OUB WOMAN'S PAPER, THURSDAY, MAY 14 188.
IT
.inn
That Larfe Auutaeit af
China, Lamps, ,
, Brlo-a-Brac, oto.
SmlUbli far
WEDDING GIFTS
rytar tva aa caa b fcaal at
ROPPRECflrS
Crystal Palace
OPPOSITE BAPTIST CHURCH,
lav Mce. CtortcMU Atttatla
HENRY FREY,
Photographer & Artist,
421 Lackawanna Ave., Seranton, Pa.
MINIATURE PAINTING.
Aa Xattraitlac Description ot That Art
Miniature painting or tha painting of
portraits en imall piece at Ivory or
porcelain, originated In the Illumina
tion In MS3. before printing was
adopted. And as printing superseded
tha old Illuminating, sa miniature
painting for some years past has been
placed In the background by tha won
derful achievements made by photo
graphy. Still, that should help, rather
than detract, from this art. However,
ainca tha historical period has come
upon vs. miniatures have again com
to the front. First, they were done in
opaque water colors on paper; then
Ivory came into favor, and some artists
perpetuated the faces of the renowned
of their day by the use of oil colors on
copper and silver plates. Afterward
tha transparent water colors were used
upon the Ivory and mineral upon the
porcelain.
THB SCHOOL OF BRITISH MINIA
TURISTS was founded by Holbein, during his
Btay In England, and many eminent ar
tists since his time have received the
patronage of the nobility and famous
people of their day. Bamuel Cooper Is
considered one of the best of the earlier
period, and he devoted himself almost
exclusively to heads only. The fore
most artist In this line in the later
school is Richard Cosway. All the
beauties of the day sat to him, and he
became famous for his whole lengths,
the bodies of which were done in pencil
and the faces in color. From among
the French, one calls to mind Jean Isa
bey, whose miniatures are world-famous.
Napoleon, Marie Antoinette,
Louis PhllUpe, Charles X. all sat to
him, and during the Directory he be
came specially famous and popular.
Then we have our own American, Mal
bone, whose works show so much deli
cacy and grace, and even now retain
much of their original freshness. Mini
atures on Ivory change greatly in some
climates and from exposure will curl
and lose their freshness of coloring. On
tha other hand, those done upon porce
lain always retain their brilliancy, for
having been tried by fire nothing can
harm them. To a lever of this branch
of art, there is great pleasure and
fascination In painting one of those lit
tle heads, for It appeals to one's Inner
self. W study the person or portrait
to get th characteristics of feature
and expression, so as to portray an por
celain with a little color, something of
that human life: for invariably our
lives and dispositions stamp them
selves upon our faces. As we work
over It day after day, how the eyes
teem to follow us In our work, growing
In Intelligent and soulful expression as
we put a touch here and there, until w
fairly grow to love that bit of porcelain,
Into which we have put so much ot our
own soul, in trying to reflect the Indi
viduality of the original.
METHODS OF WORK.
Miniatures need four and five firings,
being worked up a little more each
time, always keeping the coloring clear,
soft and transparent, as If one could see
the blood rushing through the veins. It
Is fine, careful and particular work; but
how well repaid one feela for all the
time and patience expended, when the
final result is obtained. It was my
good fortune to study for awhile under
Beets, ef Dresden, one of the best artists
In this line anywhere in Europe, and
one of the most pleasing things In his
method of painting was smpliclty. His
palette was simple, and his manner of
treatment proved his faith In a favorite
saying of his: "All true art Is sim
ple." It Is to be hoped that miniatures
will steadily gain In favor, and In the
art exhibitions In New York during the
past few years the number of excellent
ones exhibited seems to show the In
crease ef popularity of these dainty lit
tle portraits. .
GRACE A. NORTON.
TAPESTRY PAINTING.
Tapestry painting is one ef the few Imi
tations that surpasses In beauty and dura-
suuy tne lmnaieo.
