373 ' yV7 hUV c. J The University of the State of New York CATALOG OF WALL PICTURES LOAN COLLECTION of the Division of Visual Instruction nnc PAGE General announcement • • • • • \' " V " i""A ^ Comments on the study of reproductions of standard works ot art and schoolroom decoration Art as a field of study 5 The study of pictures 5 Schoolroom decoration ^ Bibliography. ;^- • • • i-- • • •,:;. fl Classification of j^aintero by nationahties 1 1 Classification of sculptors by nationalities I3 Classification of paintings according to nature of subject 13 Pictures appropriate for primary grades 17 Pictures appropriate for intermediate grades lo Pictures appropriate for high school grades 20 List of pictures in loan collection, with references Paintings (artists' names arranged in alphabetic order) 22 Greek and Roman sculpture 4^ Renaissance and modem sculpture 4^ Noted architecture and scenes Egypt 42 Greece 4^ Italy 43 Palestine 43 Great Britain 43 France 44 Portugal 44 Spain 44 United States 45 Portraits 45 Natural scenery 4^ > THE UNIVERSI-ri- ^ Of*, THeJ ^TAV^ '.t)K?^P W^. ^^^^ 1914 * V34r-Agi4-2000 (7-18526) VoJ" THE UNIVERSITY OF THE STATE OF NEW YORK Regents of the University With years when terms expire 1917 St Clair McKelway M.A. LL.D. D.C.L. L.H.D. Chancellor Brooklyn 1926 Pliny T. Sexton L'^^.B. LL.D. Vice Chancellor Palmyra 191 5 Albert Vander Vl .r M.D. M.A. Ph.D. LL.D. Albany 1922 Chester S. Lord M.A. LL.D. ----- New York 1918 William Nottingham M.A. Ph.D. LL.D. - - Syracuse 1921 Francis M. Carpenter ______ Mount Kisco 1923 Abram I. Elkus LL.B. D.C.L. ----- New York 1924 Adelbert Moot LL.D. -----__ Buffalo 1925 Charles B. Alexander M.A. LL.B. LL.D. Litt.D. ----------- Tuxedo 1919 John Moore ___----_-_ Elmira 1920 Andrew J. Shipman M.A. LL.B. LL.D. - - New York 19 16 Walter Guest Kellogg B.A ----- Ogdensburg President of the University and Commissioner of Education John H. Finley M.A. LL.D. L.H.D. Assistant Commissioners Augustus S. Downing M.A. L.H.D. LL.D. For Higher Education Charles F. Wheelock B.S. LL.D. For Secondary Education Thomas E. Finegan M.A. Pd.D. LL.D. For Elementary Education Director of State Library James L Wyer, Jr, M.L.S. Director of Science and S;ate Museum John M. Clarke Ph.D. D.Sc. LL.D. Chiefs of Divisions Administration, George M. Wiley M.A. Attendance, James D. Sullivan Educational Extension, William R. Watson B.S. Examinations, Harlan H. Horner B.A. History, James A. Holden B.A. Inspections, Frank H. Wood M.A. Law, Frank B. Gilbert B.A. Library School, Frank K. Walter M.A. M.L.S. Public Records, Thomas C. Quinn School Libraries, •^hERM'Aikf WjiCi^MS Pd.D. Statistics, Hiram t.^ Cas'e * '' * " ^^ Visual Instruciipi^;A^>]jBD?W:^4>pR^^ Ph.B. Vocational Schools, Arthur '£).D'ean D.Sc. » • » * ANNOUNCEMENT With the pubHcation of this catalog,. the Division of Visual In- struction announces the resumption of ti.^ lending of wall pictures, which was interrupted three years ago because of the losses result- ing from the Capitol fire of 191 1. The University first undertook such a means of encouraging art education as early as 1896. The benefits that have been derived from this form of State aid are shown in part by the numerous excellent photographic reproductions of the world's great paintings, sculpture and architecture now to be seen in most of the secondary schools of the State. Doubtless the influence of the collection might be traced also to many homes where house decoration has come to show a more refined taste, and likewise to the keener appreciation and enjoyment of beauty by many individuals who within the past eighteen years have had an opportunity thus to become familiar with a certain number of the works of noted artists through such reproductions. The present loan collection is necessarily incomplete, but is fairly representative of dififerent classes of subjects and schools of artists. It is smaller than the former collection, but on the whole much better in quality and more varied in subjects. Since the first pur- chases were made, nearly twenty years ago, the number of works offered in good reproductions has been extended to a wider range of subjects and a higher standard of excellence has been established for the collection as well as for the schools. The whole number of pictures nOw in the collection is 555 ; the number of subjects represented is 285. As there are nearly 1000 high schools and about 10,500 common district schools in this State entitled to borrow, it is apparent that the collection can not serve the purpose of supplying all these schools continuously with wall pictures ; nor should this be the purpose of the collection. Observation tells us that in most cases a school is not disposed to rely altogether upon the State collection. When a temporary loan has been recalled, the pictures are missed to such an extent that the school finds some means of securing for its permanent possession equally good ones with which to decorate what would otherwise be unattractive walls. The loan collection first of all stimulates an interest in a refined decoration of schoolrooms ; in the second place, it does something to familiarize the schools with pleasing and appropriate subjects; a0fiQQ2 and third, it establishes a standard of excellence in quality for the guidance of those about to purchase. The list here given should not, however, be regarded quite as a recommended list. Many other subjects would be added if funds permitted. A few would not be purchased again. Certain of the publications listed are not of the best quality, but were already in the collection and may be of too much service to warrant dis- carding them. In some cases the framing is not entirely satisfac- tory. Yet on the whole the collection is a superior one, and a school about to make purchases will, it is hoped, find helpful suggestions in the list and in the pictures themselves. In acting upon applications for loans, the aim hereafter will be perhaps even more than formerly to judge as well as possible the opportunity there is of influencing through the loan the action of the community in the matter of providing permanently for more pleasing, tastefully decorated schoolrooms, corridors and grounds. Along with the benefits of this loan collection are to be counted those growing out of the careful work of the Division in passing upon applications for the approval of reproductions of standard works of art as the basis of an apportionment of State money to cover one-half the cost of such reproductions. The loan collection and these apportionments must be made so far as possible to work together. From $15,000 to $18,000 worth of wall pictures are being approved each year and the amount is Hkely to be increased. By a recent modification of the statute governing apportionments from the academic fund, a common district school may receive aid in providing good reproductions of standard works of art. Such a school may also share in the benefits of the loan collection. For regulations governing loans and also apportionments of money, see the latest edition of Handbook 31. A. W. Abrams, Chief, Division of Visual Instruction Albany, N. Y ., August 10, IQ14 THE STUDY OF REPRODUCTIONS OF STANDARD WORKS OF ART AND SCHOOLROOM DECORATION Art as a field of study. Art is one of the large fields of study. It easily takes rank with literature. Knowledge of Rembrandt, Michelangelo and St Gaudens is as much an evidence of culture as knowledge of Shakspere, Dante and Bryant. The ability to appreciate good painting, sculpture or architecture affords as much genuine satisfaction as the ability to read poetry, fiction or drama. The school may as properly encourage and aid the study of one as of the other. Thirty years ago the subject of drawing began to be somewhat generally introduced into the schools of New York State. At first it was confined largely to a study of type solids and drawing from copies, but the scope of the course has been steadily enlarged in the direction of art appreciation and practical design. In literature the emphasis has of late been placed upon the importance of making pupils familiar with representative literary works through appreciative reading of them. So in art there is need of more study of the world's great examples of created beauty in form, color and design. For most persons, study with a view to an appreciation of art is worth more than efforts to produce. It is now possible through excellent photographic reproductions to teach art to classes in the elementary and secondary schools. Good schoolroom decoration is one of the direct means of doing this, and boards of education should be as prompt and earnest in making schoolrooms pleasing in appearance and in decorating them with good reproductions of standard works of art as in equipping laboratories and providing libraries. The study of pictures. Pupils should be trained to read pictures. Painting is a mode of expression ; the artist by means of paint and brush is telling a story, describing a scene or a person or presenting some thought or idea. Teachers should endeavor to interpret the picture. Pupils should describe what they see, noting details and discover- ing their' significance. How many persons have looked at the picture of the Gleaners, by Millet, a hundred times and yet could tell nothing more about it