MDCCCLXXIX. Below this in
scription at the left is a coat of arms, followed by the words :
By Authority of the Committee on Celebration, New York
April XXX MDCCCLXXXIX. Circle of thirty-eight stars
near the rim. Presented by the Committee on Celebration.
Zearing, Henry H.
1366. Lincoln medal, in bronze, diameter, 1)4 in.
Face. Bust of Lincoln. Inscription : Abraham Lincoln,
1865.
¦Reverse. Covered with an inscription — a quotation from Lin
coln's Gettysburg address, beginning with the words "With
malice towards none." Presented by the sculptor.

Medals and Plaquettes. 127

1367. Columbus medal, in bronze, diameter, 1)4 in.
Face. Bust of Columbus. Circumscription : 1492 Christo
pher Columbus, 1892.
Reverse. Caravel with three masts sailing to left. Circum
scription 1892. Below are the words, World's Columbian
Exposition Chicago. Fourth Centennial. Presented by the
sculptor.
MacMonnies, Frederick William — Paris. Born in Brooklyn, New
York, 1863. Pupil of St. Gaudens in New York, and of Fal
guiere and Ecole des Beaux-Arts in Paris. Medals : Paris
Salon 1891; W. C. E., Chicago, 1893; Art Club of Philadel
phia, 1895 ; Grand Prix of E. U., Paris, 1900. Chev. Legion
d'Honneur, 1896. S. A. A., New York, 1891.
1369. The Niagara medal, in old silver, not exactly circular.
Diameter 2^ in. The design of this medal is used without
change in the seal of the Niagara Falls Power Company. Pre
sented by Edward D. Adams, President oJ the Company.
Face. Indian chief standing in a canoe. Inscription in
field : Niagara. Border of dolphins alternating with arrow
heads.Reverse. Not struck or cast, but simply engraved with the
words, " The Niagara Medal. Frederick MacMonnies, Sculp
tor. Paulin Tasset, Engraver." (Ernest-Paulin Tasset —
Paris, was born in Paris. Pupil of Oudine\ Medal of Salon,
1883. Chev. Legion d'Honneur, 1895. Medal of E. U., 1900.)
Brenner, Victor David — New York. Born in Shavly, Russia, 1871,
Pupil of L. O. Roty, Paris. Came to U. S. in 1890. Medals of
E. U., Paris, 1900 ; P.-A., Buffalo, 1901 ; L. P. E., St. Louis.
1904. N. S. S.
1370. Silver medal, rectangular, 2^x3 in.
Face. In sunken field, a man, half length, holding a roller
map. Islands at right. Inscription below : 1903 over AMERI
GO VESPUCCII.

128 The Art Institute of Chicago.

Reverse. Half length of a man with dividers by a globe.
Above his head, the name Amerigo Vespuccii . Behind him
the head of ;Eolus blowing around the world. In cartouche
an inscription not deciphered. Gift of Edward D. Adams,
New York.
MacNiel, Hermon Atkins. See note before 983.
1371. Medal awarded by Pan American Exposition. Bronze,
2% in. diam.
Face . Two seated Indians with pipe of peace. One has shield
with map of North America in centre ; the other with map of
South America. Inscription : BUFFALO, U. S. A., MCMI.
Reverse. Nude figure and Buffalo walking to right. Inscrip
tion above : PAN-AMERICAN EXPOSITION ; ' below, in
cartouche : THE ART INSTITUTE OF CHICAGO. Signed
Hermon A. MacNeil, Sc.
Weinmann, Adolph Alexander — New York. Born in Karlsruhe,
Germany, 1870. Came to U. S. in 1880. Pupil of Art Stud-
dents League in New York, under St. Gaudens, and of Cooper
Union. Silver medal, L. P. E., St. Louis, 1904. S. A. A., 1903.
N. S. S.
1376. Medal of Louisiana Purchase Exposition. A triangular
shield with convex sides becoming concave near the two upper
angles, which are truncated. Dies engraved and medals struck
by the U. S. Mint, at Philadelphia, Bronze, 2)4 in. high, and
2)4 wide at top.
Face. In a circle covering most of the shield are two female
figures, with a rising sun in the background. The smaller one,
symbolizing Louisiana Territory, is removing the robe of
France, marked by embroidered Napoleonic bees. The larger
figure, Columbia, representing the United States, is ready to
replace the discarded mantle with her flag. Circumscription :
UNIVERSAL ¦ EXPOSITION • ST. LOUIS • UNITED •
STATES • OF • AMERICA • M • CM • IV. Outside the

Medals and Plaquetles. 129
circle is a wreath in each angle. One wreath encircles a fleur-
de-lys ; another, U. S., in monogram; the third, J. N., in
monogram (for Jefferson and Napoleon). Grouped around
the two upper wreaths are 14 stars, typifying the states formed
from the Louisiana purchase.
Reverse. Inscribed circle, as on face, with same surroundings.
In the circle, a tablet with the inscription : COMMEMORA
TIVE • MEDAL LOUISIANA • PURCHASE • EXPOSI
TION. Spread eagle above, and escalop shell between two
dolphins below.
1377. Another form of the above medal. A shield of five
sides, two forming an inverted gotliic arch at bottom, two
slightly concave sides, and one convex top. Bronze, 2j4 in.
high, and 2yi in. wide at top.
Face. Inscribed circle as in 1376, partly overlaying a U. S.
flag, leaving visible a band of 14 stars at top, and a few of the
stripes descending therefrom.
Reverse. Inscribed circle as in reverse of 1376, except inscrip
tion : GRAND • PRIZE ¦ LOUISIANA ¦ PURCHASE EX
POSITION. Surroundings as in face of this medal. Awarded
to the Art School of the Art Institute.
St. Gaudens, Louis and Augustus — Windsor, Vermont. Louis St.
Gaudens, a brother and pupil of Augustus, was born in New
York, 1854. Awarded silver medal of P. A., Buffalo, 1901.
For Augustus, see 1341.
1378. Franklin medal, 1906. Bronze. Diameter 3% in.
Face. Profile bust of Franklin, facing left — between two
palm branches. Inscription above : BENJAMIN • FRANK
LIN ; below : PRINTER PHILOSOPHER • SCIENTIST •
STATESMAN • DIPLOMATIST.
Reverse. Literature, Science and Philosophy witnessing His
tory write Eripuit \ ccelo \fulmen \ sceptrum \ qtetjr \ anno.
(He tore the lightning from the sky and the sceptre from the
tyrant.) Inscription, above : STRUCK -BY -THE -ACT •

130 The Art Institute of Chicago.
OF -THE CONGRESS • OF -THE -UNITED -STATES;
below: TO • COMMEMORATE • THE • TWO • HUN
DREDTH ¦ ANNIVERSARY ¦ OF • THE ¦ BIRTH .
OF • BENJAMIN FRANKLIN ¦ M • C ¦ M - V • I.
Received from the President of the United States, May 10,
1906, through Elihu Root, Secretary of State.

METAL WORK.
Rooms 29, 33.

nos. 1401-1441 presented by martin a. ryerson
and charles i,. hutchinson.

1401. Armor. Electrotype copy of a complete suit of nine
teen pieces, silvered and oxydized. The original is in the
Mus£e d'Artillerie, Paris. Richly embossed and chased with
figures and arabesques. North Italian, XVI century.
1402. Armor, made for Henry II of France. Electrotype copy,
silvered and oxydized, consisting of armlet, gorget, breast
and back plates, cuisses, pauldrons, rere-braces, cam-braces,
gauntlets, jambs, sollerets, and shield. The suit is embossed
with scenes from the latter part of the life of Pompey, with al
legorical figures of Victory and Power and mythological sub
jects. The original is in the Mus6e des Souverains, in the
Louvre. French, XVI century.
1403. The shield, pear-shaped, belonging to the above armor
is repousse" and chased, the centre showing an attack on a forti
fied place. H. 24 in., W. 17)4 in.
1404. Trophy of Arms, comprising silvered and oxydized elec
trotype copies of the following pieces :
a. Helmet of Francis I of France, with cheek pieces, in the
Musde d'Artillerie, Paris. Ornamented in repousse" with
scroll-work thickly interspersed with fauns, grotesque figures,
birds and reptiles. The crest is surmounted by a dragon with
extended wings, aud finished in front with a winged female
figure." Italian, XVI century.
b. A pair of halberds. Figure with shield on stem, with one
arm extending on blade. Blade engraved and chased. Length
of pike-head, 27J£ in., depth of axe, 12 in.
c. A pair of halberd or spear heads, plain. Length, 24# in.
width, 8% in. 131

132 The Art Institute of Chicago.

d. Pageant shield, elliptical with four deep scroll indenta
tions. Repousse" and chased with five medallions among
masks, figures and armor. The central medallion represents
an assault upon a castle by mounted troops. Each of the other
four contains a single figure. Border of strap work. Length,
26^ in., width, 19 in.
e. Sword of rapier type, with blade 46 in. long. Basket hilt
(cup guard), with long, straight quillons and knuckle bow or
finger guard. Spanish, late XVI century.
f. Sword with thin, narrow blade, 33^ in. long. Sides
curved from edge to edge. Hilt with straight cross guard,
elaborately decorated with masks, grotesque figures and flow
ers in relief, partly gilt.
g. A pair of pole axes. Chased in very low relief. Arms of
Austria in central medallion. Width of blade 14^6 in., depth,
including socket, 6)4 in.
1405. Trophy of Arms. Silvered and oxidized electrotype
copies of fifteen pieces, including twelve from the suit of plate
armor in the Mus€e d'Artillerie, Paris, known as the Armure
aux Lions, said to have been made for Francis I of France.
Repousse" and chased, with decorations in which a lion's head
is often repeated. Italian, XVI century.
a. Helmet in the form of a lion's head, without vizor or cheek
pieces.b. Breast plate.
c. Two pauldrons or shoulder pieces.
d. Two rere-braces (arriere bras) — guards for the upper arm.
e. Two cubitieres — elbow pieces.
f. Two Vambraces (avant-bras) — guards for the forearm.
g. Two gauntlets.
The three pieces not belonging to the above suit are :
h. Ceremonial mace.

Metal Work. 133

»'. Two halberd or spear heads. Originals in the imperial
arsenal of TsarkoS-Selo, Russia. Ornamented in open work
with flowers, trophies and armed men. A solid stem runs
lengthwise through the middle of the blade, with a figure of
Hercules on each side. Russian, XVII century. Length, 20
in., width, 6 in.
1406-1423. Sword guards, wrought iron, Japanese — all chis
eled and all showing pierced work except No. 25. (In case 34.)
1406. By Hompo, signed. Style resembles that of Nobuiye,
a great artist of the XVI century. Serpent twining about in a
circle.
By Kinai, not signed. XVII century.
1407. Arabesque decoration with three orchid blossoms.
1408. Decoration of rice stalks with two grasshoppers.
1409. Climbing plant.
1410. Phoenix or H6-6. Emblem of royalty.
1411. Shell decoration— natural.
1412. Autumn flowers and crickets.
1413. By unknown artist. XVII century. Sprays of morn
ing glory.
1414. By Masanaga of Yeddo. Signed. XVII century.
Storks flying.
1415. By Naoshige. Signed. XVII century. Chiseled carp
in arabesque design.
1416. By Miochien Yoshikisa, armorer, province of Yechizen.
Signed. XVII century. Two phcenixes flying.
1417. By Masatika of Yeddo. Early XVIII century. A
branch of the momiji tree, with leaves colored in gold.
1418. By the same. Signed. Cherry blossoms tinted with
gold.

134 The Art Institute of Chicago.

1419. By Kiyotsugu, pupil of Gato Seijo. Signed. XVIII
century. Arabesque decoration with two oval medallions,
large chiseled cherry blossoms and other flowers, colored in
light gold,
1420. By Sokuma Yoshodide, of Jeddo. Signed. XVIII
century. A flock of geese
1421. By Kuanju, of Yeddo. Signed. XVIII century. A
circular branch of bamboo.
1422. By Suruga Takuti, of the province of Inaba. Signed.
XVIII century. Bamboo decoration.
1423. Unsigned. Yeddo. XVIII century. Carnations, con
ventionalized. There are other Japanese sword guards and swords as well,
in the Nickerson Collection. Case 8. See p. 148.
1424. ByC. Hj Norrstrom, Stockholm, Sweden. A circular shield.
Original work in steel, with etched ornamentation enriched
with gold. Flat border with eight large bosses, decorated in
arabesque. The central portion, convex, is occupied by an
etched picture of Valkyries carrying dead warriors from the
field of battle in triumph to Valhalla. Signed C. Hj Norr
strom, 1886.
1425. Dragon in wrought Iron, made flexible by numerous joints.
By Miochin Menefusa. XVII century. (Miochin is the
name of a family of armorers celebrated in Japan. ) Length,
15 in. (Case 60, Room 33. )
1426. Nestof bronze weights, (old Spanish?) ten in number. Deco
rated with raised horizontal bands and stamped geometrical
figures. Ornamental handle and clasp at top. (Case 34.)
1427. Cruet, like a Persian aftaba. Gilt bronze chiseled. Bud
dhistic style. Slender handle forming a large, graceful
curve. The foot is composed of a circlet of flat leaves resting
on their points. Japanese, XVII century. See 1433. (Case 34.)

Metal Work. 135

1428. Small flower-pot, on a stand with four feet. An inverted
hollow cone of bronze, very flaring, enclosing an upright
hollow cylinder, with the lower edge joined to the sloping
inside of the cone, about half way down. Arabesque deco
ration in relief. Signed on the bottom by To-un, one of the
three great Japanese bronze workers of the XIX century.
(Case 34.)
1429. Cut-flower holder of cast bronze. Cylinder with spher
ical expansion around the middle. Lustrous dark finish with
red spots. Japanese, XVII century. Height, 7%, in., diam.
3 in. (Case 34.)
1430. Amphora of cast bronze, Japanese. Ornamented in high
relief with twenty crabs cast solid with the vase, about
1873. Designed by Hogetsusai Ichibee, of Tokio, "proprietor
of fishing boats." Height, 22 in. (Room 33.)
1431-1433. Pewter vessels, cast in metal molds designed, cut
and engraved by Jules Brateau. (Case 34.) Presented by
Martin A. Ryerson, 1892.
1431. Ewer and tray, with elaborate allegorical decorations
in relief. Extreme height of ewer 13| in. , diameter, without
handle, 4# in., diameter of tray, 163^" in.
1432. Porringer and tray. The decoration of the lid is in
five panels, symbolizing the principal rivers of France. A
central group in the round represents the abduction of a
nymph. Of the low reliefs on the borders of the tray one part
was borrowed from Clodion. The centre is from a coin of the
time of Clodion (XVIII century). Height of porringer with
cover, 5)4 in., diameter, 6J^ in. Two broad flat handles pro
ject horizontally from the rim about 2)4 in. The tray is 9#
inches in diameter.

Room 20.

136 The Art Institute of Chicago.
1433. Coffee pot and tray, decorated in Persian style, with
the coffee plant conventionally represented. Pierced floral
border on tray. In form the pot resembles the Persian aftaba.
(See 1427 ) The handle is wound around with bamboo.
Height of pot 10 7-16 in, Width, including handle and spout,
iy% in. Diameter of tray, 11 in.
1434. Tankard and plate of silvered copper, made about 1600.
Presented by Charles L. Hutchinson.
1436. Door Nails, old Spanish, 23.
1437. Door Nails, French renaissance, 26.
1438. " " French Gothic, 27.
1439. Door ornaments, — 4.
1440. Knocker.
1441. Knockers, old Spanish, large, 3.
NOS. 1451-1464, ORIENTAL, IN CASE 34.
PRESENTED BY MRS. ARCHIBALD J.
McBBAN, 1895 and 1905.
1451. Buddhist Lamp, East Indian. Bronze. A shallow bowl
on an ornamental column, with five triangular spouts for
wicks. In the centre is a pedestal surmounted by a symbolic
hird. Height about 2 ft.
1452. Ball, from Tonquin. Old Bronze. Nearly cylindrical,
with round top. Lower part of body surrounded by two
bands of relief and intaglio scroll work. Height to top of
suspension loop, 8^4 in., diameter 4^ in.
1453. Teapot, Japanese. Old bronze. Globular body, with a
sunken band of plant decoration in relief around the middle.
Height 2 in. (excluding knob feet) ; diameter 2# in.
1454. Tea Kettle, Japanese. Old brass. Globular, flattened
at bottom Incised foliated decoration. Height 3'A in.,
diameter 4j^ in.

Metal Work. 137

1455. Tea Kettle, Japanese. Cast iron. Hemispherical body,
flat bottomed. Surface granulated in diagonal rows. Bronze
lid with shell decoration, incised. Height 3f| in., diameter
6 in.
1456. Tea Kettle, Japanese. Old cast iron work. Body in
form of two low, broad cones, joined at their bases. Covered
with decoration in relief.
1457. Box. East Indian lacquered bronze? Relief decoration,
in large plant pattern. Height \\ in., length 3f%; width
1458. Box or Cup, Japanese. Old bronze. An imitation of a
section of a straight branch of a tree, delicately carved in low
relief, with a vine pattern, Flowers inlaid in gold, and a
dragon in silver. Plain, narrow rim of gilded copper.
1459. Silver Fork and Small Ladle, Japanese. Slender ivory
handles. The fork has two thin, straight prongs, braced by
an ornament of thick silver wires near the crotch.
1460. Silver Opium Box, Chinese. Made at Ning Po. Hex
agonal, with a floral panel in relief on each side Animal
under tree on top. These decorations are on the outer cover,
which slides all the way down to the bottom of the box.
There is another lid within, fitting on the upper third of the
body, and flush with the lower part when in place. Height
1 in., diameter 1^ in.
1461. Enameled Silver Box, Korean. The top and sides are
ornamented in diaper with a ground pattern formed by the
intersection of small circles, with au eight-pointed star in each
interval. In a large central circle on the top is inscribed a
square marked with fifteen short, vertical lines and one long
one, running in one direction, and one long line at right
angles to them. In the middle of each side is a large circle,
truncated at top and bottom, enclosing a group of animals,
birds and plants. A meander border runs along the edges and
around the square on the top. Height, excluding knob feet,
3rV in., length 5)4; width 4&.

1 38 The Art Institute qf Chicago.

1462. Brass Plaque, East Indian. Octagonal. Repousse" work,
representing a grand procession or pageant — rulers, with
attendants carrying standards, umbrellas, etc., and elephants
with ornamental housings. Diameter 14ji in.
1463. Incense Burner, Chinese. A shallow bronze bowl, with
two loop handles. Modern reproduction.
1464. Small Reliquary, Japanese. A crystal flask on a gold
flower, on the back of a gold tortoise with two flat waving
tails Silver base with four gilt reliefs of animals in oblong
sunken fields. Height about 3 inches. Said to be a model of
the "Ear Tomb" in Japan.
FROM VARIOUS DONORS.
1471. Statuette Group, in old Japanese bronze The group orig
inally consisted of a warrior-like god and a demon, stand
ing on waves; but the demon has been lost. The base is
quadrilateral with sides slightly convex. It is richly orna
mented in low relief. Height, with base, 31 in , length 17 #
in., width 13 in. Presented by William C. Comstock, 1&88.
(Room 33.)
1472. Bronze Koro (Incense burner), Japanese. Height 9 ft.
6 in. Presented by Marshall Field, 188/.
The reliefs on this koro illustrate various stages of the war
fare with the dragons which according to Japanese mythology
once devastated whole provinces. They were finally deprived
of all hurtful power, by a charm concocted by a wizard with
the aid of a toad. The figure on top represents a wizard
laughingly awaiting the approach of two ferocious dragons.
Bronzes of this size are seldom made except for exhibitions.
This one was made for the Amsterdam International Exhibi
tion but was afterwards sent to Boston. Cast and finished by
Yamanaka, of Tokio, the work continuing through two years.
Note,,— For other metal work, see Higinbotham collection, p. 57,
Nickerson Collection, p. 143 and supplement, for loans by Mrs. B. E
Dyer, and Mr. Thomas O. Osborn.

POTTERY.
Rooms 46-48.

The new rooms bearing the above numbers cannot be occu
pied in time for proper representation in this catalogue. They
are intended for the exhibition of all works of industrial art not
included in collections separately installed. Among the exhibits
will be representative works of potteries in various countries — Eu
ropean, Oriental and American — including the following sub-col
lections :
Porcelains and other pottery, 65 pieces, chiefly French and
English, presented by W. Duane Pell of New York, 1904.
Prehistoric American Pottery, 51 pieces, from New Mexico
and Arizona, presented by James W. Ellsworth, 1889.
The best examples from a collection made by the Field Colum
bian Museum (now the Field Museum of Natural History), received
in 1907.

139

THE COLLECTION OF
THE ANTIQUARIANS OF THE ART INSTITUTE.
The above title represents an association of ladies organized
for the sole purpose of collecting artistic textile fabrics and other
objects of decorative art for the museum of the Art Institute. In
carrying out this generous purpose they have thus far presented to
the Art Institute about 1300 objects. This number includes a col
lection of 766 pieces or patterns of textile fabrics, fringes, gimps,
embroideries and laces presented to the society by Martin A.
Ryerson ; a collection of more than 200 laces purchased by the
society ; a variety of separate purchases ; and occasional gifts from
the following donors :

Adams, Mrs. George E.
Armour, Mrs. J. Ogden.
Ayer, Mrs. E. E
Bass, Mrs. George.
Barrett, Mrs. S. E.
Blackstone, Mrs. T. B.
Blair, Mrs. Chauncey J.
Brega, Mrs. Charles W.
Chalmers, Mrs. W. J.
Clark W. E.
Coonley, Mrs. John C.
Cornell, Mrs. Alice S.
Crane, Mrs. Charles R.
Culver, Mrs. George N.
Deakin, H.
Ellis, Mrs. Addie M. Hall.
Emerson, Mrs. Charles.
Farwell, Mrs. C. B.
Field, Marshall.
Freer, Mr. and Mrs. Archibald.
Gardiner, Mrs. F. H.
Garrett, Mrs. S. E.
Getty, Henry H.
Glessner, Mrs. J. J,
Green, Mrs. A. A.
Gross, Mrs. S, E.
Hall, Mrs, Herman J.
Higginson, Mrs. George, Jr.
Hurtt, Mrs. S. I.

Hutchinson, Charles L.
Jewett, Mrs. John N.
Kelekian, Dikran G.
Kimball, Mrs. W. W.
Ludington, Mrs M. M.
Martin, Mrs Thos, J,
McBean, Mrs. A. J.
McCormick, R. Hall.
Miller, Miss Celeste J.
Nickerson, Mrs. S. M.
Ogden, Mrs. Mahlon D.
Peck, Mrs. Walter L.
Pope, Mrs. Charles B.
Potter, Mrs. O W.
Pullman, Mrs. Geo. M.
Rice, Mrs. F. Willis.
Ryerson, Martin A.
Ryerson, Mrs. Martin A.
Scammon, Mrs. John Young.
Scott, Mrs. J. W.
Singer, Charles J.
Stickney, Mrs. E. S.
Stone, Mrs. H. O.
Sturges, Mrs. George
Thomas, Mrs. Theodore.
Tree, Judge and Mrs. Lambert.
Walker, Mrs. J. M.
Watkins, Mrs. E- T.
Yerkes, Mrs. Charles T.

ARRANGEMENT OF THE COLLECTION.
Room 45.

Swing Frames on West wall.
1-5. Primitive weaves, V-VIII centuries. 44 pieces.
6. Brocades, Byzantine and Sicilian, XIII century.
2 pieces.
Brocades, Italian.
8.  XIV century. 1 piece.
10-15.  XV century. 24 pieces.
17-30.  XVI " 55 "
32-40.  XVII " 31 "
42-51.  XVIII " 39 "
Velvets and Velvet Brocades, Italian.
56-62. —

64-71.73, 74.

XVI century.

60 pieces.

XVII

31 "

XVIII "

17 "

77-82. Fringes, Italian , XVI and XVII centuries. 129 pieces .
83-85. Gimps, " " " " 85 "
Swing Frames on East Wall.
Velvets and Velvet Brocades.
1. Scutari, XVII century. 2 pieces.
2-4. Italian, Spanish, Persian, XVI and XVII centuries.
9 pieces.
5. Italian.
6. French, XVIII century. 1 piece.
Other Brocades.
7-16. Italian, XV-XIX centuries. 23 pieces.
16-18. Japanese, XVIII and XIX centuries. 4 pieces.
18. Italian, with embroidery insertions, XVII century.
1 piece.
Embroideries. 19-34. Italian, Spanish, German, Persian, Damascene, Phil
ippine, Chinese.
Laces.34-65. Italian, Spanish, French, Flemish, etc. 423 pieces.
141

142 The Art Institute of Chicago.
East and West walls, above the swing frames. Flemish tapestries,
XVI and XVII centuries. 5 pieces.
Case 65, 66, North wall. Large textile fabrics, divan, cabinet,
two Chinese vases, Japanese shrine, armor and panels, etc.
On the top of the case is a Japanese palanquin.
Case 67, 68, South wall. Church vestments and furniture, etc.
North and South walls, above the cases, Two Persian carpets.
Case 63. East wall. Costumes, etc.
Case 48, Jewelry, ivory carving, etc.
Case 55, Toilet set, Japanese; jade carvings, Chinese, and other
oriental work.
Case 58, Decorative Fans — 12 French, 3 English and one Spanish.
Case — . A sedan chair, elaborately decorated.
Room 46, 47, or 48.
Case — . Porcelain and other pottery, French, Spanish, Persian,
Chinese and Japanese. 9 pieces.
Room 13.
Two pianos and a case containing 13 Japanese and Chinese musical
instruments, an Italian mandolin and a Japanese music book.

THE NICKERSON COLLECTION.
OF PAINTINGS, ENGRAVINGS AND EXAMPLES OF
DECORATIVE AND APPLIED ART WORK
IN VARIOUS MATERIALS.
PRESENTED BY MR. AND MRS. S. M. NICKERSON IN
FEBRUARY, 1900, INSTALLED IN 1901.
Rooms 41, 42, 44.

The installation of this important collection, including the
thorough and appropriate refitting of rooms 41, 42 and 44, was
made at the expense of the donors and under their personal direc
tion. Their generous work was made complete by the preparation
and printing of a special classified catalogue of the collection. In
the present general catalogue of Art Institute exhibits the matter
referring to this particular collection is necessarily much reduced,
except in the descriptive lists of paintings and engravings which
are placed with similar lists in the latter part of this volume. A
summary of the remaining objects of the collection is given
below. CASE 1, ROOM 42.
JADE.
One of the most extensive and valuable collections in the
United States.
Jade in its initial state is a silicate of calcium and magnesium ;
jadeite, the crystalline form, being a silicate of sodium and
aluminum. Although specimens of carved jade, inlaid with precious
stones were among the treasures of the Mogul emperors, there is
no reason to believe that this mineral has ever been found in the
Indian Empire, and the raw material must have been brought
from the mines situated in the Kuen-lun Mts. , on this side of the
Kara-Kash valley in Turkestan, near Khotan.
143

144 The Art Institute of Chicago.
The pure white jade, when found in large pieces and without
a flaw, was reserved for the Chinese Emperor, who personifies the
pure white light of Heaven. Such blocks were given to an artist
worthy of the great work, and many of the rare specimens looted
from the summer palace, Pekin, in October, 1860, represented
twenty or thirty years of ceaseless toil at the hands of an artistic,
patient and diligent worker.
The finest varieties of the stone are the "pork fat" white and
the emerald green.
The carvings in this material, in various forms, shown in case
1, may be classified as follows :
1-11 Chinese 68-72, Chinese
12, 13, East Indian 67, East Indian
14-19, Chinese 73, Chinese or East Indian.
20, East Indian 74-80, Chinese
21-26, Chinese 81, East Indian
27, East Indian 82-84, Chinese
28-40, Chinese 85, East Indian
41, 42, East Indian 86-112, Chinese
43-49, Chinese 113, East Indian
50-59, East Indian 114, 115, Chinese
60-66, Chinese 116, East Indian
Two of the Chinese jade carvings are in the form of ceremo
nial maces.
117. Seventy-three Chinese buckles and badges of jade.
118-124. East Indian Jewelry. CASE 2, ROOM 42.
CRYSTALS AND OTHER HARD STONES.
Nos. 1-72 show the cutting and carving in various forms of
the following stones :
Crystals —Rock, smoke, pink, black, white. Japanese and
Chinese material and workmanship, except No. 55, which was
mined in Wyoming, U. S., and carved in Japan. 1-13, 55, 67.
Agates— Indian ( murrhine, golden, brown, gray and black
moss). 18, 21, 24, 25, 29-31, 35, 39, 42, 44, 45, 59, 62, 64, 65, 66.

Oriental Art Work, Nickerson Collection. 145
Agates — Indian, carved by Chinese ( red and white, mur-
rhine). 14, 20, 27, 28, 61.
Agates — Chinese (white, banded, pink). 36, 50, 51, 53.
Agates — not localized (white, red and green), 52, 58.
Chalcedony— 15 ; Sard — 16, 19, 37, 38, 40; Carnelian— 17, 41:
Amethyst— 22, 68; Jasper— 23, 43, 49; Amber— 26, 54; Gold Stone
—48; Arragonite— 70; Water Stone— 60; Lapis-Lazuli— 71, 72.
Not numbered: 124 Chinese snuff bottles in onyx, amber-
murrhine, mocha stone, coral agate, geode agate, blood stone,
rock crystal, hornblende, pearl, turquoise, amethyst, ivory, antique
cameo-glass, cinnabar lacquer, reticulated porcelain, decorated
porcelain, etc. CASE 3, ROOM 41.
A Buddhist shrine, Japanese. Exterior of black lacquer with
metal mountings. Double doors, Interior finished in gold lac
quer, open work in metal and carved and gilded wood — the crane,
pine-tree and conventional cloud design being used in the open
work, and the lotos and the dragon in various places.
The shrine encloses several symbolic figures in bronze, with
Ahmithaba in the place of honor under a canopy, and Buddha on
a lotos pedestal in front. A much larger Buddha in bronze is on
the top of the case.
See Case 65, 66, p. 142.
CASES 4 AND 5, ROOM 42.
LACQUER.
Lacquer is a varnish made from the sap of the urishi tree ; but
when applied in numerous successive coats and made the vehicle
of decorative designs in relief and color, as in Japan, it becomes
the principal feature of tlie objects decorated. Its name is there
fore popularly given to such objects collectively, their original
materials being disregarded.
There are many varieties of lacquer (or lacquered ware).
Some are hard enough to stand the heat necessary to boil water.

146 The Art Institute of Chicago.

1-85. Inroe (medicine boxes), with ornamental slides and
netsukes. (The netsuke is a knob or button attached
by a cord to an object intended to hang from the belt.)
86-127. Boxes, writing cases, stands, trays, cups, etc.
128. Small tray. Black lacquer with lead rim. Decora
tion: Shing Sai, a Chinese musician, breaking his
Koto.
129. Box with leaf decoration in togidashi lacquer.
130. Box. Gold lacquer, with bird in black.
131. Shallow wooden bowl. Chrysanthemum and Kiri
flower decoration in gold, silver and zinc lacquers.
Signed Shozan.
132. Sake bottle in form of a woman. Gold lacquer. (On
top of case 4. )
133. Hibachi of wood inlaid with mother of pearl. Silver
cover. Made by Korin. The hibachi is a portable
furnace in which charcoal is burned on a bed of ashes.
134. Vase made from a branch of a tree. Decorations:
Leaf and animal forms in various lacquers and mother
of pearl. (On top of case 4.)
135. Daimio saddle and stirrups. Gold lacquer decoration.
136. Lady's toilet set, 30 or 40 pieces. Roiro lacquer with
silver mountings and gold and gold lacquer decoration.
Signed Tane-Sada.
137-142. Cabinet, Bow and Arrows, Musical Instruments, War
Fan.
143-147. Writing cases.
148. Box of unpolished Nashiji lacquer, with gold lacquer
decoration.
149. Cabinet.
150. Wooden stand, with carved H6-6 bird in gold lacquer.

Oriental Art Work, Nickerson Collection. 147
151. Armrest. Gold aventurine lacquer. Silver and black
lacquer decorations.
152-157. Wine cups.
158-174. Stands, boxes, censers, sake bottles, etc.
175. Wooden mace, with applied decoration carved from the
rind of a gourd.
176-184. Boxes, sake bottles, censer, etc.
185. Cinnabar lacquer rouge box, Japanese.
186. Cinnabar lacquer jar, Chinese.
187. Cinnabar lacquer writing case, paper box, etc. , Chinese.
188. Cinnabar lacquer cup stand, Chinese.
CASE 6, ROOM 41.
PORCELAIN AND OTHER POTTERY.
(Some large objects belonging to this case are kept outside.)
1-4. Large vases of Chinese hard paste porcelain. On brack
ets, outside.
5-21. Chinese hard paste porcelains of XV-XVIII centuries.
22. Large Persian plaque, blue and white porcelain. On
wall above case.
23-24. Large plaques of blue and white porcelain. On wall
above case.
25-100. Chinese hard and soft paste porcelains, XV-XVIII cen
turies.
90. The dog of Fo and stand, of hard paste polychromatic
porcelain, with brilliant glaze. A good example of
Kochi work.
101-110. Nabeshima hard paste porcelain, Japanese, cf XVIII
and XIX centuries.
110-139. Other Japanese pottery.

148 The Art Institute of Chicago.
CASE 7, ROOM 41.
CLOISONNE ENAMEL AND BRONZE.
1-8. Chinese cloisonne" enamel.
1. Koro (incense burner). Dog of Fo on lid. Mark of
Ch'ien Lung period, 1736-1795. On pedestal in N.W.
corner of room.
2. Pair of red vases. On pedestals at entrance to room.
3. Mammoth vase, with lobes. On top of Case 6.
4. Large vase, globular, with dragon design. On pedestal
in N.E. corner of room.
5. Another, similar, with vine pattern decoration. On
pedestal in S.E. corner.
6. Large temple vase. From the Austin Robertson collec
tion.
7. Old plaque, decorated with dragon, H6-6 bird (F'hce-
nix), etc., on wall above case 6.
8. Pilgrim bottle.
9. Japanese cloisonne" enamel. A pair of vases.
10-27. Chinese cloisonne" enamel vases and other objects.
28. Japanese cloisonne" enamel. Set of two vases and an
incense burner.
29 — 38. Chinese cloisonne enamel incense burners and other
objects.
39. Old Japanese cloisonne" enamel.
40. Chinese cloisonne" enamel. Various objects.
45. Altar set of five pieces. Champleve" cloisonne" enamel.
46. Large Japanese Koro (incense burner). Iron, with
elaborate gilt ornamentation. Signed inside the cover,
Dai Nihon Tokyo Tekko-do sei. On pedestal by end
of case. See p. 138.

Oriental Art Work, Nickerson Collection. 149
47. Pair of vases. Japanese bronze, with dark hazel patina.
Made at Tokyo government works, last quarter of XIX
century.
48-75. Old Chinese vases, censers, etc.
76-90. Japanese vases, censers, etc.
91. Incense burner, brass. Chicken cock on top.
93. Small bottle vase, with leaf pattern handles. Hazel
patina.
Ul. Vase with ruffled lip. Black patina.
THE FOIAOWING ARE NOT NUMBERED :
Small mortar with buckhorn pestle.
Bottle shaped vase with long neck. Hazel patina.
Basket vase, woven of split bamboo.
CASE 8, ROOM 41.
(Chiefly Japanese work.)
1-39. Japanese swords and doctors' sticks (sham swords).
30-105. Sword guards. See also p. 133.
106-169. Knife handles.
170. A collection of 80 sword ornaments (Fuchi and Kash
ira) in iron and bronze, with decorations in gold, silver,
etc.

150 The Art Institute of Chicago.
VARIOUS JAPANESE OBJECTS IN CASE 8
AND ONE CHINESE (No. 47).
1-11. Pipes.
12. Silver Inkstand.
13-24. Pouches.
25. Yellow metal ink bottle and brush case.
26. Bronze box, silver lined.
27. Tinder box.
28-42. Ivory carvings.
43. Wood carving : Rats on a bag. XIX century.
44. Ivory pipe case.
45. Ivory box with four legs. XIX century. Signed
Jinrack.
46. Ivory box, decorated in gold lacquer and inlaid mother
of pearl.
47. Rhinoceros horn libation cup, Chinese.
48-109. Netsukes. (See cases 4 and 5.) Nos. 54 and 58 are of
metal ; No. 102 of wood and ivory ; No. 108 of bone;
No. 109 (two) of horn.
Not numbered — twenty-five carvings and netsukes.
For the Oil Paintings of the Nickerson collection, see p. 193.

EGYPTIAN ANTIQUITIES.
Room 15.

CASES 1-13 PRESENTED BY HENRY H. GETTY
AND CHARLES L. HUTCHINSON.
The objects in this room are real antiquities, not reproduc
tions. They have been collected as illustrative of the more usual
applications of art in ancient Egypt, aside from architecture. A
detailed catalogue is in course of preparation. Meanwhile the
memorandum below will direct the visitor to some of the more
important objects:
Casts 1, 2, 3 (on floor). Coffins and Mummy Cases.
1. Coffin of Se-deds XI Dynasty — about the time of Abra
ham, and before the period of decorated mummy cases. A
plain, rectangular wooden box with a narrow line of inscrip
tion around sides and on top.
2. Decorated mummy case of Nesy-pa-hri-het, a priest of
Amon, XXI Dynasty, XI century B. C, about 1000 years
later than No. 1. Empty.
3. Decorated mummy case, containing mummy (never un
rolled) of "a lady named Wenu-hotep, VII century B. C.
Case 4. Canopic Jars. Funeral vases of alabaster, used to contain
the vital organs of the deceased.
Case 5. Funeral Masks and Breast Plates, of papier mache" and
t>eads (decorations of mummies) ; and other objects found in
tombs.
Case 6. Ushebtiu (respondents), figures of terracotta, stone, wood,
etc., placed in graves with the idea that they would act as
substitutes for the deceased when called upon for manual
labor. The wooden figure in the middle of the case, No. 74,
is of about the time of Moses.
Case 7. Stelse or gravestones, inscribed with name and position of
the deceased, and decorated. 151

152 The Art Institute of Chicago.
Case 8. Brouze Objects. Figures of gods, sacred animals, imple
ments, ornaments, etc.
Cass 9. Figures of Deities, pierced for wearing, and vessels of va
rious forms. Mostly of pottery glazed in colors, but some of
semi-precious stones.
Case 10. Rings, Amulets and Jewels, of pottery glazed in colors,
and of precious metals, stones and glass.
Beads, of glass, precious stones and faience or pottery glazed
in colors. This is one of the largest and most comprehensive
collections in the United States. Made by Rev. Chauncey
Murch.
Case 12. Vessels of Alabaster and Glass.
Case 13, (middle of room). Scarabasi, or seals in the form of the
sacred beetle. This collection of royal seals, about 650 in
nuniber, is one of the rarest and most complete series in
America. It is almost a complete series from the time of
Mena, the earliest known earthly potentate, down to the
Christian era, when ancient Egypt passed out of history. The
scarabs are made of a great variety of stones and gems, and
bear the cartouche or signet of the monarch whom they repre
sent. PRESENTED BY NORMAN W. HARRIS, 1894.
Case 14. (middle of room). Various Objects of wood, stone, hema
tite (meteoric iron ore) , flint, etc. The model of a boat, fouud
in a tomb, is a rare specimen.
PRESENTED BY JOSEPH ROSENBAUM, 1902.
Case 54. Small objects, mainly ancient Egyptian, in bronze, terra
cotta, faience, etc. — figures of gods, ushebtiu and animals ; also
lamps, tools, vessels, beads in breastplate and necklace, etc.
Upon the tops of the cases are pottery utensils of various
forms, not colored.
In a frame on the north wall is an ancient papyrus manuscript,
presented by Robert H. Fleming.

GREEK AND ROMAN ANTIQUITIES.
PRESENTED BY MARTIN A. RYERSON, CHARLES L.
HUTCHINSON AND PHILIP D. ARMOUR. CASES
51, 52 PRESENTED BY JOSEPH ROSENBAUM.
There are individual contributions to this collection by Wm.
T. Baker, Charles Counselmau, John H. Dwight, T. J. Lefens
James W. Ellsworth, Robert A. Waller, Elbridge G. Keith,
George Schneider, H. H. Kohlsaat, Edward B. Butler, David W.
Irwin, and Ebenezer Buckingham. Room 15.

The objects in this room, except the terra-cottas in cases 18
and 19, are real antiquities and not reproductions. The collection
has been carefully selected and has a representative value as ex
emplifying some of the chief decorative applications of art among
the ancients. A detailed catalogue is in course of preparation.
The objects will be found clearly labelled. Their general distri
bution is as follows :
Case 15, Island Terra-Cottas. Small figures, heads and fragments
of terra-cotta, found in the Greek Islands of the Mediter
ranean.
Case 16. Roman Lamps, etc.
Case 17, Greek Glass, Bronzes and other objects.
Case 18, Terra-Cotta Masks and a small marble head of Aphrodite,
from Cyprus.
Case 19. Terra-Cotta Figurines.
Cases 20-25. Graeco-Italian Vases, and other antique vases. Illus
trative of the usual types of such works. The large vase in
the centre of Case 21 is one of the most interesting and valu
able.
Case 50. Greek and Roman Coins.

154 The Art Institute of Chicago.
Cases 51, 52. Antique Glass, 123 pieces. Presented by Joseph
Rosenbaum.
See supplement for case of old Assyrian and Roman glass lent
by Ernest Dale Owen.
Upon the walls are marble busts and architectural fragments
dug up in recent years in Rome. The portrait busts of the Em
peror Antoninus Pius and Faustina are noteworthy. The archi
tectural fragments illustrate not only the excellence of ordinary
Roman design, but the skill and quality of ancient marble cutting.

OIL PAINTINGS
BY OLD MASTERS
Room 32.
Works lent to the collection are described in a supplement al
the end of the catalogue, arranged alphabetically under the names
ofthe owners.

Thirteen of the most important pictures in this room were pur
chased in June, 1890, from the famous Demidoff Collection in
Florence. The founder of the Florentine branch of the family of Demi
doff was Count Nikolai Demidoff, a learned and rich Russian
noble, noted for benevolence. He was born near St. Petersburg
in 1774, and died in Florence in 1828.
His son, Anatoli Demidoff, inherited his tastes and was dis
tinguished as a patron of science, literature and art. His munifi
cence as a patron of art gave him European celebrity, and the
palace of San Donato, the family seat in Florence, became a
treasure house of art.
From him the collection, the title, aud the palace of San
Donato descended to his nephew, the late Prince Paul Demidoff,
who added greatly to the collection, but in 1880 sold the palace
and the greater part of the collection and removed to Pratolino,
the ancient seat of the Medici family, six miles from Florence.
Some of the pictures now in the Art Institute are described in the
San Donato catalogue published in 1880, but were withdrawn from
sale by Prince Demidoff as the choicest part of the collection,
while others do not appear in the catalogue, and were probably
never intended to be sold. Enough pictures remained after the
sale of 1880 to occupy a beautiful gallery at Pratalino, and the
works now exhibited remained in this gallery until they were pur
chased for the Art Institute, in June, 1890, from the surviving
Princess Demidoff, who was formerly the Princess Lise Troubetzkoi.
Autotypes of these pictures, made by Braun, of Paris, may be
bought at the Art Institute. 155

156 The Art Institute of Chicago.
Opportunities for acquiring good examples of the works of the
old masters are increasingly rare, and the modern taste for collecting
has increased the prices enormously. A good example is found in
No. 11 of this collection, Portrait of a girl, by Rembrandt, which
was sold in 1809 for ^"109, and in 1829 for ,£"420 In 1855 an offer
of ^"4000 for it was refused; in 1875 it was sold to Prince Paul
Demidoff for ^"5000 (about $25,000-00); and in 1890 to the Art
Institute for 129,150 francs (nearly §26,000.00). The Art Institute
may be considered fortunate in having obtained the thirteen pic
tures noted in the catalogue as "from the Demidoff Collection"
in 1890 for the sum of $180,000.00. The cost of the Rembrandt
(No. 11) was in round numbers $26,000, of the Frans Hals (No
13) $13,000, of the Hobbema (No. 16) $26,000, and of the Ostade
(No. 1) $40,000. There are modern paintings in the other gal
leries by Millet, Breton, Meissonier and others of equal value,
and in most cases their values are rapidly increasing.
Ostade, Adriaen van. Born in Haarlem 1610. Buried there in
1685. Pupil of Frans Hals and fellow student of Brouwer.
His professional life was spent in his native town. His favorite
subjects were interiors with peasants dancing, smoking or
playing cards, and village fairs and merrymakings. About
four hundred of his oil paintings have been preserved and
many water colors, drawings and etchings. The picture
described below is one of his most important works.
1. The Golden Wedding (formerly called the Jubilee). On
canvas, height 18>£ in , width 16 in. Description. Interior
of a room with large assemblage of peasants In the middle a
man and a woman dancing (the former without shoes) to the
music of a violin played by a man mounted oh a bench ; on
the right side and front are a boy playing with a dog, and a
girl with a doll. Distant landscape seen through open door at
back, Signed and dated 1675.
Collection of M. de Colonne; Edward Coxe, 1807; John
Dent, 1827 ; Richard Foster. Purchased for the Art Institute
from the Demidoff Collection.

Oil Paintings by Old Masters. 157
Velde, Adriaen van de. Born in Amsterdam 1635 or 1636 ; buried
there in 1672. Dutch painter of landscapes, cattle-pieces,
figures and historical subjects. Pupil of his father, Willem
van de Velde the elder, and later, of Jan Wijnants and per
haps of Wouvermans. Worked in Amsterdam. He was often
employed to paint figures in the landscapes of Ruijsdael, Hob-
bema, Wijnants aud others.
2. Landscape with figures and cattle. Signed "A. V. Velde,
F. 1664." On canvas, height 26)4, in., width 30^ in.
Description : In the foreground, on a bank of a river which
loses itself in the distance after having passed under a Roman
viaduct, a shepherd and shepherdess chat and guard a horse
and some cows and goats. . . . Beyond the river a steep
path with mossy ruins towering above, leads to the viaduct.
Mountains in profile against the sky are gilded by the rays of
the setting sun.
Collection Van Loon and Demidoff Collection. Gift of
Sidney A. Kent, J 894.
Nooms, Reynier, called Zeeman. Dutch. Born towards 1623 in
Amsterdam ; died about 1668. Worked in Amsterdam. Berlin
and Paris. Published etchings in Amsterdam, also in Paris
about 1650-55. He made many sea voyages, and, according
to Nicolai, was originally a common sailor. The painting de
scribed below was purchased as one of his works, but it is
signed W. Van der Velde, F 1659.
3. Coast scene. On canvas, height 21^ in., width lQl/% in.
Description: "A low shore, a smooth sea, and a group of
fishing boats setting sail. In the immediate foreground are
five figures. Three are securing a boat. On the right a man
with a red cap is carrying a loaded basket, and another stands
in the water holding a net. On the principal boat several
• sailors are at work, while to the left are numerous boats with
colored sails, picturesquely patched, carrying people and mer
chandise. In the distance, boats in full sail. Cumulus clouds
of delicate gray tone cover most of the sky."
From the Demidoff Collection Gift of Byron L. Smith,
1890.

158 The Art Institute of Chicago.
Steen, Jan Havicksz. Dutch painter of social life. Born in
Leyden about 1626 and buried there in 1679 Pupil of Nic.
Knupfer and of his father-in-law, Jan van Goyen. Worked in
Leyden from 1649-1654 at the Hague, and from 1661-1669 at
Haarlem, where he was influenced by Franz Hals and A. van
Ostade. More than 500 of his pictures have been preserved,
the greater part in English private collections ; but the State
Museum at Amsterdam has seventeen, and there are many in
the Hermitage at St. Petersburg and other public galleries.
4. The family concert. On canvas, height 34^ in., width
39^ in.
Description from San Donato Catalogue, 1880: "The con
cert takes place in a parlor lighted on the left by a window
hung with red curtains, one sash of which left open discloses
a wind-mill attached to a dwelling. The principal group is
composed of Jan Steen, bis wife and child, and his brother-in-
law performing on a musical instrument. On the left, Steen,
seated on a bench near the window, rests his elbow upon a
table, and strikes with so much vigor the chords of his guitar
that his young wife has to recall him to the time. Placed in
the center of the composition, and wearing a blue satin dress,
she sings, following the score with extreme attention. Her
brother, seated at the right, plays the clarionet, and the little
son of the master, who has possessed himself of a long clay
pipe, avails himself of it to scrape the strings of a bas-viol
set against a chair before the table. In the background a
young man tunes a violin, and the sister-in-law of Steen con-
veises with the landscape painter, Van Goyen, his father in
law. An attendant descends a staircase on the right, bringing
refreshments.. The table is covered with a rich Smyrna cloth,
upon which lies the music, one sheet bearing the signature of
the painter and the date 1666. Upon the wall is hung among
musical instruments one of the most celebrated pictures of
Rubens: 'The Lion Hunt,' now in the Pinakothek, Munich,
Engraved in L' Art by H Lefort. Collection of Sir Charles
Bagot, Baronet."
From the Demidoff collection. Gift of T. B. Blackstone,
1891.

Oil Paintings by Old Masters. 159

Ruijsdael, Jacob van. Dutch landscape painter ; generally consid
ered the greatest. Born in Haarlem, 1628 or 1629 ; died there
1682. Probably pupil of his uncle, Solomon van Ruijsdael,
and, perhaps, of Cornelis Vroom. He was doubtless, asso
ciated with the painters Nicholas Berghem, Adriaen van de
Velde and Hobbema. Worked in Haarlem, and from 1657 to
1681 in Amsterdam.
5. The castle, On canvas, height 27^ in., width 21^ in.
Description from the San Donato Catalogue, 1880: "The
CaSTI<E — In the middle distance rises a chateau surrounded
by a thicket and full-grown forest. The waters of a brook,
hemmed in by rocks covered with verdure, sweep round this
ch&teau, and in 'the foreground fall in cascades upon the
trunk of a tree fallen into the torrent. Some felled trees are
seen on the right bank ; distance mountainous. Engraved by*.
Leopold Flameng. Signed in monogram upon the face of the
rock. . . . Collection of Lady Stuart. "
From the Demidoff collection.
See supplement for landscape lent by Martin A. Ryerson.
Mieris, Willem van. Dutch painter of social life and portraits.
Born in Leyden 1662 ; died there 1747. Son and pupil of
Franz van Mieris, the elder. Worked in Leyden.
8. The happy mother. On wood, height 22^ in., width
18# in.
Description ; A genre picture in which the finish of detail is
carried to the last degree. In a high room with flat timbered
ceiling, tiled floor and a window to the left, sits a substantial
mother clad in brown dress open at the breast, blue apron,
white cap and kerchief, offering something in a spoon held in
the right hand to a reluctant child of a year or two old, who
is supported in her lap by her left hand. At the right hand
of the mother a boy of ten or twelve holds a dish and watches
the child. A little brown and white King Charles spaniel,
sitting at her feet, lifts up one paw and turns back his head,

160 The Art Institute of Chicago.
also to observe the child. A cradle, with pillow and blankets
thrown over it, occupies a prominent central position. The
right foreground is occupied by a table covered by a white
cloth over a green spread, upon which are an earthen jug, a
loaf of brown bread and other objects. In the background,
beyond the table, a man is seated smoking his pipe. A bed
occupies a curtained recess in the background.
From the Demidoff collection. Gift of Edson Keith, 1890.
Flemish Master, about 1525.
9. Portrait of a man. on wood, height 17 % in., width 11 j£
in. Description from the de Beurnpnville Catalogue: "A half-
length, three-quarters view, turned to the left : dark chestnut
hair cut straight above the eyebrows and falling over the ears.
A brown felt hat with a broad, raised rim. A gown in small
folds and a red cloak ornamented with black velvet. A small
flower in the right hand ; the left hand is close to the lower
edge of the picture ; plain green background. This portrait
has been attributed by some connoisseurs to Albert Diirer, of
whom it is worthy in all respects. Gallery Sciarra."
From the collection of the Baron de Beurnonville, sold in
Paris, May, 1881. Afterwards in the collection of M. E. May,
sold in Paris, June, 1890. Gift of f ohn f. Glessner, 1903.
Teniers, David, the Younger. Flemish painter of social and rustic
life, portraits, landscapes and historical subjects. Born in
Antwerp, 1610; died in Brussels, 1690. Son and pupil of
David Teniers, the elder, whom he surpassed as an artist.
Formed also under the influence of Brouwer and Rubens. He
was a painter to the Governor, Archduke Leopold William,
and found generous patrons in Queen Christina, of Sweden,
and Philip IV, of Spain. The Madrid gallery is still rich in
the works of Teniers acquired by Philip IV. In 1650 he left
Antwerp and went to Brussels, where he lived till his death,
in 1690. Smith's Catalogue enumerates nearly seven hundred

Oil Paintings by Old Masters. 161

pictures by his hand. Among them are several entitled "The
Guard Room," variations upon the theme of the present
picture. 10. The guard house — interior. On canvas, height 28j| in.,
width 21# in.
Description : The foreground, strongly lighted, is nearly
covered with a medley of armor, colors, drums, and other
properties of a military company. On the left a youth is
entering with a cloak on his arm. In the background, men
seated playing cards, and others standing — all in Him light.
From the Demidoff CoBection. Gift of Mrs. George N.
Culver, 1903.
Rembrandt Harmenszoon van Rijn, the greatest painter and etcher
of the Dutch school. Born in Leyden, July 15, 1606 ; buried
in Amsterdam, October 8, 1669. Pupil of Jacob van Swanen-
burch, in Leyden, and, in 1623, of Pieter Lastman, in Amster
dam. Lived in Leyden until the end of 1631 ; afterwards in
Amsterdam, where his early work was influenced by Thomas
de Keyser. In spite of discouraging financial reverses Rem
brandt worked steadily for about forty years, and the pro
ductiveness of his work is shown by the extraordinarily large
number of examples that have come down to our time with
values still increasing. Smith's Catalogue Raisonne" (1836)
describes 614 of his paintings, and his extant drawings and
etchings are much more numerous.
11. Portrait of a girl. On canvas, height 40|£ in., width
34^ in.
This picture has sometimes been called "The Child of the
State," for reasons explained in the following description
from the San Donato Catalogue, March, 1880: "At a window
appears a young girl wearing the picturesque costume of the
orphans of North Holland. Seen full front, both hands rest
ing on the sill, she turns her eyes to the left as if looking at
somebody. . . Her collar, close at the neck, is relieved
by a coral necklace of two strings of beads. Her costume is

1 62 The A rt Institute of Chicago.
composed of a dress of fustian, of which the waist is confined
at the opening by lacings of red cord, and an apron. The
chest is protected by a plastron of red stuff, and the sleeves of
the same color reach to the fore-arm. These signs indicate
that this young woman is assisted by the Asylum, and placed
under the guardianship of everybody. The rays of the warm
sunlight strike ... a part of the head and the left hand.
. . . Signed in full and dated 1645. . . . Engraved by
F. L. Geyser, Collection of Gueffier ; Collection of Robit; Col
lection of George Hibbert. Smith, Catalogue Raisonne\ Vol.
VII, page 170, No. 532."
From the Demidoff Collection. Gift of Martin A. Ryerson,
1894.