It Dossesse everr advantase ever an
ell painting on oanvas In utility of home
decoration, also In transportation or the
easy manner in wnicn it may be cnangea
from the one apartmdent to another.
It Is not. as many lmaajlne. always paint
ed on burlaps, but, on the contrary, to
gain tne nest enact, a one au-wool tapes-
try is used.
In decoratllng large rooms where ex-
Iiense must oe considered, cotton tapestry
usually employed, although linen and
heavier materials much like burlap stay
also be used.
On account of the texture of the materi
al, and the medium used In mixing the col
ors, the paint is not simply spread on one
sine or me canvas, out every tnread is
charged with eolor. and. araln. on aooount
ot softness of material and the manner
In which the paint Is distributed, the ta
pestry does not become stiff like ordinary
f ll-pslinted canvas, but retains its flexlbll
ty and softness, and Is as pretty as any-
tiling can o ser oosr orspenee er win
dow shades.
The painting will not chip or peel, aer
will It be eaten by moths. It Is charm
ing for eelling deooratloos, as the whole
ceiung can oe paintea en eae eaavea ana
all in harmony.
The chance for designs here la great
u may ot a peep at worlds as yet unseen
by mortal and charuhln and innhlm
floating about and beyond the clouds of
Beecy whltnass, without any of the lines
er set figure effect of celling wall paper.
In addition to the advantage of porta
bility is the freedom from Injury or de
facement from the cracking or chipping of
no wan. in tact, 11 K consioeraDie pan
of the ceiling should fall. It would be sup
ported toy the overlavln tannatrv anil
Its displacement would not be known until
the tapestry was removed.
The decorations for library and dining
room are many and varied. The eocu-
J ant ef a room may choose his own sub
sets for decoration from poetry, religion
sL.fi1' "leraiure mai pieaaea nis fancy.
Children can have their nmH lllntrat4
er facts In history may lead them eo to
a desire for fame and greatness.
Mr. J. F. Douthltt. of New York, baa
the most extensive line of oil tapestries in
this country. He has ever thirty artists
" .employ ana a ivge numser l iu
dent In his art aehnoL
Mrs. T. H. Dale, Mrs. B. O. Huson, Miss
wiiiKKcr Kna Mlra jvonon nave son au
aful tapestry work In this city.
viLtioTTa p. voouia.
AXT FOR ARTS BAM. x
, A portrait hag Just beta ftalaaai 97
Mean Jaeauea Henaer.
ItUfW'OH put M imnft las ak
rieanr-"Of ceurs It aoaawi X
ilda't ul It te. I wanted te make
A PLEA FOR BEAUTY.
PerhaDs in your reading yon anay
have come across this anecdote:
There were two brothers, country
lads, who lived upon a farm. As they
went about their daily work, a differ
ence might have been seen. One devot
ed himself to his work, understood it In
all Its details, became In course of time
a prosperous farmer, and, dying, be
queathed to his helra a gsosly heritage
ef broad acres.
The other neglected the work In nana
te survey the beauty of the landscape,
to admire the effect of sunlight and
shadow flitting o'er the fields. He lost
sight ot the plow In admiration of the
shifting clouds and the tender colors
of the foliage; hard, stern existence
faded in the enjoyment of nature. He
died leaving to his son few acres, but
an inheritance of keen insight Into and
sensitive appreciation to the beauty ot
nature.
The son of the former, following In
the footsteps of his father, became a
still more prosperous farmer. The son
of the latter, with enlarged concepts of
beauty, became a great artist.
What significance has this little
story?
It is not possible for everyone to be
come a farmer, to dally commune with
nature in her varying moods. Men are
gregarious; they flock together, city
life confines and restrains them, limits
their acquaintance of nature to a nar
row strip of blue sky seen between nigh
walls of red brick, to a feeble Imitation
of nature In tiny parks, or te an occas
sional trip to the seaside or country.
History shows that there is an in
creased tendency toward city life; its
opportunities for wealth, culture, pow
er, fame and civilised pleasures are the
lodestone which attracts mankind.