than that three peasant women are bend- ing over to pluck the stray stalks of grain. True, this is the dominant interest in the painting but the artist had a purpose in putting into his picture the busy scene in the background — the over- seer on horseback and many people at work. Even younger pupils should be trained to see all there is in a picture but should not attempt art criticism. They should associate with the picture its title and the artist's name. Of course it will be necessary in most cases for a teacher to make some explanations or give some facts that will add interest to a picture. For instance, children will enjoy the portrait of Baby Stuart as a picture of a baby in a queer cap and holding a ball but it will increase the interest if they are told that the picture is that of a baby called James who afterward became the King of England. In the intermediate grades something of the artist's life and character may be taught, particularly such facts as will contribute in any way to an understanding of the painting studied. For example, Landseer's love for animals; Reynold's fondness for little girls. Older pupils may profitably make a comparative study of the works of an artist or of different artists, note the common character- istics of the several works of an artist and the class of subjects painted, and become familiar with simple points of technic, illus- trating general principles of the school course in art. The aim in all this should be to arouse interest in art, to develop power to appreciate beauty and to establish the attitude of mental response to the many beautiful things that are daily presented to every person, whatever his walk in life may be. Some specific facts must be known, and there are many advantages in being able to state in well-chosen words what one sees in a work of art and why one enjoys it, but the essential thing is that one shall acquire the ability to appreciate for the sake of gratifying the higher feelings. What has been said above with special reference to painting applies in spirit also to sculpture, architecture and the applied arts. Schoolroom decoration. It is not enough to provide pictures for the schoolroom walls and to study them. The choice of them and their arrangement on the walls are also matters of importance in realizing their full educational value. The schoolroom wall should be considered as furnishing a problem in space division, and pictures should be placed on it with a proper regard for the principles that govern such composition. Some of the principles of art that should be applied to the selec- tion and placement of a picture for a given space are the following : fitness — the appropriateness of the picture in shape, size and char- acter ; harmony — a pleasing relation to its surroundings ; balance — a sense of equilibrium or repose ; variety — avoiding a monotonous or stiff arrangement. A picture should hang. It should have space all around it. Therefore it should not rest upon the blackboard or other object. But it should not be so high as to appear " skied." Pictures on the school wall should not appear crowded, that is, they should not be too large for the spaces in which they hang nor placed too close to one another. On the other hand, a small picture on a large space is not at all satisfactory. The character of the picture, the distance at which it is generally seen, the height of the ceiling and the available space for pictures must all be determining factors in the placing of pictures. Pictures that have large masses and strong outlines, that is, good " carrying " power, may be placed higher than pictures with small figures, fine detail or weak lines. Pictures of the latter type should so far as possible be hung where they will generally be viewed at close range. The division will be more pleasing if the spaces above and below the picture are unequal. Pictures should not always be centered from left to right. If one end of the space is dark, as in a poorly lighted corner of a room, it is better to place the picture in the center of the well- lighted part. In determining the position for a picture, try it at different heights and in different places until the right spot seems to have been found. It is said that Whistler, when placing in a painting the butterfly used as a monogram, would try it in many different positions, erasing it each time, until he found the exact spot where it would best fit into the composition. A picture should be hung by two wires, for the vertical lines thus formed are more in harmony with the lines of a room and are less conspicuous than the lines of a wire converging at or near the ceiling. Furthermore the picture is more secure and less likely to slip and hang crooked. Avoid putting the screw eyes too low, for the picture will then tip forward at too great an angle. The screw eyes should not be more than one-third of the distance from the top and probably as a rule not so low as that. A picture, unless hung rather high and seen at close range, should tip out only very little at the top. As a teacher begins to provide good reproductions of works of artistic merit, the cheap, taudry pictures and other worthless objects 8 that have found their way into the schoolroom from time to time will be removed and the character of the room will be entirely changed. An orderly arrangement of whatever is in the room is an essential element in good decoration. No teacher can consistently conduct exercises in drawing, involving studies in balance, harmony and rhythm, in a schoolroom whose very walls are constantly a gross violation of the principles to be taught. Instruction under such conditions must be regarded as merely formal and without pur- pose or appreciation. BIBLIOGRAPHY This is not a full and comprehensive bibliography, having been prepared chiefly for the guidance of those who are unable to devote a large, amount of time to the study of art. It will be noted that a considerable number of the books included are elementary in character. For a general study and appreciation of art principles: Page references have not been given to any of the books in this section of the bibliography. Beale, S. Sophia. The Amateur's Guide to Architecture. John Grant, Edinburgh Branch, Elizabeth Garrabrant. Illustrated Exercises in Design. The Prang Company Browne, Edith A. Great Buildings and How to Enjoy Them: Gothic Architecture. Adam and Charles Black Greek Architecture. Adam and Charles Black Caffin, Charles H. A Child's Guide to Pictures. The Baker & Taylor Company How to Study Pictures. The Century Co. Cox, Kenyon. The Classic Point of View. Charles Scribner's Sons Emery, M. S. How to Enjoy Pictures. Prang Educational Co. Hartmann, Sadakichi (Sidney Allan, pseud.) Landscape and Figure Composition. The Baker & Taylor Company Hoyt, Deristhe L. The World's Painters and Their Pictures. Ginn & Company Concise characterization of painters and their works. Gives meaning of technical terms, symbols used in devotional art, etc. Poore, H. R. Pictorial Composition and the Critical Judgment of Pictures. The Baker & Taylor Company Sturgis, Russell. The Appreciation of Pictures. The Baker & Taylor Company The Appreciation of Sculpture. The Baker & Taylor Company How" to Judge Architecture. The Baker & Taylor Company Van Dyke, John C. Art for Art's Sake. Charles Scribner's Sons How to Judge of a Picture. Methodist Book Concern The Meaning of Pictures. Charles Scribner's Sons Studies in Pictures. Charles Scribner's Sons Wallis, Frank E. How to Know Architecture. Harper & Bros. Witt, Robert Clermont. How to Look at Pictures. George Bell & Sons, London For the study of particular works of art and accounts of particular artists: Addison, Julia de Wolf. The Boston Museum of Fine Arts. L. C. Page & Co. Barstow, Charles L. Famous Pictures. The Century Co. For young people. Descriptions of famous pictures, anecdotes of artists' lives, chronological table of painters, glossary of technical terms. Baxter, Sylvester. The Legend of the Holy Grail as Set Forth in the Frieze Painted by Edwin A. Abbey. Curtis & Cameron Bryant, Lorinda Munson. What Pictures to See in Europe in One Summer. John Lane Company Caffin, Charles H. American Masters of Painting. Doubleday, Page & Co. * The Story of American Painting. Frederick A. Stokes Company f The Story of French Painting. The Century Co. Chesneau, Ernest. The English School of Painting. Cassell & Co., London Clement, Clara Erskine (Mrs Waters). A Handbook of Christian Symbols and Stories of the Saints as Illustrated in Art. Hough- ton Mififlin Company Cox, Kenyon. Old Masters and New. Fox, Duffield & Co. Eaton, D. Cady. A Handbook of Modern French Painting. Dodd, Mead & Co. Garesche, Marie R. Art of the Ages. The Prang Company Gardner, Ernest Arthur. A Handbook of Greek Sculpture. The Macmillan Co. lO Greenslet, Ferris. The Quest of the Holy Grail. Curtis & Cam- eron Hartmann, Sadakichi. (Sidney Allan, pseud.) A History of American Art. 2 v. L. C. Page & Co. Hurll, Estelle M. Greek Sculpture. Houghton Mifflin Co. Riv- erside Art Series Landseer. Houghton Mifflin Co. Michelangelo. Houghton Mifflin Co. Jean Frangois Millet. Houghton Mifflin Co. Murillo. Houghton Mifflin Co. Raphael. Houghton Mifflin Co. Rembrandt. Houghton Mifflin Co. Sir Joshua Reynolds. Houghton Mifflin Co. Titian. Houghton Mifflin Co. Van Dyck. Houghton Mifflin Co. Isham, Samuel. History of American Painting. The Macmillan Co. King, Pauline. American Mural Painting. Noyes, Piatt & Com- pany Kugler, Franz Theodor. The German, Flemish and Dutch Schools of Painting. 