Hals, Frans. Dutch painter of portraits and genre pictures, ranked
among the greatest portrait painters of XVII century, second
only to Rembrandt and Velasquez. Born probably in Ant
werp, about 1581. Pupil of Carel van Mander. Contemporary
and rival of Van Dyck, although very different in style. His
professional life, from 1604 until his death in 1666, was passed
in Haarlem, and his most important works are in the museum
of that city. He is well represented, however, in many other
European galleries.
13. Portrait of the artist's son, Harman Hals. On canvas,
height 32i£ in., width 25,^ in.
Description : Half length in three-quarters view. Thick
dark brown, curly hair and light mustache. Black, soft hat,
easily placed on the back of the head ; collar turned down ;
doublet black; cloak of the same color. The left hand,
gloved, is supported upon the hilt of a sword, the right hand
rests upon the hip. Background of gray studio wall, with
palette hung in corner. Signed in monogram, with inscrip
tion : ^ETA. 32, 1644.
From the Demidoff Collection. Gift of Charles L. Hutch
inson, 1894.

Oil Paintings, by Old Masters. 163
Rubens, Petrus Paulus. Head of the Flemish school of the XVII
century, and the greatest historical painter north of the Alps.
Born in Siegen, 1577 ; died in Antwerp, 1640. Pupil of Tobias
Verhaeght, Adam Van Noort and Otto Van Veen (Vaenius) in
Antwerp, 1594-1598. From 1600-1608 he traveled and worked
in Italy; afterwards in Antwerp, whence he made journeys to
Paris, London, Holland and Madrid. His pictures are said to
number 2,253, including many of great size and elaboration.
They are found in large numbers in all the principal museums
of Europe.
14. Portrait of Marquis Spinola, one of the most prominent
military men of the XVII century General-in-chief of the
Spanish army in the Netherlands, 1603 ; took Ostend in 1604 ;
Breda in 1625, after a siege of 10 months. On canvas, height
28# in., width 23% in.
Description from the San Donato catalogue, 1880: A bust,
three-quarters view, turned to the left, bare headed, with
thick gray hair, curled mustache and a tuft on chin. A broad
plaited ruff flattened under the neck of the steel cuirass,
relieved with ornaments of gold. Upon the breast is the col
lar of the Order of the Golden Fleece. A table at the left
supports his helmet. A head full of acuteness, sagacity and
energy. . . . Rubens was never willing to separate him
self from this magnificent portrait which he had painted dur
ing a stay at Genoa. ... ,
From the Demidoff collection. Previously in the Hard
wick collection at Wimpole. See Smith Catalogue, II, 31.
Terburg, Gerard— properly Gerard ter Eorch Dutch painter of
portraits and social life Born in Zwolle, 1617 ; died in
Deventer, 1681. Pupil of his father, Gerard ter Borch, the
Elder, and of Pieter Molijn in Haarlem (1632-1635), where
he was influenced by Frans Hals His early success was in
painting miniature portraits. He visited the courts of France,
England and Spain, and was knighted by Philip IV. About
1648 he painted "The Peace of Munster," now in the National

164 The Art Institute of Chicago.
Gallery, London. An old copy of this picture is in the State
Musem at Amsterdam. After 1655 ter Borch lived in Deventer
and became Burgomaster of that city.
15. The guitar lesson. On canvas, height 24J6 in.j width
19# in.
Description from Smith's Catalogue Raisonne\ vol. iv, p.
124: "A lady elegantly dressed in a red velvet niglige bor
dered with ermine, and a white satin petticoat embroidered
with gold, seated at a table, which is covered with a green
carpet, playing on a g^uitar and accompanying the music with
her voice, whilst her master stands on the other side of the
table beating time with his hand ; some music books, and a
violoncello, are upon the table, and a beautiful spaniel lies
asleep on a chair in front of the room."
Smith gives the size of the canvas as 2 ft. 2*A in. by 1 ft.
9 in., and traces it through the following collections: Chev.
Verhulst, Brussels. 1779 ; Prince Galitzin, Paris, 1825 ; John
Fairlie, Esq., 1830. He also speaks of a duplicate engraved
by Lewis in the colletion of Henry Philip Hope, Esq
From the Demidoff collection. Gilt of Charles T. Yerkes,
1891.
Hobbema, Meindert. Dutch landscape painter. Born in Amster
dam, 1638 ; died there 1709. Pupil of Jacob van Ruijsdael,
with whom he is ranked. The figures in his landscapes were
generally painted by Adriaen van de Velde or Lingelbach.
The present picture is one of the largest and most important
of his works. Others are in the public museums of Amster
dam, Antwerp, London, Paris, and other cities.
16. The watermill. On canvas, height 31^" in., width 43)^
in. In this picture the greater part of the foreground is occu
pied by water, into which, upon the right, pours a thin sheet
of water from a sluiceway in front of a mill. Three ducks
swim upon the pool Under the sluiceway two waterwheels
are seen. The large red roof of the low mill is relieved

Oil Paintings, by Old Masters 165

against a thick wood on its left and a row of trees on its right.
To the left of centre in the foreground is a large group of half
a dozen or more trees, and still farther to the left a road,
entirely open, winding off into the distance. Upon this road
walk in the foreground a man with a red coat and a pole over
his shoulder, and in the middle distance a man and a woman .
The sky is blue, with cumulus clouds, the landscape sunlit
here and there. A woman at the door of the mill, two slender
trees in front of it, a kind of wharf along the mill pond, and
some distant buildings half hidden by trees in the left distance,
complete the description of the picture. Other pictures of
this mill, differing in the point of view, were painted by
Hobbema. According to a note of Durand-Ruel's, Dec. 1890,
this picture was in the collection of Lord Mount Temple.
From the Demidoff collection. Gift of Mr. and Mrs.
Frank G. Logan, 1903.
Keer, Aert (Aernot) van der. Dutch landscape painter. Born in
1603, in Amsterdam and lived there. His pictures were not
appreciated during his life, and he died in poverty in his native
city, 1677.
17. River view by moonlight. On canvas, height 25j^ in.,
width 33^ in.
In the foreground there are nets stretched on stakes and
fishermen in a boat. Neither bank of the river is visible
there. Beyond, sloops are coming in an going out, and some
are moored at landings on the banks.
Backhuijsen, Ludolf. Dutch marine painter and calligraphist.
born in Emden, 1631; died in Amsterdam 1708. Pupil of
Allart van Everdingen and Hendrick Dubbels. Lived in Am
sterdam after 1650.
18. Marine. On canvas, height 19^ in., width 24^ in.
A squadron of warships under easy sail, all flying the tri
color flag, red, white and blue. Smooth sea. No land in
sight. Gift of R. Hall McCormick, 1893.

1 66 The Art Institute of Chicago.
See supplement for landscape by Saftleven, lent by Martin
A Ryerson.
Also for landscape by S. van Ruijsdael and portrait by Bol,
lent by Allison V. Armour.
Van Dyck, Anthonius (Sir Anthony Van Dyck). Flemish portrait
and historical painter. Born in Antwerp, 1599 ; died in Lon
don, 1641. Pupil of Hendrick van Balen and Rubens in
Antwerp. Admitted to the Antwerp guild of painters in 1618.
Made a short visit to London 1620-1621. Lived in Italy 1623-
1627. Became court painter to Charles I of England, in 1632 ;
and was knighted while in that position. During the last
nine years of his life he painted an enormous number of
admirable portraits in London. Smith's Catalogue gives a list
of more than 950 works by this painter.
23. Portrait of Helena, wife of Hendrick DuBois, a painter
of Antwerp and Rotterdom. On canvas, height 39^ in.,
width 31^ in.
Description from Smith's Catalogue Raisonne", vol. iii, p 205 :
"The countenance, which is of oval form, is seen in a three-
quarter view, the hair simply turned up in front ; a kerchief
of open lace work covers the bosom and shoulders ; and the
dress consists of black silk. The hands are joined in front.
Engraved by Visscher, from a picture then in the collection of
Lord Somers."
The full pedigree of this picture is given in a letter to the
Director of the Art Institute, Oct, 26, 1903, from Lionel Cust,
Esq., Director of the National Portrait Gallery in London.
Following are extracts from the letter :
Helena Tromper, daughter of Eland Gysbrechts Tromper
and Marie Severijns, of Rotterdam, was married in 1614 to
Hendrick DuBois, then a painter in Antwerp, but afterwards
in Rotterdam. He was a personal friend of Van Dyck's who
painted his portrait and that of his wife. Two of their chil
dren, Edward and Simon, settled in London, bringing with
them the portraits of their parents, which had been engraved
by Visscher. Simon Dubois bequeathed the portraits with

Oil Paintings by Old Masters. 167
the engraved plates to Lord Somers, from whom they passed
by inheritance to his niece, the wife of Lord Chancellor
Hardwicke, with whose descendants they remained until the
dispersal of the pictures at Wimpole. The portrait here cata -
logued was purchased for Prince Demidoff, by whom it was
known as the portrait of Princess Helena Leonora de Sievere.
in memory of II "ill inn 'T. Baker, presented by his children,
Charles H. Baker, Howard W. Baker, Bertha Baker Ailing,
and He /1 iy W. Baker.
See supplement for an interior by Sorgh, lent by Martin A.
Ryerson. Also for two paintings by Ribera and one by Snaijers, lent
by Samuel Gans.
Also for one painting lent by Albert S. Ludlow.
Paolo Veronese — Properly Paolo Caliari or Cagliari. Born in
Verona 1528 ; died in Venice 1588. Son of Gabriele Caliari, a
sculptor. Pupil of his uncle, Antonio Badile, according to
Ridolfi, and of Giovanni Francesco Caroto, according to
Vasari. He lived aud worked mainly in Venice, and his can
vases, whether devoted to sacred or profane representations,
reproduce the glitter and pomp and gorgeousness of the
Venetian life of his time with masterly skill. The picture
described below was painted by one of his pupils. See No.
911.
Brusasorci, Felix, pupil of Paolo Caliari (Paul Veronese.). His
father, Domenico Riccio, called Brusasorci, was a fellow pupil
of his teacher. See note above.
51 . Music. The central figure is a 1 ady playing the mandolin.
Behind her, on the left, another lady is seated at an organ.
On the right, a gentleman is playing tlie flute. Down in
front, at extreme right, a little cupid sits holding up a music
book. Bought in Rome, 1889. On canvas, height 41 # in.,
width 39 in.

1 68

The Art Institute of Chicago.

Theotokopoulos, Domenikos, called el Greco. Born in Crete about
1547. Pupil of Titian in Venice. Painted in that city until
1570 ; then in Rome under the patronage of Cardinal Alexan
der Farnese, until the latter part of 1576, when he went to
Spain, settling at once in Toledo, where he died in 1614 The
picture described below was painted by him in 1577 for the
reredos of the altar of the chapel of the convent of Santo
Domingo el Viego (or Antiguo), where it remained until pur
chased by the Infanta Don Sebastian Gabriel, whose mono
gram, surmounted by a crown, is on the back of the can
vas. After the death of Don Sebastian the painting was
exhibited in the Museo del Prado, in Madrid, until Durand-
Ruel of Paris acquired it from the legatees of the Infanta
Dona Christina, in the Autumn of 1904. The Art Institute
purchased it from Durand-Ruel in 1906.
52. The Assumtion of the Virgin. On canvas, 158x90 inches.
Two groups of figures separated by clouds. Above the
clouds the Virgin is ascending, surrounded by angels and
cherubs, with a crescent moon beneath her feet. In the lower
field the twelve apostles are grouped around the empty sarco
phagus. A piece of white paper crossing the edge of a tall
book in the lower right hand corner bears a Greek inscription
designating Domenikos Theotokopoulos, a Cretan, as the
author of the painting.
The cut below is a photographic reduction of the signature,
with date.

'Vvrca

Bfcifc.Tiiw:^.

*¦¦¦ ------  -- ¦¦

Oil Paintings by Old Masters. 169
Filipepi, Alessandro, called Sandro Botticelli — Florentine, 1477-
1503? Pupil of Filippo Lippi, and one of the most prominent
artists befriended by the Medici family. About 1478 he was
summoned to Rome by Pope Sixtus V, to assist in decorating
the walls of the Sistine Chapel in the Vatican. Three of the
notable frescoes there are from his hand. In the latter part of
his life Botticelli became an ardent disciple of the reformer,
Savonarola; and was consequently (Vasari seems to think)
completely ruined both as a man and as an artist. Yet a
picture signed and dated by him in 1500 shows no loss of skill;
and he was called into consultation on the placing of Michel
angelo's colossal statue of David in 1503, according to Prof.
Sidney Colvin in the Encyclopedia Britannica.
The two frescoes in the Louvre, Paris, copies of which are
described below, were originally in the Villa Lemmi near
Florence. They were probably painted on the occasion of the
marriage of Lorenzo Albizzi with Giovanna Tornabuoni. The
copies were made by Mary Fairchild Mac Monnies (Mrs.
Frederick Mac Monnies).
53. Giovanna Tornabuoni and the Graces or Virtues. A
young woman with yellow hair, advancing from the right, is
met by four other young women who throw flowers on a white
cloth which she holds towards them. She wears a maroon
gown, a white kerchief and a necklace of pearls. Copied in
1891 from a fresco by Botticelli. (See above.) Presented by
Frederic C. Bartlett, 1907.
54. Lorenzo Albizzi and the Liberal Arts. On the left a
young man with long yellow hair is led by a young woman
towards seven other young women arranged in a semicircle
at the right — one in the middle, enthroned, three on each side
seated on the ground. The man wears a red toque and a blue
gown slashed with red. The woman leading him wears a red
mantle over a white tunic Background of dense dark green
foliage with glimpse of sky above. Copied in 1893 from a
fresco of the school of Botticelli. (See above.) Presented by
Robert H. Allerton, 1907.
See numbers 819, 820.

1 7° The Art Institute of Chicago.
Le Brun, Charles. Bom in Paris, 1619 ; died there Feb. 12, 1690.
Son of a sculptor, said to have been of Scotch extraction.
Pupil of Simeon Vouet. Went to Rome with Poussin in 1642.
One of the most active pioneers in the founding of the
Academy, which he opened, and in which he gave the first
public lesson. After 1655 he was the acknowledged head of
the French school of painting.
71. The family of Darius at the feet of Alexander. On can
vas 50x65 inches. Presented by R. Hall McCormick, 1903.

MODERN OIL PAINTINGS.
THE HENRY FIELD MEMORIAL COLLECTION.
THE MUNGER COLLECTION.
THE NICKERSON COLLECTION.
MISCELLANEOUS.

THE HENRY FIELD MEMORIAL COLLECTION.
Room 38.
The Field Collection comprises forty-one original oil paintings
by twenty of the most esteemed modern painters, besides a por
trait of Mr. Henry Field by Bonnat. Fifteen of the artists were
French, two Spanish by birth, but largely French by training and
association, two German and one English. The famous group of
painters, popularly known as the Barbizon School (from their
favorite resort, a village in the border of Fontainebleau forest) is
well represented by Corot, Millet, Rousseau, Diaz and others ; and
the evolution of the movement in which they were so prominent
is suggested by Delacroix, leader of the Romanticists, and by
John Constable, the English painter, whom many consider an im
portant factor in the new departure taken in French art about
1830. The men thus associated did not in reality form or found a
school The only point on which they were agreed was that the
old ways of looking at nature were wrong ; but in seeking better
ways each took his own course. Nevertheless, as most of them
found their subjects or their inspirations in the same beautiful
country, their works, doubtless, have something in common —
vague and indefinable, perhaps, but sufficient to account for the
tendency to consider them examples of a new school of art. Be
this as it may, what was called the Barbizon School (with its
allies, among whom Daubigny may be classed) was brilliant and
powerful in its day, and the revolution it inaugurated has con
tinued. One phase of the succeeding movement is well repre
sented in this collection by four pictures by Cazin.
171

172 The Art Institute qf Chicago.

By the generosity of Mrs. Florence Lathrop Field these valu
able paintings have been installed in the Art Institute for the
public benefit. The following quotations from the deed of trust,
executed June 2, 1893, show the liberal conditions of this benefac
tion. "Know all men by these presents, that I, the undersigned,
Florence Lathrop Field, widow, of Chicago, Illinois, in memory
of my late husband Henry Field, and desiring to perpetuate his
name in the city where he was honorably distinguished, and in
aid of a cause which was dear to him, do hereby transfer and de
liver unto Bryan Lathrop, Marshall Field, Owen F. Aldis Albert
A. Sprague and Martin A. Ryerson, all of Chicago, Illinois, as
trustees (to be known as the Trustees of the Henry Field Memo
rial), and to their survivors and successors in trust, all the oil
paintings (excepting family portraits) collected by said Henry
Field and by him bequeathed to me, forty-one in number . . .
to have and to hold the same in trust, to make such provision as
they may deem proper for the present care and custody thereof,
and thereafter to permit the Art Institute of Chicago to have and
retain the custody thereof whenever and so long as it shall provide
therefor and maintain (in the building now occupied by it, or
other strictly fire-proof building to be occupied by it in the city of
Chicago) a safe and suitable room to be called the ' Henry Field
Memorial Room,' and to be used for the preservation and exhi
bition of this collection and of no other pictures whatever . . .
' ' I make this disposal of said collection in consideration of the
interest which my said husband took in said Institute, and desire
that the terms thereof shall be construed liberally to permit to
said Institute as free, full and beneficial use of this collection as
may be, consistently with my general purpose to have it kept
together as a memorial."
The deed also makes provision for the care and increase of the
collection. Acting under the authority given them by the deed,
the trustees have thoroughly provided for the preservation of the
pictures, and fitted and finished the room set apart for their recep
tion, with careful consideration of the appropriateness of every
detail, and with full regard for a harmonious general effect.

Modern Oil Paintings, Field Collection. 173

Breton, Jules-Adolphe — Courri&res, Pas-de-Calais, France. Born
at Courribres 1827. Pupil of Drolling and Devigne. Salon
medals 1857, 1859, 1861 (Rappel), 1872 (d'honneur). E. U.
medals 1855, 1867 (gold); Hors Concours 1900. Chev. Le"gion
d'Honneur, 1861 ; Ofiicier 1867 ; Commandeur 1889. Membre
de l'Institut 1886. Died in Paris, July 5, 1906.
101. The song of the lark. A peasant girl on her way
through the fields in early morning. Signed Jules Breton,
Courribres 1884. On canvas 44 in. x 33>£ in.
102. On the road in winter. A woman in brown coming for
ward from a village in Artois with basket on arm, passing a
young man, also in brown, shoveling snow from the road.
Snow on fields and on houses of distant village tinted by
early sunrays. Signed Jules Breton, Courri&res, 1884. On
canvas 31 in. x 48 in.
103. At the fountain. Two peasant girls in foreground fill
ing jars at a rude fountain among low rocks. Beyond, a
rough landscape without houses. Signed Jules Breton, 1872.
On canvas 23 lA x 15^ in.
Cazin, Jean-Charles— Paris. Born at Sanier, Pas-de-Calais, France,
1841. Pupil of Lecoq de Boisbaudran. Worked in England,
Italy and Holland 1871-1875. Was some time engaged in the
manufacture of artistic faience in England and France. Salon
medal of first class in 1880 ; E. U. 1889 ; Chev. Legion d'Hon
neur 1882 ; Ofiicier 1889 ; Grand Prix at E U. 1900. Died at
Levandou, in the Department of Var, France, March 27, 1901.
104. Tobias and the angel Comparatively small figures,
with a dog in the right foreground of a strong landscape.
Signed J. C Cazin 1878. On canvas 23 in. x 33^ in.
105. Landscape. A house with red tiled roof in the middle
of a plain covered with a rank growth of matted grass.
Signed J C. Cazin. On canvas 15yi in. x 18# in.

174 The Art Institute of Chicago.
106. Landscape. A bit of road slanting across the left fore
ground, leading to a hamlet at the foot of a hill which rises
toward the right and is continued in that direction to the edge
of the canvas. The same hill has a slope towards the fore
ground on which a string of colored clothes is hanging out to
dry. Heavy sky with spot of white cloud over top of hill.
Signed J. C. Cazin. On canvas 12%" in. x 16>£ in.
107. Landscape. A rough country road occupies the whole
foreground. The left bank starts from the left side of the
canvas near the front and runs back and to the right with the
strongest bearing in the latter direction. Along the edge of
this bank, on the top, is a single rail fence in front of a small
cabin with a red tiled roof. A laboring man is leaning idly
on the fence. In the background a low green hill slopes from
the right to left and front. Over this toward the left, appears
a more distant blue hill. Signed J. C. Cazin. On canvas 24#
in. x 23^, in.
Corot, Jean-Baptiste-Camille. Born and died in Paris, 1796-1875.
Pupil of Michallon and Bertin. Studied alone in Italy several
years. One of the leaders of the Barbizon school. Medals of
Salon 1833, 1848, 1855 ; E. U. 1867. Diploma to memory
of deceased artists 1878. Chev. Legion d'Honneur 1846;
Ofiicier 1867.
108. Landscape. In the foreground a long boat in profile
crossing a stream. Two figures seated in the stern ; man in
the bow rowing ; man in the center poling. The stream runs
back through the middle of the picture, passing a tower on
the end of a short causeway which extends from a pile of
buildings on the right bank, Large trees near foreground on
both banks lean strongly to the left. Signed Corot. On
canvas 36 in. x 52X in.
109. Landscape. Dull green foliage, opening in the middle
on a. bright sky of pale blue marbled with white clouds. The
colors intermingle in reflections from a shallow stream in the
foreground. Figure in boat. Woman on left bank. Signed
Corot. On canvas 13 in. x 21^ in.

Modern Oil Paintings, Field Collection. 175
110. A young lady seated 011 a bank at the left of the picture
facing right and front. Background of sky and foliage.
Head against sky. The lady is apparently leisurely preparing
to bathe in a hidden stream near by. The landscape in this
picture is little more than- a background — well chosen withal
— to the solidly painted, semi-nude figure. Signed Corot.
On canvas 22 in. x 16^ in.
Constable, John— English, 1776-1837. Studied in Royal Academy,
London. Three of his paintings exhibited in the Paris Salon in
1824 received marked attention from the French artists. The
modern French school of landscape painting was materially
influenced by Constable's work.
111. Water in foreground reaching back to a bulkhead in
which is a small waste gate. Man and dog ou bulkhead. Big
trees arching over from sides. Background of dense foliage.
On canvas 28% in. x 36 in.
Daubigny, Charles-Francois, French. Born in Paris, 1817 ; died
there in 1878. Pupil of Delaroche. Spent three years in
Italy. Medals of Salon 1848, 1853, 1855, 1857 (Rappel), 1859
(Rappel). E. U. 1855, 1867. Chev. Legion d'Honneur 1859;
Ofiicier 1874. Diploma to memory of deceased artists 1878.
112. The marsh. Water in foreground. Ducks swimming.
Man in boat among the reeds. Signed Daubigny 1871. On
Wood 13# in. x 22^ in.
113. Landscape. Flat piece of rocky ground broken with
pools of water. Woman and two cows in middle. Rough
houses on right and left. A few small trees in middle dis
tance. No other foliage. On canvas 10^" in. x 15yi in.
Decamps, Alexandre-Gabriel. French. Born in Paris 1803; died
at Fontainebleau 1860. Pupil of A. de Pujol, David and
Ingres, leading classicists ; but he soon became a leader in the
Romantic school, with special prominence in the Oriental
branch. He studied from nature and life in Greece, Con
stantinople and Asia Minor. Medals 1831, 1834. Chev.
Legion d'Honneur 1839; Ofiicier 1851.

176 The Art Institute of Chicag*.
114. Street scene in Naples. A glimpse of the bay is given
through an archway under an old house. A man coming for
ward from the shore has just passed through the archway.
Boat at side of road in foreground. On canvas 19# in. x 15
in. 115. Study of pigs. On canvas 10^ x 13^ in.
Delacroix, Ferdinand- Victor-EUg&ne- French. Born at Charen-
ton 1798; died in Paris 1863. Pupil of GueVin. Salon medals
1824, 1848. Medal of honor, E. U., 1855. Chev. Legion
d'Honneur 1831, Officier 1846 Commandeur 1855. Membre
de l'lnstitut 1857. ' ' Chief of the Romantic school. ' '
116. Wounded lioness drinking. Signed Eug. Delacroix.
On canvas 13^ in. x 22^ in.
117. Tiger. Lying at the foot of a hill. Head to right,
facing front. Signed Eug. Delacroix. Ou canvas 8 in x
15 in.
DttaiUe, Jean-Baptiste-Edouard— Paris. Born in Paris 1848. Pupil
of Meissonier. Medals of Salon 1869, 1870, 1872, 1888 (d'hon
neur); E U. 1889 (Grand Prix), (H. C. 1900). Chev. Legion
d'Honneur 1873; Ofiicier 1881; Commandeur 1897. M. de
l'Inst. 1892.
118. Mounted officer. (Portrait of the Due de Chartres.)
At rest, facing left, inclined to front. Beyond, on the left, a
battery of artillery on the march On the right, other troops
at rest. In the distance, on a hill, seen over the marching
artillery, and watching their movements, is a third body of
troops. Signed Edouard Detaille 1877. On canvas 18j( in. x
15 in.
Diaz de la Pena, Narciso-Virgilio. Born in Bordeaux, 1802, 1807,
1808 or 1809, of Spanish parents ; died at Menton 1876. Pupil
of Sigalon. Salon medals 1844, 1846, 1848. Chev. Legion
d'Honneur 1851. Diploma to memory of deceased artists
1878.

Modern Oil Paintings, Field Collection. ijy
119. Three little girls under a tree. One, seated, holds a
young puppy in her lap, while the old dog, standing in front,
looks up at her. Signed N. Diaz. On wood 15 % in x 10 yi in.
120. Landscape with a central group of twelve or more small
figures, all seated or reclining on the ground, except one or
two. Background of dense foliage, except in the middle,
where the forest is too distant to shut out much of the sky,
which is covered with lurid clouds. On wood 10^ in. x 13)4
in.
Domingo, J. Bom in Spain. Pupil of Meissonier in Paris.
121. Lazy Spain. Man and two donkeys in a courtyard.
Signed J. Domingo 1878. On wood 8% in. x 10^ in.
122. A courtier. The principal figure, hat in hand, comes
forward, inclining to the right. Behind him at the left is a
flight of four steps leading up to a door through which is seen
a man seated at a table, smoking a short pipe. Bending over
him is another man with a pitcher. Signed J. Domingo, Paris
1880. On wood 19% in. x 13 in.
Dupr6, Jules. French. Born in Nantes 1812 ; died at L'Isle
Adam, Seine-et-Oise, 1889. Medal of Salon 1833 ; E. U. 1867.
Chev. Legion d'Honneur 1849; Ofiicier 1870. One of the
leaders of the Barbizon school.
123. Marine. An expanse of sea with four sails, ranging in
a line almost straight from near the foreground on the left of
the middle to the horizon at the right. Threatening sky.
Signed Jules Duprd. On canvas 22 in. x 33^ in.
124. Marine. Similar in tone and motive to 23, but smaller.
Three sails in view — one near the foreground to the left, one
in the middle distance, and the third a black speck on the
horizon. Signed J. D. On canvas 10^ in. x 13^6 in.

178 The Art Institute of Chicago.
125. On the road. The road runs from the foreground
through a cut over a hill or ridge. A team of draught horses
drawing a heavily loaded wagon is about passing over the
summit. Beyond, nothing is visible but blue sky with white
and gray cumulus clouds. Signed Jules Dupre" 1858. On
wood 15^ in. x 20 in.
126. Landscape. Flat country. Pool in right foreground in
front of clump of large trees. Grassy road running back from
left foreground with house on its left in middle distance.
Woman in road near house. Signed Jules Dupre\ On canvas
10% in. x 14 in.
Foituny y Carbo, Mariano. Spanish. Born in Reus, about fifty
miles from Barcelona, 1838; died in Rome 1874. Pupil of
Palau, of Claudio Lorenzalez and of the Barcelona Academy,
where he won the Prix de Rome. Worked chiefly in Rome
and Paris. At the time of his death there was no painter more
admired.127. Small figure of a man leaning against a rusty iron pier.
Face in profile looking intently left. Buff coat, red sleeves,
knee breeches and red hose. Sword by side. Hat in left
hand which rests on hip. On wood 5% in. x 4 in.
Fromentin, EugBne. Born at La Rochelle, France, 1820 ; died
near La Rochelle, 1876. Pupil of Cabat. Made studies in
Algiers between 1842 and 1852. Medals of Salon 1849, 1857
(Rappel), 1859; E. U. 1867. Chev. Legion d'Honneur 1859;
Ofiicier 1869. Diploma to memory of deceased artists 1878.
128. Women of the " Ouled-Nayls," Sahara. Signed Eug.
Fromentin. On canvas 43j^ in. x 28^ in.
Hebert, Antoine-Auguste-Ernest. French. Born in Grenoble 1817.
Pupil of David D'Angers and Paul Delaroche. Prix de Rome
1839. Medals of Salons 1851, 1895 (d'honneur); E. U. 1855,
1867, 1889 (Gr. Prix). Chev. Legion d'Honneur 1853 ; Ofiicier
1867 ; Commandeur 1874. Membre de l'Institut 1874.
129. On guard. Near the entrance to a cave lies a man
(probably a bandit) asleep. In front of the sleeper stands a
woman with a gun. Signed Hebert. On canvas 18^ in x
U)i in.

Modern Oil Paintings, Field Collection. 179
Knaus, Ludwig. Berlin. German. Born in Wiesbaden 1829.
Studied in Dusseldorf Academy, under Sohn and Schadow,
1846-1852 ; afterwards in Paris and Italy. Medals of Paris
Salon 1853, 1857 (Rappel), 1859 (Rappel) ; of E. U. 1855, 1867
(d'honneur). Chev. Legion d'Honneur 1859; Officier 1867.
The foremost genre painter of Germany.
130. The potato harvest. Signed L. Knaus 1889. On wood
33# in. x 47X in.
Millet, Jean-Francois. French. Born at Gruchy near Cherbourg,
1814 ; died at Barbizon 1875. Pupil of Delaroche. Salon
medals 1853, 1864 ; E. U. 1867. Chev Legion d'Honneur 1868.
131. Bringing home the new born calf. Signed J. F. Millet.
On canvas 32 in. x 39 j£ in.
132. Woman feeding chickens. Signed J. F. Millet. On
canvas 18^ in. x 15 in.
Rousseau, Pierre-Etienne-Theodore. French. Born in Paris 1812;
died at Barbizon 1867. Pupil of R£mond and Lethiere. One
of the founders of the Barbizon school. Salon medals 1834,
1849. E. U. medals 1855, 1867 (Gr. Med d'Honneur). Chev.
Legion d'Honneur 1852. Diploma to memory of deceased
artists 1878.
133. Spring. A clearing by the edge of a lake or the bend
of a river. Rocky foreground covered with reddish heath in
bloom. Small figure of a peasant woman leading a cow in
middle distance, coming forward down a narrow footpath.
Signed Th. Rousseau. On wood 16 in. x 22 in.
134. Landscape. Small, swampy stream, spreading over
foreground, but rapidly narrowing as it extends back through
the middle of the view. Woman on right bank at end of
rustic bridge. On left, in middle distance, a microscopic
group of cattle. One tall tree seen over the bridge, with a
clump of smaller ones extending to the right of the view.
Signed Th. Rousseau. On wood 8% in. x 10^ in.

180 The Art Institute of Chicago.

Schreyer, Adolf. German. Born in Frankfort-on-the-Main, 1828.
Pupil of Stadel Institute. Made special study of the horse,
anatomically and in action. Traveled much. Lived in Paris
several years; but in 1870 settled at Kronberg near Frankfort.
Died July 29, 1899. Medals in Paris 1864, 1865, 1867; Brussels
1863; Vienna 1873; Munich 1876.
135. A man with a lance riding through a waste of snow.
Signed Ad. Schreyer. On wood 6)4 in. x 9)4 in.
Troyon, Constant. French landscape and animal painter, 1810-
1865. Born in SSvres; died in Paris. Pupil of Riocreux and
Poupart. Influenced by Roqueplan to study nature. Visited
Holland in 1847 and after 1848 began to introduce cattle into
his landscapes. Medals 1838, 1840, 1846, 1848, 1855. Chev.
Legion d'Honneur 1849.
136. Returning from market. Woman and child on mule, a
flock of sheep pushing forward on both sides. Boy on foot,
behind, in the middle of the flock. A man on horse in the
rear. Strong effect of light from a low sun. Trees with dense
foliage line the road on both sides. Signed C. Troyon. On
canvas 36% in. x 28% in.
137. Pasture in Normandy. Cattle and sheep in front of a
line of seven or eight large poplar trees of fantastic outlines
— apparently neglected remains of a park or garden. A white
cow with brown marks is lying in the sunlight on the right.
Beside her stands a red cow with white markings. On the left
is a flock of sheep beyond which a peasant woman is walking
towards the sea, a glimpse of which is given in the distance.
From Secretan Collection. Signed C. Troyon 1852. On wood
15% in. x 21% in.
138. Small landscape. A line of tall trees running from left
foreground back toward the right. Foliage thin on lower
limbs. Farther back and farther to right is a clump of flour
ishing large trees, near which is a woman with two cows.
Stamped "Fenle Troyon." On canvas 13 in. x 9% in.
139. Unfinished study of sheep. Signed C. T. On canvas
17% in. x 14% in.

Modern Oil Paintings, Field Collection. 181
Van Marcke, Emile. French landscape and animal painter. Pupil
of Troyon. Born in Sevres, 1827, of Flemish parents who
returned to Belgium two years later. Studied with his father
and in Liege academy. Was employed as a painter in the por
celain works of SeVres, where he came under the good influence
of Troyon. Medals of Salon 1867, 1869, 1870; E. U. 1878.
Chev Legion d'Honneur, 1872. Died 1891.
140. Study of a cow. Body almost in profile, with head to
left, inclined front Color red, with belly, hind legs and one
fore-foot white. White star on face. Tied to a post with a
short rope. Signed Em. van Marcke. On canvas 22# in. x
32^ in.
141. The t£te-a-tdte. Two cows (light brown and white)
lying down. Rear view. The heads, however, are turned to
face each other. Signed Em. van Marcke. On canvas 10^"
in. x 15% in.
Bonnat, Leon. Paris. Born in Bayonne, 1833. Pupil of F. Mad-
razo in Madrid and of L. Cogniet in Paris. Salon medals
1861, 1863 (Rappel), 1869 (d'honneur); E. U. 1867 (H. C.
1889). Chev. Legion d'Honneur 1867: Ofiicier 1874; Com
mandeur 1882; Grand-Officier 1897; Grand Commandeur 1900.
Membre de l'lnstitut 1881. Chev. Ordre de Lepold (Belgium)
1881. Hors Concours E. U. 1900.
142. Portrait of Henry Field. Three-quarters length, stand
ing. Painted from a photograph. Signed and dated Ln
Bonnat, 1896. On canvas 52 in. x 35 in. Presented by
Marshall Field.

THE A. A. MUNGER COLLECTION.
BEQUEST OF ALBERT A. MUNGER, 1898.
(All modern oil paintings except Nos. 153, 188, 189.)
Room 40.

Albert Allison Munger, born in Chicago January 23, 1845, was
the only son of Wesley Munger, a pioneer in the grain elevator
business. In 1862 he went with his parents to Europe, remaining
abroad until 1865. The death of his father in 1868 made him
owner of large interests in grain elevators, and large real estate
holdings; and the management of this property was his principal
occupation during fifteen years. In 1890, however, having retired
from active business, he found leisure for his favorite pursuits,
travel and the study of works of art. His collection of paintings,
as then formed, was placed on exhibition in the Art Institute early
in the same year, and left here as a loan until 1898. when, with
additions, it became the property of the Institute by bequest
Most of the painters represented in the collection flourished
in the third quarter of the XIX century. Within that period it
would be difficult to make a collection of its size more broadly
representative. The thirty-eight paintings are judiciously selected
examples of the work of thirty-eight artists: 20 French (of various
schools), 3 German, 2 Austrian, one Hungarian, one Russian, one
Italian, one Swedish, one Scotch, one American, 3 Belgian, 2 mod
ern Dutch and 2 XVII century Dutch.
Mr. Munger was a believer in the refining influence of good
art on people of all classes. His interest in extending this influ
ence, and in other means of public culture was practically and
substantially manifested; and his comparatively early death on the
25th of August, 1898, was a loss to the community, not adequately
realized because his work for the public good was simply and
quietly done. 182

Modern Oil Paintings, Munger Collection. 183
Vibert, Jehan-Georges. Born iii Paris 1840. Died July 1902.
Pupil of Picot and Barrias. Medals of Salon, 1864, 1867, 1868;
E. U. 1878; Chev. Legion d'Honneur 1870; Ofiicier 1882.
153. The trial of Pierrot. (Water color, 15% in. x 24% in.)
Signed J. G. Vibert. (The same scene has been etched by
Vibert.)
Fromentin, Eugene. * See note preceding 128.
154. The combat. Arabs on foot, ambushed behind high
rocks," attacking mounted Arabs. Signed Eug. Fromentin.
On canvas 65 in. x 44 in.
Zimmerman, Ernst. Born in munich 1852. Died there in October
-1901. Son and pupil of Reinhard S. Zimmermann; after
wards a student in the Royal Academy of Munich under
Strahuber, Anschutz and Wilhelm Diez; and finally a teacher
there. Medals at Muuich, Berlin, Bremen, Nuremberg, Chi
cago and Melbourne. Knight of the Order of St. Michael.
155. Needlessly anxious. Physician feeling pulse of child
in mother's lap. Signed E. Zimmerman. On canvas 37 in. x
29 in.
Makovski, Constantin Egorovitch — St. Petersburg. Born in Mos
cow 1839. Studied in the Academies of Moscow and St.
Petersburg. Now member of and professor in latter.
156. Alexandrovna. Bust picture of a young lady in a red
velvet robe. Elliptical frame. On canvas 29% in. x 24% in.
Michetti, Francesco Paolo — FrancaviUa a Mare, near Chieti, Italy.
Born in Chieti about 1852. Pupil at first of Morelli in Naples;
afterwards studied in Paris. Gold medal of E. U. , Paris, 1900.
157. Springtime and Love. Saturnalia of semi-nude chil
dren and youth on a high hill, from which is seen (over the
domes of a city) a great expanse of blue sea. Signed P. Mich
etti '78. On canvas 37% in. x 72% in.

1 84 The Art Institute of Chicago.

Jacquet, Jean-Gustave— Paris. Bom in Paris 1846. Pupil of Eou-
guereau. Salon medals 1868, 1875; E. U. 1878. Chev. Legion
d'Honneur 1879.
158. The queen of the camp. Signed J. Jacquet 1884. 57%
in. x 39% in.
Gerome, Jean-L£on. French painter and sculptor. Bom at Ve-
soul, 1824. Died in Paris, January 10, 1904. Pupil of Paul
Delaroche. Medals of Salon 1847, 1848, 1874 (d'honneur);
E. U. 1855, 1867 (d'honneur). Membre de l'Institut 1865.
Chev. Legion d'Honneur 1855; Ofiicier 1867; Commandeur
1878. See p. 75.
159. The grief of the Pasha. A hall in a Moorish palace. A
dead tiger lying on a carpet between two tall candles, his head
pillowed on roses. The pasha, in a red robe, sits on the carpet
behind the corpse. Signed J. L. Gerome. On canvas 36%
in. x 29 in.

Faed, John. Born at Eurley Mill in Kircudbrightshire, Scotland,
1820. Removed to Edinburgh, 1841. Exhibited several years
in the Royal Academy, London, beginning in 1855, but show
ing only miniatures until 1861, R. S. A, 1851. R. A. Died
Oct. 22, 1902.
160. The young duchess. She stands with back to spectator.
Front view reflected from mirror. Brocade dress in green and
other colors on white ground. Signed J. Faed '70. On can
vas 46 in. x 36 in.

Marcke, Emile van. See note before 140.
161. Cattle in meadow lands. Three cows in foreground in
front of a clump of oak trees. Four on the right in the
middle distance. Others, less distinct, on the left. Signed
Em. van Marcke, On canvas 26% in. x 39% in.

Modern Oil Paintings, Munger Collection. 185
Charlemont, Hugo — Vienna, Born in Znaim, Moravia, 1850. Pu
pil of Lichtenfels in the Vienna Academy, and later, of his
brother Eduard Charlemont and Makart, Medal of E. U.,
Paris, 1900.
162. The royal library. Table filled with old books and man
uscripts in confusion. At the back, a small cabinet, a globe
and a wall map. Signed Hugo Charlemont 1883. On wood
12% in. x 16% in.
Munkacsy, Mihaly. (Properly called Michael Lieb.) Born in
Munk&cs, Hungary, 1846 Studied first under a portrait
painter in Gyula; then in the Vienna Academy; then in Mu
nich under Franz Adam. Removed to Dfisseldorf in 1867.
Settled in Paris in 1872. Died May 1, 1900. Medals of Salon
1870, 1874; E. U. (d'honneur) 1878, (Grand Prix) 1889. Chev.
Legion d'Honneur 1877; Ofiicier 1878; Commandeur 1890.
163. The wrestler's challenge. Interior of a rustic inn, with
several figures. Signed Munk&csy, M. On wood 34% in. x
51% in.
Stevens, Alfred. Born in Brussels 1825. Fupil of Navez in Brus
sels and of Roqueplan in Paris. Medals: Paris Salon 1853;
E. U. 1855, 1867, 1878 (Rappel), 1889 (Grand Prix). Chev,
Legion d'Honneur 1863; Ofiicier 1867; Commandeur 1878.
Grand Prix, E. U. 1900. Died in Paris, Aug. 24, 1906.
164. At the railway station, Lady, with poodle in arms,
waiting for train to seashore. Signed Alfred Stevens. On
wood 26% in, x 19% in.
Wahlberg, Alfred— Paris. Swedish landscape painter. Born in
Stockholm 1834. Pupil of Academy in Dusseldorf and of
Corot and Daubigny in Paris. Medals of Paris Salon 1870.
1872; E. U, 1878, 1900 (gold). Chev. Legion d'Honneur 1874;
Ofiicier 1878.
165. Bright moonlight in Sweden— reflected from stream
and from clouds seen through gap in forest made by the
stream. Signed Alfr. Wahlberg. On canvas 34% in. x 56%
in.

1 86 the Art Lnsiitute of Chicago.

Clays, Paul-Jean-Charles, Brussels. Belgian marine painter, bom
in Bruges 1819. Pupil of Gudin in Paris. Medals of E. U.,
Paris, 1867 and 1878. Chev. Legion d'Honneur 1875; Ofiicier
1881. 166. A summer day in Holland waters. A heavy looking
brigantine with dingy red and white sails hanging loose.
Man rowing out to it from the front. Signed P. J. Clays. On
wood 29% in. x 23% in.
Breton, Jules-Adolphe. See note before 101.
167. By the sea. Peasant woman on high, brown cliff in
foreground. Blue sea below. Hills beyond. Dated Douarne-
nez 1865. On canvas 15% in x 12 in.

Makart, Hans. German history painter, Viennese School. Born
in Salzburg, 1840; died in Vienna 1884. Studied first in the
Vienna Academy, afterwards in the Munich Academy under
Piloty. Visited London, Paris and Italy. Settled in Vienna
1869 on the invitation of the Emperor, who caused a sumptu
ous studio to be prepared for him. Professor in Vienna
Academy from 1879. Gold medals in Vienna 1857, 1882.
Medal of honor in Paris 1878. Chev. Legion d'Honneur 1878;
Ofiicier 1884.
168. Treasures of the sea. Decorative panel with gold back
ground. On canvas 15% in. x 41%.

NeuvUle, Alphonse-Marie de. French battle and genre painter.
Pupil of Picot. Born in Saint-Omer, Pas de Calais, France,
1836; died in Paris 1885. Salon medals 1859, 1861. Chev.
Legion d'Honneur 1873; Ofiicier 1881.
169. The piece in danger. Cavalry charge on battery of
fiield artillery. Signed A. de Neuville. On canvas 47% in. x
32% in.

Modern Oil Paintings, Munger Collection. 187

McEwen, Walter — Paris. American genre painter. Born in Chi
cago. Pupil of Cormon and Robert Fleury in Paris. Medals
in Paris 1889, 1900; Chicago 1893; Antwerp 1894; Berlin 1896;
Munich 1897. Chev. Legion d'Honneur 1896. Gold medal,
L. P. E., St. Louis, 1904. A. N. A.
170. The judgment of Paris. Modern Dutch interior, with
four figures. Signed W. McEwen. On canvas 36% in. x
50% in.
Schreyer, Adolf — See note before 135.
171. Fleeing from the flames. In the foreground a group of
terrified horses rushing forward in confusion. A burning barn
in the middle distance. Signed Ad. Schreyer. On canvas
40% in. x 69% in.

Isabey, Louis- Gabriel -Eug&ne. French landscape and marine
painter. Born in Paris, 1804; died at Ligny, Seine et-Marne,
1886. Son and pupil of Jean-Baptiste Isabey, miniature
painter. In 1830 he accompanied the French expedition to
Algiers as royal marine painter. Medals 1824, 1827, 1855.
Chev. Legion d'Honneur 1832. Ofiicier 1852.
172. The tempest. Sea beating against a lighthouse which
appears nearly black against a blacker sky. Signed E. I. On
wood 23% in. x 16% in.
Max, Gabriel— Munich. German history and genre painter. Born
in Prague 1840. Son of the sculptor, Joseph Max. Pupil of
Engerth in the Prague Academy, 1854-58; then for three
years of Blaas, in the Vienna Academy, and finally of Piloty
in Munich. Gold medals in Berlin and Munich. Hon. Mem
ber of Munich Academy, and professor in its schools 1879-1883.
173. First Sorrow. Bust of a young woman, with head
turned to left.

1 88 The Art Institute of Chicago.
Meissonier, Jean-Louis-Ernest. French history and genre painter.
Born in Lyons 1815 died in Paris 1891. Went to Paris in
1830. Pupil of L£on Cogniet for four months, but mainly
developed by study of the old masters, especially the Dutch.
He first became known as an illustrator of books, but soon
began the series of masterpieces on a small scale which have
made his name famous in every part of the civilized world.
Salon medals 1840, 1841, 1843, 1848. E. U. medals 1855 (Gr.
Med. d'Honneur), 1867 (d'honneur). 1878 (Rappel). Chev.
Legion d'Honneur 1846; Ofiicier 1856; Commandeur 1867;
Grand Ofiicier 1878; Grand Commandeur 1889. Membre de
l'Institut 1861.
174. The vidette A plateau, partly overgrown with low
shrubs Bay horse near front with body in full front view,
but head inclined to right. Rider also looks to right. Signed
Meissonier. On canvas 41% in. x 35% in.

Verboeckhoven, Eugene Josef. Belgian animal and landscape
painter. Born iu Warneton, West Flanders, 1799; died in
Brussels 1881. Son and pupil of the sculptor Barthelemy
Verboeckhoven. Paris medals 1824, 1841, 1855. Chev. Legion
d'Honneur 1845.
175. Sheep on the hillside. Two lambs in front. Sea at the
right, from middle distance to horizon. Signed Eug&ne Ver
boeckhoven ft. 1880. On canvas 43% in. x 35% in.

Bargue, Charles. French genre painter. Born in Paris; died
there in 1883. Pupil of G£r6me. Began his career as a litho
grapher, and was medaled as such in 1867, 1868.
176. The prayer to Allah. The prayer is made by a Moor
in a mosque. He stands barefooted on a small carpet, with
sash full of warlike weapons. On canvas 18% in. x 12% in.

Modern Oil Paintings, Munger Collection. 189

V£ly, Anatole. French history and genre painter. Born iu Rons-
soy, Somme, 1838; died in Paris, 1882. Pupil of Valenciennes
Academy, and, in Paris of Signol and Ecole des Beaux-Arts.
177. Between love and riches. Signed Vely. On canvas
32% in. x 49% in.

Jacque, Charles-Emile. French animal and landscape painter,
engraver and etcher. Born in Paris 1813; died in 1893.
Medals 1861, 1863 (Rappel), 1864, 1889 (E. U. ). Chev. Legion
d'Honneur 1867.
178. Feeding time. Sheep at foot of step-ladder in barn.
Signed ch. Jacque. On wood 12% in. x 9% in.

Bonheur, Marie-Rosa — French animal painter. Born in Bordeaux,
1822; died May 26, 1899. Daughter and pupil of Raymond
Bonheur. Medals of Salon 1845, 1848; E. U. 1855, 1867.
Chev. Legion d'Honneur 1865; Officier 1894.
179. Cattle at rest on hillside. Snowy peak seen through
clouds at distance. Signed Rosa Bonheur 1885. On canvas
21% in. x 26% in.

Koekkoek, Barend Cornelis. Dutch landscape painter. Born in
Middlebnrg 1803; died in Cl&ves 1862. Son snd pupil of
J. H. Koekkoek. Member of Rotterdam and St. Petersburg
academies 1840. Order of the Lion 1840; of Leopold 1842.
Medals in Paris, Amsterdam and the Hague.
180. A gathering storm in Flanders. Hurrying men, women,
children and cattle on a hillside road at the right in shadow
of heavy clouds. Signed B. C. Koekkoek 1852. On wood
28% in. x 40 in.

i go The Art Institute of Chicago.

Corot, Jean-Baptiste-Camille. See note before 108.
181. Just before sunrise. Stream coming from hills in the
distance down to the foreground. Rocky banks. Boat with
two men poling out from among trees on the right. Stream
bright with reflections from clouds. Stamped Vente Corot.
On canvas 36 in. x 52% in.

Verschuur, Wouterous. Dutch animal and landscape painter. Born
in Amsterdam 1812; died in Vorden 1874. Pupil of Pieter
Gerhardus van Os. Member of Academy of Amsterdam 1833,
Rotterdam 1862. Medals at Amsterdam 1831, 1832, 1838; at
The Hague 1858i 1859. Officer of Order of Oaken Crown 1862.
182. A Flemish inn. In the courtyard. Horses of gentle
men just arrived. Loaded wagon and horseman coming in
under archway. Party at a small table with wine. Signed
W. Verschuur. On canvas 31 in. x 47% in.
Troyon, Constant. See note before 136.
183. Pasture by the wood on the road from Honfleur to
Villerville, with fourteen cattle. Signed C. Troyon. On can
vas 32% in. x 52% in.

Courbet, Gustave. French genre, landscape and portrait painter.
A leader of the realists. Born in Ornans, Doubs, France, 1819;
died near Vevey, Switzerland, 1878. Pupil of David d'Angers.
184. An Alpine scene. Signed 74 | G. Courbet. On canvas
23% in x 28% in.

Detaille, Jean-Baptiste-Edouard. See note before 118.
185. The reconnoissance. Soldiers in a village street. Snow
on ground and roofs. Signed IJdouard Detaille 1875. On
canvas 20}^ in. x 28 in.

Modern Oil Paintings, Munger Collection. 191
Bouguereau, WiUiam-Adolphe— Paris. French history and genre
painter. Born in La Rochelle 1825. Pupil of Picot and
F,coie des Beaux-Arts. Prix de Rome 1850. Medals of E. U.
1855, 1867, 1878 (d'honneur); of Salon 1857, 1858 (d'honneur).
Chev. Le"gion d'Honneur 1859; Ofiicier 1876; Grand Ofiicier
1903. Membre de 1'Institut 1876. Hors Coucours, E. U.
1900. President of the SociUe des Artistes Francais. Died
Aug. 20, 1905.
186. The bathers. Two life-size nude female figures on a
lonely beach. Signed W. Bougeaureau 1884. On canvas 79
in. x 50% in.
Roybet, Ferdinand-Victor-Leon — Paris. French figure painter.
Born in Uzts, Gard, 1840 Pupil of Lyons Ecole de Beaux-
Arts. Salon medal 1866; medal d'honneur 1893; Chev. Legion
d'Honneur 1892.
187. The trumpeter. He stands in a strip of sunlight com
ing through the long narrow slit that serves as a window
to a small room in a castle. Rich old-time costume. Signed
F. Roybet. On wood 24 in. x 17% in.
Zorg. Supposed to be the Hendrik Maertenszoon Sorgh, who was
called Rokes. Said to have been born in Rotterdam 1611 or
1621. Pupil of Willem Buytewech. Influenced also by the
works of Brouwer. Worked in Rotterdam.
188. A Dutch interior with seven figures. Signed H. (or F.
C.) Zorg 1661. On wood 16 in. x 21% in. (In room 32.)
See supplement for painting loaned by Martin A. Ryerson .
Croos, Anthony Jans van der. Dutch landscape painter. Born in
1606 or 1607; died in The Hague 1662. Worked ln that city
from 1634 to 1662, with a sojourn in Alkmaar in 1649, Pupil
or follower of Jan van Goyen.
189. Dutch canal with towpath in foreground and on right.
The farther bank of the canal lined with buildings Signature
indistinct. On canvas 8% in x 10 in. (In room 32.)

192 The Art Institute of Chicago.

Merle, Hugues. French genre painter. Born at St. Marcelin,
Isfere, France; died in Paris, 1881. Pupil of L£on Cogniet.
Salon medals 1861, 1863 (Rappel). Chev. Legion d'Honneur
1866. 190. Napoleon at Grenoble. He stands on a hotel balcony
listening to an address delivered by a workingman in the
street. The speaker stands on a leaf of the city gate supported
on the shoulders of several men. Signed Hugues Merle 1857,
On canvas 51% in. x 39 in.

