y J^UARY, 1906 UC-NRLF STUART PRICE, 15 CENTb STUART PART ?3 VOLUME toa MASTERS IN A RT Among the artists to be considered during the currrent, 1906, Volume may be mentioned, Bocklin, Sodoma, Constable, Bougue- reau, Goya, and Ingres. The 1906 Volume began with PART 73, JANUARY STUART P A J-t T 74, THE ISSUE F O K jfeiruarp WILL TREAT OF NUMBERS ISSUED IN PREVIOUS VOLUMES OF 'MASTERS IN ART' PAKT 1'AKT PA I'A 1'A PA PA PART PA PA PA PA PA VOL. 1. 1, VAN DYCK 2, TITIAN }, VELASQUEZ 4, HOLBEIN $, BOTTICELLI 6,R EMBRANUT 7, REYNOLDS 8, MILLET : 9, GIO. BELLINI [ 10, MUR1LLO : n, HALS r 12, RAPHAEL *tnlftu VOL. 3. tOWHOIN COLLEaE, HHUTNSWICK. ME. MASTEKS IN AHT PLATE X [21] , STUAHT MHS. wrLLIAM JACKSOX PENNSYLVANIA ACADEMY OF THE I'INE AHTS, PHI F>A DKLPHIA POKT-HAI'r O>' GIL.BKHT STUAHT HV .(C)HA' MUSKUM O*' K1NE AUTS, UOSTO.N The portrait of Stuart here given was painted in Boston, in 1825, by John Neagle, an eminent artist of Philadelphia. Stuart was at that time seventy years of age. As a likeness the portrait is characteristic; as a painting it is strong and vigorous. It has for many years hung in the Museum of Fine Arts, Boston, where it is placed on loan by the Boston Athenaeum, to which it belongs. The above reproduction is from a photograph copyrighted by Chester Abbott Lawrence. [22] M ASTERS IN ART BORN 1755 : DIED 1828 AMERICAN SCHOOL GILBERT STUART was born on December 3, 1755. The place of his birth, now called Hammond Mills, is near North Kingston, Rhode Island. There his father, Gilbert Stuart the elder, a native of Perth, Scot- land, had built, in company with a fellow-countryman, Dr. Thomas Moffatt, a mill for the manufacture of snuff, an article which was at that time greatly in demand in the colonies and only to be obtained from Scotland. At first all went well with the business, and in course of time Stuart the elder married and brought his bride, Elizabeth Anthony, the beautiful daughter of a farmer of large property living near Newport, to the house which he had built con- nected with the snuff-mill. This house, with its quaint gambrel-roof and low doorway, still stands beside the waters of Petaquamscott Pond. There the young couple lived happily and with the utmost simplicity, and there three children were born to them, of whom the youngest, Gilbert, is the subject of this sketch. When four months old the child was carried to St. Paul's Church, Narra- gansett, and there baptized. The event is entered in the records of the church as follows : "April nth, 1756, being Palm Sunday, Dr. McSparrow read prayers, and baptized a child named Gilbert Stewart, son of Gilbert Stewart the snuff- grinder sureties, the Dr. and Mrs. Benjamin Mumford, and Mrs. Hannah Mumford." It is generally supposed that the manner here given of spelling the family name was owing to the carelessness of the clerk who made the entry, but, as a matter of fact, signatures of the snuff-grinder that have come down to us show that he himself spelled his name in this way. Another thing to be noted in this baptismal record is that the painter's name, frequently written Gilbert Charles Stuart, is entered simply as Gilbert Stuart, and if, as tradition has it, the Charles was later inserted because of his father's loyalty to "bonnie Prince Charlie," Stuart himself did not long retain it. Gilbert Stuart's earliest years were passed in the place of his birth, but the snuff-mill not showing the hoped-for profits, and Mrs. Stuart coming into possession of a small property, it was deemed advisable when he was still very [23] 24 MASTERS IN ART young to move to Newport, where he could have the benefit of the good edu- cation afforded by the parochial school there kept by the Rev. George Bissett, assistant minister of Trinity Church. Under his guidance the boy made ex- cellent progress, but it was no easy task for him to devote his thoughts to study. His spirits were too high and his love of play too strong. Writing many years later of this period in his life, his daughter says: "Young Stuart was at the very head and front of mischief of every kind, but a great favorite with all his schoolfellows a sort of master-spirit, his companions willingly yielding him the lead on every occasion." From one of his schoolmates and closest friends, Dr. Waterhouse, we learn that he was "a very capable and self-willed boy, who was indulged in everything, being an only son, handsome and forward and habituated at home to have his own way with little or no control from his easy, good-natured father." Even at this early stage of his career Stuart had given evidence of talent in the line in which he afterwards became famous. At thirteen he had made some drawings admirable for so young a draftsman. At about this time too he painted his first picture in oils, a pair of Spanish dogs belonging to Dr. William Hunter of Newport, and when fourteen he executed what are said to be his earliest