There is a beauty, value and oppor
tunity for development in country life;
there Is also a beauty, value and op
portunity for development in city life.
In this city life of ours we are as
creatures In a cage, becoming short
sighted, seeing radiant nature, which
like man Is an embodied thought ot
Ood, "as through a glass darkly." How
can this be obviated? Where does our
duty He?
Assuredly, If we choose to be bound
ed by high walls Instead ot broad
stretches of living greea, w must
beautify those spaces.
There must be placed upon those oold,
bare backgrounds, harmonies of color
that will charm and refresh the mind.
symmetry of form that will elevate, re-
une ana stimulate the spirit
There must be something on those
walls to arouse Intelligence, to smir
ambition, to aid spirituality, to cultivate
poetry, to charm and fascinate with
mystery. Is our accumulated wealth
(symbol of mental energy and vitality)
to be spent upon upholstery for Indulg
ence in physical ease? Is It in that di
rection that young minds are to be al
lured? Are they always to look down,
never up, or out to anything of larger
view?
Parents, guardians and teachers, I
earnestly Implore you to educate and
strengthen, so far as lies within your
power, the susceptibility and love for
beauty, which is another name for
goodness, that la hidden within the
soul of every child. Know it the luxuri
ance of the clouds, the exquisite color
ing In shadow as well as sunlit object,
the color In the dusty road as well as
on the mountain side.
Surround the growing mind with In
struments of aenthetlo value, nlptnre.
on the school walls of the arrandegt nh.
Jects that art has bequeathed the world.
inn artist s soul was Inspired as he
produced; his creation will Inspire oth
ers to great works and deeds. Thera la
also a duty to the present generation,
a duty we owe those confined to Insti
tutions irom wnicn tney may not wan
der, the charitable homes, poor houses,
reformatories and Jails. May not beau
tiful pictures aid in spiritualising sor
row, refining and softening those hard
ened by deprivation and sin?
1 nve 001 in myscir, but I become por
tion of that around me." Byron.
LEA M. HEATH.
ART IN SCRANTON.
The 1nt fr u I. . -
most decided ohange for the better In
the art of this city. People are begin
nlng to tire of the decorative erase.
Painted shovels, tied with bows of
ribbon, and other devices for catching
the dust have given way to something
morn suhRtanHul ..H n ... , i ....
--. -" 111 uiv
shape of beautiful china and handsome
psiiiuiiKs. viassea nave been formed
for reading and studying the lives of
great painters under the direction of
Miss Lea M. Heath, whose charming
lectures on the subject have done much
toward cultivating an aesthetic taste.
Notwithstanding what has been done
there are still rounds in the ladder to
be reached, and Soronton should not
be satisfied until nannl w A
r r - .f-M v wur
olty aa an art center.
A SORANTON ARTIST IN PARIS.
A sketch ef art In this eity would be
Incomplete without a mention ef Mr.
John Willard Raught, who though not
at present a resident of Soranton, was
really the pioneer of art here, and has
done much to raise the standard by his
enthusiastlo Interest In all that Is great
and good In the fine arts.
Mr. Raught left Soranton some years
ago and studied art in the schools of
the National Academy of Design In
New York city. Afterwards going to
Paris, he entered the famous Jullen
studios and worked under Boulanger
and Lefebvre for some years. The
country of Franoe and the peasants
early had a great attraction for him,
and some of his most charming pic
ture were painted during a three
years' Stay on the coast of Brittany
and In Normandy. Hi most Impor
tant work at this time was the large
picture, "The dorse Gatherers," which
was exhibited first, along with the
smaller though exquisitely unique pic
ture of a French highway, at the Part
Salon of 1886. Both of these works,
which attracted considerable attention
In Paris, were afterward in the Ameri
can section at the World' Fair, Chi
cago, and are now the property of Mr.