2 v. John Murray * The Italian Schools of Painting. 2 v. John Murray McSpadden, J. Walker. Famous Painters of America. Thomas G. Crowell & Co. Michigan State Library. Biographical Sketches of American Artists Includes practically all the American artists represented in this collection and is particularly valuable for the study of some of our living artists. It contains a list of periodical references. Monkhouse, Cosmo. British Contemporary Artists. William Heinemann Muther, Richard. The History of Modern Painting. 4 v. E. P. Button & Co. Potter, Mary Knight. The Art of the Louvre. L. C. Page & Co. PubUc Library of the City of Boston. Description of the Mural Decoration Handbook. Curtis & Cameron Pythian, J. E. Fifty Years of Modern Painting: — Corot to Sar- gent. E. P. Dutton and Company Rooses, Max. Dutch Painters of the 19th Century. 4 v. S. Low, Marston & Co. II Singleton, Esther, ed. Famous Paintings as Seen and Described by Famous Writers. Dodd, Mead & Co. Famous Sculpture. Dodd,Mead & Co. * Great Pictures. Dodd, Mead & Co. t Modern Paintings. Dodd, Mead & Co. Small, Herbert, cornp. Handbook of the New Library of Congress. Curtis & Cameron Stranahan, C. H. A History of French Painting. Charles Scrib- ner's Sons Taft, Lorado. A History of American Sculpture. The Macmillan Co. Tarbell, F. B. A History of Greek Art. The Macmillan Co. Tytler, Sarah, pseud, of Henrietta Keddie. Modern Painters and Their Paintings. Little, Brown and Co. Van Dyke, John C. & Cole, Timothy. Old Dutch and Flemish Masters. The Century Co. *Van Dyke, John C, ed. Modern French Masters. The Century Co. Wilson, L. L. W. Picture Study in Elementary Schools. The Macmillan Co. Pt I : primary grades *Pt 2 : grammar grades Periodicals Masters in Art. 1900-9. No longer published The School Arts Magazine, Boston, Mass. CLASSIFICATION OF PAINTERS ACCORDING TO NATIONALITIES American Abbey, Edwin Austin Alexander, John W. Brush, George de Forest Church, Frederick Edwin Couse, E. Irving Davis, Charles H. Farny, Henry F. (born in Alsace) Gardner, Elizabeth (Madame Wil- liam A Bouguereau) Hitchcock, George Homer, Winslow Hunt, William Morris Inman, Henry. See p. 45 Inness, George Leutze, Emanuel (born in Germany) Martin, Homer D. Remington, Frederic Rosenthal, Toby Edward Sargent, John Singleton Simmons, Edward Stuart, Gilbert. See p. 46 Sully, Thomas (born in England) Taylor, William Ladd Thayer, Abbot H. Trumbull, John Vedder, Elihu Walden, Lionel Whistler, James Abbott McNeill 12 Artz, David Adolphe Constant Hals, Frans Hobbema, Meindert Hooch, Pieter de Israels, Josef Mauve, Anton Dutch Mesdag, Henry William Ostade, Isaac van Pieters, Evert Potter, Paul Rembrandt van Ryn Ruysdael, Jacob van English Alma-Tadema, Sir Laurens (born in Leader, Benjamin William Holland) Boughton, George Henry Burne-Jones, Sir Edward Constable, John Dicksee, Margaret Isabel Gainsborough, Thomas Gow, Andrew C. Holiday, Henry Kemp-Welch, Lucy Elizabeth Landseer, Sir Edwin Henry Rubens, Peter Paul Leighton, Lord Frederic Leighton, E. Blair Millais, Sir John Everett Moore, Henry Reynolds, Sir Joshua Rosetti, Dante Gabriel Turner, Joseph Mallord William Waterlow, Sir Ernest Albert Watts, George Frederick Flemish Van Dyck, Anthony Adan, Louis fimile Bastien-Lepage, Jules Bonheur, (Marie) Rosa Breton, Jules (Adolphe Aime Louis) Corot, Jean Baptiste Camille Dagnan-Bouveret, Pascal Adolphe Jean David, Jacques Louis Detaille, Jean Baptiste Edward Dupre, Jules Dupre, Julien Flandrin, Hippolyte German French Greuze, Jean Baptiste Jacque, Charles fimile LeBrun, Madame Elizabeth Louise Vigee Lerolle, Henri Lhermitte, Leon Augustin Van Marcke, fimile Millet, Jean Frangois Regnault, Alexandre Georges Renouf, fimile Troyon, Constant Achenbach, Oswald Barth, Ferdinand Hoecker, Paul Hofmann, Heinrich Kuhnert, Wilhelm Lauenstein, Heinrich Leistikow, W. Lins, A. Richter, Gustav Wagner, Alexander Italian Botticelli, Sandro (real name, Alles- Maccari, Cesare sandro di Mariano Filipepi) Carpaccio, Vittore Correggio (real name Antonio Alle gri) Guide Reni Leonardo da Vinci Michelangelo Buonarroti Palma Vecchio, Jacopo Perugino (real name. Pietro Vanucci) Raphael Sanzio Titian (real name, Tiziano Vecellio) 13 Murillo, Bartolome Esteban Spanish Velasquez, Don Diego Rodriguez de Silva SCULPTORS REPRESENTED French, Daniel Chester Donatello American St Gaudens, Augustus Danisjb Thorwaldsen, Albert Bertel French Chapu, Henri Michel German Vischer, Peter Italian Michelangelo Buonarroti CLASSIFICATION OF PAINTINGS ACCORDING TO THE NATURE OF THE SUBJECT Figures, single and group Barth Choosing the Caskets Bastien-Lepage Joan of Arc Botticelli Allegory of Spring Botticelli Madonna, two paintings Breton The Gleaner Breton Song of the Lark Brush Mother and Child Burne-Jones Golden Stairs Burne-Jones Hope Carpaccio Angel Playing the Lute Correggio Marriage of St Catherine Couse Taos Indian Dagnan-Bouveret Madonna of the Arbor Dicksee The Child Handel Dicksee A Sacrifice of Vanities Dicksee Swift and Stella Flandrin Youth Gardner Two FamiHes Greuze Broken Pitcher Guido Reni St Michael and the Dragon Hals The Laughing Cavalier Hofmann Christ in the Temple Holiday Dante and Beatrice 14 Figures, single and group — continued Hunt The Belated Kid Lauenstein Cradle Song Le Brun Portrait of Herself and Daughter (two paintings) Michelangelo Delphic Sibyl Michelangelo Libyan Sibyl Michelangelo Prophet Jeremiah Millais Boyhood of Raleigh Millet Angelus Millet Feeding Her Birds Millet The Gleaners Millet Peasant Girl and Her Cow Millet Shepherdess (two paintings) Murillo (Six paintings) Palma Vecchio St Barbara Raphael (Seven paintings) Rembrandt The Syndics Remington Picture Writing Renouf Helping Hand Rosenthal Trial of Constance de Beverley Rossetti (Two paintings) Rubens Sons of the Artist Sargent Oyster Gatherers Simmons Justice Sully The Torn Hat Taylor The Children's Hour Taylor Hiawatha and Minnehaha Thayer Caritas Titian Flora Titian Virgin and Angels Vedder Cumaean Sibyl Velasquez Don Carlos (two paintings) Velasquez Forge of Vulcan Portraits David Napoleon Gainsborough (Two paintings) Leonardo da Vinci Mona Lisa Rembrandt Portrait of His Mother Rembrandt Portrait of Himself (two paintings) Reynolds (Six paintings) Richter Queen Louise Rubens Sons of the Artist Stuart George Washington Van Dyck (Three paintings) Van Dyck (after) Baby Stuart Whistler Portrait of the Artist's Mother Whistler Portrait of Carlyle 15 Genre Adan End of the Day Artz At Grandmother's Dupre, Julien The Balloon Hitchcock Flower Girl in Holland Homer All's Well Homer The Fog Warning Hooch A Dutch Living Room Israels Sailors of the Sea Israels A Toiler of the Sea Lhermitte Haymakers Lins Village Choir Millet Angelus Millet Feeding Her Birds Millet The Gleaners Millet Peasant Girl and Her Cow Millet Shepherdess (two paintings) Ostade The Village Inn Pieters Little Brother Landscape and scenery Church Niagara Falls Constable The Cornfield Corot (Seven paintings) Davis Evening Dupre, Jules Twilight Hobbema (Two paintings) Inness (Two paintings) Kuhnert Approaching Storm Leader (Three paintings) Leistikow Lake in the Woods Lerolle By the River Lerolle The Shepherdess Martin View on the Seine Millet Church at Greville Rembrandt The Mill Ruysdael (Three paintings) Animals Bonheur Deer in the Forest Bonheur Harvesting the Hay Bonheur Horse Fair Dupre, Julien The Runaway Cow Hoecker Girl with a Cat Hunt The Belated Kid Jacque In the Pasture Kemp-Welch Colt Hunting in the New Forest Landseer Dignity and Impudence i6 Animals — concluded Landseer Landseer Lerolle Marcke Mauve Mauve Potter Troyon Waterlow A Distinguished Member of the Humane Society Shoeing Shepherdess (Two paintings) Autumn Spring The Bull (Three paintings) The Nursery Homer Israels Mesdag Moore Renouf Turner Walden Marine Fog Warning Sailors of the Sea (Two paintings) Clearness after Rain Helping Hand The Fighting Temeraire Out for a Sail Boughton Detaille Gow Leutze Maccari Trumbull Historical Puritans Going to Church Soldier's Dream Washington's Farewell to the Army Washington Crossing the Delaware Cicero Denouncing Catiline Signing the Declaration of Independence Mythological and legendary Abbey Alma-Tadema Guido Reni Leighton, E. Blair Leighton, Lord Michelangelo Michelangelo Raphael Regnault Velasquez Vedder Watts Holy Grail pictures Reading from Homer Aurora The Age of Chivalry Captive Andromache Delphic Sibyl Libyan Sibyl School of Athens Automedon with the Horses of Achilles Forge of Vulcan Cumaean Sibyl Sir Galahad 17 ADAPTATION FOR PARTICULAR GRADES The following pictures in the collection are appropriate for use in the kindergarten and first three grades. Many of them are equally suitable for higher grades and some of them could be used with propriety in the high school. Artz Brush Carpaccio Couse Dagnan-Bouveret Dicksee Dicksee Dupre, Julien Gardner Hoecker Hooch Israels Landseer Landseer Lauenstein Le Brun Lins Millet Murillo Murillo Pieters Raphael Raphael Renouf Reynolds Reynolds Reynolds Reynolds Reynolds Reynolds Sully Taylor Thayer Troyon Van Dyck Van Dyck (after) Walden Waterlow At Grandmother's