portraits, those of John Banister and Mrs. Christian Banister, now in the Redwood Library, Newport. Stuart's first teacher in art was Cosmo Alexander, a Scotchman who spent some few years in the colonies, and upon his return to Scotland in 1772 per- suaded his pupil, then in his eighteenth year, to accompany him, promising him advantages in art not to be obtained at that day in America. Unfortunately, soon after reaching Edinburgh Alexander died, leaving Stuart to the care, not, as is usually stated, of Sir George Chambers, "who quickly followed Alexander to the grave," but probably to a friend and rela- tive of Alexander's, Sir George Chalmers. Whether this new guardian was unmindful of young Stuart's welfare, or was unable to lend him a helping hand, is not known; all that we do know is that Stuart, who, with his charac- teristic dislike of dwelling on disagreeable subjects, could never be induced to talk about this experience, after an absence of two years returned to America penniless and in rags, having worked his passage home in a collier by way of Nova Scotia. He now set to work in good earnest to supply by hard labor his lack of knowledge of art, of which during his sojourn in Scotland he had become fully conscious. Together with his friend Waterhouse, he hired a "strong-muscled blacksmith" to pose as a model, and that his progress was rapid and his ability marked is shown by the prompt appreciation his works met with. A portrait of his grandmother, who had died when he was a child often or twelve, painted from memory, was so excellent a likeness that her son, his mother's brother, Captain Joseph Anthony, commissioned the promising young artist to paint his portrait as well as portraits of his wife and children. This led to other orders, and he was soon employed by some of the wealthy Jewish families who then lived in Newport. [24] STUART 25 Stuart's success is the more remarkable when we consider the troubled condition of the country at that time. The colonies were growing daily more hostile to the mother-country, party feeling ran high, and war, that worst of enemies to art and art-patronage, seemed imminent. When at length hostili- ties broke out at Lexington, presagrng the complete rupture so soon to follow between Great Britain and the American colonies, Stuart, seeing but small chance of advancement in his art at home, embarked, on June 1 6, 1775, the day before the Battle of Bunker Hill, for England, where his friend Water- house had but lately gone, and where he felt sure of finding surroundings more congenial to his tastes above all, where he could have what was held by all young artists of that day in America to be of inestimable value: the advantage of studying under the guidance of Benjamin West, then living in London. Stuart reached London in September, 1775. His friend Waterhouse was in Edinburgh at the time, and he found himself poor and alone in the metropolis. Most unexpectedly he happened upon a means of support. One day as he passed a church in Foster Lane he heard through the open doorway the strains of an organ. To Stuart, who was not only a lover of music, but himself a mu- sician of some proficiency, this was enough. Carefully avoiding the pew- woman, whose fee of a penny he was unable to pay, he stepped into the build- ing, where he discovered that a trial of candidates for the position of organist was being held. He at once asked if he, a stranger, might enter the competi- tion. His request was granted, with the result that he was engaged as organist of the church at a salary of thirty pounds a year. This modest sum enabled him to live, and he now turned his attention to his painting; but in a desultory sort of way, for such were the caprices of his genius that even when poverty stared him in the face he let his opportunities slip and painted only when the fancy seized him. When Dr. Waterhouse returned to London he found Stuart in lodgings so far from those which he himself occupied, near a prominent hospital where he was pursuing his medical studies, that it was arranged that Stuart should re- move to a location permitting of a daily meeting between the two friends. Moreover, with the improvident painter close at hand Waterhouse could more easily see that he was not in arrears with either his landlord or washerwoman a state of affairs only too common with Stuart. Through the kindness of this same friend a few orders for portraits were given the artist. Stuart, however, worked but fitfully, beginning some por- traits only to leave them half finished, while others were not even started. No wonder that he continued poor and in debt, although according to Dr. Water- house he himself handed over to him two thirds of his own allowance of pocket-money, "and more than once the other third." And yet nothing could weaken the bond of affection between the two young men. "Stuart through- out his life," writes Mr. Samuel