Robertson, of Moosle. Mr. Raught has
had several exhibition of hi work In
this city, and although many of hi
picture are owned here It cannot be
said that he 1 generally appreciated.
Mr. Raught I a sincere painter of
landscape, and his picture are the per
faction ot good painting.
OTHER ARTISTS.
Colonel Falrman entered the New
York Academy to study art In 1812.H
ha had a ten years' career In Europe,
three In Germany, three in France and
three In England. He wa awarded
the "Bene Merlte" medal in Florence
in 1884, but is not a member of any of
the American art societies, retaining
his cosmopolitan relation to art His
work ha a broad scope, portrait, land
scape, marine, gentle and still life.
Mr. Samuel Warren ha studied in
Boston and New York for the past five
year. It la hi ambition to study
mural painting under Puvls de Cha
vannea, who stands at the head ot thl
work In Franoe. It I owing to Mr.
Warner' extreme modesty that Scran
ton has heard so little ot such a
draughtsman, who destroys his work
as soon aa completed because In hi
eye It doe not seem worthy of perpet
uating hi name. Much may be ex
pected of one who ha such high Ideal
and courage sufficient te destroy
really fin piece of work.
Mr. John Brain ard I a, native artlat
of whom Soranton baa reason to be
proud. He studied at the Art Stu
dent league In New York, later going
te ran. war n tuaiea under
is a aa Ottawa uourtoia,
Art and
On la Impressed with the Intense char
acter and vitality he give each figure.
Hi portrait are clever to the point ot
audacity, free In handling, positive In
style, charming, subtle' and harmou
lou In color.
Mr. Robert C. Adam I an aaaateur
painter ef certain strength.
Mis Mary Mason, of Hyde Park, la
among the moat promising yeuag
painters of this county.
Miss Laura Stearns, ot Oreen Ridge,
deserves mention as one of the first
art teachers of Scranton. She studied
In Philadelphia and was appointed
principal of the Lackawanna Art As
sociation, which was organised in this
city about IMS or 18S6. She did good
foundational work from the geometrlo
solids, the human form and modeling
In clay, aa well a In work ot a higher
character.
Mr. R. P. Lyon, principal of the
drawing department of the John Ray
mond Institute, teaches free-hand
drawing to the evening classes for
young men, and afternoon classes for
young ladles, beside modeling In clay
to a class ot twenty-two young ladies
at the Kindergarten training school.
The work done by the students has
been a source of gratification to the
managers of the institute and all con
cerned. Mr. Lyons Is also engaged In
commercial designing for the dally
newspapers. He is a member of the
Art Students' League ot New York,
and spent two year In Paris, where he
pursued his studies In black and white
at L'Academle Jullen under Benjamin
Constant and Jean Paul Laurens.
Miss Hester A. Worthlngton Is a
graduate of the Maryland Institute
School of Art and Design. Mis Wortn
lngton teaches oil, water color, china
and tapestry painting, but realizing
the necessity of a course In drawing
as the initial step In any art work,
makes a specialty ot teaching design
ing and working from the object to
children and beginners. The pupils
are taught to make original conven
tional designs for wall paper, china,
etc., and are given a knowledge of the
best decorative work of the world in all
ages. There can be no doubt, says a
distinguished writer on thl subject
that In a few year all art teacher
will recognise the fact which wa
so well known to all the great masters
of the renaissance Raphael, Durer,
Benvenuto, Cellini and many more,
who were aa senlous students of orna
ment as of the human form, and it was
through the former that they attained
a higher perception of the latter.
Miss Anna B. Robinson teaches
drawing, painting in oil, china and
water color. Aside from her classes,
she does a great deal of ordered work,
espeolally in china. Specimens of her
beautiful and artlstlo work may be
found In some of the handsomest homes
of thl city.
Mrs. Thomaa Dale teaches oil and
china painting, and make a pectalty
of figures In Delft, the Imitation ot
which has been so deservedly popular
the last few years. Some pieces of her
work have been highly commended for
the atmospherlo effect so difficult to be
obtained upon china.