THE NICKERSON COLLECTION.
(See page 143.)
OIL PAINTINGS
Room 42.

Achenbacb, Oswald — Dusseldorf. Born in Dusseldorf 1827. Pupil
of his brother, Andreas. Medals of Paris Salon 1859, 1861.
Rappel 1863. Chev. Legion d'Honneur 1863.
201. Scene on the Campagna, near Rome. Signed Osw.
Achenbach. On canvas 17% in. x 25% in.
Bierstadt, Albert. Born in Diisseldorf 1829. Brought to America
in infancy. Went back to study in Dusseldorf Academy in
1853. Spent winter in Rome and summers sketching in Switz
erland and Germany. Returned to America in 1857. N. A.
1860. Chev. Legion d'Honneur, Paris, 1869. Sent to Europe
in 1867, on a government commission to make studies for a
painting of the discovery of the Hudson river. Died in New
York City, February 18, 1902.
203. San Rafael, California. A mountainous landscape,
Two cows in foreground. No other life. Signed ABierstadt.
On canvas 31% in. x 48% in.
Bonheur, Marie-Rosa. See note before 179.
204. Cow and dog. Background of green foliage. Signed
R. Bonheur. On canvas 19% in. x 25J^ in.
Bouguereau, WiUiam-Adolphe. See note before 186.
205. A girl of Granada. She is breaking the rind of a pom
egranate with her fingers. Signed W. Bouguereau 1875. On

canvas 23% in. x 18% in.

193

1 94 The Art Institute of Chicago.

Bradford, William. American marine painter with specialty of
Arctic scenes. Bom in New Bedford, Mass. Self-taught, but
influenced by Van Beest, whose studio at Fairhaven he shared
for two years. Accompanied several exploring expeditions
towards the North Pole. A. N. A. 1874. Died 1892.
206. Arctic whaler homeward bound. Signed Wm. Brad
ford, N. Y. On canvas 20% in. 30 in.
Bridgman, Frederic Arthur — Paris. Born in Tuskegee, Alabama,
1847. Brought to Brooklyn in boyhood. Employed by Amer
ican Bank Note Engraving Co., New York. Went to Paris in
1866. Pupil of Genome. Medal of Salon 1877; E. U. 1878,
1889, 1900. Silver medal at L. P. E., St. Louis, 1904. Chev.
Legion d'Honneur 1878. S. A. 1880. N. A. 1881.
207. Awaiting his master.* A servant minding two horses at
door of a Moorish house in a narrow street. Signed F. A.
Bridgman 1881. On canvas 16% in x 10% in.
Cabanel, Alexandre. Born in Montpellier, France, 1824; died in
Paris, 1889. Pupil of Picot and Ecole des Beaux-Arts. Prix
de Rome 1845. Medals of Salon 1852, 1855, 1865 (d'honneur)
E. U. 1867. Commandeur Legion d'Honneur 1884. Membre
de l'lnstitut 1863.
208. Ideal head, Oriental. Young woman with jeweled tur
ban. Signed Alex, Cabanel On wood 12% in. x 9% in.
Cazin, Jean-Charles. See note before 104.
209. The isolated haystack. In centre of a varied land
scape Signed J. C. Cazin. On canvas 14% in. x 16% in.
Ceramano, Charles Ferdinand — Paris. Born in Thielt, Belgium.
Pupil of Royal Academy in Antwerp and of C. E. Jacque in
Paris. 210. Sheep in edge of woods. Signed Ceramano. On can
vas 32 in. x 45% in.

Oil Paintings, Nickerson Collection. 195
Church, Frederic Edwin. Born in Hartfordj Conn., May 4, 1826.
Pupil of Thomas Cole at Catskill, New York, where he first
painted. Made sketching tours in South America in 1853 and
1857, and later in other lands. N. A. 1849. Medal of E. U. ,
Paris, 1867. Died in New York, April 7, 1900.
211. Sunset, West Rock, New Haven. Signed F. E. Church,
On canvas 14 in x 19% in.

Clays, Paul-Jean-Charles. See note before 166.
212. River Scheldt, near Antwerp. Water foreground with
large three-masted vessel of mixed rig and red and white sails.
Signed P. J. Clays. On canvas 24% in. x 42% in.

Cole, Thomas. Bom in Bolton le Moor, England, 1801. Profes
sional life passed mainly in New York. Made several visits to
Europe — England, France and Italy. N A. 1826. Died near
Catskill, New York, February 11, 1848.
213. Landscape (ideal?) Mountain scenery. Stream with
rapids runs from right foreground under long rustic bridge in
middle distance. Miniature figures here and there. Sun set
ting behind distant ridge. Indistinct signature with date
1839. On canvas 22% in. x 18% in.

Colman, Samuel — New York. Bom in Portland, Maine, 1833.
Studied in Paris and Spain. N. A. 1862. S. A. A.
214. Autumn landscape. A small grove and four cows
drinking. Towards the left and beyond the cattle three tall
and slender trees. The rest is mainly open country. Signed
Sam Colman. On canvas 12 in. x 22% in.

196 The Art Institute of Chicago.

Coomans, Pierre-Olivier- Joseph. Born in Brussels, 1816. Pupil of
Van Hasselaere in Ghent, and of N. de Kayser and Wappers
in the Royal Academy of Antwerp. Traveled in Algiers, Italy,
Turkey, Greece and the Crimea. On a second visit to Italy in
1857, he was so much attracted by the Pompeiian remains that
his style and choice of subjects were permanently changed.
Died in Boulogne-sur-Mer, 1890.
215. Pompeiian lady. Half length, facing front. General
creamy effect on a background of blue curtain. Signed Joseph
Coomans 1877. On canvas 32% in. x 25% in.
Corot, J.-B.-C. See note before 108.
216. The sentinel. Landscape, with figure indicated on an
eminence in the middle distance. Signed Corot. On canvas
25% in. x 21% in.
Couture, Thomas. Born in Senlis, Oise, France, 1815; died in
Paris, 1879. Portrait and historical painter. Pupil of Gros
and Delaroche. Medals 1844, 1847, 1855. Chev. Legion
d'Honneur 1848.
217. A young woman. Facing left in three-quarters view,
nearly half length. Black hair and eyes. Arms crossed on
breast, holding plain gray robe in place. On canvas 22% in.
x 17% in.
Daubigny, C. F. See note before 112.
218. OntheMarne. Signed Daubigny 187(8?). On wood
15% in. x 26% in.
Davis, Charles H. Born in Amesbury, Mass., 1856. Pupil of Otto
Grundmann in Boston, and of Boulanger and Lefebvre in
Paris. S. A. A., New York. Medals and prizes in New York,
Boston, Paris, Chicago, Buffalo and Philadelphia. Silver
medal at L. P. E., St. Louis, 1904.
219. Twilight. In the distance a line of forest shows dark
against a brilliant sky. Between two clumps of trees in the
middle a flock of sheep is coming forward on a natural road
worn in the turf. Signed C. H. Davis, 1892. On canvas 18%
in. x 26% in.

Oil Paintings, Nickerson Collection. 197
de Haas, Mauritz Frederick Hendrik. Born in Rotterdam 1832.
Pupil of Spoel and Bosboom, and, later, of Louis Meyer at
The Hague. In 1857 appointed artist to the Dutch navy.
Settled in New York in 1858. N. A 1867. Died 1895.
220. Marine. A seaport by moonlight. Steamer coming in.
Signed M. F. H. de Haas. On canvas 16% in. x 14% in.
Delacroix, Ferdinand- Victor-Eugfene. See note before 116.
221. Chess players of Jerusalem. Signed Eug. Delacroix. On
canvas 18% in. x 21% in.
222. Cleopatra. Signed Eug. Delacroix. On canvas 10%
in. x 14 in.
Neuville, Alphonse-Marie de. See note before 169.
223. The outpost. Cavalryman on black horse in three-
quarters front view, inclined to right — apparently at the
entrance to a bridge. Ground covered with snow. Signed
A. de Neuville 1882 On canvas 19% in. x 15% in.
Diaz de la Pena, N.-V. See note before 119.
224. Maternal love. Two women, with two nude children,
on the grass. Background of foliage. Signed N. Diaz, '53.
On canvas 27% in. 20% in.
Dupre, Jules. See note before 123.
225. Evening at Isle Adam. Foreground of water rapidly
narrowing towards the middle distance. Cottage on left;
willows on right; man in boat between. All except shadowed
parts tinted salmon by reflection from the clouds. Signed
Jules Dupr6. On canvas 13% in. x 22 in.
Ernst, Rodolphe — Paris. Born in Vienna. Pupil of Feuerbach.
Medal of E. U., Paris, 1889.
226. Interior of a mosque, with two figures — one seated on
steps reading; the other fixing large hanging lantern. Signed
R. Ernst '85. On wood 24 in. x 19% in.

198 The Art Institute of Chicago.
Leon y Escosura, Ignacio — Paris. Born in Oviedo, Spain, 1834.
Pupil of the Academy in Madrid, and of G£r6me in Paris.
Famous as a painter of garden scenes and interiors with
figures— " pictorial allusions to events and customs of the
XVII and XVIII centuries."
227. Before the departure. Signed Leon y Escosura, 1872.
On wood 11% in. x 19% in.
Frere, Charles-Theodore. Born in Paris 1815. Died 1888. Pupil
of Cogniet and Roqueplan. Medals 1848 and 1865.
228. Sunset on the Nile. Signed Th. Frere. On wood 12%
x 16% in.
Fromentin, Eugfcne. See note before 128.
229. On the Nile, near Philse. Signed Eug. Fromentin 71.
On canvas 24% in. x 43% in.
Gaisser, Prof. Max — Munich. Pupil of Loffz and A. Wagner.
Medal at L. P. E., St. Louis, 1904.
230. In doubt. German interior (XVII century?). Lawyer
arguing with cavalier who seems reluctant to sign a document.
Signed M. Gaisser. On wood 15% in. x 19% in.
Ger6ms, Jean-Leon. See note before 159.
231. Albanian girl. Signed J. L. Gerome. On canvas 17%
in. x 14 in.
Gifford, Sanford Robinson. Born in Greenfield, N. Y., 1823. Died
in New York city 1$80. Pupil of National Academy of De
sign and J. R. Smith, New York. Studied and sketched also
in Paris, Rome, and various other parts of Europe, Syria,
Egypt and the Rocky Mountains. N. A. 1854.
232. Sunset on the lake (Italian scenery?). Signed S. R.
Gifford 1859. On canvas 11% in x 20% in.

Oil Paintings, Nickerson Collection. 199
Griitzner, Eduard — Munich. Born in Gross-Carlowitz, Silesia, in
1846. Pupil of the Munich Academy and Piloty. One of the
most successful of humorous genre painters. Gold medal in
Berlin 1872. Honorable mention of Munich Academy 1885.
233. A puzzled priest. Three men at cards. A priest, not
in the game, is looking over one of the hands. Signed Eduard
Griitzner 1883. On canvas 35 in. x 28 in.
Hart, James M. Born in Kilmarnock, Scotland, 1828. Brought
to America in 1831. Pupil of his brother William and of
Schirmer in Diisseldorf. Commended at Centennial Exhibi
tion in Philadelphia 1876. N. A. 1859. Died in Brooklyn,
N. Y., October, 1901.
234. Oaks in Autumn. Large tree in centre. Cows around
it— some in pool. Signed James M. Hart '88 (or 188*). On
canvas 16 in. x 21% in.
Henner, Jean-Jacques — Born in BernwiUer, Alsace, 1829. Pupil of
Drolling and Picot Prix de Rome 1858 Salon medals 1863,
1865, 1866, 1898 (d'honneur). Gold medal of E. U. 1878.
Commandeur Legion d'Honneur 1898 Membre de l'lnstitut
1889. Grand Prix, E. U., 1900.
235. A branette. Head and bust. Bodice cut low in front
— bright red with purple border. Signed J. J. Henner. On
canvas 18% in. x 12% in.
Inness, George. Born in Newburgh, New York, 1825. Pupil, one
month, of Regis Gignoux in New York City. Visited Europe
several times but remained distinctly an American artist —
generally regarded as the greatest of his time in landscape
painting. N. A. 1868. Died at the Bridge of Allan, Scotland,
August 3, 1894.
236. Landscape — Sunset. Flat country with rough, open
foreground. A few tall trees in the middle, with glimpses be
tween their trunks of a distant village. Signed G. Innes,
1870. On canvas 15 in. x 23% in.

200 The Art Institute of Chicago.

Jacquet, Jean-Gustave. See note before 158.
237. Head and bust of a young woman. A rich color har
mony of reds and browns. Signed G. Jacquet. On wood
13% in. x 10% in.

Jettel, Eugen— Vienna. Born at Janovitz (Johnsdorf?), Moravia,
1845. Pupil of Prof. Albert Zimmermann in the Vienna
Academy. Traveled in France, Italy and Hungary, and
worked some years in Paris. Gold medal in Munich 1869.
Hors Concours at E. U. 1889. Chev. Legion d'Honneur 1889.
Died in Trieste, Sept. 1901.
238. A gray day in Holland. Flat pasture land. Sheep
grazing in foreground at left. Shepherd and dog near centre.
Signed Eugfene Jettel, Paris '88. On wood 14% in. x 24 in.

Klombeck, J. B. — Amsterdam. Pupil of Koekkoek.
239. Landscape with cattle.
Signed f J. B. Klombeck ft. )
(1872)
(. Eugene Verboeckhoven J
On canvas 36% in. x 48% in.

Koekkoek, Parend Cornelis. Born in Middelburg, Holland, 1803;
died in Kleef (Cleves) 1862. Pupil of his father, J. H. Koek
koek. Member of Rotterdam and St. Petersburg academies
1840. Order of the Lion 1840. Order of Leopold 1842. Chev.
Legion d'Honneur. Medals in Paris, Amsterdam and the
Hague.240. On the Rhine. River and city with domes in distance.
Steep'road leads down from foreground on the left. On wood
15% in. x 20 in.

Oil Paintings, Nickerson Collection. 201
Lamoriniere, Jean-Pierre-Francois. Born in Antwerp 1828. Med
als of Paris E. U. 1878, 1889 (gold). Officier Legion d'Hon
neur 1889.
241. View near Antwerp. Steep bank on right down which
a man with fagots on shoulder is descending to a boat in a
little bay. On the farther shore, in the middle distance, be
gins a settlement of mansions among trees. Signed Fcois
Lamoriniere XXI 1870. On wood 20% in. x 31% in.
Max, Gabriel. See note before 173.
242. Inspiration. Head of a young woman with flowing
yellow hair. On canvas 9% in. x 13% in.
Merle, Hugues. See note before 190.
243. The vintage. Children loading donkey with grapes.
Signed H. Merle. On wood 12% in. x 16% in.
Mettling, Louis. Born in Dijon, 1847. Pupil "of School of Fine
Arts in Lyons and of Cabanel in Paris. Mention Honorable
in Salon of 1888 and in E. U. of 1889.
244. A song and a bottle. Man and woman in a dark base
ment. Another woman coming in down steps. Signed Met
tling '73. On wood 12% in. x 16% in.
Michel, Georges. Born in Paris, 1763. Died 1843. Pupil of
Taunay. Michel's pictures, which were little cared for during
his life, are now considered valuable as having played an im
portant part in the war against the Classic school.
245. Old castle. On canvas 20% in. x 29% in.
Miicke, Carl — Dusseldorf. Son of Heinrich Karl Anton Miicke, a
pupil of Schadow, well known as a painter of historical and
religious pictures, including frescoes.
246. The betrothal. Signed Carl Miicke (Df. '73?). On
canvas 30% in. x 26% in.

202 The Art Institute of Chicago.

Pasini, Alberto. Born in Busseto, Italy. Pupil of E. Ciceri, E.
Isabey and T. Rousseau. Genre painter, Orientalist. Medals
of Paris Salon, 1859, 1863, 1864; E. U. in 1878 (d'honneur).
Chev. Legion d'Honneur 1868; Officier 1878. H. C.
247. The messenger. An armed rider, ready to mount,
stands on one side of doorway in Moorish courtyard. Senti
nel opposite. Signed A. Pasini 1884. On canvas 18% in.
x 15 in.
Ribot, Augustin-Theodule. Born at Breteuil, Eure, France, 1823;
died at Colombes, near Paris, 1891. Pupil of Glaize Salon
medals 1864, 1865; E. U. 1878. Ofiicier Legion d'Honneur
1887. 248. The music lesson. Signed t. Ribot. On canvas 22%
in. x 16% in.
Richards, William Trost. Born in Philadelphia 1833. Pupil of
Paul Weber. Went to Europe in 1855 and studied in Florence,
Rome and Paris. Medal of Centennial Exhibition, 1876.
Temple silver medal for best marine painting, Pennsylvania
Academy, 1885. Medal of E. U., Paris, 1889. Died Nov. 18,
1905. 249. The August moon — seen rising from the sea in early
twilight. Signed Wm. T. Richards 89. On canvas 18 in x
31% in.
Rico, Martin. Born in Madrid. Pupil of F. de Madrazo. In 1862
he won the grand prize of the Madrid Academy — a four years'
pension to provide for residence and study in Rome or Paris.
Rico went to Paris where he profited by the advice of Zama-
cois, Meissonier and Daubigny. He afterwards worked much
with Fortuny in Italy. Medals of Paris E. U. 1878, 1889.
Chev. Legion d'Honneur 1878.
250 A canal in Venice. Signed Rico. On canvas 28% in.
x 18% in.

Oil Paintings, Nickerson Collection. 203

Rousseau, Pierre-Etienne-Theodore. See note before 133.
251. An Autumn day. Flat, open country. Clump of trees
in foreground at right, with pond immediately beyond.
Woman on donkey coming forward near trees. On wood 14%
in. x 21 in.
Schreyer, Adolph. See note before 135.
252. Arab scouts. Signed Ad. Schreyer. On canvas 20}£
in. x 33% in.
Spring, Alfons — Munich. Born in Libau, Russia. Mention Hon
orable of Paris E. U. 1889.
253. Not convinced. The picture seems to represent a dis
cussion over a legal document. One old German peasant is
holding out against three others. Signed A. Spring, Mlin-
chen. On wood 22% in. x 29% in.
Alma-Tadema, Laurenz — London. Born in Dronryp, Holland,
1836. Has lived in London since 1870. Studied art in Ant
werp Academy, and afterwards, with Baron Leys. Paris
medals (Salon) 1864, (E. U.) 1867, 1878, 1889, 1900 (Grand
Prix). Ofiicier Le"gion d'Honneur 1878. R. A., London.
254. Peek-a-boo ! An ancient Roman interior, with mother,
child and servant. All things are ready for the child's bath
— except the child, perhaps. On wood 22% in x 15% in.
Van Marcte, ^)mile. See note before 140.
255. A golden Autumn day. A red, a white, and a black
cow coming forward by a bank on which are large trees. The
bank runs from the right foreground back towards the left to
a large farmhouse which carries the diagonal line beyond the
centre of the picture. 8igned Eug. van Marcke. On canvas
32% in. x 22% in.

204 The Art Institute of Chicago.

Vedder, Elihu— American painter living in Rome. Born in New
York 1836. Pupil of T. H. Matteson, Sherbourne, N. Y., and
of Picot, Paris. N. A., 1865. Member S. A. A. 1880.
256. A storm in Umbria. Signed Elihu Vedder, Rome 1875.
On canvas 13 in. x 45 in.

Verschuur, Wouterous. See note before 182.
257. Normandy horses crossing the Meuse at Dinant. Signed
W. Verschuur. On wood 27% in. x 39% in.

Veyrassat, Jules- Jacques. Born in Paris 1825. (Died 1893 or
1894?). Landscape and animal painter. Pupil of Lefman.
Salon medals for engraving 1866, 1869; for painting 1889.
Chev. Legion d'Honneur 1878.
258. Noonday rest. A field with two trees in foreground.
A woman, two men and a donkey resting under the tree. Hay
wagon with two horses on the left of the group. Signed J.
Veyrassat. On wood 9% in. x 13% in.

Vibert, Jehan-Georges. See note before 153.
259. Palm Sunday. Signed J. G. Vibert 1873. On canvas
21% in. x 15% in.

Webb, Charles Meer. Born 1830 near London (or at Breda, Hol
land). Studied in the Academies of Amsterdam, Antwerp
and Diisseldorf. Settled iu Diisseldorf 1848. Died Dec. 11,
1895. 260. The poachers. An officer with a warrant entering a
room surprises three poachers playing cards. A fourth is hid
ing. Signed C. M. Webb 1873. On canvas 25% in. x 33% in.

Oil Paintings, Nickerson Collection, 205

Weeks, Edwin Lord. Born in Boston 1849. Died (in Paris?), No
vember, 1903. Pupil of Bonnat, Ecole des Beaux-Arts, Paris.
Medal of Salon 1889; E. U. (gold) 1889 Chev. Legion
d'Honneur 1896. Has sketched and painted in Cairo, Jerusa-
salem, Damascus, Tangier and India.
261. A Mussulman's tomb, Ahmedabad. Buildings on the
right extending back a considerable distance from the front.
In the open space to the left of the buildings are several
figures, including a mounted man holding a spare horse.
Signed E. L. Weeks, with seal. On canvas 29 in, x 23% in.

Wyant, Alexander H. Born in Port Washington, Ohio, 1836;
died 1892. Pupil of Hans Gude in Carlsruhe, about 1866, and
student of Turner's and Constable's works in London. Settled
•in New York City on his return from Europe. N. A. 1869.
Also member of S. A. A. and American Water Color Society.
262. Edge of the woods. Foreground in deep shadow.
Trees on both sides. The open space in the middle leads into
a glade full of sunshine. Signed A. H. Wyant. On canvas
14% in. x 20 in.

Madrazo, Raimundo de — Paris. Born in Rome 1841. Pupil and
son of Federico de Madrazo, a Spaniard, who died in 1894, at
the head of the Madrid Academy. Studied also under Leon
Cogniet in Paris. Medals of E. U., Paris, 1878 (first class),
1889 (gold). Chev. Legion d'Honneur 1878. Ofiicier 1889.
Hors Concours.
263. Portrait of Mrs. Nickerson, nearly half length, facing
nearly front. Plain black bodice with square cut front filled
in with lace. Signed R. Madrazo 1901. On canvas 30 in. x
24 in. Presented by Mr. and Mrs. Samuel M. Nickerson,
1901.

206 The Art Institute qf Chicago.
Ferraris, Arthur — Paris. Born in Vienna. PupU of Aigner
G6r6me and Jules Lefebvre. Mention Honorable at Paris
Salon 1889.
264. Portrait of Mr. Nickerson. Half length. Three-
quarters view from left. Iron gray hair, mustache and beard.
Black coat and vest. Signed Ferraris 1901. On canvas 30 in.
x 24 in. Presented by Mr. and Mrs. Samuel M. Nickerson,
1901.
Keal, David— Munich Born in Lowell, Mass , 1837. Worked
first as a wood engraver, but went to Munich in 1861 and
entered the Royal Academy. Pupil of his father-in-law, Chev.
Ainmliller 1862, and of Piloty 1869-1876.
265. Interior of St. Mark's Venice. Signed David Neal,
Munchen 1869. On canvas 72% in. x 58% in. Presented by
S. M. Nickerson, 1887.

MODERN OIL PAINTINGS.
NOT IN COIAECTIONS.
Rooms i6, 39.
AMERICAN.
(See also Nos. 170, 203, 206, 207, 211, 213, 214, 219, 220, 232, 234,
236, 249, 256, 261, 262, 265, and note at end of this section. )

Bigelow, Folger Allen. Born and died in Chicago. 1868-1891.
284. In the old garden. On canvas 15 x 10 in. Presented by
Mrs. D. F. Bigelow, 1892.
Bridgman, Frederic Arthur. See note before 207.
285. Women in Biskra weaving the burnoose. On canvas
48% x 63 in. Gift ofthe artist, 1890.

Chase, William Merritt — New York. Born in Franklin county,
Indiana, 1849. Pupil of Wagner and Piloty in Munich.
Medal of Centennial Exhibition, Philadelphia, 1876. Medals
of Exp. Univ , Paris, 1889 (silver), 1900 (gold). Member of
Soc. American Artists 1876; American Water Color Soc.
Munich Secession.- N. A. 1890. Member of International
Jury of Awards, L. P. E., St. Louis, 1904.
288. Alice. Full length portrait of a young girl in short
white dress stepping forward and to left, and holding a pink
ribbon around her shoulders with ends floating back. Signed
Wm. M. Chase. On canvas 68% by 49% in. Presented by
Ernest A. Hamill, 1893. (Room 39.) "
207

208 The Art Institute qf Chicago.

Dannat, WUliam T.— Paris. Bom in New York 1853. PupU of
Munich Academy and Munkacsy. Medal of Paris Salon 1893.
Chev. Legion d'Honneur 1889. Ofiicier 1897.
289. In a sacristy in Aragon. A stout priest dozing. Signed
W. T. Dannat. On canvas 53% x 56% in. Gift of the Opera
Festival Association, 1887. (Room 39.)
280. Study of an Aragonese smuggler. Pouring water into
his mouth from a jar held with both hands above his head.
Signed W. T. Dannat. On canvas 32 x 23% in. Gift of ihe
artist, 1881.
291. StiU life : pears and tomatoes. Signed W. T. Dannat,
1882. On canvas 16% x 26 in. Gift of the Opera Festival
Association, 1889.

Davis, Charles H. See note before 219.
292. Close of the day. Rough open ground with two trees and
a barn or house in middle distance. Signed C. H. Davis 1889.
On canvas 17% x 26 in. Presented by the Opera Festival
Association, 1889. (Room 39.)

Dyer, Charles Gifford. Born in Chicago, 1846. Studied in Munich
at Royal Academy and under David Neal.
295. A XVII century interior. Still life. Signed Charles G.
Dyer, Munich, 1877. On canvas 37 x 28 in. Gift of Estate
of Henry W. King, 1902. (Room 16.)

Elliott, Charles Loring. Born in Scipio, New York, 1812. Died
in Albany, 1868. Pupil of John Trumbull.
297. Portraitof H.W. Hewitt. Head and unfinished bust On
canvBs 21% x 27 in. Purchased from Stickney Bequest, 1902.

Modern Oil Paintings, American. 209
Freer, Frederick Warren — Chicago. Born in Chicago, 1849. Pupil
of Royal Academy, Munich. A. N. A., S. A. A., etc. Medal
of World's Columbian Exposition, 1893. Bronze medal, Pan-
American Exposition, 1901; L. P. E., St. Louis, 1904.
298. Portrait of Charles W. Fullerton, founder of Fullerton
Memorial HaU, in the Art Institute. Half length figure seated,
reading. Painted in 1901. On canvas 52 x 41% in. Pre
sented by Miss Martha Hill, 1901. (Room 18.)
Grayson, Clifford Prevost — Philadelphia. Born in PhUadelphia
1858. Pupil of the Pennsylvania Academy of the Fine Arts
and of Ger6me. American Art Asso. prize of 82,000, 18S6.
Temple Gold Medal, P. A. F. A., 1887.
300. Rainy day in Pont Aven, 1882. On canvas 44 x 64% in.
Present, d by Mrs. CJ. Singer, 1896.
Harrison, L. Birge — New York. Born in PhUadelphia 1854. Pu
pU of Carolus-Duran and Cabanel in Paris. Salon picture
of 1881 purchased by the French government and placed in
National Art Museum, MarseUles. SUver medal E. U. 1880.
Hors Concours Paris Salon. Medal W. C. E., Chicago 1893;
P. A. Buffalo, 1901. SUver medal L. P. E., St. Louis, 1904.
S. A. A. 1882.
301. October in France. Foreground of green grazing land,
Brown thicket on left, spreading regularly toward the right as
it recedes from the front. Flock of sheep in distance in front
of house or barn. Signed Birge Harrison 1887. On canvas
23 x 28% in. Purchased from the artist in 1898.
Harrison, Thomas Alexander — Paris. Born in PhUadelphia 1853.
PupU of Pennsylvania Academy of the Fine Arts, and, in Paris ,
of Ecole des Beaux-Arts, Bastien-Lepage and Gerome. Temple
SUver Medal, P. A. F. A., 1887, and Gold Medal of Honor
from same academy in 1894. Gold Medal of E. U., Paris, 1889.
Medals of honor in Brussels and Ghent 1892. Chev. Legion

2 10 The Art Institute of Chicago.
d'Honneur, Paris, 1889. Officer of Public Instruction, France.
A. N. A., New York, 1898. S. A. A. 1885. Member of other
societies in Paris and London and corresponding member of
the secessionist societies of Berlin and Munich.
302. Les amateurs. Boy and girl fishing from boat among
water lilies, Signed Alex Harrison. Painted in France 1882
or 1883. On canvas 57% x 91 in. Purchased from the artist
by subscription and presented to the Art Institute in 1883.

Hart, William. Born in Scotland 1822. Brought to America 1831.
Employed as a coach decorator in Albany. Opened studio in
New York City in 1853. N. A. 1858. President of American
Water Color Society 1870-1873. Died 1894.
304. Landscape with cattle. Two cows and a calf on high
foreground. Tall trees beyond the cows on the left. Marsh
and meadow land at the right and in the distance. Signed
Wm. Hart 1884. On canvas 36 x 29 in. Bequest of Catherine
M. White, 1899. (Room 39.)

Healy, George Peter Alexander. Born in Boston, 1813. Pupil of
Baron Gros and Couture. Studied and worked in Paris.
Medal of Salon 1840; of E. U. 1855. Made frequent profes
sional visits to the United States, but always returned to
France until he settled in Chicago in 1855. Revisited Europe
in 1869, remaining until 1892. Died in Chicago, 1894.

306. Armenian fathers. The two priests represented are
nearly or quite, life size. One is seated, at the right, with a
large open book on his knee. The other stands farther back
and to the left, and leans over to look at the book. Both have
long gray beards and wear black robes with red lining. On
canvas 54x40 in. (Room 39.)

Modern Oil Paintings, American. 211
Hitchcock, George — Egmond Hoef, Holland. American painter
born in Providence, Rhode Island, 1850. Pupil of Boulanger
and Lefebvre in Paris, and Mesdag, at the Hague. Medals in
New York (1887), Paris E. U. (1899, 1900), Chicago W. C. E.,
(18931, Berlin (1896), Dresden (1897), Vienna (1898, 1903).
Member of the Munich Secession.
307. Flower girl in Holland. She has stopped before a
house in the foreground at the left. All beyond is marsh
meadow land with road through. On canvas 31x 58% in.
Presented by Potter Palmer, 1888. (Room 39.)
Johnson, Eastman. Born in Lovell, Maine, 1824. Studied in Diis
seldorf 1849-1851, and afterwards in Italy, France and HoUand.
SUver medal, E. U., Paris, 1900; gold, P.-A., Buffalo, 1901;
gold, L. P. E., St. Louis, 1904. N. A. 1860; S. A. A. 1881.
Died at his home in New York, April 5, 1906.
310. Portrait of the artist inscribed to G. P. A. Healy, May,
1889. Head. On canvas 18 x 14 inches. Bequest of Mrs.
G.P.A. Healy.
McEwen, Walter. See 170.
312. Lady in a white satin gown, Empire style. Full length
standing with back to spectator. Face reflected from mirror.
On canvas, 74% x 33% in. Presented by Mrs. C. J. Singer,
1903. (Room 16.)
Melchers, Julius Gari — Paris. Born in Detroit, Michigan. Pupil
of Lefebvre and Boulanger, Paris. M. H., Paris Salon 1886;
Medal 1888; Grand Prix, E. U. 1889. Chev. Legion d'Hon
neur 1896. First Class medal in Amsterdam 1887; in Munich
1888; in Vienna 1898. Gold medals in PhUadelphia 1892,
1896 Medals of Honor in Berlin (1891) and Antwerp (1894).
First prize, Art Institute of Chicago, 1891. Gold medal,
L. P. E-, St. Louis, 1904. Member of International Jury of
Award, Chicago, 1893. Member of Society of American Art
ists, New York, 1886; of the Socigte" Nationale des Beaux- Arts

212 The Art Institute of Chicago.

Paris, and of the Secession, Munich (Corresp.); Knight of
the order of St. Michael, Bavaria. Represented in the Luxem
bourg gallery.
313. Portrait of Charles Lawrence Hutchinson, President of
the Art Institute. Three-quarters length, seated, facing left,
holding print on lap. Face nearly in profile Background of
dark brown wainscot, with plain wall of lighter shade above.
On the cornice of the wainscot are three small pieces of an
tique bric-a-brac. Painted 1902. On canvas 40 x 39 in. Pre
sented by friends of the Art Institute, 1902: Edward £.
Ayer, Adolphus C. Bartlett, A. G. Becker, John C. Black,
Chauncey J. Blah , Clarence Buckingham, Edward B. Butler,
Charles Counselman, John H. Dwight, E. G. Foreman, W. A.
Fuller, J. J. Glessner, Ernest A. Hamill, C. H. McCormick,
John J. Mitchell, Martin A. Ryerson, Byron L. Smith, Albert
A. Sprague, Charles A. Wacker, W. B. Walker.
Nourse, Elizabeth — Paris. Born in Cincinnati 1859. Pupil of Art
Academy of that city and of Lefebvre, Henner and Carolus-
Duran in Paris. Medals— in Chicago 1893, Tunis 1897, Nash
ville 1897, E. U., Paris, 1900, L. P. E., St. Louis, 1904.
316. Mother and children. The original title of this picture,
painted in France, was "Le Gouter," for France — "Evening,"
for America. The mother is feeding an infant with a spoon,
while a small child, standing by the table, drains the last drops
from a large bowl tipped up to her mouth and nearly covering
her face. The group is lighted from a lantern on the table.
Signed E. Nourse '93. On canvas 46% x 30% in. Presented
-by Mrs. Charles E. Culver, 1897.
Pearce, Charles Sprague — Paris and Auvers-sur-Oise (Seine-et-
Oise) France. Born in Boston 1851. Pupil of L6on Bonnat,
Paris. Medal of Paris Salon 1883. Gold medals in Boston,
Philadelphia, San Francisco, Ghent, Munich. Diploma of
Honor, Berlin. Chev. Legion d'Honneur 1894; of Order of

Modern Oil Paintings, American. 213
Leopold (Belgium); Order of Red Eagle (Prussia); Order of
Dannebrog (Denmark 1899). Member S. A. A., New York,
1886. 320. The beheading of John the Baptist. Signed Charles
Sprague Pearce, Paris, 1881. On canvas 99% x 68% in.
Ream, Cadurcis Plantagenet — Chicago. Born in Ohio. Studied
in Paris and Munich.
321. Purple Plums. Signed C. P. Ream. On canvas 16 x
22 in. Bequest of Catherine M. White. (Room 39.)
Redfield, Edward Willis — Centre Bridge, Pa. Born in Bridgeville,
Del., 1869. Pupil of P. A. F. A. in Philadelphia, and of Bou
guereau and Fleury in Paris. Medals at E. U., Paris, 1900,
and P. A , Buffalo. 1901. Temple Gold Medal, P A. F. A.,
1903. Silver Medal, L P. E., St. Louis, 1904. Webb Prize,
S. A. A., 1906. Member S. A. A. 1903. A. N. A. 1905.
323. Centre Bridge. A winter landscape. On canvas 36 x
50 in. Signed E. W. Redfield. Purchased 1905.
Shaw, Annie Cornelia. Born in West Troy, New York, 1852.
Died in Chicago 1887. Pupil of H. C. Ford, Chicago.
328. The russet year. Painted 1885. Purchased in 1894.
Part of the purchase money received from the Opera Festival
Association.
Shirlaw, Walter— New York. Born in Paisley, Scotland, 1837.
Pupil of Munich Royal Academy and Raab, Wagner, Ramberg
and Lindenschmidt. Medals of Royal Academy, Munich;
Centennial Exhibition, Philadelphia, 1876; E. U., Paris, 1889.
Lotus Club Fund Prize, N A. D. 1895. Silver medal, L. P E.,
St. Louis, 1904. Member American Water Color Society.
N. A. 1888; S. A. A. 1905.
329. An Italian boy. A proletaire— full length side view —
seated on a broad stone as on the floor. On canvas 34% x
42% in. Gift of Mrs. Cyrus H. McCormick.
330. Portrait of the artist. Signed W. Shirlaw 1878. On
canvas 27% x 21% in. Gift of Joseph M. Rogers, 1887.

214 The Art Institute of Chicago.
Wendt, WiUiam — Chicago. Bom in Germany 1865. Second
Yerkes Prize, C. S. A. , 1903, Young Fortnightly Prize, A. I. C. ,
1897. Medals, P. A., Buffalo, 1901; L. P. E., St. Louis, 1904.
Cahn Prize, A. I. C, 1904.
340. Montecito. RoUing foreground, with grove of tall,
slender trees at right, and scattering trees of same kind at left.
Blue mountains streaked with gray clouds, extending back
and up from middle distance. Sky of cumulus clouds, rich in
color. Signed Wm. Wendt, 1904. On canvas 60 x 75 j£ in.
Presented by Dr. Ochsner, Mrs. Margaret Cook of Elgin,
J. N. Eisendrath, Dr. Allport, Mrs. T. A. Shaw, Miss Bertha
Rudolph and Mrs. Pauline Dohn Rudolph.
West, Benjamin. Born in Springfield township, Delaware county,
Pennsylvania, 1738. His family belonged to the ' ' Society of
Friends" (Quakers). His early studies in art were made
under great disadvantages; but in spite of that and of family
opposition, he established himself as a portrait painter in Phil
adelphia between 1753 and 1756, continued until 1758; then in
New York until 1760, then in Italy about three years and
finally settled in England. He was one of the original mem
bers of the Royal Academy, and succeeded Sir Joshua Rey
nolds as its president iu 1792. Died in 1820.
342. Troilus and Cressida. On wood 13% x 16% in. Pre
sented by William O. Cole. (Room 39. )

Whistler, James Abbott McNeil. Painter and etcher. Born in
Lowell, Mass., 1834. Pupil for two years of Gleyre, in Paris.
Settled in London in 1863. Removed to Paris about 1893.
Died in London July 18, 1903. Medal of Paris Salon 1883;
E. U. 1889 (gold). Temple gold medal, Philadelphia, 1894.
Medal of honor for painting and engraving, E. U., Paris,

Modern Oil Paintings, American. 215

1900. Chev. Legion d'Honneur 1889; Ofiicier 1891. Hon.
member St. Luke's Academy, Rome, and of Royal Academy,
Munich. 343. Nocturne, Southampton water. On canvas 20 x 30 in.
Purchased from Stickney Bequest 1900. (Room 39. )
Note: See supplement for paintings loaned by Chicago Tribune,
Mrs. J. H. Dole. Mrs. J. H. Dwight, Mrs. Mary Bacon Ford, Gates Estate,
Mrs. H. N. Hibbard, H. S. Hubbell, Mrs. A. P. MacArthur, Cyrus H. Mc
cormick, Mrs. J. H. Moore, Municipal Art league, Mrs. F. A. Noble,
Martin A. Ryerson, P. E. Stanley.
See also references at head of this section.

MODERN PAINTINGS,
BRITISH.
(See also 111, 160, 254, and note at end of this section. )

Brangwyn, Frank — London. Born in Bruges of English parents.
Medal of Paris Salon 1891; E. U. 1900 (sUver). Member of
Soci^te" Nationale des Beaux-Arts, Paris, and of the Secession,
Munich. A. R. A. 1904.
345. Pilots, Puerto de los Pasajes — North Coast of .Spain,
near the French boundary line. Five roughly clad men in wide
veranda of a public house overlooking a Uttle harbor sur
rounded by large irregular houses. The men are seen against
a strong light, themselves in shadow. Signed Frank Brang
wyn. On canvas 40 x 50 in. Purchased from Stickney Be
quest, 1902. (Room 39.)

Forbes, James. Born in Scotland about 1800. Exhibited paintings
in R. S. A., 1852 and 1854, while Uving in Peterhead. Resided
in Chicago about 1860 to 1870.
348. Portrait of Alexander N. FuUerton ( father of the
donor). Three-quarters length. Seated in arm chair with
red cushioned back, facing left and front. Small green cov
ered table at left, with inkstand and papers. FuU, light
colored mustache and short beard. Painted about 1865. On
canvas 52% x 39% in. In FuUerton Memorial HaU. Pre
sented by Charles W. Fullerton. (Room 18.)
216

Modern Paintings, British. 217
Jackson, (Possibly John Jackson, born at Lastingham, N. R. York
shire, England, May 31, 1778. A. R. A. 1816; R. A. 1818.
Died June 1, 1831.)
351. Portrait of self. Bust. On canvas 30 x 24% in. Be'
quest of Mrs. G. P. A. Healy, 1903.
352. Portrait of an English gentleman. Bust. On canvas
30 x 24% in. Bequest oJ Mrs. G.P.A. Healy, 1903.
Thompson, Harry. Born in London. Resided during the latter
part of his life in Puteaux, near Paris. Died Aug. 30, 1901.
PupU of C. F. Marchal and Charles Bussoa, Paris. Medal of
Salon 1884; E. U. 1889.
358. Landscape with sheep, in Picardy. Signed h. Thomp
son. On canvas 32% in. x 46% in. Presented by Mis. James
H.Dole. (Room 16.)
362. Un Calvaire. A crucifix set up by a brown hiUside on
the left of the view in rough grazing land. A flock of sheep
and a shepherd, coming forward, keep near the crucifix in
passing. Signed h. Thompson. On canvas 79 x 118 !£ in.
Purchased by subscription and presented to the Art Institute
in 1SS4. Note : See supplement for paintings loaned by Mrs. W. A. Conover,
Mrs Dole. Mrs. Marshall Field, Jr., Sir Christopher Furness, Mrs Mary
McCabe, Cyrus H. McCormick, Mrs. S. F. Sater, P. A. Valentine.
See also references at head of this section.

MODERN PAINTINGS.
CONTINENTAL EUROPEAN.
(See also Nos. 101-110, 112-142, 153-159, 161-169, 171-190, 201, 204,
205, 208-210, 212, 215-218, 221-231, 233, 235, 237-248, 250-253,
255, 257-260, 263, 264.)

Andreotti, F. Born in Florence, 1847. Worked in Florence and
Rome. Lived in Chicago in 1893.
366. The old story. On canvas 18 x 14% in. Beque t of
D. W. Irwin, 1894.
Breton, Jules-Adolphe. See note before 101.
371. The shepherd's star. Twilight. Sky stUl tinged with
red. Peasant girl coming forward in dusky field with sickle
in belt and full sack on head. Above her head is a faint, slen
der crescent moon, and to the right a pale star. Signed Jules
Breton, '87. On canvas 39% x 30 in. Presented by Philip D.
Armour. (Room 39.)
Cazin, Jean-Charles. See note before 104.
376. Solitude. A field partly plowed in the foreground.
The furrows run down rapidly from the front to a group of
farm buildings in the middle distance, whence there is a more
abrupt upward slope towards the distance. Bit of dense for
est on hill behind houses on the right. Signed J. C. Cazin.
On canvas 23% x 29 in. Presented by John S. Norton, 1891.
(Room 39.)
Col, Jean-David. Belgian genre-painter. Born in Antwerp 1882.
Pupil of De Keyser and the Antwerp Academy. Medal at
Vienna, 1873. Chev. Order of Leopold.
380. A wrangle over cards in a tavern. Signed David
Col, 1874. On wood, 21% x 30% in. Presented by John
Cudahy, 1889. (Room 39.) 218

Modern Paintings, Continental European. 219
Fantin-Latour, Henri. Bom in Grenoble, France. Medal of Sa
lon, 2nd class, 1875. H. C. at E. U., 1900. O. L. H. 1900.
390. Portrait of Edouard Manet. Three-quarters length,
standing, facing left and front. One gloved hand holds the
glove of the other hand. Both hands hold a cane in a hori
zontal position. Full sandy beard. Black silk hat. Black
sack coat and vest. Blue necktie. Light gray trousers. Plain
background of brownish gray. Inscribed "& mon ami Manet,
Fantin, 1867." On canvas 46 x 35% in. Purchased from
Stickney Bequest, 1904. (Room 39.)
Jettel, Eugen. See note before 238.
406. Marshes in the north of Holland. Signed Eug&ne Jet
tel, Paris 1883. On canvas 33% x 47% in. Presented by
P. C. Han ford, 1890. (Room 39. )
Maufra, Maxime — Paris. Born in Nantes, France.
416. Douarnenez, la ville £claire"e. Seen across a bay on
which are five brown-sailed luggers sailing to the right.
Signed Maufra '97. On canvas 28% x 23 in. Presented by
Durand-Ruel, 1906.
Moret, Henry— French.
419. La barre de Belon, Finistere. Foreground of grassy
banks overlooking a bay into which two peninsulas extend
from the right. One brown-sailed lugger. Signed Henry Mo
ret '97. On canvas 29 x 36 in. Presented by Durand-Ruel,
1906.
Monet, Claude— Giverny, France. Born in Paris 1840. Pupil of
Gleyre. Leading impressionist.
420. Bad weather, Pourville, near Dieppe. Signed Claude
Monet, 96. On canvas 25% x 39)£ in. Purchased from Stick
ney Bequest, 1903. (Room 39. )

The Art Institute of Chicago.

Mettling, Louis. See note before 244.
421. The water-carrier. A full length figure of life size.
Signed L Mettling '82. On canvas 82% x 53% in. Pre
sented by O. W. Meysenburg, 1898.
Robert, Hubert. Born in Paris 1733; died there 1808. Went to
Italy when quite young and became a pupil of Pannini.
Spent twelve years in Rome. Member of Academy 1766.
Appointed custodian of the Louvre by the Directory.
425. The obelisk. On canvas 100 x 92 in. Signed H.
Robert 1787. Presented by Clarence Buckingham, 1901.
( Room 35. )
426. The landing place. On canvas 100 x 92 in. Signed
H. Robert 1788. Presented by R. T. Crane, 1901. (Room
35.)427. The fountains. On canvas 100 x 92 in. Presented
by William G. Hibbard, 1901. (Room 35.)
428. The old temple. On canvas 100 x 92 in. Presented
by A. C. Bartlett, 1901. (Room 35,)
Roybet, F. V. L. See note before 187.
430. The astronomer. Standing, front face, with right hand
on globe Black, broad-brim hat, and large turn-down ruff.
In front of the globe is a quill pen in an ink bottle on a manu
script. On wood, 31f by 21^. Presented by the heirs of
Edward A. Driver, 1903. (Room 39.)
Simon, Lucien. Born in Paris. M. H. at Salon 1885: medal, 3d
class, 1890; gold, E. U.,' 1900. Chev. L H., 1900. Medal,
1st class, of Munich International Art Exp., 1901.
434. Mass in Brittany. Rustic church interior, packed with
peasants standing. Signed Simon. On canvas 66 x 83 in.
Purchased 1905. (Room 39. )

Modern Paintings, Continental European. 221

Zorn, Anders L. — Mora, Sweden. Born in Mora. Pupil of Aca
demy of Fine Arts in Stockholm. Medal of Paris Salon 1889;
E. U. 1889 (gold). Grand Prix at E. U. 1900. Commissioner
for Sweden at W. C. E., Chicago, 1893; Grand Prize L. P. E.,
St, Louis, 1904.
444. Portrait of a lady (the late Mrs. John Y. Scammon).
Signed Zom 1895. Ou canvas 32 x 25f in. Bequest of Mrs.
Scammon, 1901. (Room 39.)
NorE: See Supplement for paintings loaned by Mrs. F. C. Austin.
A. M. Bamhart, C. C. Crabb, Miss Margaret C. Emerson, Mrs. Marshall
Field, Jr., Samuel Gans, J. S. Harlan, Mrs. H. N. Hibbard, Mrs. H. L.
Hollis, Mrs. Sarah J. Howard, Mrs. A. F. McArthur. W, A. Mariner;
Cyrus H. McCormick, R. Hall McCormick, W. B Ogden, J. W. Paltison,
See also references at head of this section.

WATER COLORS AND PASTELS.
THE NICKERSON COLLECTION.
(See pages 143, 193, 245.)
Room 44.

Apol, Lodewijk Franciscus Hendrik (Louis Apol). The Hague,
Holland. Born in The Hague 1850. Pupil of Hoppenbrou-
wers and Stortenbeker. Medal of Paris E. U. 1889. Silver
medal, L. P. E. , St. Louis, 1904.
451. TwUight. A desolate plain with winding road from
front at extreme left. Cart coming forward on road. Solitary
tree in middle distance. Signed Louis Apol. 11J x 20f in.
Artz, David Adolphe Constant. Born in the Hague, Holland 1837;
died there 1890. PupU of the Amsterdam Academy under
Engenberger and Royer, and of Israels. Lived and worked in
Paris from 1868-1874. Hors Concours at E. U. 1889.
452. Waiting. A woman sitting alone on the shore and
looking out to sea. Signed Artz. 18 x 13 in.
Blommers, Bernardus Johannes — The Hague, Holland. Born in
The Hague, 1845. Pupil of Chr. Bisschop. Gold medal of
Paris E. U. 1900.
453. Sewing. A woman working alone at a table in a room
lighted by a window beyond. Signed Blommers. 14 x 18 in.
Fles, Miss Etha. Pupil of Anton Mauve.
454. Winter evening. Edge of a vUlage. Signed Etha
Fles. 7% x 13% in.

Water Colors and Pastels, Nickerson Collection. 223
Gabriel, Paul-Joseph- Constantin — Scheveningen, Holland. Bora
in Amsterdam 1828. Studied in Amsterdam Academy and the
museum of Haarlem. Worked in Brussels. Medals in Utrecht
1866, Liege 1871, Philadelphia 1876, Munich (diploma of
honor) 1879, Amsterdam (medal, of honor) 1882, Nice 1883,
Amsterdam (grand gold medal) 1895, Barcelona 1898, Paris
E U. 1889, 1900.
455. A windmill in Holland. Seen across still water. Signed
Gabriel f . 9% x 22^ in.
Jacque, Charles-Eniile. See note before 178.
456. Shepherdess and sheep. Background of trees on the
right. Extended view over greater part of the left. Signed
ch. Jacque. ( Pastel . ) 20| x 36 J in .
Lhermitte, Leon - Augustin — Paris, Born at Mont Saint-P£re
(Aisne), France. Pupil of Lecoq de Boisbaudran. Salon
medals 1874, 1880. E. U. Grand Prix 1889. Hors Concours
1900. Ofiicier Legion d'Honneur 1894.
457. An interior in Normandy. Woman washing, in front
of wide window. Girl looking at her. Two smaller children,
to the right, watching a man (mending a shoe?). Signed
L. Lhermitte (Pastel.) Ilf x 16 in.
Maris, Willem— The Hague, Holland. Born in the Hague 1844.
Brother and pupil of Jakob and Mathijs Maris. Silver medal
of Paris E. U. 1889. Hors Concours 1900. Gold medal of
Honor, L. P. E , St. Louis, 1904.
458. A farm in Holland. Cattle at pasture in marshland.
15J x 20J in.
Meulen, Francois Pieter ter — The Hague. Born in Bodegraven.
Pupil of J. van de Sande Bakhuijsen. Silver medal, Amster
dam 1886. Gold medals, Munich 1891, 1892.
459. A close packed flock of sheep in foreground moving
from left to right in front of a thin line of trees. Extended
open country beyond. Signed ter Meulen. 13 x 27J in,

224 The A rt Institute qf Chicago .

Neuhuys, Jozef. Bora in Utrecht, Holland, 1841. Died in the
Hague 1890.
460. Landscape with windmills, Holland. Signed Jozef
Neuhuys. 8\ x 12$ in.
Poggenbeek, George — Amsterdam, Holland. Born in Amsterdam
in 1853. Medal in Amsterdam 1883; at Paris E. U. 1889.
461. Cows on the highway. They are coming forward
through an avenue of trees. The trees on the right are all
dead. They mark the margin of a stream or lake Signed
Geo. Poggenbeek 87. 14| x 20J in.
Rip, WUlem Cornelis— The Hague. Born in Rotterdam 1856. Pu
pil of R. van Eysden, Rotterdam, and of Carl Piloty, Munich.
Medal of E. U., Paris, 1900. Silver medal L. P. E., St. Louis,
1904. 462. Ducks in the marsh. 8$ x 13J in.
Roelofs, Willem. Born in Amsterdam 1822; died 1897. Pupil of
H. van de Sande Bakhuijsen. Silver medal of Paris E. U.
1889. Order of the Eikenkroon 1860.
463. In pasture. Open country with great effect of distance.
Many cows in the foreground and middle distance. Signed
Willem Roelofs. 15$ x 27$ in.
Simone, Scipione — Rome.
464. Interior of mosque, with three figures — two seated on
floor and one standing, gesticulating to them. Signed Scip
ione Simone. 29J x 21J in.
Troyon, Constant. See note before 136
465. Landscape with cattle. Immediately beyond the fore
ground on each side is a tall tree with trunk bare a long way
up. Seen between them in the middle distance is a group of
tall trees. The sky near the horizon is covered with clouds of
various tints; above, it is an unbroken deep blue Signed C.
Troyon. (Pastel.) 30$ x 24% in.

Water Colors and Pastels, Nickerson Collection. 225

Vrolijk, Johannes Martinus. Born in The Hague, Holland, 1846.
Lived there. Died 1896. Pupil of P. Stortenbeker. Medals
at Amsterdam 1878; London (South Kensington) 1874; Berlin
1891 (gold). Order of the Eikenkroon 1888.
466. Landscape near Utrecht. Two cows in foreground.
Sail of sloop seen over rushes to right. Signed Jan Vrolyk
80. 19% x 26% in.
Weissenbruch, Johannes Hendrik. Born in The Hague 1824. Died
March, 1903. Pupil of B. J. van Hove. Medals at Amsterdam,
Paris (E. U. 1889, sUver ; 1900 gold), Chicago 1893.
467. At home. Man and woman at table in a humble inter
ior lighted by a window on the farther side. Signed J. H.
Weissenbruch. 13 x 18% in.
Persian Artist.
468. A dignitary with seven attendants in an open pavilion,
with conventional landscape background. He holds a falcon
on his wrist. AU the figures are barefoot. Illuminated water
color. 11% x 8% in. (Room 41.)
Persian Aitist.
469. Interior of the harem of Iman Resa, of Nashad Khor"
assan. There are several groups of figures in the room repre
sented, and others looking in from aU the doors. Illuminated
water color, with a tablet containing a Persian inscription.
12% x 7% in (Room 41.)
See also 711, 724, 743-759.