Isham, "was recognized as exempt from the ordinary obligations of life; he borrowed and did not pay, he promised and did not perform. He was improvident when providence was a duty, and yet [25] 26 MASTERS IN ART with it all so gay, so brilliant, so talented, with a so-ingratiating personal charm that he was loved like a child, and those who suffered most by his faults strove hardest to find some excuse for them." All this time Stuart had never been introduced to Benjamin West, to profit by whose instruction had been the express object of his crossing the ocean. This delay is the more unaccountable as it is well known that West's doors were open to all, and especially to Americans. Waterhouse had been intro- duced to the celebrated historical painter, and says that he "called upon Mr. West and laid open to him his (Stuart's) situation, when that worthy man saw into it at once, and sent him three or four guineas, and two days afterwards he sent his servant into the city to ask Mr. Stuart to come to him, when he employed him in copying." Another and more probable version of Stuart's meeting with West is given by Sully, the painter, who relates that Mr. Whar- ton, an old friend of West's, recounted to him in Philadelphia that when dining one day with West in London, together with several other Americans, a servant announced a person as wanting to speak to the host. "I am engaged,' said West; but after a pause he added, 'Who is he ?' 'He says, sir, that he is from America.' That was enough. West left the table im- mediately, and on returning said, ' Wharton, there is a young man in the next room who says he is known in our city; go you and see what you can make of him.' I went out and saw a handsome youth in a fashionable greatcoat, and I at once told him that I was sent to see what I could make of him. 'You are known in Philadelphia ?' 'Yes, sir.' 'Your name is Stuart?' 'Yes.' 'Have you no letters for Mr. West ? ' ' No, sir.' ' Who do you know in Philadelphia ? ' 'Joseph Anthony is my uncle.' 'That is enough, come in,' and I carried him in and he received a hearty welcome." Thus, after allowing two years and more to slip by, Stuart was received by West as a pupil, and, as was not unusual in those days, became an inmate of his master's house. During the four or five years passed under West's guid- ance, Stuart, in spite of his vagaries and trying ways,was treated with uniform kindness and consideration, and if the gifted pupil could gain nothing from his master's stilted style and dry manner of painting, he profited greatly by his close association with such a man as West, and by the opportunity afforded him of meeting the distinguished people who frequented the studio of the pop- ular American artist, painter to His Majesty George in. In addition to his studies under West, Stuart drew in the Royal Academy schools, attended Cruikshank's lectures on anatomy, and heard Sir Joshua Reynolds's celebrated discourses; and yet, no matter under whose teaching he might come, his manner of painting was and always remained peculiarly his own. In 1777 he first exhibited at the Royal Academy, and in 1782 achieved a triumph there by his 'Portrait of a Gentleman Skating.' This picture, a full-length portrait of Mr. William Grant, of Congalton, skating in St. James's Park, owned in England by Charles Stapleton Pelham-Clinton, Esq., at once established his reputation. He now determined to strike out for himself; but before leaving West he painted a portrait of his master which West him- [26] STUART 27 self commended, saying to his pupil, "You have done well, Stuart, very well; now all you have to do is to go home and do better." Thus encouraged, Stuart took a house in London, set up his own studio, and at once attained such success that he may be said to have rivaled Sir Joshua Reynolds and Gainsborough in popularity. Although the prices he asked for his portraits were second only to the prices received by those paint- ers, orders poured in upon him. Among the many distinguished people who sat to him were King George in., the Prince of Wales, the Duke of North- umberland, Admiral Sir John Jervis, the Duke of Manchester, Sir Joshua Reynolds, Copley, Gainsborough, John Kemble, Isaac Barre, and Alderman Boydell. For a brief period Stuart lived like a prince. The money he won so easily was spent with equal ease, and with never a thought for the morrow. He hired a fine house, kept a corps of servants, and entertained right royally. On the friendliest of terms with his brother artists, he was also sought after by per- sons of high rank and distinction. His ready wit and sparkling humor de- lighted one and all. Not long after establishing himself in this princely fashion, Stuart, then in his thirty-first year, married Miss Charlotte Coates, daughter of Dr. Coates of Berkshire, England, and sister of a friend of Stuart's, who, although per- sonally attached to the