Mother and Child Angel Playing Lute Taos Indian Roastitig Corn Madonna of the Arbor The Child Handel A Sacrifice of Vanities The Escaped Cow Two Families Girl with a Cat A Dutch Living Room A Toiler of the Sea Dignity and Impudence A Distinguished Member of the Hu- mane Society Cradle Song Artist and Her Child (2) Village Choir Feeding Her Birds Children of the Shell Divine Shepherd Little Brother Madonna of the Chair Sistine Madonna Helping Hand Age of Innocence Angel Heads Lady Crewe Master Crewe Miss Bowles Strawberry Girl The Torn Hat The Children's Hour Caritas Return to the Farm Three Children of Charles I Baby Stuart Out for a Sail The Nursery i8 Pictures appropriate for grades 4-8. Those marked with an asterisk are probably less suitable for grades 4-6 than for the seventh and eighth grades and may also be used in the high school. ♦Abbey Adan Bonheur Bonheur Bonheur Botticelli Boughton Breton Breton ♦Burne-Jones Church Constable Corot *Correggio Davis *Detaille Dupre, Jules Dupre, Julien Dupre, Julien Farny Gainsborough Gow Greuze Guido Reni Hitchcock Hobbema Hofmann Homer Homer Hunt *Hunt Inness Inness Israels Jacque Kemp-Welch Kuhnert Lands eer Leader Lerolle Lerolle Leutze Lhermitte Van Marcke Paintings Holy Grail pictures End of the Day Deer in the Forest Hay-making in Auvergne The Horse Fair Madonna and Child with St John Puritans Going to Church The Gleaner Song of the Lark Golden Stairs Niagara Falls The Cornfield Landscapes Marriage of St Catherine Evening The Dream Twilight The Balloon Drinking Trough Song of the Talking Wire Blue Boy Washington's Farewell to His Generals The Broken Pitcher Aurora Flower Girl in Holland Watermill Christ in the Temple All's Well The Fog Warning The Belated Kid The Flight of Night Autumn Oaks Medfield Meadows Sailors of the Sea In the Pasture Colt Hunting in the New Forest Approaching Storm Shoeing Landscapes By the River Shepherdess Washington Crossing the Delaware Haymakers At the Water Gate 19 Paintings — continued Van Marcke Martin Mauve Mauve Mesdag Mesdag Millais Millet Millet Millet Millet Millet Moore Murillo Murillo Murillo Potter Raphael Raphael ♦Rembrandt Remington Rubens Ruysdael Ruysdael Ruysdael *Sargent Sargent Taylor Troyon Troyon Trumbull ♦Turner Van Dyck Velasquez Velasquez Wagner Watts Golden Autumn Day View on the Seine Autumn Spring Night Return of the Fishing Boats Boyhood of Raleigh The Angelus The Gleaners Peasant Girl and Her Cow Shepherdess Shepherdess Knitting Clearness after Rain Holy Family Melon Eaters St John and the Lamb The Young Bull Madonna of the Fish Madonna of the Grand Duke The Mill Picture Writing Two Sons of the Artist A, Morass Landscape with Mill A Wooded Landscape with Waterfall Frieze of the Prophets Oyster Gatherers Hiawatha and Minnehaha October Wood Oxen Going to Labor Signing the Declaration of Independence Fighting Temeraire William H of Nassau Equestrian Portrait of Don Carlos Don Carlos in Hunting Costume Chariot Race Sir Galahad St Gaudens St Gaudens Vischer Sculpture ■ Lincoln Statue Shaw Memorial King Arthur Abbotsford Mount Vernon Stratford Views Shakspere House Buildings Anne Hathaway's Cottage Grand Canal Capitol, Washington 20 Natural scenery All of the views listed under this head Burroughs Lincoln Longfellow Marshall Portraits Scott Shakspere Washington Pictures especially appropriate for high school Achenbach Alexander Alexander Alma-Tadema Alma-Tadema Barth Bastien-Lepage Botticelli Botticelli Burne-Jones David Dicksee Flandrin Gainsborough Guido Reni Hals Hobbema Holiday Leighton, Lord Leighton, E. Blair Leistikow Leonardo da Vinci Maccari Michelangelo Michelangelo Michelangelo Millet Murillo Ostade Palma Vecchio Perugino Raphael Raphael Raphael Regnault Rembrandt Paintings On the Tiber Manuscript Book Isabella, or the Pot of Basil A Reading from Homer Spring Choosing the Caskets Joan of Arc Allegory of Spring Head of Madonna Hope Napoleon Crossing the Alps Swift and Stella Study — Youth Mrs Siddons Archangel Michel Laughing Cavalier The Avenue, Middelharnis Dante and Beatrice Captive Andromache Chivalry Lake in the Woods Mona Lisa Cicero Denouncing Catiline Delphic Sibyl Libyan Sibyl Prophet Jeremiah Church at Greville St Anthony of Padua Village Inn Santa Barbara Head of Madonna Archangel Michael Striking Satan to the Ground School of Athens Transfiguration Automedon with the Horses of Achilles Portrait of the Artist (2) 21 Paintings — continued Rembrandt Portrait of His Mother Rembrandt The Syndics Richter Queen Louise Rosenthal Trial of Constance de Beverley Rosetti The Blessed Damozel Rosetti Dante's Dream Simmons Justice Titian Flora Titian Virgin and Angels, detail of the As- sumption Van Dyck Charles I of England Vedder Cumaean Sibyl Vedder Samson Velasquez Forge of Vulcan Whistler Portrait of Carlyle Whistler The Artist's Mother Sculpture All the pictures of Greek and Roman sculpture Chapu Jeanne d'Arc Donatello French French Michelangelo Michelangelo Thorwaldsen St George Alice Freeman Palmer Memorial Alma Mater David Moses Lion of Lucerne Nearly all Buildings Bell Darwin Edison 'Faraday Portraits Humboldt Marconi Spencer Tennyson 22 LIST OF WALL PICTURES Unless otherwise specified, the frame is the same color as the print. The size of both the original painting and the reproduction listed is given in inches, the vertical dimension standing first. The size given for each picture in this loan collection includes the frame. PAINTINGS Edwin Austin Abbey (1852-1911) References: Caffin, p. .83-98; *Caffin, p. 190-97; Hartmann, v. 2, p. 108-9; Isham, p. 418-27, 547; McSpadden, p. 301-26 Quest of the Holy Grail, a series of 15 paintings on the wall of the delivery room of the public library of the city of Boston. The pictures are all eight feet high, but vary considerably in length. References: Baxter ; Description of Mural Decorations in the Boston Public Library, p. 9-16; Greenslet; Handbook of Boston Public Library, p. 41-46; King, p. 110-23; tSingleton, p. 265-71 The following panels are represented in this collection : (i) The Vision, (2) The Oath of Knighthood, (3) The Round Table of King Arthur, (4) The Departure, (5) The Castle of the Grail, (12) Galahad the Deliverer. Platinum prints of the first five panels, in gray, framed in black, 15 x 117 Platinum prints of the first four panels, in gray, framed in black, 14 x 72 Platinum print of The Oath of Knighthood, in sepia, 21 x 27 Sepia bromide print of The Oath of Knighthood, 31 x 41 Sepia bromide print of The Oath of Knighthood, 34 x 45 Platinum print of The Round Tab^e of King Arthur, in sepia, 23 x 54 Platinum print of Galahad the Deliverer, in sepia, 37 x 31 Oswald Achenbach (1827-1905) On the Tiber Color print, in brown frame, 30 x 38. Best when viewed at a distance. Louis Emile Adan (1839- ) End of the Day Brown carbon, 27 x 38 John W. Alexander (1856- ) References: Addison, p. 47; Hartmann, v. 2, p. 173-76; Isham, p. 526-29 Isabella, or the Pot of Basil. Size jsVa x ZSVa- Museum of Fine Arts, Boston Reference: School Arts, Sept. 1912, p. 23-26 Sepia bromide print, 44 x 24 Manuscript Book. The fifth panel of the series of the Evolution of the Book, in a tympanum. East Corridor, Library of Congress, Washington Reference: Small, p. 2)3 Sepia bromide, 30 x 46 23 Sir Laurens Alma-Tadema (1836-1912) References: Chesneau, p. 263-65; Monkhouse, p. 193-229; Muther, v. 3, p. 348-53; Pythian, p. 289-90; Rooses, v. 3, p. 141; fSingleton, p. 232-36; ♦Wilson, p. 119-22 A Reading from Homer. Owned by W. B. Elkins, Philadelphia Black and white photogravure, 24 x 40 Spring Brown carbon, 55 x 29 David Adolphe Constant Artz (1837- ) References: Muther, v. 4, p. 95 ; Rooses, v. 3, p. 139-54 At Grandmother's Brown photogravure, 26 x 20 Ferdinand Barth (1842- ) Choosing the Caskets (scene from The Merchant of Venice) Brown photogravure, 28 x 38 Jules Bastien-Lepage (1846-84) References: Eaton, p. 317-18; Masters in Art, Dec. 1908; Muther, v. 3, P- 255-70; Pythian, p. 194-95; tSingleton, p. 238-43; Stranahan, p. 466-71 ; *Van Dyke, p. 227-34; Wilson, p. 148-59 Joan of Arc. Size 98 x 109, date 1879. Metropolitan Museum of Art, New York Brown carbon, 31 x 34 (Marie) Rosa Bonheur (1822-99) References: Barstow, p. 65-73; Eaton, p. 230-32; Masters in Art, Aug. 1903; Muther, v. 2, p. 357-58; fSingleton. p. 169-74; Stranahan, p. 294-98; *Wilson, p. 137-42 Deer in the Forest — Twilight. Size 25^4x313^^, date 1883. Metropolitan Museum of Art, New York Brown carbon, 33 x 40I Green carbon, 22 x 27 Hay Making in Auvcrgne. Luxembourg Museum, Paris Brown carbon, 22 x 375 The Horse Fair. Oil painting, size 93J/2 x 197, date 1853-55. Metropolitan Museum, New York ; a replica in National Gallery, London (quarter the size of the original) ; two other replicas, one of which is in water colors Brown carbon, 24^ x 44, National Gallery, London Brown carbon, 24 x 43, Metropolitan Museum of Art, New York Sandro Botticelli (i447?