226 The Art Institute qf Chicago.

WATER COLOR.
Escribe, Charles.
470. An incident of the Franco-Prussian war. Interior of
a plain room, with entrance at rear guarded by a German sol
dier. A crowd of German soldiers outside trying to look in.
Within are dead and wounded French soldiers. An officer is
stooping over one of the wounded. 8\ x 12 in. Presented by
H. S. Van Gigch, 1891.
For other water colors, see pages 222-225, and numbers
1062, 1082, 1116.

FRAMED DRAWINGS.
IN VARIOUS MBDIA.
Rooms 29 and 37.

Lhermitte, Leon-Augustin — Paris. See note before 457.
500. Rouen cathedral. Charcoal drawing. Gift of Ernest
A. Hamill, 1894.
501. Evening prayer. Charcoal drawing. Gift of Ernest
A. Hamill, 1894
Whistler, James Abbott McNeill. See note before 343.
503 A frame containing four etchings by Whistler and an
original charcoal portrait of the etcher by Rajon. Gift of
Frederick Keppel.
Original Drawings for Illustrations in the Century and
St. Nicholas Magazines.
A permanent loan from the Century Company, New York.
Note : Illustrations of earlier date than November, 1881, were pub
lished in Scribner's Monthly, the original Century.
Abbey, Edwin Austin.
504. Mrs. Gilbert as Mrs. Candour. Pencil. April, 1879.
505. Agnes Booth as Mrs. Brownlee. Pencil. April, 1879.
Beard, J. C.
506. Head of a wild sheep. Gouache. May, 1881.
Birch, Reginald B.
507. An exhibit. Pen and ink. Century, September, 1881.
508. A realized hope. Pen and ink. St. Nicholas, Octo
ber, 1882. 227

228 The Art Institute of Chicago.
509. Accident in high life. Gouache. St. Nicholas, Dec,
1882.
510. Story of Robin Hood. Title Page. Pen and ink. St.
Nicholas, May, 1883.
511. Catching the stag. Pen and ink. St. Nicholas, April,
1884.
512. Washing day. Gouache and pen. St. Nicholas, De
cember, 1884.
Blum, Robert-1857-1903.
513. Brunhild hurling her spear. Wash. St. Nicholas,
August, 1882.
514. In St. Marks, Venice. Gouache. Century, Nov., 1882.
515. The attack. Gouache. Century. November, 1883.
Brennan, Alfred.
516. Musical exercises at the Odeon. Pen and ink. St.
Nicholas, December, 1880.
517. Procession in honor of Bacchus. Pen and ink. De
cember, 1880.
518. Bombardment of Noteberg. Pen and ink. Feb., 1881.
519. A lot of silly men. Pen and ink. St. Nicholas,
August, 1883.
520. Alcove, New York Society library. Pen and ink and
wash. Century, May, 1884.
Brush, George De Forest.
521. The fourth reader class. Oil. St. Nicholas, December,
1881.
522. Bob Halliday carries home his friend. Oil. St.
Nicholas, April, 1882.

Framed Drawings. 229

Burns, M. J.
523. A marine artist's studio. Oil. January, 1880.
524. Boarding a steamer. Oil. Century, December, 1881.
525. Fishing off Bay of Islands. Oil. Century, May, 1884.
Butler, E. R.
526. Portrait. Ivan Tourgudneff. Oil. Century, Novem
ber, 1883.
527. A type (Paris). Oil. Century.
Chase, William Merritt.
528. August Wilhelmj. Pen and ink. May, 1879.
529. Coming ashore. Oil. Century, February, 1882.
Church, Frederick S.
530. Tommy's tormentors; He's going backward. Pen and
ink. St. Nicholas, June, 1877-'78.
531. A "Rudder Grange" at Sandy Hook. Wash. Sept., 1879
532. Speaking his piece. Pencil. St. Nicholas, Nov., 1879.
533. Centaur boys. Pencil. St. Nicholas, Nov., 1879.
Cocks, J. H.
534. Examining the necklace. Gouache. St. Nicholas,
September 1882.
535. An ideal "still fisher." Gouache. Century, July, 1883.
536. Long bridge, Washington, D. C Gouache. Century,
March, 1884.
537. Street scene, Washington, D. C. Gouache. Century,
March, 1884.
Cox, Kenyon.
538. Chorus of Scamander sailors. Sepia Wash. Century,
July. 1884.

230 The Art Institute of Chicago.

Davis, J. Steeple.
539. Armor worn by the Pilgrims, 1620. India ink wash
and white. Century, January, 1883.
Dielman, Frederick.
540. The home circle. Pencil. March, 1880.
541. Under the awning. Pencil. Century, February, 1882.
Drake, W. H.
542. Among the tenements, New York. Pen and ink. St.
Nicholas, June, 1883.
543. "Dick dashed across the green." Pen and ink St.
Nicholas, July, 1884.
Edwards, George Wharton.
544. Staircase, old Johnston House. Pencil. Century,
September, 1882.
545. Doorway of Witherle House, Castine, Maine. Pen and
ink. Century, September, 1882.
546. Old salt works. Barnstable. Oil. Century.
Farny, H. F.
547. Torturing a sorcerer, Zuni. Gouache. Century, May,
1883. 548. Gas wells. Gouache. Century, July, 1883.
549. Guarding a " wild cat " well. Gouache. Century, July,
1883.
Fenn, Harry.
550. Clovelly, from the pier. Gouache. Century, Decem
ber, 1883.
551. Dr. Grimshaw's abode, Salem. Gouache. Century,
May, 1884.
552. Head of Salem Harbor. Gouache. Century, May, 1884.

Framed Drawings 231
553. Van Rensselaer manor-house. Gouache. Century, Oc
tober, 1884.
554. Fairbanks House, Dedham, Mass. Gouache. Century,
October, 1884.
Foote, Mary Hallock.
555. The little brother. Pencil. St. Nicholas, Sept., 1884.
Fredericks, Alfred.
556. Duke Leopold's stone. Pen. St. Nicholas, 1879.
557. Watching the goblin castle. Gouache. St. Nicholas,
November, 1881.
558. The king's feast. Gouache. St. Nicholas, 1884.
Inness, George. See note before No. 236.
559. Loitering. Oil. Century, May, 1882.
560. Close of a stormy day, Oil. Century, May, 1882.
Inness, George, Jr.
561. Among the clouds. Oil. Century, December, 1884.
562. Crossing the timber line. Oil Century, Dec. 1884.
Jones, H. Bolton.
563. An oasis in Tunis. Gouache. Century, April, 1882.
Jones, Francis C.
564. The four o'clock sketch club. Gouache. Century, De
cember, 1881.
565. Alaskan interior. Oil. Century, July, 1882.
566. Going fishing, Alaska. Gouache. Century, July, 1882.
Kappes, Alfred.— 1850-1894.
567. Storming the gate. Oil. St. Nicholas, May, 1882
S68. The tournament. Oil. St. Nicholas, January, 1884.

232 The Art Institute qf Chicago.
Low, Will H.
569. Drifting. (Two drawings.) Gouache. St. Nicholas,
February, 1884.
See also 626.
Iungren, Fernand Harvey.
570. ' ' The prince glanced back. ' ' India ink wash and white,
St. Nicholas, February, 1882.
571. "The hares ran around her." India ink wash and
white. St. Nicholas, 1884.
Martin, Homer D.— 1836-1897.
572. Birthplace of Oliver Wendell Holmes. Sepia wash
May, 1879.
Monks, J. A. S:
573. Merino lambs. Wash and pencil. Century, Febru
ary, 1884.
574. Frightened sheep. Wash. Century. February, 1884.
Mueller, Rose.
575 Small servant called Kate. Pen aud Ink. I St Nicholas,
What the baby said. Gouache. I May, 1881. '
576. Skating brigade. Pen and ink. . St. Nicholas, Decem
ber, 1883.
577. Hoop song. Pencil. St. Nicholas, April, 1884.
Parsons, Alfred.
578. Grassy mountains. Gouache. Century, Nov., 1883.
579. Old bridge on Avon. Gouache. Century, Nov., 1883.
580. Meadow by Avon. Gouache. Century, Nov., 1885.
581. A Westchester Orchard. Gouache. Century,
[Dated 1882]

Framed Drawings. 233

Pennell, Joseph.
_o2 Old Spanish house. I Pen and ink.
Relics of Spanish occupation. I Century, Feb., 1883
583. In the calaboose. New Orleans. Wash. Century,
March, 1883.
584. The "Picayune Tier." Pencil. Century, July, 1883.
585. Donnybrook Fair-ground. Pencil. Century, Decem
ber, 1884.
Poore, Henry R.
586. "Bellsnicklin." Oil. July, 1881.
Reinhart, C. S.— 1844-1896.
587. A school insight. Sepia wash and white. Feb., 1879.
588. Reckless explorations. Pen and ink. February, 1879.
589. Kate Claxton in "Two Orphans." Pen. April, 1879.
Riordan, Rodger.
590. Milkweed. India ink wash and white. St. Nicholas,
August, 1881.
Rix, Julian.
591. Twilight on the creek. Oil. October, 1881.
Sandham, Henry.
593. Parliament buildings — Ottawa. India ink wash and
white. August, 1880.
594. Old church, Canada. Monotype. Century, May, 1882.
595. Funeral of Father Junipero. India ink wash and white.
Century, May, 1883.
Share, H. P.
596. Bathing by electric light, Coney Island. Gouache.
July, 1880.

234 The Art Institute of Chicago.
Shirlaw, Walter.
587. " Hurray for York and Posey. " Oil. December, 1877.
598. Life class for men— Art Students' League, N. Y. Oil.
October, 1878.
599. At the studio. Oil. January, 1880.
Smedley, W. T.
600. " I come to claim my dead." Wash. Century, Sep
tember, 1885.
Taber, W.
601. Seals in sight. India ink wash and white. St. Nicho
las, June, 1882.
602. Driving ostriches in a sand storm. Wash. Century,
January, 1883.
603. End of the anchorage, Brooklyn Bridge. Wash. St.
Nicholas, July, 1883.
Thayer, Abbott H.
604. Portrait, Geo. W. Cable. OU. Century, Feb. 1882.
605. Portrait, Theodore D. Woolsey. Oil. Century, Sep
tember, 1882.
606. Portrait, Mark Twain. Century, September, 1882.
Volk, Douglas.
607. Landlady of "Grand Vatel." Gouache. Nov., 1879.
608. Bathing scene, Normandy. India ink wash and -white.
August, 1881.
Wiles, Irving R.
608%. The Siva dance. India ink wash.
Wirgman, T. B.
609. Portrait, Matthew Arnold. Pencil. Century, April,
1882.

Framed Drawings. 235
Woodward, J. D.
610. Rialto Bridge, Venice. Wash. Century, Nov. 1882.
611. The Piazetta, Venice. Wash. Century, Nov., 1882.
Castaigne, A ml re.
613. The Papal Benediction in front of St. Peter's, Rome.
Black and white, in oil. Century, July, 1896.
614. The land of promise. Black and white, in oil. Cen
tury, April, 1894.
615. The tomb of General Grant in New York city. Black
and white, in oil. Century, April, 1897.
616. In the waiting room of the Commissaire G£n£ral of the
Exposition. Black aud white, in oil. Century, Nov., 1898.
Coleman, Charles Caryl.
617. Capri girls pruning vines. Gouache. Century, Octo
ber, 1898.
Frost, Arthur Burdett.
618. " I guess you'll see a coon." Black and white. Cen
tury, August, 1898.
619. Ludloe is introduced to Stephen Peter. India ink
wash.
Loeb, Louis.
620. Christ before Pilate. (Passion play at Vonder Thier-
see.) Century, December, 1895.
Pyle, Howard.
621. Surrender of Captain Pearson on the deck of the Bon
Homme Richard. Black and white, in oil. Century, April,
1895.
Relyea, Charles M.
622. The first of May in Central Park, New York. Maypole
dance. Black and white. St. Nicholas, May, 1897.

236 The Art Institute of Chicago.
Varian, G.
623. "A boat expedition . . . which . . had cap
tured three eighteen-gun lorchas." Black and white. Cen
tury, September, 1899.
624. "Junk after junk went to the bottom." Black and
white. Century, September, 1899.
Wiles, Irving R.
625. Confirmation at Temple Emanuel, New York. Wash.
Century, January, 1892.
Low, Will H.
Lawrence Park, BronxviUe, New York. Born in Albany,
1853. Studied with Carolus-Duran, Paris. Ex- Vice-President
Architectural League. Delegate (S. A. A ) to Fine Arts
Federation, N. Y. Member S. A. A., 1878; N. A., 1900;
Mural Painters. Represented in Metropolitan Museum, New
York; Hillyer Art Gallery; Smith College, Northampton,
Mass. Medal, E. U., Paris, 1889. Medal W. C. E., Chi
cago, 1893. Member of International Jury of Awards, L. P. E.,
St. Louis, 1904, and Superintendent of Loan Division.
626-654. Designs in monochrome for "Lamia" and "The
Odes and Sonnets " of John Keats. Purchased from Stickney
Bequest, 1902. (In Room 37.)
626. Lamia. Oil.
626%. Titlepage. Gouache.
627. Dedication. Gouache.
627%. Title to list of Drawings. Gouache.
628. Head-pieces to list of Drawings. Gouache.
628%. "A nymph, to whom all hoofed Satyrs knelt." Head
piece, Part I. Gouache.
629. " On this side of Jove's clouds." Gouache.
629%. "And so he rested on the lonely ground." Gouache.
630. ' ' The words she spake came, as through bubbling
honey." Gouache.

Framed Drawings. 237
630% . " I dreaint!I saw thee, robed in purple flakes. ' ' Gouache.
631. " She bathes unseen. " Gouache.
631%. "Pale grew her immortality, for woe of all these
lovers." Gouache.
632. "The guarded nymph near smUing on the green "
Gouache.
632%. "Into the green-recessed woods they flew." Gouache
633. Decoration — Daffodils. Gouache.
633%. " By a clear pool, wherein she passioned to see herself."
Gouache.
634. "Foremost in the envious race." Gouache.
634%. " Lycius, look back! and be some pity shown."
Gouache.
635. Decoration — Love's mesh. Gouache.
635J^. " Swoon'd, murmuring of love, and pale with pain."
Gouache.
636. ' ' The wide-spreaded night above her towers. ' ' Gouache.
636%. " As one came near with curl'd gray beard, sharp eyes,
and smooth bald crown." Gouache.
637. "They had arcived before a pillar'd porch." Gouache.
637%. " Shut from the busy world of more incredulous " Tail
piece to Part I. Gouache.
638. "They were enthroned, in the even tide, upon a
couch." Gouache.
638%. "Deafening the swaUow's twitter, came a thrill of
trumpets." Gouache.
639. "She nothing said, but, pale and meek, arose and
knelt before him." Gouache.
640. "It was the custom then to bring away the bride from
home. ' ' Gouache.
640a. Five maidens with torches and a basket of fruit.
Gouache.
641. "And shut the chamber up, close, hush'd and still."
Gouache.

238 The Art Institute of Chicago.
641%. " He met within the murmurous vestibule his young
disciple." Gouache.
642. "They all moved to the feast." Gouache.
642%. "What wreath for Lamia? What for Lycius? What
for the sage, Apollonius?" Gouache.
643. "Checking his love-trance, acup he took full brimm'd."
Gouache.
643%. "The sophist's eye, like a sharp spear, went through
her utterly." Gouache.
644. And Lycius' arms were empty of delight." Gouache.
644%. "And in its marriage robe the heavy body wound."
Gouache.
645. Tail-piece— The History of the Book. Pencil.
ODBS AND SONNETS.
646. Titlepage. Oil.
646^. Copyright device. Pen drawing.
647. Dedication. Oil.
647%. List of Drawings. Gouache.
648. Table of contents. Oil.
648%. Ode on a Grecian urn. Oil.
649. To autumn. Oil.
649%. Sonnet : "When I have fears that I may cease to be."
Oil.
650. Fancy. Oil.
650%. Ode to a nightingale. Oil.
651. Ode to Psyche. Oil.
651%. Ode on melancholy. Oil.
652. La Belle Dame sans merci. Oil.
652%. Ode: Bards of Passion and of Mirth. Oil.
653. The Eve of St. Mark. Oil.
654. Keats' Last Sonnet. Oil.

FRAMED PRINTS.
676-763 in the Nickerson Collection.
(See note on page 143, )
Room 44.

Bellows, Albert F. Born in Milbury, Mass., 1830. Studied in
Paris and in Antwerp Royal Academy. Painted in England
and Wales. A. N. A. 1859, N. A. 1861. Died in 1883.
676. The inlet. Across the water is a group of houses among
trees. On the left a road comes forward and curves out of
view to the left in the foreground. Etching. Artist's proof.
Signed in the plate and on margin A. F. Bellows.
Chauvel, Theophile— Paris. Born in Paris, 1831. Pupil of Picot,
Aligny and Bellel. Medals of Salon 1870, 1873, 1881 (d'hon
neur); E. U. 1878, 1889, 1900 (Grand Prix). Chev. Legion
d'Honneur 1879; Officier 1896.
677. Evening shadows. After picture by B. W. Leader. A
group of cottages and the upper part of a mansion seen across
a canal; barge moored to opposite bank. Etching — artirt's
proof. Signed in margin B. W. Leader. Chauvel.
Courtty, Charles -Louis. Born in Paris; died between 1897 and
1900. Pupil of L. Gaucherel aud L. Flameng. Salon medals
1868, 1874, 1875, 1887 (d'honneur). Gold medal of E. U. 1889.
678. Bringing home the cows. After picture by Troyon.
Five cows coming forward in foreground. Woman behind.
Woody landscape. Etching — proof before letters. Signa
tures etched in margin : C. Troyon pinx., Ch. Courtry sc.
1875. 239

240 The Art Institute of Chicago.

Haig, Axel Herman — Haslemere, Surrey, England. Born on the
island of Gotland, Sweden. Member of Royal Society of
Painter-Etchers, London. Gold medal E. U., Paris, 1900.
679. A Westminster Abbey interior. View from St. Ed
mund's chapel to the Chantry of Henry V, passing several
royal tombs. Original etching — artist's proof. Signed in
margin A. H. Haig. Monogram of initials on plate in middle
of date 1885.
680. In the north porch of Chartres Cathedral. Original
etching — artist's proof. Signed in margin Axel H. Haig.
Monogram as in 679, with date 1882.
681. Aisles of Chartres Cathedral. With a procession of
children. Original etching — artist's proof. Inscribed iu mar
gin "To the Aisles of Chartres No. 8." Signed in margin
A. H. Haig. Monogram as in 679, with date 1881.
622. Street in Chartres. Bridge in foreground. The spires
and upper part of Cathedral seen over irregular row of roofs.
Etching — artist's proof. Signed in margin Axel H. Haig.
Monogram and date as in 680.

Lander, Benjamin — New York.
683. Sabina's stream. Original etching — artist's proof, with
large landscape remarque. Signed in plate and on margin
Benj. Lander.

Law, David — London. Member of Royal Society of Painter-
Etchers.
684. Venice by night. Looking out into the lagoon from the
Grand Canal. Original etching— artist's proof. Signed in
margin David Law.

Framed Prints, Nickerson Collection. 241

Mannfeld, B.
685. Albertsburg. Town on a cliff, seen across a frozen
river. Original etching — proof before letters, with landscape
remarque accompanied by a dedication with the date 1884.
Signed in margin B. Mannfeld.

Rodriguez, Gaston-Louis-Stephane — Paris. Bora in Paris. Pupil
of Courtry and Collin.
686. The mouthful. After Millet's painting, La Becquee, in
the museum at Lille. Three children sitting in a doorway.
A woman feeding one of them with a spoon. Etching, artist's
proof, with portrait of Millet as remarque. Signed in margin
Rodriguez.

Bartolozzi, Francesco. Born in Florence 1725. Pupil of Joseph
Wagner in Venice. Came to England in 1764, and was soon
after appointed engraver to the king. Made a Royal Acade
mician in 1768. Director of the Royal Academy in Lisbon
1802. Died iu Lisbon 1815.
687. Queen Elizabeth striking Essex. Stipple engraving,
proof before letters.
688. The dowager queen of Edward IV, parting with the
little Duke of York. Stipple engraving, lettered as follows:
G. B. Cipriani, R. A., Invent. Frans. Bartolozzi Sculpt
689. ' ' Marie Stuart refusing the crown. ' ' Stipple engraving,
lettered as follows: G. B Cipriani, R. A., Invent. Frans.
Bartolozzi, R. A. Sculpsit. Below, the title in quotation
marks as given above.
690. Vortigern and Rowena. Stipple engraving, lettered as
follows: J. (V.?) Rigaud, R. A. (pinx.?). F. Bartolozzi,
R. A. Sculpt.

242 The Art Institute qf Chicago.
Desnoyers, Auguste-Gaspard-Louis-Boucher. Born in Paris 1779;
died there in 1857. Member of the Institute 1816; First
Engraver to the King 1825; Baron 1828; Chev. Legion d'Hon
neur 1835.
691. Belisarius. Blind, feeling his way with a staff and car
rying a youth who has been bitten by a serpent. Line en
graving, after painting by F. P., baron, GeVard, done in 1800.
Lettered as follows: F. Gerard Pinxt., Augte Desnoyers
Sculpt 1806 — with dedication to Talleyrand by "Auguste
Boucher Desnoyers."
Gilbert, Achille — Paris. Born in Paris. Pupil of Couture and
Belloc. Salon medals 1864, 1865, 1875, 1895; E. U. 1878, 1889.
692. The sheepfold. After painting by ch. Jacque, repre
senting a woman letting out the flock. Etching — artist's
proof, with duck's head remarque, with etched name of
Jacque. Signed in margin Achille Gilbert, ch. Jacque.
Longhi, Giuseppe. Born in Monza 1766. Professor of engraving
in the Brera, Milan. Died in Milan 1831.
693. Galatea. After painting by Francesco Albani, in the
Dresden gallery, illustrating Ovid (Mat. xiii, 789). Line en
graving, lettered as follows: Fr. Albani inv. Gpe Longhi
inc. 1813.
Morghen, Rafaello. Born in Florence 1758; died there in 1833.
Pupil of Volpato in Rome Professor of the Academy in
Florence 1793. Corresponding member of the French In
stitute.694. Aurora. After the fresco by Guido in the Rospigliosi
palace, Rome. Line engraving (1787), lettered as follows :
Guidus Rheni pinx., Antonius Cavalucci delin, Raphael Mor
ghen Sculp., Romae — with dedication to Prince Joseph Ros
pigliosi.

Framed Prints, Nickerson Collection. 243
Muller, Johann Friedrich Wilhelm. Born in Stuttgart 1782. Son
and pupil of J. G. von Muller. Studied also in Paris. Pro
fessor of engraving in Dresden 1814. Died 1816.
695. The Madonna di San Sisto. After the painting by
Raphael in the Dresden gallery. Line engraving, finished
1816 Lettered as follows : Made Seidelmann, delt, Rittner,
Dresde, Ex., Fr. Muller, Sculpt. — with dedication to the King
of Saxony.
Kanteuil, Robert. Born in Reims, 1623 or 1630. Pupil of N.
Regnesson, and, in Paris, of A. Boke and Philippe de Cham
pagne. Painted a portrait of Louis XIV, who appointed him
designer and engraver to the royal cabinet. Died in Paris,
1678.696. Portrait in an ellipse with the following inscription
around it : Michael Le Masle, Priordes Roches, Precen
tor Canonicus et Ecci,ESI,.E Parisiensis. Line engraving,
lettered as follows. Nanteuil ad vivum faciebat, 1661.
Audran, Jean. Born in Lyons, 1667. Pupil of his father, Ger
main, and his uncle, Gerard. Made engraver to the king in
1706. Died in 1756.
697. Portrait of Rubens, in ornamental circular border.
After painting by Van Dyck." Line engraving, lettered as fol
lows : Van Dyck pinxit, I. M. Nattier, delin., I. Audran seul.,
1710 Pierre Paul Rubens. * * *
Trouvain, Antoine. Born in Montdidier, France, 1656; died in
Paris 1710. Pupil of Edelinck.
698. The marriage of Marie de Medici with Henry IV, by
proxy— the queen's uncle (Ferdinand I, Grand Duke of Tus
cany) as proxy. Ceremony performed by Cardinal Aldobran-
dini in Sta. Maria del Fiore. After painting by Rubens in the
Louvre. Line engraving, lettered as follows : Rubens pinxit.
I Nattier delineavit. A. Trouvain sculpsit — followed by a
statement of the circumstances of the marriage.

244 The Art Institute qf Chicago.
Stacpoole, F. — London. Associate of Royal Academy.
699. Persepolis. Lions prowling among the ruins in the
twUight. After painting by Briton Rivi&re. Mezzotint en
graving, artist's proof, signed Briton Rivifere, F. Stacpoole.
WiUe, Johann Georg. Born in the Bieberthal, near Konigsberg,
1715. Lived in Paris from 1736 until his death in 1808. En
graver to the King of France, to the Emperor of Germany and
to the King of Denmark. Knight of the Legion of Honor.
700. The death of Mark Anthony. After painting by Pom-
peo Batoni, in the Dresden gaUery. Line engraving, before
letters.

JAPANESE COLOR PRINTS, FROM WOOD CUTS.
NOS. 701-763 BELONG TO THE NICKERSON COLLECTION.
(See note on page T43.)
Room 41.

701-702. By Eishi (Hosoda), about 1795, and 1790 resp.
703-704. By Haranobo (Suzki), about 1766 and 1765 resp.
705-710. By Hiroshige. 705 done in 1830, 706 in 1825, 707 about
1825, 709 and 710 about 1845.
711. See after 742.
712-719. By Hokusai (Tamekaz). Part of the series Shika-Sha-
shin-Kagami (illustrating Chinese poems and Japanese
odes).
720. A set of eight prints in the old Dutch method. Un
signed, but with Hokusai Sensei zu inscribed on the
cover by Prof. Hokusai.
[721. By Hokusai (Tamekaz).
722. By Hokusai (Gayko).
723. By Hokusai (Soriga).
724. See after 742..
725. By Kiyonaga (Torii) — among the highest in the best
period. Date about 1770.
726. By Kuniyoshi (Utagawa)— about 1840.
727. By Sharak— About 1797.
728, 730. By Shuncho (Katsukawa) about 1782 for No. 728 and
1785 for the others.
731. By Shumman or Toshimitsu (Kubo)— about 1787.
732. By Toyohiro (Utagawa)— 1795.
733. By Toyoyuni I (Utagawa)— About 1791.
734,735. By Toyoyuni III (Utagawa).
736, 737 a, 737b. By Toyoyuni III (Kunisada).
738a, 7385. By Kunimaru— 1820.
739-742. By Utamara (Kitagawa)— About 1795.
245

WATER COLORS.
By Hokusai— No. 711.
By Hokui (Rekisentei), pupil of Hokusai. No. 724. 1851.
KAKEMONOS.
(Wall pictures intended to be mounted on rollers.)
743. By Chikanobu (Kano). Monochrome on paper. Date,
first quarter of XVIII century.
744. By Itcho. On silk. XVIII century.
745. By Keibun (Matsu-mura). First quarter of XIX cen
tury.
746. By Nen-its. Monochrome on silk XIX century.
746. By Seisen. Monochrome on silk. Early XIX century.
748, 749. Bv Sosen. In colors on silk. XIX century.
750. By Tanbi (Kano). In colors on silk. Latter half of
XIX century.
[751. By Tangei-Sei (Tsuruzawa). Two, in colors on silk.
First quarter of XVIII century.
752. By Tetsuzan (Mori Tessan). On silk. Early XIX
century.
753,754. Anonymous. In colors on paper.
755. Anonymous. In colors on silk.
CHINESE WATER COLORS.
756-759. Chinese water colors of the XVIII century. No. 756 is
signed Nan-P'ing Ch'an-sien sha. Date 1738. The
others (all by one artist) are not signed.
JAPANESE DECORATIONS ON LEATHER.
760. Old. Design of various plants, birds and insects.
761-762. XVIII century. Designs of plants, insects, tree frogs,
bats, etc., on gold- finished background.
763. Old. Design representing Buddha's disciples, etc.
Colored and partly finished in gold.
246

THE ARUNDEL REPRODUCTIONS OF WORKS OF
OLD MASTERS.
PRESENTED BY EDWARD E. AYER.
Room 33.

These works are the productions of the Arundel Society, an
organization of art amateurs formed in London in 1848, for the
purpose of ' ' promoting the knowledge of art by copying and pub
lishing important works of ancient masters," especially works
little known and perishable. The society was named after Thomas
Howard, Earl of Arundel in the reigns of James and Charles I,
who has been called the "father of vertu in England," and "the
Macaenas of all politer arts."
The most important publications have been the careful repro
ductions in chromo-Uthography of works by old masters, a few
each year (from 1856-1897 inclusive) chiefly from frescoes. In
1889, the whole publication (at that time comprising 156 chromo-
Uthographs, 31 engravings, 5 bound volumes of engravings, 2 pho
tographs and 8 books) with suitable installation, was presented to
the Art Institute by Mr. Edward E. Ayer, and at that time the
Art Institute became an annual subscriber. The society ended
its work December 31, 1897. The present collection of 190
chromo-lithographs and 9 heliogravures is almost a. complete set
of the society's pubUcations in those classes.
The following catalogue is arranged alphabetically under the
popular names of the artists. Numerous references from other
names may be found in the general index at the end of this volume.
The wood engravings, photographs, and monographs, and treatises
on artists and works of art published by the society, may be found
in the Art Institute library.
Albertinelli, Mariotto— 1474-1515. Florentine.
801. The visitation. (Elizabeth visiting Mary.) From picture
in Uffizi Gallery, Florence. 247

248 The Art Institute of Chicago.

Alunno. See Niccolo, 909.
Angelico, Fra (Giovanni da Fiesole) — 1347-1455. Florentine.
802. The Annunciation. (Framed with 808.)
803. Coronation of the Virgin.
804. Madonna and child with attendant saints.
805. Presentation in the Temple. (Framed with 804.)
806. Christ and Mary Magdalen in the garden.
807. The crucifixion. (Framed with 875.)
808. The entombment. (Framed with 802.)
809. The Marys at the sepulchre.
810. The transfiguration.
802-810 are from frescoes in the convent of San Marco,
Florence.
811. St. Stephen's ordination and alms-giving. From frescoes
in St. Lawrence Chapel, Vatican.

Avanzo, Jacobo d' — end of XIV century. Veronese.
812. St; Lucy before her Roman judges. From a- fresco in S.
Antonio, Padua.
Bartolommeo, Fra. (Baccio della Porta)— 1469 or 1475-1517.
Florentine.
813. The' annunciation. From fresco in villa dei Frati di S.
Marco, near Florence. (Framed with 815.)
8I4. Virgin and child.
815. Christ with two disciples at Emmaus. (Framed with 813.)
814-815 are from frescoes in the Convent of San Marco,
Florence.

Bartolommeo and Sogliani.— (See after 955.) Florentine.
816. Vision of St. Domenick. From a fresco in the refectory of
the convent of S. Marco, Florence.

Arundel Reproductions of Works of Old Masters. 249

Bellini, Giovanni— c. 1426-1516. Venetian.
817. Madonna and Child enthroned. From altar piece in the
Frari church, Venice.
Betti, Bernardino. See Pinturicchio.
Boccaccino, Boccaccio— c. 1460-1518. Venetian.
818. Christ among the doctors. From fresco in cathedral at
Cremona.Botticelli, Sandro (Alessandro Filipepi)— 1447-1510. Florentine.
819. Primavera. An allegory of Spring. From a painting in the
Accademia, Florence.
820. Birth of Venus. From a painting in the Uffizi Gallery,
Florence.
Brancacci Chapel Frescoes, (c. 1420-1430 and between
1482 and 1490) — in the Carmine church, Florence. Painted by the
following artists : Florentine.
Tomaso di Ser Giovanni Guidi della Scheggia, called MaSac-
cio. (Bora 1401?; died 1428?)
Filippo Lippi, called Filippino. (Born 1457?; died 1504?)
Tommaso di Christofani di Fino, called Masolino da Panicale
(1383-1447?) is also credited by the Arundel Society with Nos.
832 to 835; but C. C. Perkins says Tommaso "had no hand " in the
work which he and others attribute to Masaccio.
821. SS. Peter and Paid before the Proconsul; The martyrdom
of S Peter. By FUippino Lippi.
822. S. Peter in prison visited by St. Paul; S. Peter delivered
from prison. By Filippino Lippi. (Framed with 830 and 836.)
823. Head of S. Paul visiting S. Peter in prison, full size.
(framed with 828, 829, 882.)
824. SS. Peter and John healing the sick by their shadows. By
Masaccio. (Framed with 825, 832, 835.)

250 The Art Institute of Chicago.
825. SS. Peter and John giving alms. By Masaccio. (Framed
with 824, 832, 835.)
826. Head from 825, full size. (Framed with 831, 834.)
827. The tribute money. By Masaccio. (Framed with 833.)
828,829. Heads from 827, full size. (Framed with 823, 882.)
830. SS. Peter and Paul raising the King's son; The homage to
S. Peter. By Masaccio and Filippino Lippi. ( Framed with 822, 836.)
831. Head from 830, full size. (Framed with 826, 834.)
832. S. Peter baptizing. Attributed to Masolino. (Framed with
824,825,835.)
833. SS. Peter and John raising the cripple; St. Peter Healing
Petronilla or raising Tabitha. Attributed to Masolino. (Framed
with 827. )
834. Head from 833, full size.. (Framed with 826, 831.)
835. St. Peter preaching. Attributed to Masolino. (Framed
with 824, 825, 832. )
836. The fall. By Filippino Lippi. The expulsion from Eden.
By Masaccio. (Framed with 822, 830. )
Carpaccio (Scarpaccia), Vittore— c. 1450-1522. Venetian.

From fresco and
pictures in S. Gior
gio degli Schiavoni,
Venice.

837. The calling of St. Matthew.
838. St. George baptizing the Princess
Cleodolinda and her father.
839. St. Jerome in his study.
Cavallini. See Lorenzetti, 875.
Cavazzola. See Morando, 906.
Cologne Masters — XIV century. German.
840. Madonna with the violet. Virgin and child with small at
tendant figures. Attributed to Meister Wilhelm (c. 1330-1378).
From picture in collection of the Archbishop of Cologne.
For works by Meister Stephan, see Lochner, 871-874.

Arundel Reproductions of Works of Old Masters. 25 1
Diirer, Albrecht— 1471-1528. German, Nuremberg-.
841. Adoration of the Trinity. From picture in the Belvedere
Gallery, Vienna.
842. St. John, Evangelist, and St. Peter.
843. St Mark and St. Paul. (Framed with 842. )
From two pictures in Alte Pinakothek, Munich.
Eyck. See Van Eyck brothers, 959.
Fernandez, Vasco (called Gran Vasco, or Vasco the Great).
Born 1552. Portuguese.
844. St. Peter enthroned as Pope. From panel in cathedral at
Vizeu, Portugal.
Fiorenzo di Lorenzo.— c. 1440-1552. Umbrian.
845. S. Bernardino healing a wounded man. From picture in
Perugia gallery.
Francesca, Piero della (Piero or Pietro di Benedetto degli Fran-
ceschi)— 1398-C.1484. (Pitti catalogue of 1894.) Umbrian.
846. Resunection of our Lord. From fresco at Borgo San
Sepolcro.
Francia. (FrancescoRaibolini)-1450-1518. Eel., Bolognese.

847. Marriage of St. Cecilia.
848. Burial of St. Cecilia.

From fresco in Church of
S. Cecilia, Bologna.

Ghirlandaio (Domenico Bigordi)— c. 1449-1494. Florentine.
849. Death of St. Francis. ] From fresco in S. Tri-
850. Heads of a bishop and a priest. j nita, Florence.
851. The last supper. From fresco in Ognissanti Church,
Florence.
852. Nativity of the Blessed Virgin. From frescoes in S. Maria
NoveUa, Florence.
853. Zacharias naming his son John.
854. St. John Baptist preaching.
855. Vision and death of Santa Fina. From fresco in church at
S. Gimignano.

252 The Art Institute of Chicago.
Giorgione (Giorgio Barbarelli)— 1476-1511. Venetian.
856. Virgin and Child enthroned between SS. Liberale and
Francis. From altar-piece in church at Castel-franco.
Giotto (di Bondone)— 1266-1337. Florentine.
. 857. St. Francis preaching before Pope Honorius III.
858. St. Francis preaching to the birds.
859. Portrait of Dante. From fresco in the Bargello, Florence.
857-859 are from frescoes in Upper Church of S. Fr., Assisi.
See 975.
Gozzoli, Benozzo— 1420-1498. Florentine.
860, 861. Group of angels adoring. Two parts.
862. Procession of the three kings.
860-862 are from frescoes in Riccardi Palace, Florence.
863. St. Augustine lecturing. From fresco in S. Agostino at
S. Gimignano.
864. Virgin and Child with several saints. From altar-piece in
monastery at Montefalco.
Holbein, Hans, the younger— 1495-1543. German, of Augsberg.
865. Virgin and Child with the Meier family, from picture in
palace at Darmstadt.
Libri, Girolamo dai— 1474-1555. Venetian.
866. Virgin and Child between two saints. From picture in
San Giorgio Church, Verona.
Leonardo da Vinci. See Vinci, 967.
Lippi, Fra Filippo— c. 1406-1469. Florentine.
867. Virgin and ChUd. From picture in the Accademia, Florence.
868. Virgin and Child. From picture in the Uffizi GaUery,
Florence.

Arundel Reproductions of Works of Old Masters. 253

Lippi, Filippo (called Filippino). See Brancacci chapel frescoes
(821 et. seq.) and tlie following:
869. Madonna and Child. From Fresco at Prato.
870. Vision of St. Bernard. From altarpiece in the Badia,
Florence. Lochner (or Loethener), Stephan — c. 1400-1451.
German, Cologne.
871. Adoration of the Magi. (Framed with 901.)
872. The Annunciation. (Two panels.)
873. St. Gereon and his warriors.
874. St. Ursula and ber virgins. (872, 873, 874 in one frame.)
871-874 are from altar piece in Cathedral, Cologne.
Lorenzetti, Pietro. Died 1348. Sienese.
875. Madonna and Child with S. John, Evaug. and S. Francesco.
(Framed with 807.) Attributed by Arundel Society to Cavallini.)
876. Deposition from tlie cross. (Framed with 908.)
875, 876 are from frescoes in lower church of Saint
Francis Assisi.
Lorenzo di Viterbo— XV century.
877. Betrothal of the Virgin. From Fresco in chapel of Servile
church, Viterbo.
Lorenzo, Fiorenzo di. See Fiorenzo, 845.
Luini, Bernardino— Born between 1475;?) and 1480. Pupil of
Bourguinone. Died after 1533. Lombard-Milanese.
878. Burial of St. Catlierine by Angels. From fresco now in
Brera gallery, Milan. (Framed with 967.)
879. Marriage of the Virgin.
880. Adoration of the Magi.
881. Presentation of Christ in tlie Temple.
882. Head of Joseph, full size, from 881. (Framed with 823, 828,
S29.)
883. Christ among the doctors.
879-883 are from frescoes in Sautuario d. M. Saronno.

254 1 he Art Institute of Chicago.
Mantegna, Andrea— 1431-1506. Venetian.
884. St. James the greater before Herod-Agrippa...
885. Conversion of Hermogenes by St. James.
884, 885 are from frescoes in Eremetani Church, Padua.

Melozzo da F or li— 1438-1494. Umbrian.
886. Pope Sixtus IV giving audience. From fresco now in
library of Vatican.
887. Two angels. From frescoes now in Sacristy of St. Peter's
Rome.

Memling, Hans(Memlinc)— c. 1425-1495. Flemish.
888. The Nativity and the presentation in the Temple.
889. Adoration of the Magi. (Framed with 888. )
890. St. John Baptist.
891. St. Veronica.
888-891 are from panels of triptych in Hospital, Bruges.
892. The angel Gabriel..
893. The Virgin Annunciate.
894. Christ bearing the cross. (Framed with 897, 899. )
895. The crucifixion.
896. Entombment and resurrection of Christ. (Framed with
898, 900. )
897. St. John Baptist. (Framed with 894, 899.)
898. St. Blaise. (Framed with 896, 900.)
899. St. Giles. (Framed with 894, 897. )
900. St. Jerome. (Framed with 896, 898.)
892-900 are from an altar piece in the Cathedral, Lubeck.

Memmi, Simone (Simone Martini or di Martino)— c. 1283-1344.
Sienese.
901. The Annunciation. From picture in the Louvre. (Framed
with 871.)

Arundel Reproductions of Works of Old Masters. 255
Michelangelo, or Michelangiolo, di Lodovico Buonarroti
Simone— 1475-1564. Florentine.
902. Delphic Sibyl.
903. The Prophet Ezekiel.
904. The Prophet Jeremiah.
902-904 are from frescoes in Sistine Chapel, Vatican.
Montagna, Bartolommeo — c. 1450-1523. Venetian.
905. St. John Baptist and St. Benedict ; St. Nazzarus and St.
Celsus. From pictures in SS. Nazaro e Celso, Verona.
Morando, Paolo (called Cavazzola) — c. 1486-1522. Venetian.
906. The deposition (from the cross). From picture in munici
pal museum, Verona.
More, Sir Anthony (Authonis Mor, or Moro, von Dashorst).
c. 1512-1578. Dutch.
907. Portrait of Mary I, Queen of England. From picture in
Royal museum, Madrid.
Nelli, Ottaviano— 1403-1444. Umbrian.
908. Madonna and Saints. From fresco in S. Maria Nuova at
Gubbio.
Niccolo daFoligno (diLiberatore)-c. 1430-1502. Umbrian.
Alunno accepted as his proper name by some authorities and re
jected by others.
909. Virgin and Child with saints. From altar-piece in com
munal palace at Gualdo Tadino, Umbria.
Pacchiarotto, (Giacomo di Bartolomeo) -1474-1540. Sienese.
910. St. Catherine finding the body of St. Agnes. From fresco
in oratory of St. Catherine, Siena, attributed to Pacchiarotto.

256 The Art Institute of Chicago.
Paolo Veronese (Paolo Cagliari.) See p. 167. Venetian.
911. Allegorical figures from frescoes in the Villa Giacomelli
(often called Villa Maser) near Venice. Two sections.
Perugino, (Pietro Vannucci)— c. 1446-1524. Umbrian.
912. Marriage of the Virgin. From fresco in the ex-convent of
S. Girolamo near Spello.
913. Nativity and adoration of Christ. From fresco in S. Fran
cesco d. M., Perugia.
914. Adoration of the Magi. From fresco in S. Maria dei Bian-
chi, near Perugia.
915. Christ's charge to St. Peter. (Delivery of the keys). From
fresco in Sistine Chapel.
916. The crucifixion.
917. Attendant Saints in side compartments of "The Cruci
fixion . " Two frames .
916, 917 are from frescoes in S. Maria M. de Pazzi, Florence.
918. The transfiguration.
919. Prophets and sybils.
918, 919 are from frescoes in the Sala del Cambio, Perugia.
920. Martyrdom of St. Sebastian. From fresco in chapel of con
vent, Panicale.
Pinturicchio (Bernardino Betti)— c. 1454-1513, Umbrian.
921. The annunciation.
922. The nativity.
923. Christ among the doctors.
921-923 are from frescoes in S. Maria Maggiore, Spello
924. The nativity. From fresco in S. Maria del Popolo, Rome.
925. Virgin in glory, with two saints. From altar-piece at
Monte Oliveto, near Rome.
926. St. Catherine of Alexandria pleading before her judges.
From fresco in one of the Appartamenti Borgia in the Vatican.
927. Enea Silvio Piccolomini, receiving the cardinal's hat.
928. Betrothal of Frederick III, Emperor of Germany, 1440-1493.
927-928 are from frescoes in Piccolomini Library, Siena.
See 974.

Arundel Reproductions of Works of Old Masters. 257

Pisanello (Vittore Pisano)-c. 1375-1456. Veronese Venetian.
929. Departure of St. George. After fresco in S. Anastasia, at
Verona. Raphael (Rafaello Sanzio d'Urbino)— 1483-1520. Roman.
930. St. Peter delivered from prison.
931a. Poetry.
9314. Philosophy.
93 U. Theology.
93lrf. Justice.
932. The poets on Mt. Parnassus,
930-932 are from frescoes in the Stanze of the Vatican, Rome.
933. The four sibyls. From fresco in S. Maria della Pace, Rome,
Romanino, Girolamo— c. 1485-1566. Venetian.
934. The arrival of King Christian of Denmark. ) Helio-
935. The banquet. Two sections. j gravures.
936. The chase. Chromo-lithograph.
937. Distribution of liveries.
 „ / Heliogravures
938. Tournament

, . framed together.
939. Departure of King Christian. ) B
934-939 are from frescoes in Castle of Malpaga, near
Bergamo. Sanzio, Giovanni (father of Raphael).— c. 1435-1494. Umbrian.
940. Virgin and Child with saints, and Resurrection of Christ.
From fresco in S. Domenico at Cagli.
Sarto, Andrea del— 1486-1531. (Andrea d'Agnolo, or d'Angelo.
His proper name was generally believed to be Andrea Vannucchi,
and, since its rejection by revisers of Italian art history, it has
kept its place in the catalogues of tlie principal Florentine gal
leries.) Florentine.
941. Birth of the Virgin.
942. Procession of the Magi to Bethlehem.
943. Madonna del Sacco (Virgin with the Child and Joseph).

258 The Art Institute of Chicago.
944. S. Filippo Benizzi healing children.
941-944 are from frescoes in Annunziata Convent, Florence.
945. Charity. Heliogravure.
946. St. John Baptist preaching. Heliogravure.
945-946 are from frescoes in the Scalza, Florence.
Signorelli, Luca— 1441-1523. Florentine.
947. Dante. ") From frescoes in the cathedral, Orvieto.
948. Virgil, j Framed together.
949. Scenes in the life of Moses. From fresco in Sistine chapel,
Vatican, Rome.
II Sodoma (Giovanni Antonio Bazzi, sometimes spelled Razzi).—
1477 or 1479-1549 Sienese and Lombard.
950. Christ. From a partially destroyed fresco in convent of
S. Anna, near Sienna.
951. Christ bound. From fresco in Accademia, Siena.
952. St. Benedict preaching to women. From fresco in Mon
astery of Monte Oliveto, near Siena.
953. Vision of S. Catherine. ")
954. Ecstasy of S. Catherine. \ F™m fresc°es in S. Domenico,
955. Swoon of S. Catherine. ) Slena"
Sogliani, Giovanni Antonio— 1492-1544. See No. 816.
Stephan, Meister. See Lochner, 871-874.
Titian (Tiziano Vecelli)— 1477-1576. Venetian.
956. St Anthony of Padua healing a young man. From fresco
in Scuola del Santo, Padua.
Unknown Painters.
957. Richard II before the Madonna, with attendant saints. (In
two parts ) From picture at Wilton House.
958. The nursing of Bacchus, from an ancient Roman wall
painting, in the Farnesina Gardens, Rome.

Arundel Reproductions of Works of Old Masters. 259
Van Eyck brothers (Hubert, 1370?-1426; and Jan, 1390?-1440),
Claimed for both Dutch and Flemish schools,
959-966. From the altar piece in the Church of St. Bavon, Ghent.
(The whole picture, though the parts are scattered. Only the
fixed portions (Nos. 964, 966) remain in the church. Of the wings,
two (No. 961) are in the Royal gallery of Brussels, and all the other
six in the Royal museum of Berlin.)
959. The annunciation, with prophets and sybils. Four panels
from outside or back of upper wings, seen when closed. The
outer folds of the wings, when opened, show 961, Adam and Eve;
the inner folds show, when opened, Nos. 962, 963.
960. Portraits of Jodocus Vyts (the donor) and his wife, with
their patron saints, John the Baptist and John the Evangelist.
Four panels from outside or back of lower wings, seen when
closed. 961. Adam and Eve. Two panels. "\
962. An angelic choir. I From inside of upper
963. St Cecilia, ) wings.
964. The Virgin Mary, God the Father, and S. John Baptist.
From upper middle panels.
965. Processions of judges, warriors, hermits and pilgrims. From
inside of lower wings.
966. The adoration of the Lamb. From the lower middle panel.
Vannucchi. See Sarto, 941.
Vasco. See Fernandez, 844.
Vinci, Lionardo da— 1452-1519.
Florentine and Lombard-Milanaise.
967. Virgin and Child. With portrait of the donor. From fresco
in monastery of S. Onofrio, Rome. (Framed with 878.)
Viterbo. See Lorenzo, 877.
Wilhelm, Meister. See Cologne Masters, 840.

260 The Art Institute of Chicago.
Monuments and Interiors.
968. Monument of the Cavalli family, with adjoining frescoes,
in church of S. Anastasia, Verona. (Framed with 971. )
969. Monument of Count Guglielmo da Castelbarco, adjoining
the church of S. Pietro Martire at Verona. (Framed with 973.)
970. Monument of the Doge, Andrea Vendramini, in church of
SS. Giovanni e Paolo, Venice. (Framed with 972.)
971. Monument of the Doge, Morosini, in church of SS. Gio
vanni e Paolo, Venice. (Framed with 968.)
972. Monument of Tommaso Pellegrini, in church of S. Anasta
sia, Verona. (Framed with 970.)
973. Monument of Can Grande della Scala, in church of S.
Maria Antica, Verona. (Framed with 969.)
974. Interior of the Piccolomini library, Siena, showing frescoes
by Pinturicchio.
975. Interior of the Arena chapel, Padua, showing Giotto's fres
coes of the life of the Virgin and Christ.

MISCELLANEOUS PICTURES.
Rembrandt. Copy painted in 1891, by C. GuTman, of Rembrandt's
portrait of himself. Original in the Belvedere gallery, Vi
enna. On canvas 43| x 31 in. Presented by Mrs. E. A.
Driver, 1899. (Room 24.)
Raphael. Copy of Raphael's Transfiguration, from the original in
the Vatican, Rome. Oil painting on canvas 98^ x 69^" in.
Lent by Mrs. Perry H. Smith. (Room 36.)
 Copy of Raphael's Madonna della Sedia (or Seggiola) — of
the chair, or little chair. Original in the Pitti gallery, Flor
ence. Oil painting on canvas, circular. Diameter 29% in.
Presented by Mrs. H. B . Bergen, 1901. (Room 24.)
Basilica di San Marco. Chromo-lithograph of facade, made in
twenty-one sections. Illustration accompanying work on the
basilica published in Venice by F. Ongania, 1877-1887. 11%
in x 96^" in. (Room 24.)
Siamese battle picture. Illuminated water color. Presented by
Mrs. Archibaldf. McBean. (Room 91.)

261

EXTERIOR SCULPTURE.

Two colossal bronze lions, standing, one on each side of the
main entrance. Modeled by Edward Kemeys. Signed Kemeys,
1893, with fox head and circle remarque. (See p. 84.) Gift of
Mrs. Henry Field, 7893.
The lions are substantially the same in size, though differing
somewhat in pose and in minor details. The following measure
ments were taken on the one north of the entrance :
Length from nose to tip of tail, 13 ft., 4 inches; height at top
of head, 7 ft., 10 inches; at rump, 5 ft., 5 inches. Including the
irregular base, which represents the natural ground, the total
height of the bronze work is 8 ft. , 8 inches. It is supported by a
granite pedestal 4 ft., 1% inches high.

Two bronze electroliers, on stone pedestals decorated with
bucrania and festoons. Gift of Mrs. E. S. Stickney, 1893.

Two figures in relief, repeated in the spandrils of the loggia
arches. Modeled by Philip Martiny, of New York. See p. 126.

Enlarged adaptation of a portion of the Parthenon frieze, cut
in the stone of the west, north and south fronts.

Reproductions, bronzed plaster, of the Giustiniani Minerva,
Augustus with the corselet and Hermes of the British Museum,
upon the front loggia. See pp. 35, 36, 51, 52.

162

ABBREVIATIONS.

The degrees in the LSgion
in their order, from the
lowest to the highest.

A. I. C. — Art Institute of Chicago.
C. S. A. — Chicago Society of Artists.
E. U. — Exposition-Universelle, Paris.
H. C. — Hors Concours — not competing for honors or prizes, as
when an artist is a member of an exhibition jury.
L. H. — Legion d'Honneur, Paris.
Ch.— Chevalier.
O.— Ofiicier.
Com. — Commandeur.
G. O.— Grand Ofiicier.
G. Com. — Grand Commandeur.
L. P. E. — Louisiana Purchase Exposition (universal), St. Louis,
1904. .
M. A. L. — Municipal Art League, Chicago.
M. H. — Mention Honorable.
M. Inst. — Member of the Institute of France.
N. A. D. — National Academy of Design, New York.
N. A. — Academician of N. A. D.
A. N. A. — Associate of N. A D.
N. S. S.— National Sculpture Society, New York.
P. A. E. — Pan-American Exposition, Buffalo, 1901.
P.A.F.A.— Penna. Academy of the Fine Arts, Philadelphia.
R. A. — Royal Academy, London; also Academician of R. A.
P. R. A.— President of R. A.
A. R. A. — Associate of R. A.
S. A. A. — Society of American Artists, New York.
S. W. A. — Society of Western Artists.
W. C. E. — World's Columbian Exposition (universal), Chicago.
1893.

263

ART INSTITUTE OF CHICAGO.
SUPPLEMENT TO GENERAL CATALOGUE.
List t>f Loans, February, 1907.
PAINTINGS.
Arranged Alphabetically Under Names of Owners.