painter, did all in his power to prevent his sister's mar- riage with one so reckless in his habits and expenditure as Stuart was known to be. Opposition was useless, however, and with the reluctant consent of the lady's family, the marriage took place on May 10, 1786. Mrs. Stuart had beauty, and, an attraction which counted for even more with Stuart, a rich contralto voice. Stuart himself was tall, of fine physique, with brown hair, ruddy complexion, and pronounced features; not what would be called a handsome man, but possessed of a power, when he chose to exert it, of charming all with whom he came in contact, though unfor- tunately his capricious disposition and quick outbursts of temper often alienated those who could not always remember that his heart was warm and his real nature true and sincere. The inevitable result of Stuart's extravagant mode of life was soon shown, and partly to escape financial embarrassments he removed in 1788 to Ireland, where he opened a studio in Dublin. His success in the Irish capital was im- mediate. "He was delighted with the society he met there," writes his daughter; "the elegant manners, the wit, and the hospitality of the upper class of the Irish suited his genial temperament. I am sorry to say that Stuart en- tered too much into their convivialities. The fact is, it was his misfortune I might say his curse to have been such an acquisition to and so sought after by society." Whether there is any truth in the story that Stuart's creditors followed him to Ireland, and that many of the portraits of the nobility painted there were painted while in the debtors' prison, is open to doubt, but we know that though constantly employed and liberally paid he never had money enough to meet his expenses, and that when in 1 792 he made up his mind to return to America, [27] 28 MASTERS IN ART he was so impecunious that he lacked means to pay for his passage across the ocean, and agreed as an equivalent to paint a portrait of the owner of the ship. It has always been said that Stuart's determination to return to his own country was prompted by a patriotic desire to paint a portrait of Washington a desire so strong that no inducements to remain could alter his decision. Whatever may have been the impelling cause of his return, it stands re- corded that in the autumn of 1792, after an absence of seventeen years, Gil- bert Stuart landed in New York. The reception given him by his country- men was most cordial. He at once established himself in Stone Street, near William, then one of the most desirable parts of the city; and as soon as it became known that he was ready for sitters, his brush was kept busy. Before long he received an order to paint the Duke of Kent, who offered to send a ship of war for him, but so firm was his determination to paint Washington's portrait that he declined. In after years Stuart used to say that he regarded his declining this offer as the most signal mistake of his life. Two years were allowed to pass before his purpose was accomplished. In the winter of 1794-95, however, Stuart went to Philadelphia, furnished with a letter of introduction to Washington from the Hon. John Jay, and soon after his arrival called upon the President and left his card and letter. The response was an invitation to pass an evening with Washington, who received him with cordiality, but who, by Stuart's own acknowledgment, so awed the painter by the dignity of his presence that for a moment even Stuart's self-possession de- serted him. It was soon arranged that the President should sit to the painter, and toward the spring of 1795 Stuart fulfilled his long-cherished wish. Besides portraits of the President and Mrs. Washington, he painted many of the prominent men and beautiful women then gathered in Philadelphia, at that time the very center of fashion and gaity in the young republic. Congress held its sessions there, and from foreign lands, as well as from different parts of the United States, distinguished men and women were assembled. Stuart's painting-room at Fifth and Chestnut Streets became the resort of all the fash- ionable society, and in order to paint without interruption he was obliged to take a studio in Germantown, some six miles distant. After the removal of Congress to the city of Washington Stuart transferred his studio to the new capital, where his rooms on F Street, near Seventh, were as much frequented by prominent people as had been his studios in New York and Philadelphia. His brush, indeed, would never have been allowed to rest had his clients had their way. A friend of Mrs. Madison's, writing to that lady during one of her temporary absences from Washington, says, "Stuart is all the rage, he is almost worked to death, and every one is afraid that they will be the last to be finished. He says, 'The ladies come and say, "Dear Mr. Stuart, I am afraid you will be very much tired; you really