-i5io) References: Bryant, p. 48-49; Kugler, p. 153-57; Masters in Art, May 1900; Potter, p. 50-53; *Singleton, p. 312-17; Wilson, p. 67-68 Allegory of Spring. Academy of Fine Arts, Florence, Italy Brown carbon, 26 x 37 24 Madonna and Child with St John. Size about zi x 27. Louvre, Paris Dark green carbon in black frame, 39 x 29^ Head of the Madonna. Detail of Madonna and Child, St John the Baptist and an Angel. Circular painting on wood, ZZ inches in diameter. National Gallery, London Brown carbon, 26x21 George Henry Boughton (i 834-1 905) References: Hartmann, v. 2, p. 211; Isham, p. 345; Muther, v. 3, p. 371-73 Puritans Going to Church. Size 28x51, date 1867. Picture Gallery, New York Public Library, New York Brown carbon, 27 x 44 Jules (Adolphe Aime Louis) Breton (1827-1906) References: Bryant, p. 148; Caffin, p. 339-40; Eaton, p. 251-53; Masters in Art, Oct. 1907; Muther, v. 2, p. 219-20; Stranahan, p. 382-86; Wilson, p. 202-5; *Wilson, p. 3-7 The Gleaner. Size about 72 x 36, date 1877. Luxembourg Museum, Paris Brown carbon, 38 x 42 The Song of the Lark. Size 44 x zzV^- The Art Institute, Chicago Brown carbon, 38 x 30^ George de Forest Brush (1855- ) References: Caffin, p. 129-40; *Caffin, p. 174-81; Hartmann, v. i, p. 262-71; Isham, p. 491-92; School Arts, Dec. 1912, p. 227-30 Mother and Child. A circular painting about 40 inches in diameter, date 1895. Museum of Fine Arts, Boston Brown carbon, framedjwith a mat,'26 x'26 Sir Edward Burne-Jones (1833-98) References: Cox, p. 176-82; Masters in Art, July 1901 ; Muther, v. 3, p. 176- 93; Pythian, p. 175-80; *Wilson, p. 124-26, 129 The Golden Stairs Reference: School Arts, April 1909, p. 795-800 Brown carbon, 39^ x 21 Hope Sepia bromide print, 76 x 32 Sepia bromide print, 70 x 30 Vittore Carpaccio (1450?-! 522?) References: Kugler, p. 319-23; Masters in Art, July 1903 Angel Playing Lute. Detail of Presentation of Jesus in the Temple. Academy of Fine Arts, Venice, Italy Brown carbon, 26 x 22 Brown photogravure, 26 x 22 ^5 Frederick Edwin Church (1826-1900) References: Hartmann, v. i, p. 70-74; Isham, p. 248-51; Tytler, p, 346-52 Niagara Falls (Horseshoe Fall from the Canadian shore near Table Rock). Size 42 X 89, date 1857. Corcoran Gallery of Art, Washington Green carbon, 26 x 46 John Constable (i 776-1837) References: Barstow, p. 83-88; Chesneau, p. 136-4S; Masters in Art, May 1906 The Cornfield, or Country Lane. Size 56 x 48, date 1826. National Gallery, London Brown carbon, 31 x 26. This picture should be seen at a distance. Jean Baptiste Camille Corot (i 796-1875) References: Barstow, p. 102-10; tCaffin, p. 131-36; Eaton, p. 145-48; Masters in Art, June 1901 ; Muther, v. 2, p. z^7-2,7) Potter, p. 339-44, 388-90; Stranahan, p. 234-41; *Van Dyke, p. 107-16; *Wilson, p. 154, 162-70 Castle Gondolfo. Louvre, Paris Brown carbon, 32 x 38 The Crossing Brown carbon, 28 x 37 Brown carbon, 18 x 24 Dance of the Nymphs — Morning. Size about 39x52, date 1850, Louvre, Paris Color print in green frame, 30 x'37 Brown carbon, 32 x 42 Brown carbon, 26 x 32 Brown carbon, 20 x 24 The Lake Brown carbon, 32 x 37 Around the Lake. Museum, Rheims, France Brown carbon, 38 x 30 • Spring, or The Lake. Size about 26 x 39. Louvre, Paris Reference: School Arts, May 1909, p. 915-19 Color print in green frame, 29 x]37 Brown carbon, 32 x 40 Brown carbon, 29 x 37 Brown carbon, 24 x 32 Dark gray green carbon in black frame, 29 x 38 Ville d'Avray Brown carbon, 25 x 31 Antonio AUegri, called Correggio (1494-1534) References: Barstow, p. 163-69; Bryant, p. 125-26; Clement, p. 7Z-7^\ Kugler, p. 626-37 ; Masters in Art, Dec. 1901 ; Potter, p. 257-58 Marriage of St Catherine. Size about 41 x 43. Louvre, Paris Brown carbon, 33 x 32 26 E. Irving Couse (1866- ) Taos Indian Roasting Corn Color print, in brown frame, 20 x 27 Pascal Adolphe Jean Dagnan-Bouveret (1852- ) References: Eaton, p. 320-21; Muther, v. 3, p. 281-84; *Van Dyke, p. 239-48; Wilson, p. 64-67 Madonna of the Arbor Brown carbon, 38 x 28 Jacques Louis David (i 748-1 825) References: tCaffin, p. 91-99; Muther, v. p. 102-12; Stranahan, p. 141-48 Napoleon Crossing the Alps. Date 1805. Museum, Versailles, France Brown carbon, 22 x 20 Charles J. Davis (1858- ) References: Hartmann, v. i, p. 86-90; Isham, p. 450 Evening. Size 38 x 57. Metropolitan Museum of Art, New York Brown carbon, 20 x 26 Jean Baptist Edward Detaille (1848- ) References: Bryant, p. 148; Eaton, p. 293-98; Muther, v. 2, p. 111-12; Stranahan, p. 445-47 The Soldier's Dream. Date 1888. Luxembourg Museum, Paris Gray bromide print, 37 x 47 Margaret Isabel Dicksee The Child Handel Brown carbon, 29 x 36 Dark brown photogravure, 23 x 28 Sacrifice of Vanities (Goldsmith's Vicar of Wakefield) Gray photogravure, 23 x 28 Swift and Stella Brown carbon, 29 x 36 Brown photogravure, 22 x 27 Jules Dupre (1811-89) References: Eaton, p. 155-56; Muther, v. 2, p. 337-40; Pythian, p. 64; Stranahan, p. 248-50 Twilight. Picture Gallery, Grand Chateau, Chantilly, France Brown carbon, 30 x 38 Julien Dupre (1851- ) Reference: Wilson, p. 26-28 The Balloon. Size 96 x 78, date 1886. Metropolitan Museum of Art, New York Brown carbon, 39 x 33 27 Drinking Trough Brown carbon, 30 x 37 The Runaway Cow. Luxembourg Museum, Paris Brovm carbon, 18 x 23 Henry F. Farny (1847- ) Song of the Talking Wire. Taft Collection, Cincinnati, O. An Indian wrapped in his blanket and with gun in his hand is standing with ear against a telegraph pole ; the ground is covered with snow. Gray photogravure, 17 x 26 Hippolyte Flandrin (1809-64) References: Eaton, p. 209-12; Muther, v. i, p. 258-59; Potter, p. 351; Stranahan, p 283-87 Study — Youth. Size 39 x 49. Louvre, Paris Near the sea on a rocky height a nude figure of a youth is seated with head resting on his knees and arms crossed around his legs. Especially appropriate for a drawing classroom. Brown carbon, i6 x 23 Thomas Gainsborough (1727-88) References: Bryant, p. 163-64, 172-72,; Chesneau, p. 31-40; Masters in Art, Nov. 1901 ; Muther, v. i, p. 24-27; Singleton, p. 150-56 The Blue Boy. The Grosvenor House, London Brown carbon, 38 x 28 Brown photogravure, 24 x 18 Mrs Siddons. Size 49^ x 39. National Gallery, London Brown carbon, 37 x 31 Elizabeth Gardner (1851- ) {wife of William A. Bouguereau) Two Families Brown carbon, 24 x 19 Andrew C. Gow (1848- ) Washington's Farewell to His Generals Dark brown photogravure, 26 x 42 Jean Baptiste Greuze (1725-1805) References: Eaton, p. 31-36; Masters in Art, Feb. 1904; Muther, v. i, p. 60- 63; Potter, p. 303; *Singleton, p. 280-81 The Broken Pitcher. Size 43x34 (oval). Louvre, Paris Brown carbon, with brown mat, 27 x 25 28 Guido Reni (i 575-1 642) ■References: Bryant, p. 23-25; Clement, p. 232-34; *Kugler, p. 660-64; Masters in Art, Sept. 1903 The Archangel Michel. Church of Santa Maria della Concezione, Rome Brown carbon, 38 x 28 Aurora. On the ceiling of a summer house in the garden of the Rospigliosi Palace, Rome References: *Singleton, p, 114-17; *Wilson, p. 186-90 Brown carbon, 34 x S3 Frans Hals (1584?-! 666) References: Cox, p. 104-14; Kugler, p. 350-54; Masters in Art, Nov. 1900; Van Dyke, p. 17-25 The Laughing Cavalier. Size ^z x 28. The Wallace Collection, London Brown photogravure, 31 x 26 George Hitchcock (1850- ) Reference: Hartmann, v. 2, p. 205-6 Flower Girl in Holland. Size 31 x s^Ya- The Art Institute, Chicago Brown carbon, 27 x 43 Meindert Hobbema (i 638-1 709) References: Bryant, p. 158-59; Kugler, p. 475-78; *Singleton, p. 88-92; Van Dyke, p. 131-34 The Avenue, Middelharnis, Holland. Size 40H x 55^^. National Gallery, London Brown carbon, 29 x 37 Brown carbon, 33 x 42 The Water Mill. Ryks Museum, Amsterdam Brown carbon, 40 x SS Brown carbon, 28 x 38 Paul Hoecker (1854- ) References: Muther, v. 4, p. 381 ; Wilson, p. 10 Girl with a Cat Blue carbon in black frame, 26 x 17 Heinrich Hofmann (1824- ) References: Bryant, p. 97-98; * Wilson, p. 62-64 Christ in the Temple. Picture Gallery, Dresden, Germany Brown carbon, 32 x 41 Brown carbon, 26 x 33 Henry Holiday (1839- ) Dante and Beatrice. Walker Art Gallery, Liverpool, Eng. Brown photogravure, 28]x 37 29 Winslow Homer (1836-1910) References: Addison, p. 38-39; Caffin, p. 71-80; *Caffin, p. 22)Z-Z7', Isham, P- 350-58; McSpadden, p. 169-89 AlFs Well. Size 39^x30, date 1896. Museum of Fine Arts,. Boston Brown carbon, 30 x 24 Qra-Y platinum print in black frame, 24 x 20 The Fog Warning. Size 30 1/16 x 48 3/16, date 1885. Museum of Fine Arts, Boston Green carbon, in black frame, 26 x 36 Brown carbon, 30 x 44 Pieter de Hooch (1632-81) References: Kugler, v. 2, p. 385-87; Masters in Art, May 1902 A Dutch Living-room. Picture Gallery, Emperor Frederick Museum, Berlin Brown carbon, 31 x 33 William Morris Hunt (1824-79) References: Addison, p. 28-36; Caffin, p. 125-34, 307-8; Hartmann, v. i, p. 166-73; Isham, p. 309-15; King, p. 41-54; Masters in Art, Aug. 1908 The Belated Kid. Size 54^4 x 38^. Museum of Fine Arts, Boston Brown carbon, 36 x 28 Flight of Night. Sketch (made for a fresco for one of the arches of the Assembly chamber of the New York State Capitol). Pennsylvania Academy of Fine Arts, Philadelphia Brown carbon, 30 x 44 Gray bromide print, in black frame, 30 x 42 George Inness (1825-94) References: Caffin, p. 3-15; *Caffin, p. 134-43; Hartmann, v. i, p. 94-100; Isham, p. 255-62; McSpadden, p. 11 1-39; Masters in Art, June 1908; Muther, v. 4, p. 314-16 Autumn Oaks. Size 20 x 29^. MetropoHtan Museum of Art, New York Brown carbon, 27 x 37 Medfield Meadows Sepia bromide print, 30 x 40 Josef Israels (1824-1911) References: Muther, v. 4, p. 84-94; Pythian, p. 238-41 ; Rooses, v. i, p. 83-99 Sailors of the Sea. The Art Institute, Chicago Brown carbon, 31 x 38 A Toiler of the Sea A fisherman with his two children, one on his arm, the other walking by his side. Brown photogravure, 