LENT BY ALLISON V. ARMOUR.
Ruijsdael, Salomon van. Born in Haarlem. Member of St.
Lucas Gilde 1623. Buried in Haarlem 1670. One of the
founders of the Haarlem landscape school.
1001. Landscape with cattle. Foreground of still water
except at the extreme right where begins a steep bank which
stretches diagonally across two-thirds of the view. On the
bank are sheep, a red cow and a white cow. Seven other red
cows are standing in the water or coming to it. On wood
33x44^ in.
Bol, Ferdinand. Dutch historical and portrait painter, baptized
in Dordrecht in June, 1616. Buried in Amsterdam 1680. Pupil
of Rembrandt. Lived in Amsterdam before 1640.
1002. Portrait of a young man in (early XVII century?) cos
tume Half length. On canvas, 28%ztl23)4 in.
LENT BY MRS. F. C. AUSTIN.
Benjamin-Constant, Jean-Joseph. Born in Paris 1845. Died May
26, 1902. Pupil of Cabanel. Medals of. Salon, 1875, 1876, 1896
(d'honneur); of E. U. 1878. Chev. Legion d'Honneur 1878;
Officier 1884. Member de l'lnstitut 1893. Grand Prix, E. U.
1900. 1003. Portrait of a lady. Life size. Full length. Seated on
a wall which raises an artificial lakelet above the level of the
264

Supplement — Paintings. 265
foreground on the left. Rising ground with trees beyond the
water. Signed Benjamin-Constant 189(9?). On canvas
117^ x 68% in. (Room 16. )
See 1036. LENT BY A M. BARNHART.
Millet, Jean Francois. See page 179.
1004. The bather. A woman drying her feet after bathing.
Signed J. F. Millet. (Room 39 )
LENT BY CHICAGO TRIBUNE.
Hitchcock, George. See page 211.
1005. Last moments of Sappho. On the edge of a high cliff ,
on bright green turf spangled with pink flowers, stands a
figure in a gauzy white robe, pausing before the fatal leap into
the sea. Signed with full name. No date. On canvas
61x36 in. (Room 16 )
LENT BY MRS. W. A. CONOVER.
Stanfield, Clarkson. English marine painter, born in Sunderland
1793. Died at Hampstead 1867. While a sailor in the Royal
Navy he was advised by Captain Marryat to adopt art as a
profession. Began as a scene painter; became A. R. A. in
1832 and R. A. in 1835.
1006. A ship in distress. On canvas 24j£ x 31^ in.
LENT BY C. C. CRABB.
1007-1012.
Chierici, Gaetano. Bora at Reggio, Italy, 1838.
1007. The favored one. Child playing with lamb. Several
other lambs and sheep coming forward from door at extreme
right. Signed Chierici Gaetano. On canvas 18j< x 24# in.

266 The Art Institute of Chicago.

Delobbe, Francois-Alfred— Paris. Born in Paris, 1835. Pupil of
Lucas and Bouguereau. Salon medals 1874, 1875; E. U. 1900.
1008. Nude infant before a mirror. Signed A. Delobbe.
On canvas 9% x 12 in.
Koekkoek, Herman Willem. Dutch. Born 1867. Self-taught.
Special artist of the Illustrated London News in the Transvaal
war. 1009. Dutch cavalrymen. A halt. Four troopers mounted
and three standing by their horses. Winter landscape with
out snow. Rolling country without houses. Signed H. W.
Koekkoek.
Maes, E. R. Belgian contemporary. Has a poultry farm near
Antwerp, where he keeps his models.
1010. The king of the flock. Signed E. R. Maes. On
canvas 45^x31^ in.
Montigny, Jules-L£on. Belgian contemporary.
1011. Return of the herd. Signed Jules Montigny '92. On
canvas 49J^ x 71 in. (Room 16.)
Verboeckhoven, EugBne Josef. See page 188.
1012. Ewe with two lambs. Landscape background. Signed
Eugene Verboeckhoven ft 1869. On canvas 38^x61^ in.
(Room 16. )
LENT BY MRS. JAMES H. DOLE.
1013, 1014.
Murphy, John Francis — New York. Born in Oswego, New York,
1853. Second Hallgarten Prize, N. A. D. 1885. Webb Prize,
S. A. A. 1887. Gold medal of Prize Fund Exhibition, New
York, 1887. Medals of W. C. E., Chicago, 1893; P. A. E., Buf
falo, 1901 (silver); L. P. E., St. Louis, 1904 (silver). M. H.
at E. U., Paris, 1900. Carnegie Prize, S. A. A., 1902. N. A.
1887. S. A. A. 1902.
1013. Landscape. Signed J. F. Murphy. On canvas 9% x
7 in.

Supplement — Paintings. 267
Thompson, Harry. See page 217.
1014. Marsh with cattle. On canvas 17% x 23X in. (Room
16.) LENT BY MRS. J. H. DWIGHT.
Melchers, Julius Gari. See page 211.
1015. Portrait of J. H. Dwight.
LENT BY MISS MARGARET G. EMERSON.
Lenbach, Franz von Born in Schrobenhausen, Bavaria, 1836.
Lived and worked mainly in Munich. Pupil of Munich Royal
Academy, Grftfle and Piloty. Medal of Paris Salon 1867.
Grand Prix, E. U , 1900. Member of Royal Academy, Berlin.
His portraits of Pope Leo XIII, Canon Dollinger and Bismarck
are in the new Pinakothek, Munich. Another portrait of the
pope, painted in 1886, is in Venice; and another of Bismarck,
painted for the pope but excluded from the Vatican, is in the
Breslau museum. Died May 6, 1904.
1016. Portrait of Edwin Emerson. Life size, nearly full
length, seated facing left but with head turned towards the
spectator. Hands folded and resting on head of cane. Long
gray beard and hair. Spectacles. Black coat and black felt
hat. Plain background, very dark. Signed Lenbach, 1894.
(Room 39.)
LENT BY MRS. MARSHALL FIELD, JR.
Bonnat, Leon. See p. 181.
1017. Portrait of Marshall Field. Life size, % length, seated,
% view from the right. Hands folded in lap. White hair
and gray mustache. Black business suit. Red plush chair.
Background of reddish brown. Signed L" Bonnat, 1896.
(Room 39.)
Hughes, Edward — London.
1018. Portrait group: Mrs. Marshall Field, Jr. , and her two
young sons. Signed Edward Hughes, 1898.

268 The Art Institute of Chicago.

LENT BY MRS. MARY BACON FORD.
Perrine, Van Deering— The Palisades, Englewood, N. J. Bora in
Garnett, Kansas, 1869 Honorable Mention, Carnegie Insti
tute, Pittsburg, 1903. Makes a specialty of painting the Pali
sades, opposite New York City.
1019. Midnight.
1020. The ferry.
LENT BY SIR CHRISTOPHER FURNESS.
Poynter, Sir Edward John — London. Born in Paris, 1836. Pupil
os Gleyre 1856-1859. A. R. A. 1869; R. A. 1876; P. R. A. 1896;
knighted 1896. Made baronet 1902. Commemorative Honor
Dipioma of L P. E., St. Louis, 1904.
1021. The catapult. Scene in an ancient Roman siege.
Archers and machine men in action. On canvas. Signed
E. J. P. in monogram. Dated 1868. Finished 1872. (Room
16.) LENT BY SAMUEL GANS.
1022-1026.
Cauwelaert, J. E. van— Ghent, Belgium. Born in Ghent, 1866.
Member of Socidte" Nationale des Beaux-Arts, Paris.
1022. Changing pasture. A woman in the foreground holds
two cows by a rope. Behind her is a rail fence, on the other
side of which a field stretches away to the distance. In this
field are several other cows. Signed E. van Cauwelaert. There
is also inscribed on the back of the canvas, over the artist's
name, what seems to be the original title of the picture:
Devant la Barriire. On canvas 29 x 39^ in.
1023. The watering place. Two cows at a pool among trees
and bushes. Signed E. van Cauwelaert. On canvas 29 x
39%z in.

Supplement — Paintings. 269
Ribera, Juseppe, called Lo Spagnoletto — Born in Jativa (formerly
written Xativa) near Valencia, Spain. Pupil of Ribalta there,
and of Carvaggio in Italy. Worked chiefly in Naples, where
he founded a school. Died in Naples 1656.
1024. "Heraclitus, the weeping philosopher." He bends
mournfully over a celestial globe in the foreground at the left.
On canvas 29 x 34 in. (Room 32. )
1025. " Deniocritus, the laughing philosopher." He points
laughingly at a terrestrial globe in the foreground at the right.
On canvas 29 x 34 in. (Room 32. )
Snaijers, Pieter — Flemish painter, born in Antwerp 1592; died
about 1667. Pupil of Sebastian Francken (Franck or Vranx).
Master of Vandermeulen. Court painter, Brussels. Member
of Brussels Guild of Painters, 1628.
1026. View from a hill over a rolling country. Four figures
on road near a clump of trees in foreground on the right.
Glimpse of a river in middle distance and city on the horizon.
On canvas, 30}£ x 25^ in. (Room 32.)
Vermeer (Van der Meer), Johannes. Bora in Delft 1632; buried
there 1675. Pupil of Carel Fabritius. Author of a painting in
the Mauritshuis at the Hague which is closely resembled by
the one described below, except in size and signature. The
Hague picture is much larger.
1027. View of Delft, across the river. Signed V. Gu [and
four other letters, and apparently dated 1780]." On canvas
16^x19^ in.
LENT BY THE ESTATE OF MARY GATES.
Bristol, John Bunyan— New York. Born in Hillsdale, N. Y., 1826.
Pupil of Henry Ary in Hudson, N. Y. Medal of Centennial
Exhibition, Philadelphia, 1876. M. H. at E. U.; 1878. N. A.
1875. 1028. Whiteface Mountain. Signed J. B. Bristol. On can
vas 24^x44 in.

270 The Art Institute of Chicago.

LENT BY JAMES S. HARLAN.
Flameng, Francois— Paris. Born in Paris. Pupil of Cabanel and
J. P. Laurens. Medal of Salon, 2nd class, and Prix du Salon,
1879; Grand Prix, E. U., 1889. O. L. H., 1896. Member of
Jury, E. U., 1900.
1029. Portrait of Mrs. Belden Noble— % length seated, fac
ing front. Hands crossed and loosely holding book in lap.
One finger in book. Silvery gray hair, broad white lace collar
and a cloud of white sleeves and cuffs coming from under a jet
black dress. Gray background with vague suggestion of
landscape. Signed, and dated 1903. The signature is divided
— Francois on the left of the figure, and Flameng on the
right. LENT BY MRS. N. H. HIBBARD.
1030-1033.
Casilear, John W. One of the group "of painters who began as
engravers with the American Bank Note Co, New York. Born
in New York, 1811. Studied in Europe in 1840 and 1857.
A. N. A. 1835 ; N. A. 1851. Died 1893.
1030. A Swiss lake. Signed J. W. C. 1875. On canvas about
10 x 12 in.
de Haas, M. F. H. See p. 197.
1031. Sunrise on the coast of Maine. Signed M. F. H. de
Haas. On canvas about 16 x 26 in.
Hait, William See note before 304.
1032. On Lake George. Cottage on hither shore and cows
on beach near by. Signed W. Hart 1875. On canvas about
10 x 12 in.
Shirlaw, Walter — New York. See page 213.
1033. Study of an old woman in the costume of a nun.

Supplement — Paintings. 271
LENT BY MRS. W. G. HIBBARD.
Cazin, Jean-Charles. See p. 173.
1034. Landscape. Brook flowing diagonally from the right
to the foreground at the left.
See 1073. LENT BY MRS. H. L. HOLLIS.
Bouguereau, WiUiam-Adolphe. See p. 191.
1035. Woman and child. On canvas. (Room 16.)
LENT BY MRS. SARAH J. HOWARD.
Benjamin-Constant. See 1003.
1036. The favorite tiger. Signed Ben j. -Constant. On can-
83 Ji x 49X in. (Room 16. )
LENT BY HENRY S. HUBBELL.
Hubbell, Henry S. — Paris. Bom in Paolo, Kansas, 1870. Studied
in the Art Institute, Chicago, and with Collin, Whistler, Lau
rens and Benjamin-Constant in Paris. M. H. of Salon, 1901;
medal 1904. Medal of L. P. E., St. Louis, 1904. A. N. A.
1037. A fine bargain. (Room 16.)
1038. The return. A priest is persuading a French peasant
to receive his daughter, who had gone astray.

272 The Art Institute of Chicago.

LENT BY MR. AND MRS. FRANK G. LOGAN.
1041-1064.
Bonheur, Marie-Rosa. See page 189.
1041. Head of a lion, life size. Front face. Signed Rosa
Bonheur. On canvas 31 >£ x25j( inches.
Chase, Harry. Born in Woodstock, Vermont, 1853. Pupil of
J. M. Stuart in St. Louis; of N. A. D., New York; of Royal
Academy, Munich; of Soyer, Paris; of Mesdag, the Hague.
Hallgarten Prize, N. A. D., 1883. Died 1889.
1042. A derelict. A dismantled and deserted ship in mid-
ocean. Signed H. Chase, 1880. On canvas. See 1073.
Corot, J.-B.-C. See Page 174.
1043. Landscape, with foreground of dark green turf on
which four girls are dancing. A low, square tower at the right,
on the edge of a lake. Clump of trees at the left, with open
ings through which is seen a group of distant buildings.
Signed Corot. On canvas 15% x22 inches.
Daubigny, Charles-Francois. See page 175.
1044. Along the banks of the Oise. Two flocks of geese
marching down a slope to the river at the right. Three wom
en minding the geese. Signed Daubigny 1868- On wood
15 Ji x 26 # inches.
Diaz, de la Pena, N. V. See page 176.
1045. La mer aux f£es. In the foreground are three daintily
dressed ladies who have apparently begun disrobing for a bath
in a small lake or pool just back of them. Trees on both
sides of the pool, beyond which is a dense mass of lower trees
under a blue sky with cumulus clouds. Signed N. Diaz '66.
On canvas 37 x 21^ inches.

Supplement — Paintings. 273

LENT BY MR. AND MRS. FRANK G. LOGAN.
1041-1064.
Dupre, Jules. See page 177.
1046. Drove of cattle fording a river. The drover is mounted
on a white horse, with a small boy. Signed Jules Dupre" 1836.
On canvas 14 x 24 % inches.
1047. Trees in extreme right front, from which a line of cot
tages extends to a rustic church near the centre. Figures
seated on the ground in front of the cottages. Signed J. Dupre"
Hobbema, Meindert. See page 164.
1048. Landscape. A water mill roof ed with red tiles in the left
foreground. Overhanging trees at each end. Immediately
beyond and towards the right is another house quite over
shadowed by trees. Only the front is seen, with two stalls for
horses on the left, and the door of the dwelling on the right.
The upper half of the door is open, and a woman in blue is
leaning out over the lower half, talking with a man outside.
In front of the stalls a man is stooping. Close behind him is
another man on a bay horse. In the centre of the canvas is a
third house, past which a road leads from the water mill over
a rustic bridge to open country beyond a dense group of trees
in the right foreground. On wood 36 x 51/6 in.
Israels, Jozef — The Hague. Born in Groningen, Holland, 1824.
Pupil of Jan Adam Kruseman in Amsterdam, and of Picot in
Paris. Awarded medals at many home and foreign exhibitions.
Grand Prix of E. U., Paris, 1900. Grand Prize of L. P. E.,
St. Louis, 1904. Knight of the Order of the Lion, Holland;
of Leopold, Belgium; of Franz Joseph, Austria; of the Crown,
Italy. O. L. H., France.
1049. The church warden. Man and woman seated at a
table in front of a window. The man is writing with a quill

274 The Art Institute of Chicago.
LENT BY MR. AND MRS. FRANK G. LOGAN,
1041-1064.
pen in a large book, while smoking a long-stemmed clay pipe
(churchwarden) with the bowl resting on the table. He is
absorbed in his work; but the woman opposite is more inter
ested in him than in her knitting. Signed Jozef Israels. On
wood 21^ x 33 >£ in.
1050. Two Dutch sailors wading ashore from a fishing vessel
in the middle distance at the right. One carries an anchor on
his shoulder, and the other draws after him the cable connect
ing the anchor with the boat. Signed Jozef Israels. On can
vas 55#" x 1Q% in. See 1101.
Jacque, Charles-Emile. See page 189.
1051. Flock of sheep in foreground headed to right, with
colly leading. Shepherdess on the farther side of the flock
in front of a clump of trees which shuts out the view at the
left. Open country at right, with dull, cloudy sky. Signed
ch. Jacque. On canvas 36 x 60 in.
Keith, William— Berkeley, Cal. Born in Aberdeenshire, Scotland,
1839. Came to New York in 1851. Learned engraving and
worked at it until 1859, when he went to California and de
voted himself to landscape painting. Studied in Munich.
Medal; P. A. E., Buffalo, 1901.
1052. Evening in the Sierra. Rough, wooded gap in foot- .
hills, through which is seen a distant snow-clad peak tinted by
the setting sun. Signed W. Keith, 1900. On canvas..
Marcke, Emile van. See page 181.
1053. Landscape with cattle. Herdsman on a sorrel pony
taking seven cows from the left foreground on a road curving

Supplement — Paintings. 275
LENT BY MR. AND MRS. FRANK G. LOGAN.
1041-1064,
around the foot of a hill. The hill forms a dark green back
ground to the group. Signed Em. van Marcke. On canvas
37jix54in.
Mauve, Anton. Born in Zaandam, Holland, 1838. Pupil of P. F.
van Os in Haarlem. Medal of Paris Salon, 1887. Died 1888.
1054. Landscape. Man with white horse ploughing from
right front to left middle distance. Signed A. Mauve. On
wood 11 Ji x 15 Ji in.
Millet, J.-F. See page 179.
1055. Study of a little boy (the artist's brother?) in black
cap, red neckcloth and gray blouse. Half length. Not much
larger than an average miniature portrait.
Pieters, Etnil.
1056. Man in cart drawn by white horse, coming forward
from the sea on a wet sandy beach. Stranded fishing boat in
the middle distance on the right. Has been catalogued as
"Returning clam digger." Signed E. Pieters. On canvas
47X x 35 Ji in.
Plockhorst, Bernhard— Berlin. Born in Brunswick 1825. Pupil in
Munich of Piloty; In Paris, 1851, of Couture. Gold medal in
Berlin, 1858.
1057. The Virgin, seated, with the Child in her lap. Joseph
stands behind, with protecting arm around her, looking in
tently towards the right. Signed B. Plockhorst. On canvas
44ji x 35 Ji in.

276 The Art Institute of Chicago.

LENT BY MR. AND MRS. FRANK G. LOGAN.
1041-1064.
Rembrandt, van Rijn. See page 161.
1058. Rembrandt in a steel gorget. Between bust and half-
length, life size; inclined slightly to the left. On oak panel,
22^ x 18ji in. Signed on left side Rt 1631. From the col
lection of Jhr. Henry Teixeira de Mattos, Amsterdam.
This portrait of Rembrandt at the age of twenty-five, rep
resents him in the following costume. Dark purple cap with
four blue-black cock's feathers springing from a small jeweled
socket; dark brown cloak without sleeves; A steel gorget,
above which appears a dull green neckcloth. The cloak is
open below the gorget far enough to show a triple brown chain
crossing a dark brown doublet, but not far enough to show the
hands or arms of the sitter. Gray background. Light from
above on the left.
Rousseau, P. E. T. See page 179.
1059. A clearing in the forest of Fontainebleau. Trees with
dense foliage at right and left, flanking a wide space of roughly
grass-grown level ground. Lower trees in the middle distance,
under a blue sky mottled with clouds. Signed Th. Rousseau.
1060. Small brown landscape. House among trees, with
three suggestions of figures. Very stormy sky, but for which
the picture would be substantially in monochrome. Signed
Th. Rousseau.
Troyon, Constant. See page 180.
1061. At pasture. Three trees in a diagonal line on left fore
ground, before which is a red cow lying down and a black cow
standing. Man and black dog at the right watching a goat
mounting a log. Scattered cows in plain beyond. Signed
C. Troyon. On canvas 38# x50^ in.

Supplement — Paintings. 277
LENT BY MR. AND MRS. FRANK G. LOGAN.
1041-1064.
Turner, Joseph Mallord William, the most famous of English land
scape painters. Born in London, 1775. Entered Royal Acad
emy as student 1789. Associate 1799. Academician 1802.
1062. A circular vignette in water colors. Bridges and build
ings in foreground. Blue mountain peaks in the distance.
Weissenbruch, J. H. See page 225.
1063i Landscape with two windmills — one in middle distance
and one on edge of foreground at the left. Coming forward
from the latter, over a white road direct to the front, is a man
in a cart drawn by a white horse. Light from the rear.
Signed J. H. Weissenbruch 1902.
1064. Small landscape. Boggy foreground, with village ex
tending from the left diagonally to the middle distance. Two
leafless trees, wide apart, rise above the houses. Glimpse of
sea in distance. Signed J. H. Weissenbruch.

LENT BY ALBERT S. LUDLOW.
Luini, Bernardino. Bora between 1475 (?) and 1480; died after
1533, Pupil of Bourguinone and imitator of Lionardo da
Vinci. Lombard-Milanese school.
1071. The tribute money. Painting attributed to Luini. On
canvas 28 x 34 in.

278 The AH Institute of Chicago.
LENT BY MRS. A. F. MacARTHUR.
Cazin, Jean-Charles. See p. 173.
1072. Landscape. Bank of stream in foreground, with two
trees on the right. Boat, near the trees. Signed J. C. Cazin.
(Room 39.)
Chase, Harry. See 1042.
1073. A quiet afternoon. A beach (in HoUand?). Two fish
ing boats at anchor. Gronp of fisher folk on shore. Signed
H. Chase.
See 1034.
LENT BY W. A. MARINER.
Finnin-Girard, Marie - Francois — Paris. Bora at Poncin, Ain,
France. PupU of Gleyre and Gerome. Medal, 3d class, 1863;
2d class, 1874; bronze (E. U.) 1889, 1990. Chev. Legion
d'Honneur 1896.
1074. The betrothal. Coming from church over path strewn
with autumn leaves. Signed Firmin-Girard 1874. On canvas.
LENT BY MRS. MARY McCABE.
RothweU, Richard. Portrait and genre painter. Born in Athlone,
Ireland, 1800. First studied and practiced in Dublin, and was
elected a member of the Hibernian Academy. Assisted Sir
Thomas Lawrence in London. Worked afterwards in Dublin,
Leamington, Paris and Rome. Died in Rome 1868.
1075. Portrait of the artist.

Supplement — Paintings. 279
LENT BY CYRUS H. McCORMICK.
1081-1116. Room 43.
Bouguereau, WiUiam-Adolphe. See page 191.
1081. Ministrations of love. Cupid riding a dolphin, with a
flock of other cupids following in the air. Signed W. Bou
guereau.
Casanova y Estorach, Antonio — Paris. Born in Tortosa, Spain,
1847. Pupil of Claudio Lorenzalez in Barcelona, and of F. de
Madrazo in the Madrid Academy. Studied also in Rome and
Paris. 1082. Amateur orange picking. Three frolicsome ladies in
XVni century costumes, with a step ladder, and a gentleman
seated on a chair at the foot of the ladder.
Constable, John. See page 175.
1083. Landscape In the foreground on the right is a rough,
steep hUl, sloping towards the left down to the level of the
plain. A lake is in view over the foot of the hill at the left.
In the face of the hill at the right is the opening of a quarry,
from wliich two men are loading a cart which stands on a
ledge in front of the opening.
Corot, J. B. C. See page 174.
1084. Landscape. Pool in foreground. Two cows standing
in the water where it reflects a bright sky. Signed Corot.
Crome, John (Old Crome). Son of an innkeeper in Norwich,
England. Born 1769. Died in Norwich 1821. Brought up as
a coach painter. Exhibited in Royal Academy between 1807
and 1818.
1085. Landscape. Water foreground. Old wharf on left, in
front of house with double gable.
Daubigny, C.-F. See page 175.
1086. Landscape. Water in foreground and at the left.
Signed Daubigny.

280 The Art Institute of Chicago.

LENT BY CYRUS H. McCORMICK.
1081-1116. Room 43.
Dauchez, Andre— Born in Paris. Silver medal at E. U. 1900.
1087. Water in foreground. A wooded island or peninsula
in the midle distance cuts off the view except in a narrow
space at the extreme right where the water sweeps around the
land. On absorbent canvas. Signed Andre" Dauchez, 1900.
Diaz de la Pena, N.-V. See page 176.
1088. Woody landscape. In foreground is a boy with three
dogs. On wood. Signed N. Diaz.
1089. Young lady under tree with two dogs— one in lap.
Signed N. Diaz. On wood.
1090. Flowers. Signed N. D.
Dupre, Jules. See page 177.
1091. Landscape. Clump of trees growing from one root in
foreground. Signed Jules Dupre\
1092. Marine. Same motive as 123. Signed Jules Dnpr6.
Gainsborough, Thomas. Born in Sudbury, Suffolk, England. 1727;
died in London 1788. Became pupil of Gravelot, engraver, in
London, at the age of fourteen; and, afterwards, of Hay man,
a painter. From 1769-1783 he exhibited ninety-six works at
the Academy. Sir Joshua Reynolds says : ' ' Whether he most
excelled in portraits, landscapes or fancy pictures it is difficult
to determine."
1093. Landscape. Rough wooded foreground, with stream
flowing between high banks to front and nght. Red cow in
the stream opposite to a woman sitting on the left bank. Be
tween them, coming forward, is a countryman on a gray
horse.

Supplement — Paintings.

LENT BY CYRUS H. McCORMICK.
1081-1116. Room 43.
Gerome, J.-L. See page 184.
1094. Egyptian water carrier. A woman, half length, sitting
with jar on lap and hands resting on jar. Pale blue wrap
about head and neck. Dark blue jacket. Signed J. L.
Gerome.
Harpignies, Henri — Paris. Born in Valenciennes 1819. Pupil of
Jean Achard of Grenoble. Medals of Paris Salon 1866, 1868,
1869, 1897 (d'honneur); of E. U. 1878 (silver.) Grand Prix,
E. U. 1900. Officier Legion d'Honneur 1883.
1095. Sunset. Uncultivated land, low in the middle from
front to a distant low horizon. A glimpse of water in the dis
tance. Two trees with white bark in left foreground. On
canvas. Signed h. Harpignies 99.
Henner, J.-J. See page 199.
1096. Head of a young lady with flowing auburn hair.
Black jacket and white chemisette. Green background.
Signed J. J. Henner. On wood.
Inness, George. See page 199.
1097. Cloudy day near Milton. Signed G. Inness, 1877.
1098. Autumn. Trees of uniform dark brown against a deep
blue sky. Not much sky visible. Signed G. Inness, 1892.
1099. Rainy (or windy) day. Signed G. Inness, 1893.
1100. The lone pine, sunset. Signed G. Inness, 1893.
Israels, Jozef. See 1050.
1101. Bringing in the catch. Boy and girl coming forward
with full baskets through the shallow water of a beach. Two
fishing vessels just beyond the low surf. Signed Jozef Israels.
Jacque, Charles-Emile. See page 189.
1102. A shepherdess with seven sheep in a woody landscape.
On the left, near the foreground, the trunks of two large trees
are crossed in the form of the letter X. Signed ch. Jacque.

282 The Art Institute of Chicago.

LENT BY CYRUS H. McCORMICK.
1081-1116. Room 43.
Jiminez y Aranda, Luis— Pontoise, France. Born in Seville, Spain.
1845. Pupil of Eduardo Cano. Removed to Paris in 1875.
Medal of Salon 1887. Grand Prix of E. U. 1889. Chev.
Legion d'Honneur 1889.
1103. Small study (of a Spanish bull fighter?). He sits on a
chair with left arm resting on the back in the fold of a red
cloak which is thrown loosely over his shoulder. Purple
doublet and breeches; blue hose; "incroyable" hat. On
wood. Signed L. Jiminez, Roma.
Lawrence, Sir Thomas. Son of an innkeeper in Devizes, England,
but born in Bristol, 1769. Died in London 1830. His first
efforts were chalk portraits of some of his father's customers.
At ten years of age he began business as a "portrait painter
in crayons " in Oxford, removing soon afterward to Bath. In
his seventeenth year he began painting in oil colors. In 1787
he settled in London and entered as a student in the Royal
Academy. Elected A. R. A. in 1791, though under the re
quired age. Succeeded Reynolds as painter to the King. R. A.
in 1794. Knighted in 1815. P. R. A, 1820. Chev. Legion
d'Honneur, France, 1825. From 1787 to 1830 he exhibited 311
pictures at the Academy.
1104. Cupid. "Half length figure in elliptical frame.
Marcke, Emile van. See page 181.
1105. Landscape with cattle. White cow between two red
ones in foreground. Background of thatched stable on right.
Trees and sky on left. Signed Em. van Marcke.
Melchers, Julius Gari. See page 211.
1106. The orange. A Dutch woman carrying a child with
an orange. (Pastel.) Signed Gari Melchers. 34ji x 25j£ in.

Supplement — Paintings. 283

LENT BY CYRUS H. McCORMICK.
1081-1116. Room 43.
Meyer, Johan Georg ("Meyer von Bremen"). Born in Bremen
1813. Studied in Diisseldorf Academy under Sohn and Scha-
dow. Settled in Berlin 1852; died 1887.
1107. An Alpine goatherd(?). Signed Meyer von Bremen.
Owen, WUliam. Born in Ludlow, England, 1769. Went to Lon
don about 1786, and received instruction in painting from
Catton, R. A., and Reynolds, P. R. A. Became A. R. A. 1804.
R. A. 1806; portrait painter to the Prince of Wales 1810.
Died 1825.
1108. Portrait of a lady, three-quarters length, seated in a
high-backed chair. Right arm resting on red cushion. Red
cushion also on back of chair and red hangings behind. Gray
pUlar at the right.
Rousseau, P.-E.-T. See page 179.
1109. Landscape. A canal or river flowing forward from the
left, bending away from the front and passing back along the
right. Low buUdings on the farther shore at the left.
Sanchez Perrier, Emilio — Paris. Born in Seville, Spain. Pupil of
Cano. Silver medal, E. U., Paris 1889. H. C.
1110. Landscape. A strip of water in foreground; a strip of
green, irregularly wooded land beyond, and a strip of bright
sky, which lights the water near the front. Signed E. San-
chez-Perrier, Alcala.
Schreyer, Adolf. See page 180.
1111. A troop of Arabs on the march. The column is halted
whUe the leaders confer, withont dismounting, on the course
to be followed. Signed Ad. Schreyer. On canvas 47X x 69 in.

284 The Art Institute of Chicago.
LENT BY CYRUS H. McCORMICK,
1081-1116. Room 43.
Thaulow, Frits— Paris. Born in Christiania, Norway. Died in
Volendam, Holland, Nov. 5, 1906. Studied in Christiania,
Carlsruhe and Paris. Gold medals at Vienna and Munich.
Diploma of Honor, Dresden. Member of jury at Centennial
Exhibition, Philadelphia, 1876; and at Carnegie Inst., Pitts
burgh, 1898. Chevalier Legion of Honor, France (1889); of
the Order of Leopold, Belgium; and St. Olaf, Norway.
, Grand Prix, E. U., Paris, 1900.
1112. Landscape. Water in foreground, with low, flat land
opposite. Pollard willows on the bank and low buildings be
yond, roofed partly with thatch and partly with red tiles.
Signed Frits Thaulow.
Troyon, Constant. See page 180.
1113. Landscape with cattle. Red cow and white cow in fore
ground. Water at right. Windmill in distance. Signed
C. Troyon. On wood.
Wendt, William— Chicago. See page 214.
1114. Chaos. A rounded, rocky hill top in California, thinly
covered with moss and cut in two diagonally by a narrow
irregular fissure. Signed Wm. Wendt. Painted 1899?
1115. Looking down (through a rocky chasm to the Pacific
ocean). Signed Wm. Wendt. Painted 1899?
Zamacots, Eduardo. Born in Bilbao, Spain, 1842. Died in Madrid
1871. Pupil of Balaco, then of Madrid Academy under F. de
Madrazo, then of Meissonier in Paris. Medal of Paris Salon
1867; of Munich Exp. 1870. Diploma to memory of deceased
artists, E. U., Paris, 1878.
1116. In the antechamber. Two 17th century cavaliers— one
standing, the other sitting — on opposite sides of a small table
supporting a tall beaker and two wine glasses. Background
of green and brown wall hangings. Water color. Signed Ed.
Zamacois 59.

Supplement — Paintings. 285

LENT BY MRS. J. H. MOORE.
Earle, Lawrence C. — Montclair, New Jersey. Born in New York
city, 1845. Studied in Munich, Florence and Rome. A. N. A.
Member A. W. C. S. Hon. Member of Art Institute of Chicago.
1121. Mother and Child. Signed L. C. Earle, '57. On can
vas 36X x 64ji in. *

LENT BY MUNICIPAL ART LEAGUE.
1131-1134.
Baker, Martha Susan. Chicago and Cleveland. Born in Evans-
ville, Ind., 1871. Pupil of A. I. C. First prize for miniatures
Arche Salon, 1897. Medal for miniatures, L. P. E., St. Louis,
1904. Honorable mention for portrait in oil colors, Pitts
burgh, 1904. M. A. L. Purchase Prize, A. I. C, 1905. C. S. A.
silver medal, A. I. C, 1905. Member C. S. A., Asso. S. W. A.
Teacher. 1131. In an old gown. Lady in white, seated, facing left,
holding closed red fan in lap. Signed Martha S. Baker, 1904.
(Room 39.)

Johansen, John C. Chicago and New York . Born in Copenhagen,
Denmark. Pupil of A. I. C, Frank Duveneck and the Julian
Academy in Paris. M. A. L. prize at A. I. C. 1903; Young
Fortnightly do. do. do.; medal of C. S. A. 1904; medal of
L. P. E., St. Louis, 1904.
1132. October sere and golden. Signed J. C. Johansen, 1903,
(Room 16.)
Shulz, Adolph R.— Delavan, Wis.
1133. Landscape. Frost and fog. (Room 39.)

286 The Art Institute of Chicago.
LENT BY MUNICIPAL ART LEAGUE,
1131-1134.
Wadsworth, Frank. Bora in Chicago 1874. PupU of A. I. C, and
of W. M. Chase. Young Fortnightly Prize, A. I. C, 1904.
Medal of L. P. E., St. Louis, 1904. Member C. S. A. Died
in Madrid, Oct. 9, 1905.
1134. Wharf of red boats. (ReaUy a dock, running up the
middle of a wide street.) Signed Frank Wadsworth, Haar
lem, '03. (Room 16.)
LENT BY MRS. F. A. NOBLE.
Vinton, Frederic Porter — Boston. Born in Bangor, Me., 1846. Pu
pU of William Hunt and Dr. 'William Rimmer, Boston; Bon
nat and Laurens, Paris. Studied also in Munich at the Royal
Academy. Medal of W. C. E., Chicago, 1893; of E. U., Paris,
1900. Gold medal of P. A. E., Buffalo, 1901, and of L. P. E.,
St. Louis 1904. S. A. A. 1880; N. A. 1891.
1135 Portrait of F. A. Noble, D. D. Three-quarters length,
standing. Face in % view turned to left. Right hand hold
ing paper, resting on table at left. Gray side whiskers.
Black Prince Albert coat and black trousers. Plain brown
background.
LENT BY WM. B. OGDEN.
Zorn, Anders L. — Mora, Sweden. See page 221.
1136. Portrait of WiUiam B. Ogden. Half length. Cigarette
in hand. WTiite coat and vest. Blue necktie, and blue corn
flower in buttonhole. No other color, except in face and
hand. Signed Zorn 1895.
LENT BY JAMES W. PATTISON.
Preyer, Johann Wilhelm — German stiU life painter, bora in Rheydt
1803. Traveled in Holland, Switzerland, The Tyrol and
Venice. Studied in Dusseldorf about 1848. Finally settled in
that city where he died Feb. 19, 1889.
1137. Fruit. On wood 8ji x 10ji i».

Supplement — Paintings. 287
LENT BY MARTIN A. RYERSON.
1138-1141.
Ruijsdael, Jacob van. See page 159.
1138. Landscape. Foreground broken by shallow pools of
water, out of which rises a sandy road leading back to the
right, but turning soon to left. Beyond the turn, iu the mid
dle distance is a man driving a flock of sheep. Extending
from the road to the extreme left is a thick growth of trees.
On canvas 20f^ x 23 Ji in.
Saftleveo, Herman (III). Dutch landscape painter. Born in
Rotterdam about 1610; lived in Utrecht after 1633; died there
in 1685. Son and pupil of Herman Saftleven II. His favor
ite subjects were views on the Rhine and Moselle rivers.
1139. River view. Cattle and woodchoppers in foreground.
On the extreme left a swiftly flowing river washes a high
rocky shore on which is a cascade. Large boats well manned
are pushing out into the stream from inlets on the right bank.
Beyond, the river's course is shown, almost in a bird's eye
view, winding through meadows to the extreme distance.
Canvas, 43j/ x 53 Ji in.
Sorgh, (Sorg or Zorg), Hendrick Maertenzoon, called Rokes. Said
to have been born in Rotterdam, 1611 or 1621; died there 1669
or 1670. Pupil of Willem Buytewech. Influenced also by the
works of Brouwer. Worked in Rotterdam.
1140. Dutch interior— apparently a storeroom for kitchen
furniture, utensils, etc. Women at work in middle. Three
chickens and a cat variously placed. Signed H. M. Sorgh (or
H. M. Sorg ft), ('44?) See 188. On wood 19# x 26 in. See
page 191.
Inness, George. See page 199.
1141. Moonlight on Passamaquody Bay. Signed G. Inness
1893. On canvas 30 x 4S% in.

288 The Art Institute of Chicago.

LENT BY ESTATE OF MRS. MARTIN A. RYERSON, Sr.
Lepine, Stanislas. Born in Caen, France. Pupil of Corot. Medal
of Salon and gold medal of E. U. 1889. Died in Paris, 1892.
1142. River view. High ground on the left with a row of gray
residences extending from near the front into a hazy distance.
From the houses there is a gradual descent over a worn turf,
to a cove of the river which reaches the front near the right.
A town is vaguely shown on the opposite shore, which is low
and cut off from the foreground by the bend of the river. The
strong light of the picture is all on the river, from the front to
a group of barges which shuts out the view of the stream be
yond the middle distance. Signed S. Lepine.
LENT BY MRS. S. F. SATER.
English painter.
1143. Portrait of a child sitting on the floor. Hands
clasped. Hat on head. White dress. (Room 16.)
LENT BY P. E. STANLEY.
McEwen, Walter. See page 187.
1144. Non Absolvenda. A gray haired priest in a brown
gown, sitting beside a young woman in a pink empire dress
and a pink bonnet. The priest looks inquiringly at the girl.
Her eyes are downcast. Background of dark foliage. Pastel.

LENT BY MRS. PERRY H. SMITH.
See page 261.

Supplement — Paintings. 289

LENT BY P. A. VALENTINE.
Bennett, Frank M— Croydon (A suburb of London.)
1151. The Greek runner, Ladas, a victor -in the Olympian
games, dying when about to receive his crown. Exhibited at
the Royal Academy, London, in 1900. Signed Frank M.
Bennett.
Shaw, Byam— London. Born in Madras, 1872. Pupil of J. A.
Vinter from 1880-1887; of Royal Academy, London, 1890.
Med, of Paris E. U. 1900. Member of Royal Inst, of Painters
in Water Colors.
1152. Truth. A pictorial allegory in the imaginary mediseval
English style. Truth, a beautiful young woman, has been de
prived of her white robe. Her nude figure, relieved against a
green curtain, is a centre piece around which the members of
the royal court of various degrees (all taking part in the per-
fonnance) are grouped as a border. The King is blindfolding
Truth, supported by the church and the law. Signed Byam
Shaw 1898.

SCULPTURE.
Plaster casts unless otherwise described, arranged alphabetically
under names of owners.

LENT BY P. W. BARTLETT.
Barrett, Paul Wayland. See page 89.
1201. Primitive Man and Bears. Plaster. Signed and dated '87.
(Room 14.)
LENT BY MRS. W. E. BOYNTON.
French, Daniel Chester. See pgae 87.
1202. Bust of Ralph Waldo Emerson. (Room 14.)
See also 1225, 1226.
LENT BY F. EDWIN ELWELL.
Elwell, Frank Edwin. Born in Concord, Mass., 1858. Pupil of
D. C. French, in Concord, and of FalguiBre and Ecole des
Beau-Arts, Paris. Medals : King of Belgium (silver); Ari
Club, Philadelphia (gold), 1891, 1897 ; W. C. E., Chicago, 1893,
P. A. E. Bufffalo, 1901. Member S. A. A. 1886. Curator of
Statuary, Metropolitan Museum, New York, 1903-1905.
1220. Diana and the Lion. Intellect dominating brute
force. Marble group. Signed F. Edwin Elwell, 1893. (Room
12.) 290

Supplement — Paintings. 291

LENT BY DANIEL C. FRENCH.
French, Daniel Chester. See page 87.
1225. Erin weaving a Crown of Fame, assisted by Poetry and
MUitary Patriotism. Monument to the memory of John Boyle
O'Reilly. From Bronze erected in 1896 in Back Bay Fens,
Boston, Mass. Signed Daniel French. (Room 8.)
1226. John Harvard, founder of Harvard College. Plaster.
From an ideal bronze statue in Cambridge, Mass. (Room 14. )
LENT BY MISS ANNIE HOWARD.
Bracony, Leopoldo.
1235. Bust of Carter H. Harrison, Mayor of Chicago at the
time of his death, 1893. Marble. Chicago, 1894.
LENT BY L. HAMILTON McCORMICK.
Peterson, George D. — Chicago. Born in Wilmington, Delaware,
1862. Studied in Paris at Ecole des Beaux-Arts, and Acad6-
mie Julian, under Bartholdi, Chapu and Falguiere.
1251. Tiger at Bay. Plaster. Signed G. D. Peterson, Paris
1891. LENT BY MRS. E. M. SCHRYER.
1275. The Farnese Bull. Reduced copy in bronze. (Room
33.) See page 47.
1276. A dying Gaul or Galatian. (Byron's " Dying Gladia
tor.") A reduction in marble. (Room 37.) See page 42.
LENT BY MRS. J. W. SCOTT.
DaiUion, Horace — Paris. Born in Paris. Pupil of Dumont and
Aim^-Millet. Medal, 1st. class, 1885. Prix du Salon 1885.
Gold medal, E. U., 1889 and 1900. Ch. L. H. 1894.
1577. Cache-Cache. (Hide and Seek.) Statuette group in
marble— mother and two children. Signed H. Daillion. (Room
37.)

292 The Art Institute of Chicago.

LENT BY LORADO TAFT.
Taft, Lorado— Chicago. Born in Elmwood, IU., 1860, Pupil of
Dumont, Bonassieux and Thomas in Ecole des Beaux-Arts,
Paris. Silver medal of P. A. E., Buffalo, 1901. Gold medal,
L. P. E., St. Louis, 1904. N. S. S. Instructor in A. I. C.
Author of a History of American Sculpture.
1281. The solitude of the soul. A circle of four figures
represented as carved from a rock which rises above and over
hangs them. They are blindly clinging to each other, hand
in hand; but closer communion is barred by the mass of rock
between them.
LENT BY HEMPSTEAD WASHBURNE.
Volk, Leonard W. — An American sculptor, born in Wellstown,
New York, 1828. Professional life mainly spent in Chicago.
Died 1895.
1291. Bust of the late E. B. Washburne. Marble. Dated
1888. (Room 37.)

IVORY CARVINGS.
Room 43.

LENT BY JOSEPH ROSENBAUM.
1301. A collection of more than 100 ivory carvings of the XI-
XIX centuries, by Italian, German, French, English and Ori
ental artists — selected from the collection of Joseph Rosenbaum .
Among the exhibits are statuettes, single and in groups;
animals; vases and other vessels, elaborately decorated; high
and low reliefs, etc. , etc.
The subjects represented are scriptural, mythological, legen
dary, historical and ideal characters and actions. Some of the
carvings are reproductions of famous paintings and sculptures,
and of scenes in operas.

293

MUSICAL INSTRUMENTS.
Room 13.

LENT BY MISS ALICE E. GETTY.
1311 (1-110).
Instruments of percussion, 1-14.
1. A pair of Italian castanets.
2. A pair of Spanish castanets.
3. A pair of rude castanets with "jingles," from India.
4. Rattles or castanets with " jingles " from Mt. Aboe, India.
5. Tom-tom, from Morocco. Body of terra-cotta. Head missing.
6. Tom-tom, from Thibet. The upper part of two human
skulls, attached crown to crown. Parchment heads.
7. Drum, used by natives of India. Body of wood, shaped
like a slender barrel.
8. Drum of the class called bayhas, from India. A small
kettle drum, resembling the m'ridang.
9. Budbudika, from India. A smaU hand drum. The body
tapers slightly from each head to the middle.
10. (Gabana Stenga?). A large kettle drum with very short
body, open at one end. Used in temple service. From
Johore, Malay Peninsula.
11. Drum, used by Malays and Chinese in marriage ceremonies
and other festivals. It has a straight handle, projecting
from the side, and resembles a banjo in general form though
it has two heads. From Perak, Straits Settlement.
12. (Katabang Kriang?). Drum, used by the Dyaks of Borneo
at marriage festivals. Body of dark wood, with rude incised
ornamentation. Long and slender, tapering from heads to
middle. Loop handle at waist,
294

Musical Instruments, Getty Collection. 295
1311 (1-110).
13. Harmonicon (African?). Wooden bars resting on strings
stretched across the concavity of a turtle shell. For striking
ing the bars there is a baton decorated with beads and
shells.
14. Harmonicon, Japanese. A set of eight small bells, arranged
within a bell-shaped lacquer receptacle. Carved baton.
Wind Instruments. 15-32.
15. Horn, Alpine. Wood bound with wooden strap. Conical
bore with spreading mouth bent to one side. Length, 95
inches.
16. Horn, Ethiopian. Made of an elephant's tusk.
17. Horn, Thibetan. Human bone with brass bands and iron
rings.
18. Sank-hu. Hindu prayer horn, made of a conch shell. See
102.
19. Horn, Thibetan, brass. Conical, straight and slender.
Used in the Himalayas. Length 66 inches.
20. Trumpet, from Nepaul, brass, S shaped. Used as a signal
horn in Central and Southern India, and called s'ringa,
noursing, kahalay or kombu.
21. Syrinx or Pan's pipes.
22. Khan from Siam. An instrument outwardly resembling a
gigantic syrinx, with seven pipes of natural cane bound
upon a similar syrinx, so that the corresponding pipes coin
cide. Not played by moving the mouth along the ends of
the pipes. The pipes are all reeded and all pass through a
hollow cylinder of wood with a small orifice at one end
through which the player blows and inhales. The flow of
air through each pipe is controlled by means of a small
finger hole. Length, about 7 feet.
23. Flute, shepherd s, Syrian. Natural cane, with barbarous in
cised decoration. Colored brown.

296 The Art Institute of Chicago.

1311 (1-110).
24. Flute, shepherd's, Syrian. Natural cane. Bound with brass
rings.
25. -Pipe, double, of cane, with four little plugs or reeds attached
by strings.
26. Flute, small. Cane.
27. Whistle, or flute-a-bec. Cane.
28. Bind, pungi or jinagovi. A reed instrument used by serpent
charmers and jugglers in India, composed of two cane
pipes and a dummy laid side by side, with the reeded ends
inserted in the bottom of a bottle-shaped gourd. The gourd
is gilded and decorated with beaded curves of different
colors.
29. Another bind, larger and without the dummy pipe.
30. Nagasara. A reed instrument with wooden stem of conical
bore. Mouth-piece and bell of brass. Burmese.
31. Mukavina. A small nagasara. Burmese. See 30.
32. Sheng or skeng (pronounced shung.). A Chinese instru
ment, consisting of a circle of seventeen pipes with free
reeds and four dummy pipes, with the reeds inside a gourd
through the bottle neck of which the player blows or in
hales. The forerunner of the accordeon, concertina and
other hand instruments from which the American cabinet
organ has been evolved.
32 %. Flute in the form of a walking stick.
Stringed Instruments, Played by Picking or Twanging. 33-68.
33. Kissar — An African lyre. Frame in the form of an isosceles
triangle, with the odd angle very acute. The apex of this
angle is attached to the edge of a half gourd, with the in
cluding sides stretching across the concavity to the opposite
edge and about twice as far beyond. The half gourd serving
as a resonator, is provided with a parchment head, which
passes over that part of the frame included between the
edges of the gourd.

Musical Instruments, Getty Collection. 297
1311 (1-110).
34. Lyre from New Caledonia. The resonator is a half gourd
with a parchment head. In the place of a frame there is an
arched front bar supported at the middle by a single long,
straight, sharp pointed horn — of the African antelope —
called oryx or gemsbok. More than one-fourth of this horn,
at the butt, lies mainly under the parchment head, across
the gourd. This lyre has three bridges, one carrying six
strings and each of the others five. Fine geometric orna
ment on the gourd — like rose lathe work.
35. Another New Caledonia lyre. Straight front bar supported
by two oryx horns curving outward. Gourd rudely deco
rated with a tortoise and two serpents, lightly incised.
36. Malagasy (Madagascar) lyre. The resonator is a human
skull with the posterior part removed and the opening cov
ered with parchment. The front bar and the sides of the
frame are slender sticks of wood.
37. Harp, Ethiopian, primitive, with five strings. The frame
has no pillar or forearm — only the neck and hollow back or
base. The latter has a parchment top or front.
38 Harp, Burmese, with thirteen strings. Similar in form to 37,
but well made, and well finished in black and gold. Body in
form of a canoe. Formerly in possession of a Burmese
princess.
39. Tesando, from Java. A piece of bamboo of large diameter
with 20 wire strings stretched from end to end. Tuning peg
for each one. This instrument is accompanied by a large
palm leaf hood. If intended for use with the instrument, it
might possibly serve as a resonator.
40. Muggai, sitar or vina. An instrument resembling the Siam
ese tak'hay. Crocodile body of rich, red wood, polished,
with three strings running from head to tail over seven
bridges resting on back. The under side has a deep groove
running lengthwise in the middle. From Chittagong-Min-
goa, India.

298 The Art Institute of Chicago.

1311 (1-110).
41. Krails, kuciapi or kriciapi? A rude form of the Japanese
koto (103), played by Dyak women of Borneo. Body of
hard, dark wood, about three feet long and a foot wide,
arched from side to side. Fourteen strings with a separate
movable bridge for each. The tuning pegs have square iron
heads. A wrench to turn them with accompanies the in
strument. See 103 et seq.
42. Gambuch mai mai maker? Used as a banjo in Triugany,
Straits Settlement, Malay Peninsula. Body shaped like a
hollow half pear, with parchment over the open side. Six
strings, no frets, sound holes in back.
43. Sou-hsien or san-hsien A Chinese double-headed banjo
with three strings. Heads of snake skin.
44. Tamburi, of Northern India. Used for accompaniments.
Like the sitar in general form, but has only four strings and
nd frets.
44ji. Tamburi. Body nearly hemispherical, with arched top,
decorated with several mythological figures, including the
peacock. Border of inlaid ivory extended along the neck.
Two tuning pegs on side and two on top. Plant form deco
ration on back of body. See 70 %.
45. Sitar or Sundari, small, from Northern India. Body of
ostrich-egg shell, nearly half cut away on one side. The
opening is covered by an extension of the upper side of the
neck, which is of polished red wood, inlaid with ivory.
This sitar has five strings of full length and two short ones.
46. Sitar or sundari, large. Instruments of this class are more
popular than any other in India, though less used in the
Southern districts than in the Deccan and farther north.
The body of this specimen is a gourd uearly half sliced off
in the direction of the stem. It is joined to a neck of dark
wood in the same manner as 45. Strings and frets also as
in 45.

Musical Instruments, Getty Collection. 299
1311 (1-110).
46 Ji. Persian sitara. Globular body with flat top. Red and
gold decoration — leaf and flower forms,
47. Taus, esrar or mohur, with peacock-shaped resonance body.
A variety of sitar or vina with movable frets. It has four
regular strings above the bridge and twelve sympathetic
strings passing through the bridge. Not much used except
by nautch musicians in Upper India.
48. Trapon. A modification of the large sitar. (See 46.) The
body is made from a large gourd, and the resonance is rein
forced by two smaller gourds under the neck.
49. Vina of Southern India. Body and neck of dark wood,
artistically inlaid with ivory. Under the neck is a large
gourd, to reinforce the resonance. The head is finished
with a carved dragon head. Four regular strings pass over
twenty-four frets of brass wire, the ends of which are sup
ported on two ridges running the length of the neck.
These strings, after leaving the frets, pass over a very high
bridge, which also carries over each rounded end three
sympathetic strings.
50. Bin or vina, of Northern India, called the Indian lyre. A
neck, apparently of bamboo, resting on two large gourds,
and supporting twenty-two solid, bridge-like frets over
wliich five strings are stretched. The bottom of each fret is
imbedded in a lump of wax or cement. With this excep
tion every part of the instrument is highly finished and
decorated in gold and colors.
50ji. Bin (been or vina) Rajpootana.- It differs from No. 49 in
being slender and having an extra resonator at each end of
the neck. Sixteen movable frets, arching over the neck,
carry five strings. Eleven spmpathetic strings, tuned by
pegs along the side of the neck, pass under the frets. Ara
besque decoration in black, gold and color, on white ground.
51. Lute, Turkish. Split-pear-shaped body with long slender
neck. The frets are simply of fine wire coiled around

3°° The Art Institute of Chicago.
1311 (1-110).
the neck. The face is inlaid with mother of pearl and tor
toise shell, The back is richly decorated with a vine pattern.
52. Lute, Turkish or Greek. Similar to 51, but comparatively
broad and short. Neck faced with ivory with incised vine
pattern decoration. Belly plain, except for an irregular
slab of tortoise shell applied, and some elaborate and grace
ful fret-work in a large disk of translucent white horn over
the sound hole.
53. Chittarone, miniature. The chittarone, an Italian bass lute,
was one of the modifications of the ordinary lute designed
to overcome the inherent weakness which finally caused
that instrument to give place to the guitar and the mando
lin. The lute was played by twanging the strings with the
fingers.
54. Lute from Afghanistan. Body in two lobes, with parchment
top in form of figure 8. Five strings and twenty-three frets.
Decorated with colored lithographic portraits, applied, and
a border in colors, imitating inlaid metal work. One of the
portraits represents a Czar of Russia.
54 %. Lute (Persian?). Similar in form to 54. Neck inlaid with
ivory and mother of pearl. Eight strings and twenty-one
frets.
55. Mandolin, Roman. Date 1700. Six strings. Tortoise shell
plectrum (pick). See 99, 101.
56. Miniature mandolin, Italian.
57. Bandurria, a Spanish instrument of the mandolin type.
58. Sarabath or sarbutte, from Madura, India. An instrument
of the guitar or mandolin class, but peculiar in shape. The
body, of rich, dark red wood, is nearly cylindrical (outside)
and very deep in proportion to its diameter — a block hol
lowed out in a form very different from the exterior, and
very complicated. The neck springs from the body like a

Musical Instruments, Getty Collection. 301
1311 (1-110).
solid bracket. The belly is of parchment. There are six
strings with tuning pegs, and seven frets.
59. Guitar. XVI century.
60. Primitive mandoUn, guitar or violin. Hindu. Small and
old, shallow body of irregular shape, with round wooden
back and painted parchment beUy. Two strings.
61. P'i-p'a or phi-pe, Chinese. CaUed baUoon-guitar by the
English, the body resembling a. vertical segment of a bal
loon. Has four strings and a bow, though generally played
with a plectrum. See 106.
62. Yueh-ch'in or Juch-chin, Chinese. In English, moon-guitar,
from the form of the body — a hollow circular disk. Except
in this respect, and the extreme shortness of the neck, it re
sembles No. 61.
(For other stringed instalments played by picking and
twanging, see 103 et seq.)
Stringed Instruments Played by Friction. 63-96.
63. "Ancorore." An instrument on the principle of the " corn
stalk fiddle." A joint of bamboo with a sUp of the hard sur
face lifted from the body, except at the ends, to serve as a
string. A sound hole is cut in the side of the bamboo. A
simUar contrivance is also used as a piUow by natives of
Nias, an island west of Sumatra.
64. Violin, barbarous, with one string. Rude neck — simply a
natural stick with the bark removed. No tuning peg. Body
like a miniature drum.
65. Violin, primitive, Thibetan. Long neck and comparatively
small split-pear-shaped body, expanding again where it
joins the neck. High bridge and five .strings.
66. Kem&ngeh, with two strings and bow. A primitive Arabian
vioUn, cocoanut sheU body with an opening, about 73 of the
diameter, covered with parchment. Bamboo neck, with an
iron rod passing through it and the body and protruding at
both ends— as in 72. See 82.