must rest when my picture is done"!" After about two years in Washington, Stuart, urged thereto by the Hon. Jonathan Mason, then United States senator from Massachusetts, removed to Boston, where the remainder of his life was spent. His house and studio in [281 STUART 29 that city were first in Washington Place, Fort Hill, and later in Essex Street. At one time during the war of 1812 he resided in Roxbury. His sitters included many of Boston's well-known men and women, and his vogue as a portrait-painter continued with unabated success until within a short time of his death, when age and failing health impaired his powers. The number of portraits painted by Stuart after his return from England has been roughly estimated at about eight hundred. This does not include many of his unfinished pictures, too numerous to be counted. All of these, thrown aside for one reason or another, were banished to the garret, where they were allowed to remain. Mr. George C. Mason tells us that the artist was quick to take offence at any remark or comment on a portrait before it was completed. "On one occasion," he says, "a lady left her seat, and looking over the artist's shoulder, found fault with the likeness he was painting. He tried for a moment to be amiable, and quoted the text from St. James: 'A man behold- eth his natural face in a glass and goeth his way, and straightway forgetteth what manner of man he was.' Then he rose from his chair and in his most polite manner said, 'Excuse me, Madam, I cannot paint by direction.' Hav- ing said this, he strode across the room, rang the bell, and ordered the servant to take the canvas to the garret a step that brought a flood of tears to the eyes of the sitter; but that had no effect on the painter." One of Stuart's last portraits was that of John Adams, painted in 1825, when Mr. Adams was in his ninetieth year. Some time before this he had painted one of John Quincy Adams, in whose diary, under date of September 19, 1818, occurs the following entry: "I sat to Stuart before and after breakfast, and found his conversation, as it had been at every sitting, very entertaining. His own figure is highly picturesque, with his dress always disordered, and taking snuff from a large, round tin wafer box, holding perhaps half a pound, which he must use up in a day." This habit of taking snuff was with Stuart inveterate. Indeed, as one of his biographers has said, " His snuff-boxwas as necessary to him as his palette and pencils, and always had a place on his easel." But although himself deriving comfort from the habit, he warned others against it, pronouncing it to be "vile, pernicious, and dirty," humorously pleading as an excuse for his own practice that he was "born in a snuff-mill." In 1825 Stuart's health began to fail. Symptoms of paralysis greatly de- pressed him, and although his mind remained clear and unimpaired to the last, his buoyant spirits deserted him, and it was only occasionally that flashes of the brilliant wit for which he had been famous were shown. In the spring of 1828 the gout, to which he had Ipng been a victim, attacked his chest and stomach; for three months he suffered acutely and bore the torture with fortitude. On July 9, 1828, as recorded in the original register of deaths in the city of Boston, the end came, and in the seventy-third year of his age Gilbert Stuart passed away, leaving his wife and three daughters to survive him. He was buried in the cemetery on Boston Common, where to-day a bronze tablet marks as nearly as can be determined the location of the vault. [29] 30 MASTERS IN ART THE following extract is from an obituary notice of Gilbert Stuart by Washington Allston, written on July 17, and published in the 'Boston Daily Advertiser' of July 22, 1828. GILBERT STUART was not only one of the first painters of his time, but must have been admitted, by all who had an opportunity of knowing him, to have been, even out of his art, an extraordinary man; one who would have found distinction easy in any other profession or walk of life. His mind was of a strong and original cast, his perceptions as clear as they were just, and in the power of illustration he has rarely been equaled. On almost every sub- ject, more especially on such as were connected with his art, his conversation was marked by wisdom and knowledge; while the uncommon precision and elegance of his language seemed ever to receive an additional grace from his manner, which was that of a well-bred gentleman. The narrations and anecdotes with which his knowledge of men and of the world had stored his memory, and which he often gave with great beauty and dramatic effect, were not unfrequently employed by Mr. Stuart in a way and with an address peculiar to himself. From this store it was his custom to draw largely while occupied with his sitters apparently for their amusement; but his object was rather, by thus banishing all