26 x 20 30 Charles Emile Jacque (1813-94) References: Muther, v. 2, p. 359; Stranahan, p. 298-300 In the Pasture. Albright Gallery, Buffalo, N. Y. Brown carbon, 31 x 43 Lucy Elizabeth Kemp-Welch (1869- ) Colt Hunting in the New Forest Brown photogravure, 23 x 39 Wilhelm Kuhnert Approaching Storm Brown photogravure, 25 x 37 Sir Edwin Henry Landseer (1802-73) References: Barstow, p. 58-65; Bryant, p. 165-66; Chesneau, p. 97-101, Hurll; Muther, v. 2, p. 69-75 Dignity and Impudence. Size, 35]^2 x 273^. National Gallery, London Brown carbon, 33 x 26 Gray photogravure, 27 x 23 A Distinguished Member of the Humane Society. Size 42^^ x 55. National Gallery of British Art (Tate Gallery), London Brown carbon, 27 x 33 ■Shoeing the Bay Mare. Size 56 x 44. National Gallery, London Brown carbon, 41 x 33 Heinrich Lauenstein (1855- ) The Cradle Song. Size 2o>^ x 66j^, date 1888. Drexel Institute of Art, Philadelphia Brown carbon, 27 x 43 Benjamin William Leader (1831- ) Eventide Gray photogravure, 23 x 34 Silent Evening Hour Brown photogravure, 26 x 37 Solitude Brown photogravure, 29 x 25 Madame Elizabeth Louise Vigee LeBrun (i 755-1842) References: Bryant, p. 131-32; Eaton, p. 45-47; Masters in Art, March 1905; Potter, p. 315-16; Stranahan, p. 120-21; Wilson, p. :^-y Madame LeBrun and Her Daughter. Size about 48 x 36 Louvre. Paris Brown carbon, 38 x 30 Madame LeBrun (with turban) and Her Daughter. Size 41 x 34. Louvre, Paris Brown carbon, 31 x 37 31 Frederic, Lord Leighton (1830-96) References: Masters in Art, April 1908; Monkhouse, p 87-117; Muther, v. 3, p. 344-48; Tytler, p. 277-79 Captive Andromache. Size 76 x 160. Gallery, Manchester, Eng. Sepia photogravure, 24 x 42 Edmund Blair Leighton (1853- ) Chivalry: God Speed, The Accolade, Dedication, Vox Populi Four photogravures, in sepia, in one frame, 28 x 74 W. Leistikow (1865- ) Lake in the Woods Very dark green photogravure in black frame, 27 x 37 Leonardo da Vinci (1452-1519) References: Barstow, p. 135-46; Bryant, p. 122; *Kiigler, p. 394-409; Masters in Art, Feb. 1901 ; Potter, p. 245-46; School Arts, Oct. 1911, p. 134-41; *Singleton, p. 142-53; *Wilson, p. 73-80 Mona Lisa. Size about 30x21. Louvre, Paris Brown carbon, 36 x 26 Henri Lerolle (1848- ) References: Addison, p. 108; Eaton, p. 319; Stranahan, p. 390; Wilson, p. 42-44 By the River. Museum of Fine Arts, Boston Brown carbon, 2,2, x 23 Shepherdess, also called In the Country. Luxembourg Museum, Paris Brown carbon, 27 x 38 Emanuel Leutze (1816-68) References: *Caffin, p. 105-6; Hartmann, v. i, p. 142-45; Isham, p. 292-96; Muther, v. 4, p. 288 Washington Crossing the Delaware. Size 147x252, date 1851. Metropoli- tan Museum of Art, New York Brown carbon, 27 x 41 Leon Augustin Lhermitte (1844- ) References: Eaton, p. 311-12; Muther. v. 3, p. 270; Stranahan, p. 389-90 The Haymakers, or Resting from Work Brown carbon, 30 x 37 A. Lins The Village Choir Six children and a few geese form the choir. They are parading in a village street. Brown carbon, 21 x 28 32 Cesare Maccari (1840- . ) Cicero Denouncing Catiline. Fresco in the reception room of the Palazzo del Senato, Rome Brown carbon, 36 x 60 Emile Van Marcke (1827-91) References: Muther, v. 2, p. 358; Stranahan, p. 301-2 At the Water Gate. Layton Art Gallery, Milwaukee, Wis. Brown carbon, framed close, 23 x 28 Brown carbon, framed with margin, 27 x 33 Gray platintmi print, in black frame, 20 x 24 Golden Autumn Day. Size 2,^Ys> x 22^. The Art Institute, Chicago Brown carbon, 25 x 19 Homer D. Martin (1836-97) References: Caffin, p. 115-26; *Caffin, p. 203-13; Isham, p. 262-65 View on the Seine. Size 28^^x40; date 1895. Metropolitan Museum of Art, New York Brown carbon, 29 x 37 Anton Mauve (1838-88) References: Muther, v. 4, p. loi ; Pythian, p. 241-42; Rooses, v. 3, p. SSS Autumn. Size 25H x 37. Metropolitan Museum of Art, New York Brown carbon, 30 x 42 Brown carbon, 25 x 34 Spring. Size 22 x 35. Metropolitan Museum of Art, New York Brown carbon, 28 x 41 Henry William Mesdag (i 831-1902) References: Muther, v. 4, p. 101-2; Rooses, v. 2, p. 35-58 Night Fishing boats at sea, the moon breaking through heavy clouds. Brown carbon, 38 x 32 Return of the Fishing Boats Brown carbon, 24 x 20 Michelangelo Buonarroti (1475-1564) References: Barstow, p. 179-89; Bryant, p. 11 ; Cox, p. 18-47; Hurll; *Kugler, p. 429-42; *Wilson, p. 80-87 The Delphic Sibyl. One of the figures painted on ceiling of the Sistine Chapel. Vatican, Rome Brown carbon, 43 x 33 Brown carbon, 38 x 32 Brown carbon, 27 x 21 Libyan Sibyl. One of the figures painted on the ceiling of the Sistine Chapel. Vatican, Rome Brown carbon, 49 x 41 Brown carbon, 27 x 21 33 The Prophet Jeremiah. One of the figures painted on the ceiling of the Sistine Chapel. Vatican, Rome Brown carbon, 38 x 32 Sir John Everett Millais (1829-96) References: Cox, p. 165-75; Monkhouse, p. 47-82; Muther, v. 3, p. 21-36 The Boyhood of Raleigh. Size 47^ x 56, date 1870. National Gallery of British Art (Tate Gallery), London Brown carbon, 28 x 32 Jean Frangois Millet (1814-75) References: Addison, p. 97-99; Barstow, p. 215-19; Eaton, p. i6s-yy\ Hurll ; Masters in Art, Aug. 1900 ; Muther, v. 2, p. 360-88 ; Potter, p. 355- 60; tSingleton, p. 68-76; Stranahan, p. 364-75; *Van Dyke, p. 179-95; Wilson, p. 29-36, 134; *Wilson, p. 30-37, 106-9 The Angelus. Size 21 x 25, date 1859. Louvre, Paris Brown carbon, 29 x 33 (practically the same size as the original painting) The Church at Greville. Size about 235^x29; begun in 1871, unfinished. Louvre, Paris Brown photogravure, 21 x 25 Feeding Her Birds, or La Becquee. Picture Gallery, Lille, France Brown carbon, 37 x 31 The Gleaners. Size about 35x62^. Louvre, Paris Brown carbon, 32 x 42 Peasant Girl and Her Cow Brown carbon, 19 x 26 The Shepherdess. Size 63^x51^4- Museum of Fine Arts, Boston Sepia bromide print, 28 x 22 Shepherdess Knitting. Louvre, Paris Gray green carbon, 32 x 38 Henry Moore (1831- ) Reference: Muther, v. 3, p. 396 Clearness after Rain (a marine painting) Green photogravure, 27 x 37 Bartolome Esteban Murillo (1617-82) References: Barstow, p. 41-42; Bryant, p. 79-80, 100- 1 ; Clement, p. 157-58; Hurll; Masters in Art, Oct. 1900; Potter, p. 134-35; Wilson, p. 238 Children of the Shell. Size 44^4 x 53^. Prado Museum, Madrid Brown carbon, 34 x 40 Brown carbon, 31 x 35 The Divine Shepherd. Prado Museum, Madrid Brown carbon,''37 x 31 34 Holy Family. Size about 96 x 75, date about 1670. Louvre, Paris References: Singleton, p. 41-46; *Wilson, p. 56-59 Brown carbon, 33 x 27 Melon Eaters. Old Pinakothek, Munich Brown carbon, 40 x 34 St Anthony of Padua with the Holy Child. Size 64 x yjY^. Picture Gal- lery, Emperor Frederick Museum, Berlin Brown carbon, 32 x 38 St John and the Lamb. Size 65 x 43. National Gallery, London Brown carbon, 42 x 30 Isaac Van Ostade (1621-49) Reference: Kugler, p. 421-23 The Village Inn Brown carbon, 35 x 31 Jacopo Palma, known as Palma Vecchio (i 480-1 528) References: Bryant, p. 67-68; Clement, p. 58-59; *Kugler, p. 563-^; Masters in Art, Feb. 1905; School Arts, Mar. 191 1, p. 541-44 Santa Barbara. Central panel of an altar piece. Church of Santa Maria Formosa, Venice, Italy Brown carbon, 34 x i8 Pietro Vanucci, called Perugino, (i 446-1 542) References: Cox, p. 11-17; *Kugler, p. 231-38 Head of Madonna, Detail of Madonna and Saints. Uffizi Gallery, Flor- ence, Italy Brown carbon, 20 x 24 Evert Pieters (1856- ) Little Brother Brown carbon, 26 x 20 Paul Potter (1625-54) References: Bryant, p. 1 16-17; Kugler, p. 435-40; Masters in Art, July 1902; Wilson, p. 208-13 The Young Bull. Size 90x118, date about 1646-47. Museum, Hague, Holland Brown carbon, 27 x 37 Raphael Sanzio (1483-1520) References: Hurll; *Kugler, p. 463-533; Masters in Art, Dec. 1900 Madonna della Sedia, or Madonna of the Chair. Size about 29 inches in diameter, date about 1516. Pitti Gallery, Florence, Italy References: Bryant, p. 40-42; School Arts, Feb. 191 1, p. 422; Singleton, p. 102-11 ; Wilson, p. 82-86 Brown carbon, framed with mat, 35 x 35 Brown carbon framed with mat, 32 x 32 35 Madonna of the Fish. The Prado, Madrid Reference: Clement, p. 154-56, 266-67, 299-303 Brown carbon, 38 x 30 Madonna of the Grand Duke. Pitti Palace, Florence, Italy Reference: Bryant, p. 42 Brown carbon, 38 x 28 Sistine Madonna. Size about 108x84, date about 1515. Picture Gallery, Dresden, Germany References: Barstow, p. 146-53; Bryant, p. 85-86; Clement, p. 58-59; School Arts, Dec. 1909, p. 321-28; ♦Singleton, p. 45-57; *Wilson, p. 88-93 Brown carbon, 43 x 34 Brown carbon, 35 x 27 The Archangel Michael Striking Satan to the Ground. Size 106x63, date 1 5 18. Louvre, Paris Reference: Bryant, p. 125; Clement, p. 232-34 Brown carbon, 26 x 18 School of Athens. Fresco painting. Stanza della Segnatura, Vatican, Rome ^rown carbon, 30 x 38 The Transfiguration. Size 177x109^; upper part in 1519, finished after his death. Picture Gallery, Vatican, Rome References: Bryant, p. 19-20; School Arts, Nov. 1910, p. 245-50; *Single- ton, p. 249-55 Brown carbon, 38 x 28 Alexandre Georges Henri Regnault (1843-71) References: Eaton, p. 280-82; Muther, v. i, p. 299-300; Stranahan, p. 321-25 Automedon with the Horses of Achilles. Size 124 x 129^^, date 1868. Museum of Fine Arts, Boston Brown carbon, 35 x 36 Rembrandt van Ryn (1607-69) References: Eaton, p. 280-82; Muther, v. i, p. 299-300; Stranahan, p. 321-25 in