302 The Art Institute of Chicago.
1311 (1-110).
67. Violin, barbarous, with one string. An open half gourd
attached by its outside to the side of a tapering stick of hard
wood neatly rounded as in a lathe. A very large tuning peg
in the butt end of the stick.
68. Violin, barbarous, from the first cataract of the Nile. Long
box body with belly of coarse skin. Rude bamboo neck.
Three strings running over a high bridge.
69. Rabob, with bow. An instrument of the violin class resem
bling the sarangi (86), common in India and most Moham
medan countries. It has from four to six gut strings and a
variable number of sympathetic strings of wire in the side.
Usually played with a plectrum rather than a bow. Body of
wood with parchment belly.
70. Old violin from Agra, India. Semi-ellipsoid body of un-
painted wood. Four strings ,
70 %. " Rowaj." Primitive violin with five strings, from India.
Hemispherical body, decorated in colors, with two mytho
logical figures and floral designs. Neck and head inlaid
with mother of pearl and ivory.
70 %. "Rada Venos" (Vina). Primitive violin from India.
Semi-ellipsoid body. Decoration : two mythological figures
on divan. As in the tamburi there are beads on the strings
between their attachment and the movable bridge — to assist
in tuning.
70 Ji. Tamburi, from Bengal. Small half globe body, with
curved indention on each side at top. Extra resonator un
der the neck by the head. Four strings. See 44.
71. Violin, barbarous. Ethiopian. Hemispherical body with
parchment belly. One string.
72. Violin, barbarous, from second cataract of the Nile. Two
strings and bow. Body a shallow trapezoidal box with beUy
of thick skin and back entirely open. An iron rod issues

Musical Instruments, Getty Collection. 303

1311 (1-110).
from the neck (a piece of bamboo), passes through the body
and continues beyond about the length of the body, See 66
aad82.
73. Violin, Algerian. Elongated split-pear-shaped body with
horn or tortoise-shell back and parchment beUy ornament
ally painted. Bow painted like belly. Two strings. Plec
trum of tortoise shell.
74. Rebab, with bow, from Morocco. Body with round wooden
back and parchment belly. The neck is practically an ex
tension of the body, but it has a wooden front with a rudely
ornamented sound hole. Two strings. The rebab and the
Kemangeh (66) are mentioned by Persian writers of the
XVI century.
75. VioUn, primitive, with two strings, from Morocco. Small
hemispherical body with painted parchment belly. Bamboo
neck.
76. Violin, primitive (rabana from Java), with two atrings and
bow. It resembles the Siamese saw-tai. The body is half
of a pear-shaped gourd, with a parchment belly. The neck
extends through and much beyond the body. The exposed
parts of the neck and its continuation are accurately rounded,
as in the lathe and ornamented by swells and conical groups
of narrow bands. The tuning pegs finished in the same
manner, are unusuaUy long and slender.
77. Violin, primitive, with two strings and bow. Body, half of
a pear-shaped gourd with beUy of thin wood. Neck, Uke a
walking cane passes through the body. Sound hole on
back.
78. VioUn, primitive (kado kawang?), used by natives of Borneo
and Sumatra. Slender body and neck of same dark wood.
Two strings and bow.
79. Saw-chine. A Chinese fiddle with two strings and a bow.
The string of the bow is kept between the fiddle strings in

304 The Art Institute of Chicago.
1311 (1-110.)
playing— a practice which also prevaUs in the bowing of the
hu ch'in, which differs from the saw-chine in having four
strings tuned in pairs. The body of this saw-chine is a
piece of bamboo of wide bore, with one end open and the
other covered with snake skin. The neck, a slender stick,
passes through the body transversely.
80. Another saw-chine, with bow.
81. Another, with bow, Neck elaborately notched and beUy of
parchment. See 109.
82. VioUn, Punjab, with bow and two strings. Body half of a
cocoanut shell with parchment beUy. Neck of bamboo. A
rod projecting from the bamboo passes through the body.
See 66 and 72.
83. Violin, Turkish, with three string's. Short neck and split-
pear-shaped body.
84. VioUn, Maltese, with five strings and bow. Split-pear-
shaped body with neck at butt end — divided in two sections
by- deep concavities in the sides, slanting inwards from the
back till the curved edges meet in the middle of the front.
The section farthest from the neck, which is comparatively
smaU, is covered with parchment. An expansion of the
neck, supporting the bridge, crosses the middle of the other
section. Otherwise that part is left open.
85. Sarinda, with bow. An instrument of the violin class popu
lar with the lower classes in Bengal. Body Uke that of 84,
but less graceful. Bridge near the free end of the body.
Three gut strings for bowing on, and numerous sympathetic
strings of wire.
86. Sarangi. An East Indian violin. Body cut off square at the
free end. Back rounded. Sides straight, except at the
middle, where they curve inward and forward, giving the
parchment beUy the appearance of a vertical section of an

Musical Instruments, Getty Collection. 305
1311 (1-110).
hour glass. Neck about two-thirds the size of the body in
¦ each dimension. Four strings for bowing on, and eleven
sympathetic strings.
87. Sarangi. The left side of the body is nearly straight and the
curvature on the right is much less marked than in 86.
Twenty-four sympathetic strings.
88. Sirangi. Similar to 86, but not so well finished. Twenty-
two sympathetic strings.
89. Violin, primitive, French. Generally like 90, but with five
strings and more tapering body. Well finished in mar
quetry.
90. Violin, old Norwegian. Long, narrow rectangular box of
unpainted wood with carved head. Four strings, including
a short one coming through a hole in the belly. The long
string on the opposite" side passes over frets.
91. Another, with but one string, twenty-six frets and a scale
marked alongside with ink.
92. Another of modern form, with bow.
93. Viola d'Amore, Italian. XVI century. Five strings for
bowing on and five sympathetic strings issuing from the
same peg box, but passing under the finger board and
through the bridge. On the edge is a Latin Inscription,
which may be translated as follows : ' ' When I was alive I
was in the forest and silent. Now that I am cut down and
dead, I sing sweetly." The back is decorated in mono
chrome with a group of angels, a group of cherubs and a
moonlight landscape.
94. Pochette, Italian. A kit or pocket fiddle formerly used by
dancing masters.
95. Pochette, French, in a walking cane.
96. Vielle. An old French hurdy-gurdy, played by turning a
rosined wheel against strings. The strings are stopped by

306 The Art Institute of Chicago.

1311 (1-110).
¦keys instead of the fingers. There are three strings acted
upon by the wheel and sympathetic strings on each side of
the box in which they are enclosed. The name vielle was
originally applied to instruments of the viol type.
Instruments of Various Classes. 97-110.
97. Bamboo jewsharp.
98. Siamese jewsharp. A small strip of sheet brass slitted finely
to form a tongue which lies flat and almost invisible in the
plane of the strip. A small wooden plectrum is attached by
- a string.
99. Mandolin, Florentine, 1560. See 55, 101, 126.
100. Marimba or izambilo. A Zulu harmonicon with eleven wide
and thick bars of a dark wood called intzari. The shell of a
' ' Kaffir orange ' ' is attached to the back of each bar as a re
sonator by native gum. The ends of the bars rest on cords
stretched from side to side of a large yoke. The cords are
made of the intestines of the aulacodus or cane rat. Two
drum sticks accompany the instrument. See 13 et seq.
.101. Mandolin, Mexican. The back of the body is an armadillo
shell. The belly is of wood stained red. There are ten
.strings arranged in pairs and ten frets. See 55, 101, 126.
102. Large conch, with metal mouthpiece. See 18.
103. Koto, Japanese. Body a shallow oblong box, top and bottom
slightly arched upwards from end to end, and the top more
strongly so from side to side. Length, 75 inches; width,
10 inches at one end and 9% at the other. On the
broader end there is much inlaid work and marquetry sur
rounding a sunken plate of engraved brass. The other end
is partly inlaid with tortoise shell, bounded inwardly by the
outline of two ornamental leaves cut in the wood. The

Musical Instruments, Getty Collection. 307

1311 (1-110).
leaves are edged with ivory and veined with black lacquer.
The sides are of dark wood inlaid with a landscape effect in
black lacquer.
This instrument has thirteen strings of waxed silk, with a
movable bridge for each. There are no tuning pegs, and no
sound holes in the belly of the instrument. Three ivory
plectra accompany the instrument. They are like large
finger nails with leather rings to hold them to the fingers of
the player.
104. Koto, Japanese. Smaller than 103, and without decoration.
Elevated on four small feet. There is a narrow strip of
brown or brick-red lacquer near each end. Otherwise the
whole body is lacquered in plain black. The thirteen
strings are stretched between pegs. The pegs at one end
are used for tuning by means of a wrench which accom
panies the instrument. Each string has also a movable
bridge. See 41 and 115-117.
105. Yakumo. An instrument resembling in form the koto (103
104), but rudely constructed, with two bridges and two
strings. Made by splitting a piece of bamboo aud attaching
one of the halves by its edges to a flat board for a back or
bottom. Two sound holes in the back. On the front is a
crooked row of ivory pegs of various sizes. By way of plec
tra there is a hollow cylinder of ivory, three or four inches
long, and a shorter piece beveled at both ends— to be worn
on the finger.
106. P'i-p'a or phi-pe, a Chinese instrument allied to the Japanese
bi-wa. Called "balloon-guitar" in English, the body hav
ing the form of a vertical segment of a balloon. Has four
strings and fourteen frets. The back, slightly arched, is fin
ished in lacquer, with floral ornamentation on a rich red
dish-brown ground. No sound holes. See 61, 114.

308 The Art Institute of Chicago.
1311 (1-110).
107. Yueh-ch'in or juch-chin, called in English "moon-guitar,"
the body being circular. Four strings in pairs and eight
frets. No sound holes. See 62 and 111-113.
108. A modification of 107. Body octagonal instead of circular.
Twelve frets.
109. Ta-king. A variation of the Chinese saw-chine. Body made
of more than half a cocoanut shell. Flat wooden belly.
Sound hole on back, with carved open work (mutilated).
See 79 and 111.
110. A musical instrument from the Cameroons district, South
Africa. Eight long steel teeth projecting from the raised
edge and curving over the hollow of a shovel-shaped piece
of wood.

LENT BY THE MISSES TALBOT.
1312. A Broadwood Piano, resembling the one at Mount Vernon.
Made about 1800. (Room 13. )

MUSICAL INSTRUMENTS.
PRESENTED BY THE ANTIQUARIANS.
1313 (111-128).
Room 13.
111. Woo com, Chinese. Four stringed instrument. (Hu-chin?)
See Saw-chine, 1311 (79).
112. Gekkin (Yueh Ch'in). See 1311 (107).
113. Gekkin (Yueh Ch'in). See 1311 (108).
114. Biwa. See P'i-p'a, 1311 (106).
115. Koto. See 1311 (103).
116. Koto. See 1311 (103).
117. Koto. Small.
118. Samisen. (Sou-hsien or San-hsien). See 1311 (43).
119. Kokin and Bow.
120. Shou. See Sheng, 1311 (32).
121. Izuzumi: Small Japanese drums. Two.
122. Shakuhachi. Japanese flute.
123. Cymbals. "Dora."
124. Piano. Manufactured in Boston by John ^Osborn, 1822 or
1823. One of the first made in America. Presented by
W. E. Clark.
125. Piano. Manufactured in London by Astor and Horwood,
between 1783 and 1793. Presented by Mrs. Wm. f. Chalmers.
126. Mandolin, Italian, 1768. See 55, 99, 101.
127. Music book, Japanese. Presented by H. Deakin.
128. Kettle drum, with sticks and folding stand. On top of
case 33.
Nos. 111-123, and No. 127, are in case 33.
The separate gifts named above were made to the Anti
quarians. 3°9

MISCELLANEOUS APPLIED ART.
LENT BY PROF. CHOYO.
1411. A Collection of Japanese ivory carvings, bronzes, porcelains,
etc. (Case 39, Room 45.)
LENT BY MRS. E. C. DYER.
1421. Bronze Vase, modern Japanese, supported on a representa
tion in bronze of a jet of water issuing from a dragon's
mouth. The vase is surmounted by the figure of an archer.
The whole piece is an example of elaborate decorative work
in high and low relief, and in the round. About 10 feet
high. (Room 8.)
1422. Bronze Vase. Companion piece to 202, quite different in
detail, but similar in general effect and in size. Surmounted
by an eagle. (Room 8.)
LENT BY MISS MARTHA HILL.
1441. Chinese Screen. Carvings in wood, ivory and jade, arranged
as a landscape with figures, on a blue ground representing
the sea. Frame of carved ebony, supported by two figures
in the round, resting on dogs. (Room 45.)
1442. Chinese Vase. Narrow ovoid with wide trumpet mouth.
Two dog's head lugs on neck. White glaze inside with
ornamental blue border. Chocolate outside, with white ring
around neck and two white panels with blue floral decora
tion. Apparently quite modern. Chinese mark on bottom.
(Case 65,66, Room 45.)

310

Miscellaneous Applied Art. 311

LENT BY THOMAS O. OSBORN.
1451. By Gustave Dore. ( Louis -Christophe-Gustave-Paul-Dore\
French painter and sculptor, but best known as an illustra
tor, was born in Strasburg, 1833. Died in Paris, 1883. One
of the most prolific of modern artists, remarkable for the
fertility and wide range of his imagination. Chev. Legion
d'Honneur, 1861; Ofiicier 1879.)
Shield Presented to Thomas 0. Osborn, U. S. Minister, by the
Argentine Republic, in recognition of his friendly offices in
the negotiations regarding the boundary between that
country and ChUe. An elUptical shield of oxydized silver,
with borders and divisions between panels in gold and
enamel. In the central panel are two figures in high relief
clasping hands and a third holding up an olive branch in
each hand. Around these are grouped numerous subordi
nate figures. Between the central panel and the border are
five other panels in relief of landscapes with figures appropri
ate to the countries concerned. On a scroll is an inscription
in Spanish dated Buenos Ayres, July 13, 1881. The sub
stance of this inscription is given in English above. Signed
Ge. Dore\ Froment-Meurice ***, and Vernier, cis.
Note. Charles - Francois- Marie- Jacques Froment-Meurice is a
French sculptor aud medalist, born in Paris. Pupil of Chapu and
Pathey. Studio in Paris.
Emile-Seraphin Vernier is a French sculptor and medalist, born in
Paris. Studio in Paris.
LENT BY ERNEST DALE OWEN.
1451. A collection of Old Assyrian and Roman Glass. (Case 53,
Room 15.) LENT BY W. J. REYNOLDS
1471. The BasiUca of Constantine, Rome. A cork model of the
buUding in its present condition. By Wellington Jarard
Reynolds, Chicago. (Room 20.) See pages 92, 93.

312 The Art Institute of Chicago.
MEDAL, LENT BY MISS B. BENNETT.
Daniel-Dupuis, Jean-Baptiste. See page 123.
1501. Charity: Medal for " Le Conseil de surveiUance de
l'Assistance publique de la Seine. Cast bronze 2^ x 1%S
inches. Original models (struck and cast) preserved in the
Luxembourg Museum, Paris.
Face. A draped female carrying a nude infant.
Reverse. A radiate cross on clouds.
No lettering except the signature, Daniel-Dupuis, on the
face.

GENERAL INDEX.

(The references are to pages.)
9- 56. Casts of ancient sculpture.
57- 64. Bronze reproductions of bronzes from ruins of Herculaneum and
Pompeii.
66- 91. Renaissance and modern sculpture, chiefly casts.
92-117. Architectural casta, including French Historic Sculpture.
118-130. Medals aud Plaquettes. 181-138. Metal work.
139-150. Applied art, various. 151-154. Antiquities, original.
155-221. Paintings. 222-226. Water Colors and Pastels.
227-238. Framed Drawings. 239-247. Framed Prints, Etc.
247-260. Arundel reproductions of old masters, chromo-lithographs.
261-262. Miscellaneous matter. 263. Explanation of Abbreviations.
264-312. Supplement, Loans.

Aaron, 106.
Abbey, Edwin A., 227.
Abbey, Charlieu. Part of front, I
Abbey, Westminster, London.
Altar front, 66.
Spandril in "Poet's Corner,"
Frieze on tomb, 116.
Etching of interior, 240.
Abbey Chapel, St. Victor, Paris.
Tomb statue, 102.
Abbey Church, St. Denis, Paris.
Tomb sculpture, 109, 117.
Choir stall, 103.
Abbey Church, St. Gilles.
Part of front, 97.
Abbreviations, 263.
Abdiel, 83.
Abel and Cain, sacrificing, 97.
Abraham, 106.
Abundance, 61, 108.
Acanthus in sculpture, 53. 97, 117.
Corinthian capital, 115.

Achaian Sculpture, 23.
Achenbach, Oswald, 193.
18. Achilles, 24.
Achilles, Borghese, 29.
Acropolis. See Akropolis, 81.
115. Acroteria. See Akroteria, 40, 115.
Actium, torso found at, 23.
Actress. See Dancer, 59.
Adam and Eve, 250, 259.
Adams, Edward D., donor, 127, 128.
Adams, Mrs. George E., donor, 140.
Adonis, 113. See Hyakinthos, 49.
Adorans, 41.
Adoration of Assur, 15;
of the Tree of Life, 15;
of Christ, 96, 105, 253, 254, 256;
of the Lamb, 259;
of the Trinity, 251.
Adoring angels, 252.
jEgis. See Athena, 35.
JEneas. See Aineias, 24.
.iEolus, 128.

313

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The Art Institute of Chicago.

.Eschines. See Aischines, 41.
^Ssculapius. See Asklepios, 39.
Afghanistan , lute from, 300.
African musical insruments, 294, 297,
802, 303, 305, 308.
Aftaba. See Cruet, 134; Coffee pot,136>
Agasias of Ephesos, 46.
Agates, Crystals and other hard
stones, cutting and carving of,
144, 145.
Age of stone, man of, 75-
See Primitive Man, 290.
Agesandros of Antioch, 45.
Agesandros of Rhodes, 48.
Aglauros. See Group, 32.
Agnes, Saint, 255.
Agnolo, Andrea d', 257.
Agostino di Duccio, 68.
Agrippina, 59.
Ahmedabad, tomb at, 205.
Ahmithaba, Buddhist god, 145, Case 3.
Aigina, sculpture, 24.
Aineias (JEneas), 24.
Aiolian sculpture, 25.
Aischines (.Eschines), 41.
Aix. See Cathedral, 104.
Ajax, 24.
Akropolis, with ruins, model of, 31.
See Erechtheion, Nike Apteros,
Parthenon.
Akroteria on sarcophagus, 40. •
Akroterion on stele, 115.
Alabaster vessels, ancient Egyptian,
151, 152.
Albani, F., engr. by Longhi, 242.
Albanian girl, 198.
Albertinelli, Mariotto, 247.
Albertsburg. 241.
Albinus, Clodius, 56.
Albizzi L-, 169.
Alcestis. See Alkestis, 38.
Alcott, A. Bronson, 87.
Alexander Severus, No. 884, p. 50.
Alexander the Great, 38, 39. 60. See
356, p. 49 and 71, p. 170.
Alexandrovna, 183.
Alexandrian relief decoration, 63.

Aldobrandini, Cardinal Pierre, 243.
Alice, 207.
Alhambra panels, 115.
Alkamenes, 28.
Alkestis (Alcestis), 38.
Allerton, Robert H., donor, 169.
Ailing, Bertha B., donor, 167.
Alma mater, 87.
Alma Tadema, L., 203.
Alpine Club medal, 118.
Alpine goatherd, 283.
Alpine horn, 295.
Alpine scene, 190.
Altar painting, original, 168.
Altar paintings, reproductions, 249.
252-257, 259.
Altar screen, Byzantine, 93.
Altar sculpture, casts of, 44, 66, 67, 104.
See Reredos, 102.
Altar service, 142 (Case 67,68), 148.
Alunno. See Niccolo. 245.
Alxenor of Naxos, 27.
Amaltha:a, 113.
Amazon, dead, 42.
Amazon, head of 30, 57.
Amazons in combat with Greeks,
28, 84, 38.
Amber, 145.
Amenerltis, 12.
Amenophis III (Amenhotep) , 12.
Amenptah, 11.
American architectural models, 114.
American drawings for illustration,
227-238.
American etchings, 227, 239, 240.
American medals, 125-130.
American paintings, 187, 193-199, 202,
204-215, 265-272, 274, 278, 281, 284-
287.
American pastels, 282, 288.
American piano, made about 1822.
309.
American pottery, 189.
American School of Classical Studies
in Athens, discoveries by, 84; in
Rome, reproductions by, 53.
American sculpture, 83-91, 290-292.

General Index,

3i5

Amerigo Vespuccii medal, 127.
Amethysts, 145, and cases 9 and 10*
p. 152.
Amiens. See Cathedral, 99.
Amiens, Forty-fifth Bishop of, 99.
Amor. See Eros.
Amor Caritas, 86.
Amphion, No. 322, p. 47.
Amphitrite, 111.
Amphora, sculptured, 41; cast bronze,
135; cinerary urns, 54. See also
cases 21, 23-25, p. 153.
Amulets, 14, 152.
An (Weser-en-Re), 11.
Anacreon, 75.
Ancestor, an, 77.
Andreotti, F., 218.
Angel weathercock, 102.
Angelic choir, 259.
Angelico, Fra., 248.
Angell and Harris, discovery by, 23.
Angelo. See Michelangelo; Sarto.
Angels: Abdiel, 83; adoring, 252; at
tending Virgin, 102; Bordeaux
Cathedral, 101; burying St. Cath
erine, 253; Gabriel. 254; head, 66;
holding shroud of Virgin, 99; with
Tobias, 173; with Christ, 96, 98,
101; by St. Gaudens, 86; in St
Peters. 254.
Angler, Pompeian, 60.
Annunciation, the, 96, 248, 253, 254,
256, 259.
Anthony, Saint, 258.
Antinous, Hadrian and, 55.
Antinous, holding a wreath, 55.
Antinous of the Capitol, 55.
Antinous of the Vatican, 86.
Antiochus, reliefs from tomb of, 20.
Antiope. No. 322, p. 47,
Antiquarians, 140.
Antiquities, original,
Egyptian, 151, 152, and frames
1-5, p. 141.
Greek and Roman, 153, 154.
Etruscan (jewelry), 142, case 48.
American (Old and New Mexico),
139,

Antlum, now called Porto (or Capo)
d'Anzio (or Anzo) — statue found
at, 46.
Antommarchi, Dr. Francesco, 74.
Antonia, daughter of Marc Antony?
52.
Antoninus, M. Aurelius, 55.
Antoninus, Pius, 154.
Apepi, 11.
Apet. See Ta-Urt, 13.
Aphrodite — Venus de' Medici, 48.
Stooping in the bath, 45.
Venus of Milo (Melos), 45.
Flora Farnese, so called, 47.
Venus Genetrix (in Koan rai
ment), 28.
Towneley Venus, 87.
Gibson's Venus, 81.
Thorvaldsen's Venus, 80.
Canova's Venus coming from the
bath, 71.
Statuettes from Nocera and Her
culaneum, 60, 61.
Aphrodite, heads of, 44. 45, 153.
Aphrodite in painting.
Birth of Venus, 249.
Apol, Louis, 222.
ApoUino, 37; by Michelangelo, 70.
Apollo, Statues.
Archaic, found at Actium, 23.
of Tenea, 23.
Choiseul-Goufiier, 38.
Sauroktonos, 37.
At rest, 37.
Belvedere, Vatican, 39.
Pompeiian, with plectrum, 60.
Pompeiian, after shooting, 60.
Apollo, Statuette, Pompeiian. 60.
Apollo. Heads.
Pourtales, 46.
From Herculaneum, 67.
Apollo on reliefs.
With Hermes, nymphs and
graces, 27.
With Nike, Artemis, and Leto,49.
On Trajan's triumphal arch, 53.

3i6

The Art Institute of Chicago.

Apollo Bpikourios temple frieze, 34.
Apollodoros of Damaskos, 53.
Apollonios of Athens, 49.
Apollonios of Tralles, 47.
Apostles, 98-101, 168.
Apotheosis of Homer, 46.
Apoxyomenos, an athlete, 40.
Apples of" the Hesperides, 27, 41.
Arabesque frieze, 53.
Arabesque panel, with figures, 116.
Arabesques in Limoges Cathedral, 104.
Arabian necklace, 142, case 48.
Arabian primitive violin, 301. See
Moorish, Saracenic.
Arabs, 183, 203, 283.
Aragonese characters, 208.
Aramaic inscription. 19.
Aranda. See Jiminez, 282.
Arch of Trajan, 53.
Archaic Greek sculpture, 23-26, 57.
Archaistic Greek sculpture. See 381,
382, p. 49.
Archbishops, 82, 101.
Arche Club, donor, 90.
Archelaos of Priene, 46.
Archermos. See Archaic Nike, 25.
Archers, Assyrian, 16; Greek, 24; Tro
jan, 24; Roman, 268; French, 81.
Architect, medal by, 122.
Architectural casts, T. B. Blackstone
Collection. 92-117.
Architectural fragments. Casts, 34, 53,
96, 97. 100-102, 104, 108-110, 115-117.
Originals, 117, 154.
Architectural sculpture and carving^
See Balcony, Buttress, Capitals,
Cathedral, Ceilings, Chateaux,
Churches, Columns, Doors and
doorways, French, Frieze, Inte
riors. Lintels, Pilaster, Pinnacle,
Portals. Reredos, Roman, Rood-
loft, Spandrils, Staircase, Tombs,
Tympanum.
Archytas, so called, 58.
Arctic Whaler, 194.

Arena chapel interior, showing fres
coes, 260.
Ares (Mars), 29, 40. See also Mars of
Gabii, No. 190, page 39.
Argentine Republic shield presented
to U. S. Minister Osborne, 311.
Argos sculptures, fragmentary, 34.
Ariadne. See Libera, 48.
Aristion, sepulchral slab of, 25.
Aristokles, 25.
Arizona prehistoric pottery, 139.
Ark of the Covenant, 107.
Aries. See Churches, 96.
Armenian fathers, 210,
Armour, Allison V., owner, 264.
Armour, George A., donor, 82.
Armour, Mrs. J. Ogden, donor, 140.
Armour, Philip D,, donor, 153, 218.
Armor worn by the pilgrims, 1630.
(drawing), 230.
Arms and armor, 62, 131-134, 142, 149.
Arnold, Matthew, 234.
Arouet. See Voltaire, 73.
Arragonite. 145.
Arrotino, 43.
Arrowhead, Chaldean, 14.
Artemis. See Diana.
Art Institute, medals received for
school exhibits, 128, 129.
Arthur, King, 79.
Artz, D. A. C, 222.
Arundel reproductions, 247-260.
Ascension the, 101.
Asia, trial of Hellas and, S3.
Asia Minor and North Syria, art of,
9, 18-21.
Asia Minor, Greek Sculpture of. See
Assos, Branchidae, Ephesos, Hal
ikarnassos, Ionian, Knidos, Ly
kian, Miletos, Pergamon, Rho-
dian, Xanthos.
Asklepios (.ffisculapius). Seel91,p.39.
Assos reliefs, 25.
Assumption, 168.
Assur, adoration of 15.

General Index.

317

Assurnazirpal (Sardanapalus 1), 14.
Assyrian sculpture, 9, 14-17.
Astronomer, the, 220.
Athanodorus of Rhodes, 48.
Athena (Minerva).
Statue from Aigina, 24.
Statue called Pallas Giustiniani,
35, 262.
Statue, Lemnian, 29.
Heads, 35, 48.
Relief, on Arch of Trajan, 54.
Athena Parthenos. Statuettes, 20, 30.
Shield, 29.
See note on Elgin marbles, 31.
Athena Nike temple sculptures, 33.
Athenian. See Attic.
Athens, sculpture found in, 25, 33, 35.
See also Akropolis, Nike, Parthe
non, Theseus.
Athikia, statue from, 23.
Athletes. 23, 25, 27. 30, 38, 45, 57.
See also Apoxyomenos, 40; Boxer,
30, 89; Diadumenos, 30; Diskobo
los, 28,69; Gladiator, 42, 46; Wrest
lers, 45, 59.
Atlas with Herakles, 27; French Re
naissance, 110.
Attic sculpture, 25, 28-37, 41, 43, 47,
48,65.
Audenarde wood carvings, 117.
Audran, Jean, 243,
Augustine, St., 252.
Augustus the first Roman emperor
(Caius Julius Caasar Octavianus —
originally Caius Octavius, "the
Young Augustus"), statues of, 51,
52, 262; bust, 51.
Young. Head of 51, 65.
Aulus vitellius, 52.
Aulus Gabinius, so-called, 58.
Aurelius Antoninus, Marcus, 55.
Aurora— Engraving after Guido, 242.
Austin, Mrs. F. C, owner, 264.
Austrian arms, 132.
Austrian paintings, 185, 186, 197, 200,
219.

Autumn personified, 54.
Avanzo, Jacobo d', 248.
Avon river, illustration, 232.
Awakening Spring. 86.
Axes, pole or battle, 132.
Ayer, Edward E., donor, 2 2, 247.
Ayer, Mrs. E. E., donor, 140.
Azara herm,38.
Baalbek (Heliopolis), relieffrom, 21
Babylonian and Chaldean remains,
9. 13, 14.
Bacchantes, 47, 63, 112. See Mainads.
Bacchic masks, 62.
Bacchus (Dionysos, Liber), 70, 72.
Infant in arms of Silenos, 42; in
arms of Mercury, 86; in arms
of Anacreon, 75; nursing of, 93,
258.
Received by Ikarios, 43.
On arch of Trajan, 53, 54.
Narcissus? 64.
Head of Indian Bacchus, 57.
Jupiter Talleyrand, 25.
Baccio della Porto, 248.
Backhuijsen, Ludolf, 165.
Badges, Chinese jade, 144.
Baiae, bust found at, 46.
Baker, Cbarles H., Henry W., How
ard W. and Bertha (Mrs. Ailing),
donors, 167.
Baker, Martha S., 285.
Baker, 'William T., donor, 153.
Balance. See Scales, Steelyards,
Weights.
Balcom, Mrs. Uri, donor, 83.
Balcony, 94, 110.
Baldaldo, Giovenaldo ) See Solari,
Baldini Giacomelli \ 94, 93.
Bambyce (?), seal from, 13.
Banquet at Malpaga, 257.
Banqueters, Assos, 25.
Baptism by St. Peter, 250.
Baptism ot Christ, 96.
Baptism of Cleodolinda and her
father, 250.

3i8

The Art Institute of Chicago.

Barbakeion, statuette from.
Barbancon-Cany tomb, 110.
Barbarelli, G., 252.
Barbedienne, F., bronze Ifounder, 75.
Barbedienne, G. LeB., donor, 75.
Barber, C. E., 125.
Barbet, Jehan, 102.
Barbizon School, 171.
Bargue, Charles, 188.
Barnard, George Grey, 89.
Barnhart, Arthur M., donor, 89.
Owner, 265.
Barrett, Mrs. S. E., donor, 140.
Barrias, Louis-Ernest, 76,
Bartholomse, George, donor, 80.
Bartlett, A. C, donor, 212, 220.
Bartlett F. C, donor, 169.
Bartlett, Paul W., 89, 290.
Bartol, Elizabeth H., donor, 83.
Bartolommeo, Fra, 248.
Bartolommeo, Giacomo di, 245.
Bartolozzi, F., 241.
Barye, Antoine-Louis, 74.
Bases of pillars, 115.
Basilica. di San Marco, Venice, interior,
206, 228; exterior, 261.
of Constantine, Rome, 311,
of San Antonio Padua, casts of
panels from, 67.
See Abbey, Cathedral, Churches.
Bass, Mrs. George, donor, 140.
Bassai frieze, 34.
Bastianini, G., 72.
Bat, lamp handle, 62.
Bathers. 175, 191, 205. See Aphrodite.
Batoni, engr. by Wille, 244.
Battle axes, 132.
Battle pictures and reliefs. See Am
azons, Cavalry, Centaurs, Com.
bat, Infantry, Siamese.
Bavon, Saint. See Church, 259.
Bazzi (il Sodoma) , 2 8.
Beads, ancient Egyptian, 152.
Beard, J. C, 227.
Bears, 84, 85, 290.

Beauce, Jean de (Le Texier), 104.
Beauneveu, Andre, 102.
Beauvais. See Cathedral, 104.
Becker, A. G., donor, 212.
Beheading of John the Baptist, 213.
Belanidetsa relief, 25.
Belfort monument, 77.
Belgian paintings, 185, 186, 188, 194-
196, 200, 201, 218, 266, 268. For
old masters see Flemish.
Belisarius, 242.
Bell, Assyrian, 17; Tonquin, 136.
Bellay tomb, 105.
Bellini, Giovanni, 249.
Bellows, Albert F., 239.
Belon, la barre de, 219.
Belvedere Antinous, so called, 86.
Belvedere Apollo, 89.
Belvedere torso, 49.
Beman, Solon S., 114.
Benedetto da Majano, 69.
Benedict, Saint, 255, 258.
Benediction, Papal, 235.
Benevento reliefs, 53, 54.
Benevieni. See Bastianini, 72.
Benjamin-Constant, J. J., 264, 271.
Bennett, Miss B., owner, 312.
Bennett, Frank M., 289.
Benson, Edward White, 82.
Benzoni, G. M., 72.
Berenice, so called, 64.
Bergen, Mrs. H. B. donor, 261.
Bernard, Saint, 253.
Bernardino, Saint, 251.
Bertrand de Goth, 101.
Betrothal, 201, 278.
Betrothal of the Virgin, 253.
Betrothal of Frederick III, 256.
Betti, Bernardino, 256, 260.
Bierstadt, Albert, 193.
Bigelow, F. A., 207.
Bigelow, Mrs. D. F., donor, 207.
Bigordi, Domenico, 251.
Birch, Reginald B., 227, 228.
Birth. See Christ, Virgin.
Birth of St. John the Baptist, 103.

General Index.

319

Birth of Venus, 249.
Bisellium, so called, 62.
Bishops, 99, 101, 102, 106, 251.
Biskra women weaving, 207.
Black, John C, donor, 212.
Blackstone, T. B., donor, 158.
Collection of Architectural casts,
92-117.
Memorial Library model, 114.
Blackstone, Mrs. T. B., donor, 92, 140.
Blaine, Mrs. Anita McC, donor, 84.
Blair, Chauncey J., donor, 212.
Blair, Mrs. Chauncey J., donor, 140
Blaise, Saint, 254.
Blommers, B. J., 222.
Blum, Robert F., 228.
Boa strangled by lion, 74.
Boar, lion, devouring, 25.
Boat expedition, 226.
Boccaccino, Boccaccio, 249.
Boedas, pupil of Lysippos, 41.
Boeotia. See Orchomenos, 27.
Boethos, of Carthage, 47.
Boghaz KOi rock sculpture, 18, 19.
Bol, Ferdinand, 264.
Bolognese School of painting (ec
lectic) in Arundel reproductions,
251.
Bonheur, Marie-Rosa, 189, 193, 272.
Bonianti, bust of, 72.
Bonn, panel from, 115.
Bonnat, Leon, 181, 267.
Booth, Agnes, 227.
Borbonico, Museo. See Higinbotham
* Collection, 57.
Borch, Gerard Ter (Terburg), 163.
Bordeaux. See Cathedral, 101. Arch
bishop of, 101.
Borghese Achilles, 29; Bacchus, 42;
Faun, 65; Helios, 46; Marsyas, 43;
Paniskos, 42.
Borgia, Lucrezia, so called, 66.
Borneo, musical instruments, 294,
298, 303.
Bosio, Francois-Joseph, 74.
Boston, monument in, 291.

Botticelli, Sandro, 168, 249.
Bouguereau, W.-A., 191, 198, 271, 279.
Boudroun. See 179, p. 38.
Bourges. See Cathedral, 97.
Bourgtheroulde reliefs,'105.
Bovillas, relief found at, 46.
Bow and arrows, Japanese, 146.
Boxer, Greek, 30.
Boxer, tired, 89.
Boy fauns, 64.
Boy, Neapolitan, 114.
Boy in lion skin, 64.
Boy with dolphin, 61; with goose, 47,
63; with mask, 61; with vase, 61,
with fruit and flowers, 110
Boynton, Mrs. W. E., owner, 290.
Bracony, L , 291.
Bradford, William, 194.
Brancacci Chapel frescoes, 249, 250.
Branchidae sculpture, 26.
Brancovan plaquette, 122.
Brand, Rudolph, donor, 80.
Brangwyn, Frank, 216.
Brass plaque, East Indian, 138.
Brateau, Jules, 135.
Brega, Mrs. Charles W., donor, 140.
Brennan Alfred, 228.
Brenner, V. D., 127.
Brescia tomb sculpture, 116.
Breton, Jules-Adolphe, 173, 186, 218.
Breze\ Louis de, 105.
Bridgman, Frederic Arthur, 194, 207
Bringhurst, R. P., 86.
Bristol, J, B., 269.
British engraving, 244.
British etching, 240.
British paintings, 175, 184, 203, 204,
216,217, 265,-268, 278, 283, 288, 289.
Etching of one, See Chauvel,
239.
British Ivory Carving. See English,
293.
British pottery. See English, 139.
British Sculpture, 81, 82.
British-Swedish etchings, 240.
British water color, 277.

320

The Art Institute of Chicago.

Brittany, Mass in, 220.
Brive. See Churches, 96.
Brocades, 141, 142.
Brontolone. Head, 68.
Bronze founders: Barbedienne F., 75;
Gonon & Sons, 74; Kellers, 111,
112; Nelli, 90; Yamanaka, 138.
Bronzes, original, 75, 76, 84. 85, 88, 90,
134-138, 145, 148, 149, 152, 153, 262,
291, 310.
Reproductions, 57-64, 65, 66.
Bruce, Thomas, Earl of Elgin, 31, 33.
Brusasorci, Felix, 167.
Brush, George De F., 228.
Bryaxis, 38.
Buckingham, Clarence, donor, 212,
220.
Buckingham, Ebenezer, donor, 153.
Buckles, Chinese jade, 144.
Bucrania (ox-skulls), 95, 262.
Buddha, bronze, 145.
Buddhist lamp, 136.
Buddhist shrines, Japanese, 142, 145.
Budrun. See No. 179, p. 38.
Buffalo, 85.
Buffalo bulls, fighting, 84.
Buffalo, city of. See Pan-American,
128.
Bull-fighter?, 282.
Bulls, 15, 16, 19, 25, 47, 53, 291.
Buonarotti. See Michelangelo.
Burgundy, Duchess of, 113.
Burial of St. Catherine, 253.
Burial of St. Cecilia.
Burial, the first, 76.
See Entombment.
Burns, M. J., 229.
Butler, Edward B., donor, 153, 212.
Butler, E. R.,229.
Buttress, Reims Cathedral, 100.
Byzantine architectural sculpture,
93, 115.
Byzantine iron work, cast of, 116.
Byzantine, textile fabrics, 141.
Cabanel Alexandre, 122, 194.
Cabinets, Japanese, 146; Spanish, 142.

Cable, George W., 234.
Cache-Cache, 291.
Csecilius Jucundus, 64.
Caesars, 51, 52, 68.
Cagliari or Caliari, Paolo — called
Paolo (Paul) Veronese, 167, 256.
Cain, Auguste, 74.
Cain and Abel— sacrifice, 97.
Calais, a citizen of, part of a monu
ment, 77.
Calf, new-born, 179.
Caliari. See Cagliari, above.
California landscapes, 193, 202, 214,
274, 284.
Calliope, bust of, 71.
Calvaire, un, 217.
Cambon, Jules, 119.
Camp before a fortress, Assyrian, 16.
Campagna scene, 193.
Candelabrum, 93. See Electroliers,
262.
Candlestick, Pompeiian, 68.
Canopic jars, 151.
Canopy of niche, 103.
Canova, Antonio, 71.
Canterbury, Archbishop of, 82.
Capital and base of pillar, Reims
100.
Capitals, 96, 97, 100, 101. 115.
Capitals and bases of the five orders,
115.
Capo d'Anzio. See Antium.
Caravel, on medal, 127.
Card players, 199, 218.
Carmelite Church, Nantes, tomb
from, 103.
Carnac. See Karnak, 12.
Carnavalet, H6tel, sculpture of, 108-
110.
Carnelian, 145. See also Cases 9 and
10, p. 152.
Carnot medal, 120.
Carpaccio, Vittore, 250.
Carpets, 142.
Carving. See Wood. Ivory, Lapidary
work.
Caryatids. See Karyatids, 33, 34, 106.

General Index.

321

Casanova y Estorach, A., 279.
Cascade, Versailles, 110.
Casilear, John W., 270.
Caataigne, Andre, 235.
Castelbarco monument, 260.
Castellani Juno (Hera), 34.
Castor, so called, 44.
Castorand Pollux, so called, 55.
Catapult in action, 268.
Cathedral of Chartres, interiors, 240.
Cathedral of Cologne. Altar paint
ing, 253.
Cathedral of Florence, marriage in,
243.
Cathedral of Lubeck, Altar paint
ing, 254.
Cathedral of Rouen, drawing of, 227.
Cathedral sculpture.
Aix, 101.
Amiens, 99.
Beauvais, 104.
Bordeaux, 101.
Bourges, 97.
Chartres, 98, 104, 117.
Florence, 66.
Laon, 101.
Limoges, 104.
Lyons, 102.
Mans, 105.
Moissac, 97.
Nantes, 76. 103.
Paris, 99, 100, 116, 117.
Reims, 100.
Rouen, 101, 105, 103.
Tours, 103.
Cathedrals. See Abbey, Basilica,
Churches.
Catherine, Saint, 253, 255, 256, 258.
Catherine de Medicis, Qneen of
France, part of tomb of, 109.
Cattle pictures. See Bonheur, Cau
welaert, Dupr6, Hart, Klombeck,
Marcke, Maris, Montigny, Pog
genbeek, Roelofs, Ruijsdael, S.,
Thompson. Troyon, Velde, A.
van de, Vrolijk.
Cauwelaert, J. E. van, 268.

Cavalli family monument, 260.
Cavallini. No. 875, p. 253.
Cavalry charge, 186.
Cavalry, Dutch, 266.
Cavallucci. No. 694, p. 242.
Cavazzola. See Morando, 255
Cazin, Jean-Charles, 173, 174, 194, 218,
271, 278.
Cazin, J.-M.-Michel, 123.
Cecilia, Saint, 67, 251, 259.
Cecrops' daughters. See Fates, 32.
Ceiling panels, 95, 108, 109.
Celestins. See Churches, 109.
Celsus, Saint, 255.
Centaurs, 25, 33, 34, 63.
Centocelle, statues from, 37.
Central Church members, douors, 90.
Centre Bridge, 213.
Century Co., New York, owner, 227-
286.
Cephisodotus. See Kephisodotos, 36.
Cephisus. See Kephisos, 32.
Ceramano, C.-F., 194.
Ceramics . See Pottery.
Cerdo, Marcus Cossutius, 30.
Ceres, (Demeter), 32, 36„ 37, 53, 54.
Cesonius, L. C. Piso, 58.
Cestius, pyramid of, 93.
Cestus on Greek Boxer, 30
Chalcedony, 145.
Chaldean art, 9, 13, 14.
Chalice veils, embroidered, 141.
Chalmers, Mrs. W. J., donor, 140.
Champoiseau, discovery by, 23.
Chanac tomb statue, 102.
Chandeliers. See Candelabrum, 93;-
Electoliers, 262.
Chapin memorial statue, 86.
Chaplain, J.-C, 121, 122, 124, 125; chil
dren of, 121.
Chapman memorial, figure from, 87.
Chapu, H.-M.-A., 75.
Charioteer of Delphi, 27.
Chariots, Assyrian, 16; Persian (frag
ment), 17; Mar'asch, 20.
Charity, 76, 109, 258; on medal, 312.
See Faith, Hope and Charity, 109.

322

The Art Institute qf Chicago.

Charlemont, Hugo, 185.
Charles VIII of France, tomb of chil
dren of, 103.
Charlieu. See Abbey, 98.
Chartres Cathedral, 98, 104, 117, 210.
Chartres, a street in, 240.
Chartres, Due de, 176.
Chase at Malpaga, 257.
Chase, resting after, 113.
Chase, return from, 73.
See Hunting.
Chase Harry, 272, 278.
Chase, William M., 207, 209.
Chasubles, 142. Case 67, 78.
Chateaux represented by sculpture,
d'Anet, 107.
Gaillon, 103.
La Ferte-Milon, 102.
Lude, 102.
Marly, 112, 113.
Ratubouillet, 113.
Versailles, 110.
Park, 110, 112.
Chatfield, Wayne B., donor, 125.
Chauvel T.. 239.
Chephren. See Khafre, 11.
Cherubs singing and playing, 67.
Chessplayers of Jerusalem, 197.
Chicago. See World's Columbian Ex
position.
Chicago Tribune, owner, 265.
Chickens, 179, 266.
Chierici, Gaetano, 265.
Children of Charles VIII, tomb of,
103.
Children in sculpture, 35, 67, 74, 76,
108,109, 111, 112; on medal, 121.
See Bacchus, Boy, Christ, Girl, In.
fant.
Chimerical animals, 19, 98, 100, 117-
See also Dragons, Griffins, H5-S,
Sea-horses, Sphinxes, Wyverns.
Chimney pilaster, 116.
China (porcelain), 189, 142, 145, 147,
S10,

Chinese work.
Bronzes, 138, 149.
Cloisonne enamel, 146.
Embroidery, 141.
Jade carving and other lapidary
work, 142, 144, 145, 310.
Lacquer, 147.
Musical instruments, 294, 295, 298,
301, 303, 804, 807-309.
Porcelain, 142, 145, 147, 310.
Screen, 310.
Silver boxes, 137.
Snuff bottles, 124, of carved
stones, ivory, porcelain, etc, ,145
Water colors, 246.
Choir screen pilasters, 104.
Choir stall, 103.
Choiseul-GoufBier Apollo, 28.
Choyo Collection, 310.
Christ, 258.
Adoration of, 96, 105, 253, 254, 256.
Among the doctors, 249, 253, 256.
Ascension, 101.
At burial of the Virgin, 100,
At coronation of the Virgin, 100,
102.
Baptism, 96.
Bearing the cross, 254.
Before Pilate, 97, 235.
Between two angels, 96, 98, 101.
Birth. See Nativity, below.
Bound, 258.
Charging St. Peter, 256.
Crucified, 142 (case 48), 248, 254,
256, 293.
Crucified — the Virgin standing on
one side of the cross and St.
John on the other, 102.
Deposition, 253, 255.
Entombment, 248, 254.
Expelling money lenders, 97.
Explaining parable, 106.
Flagellation, 97.
Giotto's frescoes, 260.
God. the Son, 107.
Infant, head of, 67.

General Index.

323

Infant, with Virgin, 68, 69, 100,
104. 105, 142, 243, 248-250, 253, 255,
257.
Infant, with Virgin and globe,
69; and donor, 259; and Meier
family, 252; and Joseph, 257, 275.
Last Supper, 97, 101, 104, 251.
"Le Beau Dieu d' Amiens," 99.
Nativity, 96, 255, 256.
Passion, 97.
Presentation in the Temple, 96,
248, 253, 254.
Pronouncing blessing, 98, 100.
Prophesying Peter's denial, 97.
Raising Lazarus, 97.
Resurrection, 251, 257.
Transfiguration, 248, 256, 261.
Tribute money, 250, 277.
With apostles, 98, 100.
With disciples at Emmaus, 248.
With Mary Magdalen, 248.
Christian, King of Denmark, at Mal-
paga, 257.
Christofle plaquette, 120.
Chromo-lithographs, Arundel, 247-
260.
Chrysapha relief, 23.
Church, Frederick E-, 195.
Church, Frederick S., 229.
Church vestments and furniture, 142.
Church of St. Bavon, Ghent, Altar
piece of, 259.
Churches. See Abbey, Altar, Basil
ica, Cathedral, Temple.
Churches, paintings in. See Altar
paintings and Arundel reproduc
tions.
Churches, sculpture in.
Carmelite, Nantes, 103.
Celestins, Paris, 109.
Franciscan, Innsbruck. 79.
Frauenkirche, Nuremburg, 79.
Jacobins, Paris, 102.
Madeleine, Paris, 117.
Notre-Dame-du-Port, Clermont-
Ferrand, 96.

Or San Michele, Florence, 67.
Ste. Croix, at la Charite, 97.
St. Denis, Paris, 103, 109, 117.
St. Eustache, Paris, 117.
St Eutrope, Saintes, 87.
St. Germer, Oise (chapel), 102.
St. Jean, Troyes, 104.
St. Maclou, Rouen, 106.
St. Martin, Brive, Tours, 103.
St. Martin des Champs, Paris, 103.
St. Nicholas, Troyes, 103.
St. Pierre, Moissac, 97 .
St. Trophime, Aries (cloister), 96.
St. Urbain, Troyes, 101.
San Antonio, Padua, 67.
San Apollinare Nuovo, Ra
venna, 93.
San Giovanni Baptistry, Flor
ence, 66.
San Lorenzo, Florence, 70.
San Pietro in Vincoli, Rome, 70.
Stone Church, Kent, 115.
Temple Church, London, 115.
Churchwarden, 273.
Cinerary urns, E4.
See Tomb Sculpture.
Cipriani, G. B. See Bartolozzi, 241.
Clark, W. E., donor, 140, 309.
Classical antiquities, 153.
Claxton, Kate, in "Two Orphans,"
233.
Clays, P.- J.-C, 186, 195.
Clemens, Samuel Langhorne ("Mark
Twain"), 234.
Clement V, Pope, 101.
Cleodolinda, baptism of, 250.
Cleomenes. See Kleomenes, 48.
Cleopatra, 197.
Clermont-Ferrand. See Churches, 96.
Clermont-Ganneau, discovery by, 21.
Cleve, van, 111.
Clodion. See No. 1432, p. 135.
Clodius Albinus, 56.
Cloisonne enamel, Chinese and Jap
anese, 148.
Cloud design, Japanese, 145.

324

The Art Institute of Chicago.

Clovelly, 230.
Clytie, 52.
Cnidus. See Knidos, 37.
Cobb, Henry Ives, 117.
Cockerell, discoveries by, 24, 34.
Cocks, J. H., 229.
Coffee-pot and tray, 136.
Coffins, ancient Egyptian, 151.
• Coins, Greek and Roman, 153.
Col, Jean-David, 218.
Cole, Thomas, 195.
Cole, William O., donor, 214.
Coleman, C. C, 235.
Colleoni statue, 94.
Collin, L. A., 119.
Colman, Samuel, 195.
Cologne Cathedral, altar painting,
253.
Cologne masters, 250, 253.
Colombe, Michel, 103.
Color prints from wood cuts, Japan
ese, 245. See Chromo-lithographs.
Colored antique relief, 282, p. 44.
Columbia, 128.
Columbia University statue, 87.
Columbus medals, 124, 125, 127.
Column, Venetian, 116.
Columns, Ephesos, 26. 38; Limoges,
104; Rouen, 105, 106; St. Gilles, 97
See Capitals.
Combats. Greeks and Trojans, 24.
Herakles and Triton, 25.
Gods and giants, 23.
Centaurs and Lapithai, 33, 34.
Greeks and Amazons, 28, 34, 38.
Zeus and giants, 44.
Arabs, 183.
Comedy, muse of. See Thaleia, 46.
Committee on Celebration, donor, 126.
Commodus, 55.
Composite capital, 115.
Comstock, William C, donor, 138.
Conch, a cupid blowing a, 111.
Conchs, actual, 295, 306.
Confirmation, Jewish, 236.