restraint, to call forth, if possible, some involuntary traits of the natural character. But these glimpses of charac- ter, mixed as they are in all men with so much that belongs to their age and associates, would have been of little use to an ordinary observer; for the faculty of distinguishing between the accidental and the permanent, in other words, between the conventional expression which arises from manners and that more subtle indication of the individual mind, is indeed no common one; and by no one with whom we are acquainted was this faculty possessed in so re- markable a degree. It was this which enabled him to animate his canvas not with the appearance of mere general life, but with that peculiar distinctive life which separates the humblest individual from his kind. He seemed to dive into the thoughts of men, for they were made to rise and to speak on the surface. Were other evidences wanting, this talent alone were sufficient to es- tablish his claims as a man of genius, since it is the privilege of genius alone to measure at once the highest and the lowest. In his happier efforts, no one ever surpassed him in embodying (if we may so speak) these transient apparitions of the soul. In a word, Gilbert Stuart was, in its widest sense, a philosopher in his art; he thoroughly understood its principles, as his works bear witness whether as to the harmony of colors, or of lines, or of light and shadow showing that exquisite sense of a whole which only a man of genius can realize and em- body. . . . In the world of art Mr. Stuart has left a void that will not soon be filled. And well may his country say, "A great man has passed from amongst us." But Gilbert Stuart has bequeathed her what is paramount to power since no power can command it the rich inheritance of his fame. [30] ST U ART 31 &rt of Stuart SAMUEL ISHAM tuart A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH STUART /tPPLETON'S CYCLOPAEDIA OF AMERICAN BIOGRAPHY. Gilbert Stuart. New /A. York, 1887-1901 AVERY, S. P. Some Account of the " Gibbs-Channing" Por- trait of George Washington (privately printed). New York, 1900 BENJAMIN, S. G. W. Art in America. New York, 1880 BUXTON, H. J. W. English Painters; with a Chap- ter on American Painters by S. R. Koehler. New York, 1883 CAFFIN, C. H. Amer- ican Masters of Painting. New York, 1902 CONANT, S. S. Progress of the Fine Arts (in The First Century of the Republic). New York, 1876 COOK, C. Art and Artists of Our Time. New York [1888] DEXTER, A. < The Fine Arts' (in The Memorial History of Boston, edited by Justin Winsor). Boston, 1881 DUN LAP, W. History of the Rise and Progress of the Arts of Design in the United States. New York, 1834 HART, C. H. Gilbert Stuart (in Encyclopaedia Britannica). Edinburgh, 1 8 8 3 HART, C. H. Browere's Life Masks of Great Americans. New York, 1899 ISHAM, S. The History of American Painting. New York, 1905 LESTER, C. E. Artists of America. New York, 1846 MASON, G. C. The Life and Works of Gilbert Stuart. New York, 1879 MONKHOUSE, C. Gilbert Stuart (in Dictionary of National Biography). London, 1885- 1901 SHELDEN, G. W. American Painters. New York, 1879 TUCKERMAN, H. T. Book of the Artists. New York, 1867. MAGAZINE ARTICLES AMERICAN ART REVIEW, 1880: C. H. Hart; Mason's Life of Stuart. 1880: XX C. H. Hart,- The Stuart Exhibition at the Museum of Fine Arts, Boston ANGLO- SAXON REVIEW, 1899: L. Cust; Stuart's Portrait of Washington L'ART, 1876: W. J. Hoppin; Esquisse dune histoire de la peinture aux Etats-Unis ATLANTIC MONTHLY, 1868: J. Neal; Our Painters. 1888: W. H. Downes; Boston Painters and Paintings CATHOLIC WORLD, 1895: F. W. Sweet; An Artist Philosopher CENTURY, 1897, 1898, 1899, 1902: C. H. Hart; Gilbert Stuart's Portraits of Women. 1902, 1904: C. H. Hart; Gilbert Stuart's Portraits of Men THE CURIO, 1887: B. R. Belts; The Washington Portraits by Stuart HARPER'S MONTHLY, 1896: C. H. Hart; Stuart's Lansdowne Portrait of Washington .McCLURE's MAGAZINE, 1897: C. H. Hart; Life Portraits of George Washington. 1898: C. H. Hart; Life Portraits of Thomas Jefferson. 1903: W. H. Low; A Century of Painting in America NARRAGANSETT HISTORICAL REGISTER, 1882-83: The Gilbert Stewart House NEW ENGLAND MAGAZINE, 1894: W. H. Downes; Stuart's Portraits of Washington. 1895: W. H. Downes; Our Amer- ican Old Masters. 1905: M. S. Stimpson; Gilbert Stuart PUTNAM'S MONTHLY, 1855^ H. T. Tuckerman; Original Portraits of Washington SCRIBNER'S MONTHLY, 1876: J. Stuart; The Stuart Portraits of Washington. 1877: J. Stuart; The Youth of Gilbert Stuart, by His Daughter. 