Mrs. Wingard has classea In oil and
china painting.
Several artists In town have not re
sponded to the letter asking for a abort
account of their work.
HESTER A. WORTHINPTON.
THB FEMININITY OP WHISTLER.
It was the gift of the ugly old fairy,
the one uninvited to the christening.
In a spirit of mischief she endowed him
with a feminine turn of mind. Whether
in bestowing thl delicate attention she
ha cursed or blest him most will re
main a mooted question. However that
may be, throughout hi life he has
evinced in marked degree a curious
duality ot temperament, displaying It
self In his artistic expression as well a
tn hi personal characteristic.
These last appear a strange mixture
of incongruous elements. With certain
qualities of character which tend to
make a man strongest are blended eth
ers which one would expect to find only
In a weak coquette given over to
whimsical triviality and Inordinate
vanity. Of undeniable courage, with
sufficient strength of purpose to re
main true to his convictions In spite
of years of opposition, ridicule and
neglect; having a positive genius for
hard work. In which he was simple,
sincere and direct; yet at the same time
he was fickle, full of caprice, spent
long hours wrangling over trifles, was
Insincerely witty and Intensely vain.
Picture for yourself a creator of mas
terpieces, tremendously got-up, walk
ing the streets to enjoy the admiration
which his brave attire, graceful figure
and jaunty carriage elicited from the
crowd. Sometime he would paint hi
face, or Indulge a fancy for long suede
gloves. A single lock of white hair
amid his abandoned tresses gave an
accent, as it were, to the tout ensemble.
The edge of his tongue was very keen.
And with reason. He kept It so con
stantly whetted on the foible of hi
friends. The little things he got off
were often rather good. He thought so
himself and cherished them fondly.
Swift and dfre revenge overtook the
misguided Individual who dared plagi
arise a Whistler Joke. Disputes over
the ownership of these Joke were a fa
vorite form of creation with him. ,
Dispute, however, was dear to him
for Its own sweet sake, and, though
no coward, he preferred a wordy en
counter to one fought with more man
ly weapon. What matter that his
logle might be weak, hi conclusions
not derivable from his premises? He
alwaya had the last word and with that
do you not Invariably Issue triumph
ant from the fray? And the past mas
ter In the "Gentle Art of Making Ene
mies" never doubted his victories. Un
fortunately tha outcome was not always
so elear to his opponents. Poor Mr.
Rusklnl I fancy he never quite knew
what stung him. For not Infrequently
the butterfly was metamorphosed into
a wasp.
But metamorphose of various sorts
were a necessity to a oreatur of whims
and caprices. Joke-like this modern
deml-god found them easy of accom
plishment, both of person and of thing.
You all remember the famous peacock
dining room affair. And I should like
to ask, if not to James McNeill Whist
ler, to whom but a woman would the
idea occur of changing an entire and
already beautiful room to suit a single
picture?
Of hi disloyalty, petty rerengeful
nes and other unpleasant trait w
shall not speak. Mention of them
would be painful and already they are
written down la the Book of the But
terfly. But, If then, this spirit of femininity
which possessed him appear to make
the man a creature to be laughed at,
disdained and contemptuously pitied,
on the other, in an appreciable degree,
It ha helped to make the artlBt the
most personal and original of hi time.
In the first place, like a woman, he
ha vast power ot assimilation. 60
thoroughly ha be made hi own the
vital secret of both western and east
ern art that those critic who talk of
the Influence upon btm ot Velasques
and the Japanese might find some
difficulty If Attempting to prove their
case.
He nature In a novel manner.
The exceeding refinement of hi artls
tlo temperament cause htm to avoid
anything material, gross, or ugly. Hi
highly nirvous faculties, the sensitive
ness of hi vision receive the most deli
cate impressions of those phases of na
ture which be choose to observe. And
what h bag seen h render with a sim
plicity mysterious u4t U effective.
Hi proce are not to b explained.