Conover, Mrs. W. A., owner, 265.
Constable, John, 175, 279.
Constantine. See Basilica, 311.
Coolidge, Charles A., donor, 40, 115;
architect, 114.
Coomans, P.-O.-J., 196.
Coonley, Mrs. John C, donor, 140.
Corean box, enameled silver, 137.
Corfu, head from, 38.
Corinthian capital, 115.
Cork models of ancient ruins, 92, 93,
311.
Cornell, Mrs. Alice S„ donor, 140,
Coronation of the Virgin, 99, 100, 102,
248.
Corot, J. B. C, 174, 175, 190, 196, 272, 279.
Cossntius Cerdo, Marcus, 30.
Costumes, 142.
Coudray, M.-A.-L., 123,
Counselman, Charles, donor, 153, 212.
Courage, military, 76.
Courbet, Gustave, 190.
Courtier, 177.
Courtry, C, L., 239.
Cousin, Jean, 105.
Coustou, Nicolas, 113.
Couture, Thomas, 196.
Cow (Hathor), 12.
Cows, See Cattle pictures.
Cow's head from Parthenon frieze, 83.
Cox, Kenyon, 229.
Coysevox, Antoine, 112, 113.
Crabb, C C, owner. 265, 266.
Crane, Mrs. Charles R., donor, 140.
Crane, R. T., donor, 220.
Cranes, 93, 145.
Crocodile strangled by a lion, 74.
Cupid fighting a, 111.
Crome, John, 279.
Croos, Anthony Jansz, van der, 191.
Cros, Henri, 76.
Crouching Persian, 42.
Crowns, Egyptian, 12, 13, 61, (cases 8
and 9, p. 152); Greek 25; Roman 51.
Crucifixion, 102, 248, 254, 256, and
ivory carvings, 142, 293.

General Index.

325

Cruet, like a Persian aftaba, 134.
Crystals, agates and other hard
stones, cutting and carving of,
144, 145.
Cudahy, John, donor, 218.
Culver, Mrs. Charles E., donor, 212.
Culver, Mrs. G. N., donor, 140, 161.
Cuneiform inscriptions.
Assyrian, 14-17; Chaldean, 13; Per
sian, 17; Cypriote, 22.
Cupid (Eros, Amor) .
By Michel Angelo, 70.
From Parthenon frieze, 83.
Genius ofthe Vatican, 37.
Infant, with Anacreon, 75.
Stringing his bow, 47.
Painting by Bouguereau, 279.
Painting by Lawrence, 282-
Riding a dolphin, 279.
Cupids, decorative.
Blowing a conch, 111.
Carrying a goose, 60.
Carrying a dolphin, 60.
Fighting a crocodile, 111.
Flying, 279.
Holding an eagle. 63.
In arabesques, 116, 117.
On a dolphin, 63, 110, 111.
On a medal, 119.
On centaurs, 63.
Riding a swan. 111.
With Mars, 40.
With Flora, 112.
Cups, from Herculaneum and Pom
peii, fac-similes, 68.
Cups, Japanese lacquer, 146.
Cylinders, seal, 13, 14, 17.,
Cyprus, fragment of a vessel from,
22; small marble head from, 153.
Cyprus, stele of Assyrian King Sar-
gon, found in, 17.
Dacia, on Arch of Trajan, 53.
Daldalos, of Bithynia, 45.
Daillion, Horace, 291.
Dalmatics, 142.
Damascene embroidery, 141.

Damasistrate, 35.
Dancer (Fortuna), 61.
Dancers or actresses, 59.
Dances: Siva, 234; Snake (figure
from), 90.
Dancing attendants of Hymen, 54.
Dancing Bacchante, 47.
Dancing faun, 62, 64.
Daniel-Dupuis, Jean-Baptiste,123, 312.
Danish sculpture, 80.
Dannat, William T., 208.
Dante, 66, 252, 258.
Darius, family of, before Alexander,
170.
Daubigny, Charles-Francois, 175, 176,
196, 272, 279.
Dauchez, Andre, 280,
David, 67, 69, 77, 97, 98.
Davis, Charles H„ 196, 208.
Davis, J. Steeple, 230.
Dawn, 70.
Day, 70.
Dead Amazon, 42.
¦ Dead, God of the. See Osiris, 12, 13.
Dead Persian, 42.
Dead tiger, 184.
Deakin H., donor, 140.
Death, Genii of Sleep and, 55.
Death and the sculptor, 87.
Death of Santa Fina, 251; of St. Fran
cis. 251; of the Virgin, 107; of
Marc Antony, 244.
Decamps, Alexandre-Gabriel, 175.
Dedieu, Jean, 112.
Deer, 85. See Stag.
Deer and panther fighting, 84.
Deer and jaguar — "lockedin death,"
84.
de Haas, M. F. H., 197, 270.
Deiphobos, 24.
Deities, Egyptian, small figures in
bronze, semi-precious stones and
pottery from ancient tombs, 152.
Deities of Egypt, Assyria, Babylonia,
Chaldea, Phoenicia, Asia Minor:
casts of statues, heads, reliefs,
etc., 12-22.

326

The Art Institute of Chicago.

Deities of Greece and Rome. See
Apollo, Ares (Mars), Athena
(Minerva), Demeter (Ceres), Di
ana (Artemis), Dionysos (Bac
chus), Eirene, Eros (Cupid), For
tuna, Hera (Juno), Herakles,
Hermes (Mercury), Pan, Perse
phone (Proserpina), Ploutos, Sei
lenos, Selene (Luna), Silvanus,
Zeus (Jupiter).
Delacroix, F. V. E., 176, 197.
Delaplanche, Eugene, 76.
Delft, view of, 269.
Delia Porta. See No. 235, p. 41.
Della Porta, Baccio, 248,
Della Robbia, Luca, 68.
Della Scala (Can Grande) monu
ment, 260.
Delobbe, F. A., 266.
Delos, statue found at, 25.
Delphi, statue found at, 27.
Delphic sibyl, 255. See Sibyls.
Deluge tablet, Chaldean, 14.
Demeter (Ceres), 32, 36, 37, 58, 54.
Demidoff collection, paintings from,
155-167.
"Democritus, the laughing philoso
pher," 269.
Demokritos, so-called, 58.
Demosthenes, 41, 58, 59.
Deposition from the cross, 253, 255.
Derelict, a, 272.
Desiderio da Settignano, 67, 68.
Desnoyers, A.-G.-L.-B., 242.
Detaille, J.-B.-E., 176, 190.
Dewey medal, 125.
Diadumenos, 30.
Diana (Artemis).
Winged Artemis? 25.
Diana huntress, 39, 78, 107.
Artemis on a votive relief, 49.
On arch of Trajan, 53.
Diana of Gabii, 37.
Diana by Coysevox, 113; by Fal
guiere, 76; by Goujon, 107, 108;
by Houdon, 73.

Diana of Ephesos, fragments from
temples of, 26, 38.
Diana, Duchess of Burgundy as, 113.
Diana and the lion, 290.
Diane a la biche, 39.
Diane de Poitiers, 105, 107.
Diaz de la Pena N.-V., 176, 197, 272, 280.
Dibhan stele, 21.
Dielman, F., 230.
Dione, 44.
Dionysos (Bacchns), 25, 36,42,43,58,
54, 57, 84.
The nursing of Bacchus, 258.
Dionysos procession, 43, 50; theatre, 31.
See Bacchus.
Dirke, statue, in group, 47.
Diskobolos, 28, 59.
Divan, 142.
Dog of Fo, 142 (case 65, 66), 147, 148.
Doge. With Adonis, 113; with chil
dren, 177, 280; with cow, 198; with
Diana, 107; with man, 27; with
young lady, 280; wounded, 75.
Dog-head rhyton, 63.
Doggett, William B., donor, 65.
Dole, James H., bust of, 88.
Dole, James H., Mrs., donor, 217;
owner, 266.
Dolphins, 60, 61, 63, 110, 111, 127.
Domenick, Saint, E48.
Domingo, J., 177.
Donatello, 67, 68, 69, 94, 116.
Donoghue, John, 88.
Doors and doorways, 70, 86, 88, 95, 104,
106, 110.
See portals, Tympanum.
Door hinges, 100, 116; knockers, nails,
ornaments, 136.
Dore, Gustave, 311.
Dorian maiden, 37.
Dorian sculpture. 23, 24, 30, 92.
Doric capital, 115.
Doryphoros or spearbearer, 30, 57.
Douarnenez, 219.
Dragons, 64, 103, 131, 134, 138, 145, 148,
310.

General Index.

327

Drake, W. H., 230.
Drawings, for illustration, framed,
227-288.
Driver, E. A., heirs of, donors, 220.
Driver, Mrs. E. A., donor, 261.
Drunken faun, 60.
Drunken Seilenos, 61.
Dual nature, 89.
DuBellay tomb, 105.
Dubois, Hendrick, his wife Helena
Tromper, 166.
Dubois, Paul, 75. 76.
Duccio, Agostino di, 68.
Diirer, Albrecht, 251.
Duplessis Georges, 119.
Dupre, Jules, 177, 178, 197, 273, 280.
Durand-Ruel, donor, 219.
Dutch cavalry, 266.
Dutch headdress, 142 (case 48) .
Dutch paintings, old, 155-165, 191, 261
(copy), 264, 269, 273, 276,287; Arun
del reproductions, 255-259; Mod
ern, 187, 189, 190, 203, 266, 273, 274,
275, 277, 281.
Dutch water colors, 222-225.
Dutert, Charles-Louis-Ferd., 122.
Duveneck, Elizabeth Boott, 87.
Duveneck, Frank, 86.
• Dwight, John H., donor, 153, 212;
portrait of, 267.
Dwight, Mrs. J. H., owner, 267.
Dyck, Antonius van (Sir Anthony
van Dyck), 166.
Engraving after by Audran, 243.
Dyer, Charles G., 208.
Dyer, Mrs. E. C, owner, 310.
Dying Gaul or Galatian. (Byron's
"Dying Gladiator") 42, 291.
Dying Greek, 24.
Dying Medusa, 44.
Dying Trojan, 24.
Eagle and Swans— seal, 14.
Eagle, Japanese, 310.
Eagle on ewer, Herculaneum, 63, 64;
on medal, 131.

Eagle of Zeus, 37.
Eagle-headed deity or genius, 15.
Eagles on Helios relief, 21.
"Ear Tomb," 138.
Earle, Lawrence C, 285.
Eclectic (Bolognese) school in Arun
del reproductions, 251.
Ecclesiastical. See Church.
Edessa?, seal from, 18.
Edwards, G. W., 230.
Egyptian antiquities, 151, 152.
Egyptian dynasties, 10.
Egyptian (Greek and Coptic) tex
tiles, 141 (frames 1-5).
Egyptian sculpture, casts of ancient,
9-13.
Egyptian water carrier, 281.
Egyptian woodwork, Saracenic, 94.
Eirene. Goddess of Peace, 36:
Elbridge G. Hall collection, 9-56,
66-78.
Electricity Exposition medal, 118.
Electroliers, 262.
Electrotypes of metal work, 74, 118-
124, 131-133.
Elephant, the rogue, 85.
Elgin marbles, 31-33.
El Hibba, seal, 14.
Elizabeth and the Virgin, 247.
Elizabeth, Queen, 241.
EUiott, Charles Loring, 208.
Ellis, Mrs. Addie M. Hall, donor, 9-56,
66-78, 140.
Ellsworth, James W., donor, 139, 153.
Elwell, Edwin F., 290.
Embossed work, Chaldean, case in
Room 1.
Embroideries, 141.
See also Costumes, and Church
Vestments, 142.
Emerson, Mrs. Charles, donor, 140.
Emerson, Edwin, portrait of, 267.
Emerson, Miss Margaret C, owner,
267.
Emerson, Ralph Waldo, bust of, 29.
Enamel, Cloisonne, 148,

328

The Art Institute of Chicago.

Enameled silver box, Korean, 137.
English Gothic architectural frag
ments, 115.
English paintings and sculpture. See
British.
English piano, late XVIII century,
308; porcelain, 139; fans, 142.
Engravings, framed prints of, 239-244*
Entombment. See Burial, Christ,
Virgin.
Ephesos, Asia Minor, Greek sculp
ture. 26, 38, 46.
Epikouros, 59.
Epikourios, Apollo, temple, frieze, 84.
Equestrian statues, 94, 105.
Erectheion. See Akropolis, 31.
Karyatid from, 33.
Eriksson, Christian, 81.
Erin weaving a crown of fame, 291.
Ernst, Leo, donor, 80.
Ernst, Rodolphe, 197.
Eros (Cupid, Amor), 33, 37, 47.
See Cupid.
Escosura. See Leon, 198.
Escribe, Charles, 226.
Esculapius. See Asklepios. 39.
Escutcheons, 94, 108, 110.
Essex, Earl of, 241.
Estorach. See Casanova, 279.
Etchings, framed prints of, 227, 239-
243.
Ethiopian horn, 295.
Ethiopian king, ancient, 12.
Ethra, Phalante and, 73.
Etruscan jewelry. 142.
Euboulides of Athens, 48.
Eunuchs. See Religious and royal
ceremonies.
Eustache, Saint. See Churches, 117.
Eutrope, Saint. See Churches, 97.
Evangelists, symbols of the, 96, 98, 104.
See Saint John, Saint Mark, Saint
Matthew.
Eve. See Adam.
Ewer and tray, pewter, 135.
Ewers from Herculaneum and Pom
peii, fac-similea of, 63, 64.

Exposition Universelle, Paris, 1900
medals of, 121, 125.
Eyck, Hubert and Jan van, 259.
Ezekiel, the prophet, 255.
Faed, John, 184.
Faience, ancient Egyptian, 152.
Faith, 76; Karyatid, 106; on sedan
chair, 142.
Faith, Hope, and Charity, 109.
Falguiere. J.-A.-J., 76.
Fall, the, 250.
Fame, 106, 108, 123.
Fan, war, Japanese, 146.
Fans, decorative, 142.
Fantin-Latour, 219.
Farnese bull, 47, 291.
Diadumenos, 30.
Floia, 47.
Mercury, 36.
Hercules, 41.
Farny, Henry F., 230.
Farwell, Mrs. C. B., donor, 140.
Fates, the three (two of them called
also daughters of Cecrops, Aglau-
ros and Herse), 82.
Faun, Borghese, 65; dancing, 60, 64;
drunken, 60; Hawthorne's " Mar
ble Faun," 36; infant, 90; sleep
ing, 60, 90; with wineskin, 60, 61.
See Masks, Pan, Satyrs, Seilenos.
Faustina, 154.
Fawn or gazelle. 60.
Fellowes, Sir Charles, discovery by,28.
Femme inconnue, 68.
Fenn Harry, 230, 231.
Ferdinand I of Tuscany, 243.
Fernandez, Vasco. 251.
Ferraris, Arthur, 208.
Ferry, the, 268.
Ferte-Milon. See Chateaux, 102.
Field, Henry, memorial collection,
171-181; portrait of, 181.
Field, Mrs. Florence Lathrop, widow
of Henry, donor, 171-181, 262.
Field, Marshall, donor, 138, 140, 181;
portrait of, 267.

General Index.

329

Field, Mrs. Marshall, Jr., owner, 267;
portrait of, 287.
Field Columbian Museum, donor. 76.
Field of the cloth of gold, 105.
Fighting gladiator, 46.
Figurines, terra-cotta, 153,
Figurines, plaster, modern, 90.
Filipepi, Alessandro, 169, 249.
Filippo Benizzi, Saint, 258.
Fina, Santa, 251.
Fiuial, French, 101; English, 115.
Fino, Tomasso di Christofani di, 249,
250.
Fiorenzo di Lorenzo, 251.
Firmin-Girard, 278.
Fisherboy, 114.
Fisherman, Pompeii, 60.
Fishing, children, 210.
Fishing vessels and figures, 274, 278,
281.
Fisheries building, W. C. E., frag
ments from, 117.
Flameng, F., 270.
Fleming, Robert H., donor, 152.
Flemish inn, 190.
Flemish paintings, 100,161, 163, 166,269,
Arundel reproductions, 254, 257.
Modern. See Belgian.
Flemish wood carving, 117; lace, 141;
tapestry, 142.
Fles, Miss Etha, 222.
Flight from Pompeii, 72.
Flora, 47, 112.
Florentine school in Aijindel repro
ductions, 247-253, 255, 257-259.
Florentine sculpture and carving, 66-
72, 94, 95, 109. 116.
Flower and plant decoration, 133, 184,
136, 137, 145, 146, 148.
Flower girl in Holland, 211.
Flower vases, bronze, 135.
Flute players, Assyrian, 15.
See Satyr, 36, 50, 60; Pan, 49.
Flutes. 295, 296, 309.
Fo, dog of, 142 (case 65,66), 147, 148.
Foix, Marguerite de, tomb of, 103.

Foliage in sculpture, 100, 101, 115.
Foliated scroll work, 40, 53.
Foliations, Limoges, 104.
Foo, dog, see Fo.
Foote, Mary Hallock, 231.
Forbes, James, 216.
Ford, Mrs. Mary Bacon, owner, 268.
Foreman, E. G., donor, 212.
Fortuna, 61.
Fortuuy, Mariano, 178.
Forum of Trajan, reliefs from, 53.
Foster, discoveries by, 24.
Fouilloy, Evrard de, tomb of, 99.
Fountain basin, 92.
Fountain of the Innocents reliefs,
107, 113.
Fountain figures of Pompeii and Her
culaneum, 60, 61.
Fountains, the, 220.
Fox and rabbit, 85.
France personified, 120, 125, 128.
Francesca, Piero della, 251.
Francesco, Saint, 258.
Francia, 251.
Francis, Saint, 251, 252.
Francis I, of France, armor of , 131, 132.
Meeting Henry VIII, 105.
Francis II, of Brittany, tomb of, 103.
Franco-German war scene, 226.
Franklin medal, 1906, 129.
Frederick III, betrothal of, 256.
Frederick the Great, monument, 80.
Fredericks, Alfred, 231.
Freer, Mr. and Mrs. Archibald, do
nors, 140.
Freer, Frederick W., 209.
Frejus, statue found at, 28.
Fremiet, Emmanuel, 75.
French, Mrs. Alice Helm, 282, p. 44.
French, Daniel Chester, 87, 88, 125,
290, 291.
French work.
Armour and other metal work,
116, 131, 135, 186.
Fans, decorative, 142.
Medals and plaquettes, 118-125, 312.

330

The Art Institute of Chicago.

Musical instruments, old, 305.
Paintings, 170-181, 183, 184, 186-
194, 196-204, 218-220, 264-267, 270-
276, 278-284, 288.
Water colors, pastels and draw
ings, 183, 223, 224, 226, 227.
Sculpture, historic and renais
sance, 96-114, 116, 117.
Sculpture, modern, 73-78, 291, 311.
Wood and ivory carving, 117, 293.
Porcelain, 139, 142.
Textiles, embroideries and laces,
141.
Frere, Charles-Theodore, 198.
Frescoes, copies, 169.
Arundel reproductions, 247-260.
Frieze, acanthus, 97; Apollo and Her
mes (Thasos), 27; Apollo Epikou-
rios temple, 34; Arabesque, 53,
116; Harpy, 26; Mausoleion, 38;
Nereid, 28; Nike Apteros, 33; Par
thenon, 31, 33, 262; Pergamon
altar, 44; Theseus temple, 34; Tra
jan's arch, 54; Fornm, 53; Italian,
95, 116; French. 97, 105, 107.
Fringes and gimps, Italian, XVI and
Xvn centuries, 141.
Froment-Meurice, 311.
Fromentin, E.. 178, 183, 198.
Frost, Arthur B., 235.
Fruit paintings, 213, 286.
Fuller, W. A., donor, 212.
Fullerton, Alexander N., 216.
Fullerton, Charles W., 37, 216.
Portrait of, 209.
Funeral masks and breastplates, an
cient Egyptian, 151.
Funeral vases (Canopic jars), 151.
Furness, Sir Christopher, owner, 268.
Gabii, sculpture found at, 37, 39.
Gabinius Aulus, 58.
Gabriel, Angel, 254.
Gabriel, P. J. C, 223.
Gaillon. See Chateaux, 103.

Gainsborough, Thomas, 280.
Gaisser, Max, 198.
Galatea, 242.
Galatian (Gaul), dying, 42, 291.
Galatian at bay, 42.
Gambetta, Leon, 121.
Gamil-Sin's seal, 13.
Gans, Samuel, owner, 268.
Ganymedes, 37, 40.
Gardiner, Mrs. P. H., donor, 140.
Garfield monument, Washington, de
tail of, 84.
Garrett, Mrs. S. E., donor, 140.
Gates, Mary, estate of, owner, 269.
Gaul, see Galatian.
Gauntlets, 132.
Gazelle or fawn, 60.
Geese, Japanese, 134.
See Goose.
Gelert, J. S., 88.
Genii. See Religious and Royal Cere
monies.
Genii of Sleep and Death, 55.
Genius ofthe Vatican, 37.
George, Saint, 67, 103, 250, 257.
Gerard, Baron. See Desnoyers, 242-
Gereon, Saint, 253.
German paintings.
Modern, 179, 180, 183, 187, 193, 198,
199,201,203,267,275,283,288. See
Austrian.
Arundel reproductions of old
masters, 250, 253.
German sculpture and carving, 79, 80,
310.
German etching and engraving, 241,
243,244.
German embroidery, 141.
Germer, St. See Churches, 102.
Gerame, J. L., 75, 184, 198, 281.
Gertschin, statue from, 19.
Getty, Alice E., owner, 294^308.
Getty, Henry ff., donor, 140, 151.
Ghent, church of St. Bavon, altar
paintings, 250.
Ghiberti, Lorenzo, 66.

General Index.

33i

Ghirlandaio, 251.
Giacomo di Bartolommeo, 245.
Giants, 23, 44.
Gibson, John, 81.
Gifford, Sanford R., 198.
Gigch, H. S. van, donor, 226.
Gilbert, Achille, 242.
Gilbert, Mrs. John, 227.
Giles, Saint, 254.
Gilles, Saint. See Abbey, 97.
Gimps, 141.
Giargione, 252.
Giotto, 252, 260.
Giovanni da Bologna, 71.
Giovanni da Fiesole, 248.
Girard. See Firmin-Girard, 278.
Girardon, Francois, 111.
Giraud, Jean-Baptiste, 73.
Girgenti Hera, 84.
Girl with bowl, 87.
Girls, statuettes of, 90.
Girls' heads, 47, 67, 68, 71.
Giustiniani Minerva. See Athena,
35; Apollo, 46.
Gizeh, statue found at, 11.
Gladiator, so called, 42, 46.
Gladiator's helmet and greaves, 62.
Glass, ancient, 152-154, 811.
Glessner, J. J., donor. 160, 212.
Glessner, Mrs. J. J., donor, 140.
Glykon of Athens, 41.
Goat seal from Surgul, 14.
Goat-footed figures, 19.
Goats, 19, 106, 113; on ewer,. 64.
God, the father, 107, 259,.
God, the son, 107.
Gods. See Deities, Religious cere
monies.
Gods in combat, 23.
Gold stone, 145.
Golden wedding, 156.
Gonon and Sons, 74.
Goose, 47, 60, 63. See Geese.
Goth, Bertrand de, Archbp. of Bor
deaux, who became Pope Clem
ent V, 101.

Gothic capitals, foliage, moulding,
spandril, tracery, 115, 116.
Goujon, Jean, 105, 106, 107.
Goyen, Jan van, portrait of in No. 4,
p. 158.
Gozzoll Benozzo, 252.
Graces, V century Greek, 27; French
renaissance, 109.
Graeco-Italian vases, 153.
Granada girl, 193.
Grand Rapids library model, 114.
Grant, General, tomb of, 235.
Grayson, Clifford P., 209.
Greaves of a gladiator, 62; of Henry
II, 131.
Greco, el. See Theotokopoulos, 168.
Greek antiquities, 153, 154.
Greek boxer, 30.
Greek coins, 153.
Greek church vestments and furni
ture, 142.
Greek sculpture, 10, 22-50, 57-64, 92, 93.
Greek warriors in action, 28, 34, 38, 46.
Greek runners, 59, 289.
Green, Mrs. A. A., donor, 140.
Greenough, Horatio, 83.
Griffin-headed god, 19.
Griffins, 19, 53, 116.
Gross, S. E., donor, 81.
Gross Mrs. S. E., donor, 140.
Grotta-Ferrata relief, 35; statue, 39.
Griitzner, Eduard, 199.
Guard house, 161.
Guidarello Guidarelli, 95.
Guidi, Tomasso di Ser G., 249, 250.
Guido Reni. engraving after, 242.
Guillaume, Eugene, 121.
Guimpes, 141.
Guitar lesson, 164.
Guitar player, Hittite, 19.
Gutman, C, 261.
Hadad statue, 19.
Hadakan Sabaic inscription, 22.
Hadji Abad stone record, 13.
Hadrian, 54; with Antinous, 55.

332

The Art Institute of Chicago.

Haggai, 99.
Haig, Axel H., 240.
Halberds, 131, 133.
Halikarnassos, Mausoleion frieze, 38.
Hall Collection, 9-56, 66-78.
Hall, Mrs. Herman J., donor, 140.
Haller, discoveries by, 24,
Hals, Frans, 162.
Hals, Harman, 162,
Hamadryad and child, 112.
Hamill, Ernest A. , donor, 207, 212, 227.
Hamilton, Gavin, discoveries by, 28,
80, 37, 44, 47, 49, 50.
Handles of knives, Japanese, 149.
Handles of vessels found at Hercu
laneum and Pompeii, 63.
Hands, cast from life, 83.
Hanford, P. C, donor, 219.
Hare, jaguar and, 74.
Hare, Sendschirli, 19.
Harem interior, Persian, 225.
Harlan James S., 270.
Harmhab, princess, 12.
Harpignies, Henri, 281.
Harpy monument reliefs, 26.
Harris, Norman W., donor, 152.
Harris, Angell and, discovery by, 23.
Harrison, L. Birge, 209.
Harrison,' Carter H., the elder, 291.
Harrison, T. Alexander, 209.
Hart, James M„ 199.
Hart, William, 210, 270.
Harvard, John, 291.
Hasselberg, Per, 81.
Hathor, 12. See cases 8,9, p. 152.
Hawthorne's "Marble Faun," 36.
Heads, not named.
Baylonian, small, 14.
Phoenician woman's, 21.
Archaic Greek, 24, 25.
From Argos, 34.
from Corfu, 38.
Young athlete, 27.
Olympian victor, 38.
Bearded man, 56.
Children, 67.
Girl, 47, 67, 68, 71.

Relief, 53.
In skull cap (helmet?), 58.
Healy, G. P. A., 210.
Healy, Mrs. G. P. A., donor, 211, 217.
Hebe, called Flora Farnese, 47.
Heber, C. A., 91.
Hebert, A.-A.-E., 178.
Hebrew-Phceuician inscription. 21.
Hebrew phylactery. Frame 21, East,
p. 141.
Hegeso, sepulchral slab of, 85.
Helena de Sievere, Princess, 167.
Heliopolis (Baalbek) relief, 21.
Helios (Sun god,, 20, 21, 46.
Hellas and Asia, trial of, formerly so
called, 33.
Helmet, of Francis I, 181, 132; of a
gladiator, 62.
Henner, Jean-Jacques, ] 99, 281.
Henry II of France, armor of, 131;
sculpture on tomb of, 109; on
staircase of, 108, 109.
Henry III of France, 109.
Henry IV of France, as a child, 74.
Henry VII of England, frieze on
tomb of, 116.
Henry VIII of England meeting
Francis I of France, 105.
Henry Field Memorial Collection.
171-181.
Hephaistos (Vulcan). See Theseus
temple, 34.
Hera of Girgenti, head of, called
Juno Castellani, 34; from Argos,
34; Mask from Ludovisi Juno, 49.
Relief on arch of Trajan, 54. See
No. 507, p. 58.
Heracles, T. C, cinerary urn of, 54,
Heraion (temple of Hera) of Argos,
fragmentary sculpture from, 34.
"Heraclitus, the weeping philoso
pher," 269.
Herakleitos, so called, 58.
Herakles (Hercules), 24, 25, 27, 41, 49,
53, 54, 57.
The Belvedere torso, 49.
The Farnese Hercules, 41.

General Index.

333

Labors of Hercules, 104.
Terminal Hercules, 112.
Relief on halberd, 133.
Herculaneum remains, 41, 57-64.
Hermarchos, 69.
Hermes (Mercury), 27, 36, 41, 45, 55,
57, 59, 71, 93, 262.
Sacrifice to the nymphs and
Hermes, 36.
Hermits. See Processions, 269.
Hermogenes, conversion of, 254.
Herod-Agrippa and St. James, 254.
Herse. See Group (Fates), 32.
Hesi tomb carvings, 10.
Hesperides apples, 27, 41.
Hethitic sculpture. See Hittites.
Hewitt, H. W., 208.
Hibachi (portable stove), 146.
Hibba, el, seal from, 14.
Hibbard. Mrs. H. N., owner, 270.
Hibbard, Mrs. W. G„ owner, 271.
Hibbard, William G„ donor, 220.
Hide and Seek, 291.
Hieroglyphics, 10-12, 18-20, 151.
HieropolisC?) seal from, 13.
Higginson, Mrs. G„ Jr., donor, 140.
Higinbotham collection, 57-64.
Higinbotham, H. N., donor, 65, 57-64.
Hill, Miss Martha S., donor, 209;
owner, 310.
Hinges, ornamental, 100-116.
Hippopotamus (goddess), 13.
Hirn plaquette, 120.
Hitchcock, George, 211, 265.
Hittites, children of Heth, 9, 18-20.
Hobbema, Meindert, 164, 273.
Holbein, Hans the younger, 252.
Hollis, Mrs. H. L., owner, 271.
Holmes, O. W., birthplace of, 232.
Holy family, 257, 275.
Homer, 46; apotheosis of, 46.
Honore, Saint, 99.
H6-3, the Japanese phcenix, in deco
rative work, 133, 146, 148.
Hope. See Faith, Hope, andCharity,
109.

Horemheb (Harmhab), princess, 12.
Horse of the night, head of, 32.
Horse head on ewer. 64.
Horses, Assyrian, 16; Persian, 17; Hit-
tite, 20; Greek, 32 (on Parthenon
frieze), 36; French renaissance,
105. 113; Italian renaissance. 94;
German, modern, 80.
Horses in paintings. See Bridgman,
Cavalry, Detaille, Fromentin,
Meissonier. Neuville, Schreyer,
Verschuur, Veyrassat.
Horticulture medal, 123.
Horus, infant. See Isis, 20; also
cases 8 aud 9, 152.
Hosi, old spelling of Hesi, q. v.
Houdon, Jean-Antoine, 73.
Howard, Miss Annie, owner, 291.
Howard, Mrs, Sarah J., owner, 271.
Hubbell, Henry S., 271.
Hughes, Edward, 267.
Hunting scenes, Assyrian, 16; Asia
Minor, 19; N. Syria, 20; French,
97. See Chase,
Hurtt, Mrs. 3. 1., donor, 140.
Hutchinson, Charles L., donor, 80,
118-124, 131-136, 140, 151-154, 162.
Portrait of, 212.
Hyakinthos, called Adonis, 49.
Hyksos, head of sphinx attributed to
the, 11,
Hymen, dancing attendants of, 54.
Hypnos, genius of sleep, 55.
Idrac, A.-J.-M., 77.
Ikarios receiving Dionysos, 48.
Ildefonso group, 55.
Ilioneus. See Kneeling boy, 40.
Ilissns. See Kephisos, 82.
Illuminated water colors, Persian
225; Siamese, 261.
Incense burners, 138, 148, 149.
India, jewelry and lapidary work of,
144; metal work. 186-138; musical
instruments, 294-302, 304, 305.
Indian Dionysos, 57.

334

The Art Institute of Chicago.

Infants: Bacchus, 36, 42, 93; faun, 90;
ou ewer, 64; Ploutos, 36.
Indians, American, 90, 127, 230.
Infantry battle. Lykian relief, 28.
Ink well (panther), 85,
Inkstand, Japanese, 150.
Inness, George, 199, 231, 281, 287.
Inness, George, Jr., 231.
Innsbruck. See Churches, 79.
Inroe (Japanese medicine boxes), 146.
Inscriptions, briefly mentioned.
Egyptian hieroglyphics, 10-13.
Hebrew-Phoenician, 21.
Cuneiform. See Cuneiform.
Hittite hieroglyphics, 18-20.
Aramaic, 19; Sabaic, 22;
Cypriote, 22.
Inspiration, 201.
Interiors, old Italian, Arundel repro
ductions, 260. See Abbey, Basil
ica, Cathedral.
Ionian sculpture, 25, 26, 27,
Ionic capital, 115.
Iphigenia, sacrifice of, 92.
Iris, torso of, 32.
Irwin, David W„ donor, 153, 218.
Isabey, L.-G.-E., 187.
Isaiah, 96.
Isis, 12. See Fortuna, 61. See 94 (8),
p. 20, and cases 8 and 9, p. 152.
Isle Adam, evening, 197.
Israels, Jozef, 273, 281.
Italian work.
Architectural casts, 94, 95, 116.
Armor, 130, 131.
Church vestments and furniture,
142.
Paintings, old, 167, 168, 169 (cop
ies), 277.
Aruadel reproductions, 247-260.
Paintings, modern, 183, 202, 218,
224 (water color), 265.
Sculpture, renaissance, 66-71, 94,
95, 109, 116.
Sculpture, modern, 71, 72.

Engravings, 241, 242.
Textiles, embroideries, laces,
fringes, gimps, 141.
Ivory carvings, 150, 293, 310.
Jackson (John?). 217.
Jacobins. See Churches, 102.
Jacobsen, Carl, donor, 124.
Jacque.Charles-Emile, 189,223, 274, 281.
Etching after, 242.
Jacquet, Jean-Gustave, 184, 200.
Jade carvings, 142-144, 310.
Jaguar, 85; v?ith cubs, 85; with deer,
84; with hare, 74; with serpent, 84.
James, Saint. 254.
Japanese work.
Brocades. 141, 112.
Kakemonos, 246.
Color prints, 245.
Lacquer, 145-147.
Palanquin, 142.
Toilet sets, 142, 146.
Porcelain and other pottery, 142,
147.
Lapidary work, 144, 145.
Buddhist shrines, 142, 145.
Metal work, 133-138, 145, 148, 149.
Swords, sword guards, etc., 133,149.
Bronzes, 134-138, 148, 310.
Cloisonne enamel, 148, 149.
Music book, 142.
Musical instruments, 142, 295, 298,
306, 307, 309.
Decorated leather, 246.
Various objects, 142, 310.
Jason, 45, 70.
Jasper, 145, and cases 9 and 10, p. 152.
Javanese musical instruments, 297, .
303.
" Je sens deux hommes en moi," 89.
Jean, Saint. See Churches, 104.
Jean de Beauce. See Le Texier, 104.
Jeanne d'Arc, 75.
Jeremiah, 255.
Jerome, Saint, 250, 254.
Jerusalem chess players, 197.
Jettel, E., 200, 219.

General Index.

335

Jewelry.ancient Egyptian, 152; Etrus.
can, 142; modern, 142, 144.
Jewett, Mrs. John N., donor, 140.
Jewish. See Hebrew.
Jiminez y Aranda, L-, 282.
Joan of Arc, 75.
Johansen, John C, 285.
John. See Saint.
John of Bologna. See Giovanni, 71.
Johnson, Eastman, 211.
Jones, Francis C, 231.
Jones, H. Bolton, 231.
Jones, Thomas D., donor, 84.
Joseph, father of Christ, 253, 257, 275.
Joshua, 66.
Jove. See Zeus.
Joy, A. Bruce, 81.
Jucnndus, h. C, 64.
Judas kiss, 97.
Judges. See Processions. 259.
Judgment of Paris, 187.
Julian, the apostate, 67.
Jnlien Pierre, 113.
Julius II, Pope, figures for proposed
tomb of, 69, 70.
Juno. See Hera.
Jupiter. See Zeus.
Jupiter Talleyrand, 25.
Juste, Jean, 103.
Justice, 257.

Kantharos, from Herculaneum, 63.
See also Grseco • Italian vases,
Cases 20-25 in Room 15.
Kappes, Alfred, 231.
Karnak, statue and head from, 12.
Karyatids, 83, 34, 106.
Keats, John, illustrations of his po
ems, 236-238.
Keith, Edson, donor, 160.
Keith, Elbridge G., donor, 153.
Keith, William, 274.
Kelekian, Dikran G., donor, 140.
Kellers, bronze founders, 111, 112.
Kemeys, Edward, 84, 85, 262.

Kent, Sidney A., donor, 157.
Kephlsodotos, 36.
Kephisos (Cephisus), formerly called
Ilissus, 32.
Keppel, Frederick, donor, 227.
Keramiks. See Pottery.
Keys delivered to St. Peter, 256.
Keystones, 54, 108, 110.
Khafre (Chephren), 11.
Kimball, Mrs. W. W., donor, 140.
King estate, donor, 208.
King— Sendschirli, 19.
King on Sphinx — Persian seal cylin
der, 17.
Kings, Egyptian, 10-12; Assyrian, 14-
17; Chaldean, 13; Hittite, 18, 19;
Syrian, 21. See Religious and
Royal Ceremonies. See names of
Kings.
Kings. Biblical, in French Historic
Sculpture, 99, 106. See Three
Kings.
Kition (Cyprus), fragment of vessel
from, 22.
Klein, Rev. F., discovery by, 21.
Kleomenes, 48.
Klytios, 44.
Klombeck, J. B„ 200.
Knaus, Ludwig, 179.
Kneeling, boy, 40.
Knidos (Cnidus), statue from, 37.
Knife grinder, 43.
Knowledge, 88.
Knuckle bones player, head of, 47.
Koan raiment, Aphrodite in, 28.
Kochi work, 147.
Koekkoek, B. C, 189, 200.
Koekkoek, H. W., 266.
Kohlsaat, H. H., donor, 153.
Kora. See Persephone, 32, 55.
Korean enameled silver box, 137.
Koro, Incense burner, 138, 148.
Krater, 92. Some smaller ones among
the vases in cases 20-22, p. 153.
Kujunjik (Nineveh) remains, 16.

336

The Art Institute of Chicago.

Laces, 141.
La Charite. See Churches, 97.
Ladas, Greek runner, 289.
Lacquer, 145-147.
La Ferte-Milon. See Chateaux, 102.
Lake George, 270.
Lakonian sculpture, 23,
Lamb, the (Agnus Dei).
Adoration of, 259.
On keystone, 98.
On sedan chair, 142.
With two heads, on brocade,
Frame 10, West, p. 141.
Lamb with children, 265.
Lambs, merino, 232.
Lamia, illustrations of, 236-238.
Lamoriciere tomb figures, 76.
Lamoriniere, J.-P.-F., 201.
Lamp, Bnddhist, 136.
Lamps and lamp stands of Pompeii
and Herculaneum, 62, 68.
Lamps, ancient Egyptian, 152; ancient
Roman, 153.
Lampsakos, relief found at, 36.
Lander, Benjamin, 240.
Langey, Seigneur de, 105.
Lanuvium. See Lavinia.
Laokoon, 48.
Laomedon, 24.
Laon. See Cathedral, 101.
Lapidary work, 144, 145.
Lapis-Lazuli, 145, and cases 9,10, p. 152.
Lapithai, 34.
Larnaka, stele from, 17.
Last Supper, 97, 101, 104, 251.
Latona. See Leto. 49.
Latro, Q. C. and Q. L. S., 54.
Laughing child's head, 67.
'Laughing philosopher," 269.
Laurana, Francesco. Nos. 661,662,p.28.
Laurens, Jean-Paul, 121.
Lavinia, Civita (ancient Lanuvium),
statues found at, 30, 36, 49.
Law, David, 240.
Lawrence, Sir Thomas, 282.
Layard, discoveries by, 14-17.

Lazarus, raising of, 97.
Lazy Spain, 177.
Leader, B. W., etching after, 239.
Leaf moulding, 115. See Foliage.
Leather decoration, Japanese, 246.
Le Brun, Charles, 170.
Lecomte, Felix, 112.
Lefens, Thies J., donor, 80, 153.
Leg of a tripod table, 50.
Legros, Pierre, 111.
Lehongre Etienne, 110, 111.
Lelorrain, Robert, 113.
Lemmi Villa frescoes, 169.
LeMasle, Michael, 243.
Lemnian Athena, 29.
Lenbach, Franz von, 267.
Lenormant statuette, 30.
Leochares, 38, 39, 40.
Leon y Escosura, Ignacio, 198.
Leopardi, Alessandro, 91.
Lepine, Stanislas, 288.
LePot, Jean, 104.
Le TexierUean-de Beauce), 84.
Leto (Latona), 49.
Lewdness symbolized, 98.
Lhermitte, L.-A., 223, 227.
Libera (Ariadne, wife of Liber— Di
onysos), 48.
Liberale, Saint, 252.
Liberatore, Niccolo di, 255.
Library buildings, models of, 114.
Libri, Girolamo dai, 252.
Lieb, Michael. See Munkacsy, 185.
Life Class, Art Students' League,
N. Y., 234.
Limoges. See Cathedral, 104.
Lincoln, Abraham, Mask and hands
in bronze, 83.
Lincoln medal, 126.
Linckh, discoveries by, 24.
Linmeus, 81.
Lintels, sculpture on, 96-99.
Lion, Diana and the, 290.
Lion, mountain, 85.
Lion of Florence (Marzocco), 94.
Lion on Florentine escutcheon, 94.

General Index.

337

Lion of Nineveh, so miscalled, 26.
Lion strangling a boa, 74.
" crocodile, 74.
Lion-bodied sphinx, 11.
Lion bodies, 19.
Lion-faced figure, 19.
Lion-headed god, 19.
Lion hunting, Assyrian, 16; North
Syrian, 20; French , XII century,
97; XVI century, 109.
Lion weight, Assyrian, 17.
Lion heads, 34, 108; on cornice and
eaves, 26, 40, 95; painting by Rosa
Bonheur, 272.
Lion helmet, 182.
Lions, Assyrian, 15, 16; Mar'asch, 20;
Asia Minor, 19, 20; early Greek,
23, 25; Imperial age, 93.
Lions, modern, 85, 176, 244, 262, 272.
Lionardo da Vinci, 259.
Lippi, Filippo, called Filippino, 249,
250, 253.
Lippi, Fra Filippo, 252.
Listening Dionysos, 64.
Listening slave, 43.
Literature personified, 129.
Lithographs, Chromo, Arundel, 247-
260.
Lituus, 18.
Lizard, 85.
Loans, 264-312.
Lochner, Meister Stephan, 253.
Loeb, Louis, 235.
Loeher, Aloys, 90.
Logan, Mr. and Mrs. Frank G„ don
ors, 165; owners, 272-277.
Lombard and Lombard - Milanese
schools in Arundel reproductions,
253, 258, 259.
Lombardi, Tullio. See Solari, 94.
London. See Abbey, Churches.
Long bridge, Washington, in 1884, 229.
Longhi, Guiseppe, 242.
Longman, Evelyn B., 91.
Lorenzetti, Pietro, 253.
Lorenzo, Fiorenzo di, 251.

Lorenzo di Pietro (II Vecchietta), 68.
Lorenzo di Viterbo, 253.
Lost Pleiad, 83.
Lotos. Examples of the lotos in
symbolical and decorative work
are shown in cases 5, 8, 9 of Egyp
tian antiquities (pp. 151,152); in
Roman architectural fragments
(p. 154); in the Assyrian reliefs,
most clearly in the pavement
(p. 16) ; in the Hittite rock sculp
ture (p. 18); and in case 3, Japan
ese (p. 145).
Louis XII of France, pilasters from
tomb of, 117.
Louis XIV of France. Mask, 112.
Louisiana Purchase Exposition, St.
Louis, 1904.
Medals of, 128, 129; balcony from,
94; figure from, 91.
Louvre palace sculpture, 108, 109.
Low, Will H., 232, 236-288.
Lubeck. See Cathedral, 254.
Lucca della Robbia, 68,
Lucy, Saint, 248,
Lude. See Chateaux, 102,
Ludington, Mrs., donor, 140.
Ludlow, A. S., owner, 277.
Ludovisi Juno, 49; Mars, 40; Medusa
44.
Luini, Bernardino, 253, 277.
Luna. See Selene, 32, 44.
Lungren, F. H., 232.
Lustration of a horse, 36.
Lykian sculpture, 26, 28.
Lyons. See Cathedral, 102.
Lyres, African, Malagasy, New Cale
donian, 207.
Lysippos, 63, 39-42, 45, 49, 59, 60, 65.
MacArthur, Mrs. A. F., owner, 278.
Maces, ceremonial, 132, 144 (easel),
147 (No. 175).
Maclou, Saint. See Churches, 106.
Mac Monnies, F. W., 127.
Mac Monnies, Mrs. F. W., 169.

338

The Art Institute of Chicago.

Mac Neil, Hermon A., 90, 128.
Madeleine. See Churches, 117.
Madonna. See Virgin.
Madonna del Sacco, 257.
Madonna della Sedia, 261.
Madonna di San Sisto, 213.
Madonna, Nuremberg, 79.
Madonna of the Violet, 250.
Madrazo R. de, 20^.
Msenads. See Mainads.
Maes, E. R.. 2o6.
Magdalen, with Christ, 248.
Magi (the three Kings), crowned, 99;
adoring Christ, 96, 253, 254, 256;
procession of, 252, 257.
Magnier, Phil., Ill,
Mainads (Bacchantes), 43, 47, 60, 93.
Majano, Benedetto, da, 69.
Makart, Hans, 186.
Makovski, C. E., 173.
Malagasy (Madagascar) lyre, 297.
Malatesta, Annalene, 68.
Malaysian musical instruments, 294,
298.
Malchus, 97.
Malpaga frescoes, 257.
Maltese violin, 304.
Manet, Edouard, portrait of, 219.
Mannfeld, B., 241.
Mans. See Cathedral, 105.
Mantani, P., donor, 93.
Mantegna, Andrea, 254.
Mantelpiece pilaster, 116.
Mar'asch sculpture, 20.
"Marble Faun." Statue of a satyr
so called in novel by Haw
thorne, 36.
Marbles, 37, 65, 83, 87, 153, 154, 290, 291,
292.
Marc Antony, death of, 244.
Marcke £mile van, 181,184,203,274,282.
Marcus Aurelius, 55.
Marcus Cossutius Cerdo, 30.
Marduk-Nadan-Akhi, 13.
Marguerite de Foix, tomb of, 103.
Marie-Adelaide de Savoie, 113.

Marie de' Medici, her marriage by
proxy to Henry IV, 243.
"Marie Stuart refusing the crown,"
241.
Mariette, discoveries by, 11, 12.
Marine paintings. See Backhuijzen,
Bradford, Chase (Harry), Clays,
de Haas, Dupr£, Isabey, Nooms,
Richards, Stanfield.
Mariner, W. A., 278.
Maris, Willem, 22S.
Mark, Saint, 251. See Basilica, 206, 261.
Marly. See Chateaux, 112, 113.
Marriage, 73.
Marriage of Marie de'Medici, 243,
See Marie.
Marriage of St. Cecelia, 251.
Marriage of the Virgin, 253, 256.
Mars. See Ares, 29, 40.
Mars of Gabii, so called, 39.
Mars Ultor temple moulding, 115.
Marsyas, supposed flayer of, 43.
Martin, Homer D., 232.
Martin, Mrs, Thomas J., donor, 140.
Martin, Saint. See Churches, 96, 103.
Martinengo tomb sculpture, 116.
Martino, Simone di, 254.
Martiny, Philip, 126, 262.
Martyrdom of St. Sebastian, 256; of
St. Peter, 249.
Mary 'I, Queen of England, 255.
Mary Magdalen with Christ, 248.
Mary Stuart. See Marie.
Marys at the sepulchre, 348.
Marzocco, il, 94.
Masaccio, 249, 250.
Masks, 74, 83, 103, 110, 112.
Masks and breastplates from ancient
Egyptian tombs, 151.
Masks, terra cotta, ancient, 153.
Masks from Herculaneum, 61, 62, 64.
Masks of fauns and satyrs, 110.
Masolino, 249, 250.
Mass in Brittany, 220.
Masson, Fraiicois, 111.
Massoulle, A.-A.-P., 77.

General Index.

339

Mater Dolorosa, 109.
Maternal love, 183, 197.
Maternity, goddess of, 13. See
Mother.
Matthew, Saint, 250.
Maufra M., 219.
Mausoleion frieze, 38.
Mauve, Anton, 275.
Max, Gabriel, 187. 201.
Maximilian I, statue from tomb of, 79.
Mc. See Mac.
McBean, Mrs. Archibald J., donor,
136-138, 261.
McCabe, Mrs. Mary, owner, 278.
McCormick, Cyrus H., donor, 84, 212;
owner, 279-284.
McCormick, Mrs, Cyrus H., donor, 213.
McCormick, L. Hamilton, owner, 291.
McCormick R. Hall, donor, 140, 165,
170.
McCormick, Stanley, donor, 84.
McEwen, Walter, 187, 211, 288.
McKim, C. F., donor, 47.
Meade, Larkin G., 65.
Medals and plaquettes, 118-130.
Medici tombs, 70.
Medici vase, 92.
Medici, Marie de', 243.
Medici, Venus de'. 48.
Medicis, Catherine de, 109.
Meditation, 76,
Medusa, Perseus slaying, 23; " Dying
Medusa," 44.
Meer, J. van der, 269.
Megara sculpture, fragmentary, 23.
Meier family, 252.
Meissonier, J.-L.-E., 122, 188.
Melchers, Julius Gari, 211, 267, 282.
Melchisidek, 106.
Mellini, Pietro, 69.
Melos (Milo) sculpture, 39, 45.
Melozzo da Forli, 254.
Memling Hans, 254.
Memmi, Simone, 254.
Memnon. See No. 8, p. 12.

Memorials: Amor Caritas, 86; Chap
man, 87; Duveneck, 87; Mill-
more, 87.
Menephtah. See Merenptah, 11.
Mercie, Antonin, 77.
Mercury (Hermes).
Statues called Antinous, 86, 55.
Statue, with infant Bacchus, 36.
Statue, seated, from Hercula
neum, 41, 59.
Statue by John of Bologna, 71.
Bust from Herculaneum, 57.
Reliefs: Apollo and Hermes with
the nymphs and Graces, 27;
Hermes leading three nymphs,
36; on arch of Trajan, 54; on
Rouen Custom house, 113; on
well curb, with infant Bac
chus, 93.
Sacrifice to the nymphs and
Hermes, 36.
Merenptah (Amenptah), 11.
Merle, Hugues, 192, 201.
Merodach Adan-Akhi, record, 13.
Mesha, King of Moab, 21.
Metal work, 131-138, 142, 145-149, 311.
See Bronzes.
Metal work with enamel. See Cloi
sonne, 148, 149.
Metopes, 23, 27, S3.
Metrodoros, 59.
Mettling, Louis, 201, 220.
Meulen, F. P. ter. 223.
Mexican mandolin, 306.
Meyer von Bremen, 283.
Meysenburg, O. W., donor, 220.
Mezzotint by Stacpoole, 214.
Michel, Georges, 201.
Michelangelo, or Michelangiolo, di
Lodovico Buonarotti Simone, 69,
70, 255; ideal statue of 89. See
356, p. 49.
Michetti, F. P., 183.
Midnight, 268.
Mieris, Willem van, 159.

34°

The Art Institute of Chicago.

Milanese. See Lombard.
Mikkiades. See Archaic goddess, 25.
Miletos, statue from, 26.
Military courage. Figure on monu
ment, 76.
Military patriotism. Figure on mon
ument, 291.
Military pictures, 176,198 (No.227),226.
See Arab, Battle, Cavalry, Guard
house, Outpost, Reconnoisauce,
Siege, Trumpeter, Vidette, Vivan-
diere, Warriors.
Military sculpture : Assyrian reliefs,
15, 16; Greek, 24, 34; in Asia Mi
nor, 28, 38.
Miller, Miss Celeste J., donor, 140.
Miller, E., discovery by, 27.
Millet, Jean-Francois, 179, 265, 275.
Etching after, 241.
Millmore memorial, 87.
Milo. See Melos.
Minerva. See Athena.
Mirror paintings, 199, 184, 211, 266.
Mitchell, J. J., donor, 212.
Moabite stone, 21.
Models of ancient ruins, 31, 92, 93, 311.
Moissac. See Churches, 97.
Moliere (Jean-Baptiste Poquelin), 73.
Monet, Claude, 219.
Monks, J. A. S., 232.
Montagna Bartolommeo, 255.
Monte Calvo, statue found near, 68.
Monte del Grano, vase found in, 50.
Montecito, landscape, 214.
Montigny, Jules-Leon, 266.
Montorsoli restorations, 39.
Monuments: Harpy, 26; Nereid, 28;
Belfort, 77; Calais, 77; Frederick
the Great, 80; Garfield, 84; Colle-
oni, 94; O'Reilly, 291. See Tombs.
Monuments, Italian, in Arundel re
productions, 260.
Moonlight paintings, 165, 185, 197,287.
Moon rising, August, 202.
Moore, Mrs. J. H., owner, 285.

Moorish interiors, with figures, 184,
188,196,224,
Moorish messenger, 202.
Moorish musical instruments, 294, 303.
See Arabian.
Moorish panels, 115.
Moorish women, 178, 207.
Moqui prayer for rain, 90.
Morando Paolo, 255.
More, Sir Anthony (Mor or Moro van
Dashorst), 255.
Moret, Henry, 219.
Morghen Rafaello, 242.
Morosini monument, Venice, 260.
Morvillier tomb statue, 103.
Moses, statue of, 70; statuette, 105;
scenes in life of, 258.
Mosque interiors, with figures, 188,
196, 224.
Mother and child, 285.
Mother and children, 212, 241, 267, 291.
Mother, young, 90.
Mouldings, 34, 115, 116.
Mountain lion and lizard, 85.
Mozart as a child, 76.
Miicke Carl, 201.
Muller, J. F. W., 248.
Mueller, Rose, 232.
Mummy and mummy cases, 151.
Munger collection. 182-192.
Municipal Art League, owner, 285, 286.
Munkacsy, Mihaly (MichaelLieb), 185.
Murphy, J, Francis, 266.
Muses, 46.
Music, personified, 88.
Music book, Japanese, 142.
Musical instruments, 142, 146, 294-309.
Musical performances represented,
158, 167, 202. See Cherubs, 67;
Flute players; Guitar lesson, 164.
Mussulman's tomb, 205.
Mykenai (Mycenae) lions, 23.
Myron, 28.
Nabeshima porcelain, 147.
Naiads, 107, 113.

General Index.