1877: J. Stuart; Anecdotes of Stuart. [42] Every woman of good taste and fine feelings demands a letter paper which shall represent her upon which to express her real thoughts to her friends. No woman of fineness can write well upon paper that is coarse, common or cheap looking. Eaton-Hurlbut Writing Papers are the best that are made, and three brands for particular women are Berkshire Linen Fabric, Highland and Twotone Linens, with their wide range of color, size and surface to suit the individual; they are the recognized standard of elegance. If you know a dealer who does not carry these papers, send us his name, and get our desk book, "The Gentle Art of Letter Writing," in return. EATON-HURLBUT PAPER CO. PlTTSFIELD, MASS. MASTERS IN ART MASTERS IN ART BACK NUMBERS AND BOUND VOLUMES 7i /TASTERS IN ART was established in January, 1900. As will be ^ r^M. seen from the following list of painters and sculptors covered by the first six years, the bound volumes form a fairly complete reference library of Art. The subjects, in the order of publication, are as follows: Volume I (1900) treats of Van Dyck, Titian, Velasquez, Holbein, Botticelli, Rembrandt, Reynolds, Millet, Giov. Bellini, Murillo, Hals, and Raphael. Volume II (1901) treats of Rubens, Da Vinci, Diirer, Michelangelo (Sculpture), Michelangelo (Painting), Corot, Burne-Jones, Ter Borch, Delia Robbia, Del Sarto, Gainsborough, and Correggio. Volume III (1902) treats of Phidias, Perugino, Holbein, Tintoretto, Pieter De Hooch, Nattier, Paul Potter, Giotto, Praxiteles, Hogarth, Tur- ner, and Luini. Volume IV (1903) treats of Romney, Fra Angelico, Watteau, Ra- phael's Frescos, Donatello, Gerard Dou, Carpaccio, Rosa Bonheur, Guido Reni, Puvis De Chavannes, Giorgione, and Rossetti. Volume V (1904) treats of Fra Bartolommeo, Greuze, Diirer' s En- gravings, Lotto, Landseer, Vermeer of Delft, Pintoricchio, The Brothers Van Eyck, Meissonier, Barye, Veronese, and Copley. Volume VI (1905) treats of Watts, Palma Vecchio, Madame Vigee Le Brun, Mantegna, Chardin, Benozzo Gozzoli, Jan Steen, Memling, Claude Lorrain, Verrocchio, Raeburn, Fra Filippo Lippi. Cloth Binding ^^ET The Cloth Binding is a brown art buckram, with heavy bevelled boards, side and back stamps in frosted and burnished gold, from designs by Mr. B. G. Goodhue, and gilt top. The Half-Morocco Binding is in green, with green and gold marbled paper sides and end papers, gold tooled back designed by Mr. B. G. Goodhue, and gilt top. In both styles of binding the forwarding is most thoroughly done, the front and bottom edges are untrimmed. PRICES All single numbers, except those of the current calendar year, are 20 cents each, postpaid, in the United States, Canada, and Mexico , 25 cents each, postpaid, to foreign countries in the postal \inion. Single numbers of the current year are 15 cents. No reduction when yearly vol- umes or complete sets are ordered. Bound volumes are $3.75 each for cloth, $4.25 each for half-morocco, express prepaid. Terms tor purchasing the complete set on small monthly payments will be sent on request. Half- Morocco Binding BATES & GUILD COMPANY, PUBLISHERS 42 CHAUNCT STREET, BOSTON, MASSACHUSETTS In answering advertisements, please mention MASTERS IN ART MASTERS IN ART Interpretation of ijours By Mrs. Adeliza Brainerd Chaffee Second Edition, Illustrated, .paper covers, by mail, 50 cents. A limited edition of two hundred and fifty numbered copies, hand illumined, nineteen illustrations, beautifully bound, in a box, $10.00 Recent additions to the Raphael Prints from original views in Spain, Sicily, and Switzerland. Address, Cije Chaffee >tutito i HANCOCK STREET WORCESTER, MASS. FINEST AND MOST DURABLE IMPORTED WORKS OF ART E HUNDRED THOUSAND direct reproductions from the original paintings and drawings by old and modern masters in the galleries of Amsterdam, Antwerp, Berlin, Dres- den, Florence, Haarlem, Hague, London, Ma- drid, Milan, Paris, St. Petersburg, Rome, Venice, Vienna, Windsor, and others. Special Terms to Schools. BRAUN, CLEMENT & CO. 256 Fifth Avenue, corner 28th Street NEW YORK CITY Forelectric light, meet all requirements for lighting pictures. Every owner of fine paintings could use one or more of these portable reflectors to advantage. The fact that so many have ordered these outfits for their friends is proof that their merits are appreciated. Height, closed, 51 inches; extended, 81 inches. The light from the reflector can be directed at any picture in the room and at any angle. Frink'sPortablePictureReflector with Telescope Standard No. 7034, brass, polished or antique, with plug and socket for electric lamp .... ... $27.50 No. 7035, black iron, -with plug and socket for electric lamp . . $16.50 These special Reflectors are used by all the picture-dealers in New York, and by private collectors not only in this country, but in Pans, Londpn, Berlin, and other cities. When ordering, kindly mention the system of electricity used. Satisfaction guaranteed. Parlies order- ing these Reflectors need not hesitate Nos. 7034, 7035 to return them at our expense if not Pat. Dec. 14, '97 found satisfactory. I. P. FRINK, 551 Pearl St., New York City GEO. FRINK SPENCER, Manager Telephone, 860 Franklin ARE You BUILDING A COUNTRY HOUSE OR Do You OWN ONE? In either