Art, June 1900; Van Dyke, p. 29-42 Portrait of Artist When about 28 Years of Age. Uffizi Gallery, Florence, Italy Reference: School Arts, Nov. 191 1, p. 235-39 Painting proof on canvas, 32 x 27 Portrait of the Artist When about 32 Years of Age. Size 39x31]^, date 1640. National Gallery, London Brown carbon, 37 x 31 The Mill. Collection of P. A. B. Widener, Philadelphia Reference: *Wilson, p. 175-81 Brown carbon, 32 x 38 Portrait of His Mother. The Hermitage, St Petersburg Brown carbon, 37 x 30 36 The Syndics of the Cloth Hall. Ryks Museum, Amsterdam Reference: Bryant, p. iii; Singleton, p. 282-89 Brown photogravure, 42 x S7 Brown carbon, 28 x 37 Frederic Remington (1861-1909) Reference: Isham, p. 501 Picture Writing Sepia bromide, 35 x 47 Emile Renouf (1845-94) References: Stranahan, p. 456; Wilson, p. 206 A Helping Hand. Size 60 x 98, date 1881. The Corcoran Gallery of Art, Washington Brown carbon, 25 x 34 Sir Joshua Reynolds (1723-92) References: Barstow, p. 47-50; Chesneau, p. 20-31; Kuril; Masters in Art, July 1900; Singleton, p. 290-93, 2,^3 The Age of Innocence. Size 30 x 25. National Gallery, London Reference: School Arts, Nov. 1910, p. 266-68 Brown carbon, 25 x 21 Heads of Angels. Size 295^ x 24^, date 1787. National Gallery, London Brown carbon, 23 x 20 Lady Crewe. Earl of Crewe Collection, London A little girl in a black cape and hood with a basket on her arm. Color print, 26 x 21 Master Crewe. Size 56x45. Earl of Crewe Collection, London A little boy in the costume of Henry VIII Color print, 26 x 21 Miss Bowles ("Love me, love my dog"). Size 35^x27^, date 1775. The Wallace Collection, London Brown photogravure, 31 x 26 The Strawberry Girl. Size 29^ x 24^. The Wallace Collection, London Brown photogravure, 30 x 25 Gustav Richter (1823-84) References: Muther, v. i, p. 333-34; Wilson, p. 145-46 Queen Louise. Wallraf-Richartz Museum, Cologne, Germany Dark brown photogravure, 42 x 29 Toby Edward Rosenthal (1848- ) Reference: Isham, p. 277-7^ Trial of Constance de Beverley (Scott's Marmion, canto II) Brown carbon, 28 x 41 37 Dante Gabriel Rossetti (1828-82) References: Chesneau, p. 227-29; Masters in Art, Dec. 1903; Muther, v. 3, p. 152-76 The Blessed Damozel Black and white photogravure, 37 x 22 Dante*s Dream. Size 84 x 126. Walker Art Gallery, Liverpool, Eng. Brown photogravure, 28 x 37 Peter Paul Rubens (1577-1640) References: Barstow, p. 170-76; Cox, p. 96-103; Kugler, p. 280-91; Van Dyke, p. 163-74; Wilson, p. 11 7-21 Two Sons of the Artist. Liechtenstein Gallery, Vienna Brown photogravure, 27 x 18 Jacob van Ruysdael (i628?-8i) References: Kugler, p. 470-75; Masters in Art, Feb. 1907; Van Dyke, p. 121-27 A Morass, also called The Swamp. The Hermitage Gallery, St Petersburg Brown carbon, 30 x 38 A Wooded Landscape with Waterfalls, also called The Torrent. Ryks Museum, Amsterdam Brown carbon, 29 x 38 Dark green carbon, 28 x 36 Landscape with Windmill. Size 32 x 39. Ryks Museum, Amsterdam Reference: *Wilson, p. 14-16 Brown carbon, 35 x 41 Brown carbon, 32 x 38 Brown carbon, 27 x 32 Brown carbon, 21 x 25 John Singleton Sargent (1856- ) References: Caffin, p. 55-67; *Caffin, p. 245-53, 320-23; Cox, p. 255-65; Handbook of Boston Public Library, p. 54-71; Isham, p. 428-38; King, p. 124-44; McSpadden, p. 273-99; Muther, v. 4, p. 304-8; *Wilson, p. 130-33 Frieze of the Prophets: Zephaniah, Joel, Obadiah, and Hosea; Amos, Nahum, Ezekiel and Daniel; Elijah, Moses and Joshua; Jeremiah, Jonah, Isaiah and Habakkuk; Micah, Haggai, Malachi and Zachariah. Mural paintings. Public Library of the City of Boston A series of 5 gray platinum prints in a black frame, 24 x 104 Oyster Gatherers. Size 30^/^ x 47^, date 1878. Rhode Island School of ■ Design, Providence, R. I. Sepia bromide print, 20 x 29 Edward Simmons (1852- ) References: Isham, p. 553, 560; King, p. 149-50 Justice. Mural painting. Criminal Courts Building, New York Gray bromide print, 56 x 30 Gray bromide print, 46 x 30 38 Thomas Sully (1783-1872) References: Addison, p. 23; *Caffin, 88-89; Hartmann, v. i, p. 32-34; Isham, p. 148-59 The Torn Hat. Size 19 x 145^. Museum of Fine Arts, Boston Brown carbon, 24 x 20 William Ladd Taylor (1854- ) The Children's Hour Sepia bromide print, 39 x 31 Hiawatha and Minnehaha Sepia bromide print, 43 x 34 Sepia bromide print, 39 x 31 Abbott H. Thayer (1849- ) References: Addison, p. i, 46; *Caffin, p. 181-85; Isham, p. 472; School Arts, Oct. 1912, p. 85-88 Caritas. Museum of Fine Arts, Boston Brown carbon, 37 x 26 Tiziano Vecellio, or Titian (1477-1576) References: Barstow, p 113-22; Bryant, p. 38, 60-61; Kuril; *Kugler, p. 590-608; Masters in Art, Feb. 1900; *Wilson, p. 100-6 Flora. Uffizi Gallery, Florence, Italy Brown carbon, 37 x 31 Virgin and Angels. Detail of the Assumption, Academy of Fine Arts, Venice, Italy Reference: School Arts, Mar. 1910, p. 732-37 Brown carbon, 37 x 32 Constant Troy on (1810-65) References: Bryant, p. 130; Eaton, p. 177-81 ; Muther, v. 2, p. 356-57; Potter, p. 352-55; *Van Dyke, p. 143-51; Wilson, p. 22, 27-28 October Wood Brown carbon, 32 x 43 Oxen Going to Labor. Size about 102 x 157. Louvre, Paris Brown carbon, 28 x 38 Return to the Farm. Size about 102 x 154. Louvre, Paris Brown carbon, 27 x 37 Brown carbon, 23 x 31 John Trumbull (i 756-1 843) References: *Caffin, p. 49-56; Hartmann, v. i, p. 31; Isham, p. 98-104; Muther, v. 4, p. 287-88 Signing the Declaration of Independence. Size 20>^ x 30. School of the Fine Arts, Yale University, New Haven, Conn. Brown carbon, 29 x 41 39 Joseph Mallord William Turner (i 775-1 851) References: Bryant, p. 166-67; Chesneau, p. 145-59; Masters in Art, Nov. 1902; Muther, v. 2, p. 269-76; *Singleton, p. 306-12 (Ruskin) ; *Wilson, p. iog-15 The Fighting Temeraire Tugged to Her Last Berth. Size 30^x47^. National Gallery, London Brown carbon, 33 x 42 Brown carbon, 17 x 23 Anthony Van Dyck (1599-1641) References: Barstow, p. 17-25; Bryant, p. 136; Hurll; Kugler, p. 301-7; Masters in Art, Jan. 1900; Potter, p. 176-77; Van Dyke, p. 177-85; Wilson, p. 122-25 Charles I of England. Size 107^ x 83^, date 1635. Louvre, Paris Brown carbon, 38 x 30 Three Children of Charles I. Picture Gallery, Dresden, Germany Brown carbon, 31 x 34 William II of Nassau. The Hermitage, St Petersburg Brown carbon, 50 x 42 Brown carbon, 34 x 30 After Van Dyck Baby Stuart. A copy by Canevari (Academy of St Luke, Rome) of a portion of the painting of the Children of Charles I, Turin Gallery, Italy Brown photogravure, 26 x 22 Elihu Vedder (1836- ) References: *Caffin, p. 171-74; Isham, p. 301-4; McSpadden, p. 143-65 Cumaean Sibyl. Wellesley College, Wellesley, Mass. Gray platinum print, 20 x 27 Samson Gray platinum print, 20 x 25 Don Diego Rodriguez de Silva Velasquez (i 599-1 660) References: Barstow, p. 32-40; Masters in Art, Mar. 1900; Wilson, p. 97-108 Equestrian Portrait of Don Carlos. Prado Museum, Madrid Brown carbon, 37 x 32 Don Carlos in Hunting Costume. Prado Museum, Madrid B.-own carbon, 33 x 23 The Forge of Vulcan. Prado Museum, Madrid Brown carbon, 30 x 37 Alexander Wagner (1838- ) The Chariot Race Brown carbon, 24 x 32 40 Lionel Walden (1862- ) Out for a Sail Brown carbon, 21x2 = Sir Ernest Albert Waterlow (1850- ) The Nursery A woman and a little girl are feeding some lambs from a bottle. Brown carbon, 28 x 38 George Frederick Watts (1817-1904) References: Masters in Art, Jan. 1905 ; Monkhouse, p. 5-41 ; Muther, v. 3, p. 629-44 Sir Galahad. Two paintings, one in Eton College, the other owned by Alexander Henderson, London Brown carbon, 44 x 27, Eton College Brown carbon, 34 x 22, Eton College Brown photogravure, 27 x 18, Eton College Sepia platinum, 44 x 27, Mr Henderson James Abbott McNeill Whistler (1834-1903) References: Caffin, p. 37-51; *Caffin, p. 288-303; Cox, p. 227-54; Isham, p. 328-40; Masters in Art. Dec. 1907; McSpadden, p. 222,-71 Portrait of Thomas Carlyle. Collection of the Corporation Art Galleries, Glasgow, Scotland Color print, green frame, 245 x 21 The Artist's Mother. Luxembourg Museum, Paris Reference: School Arts, Sept. 1909, p. 11-15 Brown carbon, 32 x 36 Brown carbon, 22 x 24 Dark brown print with cream mat, 25 x 28 GREEK AND ROMAN SCULPTURE Bust of Homer. National Museum, Naples Reference: Tarbell, p. 254 Brown carbon, 33 x 26 Three Fates from East Pediment of the Parthenon. British Museum, London References: Gardner, p. 281-82 ; Garesche, p. loi ; Singleton, p. 75 Brown carbon, 23 x 42 Venus de Milo. Louvre, Paris References: Gardner, p. 482-85; Garesche, p. 139; Singleton, p. 185-91; Tarbell, p. 118, 249-51 Black and white carbon, 37 x 31 Victory of Samothrace. Louvre, Paris References: Gardner, p. 485-87; Garesche, p. 140; Singleton, p. 160-65; Tarbell, p. 247-49 Brown carbon, 41 x 29 41 Bust of Zeus from Otricoli. Vatican, Rome References: Gardner, p: 498-99; Garesche, p. 192-93; Singleton (Liibke), p. 49-55 ; Tarbell, p. 237-38 Brown carbon, 41 x 29 Caesar Augustus. Marble statue found near Prima Porta about 1863. Vatican, Rome Black and white carbon, 55 x 42 RENAISSANCE AND MODERN SCULPTURE Henri Michel Antoine Chapu (1833-91) Reference : Eaton, Handbook of Modern French Sculpture, p, 232-38 Jeanne d*Arc. Luxembourg Museum, Paris Brown carbon, 24I x 20 Donatello (i386?