They aeem te be arrived at br instinct
Ht m keenly. ally ta Utf most xuialM
Artists
color harmonies and the moat subtle j
grace of form do not elude him. HI
art I unlike anything ever done before.
He reaches limits which make him In
comprehensible to the vulgar eye. Thl
1 especially true In the Nocturnes.
They are absolutely original In these
translations of the beauty ef the night
he Is Incomparable.
The finest of his etchings, such as tne
Venetian views. In the perfection of
their fragile daintiness, and the re
markable Vlollncelllst rank beside
those of Rembrandt And to no less a
master than Velasques do those who
know best compare his masterpieces of
portraiture, like the portraits of his
mother and of Miss Alexander.
A genlua so varied, so individual, has
evoked the most diverse opinions. On
one point, however, the critics are
agreed, that Whistler Is unclasslfl
able. The appreciative also unani
mously confess that It Is difficult to ex
plain the charm of his work.
In reality the problem Is very easy
of solution. Is he not one ot those in
whom "sex hesitated?" Nature refus
ing to create woman painters, has here
compromised and given us a man whose
artistic qualities are distinctly marked
by all manner of feminine refinements.
That he loses In a way by this Is true.
But If he locks the virility ot Velas
ques, he is also devoid of the material
ity of his contemporaries. As a French
man exclaimed on seeing his White
Girl, he la "le plus spirlte de pelntres."
MART D. MASON.
FRESCO,
It 1 curious to observe bew the world
seem to move In cycle In certain
phases of Its development We per
suade ourselves that we have discov
ered entirely new principles of con
struction, only to find that the Egyp
tians understood them perfectly thou
sands of years ago: for a time we en-
Joy the delusion thjit we have invented
a most remarkable and beautiful pro
cess In glass making, but the exultation
Is short-lived: the Phoenicians were
long ago possessed of that secret. And
so In many instances do we find that
Inclination of the human mind to re
turn to the methods of long by-past
times, either by an unconscious evolu
tion, as in the examples cited, or in
spired and persuaded by the work of
antiquity.
USB IN BEAUTY.
To the artist of the great Italian
renalssanco, art meant alwaya the
beautifying of what was useful, what
ever that might be. Rarely was a
picture painted that did not decorato
a particular wall space or adorn a chos
en altar. Thus an entire church or an
entire palace became a work of art,
and the artists had no fear that his
work would be viewed, and therefore
misjudged, except in the place where
he had painted It. But time changes all
things. Through various chances these
noble works have been removed from
their original places to our present
day galleries, where they roust suffer
from the unusual light or the Juxtaposi
tion of Inharmonious subjects or col
orings. It may have been the fortu
nate disposition of some of these, which
persuaded succeeding artists thai the
proper sphere of painting wa not dec
oration, but an independent art, and
In consequence of this reversion of feel
ing the world has been overrun with
easel pictures excellent in themselves,
but suffering Immeasurably from their
hanging, a misfortune which can sel
dom bo avoided. But now we have
come to the other end of this cycle, and
find that eome of the greatest artist
of the present day claim again for dec
oration that it 1 the highest art of
all, and are returning to the simplicity,
breadth and dignity of the great fresco
painters of long ago.
DESCRIPTION OF FRESCO.
All mural paintings are not frescoes,
but since the latter term has been so
generally adopted aa a synonym for the
former, we feel that we have a. right
to use It aa the title of an article,
which Is to Include mention of works
other than pure fresco. A true fresco,
aa the derivation of the word from f ros
ea, meaning fresh, will'show, Is a paint
ing done on fresh plaster. Of necessity
the only pigments available are such as
will resist the action of the lime, and the
work must be done rapidly, before the
plaster shall have a chance to dry. At
the end of the day, what plaster has not
been used is removed, and is replaced
next morning by a fresh layer of in
tonaco, as it is called. The only pro
cess of retouching available in pure
fiesco being the cutting away of the
plaster and doing the work entirely
over, most artists have resorted for thl
purpose to the use of tempera. In which
case, the pigments being mixed with
glue or white of eggs could be applied
to a dry ground. This combination
of methods enlarged the palette of the
fresco painter, but time ha not al
waya been so kind to colors In tem
pera a to those In buon fresco. This
will account for the various black Ma
donnas and saint and for such an ex
ample as appears inCimabue's Marriage
of Cana in Galilee, where the table
cloth, once white, is now Intensely block
while the plate, viand and vase upon
It, which were done In pure fresco, are
unchanged In color.