case the following books will interest you. AMERICAN COUNTRY HOUSES Comprising the material gathered for a recent special num- ber of 'THE AKCHITECTURAL REVIEW the leading architectural paper of America and showing, by 325 pho- tographic illustrations and plans, the exteriors and interiors of the best country houses of moderate cost built in this country during the last few years by architects of the high- est standing. With full descriptive text. Price, bound, $3.00, postpaid. STABLES A work of similar character to the above, showing by over 650 illustrations the exteriors, plans, and interiors of stables of every size and arrangement, with articles by experts on stable planning, construction, hygiene, farm buildings, etc. Price, bound, $3.00, postpaid. AMERICAN GARDENS The only volume existing which shows what is possible in garden-making under American conditions of climate and Special illustrated and descriptive circufars concerning each of the above books on application. BATES & GUILD COMPANY PUBLISHERS 42 CHATTNCT ST., BOSTON, MASS. In answering advertisements, please mention MASTERS IN ART MASTERS IN ART Wanted ! Capable Solicitors TO SECURE SUBSCRIPTIONS AND ORDERS FOR BACK VOLUMES OF in WE want only those who will devote time and energy to the work, and preferably those possessing enough knowledge of the great painters to talk intelligently about the publication. To the right persons we will make liberal offers and give territory. Write, stating qualifications and giving references. Bates & Guild Co., 42 Chauncy St., Boston THE SPECIAL WINTER NUMBER OF THE INTERNATIONAL STUDIO THE MANSIONS OF ENGLAND IN THE OLDEN TIME. By Joseph Nash THIS WORK is probably the most valuable and interesting work which has ever appeared upon English architecture. It is valuable to the student of architecture on account of the elaborate de- tail which Mr. Nash so carefully introduced into his drawings; it is valuable to the decorator and designer of furniture, because of the beautiful examples shown in the interiors; it is valuable to the general art-loving public, not only on account of its many suggestions for the arrangement of rooms, but also by reason of the beauty of the drawings themselves. Dealing, as it does, with the most perfect form of English domestic architecture in the past, the value of the book as a work of reference is unparalleled. Mr. Joseph Nash, who spent many years in its preparation, was a consummate draughtsman and a true artist. The very high price which the orig- inal edition of the work now commands is in itself a recommendation of its intrinsic value. Facsimile reproductions (although reduced in size) of each of the 104 plates comprised in the original edition, which appeared in four folio volumes at intervals from 1839 to 1849, will be printed, as were those of the orig inal edition, in two printings. An introductory chapter will be contributed by Mr. C. Harrison Townsend, F.R.I. B. A. PRICE: In Paper Cover, $2.00 net; postage, 32 cents In Cloth, $3.00 net; postage, 35 cents JOHN LANE COMPANY, NEW YORK The Bodley Head V V 67 Fifth Avenue In answering advertisements, please mention MASTERS IN ART 14 DAY USE TON TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below or on the date to which renewed Renewed books are subject to immediate recall. - WniJ)$l\ KHC'D LD _ ** ** v\i*n UNIVERSITY OF CAUFORNIA LIBRARY BATES & GUfJJD COMPANY: PUBLICATIONS THIS WORK MIGHT, WITH JUSTICE, HAVE BEEN NAMED " COLONIAL FURNITURE," FOR IT ILLUSTRATES THE VERY EXAMPLES FROM WHICH OUR COLONIAL DESIGNERS COPIED English Household Furniture Georgian Period ^t 100 Plates |OR hundreds of years English private col- lectors have been acquiring the finest speci- mens of Georgian furniture, and recently more than a score of the most noted of them contributed their finest pieces to a loan exhibition at the South Kensington Museum. 348 specimens, the cream of the exhibition, were then photographed, and these photographs are excellently reproduced in this v work. It will be evident that the book presents the very finest examples of Georgian (or Colonial) furniture now existing. The /ariety of pieces shown is very great, and ranges from tne simplest to the most elaborately carved ; the photo- graphs have been made expressly for use, with visible scales ; the index gives complete descriptive details. The book is worth its price to any one who designs in the Colonial style because of its infinite suggestiveness for all kinds of decorative detail in that style, quite apart from the subject of furniture. In Portfolio, $10.00, Express Paid Bound $12,00, Express Paid UNIFORM IN SIZE AND GENERAL STYLE WITH "ENGLISH COUNTRY HOUSES," "ENGLISH COUNTRY CHURCHES" AND "MODERN FRENCH ARCHITECTURE." DESCRIPTIVE LIST OF PLATES SENT ON APPLICATION. 42 CHAUNCY STRE,E,T, BOSTON, MASS, In answering advertisements, please mention MATTERS IN ART ? I ft a Kverett Press