-i466) References: Masters in Art, May 1903; Singleton, p. 236-46 St George. National Museum, Florence, Italy Gray bromide print, 64 x 46 Daniel Chester French (1850- ) References: Hartmann, v. 2, p. 65-66; International Studio, May 1912, p. 211-14; Taft, p. 310-31 The Alice Freeman Palmer Memorial. Wellesley College, Wellesley, Mass. Brown carbon, 44 x 30 Alma Mater. Columbia University, New York Brown carbon, 40 x 32 Michelangelo Buonarroti (1475-1564) References: Hurll; Masters in Art, April 1901 ; Singleton, p. 276-99 David. Academy of Fine Arts, Florence, Italy Brown carbon, 42 x 30 Brown carbon, 26 x 21 Black and white carbon, black frame, 352 x 25^ Moses. Part of Julius II Monument. Church of San Pietro in Vincoli, Rome Brown carbon, 38 x 28 Augustus St Gaudens (i 848-1 907) References: Cox, p. 266-85; Hartmann, v. 2, p. 42-56; Taft, p. 294-309 Lincoln Statue. Lincoln Park, Chicago, 111. Brown carbon, 42 x 29 The Robert G. Shaw Memorial. Erected in 1897. Beacon street opposite the State House, Boston Sepia bromide print, 47 x 55 Gray bromide print, 46 x 61 Gray bromide print, 42 x 53 Gray bromide print, 40 x 46 42 Albert Bertel Thorwaldsen (i 770-1 844) Reference: Singleton, p. 336-41 Lion of Lucerne. Lucerne, Switzerland Brown carbon, 32 x 38 Peter Vischer Reference: Singleton, p. 269-75 King Arthur of England. Bronze statue, 7 feet high. Hofkirche, or Franciscan Church, Innsbruck, Austria Brown carbon, 54 x 42 NOTED ARCHITECTURAL STRUCTURES AND SCENES Egypt The Great Sphinx Showing Paws; Two of the Pyramids in the Back- ground. Near Cairo Reference: Singleton, p. i-io Brown carbon, 30 x 25 Temple of Khons from Southeast: the Portal of Euergetes I, Part of the Large Pylon, Mutilated Sphinxes. Karnak Brown carbon, 31 x 38 The Island of Philae and the Nile River from the Northeast Dark green carbon ,31 x 3 7 Avenue of Palms. Cairo Brown carbon, 41 x 53 Brown carbon, 32 x 39 Road to the Pyramids. Near Cairo Brown carbon, 38 x 50 Greece The Lion Gate. Mycenae Brown carbon, 42 x 30 View of Acropolis and Temple of Theseus from the Northwest. Athens Brown carbon, 36 x 52 Black and white carbon, 30 x 42 View of the Acropolis from the Philopappos Hill: Propylea, Erechtheum, Parthenon and Lykabettos (hill) ; Nearer the Foreground, the Odeion of Herodes Atticus ; Portion of Modern City Brown carbon, 42 x 53 Caryatid Porch. Erechtheum, Athens Brown carbon, 27 x 34 The Theseum from the Southwest. Athens Brown carbon, 28 x 40 The Theseum from the Northwest; Part of the Acropolis. Athens Brown photogravure, 31 x 36 Columns of the Ancient Temple; Aero Corinth. Corinth Green carbon, 32 x 38 43 Italy Milan Cathedral Brown carbon, 31 x 42 Temple of Neptune, or Great Temple, from the Southeast, Paestum Brown carbon, 27 x 40 Cloisters of a Carthusian Monastery. About five miles north of Pavia Dark green carbon, 32x37 Baptistery Cathedral and Leaning Tower. Pisa Black and white carbon, 37 x 50 Brown carbon, 37 x 50 Arch of Constantine. Rome Brown carbon, 30 x 38 The Castle of St Angelo, River Tiber in Foreground, St Peters in the Distance, Rome Brown carbon, 29 x 42 Black and white carbon, 37 x 50 The Colosseum. Rome Black and white carbon, 31x42 Brown carbon, 27 x 41. This print shows also the Meta Sudans and end of the Arch of Con- stantine The Roman Forum. Rome Black and white carbon, 34 x 99 Brown carbon, 34 x 55 The Pantheon. Rome Brown carbon, 29 x 39 Cloisters of St Paul's beyond the Walls. Rome Brown carbon, 22 x 28 Interior of St Paul's beyond the Walls. Rome Brown carbon, 29 x 41 The Vatican Library. Rome Brown carbon, 42 x 52 Brown carbon, 37 x 50 Grand Canal, Venice: Santa Maria della Salute (on right) ; a Palace (in Gothic style) and other Venetian Houses (on left) Green carbon, 41 x 52 Green carbon, 31 x 43 Brown carbon, 37 x 50 Palestine Mosque of Omar and Temple Area from Antonia Tower, Looking Southwest. Jerusalem Great Britain Abbotsford, Home of Sir Walter Scott, the Tweed in the Foreground. Near Melrose, Scotland Brown carbon, 28 x 36 Canterbury Cathedral from Northwest: Upper Part of the West Towers, the Bell Harry Tower, West Transept, Chapter House Brown carbon, 31 x 42 44 General View of Ruins of Kenilworth Castle from the East Brown carbon, 29 x 42 Choir of Lincoln Cathedral: Choir Stalls, Screen and Organ, Part of the Triforium and the Clearstory Brown carbon, 28 x 35 The Tower of London from Tower Hill: White Tower, Waterloo Bar- racks, St Peters Church, Walls and Gates Brown carbon, 37 x 51 Westminster Abbey from the Northwest. London Brown carbon, 23 x 29 Salisbury Cathedral from Northwest Brown carbon, 21 x 27 Stoke Poges Church and Churchyard, Scene of Gray's Elegy Written in a Country Churchyard Brown carbon, 23 x 29 Anne Hathaway's Cottage; Panorama of Stratf ord-on- Avon ; the Shaks- pere House Three brown carbons in one frame, 23 x 80 Panorama of Stratford-on-Avon from Memorial Bridge, River Avon in Foreground Brown carbon, 29 x 39 The Shakspere House. Henley Street, Stratford-on-Avon Brown carbon, 28 x 41 Anne Hathaway's Cottage. Shottery near Stratford-on-Avon Brown carbon, 29 x 40 Windsor Castle Brown carbon, 32 x 51 France Amiens Cathedral, West Fagade Brown carbon, 53 x 41 Arc de Triomphe d'Etoile. Paris Brown carbon, 41 x 53 Notre Dame Cathedral from the Southwest. Paris Brown carbon, 42 x 54 Portugal Cloisters of the Hieronymite Convent. Belem, near Lisbon Brown carbon, 42 x 53 Spain Belfry of the Mosque of Cordova Black and white carbon, 52 x 39 Court of Lions, Alhambra. Granada Black and white carbon, 41 x 54 Toledo Cathedral Brown carbon, 55 x 42 United States Concord Bridge with Minute Man Statue in Distance. Mass. Brown carbon, 29 x 35 Mount Vernon Brown carbon, 28 x 38 The Capitol, West Front and North End. Washington Brown carbon, 28 x 41 See also titles listed under Natural Scenery, page 46 PORTRAITS Unless otherwise stated the picture shows only the head and shoulders in each case. Alexander Graham Bell (1847- ). From negative (1904) from life by Pach Bros. New York Sepia bromide print, 28 x 24 John Burroughs (1857- )• From negative (1904) from life by Pach Bros. New York Sepia bromide print, 29 x 24 Thomas Carlyle (1795-1881). See painting by Whistler, page 40 Charles Robert Darwin (1809-82), Standing Figure to the Knees. From painting by John Collier. National Portrait Gallery, London Sepia bromide print, 29 x 24 Thomas Alva Edison (1847- ). From negative (1906) from life by Pach Bros. New York Sepia bromide print, 30 x 25 Michael Faraday (1791-1867), Half-length, Seated Figure. From painting (1842) by Thomas Phillips. National Portrait Gallery, London Sepia bromide print, 30 x 24 Baron Friedrich Heinrich Alexander von Humboldt (1769-1859). From painting (1852) by Moses Wight. Museum of Fine Arts, Boston Sepia bromide print, 30 x 25 Abraham Lincoln (1809-65). After daguerreotype from Hfe, about i860. Black and white photogravure, black frame, 27 x 24 Black and white photogravure, gray frame, 27 x 24 See also Statue of Lincoln by St Gaudens, page 41 Henry Wadsworth Longfellow (1807-82) Brown carbon, 26 x 22 Napoleon Bonaparte (1769-1821). See painting by David William Marconi (1874- )• From negative (1908) from life by Pach Bros. New York Sepia bromide print, 28 x 24 John Marshall (1755-1835), Half-length, Seated Figure. From painting by Henry Inman, owned by the Law Association of Philadelphia Black and white photogravure, 23 J x 20 Sir Walter Scott (1771-1832) Brown carbon, 26 x 22 William Shakspere (1564-1616) Brown carbon, 26 x 21 Herbert Spencer (1820-1903), Seated Figure to the Knees. From painting (1872) by John Bagnold Burgess. National Portrait Gallery, London Sepia bromide print, 29 x 25 Alfred Tennyson, First Baron Tennyson (1809-92) Brown carbon, 26 x 22 George Washington (1732-99). From the painting (1795) known as the Gibbs-Channing-Avery Portrait, by Gilbert Stuart (1755-1828). Metro- politan Museum of Art, New York Reference: Addison, p. 11-17 Brown carbon, 37 x 32 (this print is practically the same size as the painting, 29 x 24 inches) NATURAL SCENERY Mt Assiniboine ("The Matterhorn of the Rockies"). Canada Blue carbon in black frame, 37 x 31 Panorama Northeast from Mt Defiance Showing Lake Champlain and the Position of Fort Ticonderoga and of Fort Independence. N. Y. Sepia bromide print, 49 x 69 Castle of Chillon and Dent Du Midi. Lake Geneva, Switzerland Brown carbon, 32 x 38 The Hudson River North from West Point: Crow's Nest, Breakneck Mountain, Bull Hill (Mt Taurus) and part of Constitution Island Sepia bromide print, 48 x 69 The Jungfrau from Interlaken. Switzerland Brown carbon, 31 x 38 The Matterhorn. Switzerland Black and white carbon, 53 x 41 The Heart of Selkirks. Canada Aristo-platino print (gray), 22 x 80 Teton Range. Idaho Hand colored print in brown frame, 22 x 53 Aristo-platino print (gray), 22 x 61 Yellowstone Falls from Red Point. Wyoming Green carbon, 47 x 37 Green carbon, 38 x 32 Gray bromide print, 48 x 38 Cleopatra's Terrace. Yellowstone Park Sepia bromide print, 47 x 67 Yosemite Valley from Inspiration Point Showing El Capitan and Cathe- dral Rocks. California Hand-colored print in dark green frame, 27 x 53 UNIVEESITY OF CALIFORNIA LIBRARY, BERKELEY THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW Books not returned on time are subject to a fine of 50c per volume after the third day overdue, increasing to $1.00 per volume after the sixth day. Books not in demand may be renewed if application is made before expiration of loan period. I I- If: i \ Ills ;. '■ M