REVERSION OF THB MODERN
SCHOOLS.
A few artist of the present day have
attempted to return to tb methods of
the Renaissance, but under what dis
advantages of poorly constructed walls
and unfavorable climates, the experi
ments at the Houses of Parliament,
where the pointing have had to be
placed under glass, and in our own
capital at Albany, where William
Hunt' admirable frescoes have suf
fered a similar fate, give proof. But
fortunately the principles of art do
not so readily elude the searcher af
ter Ideal as do Its processes, and we
are glad to see again a growing ap
preciation of the highest sphere of
painting, and of the characteristics,
which properly belong to that sphere.
What nobler use of the artist's facul
ties than the adorning of our temples
of learning, government and religion?
INTERESTING AND NOTABLE EX
AMPLES. The two decorative painters of the
present day, to whom may be accorded
the highest rank, are Paul Baudry and
Puvls de Chavonnes. Some have con
sidered the work of Baudry in the foy
er of the Paris Opera house to be the
"capital decorative work ot this cen
tury." but our own interest in Puvls de
Chavanne may be quickened by the
tnougnt tnat this country is at last
fortunate enough to possess ah example
of his masterly work, the decoration for
the grand stairway of the Boston Pub
lic library. That portion already In
position represent an allegorical scene
the Muses hailing Genius. Borne to
ward us upon the clouds from the upper
center of the picture, Genius appears as
a comely vouth with arms upraised as
If to draw down light from above. Be
low, from the grove of pale green sap
lings, wnicn Doraers tne sea, the white
robed Muses rise or rather float, with
buoyant, rhythmlo motion to greet the
Messenger of Enlightenment. Excent
for the two figures necessitated by the
aoorway, we one representing Study,
the other Contemplation, this is nil.
The composition is perfectly simple, aa
I also, the color scheme of blue, white
and Dal green. At first view, the
painting may seem com, nat ana unin
teresting In comparison to the more
splendid and complicated History of the
Religions of the World by Sargent in
the upper hall, or the richly colored and
romantio illustration of the Legend of
tn HOiy uraji ty Abbey, in the de
livery room. Further study may con
Vine us that the French artist under
Itands batter than tn othwKtwo. that
LEA 1Y1. HEATH,
Editor.
the architectural surroundings of suefe
paintings demand that they should, be
sufficiently convention allied to harm
onise with the severe lines and coloring
ef the building, and also in consider
tton of the fact that they must be
viewed from a distance, that their seal
must be ' large and their execution
simple. ,
AMERICAN DECORATIVE ARTISTS.
It is too early to Judge of the merit
of the work being done by Blashfield.
Vedder and Cox for our Congressional
Library, but the Illustrations and de
scription which have been afforded us
by the periodicals, give excellent prom
ise, and we may hope for an American
school of mural decoration which shall
compare favorably with those of Eu
rope. . EuILT HOBBS CONANT.
HOUSEHOLD ART.
For Our Woman's Paper.
Notwithstanding we have entered
upon the era ef the new woman and the
bicycle, the decoration ot the home Is
still a leading topic on every woman's
page, and though volumes have been
written on the subject, there seems al
ways one word more to be said and a
woman to read It.
The home bear much the same rela
tion to the family life that the body
does to the soul and its care and adorn
ment are as legitimate and desirable,
and the laws which underlie the ex
pression of beauty in the one case are
quite as definite, though less under
stood, than in the other.