34i

Nanni di Banco, 66.
Nantes. See Cathedral, 76, 103.
Churches, 103.
Nanteuil, Robert, 243.
Naples Museum (Museo Nazionale,
formerly Museo Reale Borbon
ico). See Higinbotham Collec
tion, 57-64.
Napoleon I. Death mask, 74; at
Grenoble, 192.
Narcissus, 64.
Nativity. See Christ, Virgin.
Nattier, I. M. See 697, 698, p. 243.
Naukides, 28.
Nazzarus, Saint, 255.
Neal, David, 206.
Neapolitan fisher boy, 114.
Neer, Aernout vander, 165.
Nelli, bronze founder, 90.
Nelli Ottaviano, 255.
Neptune and Amphitrite, 111.
Neptune temple, model of, 92.
Nereid monument frieze, 28.
Nereids, 107.
Nero, Tiberius Claudius, 52,
Nero, Lucius Domitius Ahenobar-
bus, 52.
Nesi-pa-hri-het mummy case, 151.
Netsukes, 146, 150.
Neuhuys, Jozef, 224.
Neuville, Alphonse-Marie de, 186, 197.
New Mexican prehistoric pottery, 139.
Newton, Chas. T., discoveries by, 38.
Niagara medal, 127.
Niccolo da Foligno, 255.
Nickerson Collection, gift of Mr. and
Mrs. S. M. Nickerson, 143-149, 193-
206, 222-225, 239-246.
Nickerson, S. M., donor, 65, 72, 83.
Portrait of, 206.
Nickerson, Mrs. S. M., donor, 140.
Portrait of, 205.
Nicolas, Saint. See Churches, 105.
NifFer (Nippur) record stone, 13.
Night, 70; Nocturne, 215; Midnight, 268.
Night goddess (Selene) , 44.

Night horse, head of, 32.
Nike (Victory), by Paionios, 28; of Sa
mothrake, 40; on votive relief, 49;
On Arch of Trajan, 53; from Pom
peii, 64; Loosening sandal, 65. See
567, p. 61. See Victories.
Nike Apteros (Wingless Victory)
temple, sculpture from, 33, 65. See .
Akropolis, 31.
Nile, sunset on the, 198.
Nile near Phite, 198.
Nimrud remains, Assyrian, 14-17.
Nimrud Dagh remains, 20.
Nineveh reliefs, 14-17.
Niobe group, figures from, 45.
Niobe, son of. See Kneeling boy, 40.
Nippur. See Niffer, 13.
Nisroch, 15.
Noble, Mrs. Belden, 270.
Noble, F. A., portrait of, 286.
Noble, Mrs. F. A., owner, 286.
Nocera statuette, 60.
Nocturne, Southampton water, 215.
Non absolvenda, 288.
Nooms, Reynier, 157.
Norrstrom, C. Hj., 134,
Norton, John S., donor, 218.
Norwegian painting, 284; musical in
struments, 305.
Notre Dame. See Cathedral, Paris.
Notre Dame du Port. See Churches, 96.
Nourse, Elizabeth, 212.
Nuremberg Madonna, 79; paintings,
reproductions, 251.
Ny Carlsberg medal, 124.
Nydia, 83.
Nymph and goat, 113.
Nymphs and Hermes, sacrfice to, 36.
Nymphs, Greek, 27, .36, 93; French
Renaissance, 107, 110, 111, 112.
Oaks in Autumn, 199.
Obelisk of Shalmaneser, 14.
Obelisk, the, 220..
Octavianus (Young Augustus), 51, 65.
Odiot, 74.

342

The Art Institute of Chicago.

Ogden, Mrs. Mahlon D., donor, 140.
Ogden, William B., owner, 286.
Olympia remains, 23, 24, 27, 28. 36, 38,
Opera Festival Association, donor,
208, 213.
Opet. See Ta-Urt, 13.
Opium box, Chinese, 137.
Opossum, 84, 85.
Or San Michele. See Churches, 67.
Orb, John A., donor, 80.
Orchomenos relief, 27.
Orders of architecture, 115.
O'Reilly monument, 291.
Oriental metal work, 136-138, 145, 148,
149, 310; Ivory carvings, 293. See
Chinese, India, Japanese, Per
sian, Turkish.
Orphelinat des Arts medal, 123.
Osborn, Thomas O., owner, 311.
Osiris, 12.
Ostade, Adriaen van, 156.
Ostrich driving, 234.
Otricoli head of Jupiter, 39.
Ouled Nayls women, 178.
Outpost, the, 197.
Owen, Ernest Dale, owner, 311.
Owen, William, 283.
Pacchiarotto, 255.
Padua. See Churches, 67 ; Arena
chapel, 260.
Paestum, temple in, 92.
Paintings by old masters, 155-170, 191,
264, 269, 273, 276, 277, 287.
Paintings, modern, 171-221, 264-289.
Paionian Athena, 48.
Paionios of Mende, 28.
Pajou, A., 113,
Palanquin, 142.
Pallas Giustiniani. See Athena, 262.
Palm Sunday, 204.
Palmer, Potter, donor, 211.
Palmette ornaments, Assyrian, 16;
Greek, 40.
Pan, 30, 49.
Pan-American Exposition medal, 128.

Panathenaic procession, 31, 33.
Paniskos (Little Pan), 42.
Pan's pipes. See Syrinx, 295.
Pa,nammu statue, fragment, 19.
Panther, fighting deer, 84; mad, 85;
on rock, 85.
Panther of Dionysos, with Libera, 48;
with satyr, 50; with Seilenos, 61.
Pantomimic muse (Polymnia), 46.
Paolo Veronese (Caliari), 167, 255.
Papyrus manuscript, 152.
Paradise, expulsion from, 250.
Paris. See Abbey, Carnavalet, Ca
thedral, Churches, Exposition
Universelle, Louvre, Tuileries.
Paris, son of Priam, 24.
Parsons, Alfred, 232.
Parthenon. See Akropolis, 31.
Parthenon sculpture, 29-33, 262.
Partridge, W. O., 89.
Pa-seb cha-nu, 11.
Pasha's grief, 184.
Pasini, Alberto, 202,
Passamaquoddy Bay, moonlight, 287.
Passion of Christ, 97.
Passion play scene, 235.
Pastels, 223, 224, 282, 288.
Pastoral statue, 91.
Patriotism, military, 291.
Pattison James W., owner, 286.
Paul. See Paolo. See Saint.
Pavement, Assyrian, 16.
Peace, goddess. See Eirene, 36.
Peacock, 85.
Pearce, Charles Sprague, 212.
Peck, Mrs. Walter L., 140.
Peek-a-boo ! 203.
Peirithoos, combat at marriage of,
32, 34.
Peleus, on Portland vase, 50.
Pell, Alfred Duane, donor, 139.
Pellegrini monument, 260.
Peloponnesian sculpture, 23.
Penna, Agostina. See 305, p. 46.
Pennell, Joseph, 233.
Pensoso, 70.

General Index.

343

Pergamon sculpture, 44; probable,
42, 43.
Perikles, alleged portrait of, 29.
Perreal, Jehan, 103.
Perrine, Van Deering, 268.
Persephone (Proserpina, Kora), 32, 55.
Persepolis. Ideal mezzotint of ruins,
243.
Persepolis low reliefs, and other Per
sian remains, 17.
Perseus slaying Medusa, 23.
Persian aftaba. See 1427, p. 134.
Persian, crouching, 42; dead, 42.
Persian inscription, 17.
Persian pottery, 142, 147.
Persian troops taking a town, 28.
Persian musical instruments, 299, 300.
Persian sculpture, ancient, 9, 17.
Persian textiles and embroideries,
141, 142.
Persian water colors, 225.
Perugino, 256.
Pesibkhenno, 11.
Peter. See Saint.
Peterson, George D., 291.
Peterson, P. S., donor, 81.
Petronilla, healing of, 250.
Pewter vessels, 185.
Phalante and Ethra, 73.
Pheidias (Phidias), 29-31, 36, 57, 60,
Phigaleian marbles, 34.
Philetos, 58.
Philip VI. Tomb statue, 102.
Philippine embroidery, 141.
Philis, tombstone of, 27.
"Philosopher," reading, 35; laugh
ing, 269; weeping, 269.
Philosophy personified, 129, 257.
Phcenician-Hebrew inscription, 21.
Phoenician remains, 21, 22.
Phcenix (H6-0) Japanese, 133, 146, 148.
Phrygian cap on Ganymedes, 37.
Phylacteries, 141 (Frame 21 East), 142
(Case 67, 68).
Pianos, old American aud English,
308, 309.

Piccolomini, Enea Silvio, 256.
Piccolomini Library frescoes, 256;
view of interior showing frescoes
in position, 260.
Pierrot, trial of, 183.
Piers. See Portals.
Pieters, E.,275.
Pigs, study of, 176.
Pilasters in Limoges rood-loft, 104;
Chartres, 104, 117; Paris, 117; Ital
ian, 116.
Pilate, Christ before, 235.
Pilgrim (Puritan), 84; armor of, 230.
Pilgrim bottles, 148.
Pilgrims. See Processions, 259.
Pilon, Germain, 105, 109.
Pilots, 216.
Pine tree decoration, 145.
Pinnacle, Reims Cathedral, 100.
Plnturicchio, 256, 260.
Pipes, musical, 295, 296.
Pipes, smoking, Japanese, 149.
Pisano, Vittore (Pisanello), 257.
Piso Cesonius, L. C., 58.
Plaquettes. See Medals.
Plato, formerly so called, 57.
Playing 'possum, 84.
Plectrum, 60.
Pleiad, the lost, 83.
Plinths from capitals of double col-
onnettes, 96, 97.
Plockhorst B., 275.
Ploutos, God of wealth, 36.
Poachers, 204.
Poetry personified, 88, 257, 291.
Poets on Parnassus, 257.
Poggenbeek, George, 224.
Pollaiuolo, Antonio, 69.
Pollux, so called, 55.
Polydoros of Rhodes, 45.
Polyeuktos. See 251, p. 41.
Polykleitos, 30, 86, 55, 57.
Polym nia, 46.
Polyxene, 35.
Pomegranates, 15.
Pompeii, flight from, 72.

344

The Art Institute of Chicago.

Pompeiian lady, 196.
Pompeiian remains, 30, 57-64.
Ponce (Ponzio), Paul, 109, 110.
Pont Aven, 209.
Poore, Henry R., 233.
Pope, Mrs Charles B., donor, 140.
Pope, a, 106.
Pope, St. Peter enthroned as, 251.
Pope Sixtus IV giving audience, 254.
Pope Clement V, 101.
Pope Honorius III, 252.
Pope Julius II, 69, 70.
Poquelin, J.-B., called Moliere, 59.
Porcelain, 139, 142, 145, 147. See
Pottery.
Portals: Aix, Cathedral, 104; Amiens,
Cathedral, 99; Bordeaux, Cathe
dral, 101; Charlieu, Abbey, 98;
Clermont - Ferrand, Church, 96;
Paris, Cathedral, 99, 100; St. Gil-
les, Abbey church, 97; Toulon,
City Hall, 110. See Doors and
doorways.
Portal guardians, Assyrian, 15,
Portland vase, 50.
Porto Bello medal, 125.
Portuguese painting, Arundel repro
duction of, 251.
Poseidon. See Neptune.
'Possum. See Opossum, 84, 85.
Potato harvest, 179.
Potter, Bessie O. (Mrs. Vonnoh), 90.
Potter, Edward C, 90.
Potter, Mrs. O. W., 140.
Pottery, from common unglazed ware
to Porcelain, ancient, 152. 153;
modern, 139, 142, 145, 147, 310. See
Porcelain.
Pourtales Aphrodite, 45; Apollo, 46.
Pourville, 219.
Poynter, Sir E. J., 268.
Prato Bagnato, near Tivoli, statue
found at, 45.
Praxiteles, 36, 37, 55.
Prayer to Allah, 188.
Praying figures, 18, 20, 41.

Precious stones in ancient Egyptian
beads and jewelry, 152; in Nicker
son Collection, 144, 145.
Prehistoric American pottery, 139.
Prehistoric Greek sculpture, 23.
Presentation in the Temple. See
Christ.
Preyer, J. W., 286.
Priests, heads of, 14, 69, 251. See Re
ligious and Royal Ceremonies.
Prieur Barthelemy, 110.
Primavera, 249.
Primitive man, with bears, 290.
Prints, framed, 239, 245, 247, 260.
Prisoners or slaves, 69,
Procession, Bacchic, 43, 50; panathen-
aic, 31, 33; on Arch of Trajan, 54;
on vase, 111; ofthe three Kings
(Magi), 252, 257; on East Indian
brass plaque, 138.
Processions in rock sculpture, 18.
Processions of judges, warriors, her
mits, and pilgrims, 259.
Prophets, 100, 101, 104, 255, 256, 259.
Proserpina. See Persephone, 32, 55.
P'seb-Khanu, 11.
Psamtik (Psammetichos), with Ha-
thor, 12.
Psyche, Young, 83.
Ptolemy, I, II, VIII, IX, 58.
Pullman, Mrs. Geo. M., donor, 140.
Puget, Pierre, 110.
Puritan, 86. See Pilgrim, 84.
Pyle, Howard, 285.
Pyramid of Cestius, 93.
Quaud meme, 77.
Queen Ameneritis, 12.
Queen of the camp, 184.
Quoit thrower. See Diskobolos, 28, 59.
Rabbit, inquiring, 90; sleeping, 85,
with fox, 85.
Raccoon, 35.
Ra-em-ke, statue from tomb of, 10.
Ra-en-Woser, 11.

General Index.

345

Raffaello Sanzio. See Raphael.
Raibolini, Francesco, 251.
Rainy day, 209.
Rajon, Paul-Adolphe, 227.
Rambouillet. See Chateaux, 113.
Rams' heads, 93, 116.
Ramses II, colossal bust of, 12 ; re
lief miscalled Sesostris, 18.
Raphael (Raffaello Sanzio da Ur
bino), engraving after, 243; Arun
del chromo-lithographs after, 257.
Rauch, Christian Daniel, 79, 80.
Ravenna altar screen, 93; statue, 94.
Razzi (II Sodoma), 258.
Ream, C. P., 213.
Reconnoissance, the, 190.
Record stones, Chaldean, Babylon
ian, 13.
Redfield, E. W., 213.
Reims. See Cathedral, 100.
Reinhart, C. S., 233.
Religions and Royal Ceremonies.with
gods, genii, kings, priests, eu
nuchs, etc., 15, 16, 18, 23, 27, 33, 36,
49, 53. See, also, Adoration,
Baptism, Burial, Confirmation,
Last Supper, Marriage, Proces
sion, Sacrifice,
Reliquary, Japanese, 138.
Relyea, Charles M., 235.
Rembrandt, 161, 261, 276.
Renaissance sculpture, 66-71. 79, 94,
95, 116, 117. See French Historic
Sculpture, 96.
Reredos of altar, 102.
Resurrection. See Christ.
Resurrection of Lazarus, 97; of the
King's son, 250.
Reynolds, W. J„ 92, 93; owner, 311.
Rheims (Reims). See Cathedral, 100.
Rhine, on the, 200.
Rhinoceros attacked by tigers, 74.
Rhodian sculpture, 47, 48.
Rhodian coins, type of mask on, 46.
Rhytons, from Herculaneum, 63. See
cases, 20, 23, p. 153-

Ribera, Jusepe da (Spagnoletto), 269.
Ribot, Augustin-Theodule. 202.
Rice, Mrs. F. Willis, donor, 140.
Rice decoration, 133.
Richard II before the Madonna, 258.
Richards, William T., 202.
Rico, Martin, 202.
Rigaud, J.-V. See Bartolozzi, 241.
Rings, ancient Egyptian, 151; mod
ern, Case 48, p. 142.
Riordan, Rodger, 233.
Rip, William C, 224.
River Dordogne, 112.
River Garonne, 112.
River gods, 14, 32, 54; goddess, 54.
River gods and children, 110.
Rivers of France, personified, 107, 135.
Riviere, Briton, mezzotint after, 244.
Rix, Julian, 233.
Robbia, Lucca della, 68.
Robert, Hubert, 220.
Rock sculpture, 9, 18, 19.
Rocky Mountain sheep, 84.
Rodin, Auguste, 77.
Rodriguez, G.-L.-S., 241.
Roelofs, Willem, 224.
Rogers, Joseph M., donor, 213.
Rogers, Randolph, 83.
Rogue elephant, the, 85.
Rohan, Hotel de, sculpture of, 113.
Rokes. See Sorgh, 191, 287.
Roma, on arch of Trajan, 54.
Roma Vecchia, relief found at, 50.
Roman antiquities, 153, 154.
Roman architectural sculpture, orig
inal, 154; casts, 53, 54.
Roman buildings, cork models of,
93, 311.
Roman candelabrum, 93.
Roman coins, 153.
Roman emperors, 51-56, 154.
Roman girl. Statue, 340, p. 48.
Roman glass, 311.
Roman interior, with figures, ideal,
140.
Roman ladies, portrait busts of, 52,
59, 154.

346

The Art Institute of Chicago.

Roman lamps and lamp stands, 62,
63, 153.
Roman ruins, ideal, 220.
Roman school of painting, in Arun
del reproductions, 257.
Roman sculpture, ancient, original,
154; casts, 50-56, 58, 60, 64, 93.
Roman siege, 268.
Roman standard, 784, p. 77.
Romanino, Girolamo, 257.
Rome and vicinity, sculpture found
in, 28, 34, 35, 37, 40-45, 47-50, 52, 65,
93. See Antium, Lavinia, Roma
Vecchia, Tivoli.
Romance personified, 88.
Rood loft, Limoges, 104.
Root, John W., 88.
Rosenbaum, Joseph, donor, 152, 154;
owner, 293.
Rosettes, 16, 95, 115.
Ross, Ludwig, discoveries by, 33.
RothweU, Richard, 278.
Roty, Marie-Augustine, 118.
Roty, Louis-Oscar, 118-121; his par
ents, 119.
Rouen. Pediment of old custom
house, 113. See Bourgtheroulde,
105; Cathedral, 101, 105, 227;
Churches, 106.
Rouen wood carving, 103.
Rousseau, P.-E.-T., 179, 203, 276, 283.
Rowena, 241.
Roybet, F.-V.-L., 191, 220.
Rubens, Petrus Paulus. 163.
Engraving after, 243.
Engraving after his portrait by
Van-Dyck, 243. See No. 4, p. 158.
Rude, Francois, 114.
Ruijsdael, Jacob van, 159, 287.
Ruijsdael, Salomon van, 264.
Runners, Greek, 59, 289.
Russian halberd or spearhead, 133.
Russian painting, 183.
Ryerson, Martin A., donor, 80, 114,
118-124, 131-136, 140, 153, 162, 212;
owner, 287.

Ryerson, Mrs. Martin A., donor, 140.
Ryerson, Mrs. Martin A., Sr., Estate
of, owner, 288.
Sabaic inscription, 21.
Sabina's stream, 240.
Sacrifice, 14.
Sacrifice in honor of Trajan, 53.
Sacrifice by Cain and Abel, 97.
Sacrifice to the nymphs and Hermes,
36; of Iphigenia, 92.
Sacrificial tripod, 62.
Saddle, Japanese, 146.
Saddle-cloth and holsters, Mexican,
Case 63, p. 142.
Saftleven, Herman (III), 287.
Saint, a, 67.
Saint Agnes, 255.
Saint Anthony of Padua, 258.
Saint Augustine, 252.
Saint Bavon. . See Church, 259.
Saint Benedict, 255, 258.
Saint Bernard, 253.
Saint Bernardino, 251.
Saint Blaise, 254.
Saint Catherine, 253, 255, 256, 258.
Saint Cecilia, 67, 251, 259.
Saint Celsus, 255.
Saint Cyr. See Virgin of Grief, 109.
Saint Denis. See Abbey, 103, 109, 117.
Saint Domenick, 248.
Saint Eustache. See Churches, 117.
Saint Eutrope. See Churches, 97.
Saint Filippo Benizzi, 258.
Saint Fina, 251.
Saint Francesco, 253,
Saint Francis, 251, 252.
Saint Gaudens, Augustus, 86, 124^-126,
129.
Saint Gaudens, Louis, 129.
Saint George, 67, 103, 250, 257.
Saint Gereon and his warriors, 253,
Saint Germer. See Churches, 102.
Saint Giles, 254.
Saint Gilles. See Abbey, 97.
Saint Honors, No. 1062, p. 99.

General Index.

347

Saint James, 254.
Saint Jean. See Churches, 104,
Saint Jerome, 250, 254.
Saint John, evangelist, 102, 106, 249-
251, 253, 259.
Saint John, Baptist, 69, 96, 98, 103, 106,
213, 251, 254-259
Saint Lawrence Chapel frescoes, 248.
Saint Liberale, 252.
Saint Louis (City). See Louisiana
Purchase Exposition.
Saint Lucy, 248.
Saint Maclou. See Churches, 106.
Saint-Marceaux, Rene de, 78.
Saint Mark, 251,
Saint Mark. See Basilica, 206, 228, 261.
Saint Martin. See Churches, 96, 103.
Saint Matthew, 250.
Saint Nicolas. See Churches, 105.
Saint Nazzarus, 255.
Saint Paul, 104, 106, 249-251.
Saint Peter, 97, 104, 106. 249-251, 256.
Saint Pierre. See Churches, 97.
Saint Sebastian, martyrdom of, 256.
Saint Stephen, 248.
Saint Trophime. See Churches, 96.
Saint Urbain. See Churches, 101.
Saint Ursula and her Virgins, 253.
Saint Veronica, 254. Napkin of, 101.
Saint Victor. See Abbey, 102.
Sainte-Croix. See Churches, 97.
Saintes. See Churches, St. Eutrope, 97.
Saints at Crucifixion, 256.
Saints. See Virgin. Pictures gener
ally represent her attended by
saints.
Sake bottles, 146, 147.
Sakkara, statues and reliefs found at,
10, 11, 12.
Saktschegoezu, relief found at, 20.
Salammbo, 77.
Salem harbor, Mass., 230.
Samothrake. Nike of, 40.
San Antonio, Padua, fresco in, 248.
See Churches, 67.
San Apollinare. See Churches, 93.

San Giovanni, Florence. See
Churches, 66.
San Ildefonso, statues from, 55.
San Lorenzo, Florence. See
Churches, 70.
San Marco, Venice. See Basilica, 206.
261.
San Marco convent, Florence, fresco
in, 248.
San Pietro in Vincoli, Rome. See
Churches, 70.
San Rafael, California, 193.
Sanchez-Perrier, 283.
Sandham, Henry, 233.
Sansovino. See Tatti, 70, 116.
Santa Fina, death of, 251.
Santo Domingo convent, Toledo,
painting from, 168.
Sanzio, Giovanni, 257.
Sanzio, Raffaello. See Raphael.
Sappho, so called, 64; last moments
of, 265.
Saracenic Egyptian wood carving
and grill work, 94.
S rcophagus, from Sidon, 40.
Sarcophagus, head from, 21.
Sard, 145.
Sardanapalus I, 14.
Sargon, King, stele of, 17.
Sarto, Andrea del, 257, 258.
Sater, Mrs. A., owner, 288.
Satyr terms. See Cascade, 120.
Satyrs, masks of, 110; reveling, 93;
playing flute, 36, 50, 60; with
thyrsus and panther, 50; with
Paniskos, 42; young, at rest, 36;
young, playing flute, 86; young,
with shepherd, 121; on ewer from
Herculaneum, 64; on well curb,
93. See Faun, Goat-footed fig
ures, Marsyas, Pan, Seilenos.
Saviour. See Christ.
Savoie, Marie-Adelaide de, 113.
Scabellum. See 553, p. 60.
Scale of a Phcenician balance, 21.
Scammon, Mrs. John Young, 221; do
nor, 140, 221.

-348

The Art Institute of Chicago.

Scarabel, 152.
Scarpaccia (Carpaccio), 250.
Schabaka, head of, in relief, 12.
Schelden, Paul van, 117.
Scheldt, river, near Antwerp, 195.
Schneider, George, donor, 153.
Schreyer Adolf, 180, 187, 203, 283.
Schryer, Mrs. E. M., owner, 291.
Scientia, 118, 120, 129.
"Scipio Africanus, 58.
Scorpion seal, 14.
Scotch paintings, 184, 216.
Scott, Mrs. J. W., owner,291; donor,140.
Scroll work, 40, 53, 116.
Scuipture, 9-117, 290-292.
Scutari velvet, Frame 1 East, p. 141.
Sea-horses, vase with, 92, 111.
Seal cylinder, Assyrian, 17.
Seal cylinder, Persian, 17.
Seal cylinders, Babylonian, 13, 14.
Seal from El Hibba, 14.
Seal of Gamil-Sin, 13.
Seal hunting, 234.
Seals, ancient Egyptian. See Scar-
abei, 152.
Sebastian. Saint, 256.
Security personified, 76.
Sedan chair, 142.
Se-deds, coffin of, 151.
Seidelman. See 695, p. 243.
Seilenos (Silenus), with infant Bac
chus, 42, 93; with panther, 61;
with wineskin, 60, 61; drunk, 60.
Seipp, William C, donor, 80.
Selene (Luna), riding, 44; head ot
horse of, 32.
Selinus metope, 23.
Sendschirli (Senjirli, Sindjirli or Sin-
jirli) sculpture, 19.
Seneca, so called, 58.
Sentinel, the, 196.
Sepulchral slabs. See Tomb Sculpture.
Serpent-charmers' pipes, 296.
Serpents, 48, 74, 77 (on Salammbo), 85,
90,98. See Uranus.
Sesostris. See Ramses II, 12, 18.

Severus, Alexander. See 384, p. 50.
Severus, L. Septimius, 56.
Sevres china, 139.
Shabaka, 12.
Shalmaneser II, obelisk of, 14.
Share, H. P., 233.
Shaw, Anne Cornelia, 213.
Shaw, J. Byam, 289.
Sheep, Rocky Mountain, 84.
Sheep pictures. See Beard, Cera
mano, Chierici, Jacque, Jettel,
Meulen, ter, Monks, Thompson,
Troyon, Verboeckhoven.
Sheepfold, 242.
Sheikh-el-Beled, 10.
Shell decoration, 133.
Shepherd and young satyr, 112.
Shepherd flutes, Syrian, 295, 296.
Shepherd's star, 218.
Shield of U. S. on medal, 126.
Shield, presentation. See Osborn, 811.
Shield, Strangford. Plaster cast, 29.
Shields of Orleans and France, 102.
Shields, metal work, 131, 132, 134, 311.
Shirlaw, Walter, 213, 234, 270.
Shrines, Buddhist, 142, 145.
Shulz, Adolph R., 285.
Siamese battle picture, 261.
Siamese musical instruments, 295,306.
Sibyls, 66, 104, 255-257, 259.
Sicilian brocade, early, 141.
Sicilian Greek sculpture, 23.
Sidon, scale from, 21 ; sarcophagus
from, 40.
Sieges, Assyrian, 15, 16; Lykian, 28;
Troy, 24, 62; on shield, 132; Ro
man, 268.
Siena. See Piccolomini Library, 260.
Sienese school in Arundel reproduc
tions, 253, 255, 258; sculpture, 68.
Sievere, Princess Helena. See No.
23, p. 166.
Signorelli, Luca, 258.
Silenus. See Seilenos.
Silvanus, on Arch of Trajan, 53.
Silver work, 137, 138, 150.

General Index.

349.=

Silvered electro. Copy of a marble
statue, 74.
Silvered copper tankard and plate, 136.
Silversmiths; Odiot, Soyer, 74.
Simon Lucien, 220.
Simon medals, 122.
Simone di Martino, 254.
Simone, Scipione, 224.
Sindjirli. See Sendschirli, 19.
Singer, Charles J., donor, 140.
Singer, Mrs. Charles J., donor,209,211.
Singing and playing cherubs. 67.
Sinjirli. See Sendshirli, 19.
Sirens, 26, 63.
Sistrum, 20. See also Case 8, p. 152.
Sixtus IV giving audience, 254.
Skopas, 36, 38, 49.
Slave listening, 43.
Slaves, 69.
Sleep and death, genii of, 55.
Sleeping infant faun, 90.
Sleeping faun, 60; fury, 44; slave, 69,
rabbit, 85.
Smedley, W. T., 234.
Smith, Byron L., donor, 157, 212.
Smith. Mrs. Perry H., donor, 71;
owner, 261.
Snake dance, figure from, 90.
Snakes. See Serpents.
Snaijers, Pieter, 269.
Snowdrop, statue, 81.
Snuff bottles, Chinese, 145.
Socrates. See Sokrates, 38.
Sodoma, il, 258.
Sogliani, G. A., 248, 258.
Sokrates, 38.
Solari Tullio, called Lombardi, 94.
Soldiers, 17, 69. See Warriors.
Solitude, 218.
Solitude of the soul, 292,
Song of the lark, 173.
Sophokles, 38, 88.
Sorgh (Sorg or Zorg), called Rokes,
191, 287.
Sosibios of Athens, 49.
Southampton Water, night, 215.

Soyer, No. 744, p. 74.
Spagnoletto. See Ribera, 259.
Spain. See Helios, 46.
Spain, lazy, 177.
Spandrils, 106, 108, 115.
Spanish paintings, old, 168,269; mod- ,
em, 177, 178, 198, 202, 205, 282, 283 -;:
water colors, 279, 284.
Spanish work, various. Door nails
and knockers, 136; fans, 142; ivory
carving, 142; musical instruments,
294, 300; sword, 132; sedan chair,
.142; old weights, 134; textiles, em
broideries, laces, 141.
Sparta relief, 23.
Spearbearer ( Doryphoros ), 30, 57.
Warriors (Assyrian) , 16.
Spearheads, Russian, 133.
Sphinxes, Egyptian, 11, 12 (head); on .
seal cylinder, Persian, 17; Send
schirli, 19; Assos, 25; Hercula
neum, on tripod, 62; Italian, 116,
Spinario, 27.
Spinola, Marquis, 163.
Spione, 43.
Spirit of the tomb, 78.
Spoor, Mrs. John A., donor, 140.
Sprague, A. A., donor, 212.
Sprague, Mrs. A. A., donor, 140.
Spring, Alfons, 203.
Spring, allegory of, 249.
Spring awakening, S6.
Springtime and love, 183.
Stacpoole, F.,244.
Stag, archer killing, 97; lion devour- .
ing, 25; with Diana, 59.
Stag head, 109; rhyton in form of, 63.
See Deer,
Staircase of Henry II, ceiling panels,
108, 109.
Staircase of old Johnston House— -
drawing, 230.
Stall of a choir, 103.
Stanfield, Clarkson, 265.
Stanley, P. E., owner, 288.
Steelyards, ancient, Pompeiian, 62.

35°

The Art Institute of Chicago.

Steen, Jan Havicksz, 158.
Stelae, Assyrian, 17; Syrian, 20, 21:
Egyptian, 151; Greek. See Tomb
Sculptures.
Stephan, Meister, 258.
Stephen, Saint, 248.
Stevens, Alfred, 185.
Stickney. Mrs. E. S. (Elizabeth Ham
mond Stickney), donor, 83, 140,262.
Stickney Bequest purchases, 208, 215,
216, 219, 236-238.
Still life, 185, 208, 213, 285.
StiU hunt, 84.
Stone age, man of, 75. See Primitive
man, 290.
Stone, Mrs. H. O., donor, 140.
Stone church, Kent, sculpture, 115.
Stoss, Veit, 79.
Strangford shield, 29.
Strigil, athlete using, 40.
A good example of the instru
ment itself, in the original
bronze, is in case 17 (p. 152).
Strozzi, Marietta, 68.
Stuart, Mary. See "Marie Stuart," 241.
Student, 84.
Sturges, Mrs. George, donor, 140.
Sulla, so called, 58.
Sullivan, L. H., 86.
Sun god. See Helios, 20, 21, 46.
Sun, horses of the, 113.
Sun, winged, 17, 18.
Surgul seal cylinder, 14.
Swans, 14, 111.
Swedish etchings, 240.
Swedish paintings, 185, 221, 286.
Swedish sculpture, 81.
Swing, David, 90.
Swiss lake, 270
Swords and sword guards, 132, 133, 149.
Sylla. See Sulla, 55.
Syrian remains, 18, 19, 20.
Syrian shepherd flutes, 295, 296.
Syrinx (Pan's pipes), 295.

Taber, W., 234.
Tabitha, raising of, 250.
Taft, Lorado, 292.
Talbot, Misses, owners, 808.
Tanis, sphinx and sphinx head from,
11, 12.
Tankard and plate, 136.
Tapestry, 142.
Tasset, E.-P., 1369, p, 127,
Tatti, Jacopo ( Sansovino) , 70, 116.
Tauriskos of Tralles, 47.
Ta-Urt (Thoueris), called also Apet
or Opet, 13.
Teapots and kettles, 136, 137.
Temple Church sculpture, 115.
Temple of Neptune, model of, 92.
Temple of Victory (Nike Apteros), 31.
Temple sculpture. See Aigina, 24;
Assos, 25; Ephesos, 26; Nos. 33,34,
p. 26; Olympia, 27,28; Parthenon,
29-33; Nike Apteros, 33; Theseus,
34; Apollo-Epikourios, 34; Hera-
ion, of Argos, 34; Pergamon, 44.
Temple sign, from Jerusalem, 21.
Tenea, statue from, 23.
Teniers, David, the younger, 160.
Terburg. See Borch, 163.
Ter Meulen, See Meulen, 223.
Terminal Pan, 49.
Terminal satyrs on cascade, 110.
Terminal bacchante, 112.
Terminal Hercules, 112.
Terra cottas, ancient Greek, 153; re
productions, Italian, 68-70, 92-94.
American Indian, 139.
Terracina, statue found at, 38.
Tete-a-tete, 181. .
Teukros (Teucer), 24, 82.
Textile fabrics, 141, 142.
Thaleia, 46.
Thanatos, Genius of death, 55.
Thasos reliefs, 27.
Thaulow Frits, 284.
Thayer, Abbott H., 284.
Thebes, Egypt, statuette from, 13.
Themistocrates, 27.

General Index.

35i

Theology, 257.
Theotokopoulos, D. (el Greco) , 168,
Theseus, so called, 32.
Theseus (or Hephaistos) temple
frieze, 34.
Thetis, on Portland vase, 50.
Thiasos, part of a, 43, 50.
Thibetan musical instruments, 294,
295, 301.
Thomas, Mrs. Theodore, donor, 140.
Thompson, Harry, 217, 267.
Thompson, Mrs. Mary Harris, 87.
Her friends, donors, 87.
Thorn extractors: Spinario, 27; Pan
iskos, 42.
Thornycroft, W. H., 82.
Thorvaldsen, Bertel, 80.
Restorations by, 24.
Thoueris (Ta-Urt), 13.
Three Fates, 32.
Three Graces, 109.
Three Kings, the, or Magi, crowned,
99; adoring, 96, 105, 253, 254, 256;
procession of, 252, 257.
Thyrsus. See 266, p. 43; 339, p. 48;
383, p. 50; 554, p. 60.
Titomb reliefs, 11.
Tiberius Claudius Nero, 52.
Tiger, 176; at bay, 291; dead, 184; fav
orite, 271.
Tigers, small bronzes, 85.
Tigers attacking rhinoceros, 74.
Tilden, Douglas, S9.
Timotheos, 38.
Tired boxer, 89.
Tivoli, sculpture found at, 28, 38, 44,
48, 55", 92. See Prato Bagnato, 45.
Tiziano Vecelli (Titian), 258.
Tobias and the angel, 173.
Toilet sets, Japanese, 142, 146,
Tomb of a Mussulman, 205.
Tombs and tomb sculpture.
Ancient: Egyptian, 10-12; in Asia
Minor and North Syria, 20;
Greek, 23, 25-28, 32-35; Roman,

Renaissance, Italian, 69, 70, 94,
116; French, 90, 102, 103, 105,
110, 117; German, 79.
Modern, 76,77, 86, 87, 235(drawing).
See Mausoleion, Memorials,
Monuments, Sarcophagus,
Stela;.
Tombs, objects found in, 10-12, 50,
100, 151. See Cinerary urns.
Tondeur, Alexander, 282, page 44
Tosquin bell, 136.
Torch stands, 111.
"Torn Kid," 43.
Tornabuoni, Giovanna, 169.
Torrigiano, Piero, 118.
Torso Mar'asch, 20; Actium, 23; of
Nike, 28; of Iris, 32; from Argos,
33; of giant, 44; of Venus, 48; Bel
vedere, 49.
Toulon City Hall portal, 110.
Tourgueneff, Ivan, 229.
Tournament, 257.
Tours. See Cathedral, Churches, 103.
Towneley Venus, 37.
Tracery, Gothic, 116.
Trajan, 52; frieze from Forum of, 53;
reliefs from triumphal arch of,
53, 54.
Transfiguration, the, 248, 256, 261.
Tree, Judge and Mrs. Lambert, do
nors, 140.
Tree ofiife, Assyrian, 15, 16.
Trial of Hellas and Asia, 33.
Trial of Pierrot, 183.
Tribune, Chicago, owner, 265.
Tribute money, the, 250, 277.
Triforium (gallery) capitals, 101.
Trinity, 98, 251.
Tripod table leg, 50.
Tripods, 62.
Triquetti, Henri de, 117.
Tritons, 25, 107.
Triumphal arch reliefs, 53, 54.
Troilus and Cressida, 214.
Trophies, architectural, 109; of arms,
131, 132.

352

The Art Institute of Chicago.

Trophime. See Churches, 96.
Trouvain, Antoine, 243.
Troy siege. See Aigina Sculptures,
24; Naples bronzes, 62.
Troyes. See Churches, 101, 104, 105.
Troyon, Constant, 180, 190, 224, 276,
284. Etching after, 239.
Trumpeter, 191.
Truth, 88, 289.
Tuileries garden sculpture, 74, 112,
Turner, J. M. W., 277.
Turkish nfusical instruments, 299,
300, 304.
Turkish velvet, Scutari, 141.
Tuscan capital, 115.
Twain, Mark (S. L. Clemens), 234.
Twilight, 70, 196, 208, 218, 222.
Tympanum, Mykenai, 23; Bordeaux
Cathedral, 101; Charlieu Abbey,
98; Notre Dame du Port Church,
96; Ste. Croix Church, 97; Paris
Cathedral, Notre Dame, 99;
Reims Cathedral, 100 ; La Ferte-
Milon, 102.
Tympanum (tambourine). See Thia
sos, 43, 50.
Tyre, relief from, 22.

Uihlein, Edward G., donor, 80.
Umbria, storm in, 204.
Umbrian school, in Arundel repro
ductions, 251, 254-257, 260.
United States, donor, 180.
Unknown lady, bust of, 68.
Uraeus (serpent symbol), in the
Egyptian crown, 13. There are
also several examples in cases 8
and 9 (p. 152) — some in the crown,
and some separate.
Ur, seal of King of, 18.
Urn. See Cinerary urns, 54.
Uursula, Saint, 253.
Ushebtiu, 151.
Usr-en-RSr- Weser-en-Re (An), 11.

Valentine, P. A., owner, 289.
Valkyries, 184.
Van, See names to which this word
is separably prefixed.
Vannucchi, Andrea, 259.
Vannucci, Pietro (Perugino) , 256.
Varian, G., 236.
Varvakaion statuette, 29.
Vasco, Gran (Fernandez), 251.
Vase, Portland, 50; Medici, 92; in Vat
ican, 92; in Versailles Park, 111.
Vases, ancient Egyptian 152; Graco-
Italian, 153; prehistoric Ameri
can, 139; Japanese, 135, 147-149, 310;.
Chinese, 147-149; French Renais
sance, 111. See also Amphora,.
Canopic jars, Cinerary urns.
Vatican, Arundel reproductions of
frescoes in,
Appartamenti Borgia, 256.
St. Lawrence chapel, 248.
Sistine chapel, 255, 256.
Stanze, 257.
Vecchietta, il (Lorenzo di Pietro), 68.
Vedder, Elihu, 204.
Velde, Adriaen van de, 157.
Velde, W. van der. See Nooms, 157.
Velvet brocades and velvets, 141.
"Vely Anatole, 189.
Vendramini monument, 260.
Venetian panels, column, frieze, 116;
doorway, 92.
Venetian and Veronese workin Arun
del reproductions, 218-250, 252,
254-258, 260.
Venice, views in, 202, 285, 240. See
Basilica, 206, 261; Monuments, 94,.
260.
Venus (Aphrodite).
de'Medici, 48.
Genetrix, 28, 37 (Towneley).
Of Milo (Melos), 45.
Pudica, 48.
Stooping in the bath, 45.
By Canova, 71.
By Gibson, 81.
By Thorvaldsen, 80.
Heads, 44, 45, 153.

General Index.

353

Venus, birth of, 849; at toilet, 60; de
taching sandal, 61. See 626, p. 65.
Verboeckhoven, E. J., 188, 200, 266.
Vermeer (Van der Meer), 269.
Vernier, E.-S., 811 (Note).
Vernon medal, 125.
Verona, monuments In, 260.
Veronese. See Venetian.
Veronese, Paolo, 167, 256.
Veronica, Saint, 254; napkin of, 101.
Verrocchio, 69, 94.
Versailles. See Chateaux.
Verschuur, W., 190, 204.
Veras, Lucius, 55.
Vespuccii medal, 127.
Veyrassat, J. -J., 204.
Vibert, J.-G., 183, 204.
Victor, Saint. See Abbey, 102.
Victories, 28, 33, 40, 49, 91, 106, 108. See
Nike.
Vidette, 188.
Vinci, Lionardo da, 259.
Vintage, the, 201.
Vinton, F. R., 286.
Virgil, 258.
Virgin, the: Madonna.
Annunciation, 96, 248, 253, 254, 256,
259.
Assumption, 168,
Betrothal, 253.
Birth. See Nativity, below.
Coronation, 99, 100, 102, 248.
Death, 107.
Enthroned. See below.
Frescoes by Giotto, 260.
"Gilded Virgin, 99."
In glory, with two saints, 256.
Madonna del Sacco, 257.
Madonna della Sedia, 261.
Madonna di San Sisto, 243.
Madonna with the violet, 250.
Marriage, 253, 256.
Mater dolorosa, 109.
Nativity, 251, 257.
Nuremberg Madonna, 79.
Of St. Cyr, or Of Grief, 109.

Of St. Maclou, 106, 107.
The visitation (Elizabeth comes
to Mary), 247.
With the child. 66. 68, 99, 100 (en
throned), 101, 105, 248, 249 and
252 (enthroned), 258, 261.
With the child and donor, 259;
and the M'eier family, 252; and
Richard II, 258; and Joseph, 257,
275; and St. John Evangelist
and San Francesco, 253; and SS.
Liberale and Francis (en
throned), 252; and several
saints, 2(2, 255, 257.
With God the Father and St. John
Baptist, 259.
With Saint John. Christ on cross
between, 102.
With Saints, 255, 256.
Virtues, the, 104.
Vischer, Peter, 79.
Vision of St. Bernard, 253; of St. Cath
erine, 258; of St. Domenick, 248;
of Santa Fina, 251.
Visitation, the 247.
Vitellius, 52.
Viterbo. See Lorenzo di, 253.
Vivandiere, 184.
Volk, Douglas, 234.
Volk, Leonard W„ 83, 292.
Voltaire, Fransois-Marie Arouet de,73.
Vonnoh, Mrs. R. W. See Potter,
Bessie, 90.
Vortigern and Rowena, 241.
Votive reliefs, 43, 49.
Vrolijk, J. M., 225.
Vulcan (Hephaistos). See Theseus.
Vyts, Jodocus, and wife, 259.
Wacker, Charles H., donor, 80, 90,212.
Wadsworth, Frank R., 286.
Wagner, restorations by, 24.
Wahlberg, Alfred, 185.
Walker, Mrs. J. M., donor, 140.
Walker, W. B., donor, 212.
Waller, Robert A., donor, 153.

354

The Art Institute of Chicago.

Ward, J. Q. A., 84,
War charist in action, Assyrian, 16.
Warka, priest's head from, 14.
Warriors, Assyrian, 16; Hittite or
Hethitic, 18, 19; Persian, 28; Ama
zon, 28, 34, 38; Trojan, 24, Greek,
24, 25, 34, 38, 46; Gallic, 40, 42.
Warriors, Saint Gereon and his, 253.
See Processions, 259.
Washburne, E. B., 292.
Washburne, Hempstead, owner, 292.
Washington, George, 73, 76,
126 (medal).
Water carriers, 220, 281.
Water colors, 183, 222-226, 277, 279 (No.
1082), 284.
See Chinese, Japanese, Persian,
, Siamese.
Watermill, the, 164, 273.
Water stone, 145.
Watkins, Mrs. E. T., donor, 140.
Watson, Miss Margaret S., donor, 84.
Wax composition bust, 82.
Wax relief miniature portrait, p. 142,
case 48.
Wealth, god of. See Ploutos, 36.
Weathercock, 102.
Webb, C. M„ 204.
Weeks, Edwin L., 205.
"Weeping philosopher," 269.
Weights, Assyrian, 17; Babylonian, 14.
old Spanish, 134.
Weinmann, A. A., 128, 129.
Weissenbruch, J. H„ 225, 277.
WeU curb, 93.
Wendt, William, 214, 284.
Wenu-hotep, mummy, 151.
Weser-en-Re (An), 11.
West, Benjamin, 214.
Westminster Abbey, 66, 115, 116, 240.
Whetter, the, 43.
Whistler, J. A. McNeill, 214, 227.
White, Catherine M., donor, 210.
Whiteface mountain, 269.
Whittier, J. G„ 89.
Wild animals: original bronzes, 84, 85.

Wiles, Irving R., 234, 236.
Wilhelm, Meister, 259.
Wilhelmj, August, 229.
WiUe, J. G., 244.
Winged figures, 15, 16, 19, 63, 64, 106,
108, 121. See Angels, Dragons,
Griffins, Victories.
Winged bull, With human head, 15.
Winged lion, with human head, 15.
Winged lions, 93.
Winged sun, 17, 18.
Winter evening, 222.
Winter landscape, 213.
Winter personified, on arch of Tra
jan, 54.
Wirgman, T. B., 234.
Wisdom personified, 88.
Wivern, 64, and frame 18, East, p. 141.
Wolf, 85; at bay, 85.
Women of the Ouled-Nayls, 178.
Wood, J. T., discoveries by, 26, 38.
Wood carving, plaster casts of, 10, 79,
103, 104, 106, 110, 117| original, 94,
117, 145, 146, 150.
Woodward, J. D„ 235.
Woolsey, Theodore D., 234.
World's Columbian Exposition, do
nor of statue, 88; proposed med
als, 124, 137; medal, 125.
See Fisheries, 117.
Wounded dog, 75; lioness, 16, 176.
Wounded Greeks and Trojans, 24.
Wrestlers, 45 and 59.
Wrestler's challenge, 185.
Writing cases, Japanese, 146, 147.
Wrought iron work, original, 138, 134,
136, 149; casts of, 100, 118.
Wyant, Alexander H., 205.
Wyvern. See Wivern,
Xanthos marbles, 26, 28.
Yale & Towne Mfg. Co., donor, 86.
Yerkes, Charles T., donor, 164.
Yerkes, Mrs., donor, 140.
York, Duke »f , child, 241.

General Index. 355

Young athlete, 27; Augustus, 51, 65; Zeno, 59.
duchess, 184; Jupiter, 108; mother, Zethus, 47.
90; Psyche, 83; St. John Baptist, Zeus (Jove, Jupiter), 23, 25, 39, 44, 54.
69; Satyr, 36, 112; Sophokles, 88. Young, 108.
Youth, 33, 44, 58. Eagle of, 87.
Zeus altar frieze, 44.
Zeus temple metope, 27.
Zacharias, 251. Zlmmermann, Ernst, 183.
Zamacois, E., 284. Zodiacal signs, 20, 99.
Zearing, Henry H., 126, 127. Zorg. See Sorgh, 191, 287.
Zeeman. See Nooms, 157. Zorn, Anders, 221, 286.

ADDITIONS.
Case 40, Room 15, contains Greek vases and other objects in
terra-cotta, fourteen pieces in all, presented by Martin A. Ryerson,
Feb. 4, 1907.
A collection of casts of Romanesque architectural decorative
work from Nimes, Prance, has been installed in the southwest
alcove of Room 20.
A collection of textile fabrics, from the Field Museum, is ready
for installation in Rooms 46-48.

CORRECTIONS.
Page.
12. No. 15, 1st line. Xathor should be Hathor.
29. No. 54, 1st line. Arthena should be Athena.
42. No. 261, 7th line. Schreyer should be Schryer.
42. No. 262, 3rd line. Perganene should be Pergamene.
47. No. 322, 6th line. Appolonios should be Apollonios.
47. No. 322, 12th line. Schreyer should be Schryer.
47, No. 323, 1st line. Bacchanate should be Bacchante.

356

The Art Institute of Chicago.

51. No. 405, over. Jlius should be Julius.
51. No. 405, over. Octaviuanus should be Octavianus.
69. First line. • Pollaiullo should be Pollaiuolo.
69. No. 675, over. Verrochio should be Verr«cchio.
85. No. 933. Racoon. Correct according to Century Die. , but
Webster makes it raccoon.
90. Ninth line. McNeil should be MacNeil.
90. No. 983, 2nd line. McNeil should be MacNeil.
100. Fourth line. ange- should be angel.
102. No. 1089, over. Osei should be Oise.
The whole item should be on p. 101, following No. 1083.
105. No. 1107, over.
112. First line.
154. First line.
165. Middle. Neer.
167. Seventh line.
168. Ninth line.
168. No. 52, 1st line.
214. Whistler.
216. Third line.
242. No. 694, 3d line.
255. More.
279. No. 1082.
283. No. 1110, over.
290. No. 1201, over.
291. Running head.

Nicholas should be Nicolas.
Coyserox should be Coysevox.
51, 52 should be 27, 44.
Aernot should be Aerhout.
Willirm should be William.
Infanta should be Infante.
Assumtion should be Assumption.
McNeil should be McNeill.
Add the number 260.
Cavalucci should Cavallucci.
von should be van.
Add the words Water color.
Sanchez Penier should be Sanchez-Per-
rier.
Barrett should be Bartlett.
Paintings should be Sculpture.

Corrections. 357

311. No. 1451. Case 53 should be Case 59.
319. Bringhvrst should be Bringhurst.
322. Chasubles. 78 should be 68.
323. Second column. St. Martin. After Brive, add 96;.
330. Fruit paintings. Add 208.
330. German sculpture and carving, 310 should be 293.
336. Lapithai should be Lapithai.
340. Mirror paintings. 199 should be omitted.
341. Nickerson collection. 149 should be 160.
344. Raccoon. Correct according to Webster; but Century makes
it racoon.
347. Satyrs, with shepherd. 121 should be 112.
351. Titomb should be Ti tomb.
352. Uursula should be Ursula.
Illustration No. 677, page 75. The number should be 767.
No. 966, " 88. " " 966C.
" No. 1, " 156. The title should be "The Gold
en Wedding."

THE END.

Llbby & Sherwood Printing Co.

f

ILLUSTRATIONS

Arranged in the Order of the
Pages to which they refer

THE ART INSTITUTE.
Lake Front, opposite Adams Street, Chicago.

MAIN HAIL, FIRST FLOOR. Room 8.

THE RYERSON LIBRARY. Room 24.

No. io, page 12. KING RAMSES II, OF EGYPT.

J*\

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m>n

H; ' ^
W*- ¦¦ . 1
*#
Sfcj
¦ 1
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Room 3. MAIN GALLERY OF GREEK SCULPTURE. See pages 27-38
No. iQg, page 40. NIKE OF SAMOTH8AKK,

No. 408, page 51. AUGUSTUS IN THE TOGA.

Students at Work. GALLERY OF RENAISSANCE SCULPTURE. Room io. Pages 66-71.

No. 694, page 70. PART OF MEDICI TOMB. By Michelangelo.

No. 677, page 75. JOAN OF ARC. By Chapu.

No. 772, page 76. CHA.K1TY. By Dubois.

No. 781, page 76. THE FIRST BURIAL. By Barrias.

No. 791, page 77^ DAVID VICTOR. By Mercie.

No. 792, page'78."JSPIRIT OF THE TOMB. By Saint Marqeaux.J

882, page 82, TEUCER. By Thornycroft.

No. 966, page 88. BRONZE DOORS. By Daniel French.

No. 971, page 88. YOUNG SOPHOCLES. By Donoghue.

No. 1201, page 290. PRIMITIVE MAN. By Bartlett.

BLACKSTONE HALL, LOOKING NORTH. See page 92.

Room 42. PART OF THE NICKERSON COLLECTION. Seepages 143, 193.

CORNER OF THE EGYPTIAN ROOM. See page 151.

No, i, page 156. THE JUBILEE. By Van Ostade,

No. n, page 161. PORTRAIT OF A GIRL. By Rembrandt.

No. 13, page 162. PORTRAIT. By Franz Hals.

No. 14, page 163. PORTRAIT OF SPINOLA. By Rubens.

a

?J»-.
«
El
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w

THE ASSUMPTION, OF THE VIRGIN.
No. 52, page 168. By Domenikos Theotokopoulos (El Greco).

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a

No

. ioi, page 173. SONG OF THE LARK. By Jules Breton.

flo. 118, page 176. DUC DE CHARTRES- By J.-B.-E. Detail!?.

No 121, page 177. IAZY SPAIN. By J. Domingo.

No. 131, page 179. BRINGING HOME THE NEW-BORN CALF. By J.-F. Millet.

Np. 136, page 180. RETURNING FROM MARKET. Constant Troyon,

No. 170, page 187. THE JUDGMENT OF PARIS. By Walter McEwen.

No. 186, page 191. THE BATHERS. By W.-A. Bouguereau.

No. 2ig, page ig6. TWILIGHT. By Charles H. Davis.

No. 255, page 203. A GOLDEN AUTUMN DAY. By Emile van Marcke.

No. 288, page 207. ALICE. By W. M. Chase.

'.--*¦

No 302, page ^la LES AMATEURS. By Alexander Harrison

No. 307, page 2ii. FLOWER GIRL IN HOLLAND. By George Hitchcock.

No. 320, page 213. BEHEADING OF JOHN the BAPTIST. By C. S. Pearce.

No. 323, page 213. CENTRE BRIDGE. By E. W. Redfield.

Ho. 343, page 215. NOCTURNE, SOUTHAMPTON WATER. By J. A. McNeill Whistler.

No . 358, page 217. LANDSCAPE WITH SHEEP, IN PICARDY. By Harry Thompson.

Ho. 380, page 218. WRANGLIHG OVER CARDS. By David Col.

No. 3go, page 2ig. PORTRAIT OF MAHET. By Fantin-Latour.

No. 427, page 220. THE FOUNTAINS. By Hubert Robert,