The development of taste in Ameri
can households has been very rapid and
few of us there are who cannot recall
the reign ot cold, white walla and repel
lant horsehair sofas. In the course of
our progress we have made many mis
takes ot which the gilded dustpan and
beribboned mllklng-stool are the tokens
We were making a noble effort to see
beauty In the commonplace, but had
not yet learned the law of appropriate
ness, the first and most Important un
derlying the philosophy ot beauty In
relation to house Interiors.
ESSENTIALS TO CONSIDER.
The surroundings, requirement of
circumstance, and the use to which
each room as well as the whole house is
to be put must all have careful thought
and be fully determined before we be
gin to decorate or furnish. Then to
feel something of the meaning and
knew something of the effect of color
Is the next essential to accomplish that
harmony In our environment which
makes the home the haven of rest, the
center of life.
Since the hall la the Introduction to
the house, it were well that the transi
tion from out to Indoor be not too
abrupt and here we may most effec
tively use green, nature' own color,
and since yellow has a peculiarly wel
coming quality all It own, what is more
fitting or pleasing than the rich, strong
tones of oak against walls of cool
green, with a touch ot blue of the sky
in delicate watercolor, and red for cheer
in rug and portiere?
Furniture for hall, dining room and
library may properly be of heavier and
simpler styles than elsewhere a expres
slve of the dignity of family life, rather
than the taste and fancy of Individ
uals. Yellow may be carried with equal ef
fect into the parlors or reception room,
where, in considering tha floor-covering,
we must remember that it Is not
agreeable to hove the attention con
tinually drown to one' footing which
should be firm and lie flat neither ris
ing up in bold figures to greet us, nor
tripping us even in garlands of roses.
The walls stand for the atmosphere
of a room as well as It limits, and as a
background for persons, pictures and
ornaments. To these we apply the im
portant principles of graduation, the
floor as the base naturally having the
strongest and finest tones of color, the
walls the next and the celling, the lost.
In adopting a scheme of color for a
room. It is especially Important to con
sider its lighting. Dividing color as
the artists do. Into warm and cold, we
shall be careful not to expose blues, vio
lets and greens in a northern, nor reds,
oranges or yellows In a western or
southern light. So, too, we shall con
sider the amount of light as well as the
kind, not putting reds, which absorb
much, into rooms which hove but little.
It is because red is absorbent, and
therefore cool and restful, that in a
well-lighted room It affords the best
back ground for picture and bric-a-brac.
If you cannot trust your color sense
(and who can, since even the born
colorists cannot define nor analyse a
color harmony) having determined upon
a color scheme, find something which
represent It, a piece of flowered cre
tonne, or a bunch of skeins of the lovely
toned filoselle, and let it never depart
from you. Then choosing any part of
your decoration or furnishing. If you
do it were almost Impossible in the vast
range of tones, thai sons will not get
out of key.
A COLOR SUGGESTION.
I believe a beautiful room may be
developed out of the color harmony of
any given flower. Talc a growing
blooming Easter lily and picture a, small
reception room or bedroom in its oolors,
the floor covered with the soft dark
green of the leaves In shadow, the walls
ot the clear, grey green of the lights
on the leaves with lines of silver, the
celling a warm pearly grey and frieze
strengthened and enrichM with the yel
low of the stamens. With curtains of
yellow, having design in wine red and
amber to enliven and Invigorate the
harmony, we have delightful back
ground for whatever may be chosen In
furniture and bric-a-brao which la pure
and simple in design.
Remembering alway that several
shades of each color are needed for var
iety and touch of Its complementary,
for contrast and brilliancy, as our room
has a prevailing tone of green, we
choose rug and door hangings with a
suggestion of red only a BUggeetlon or
we shall not preserve balance. Where
stronger and more striking effects of
color are desired let the outlines In all
designs used be soft and the results will
be more harmonious and pleasing.
For a dining room,, gather a bunch
of tawny yellow and red chrysanthe
mum and see how charming are the
color schemes which may be develoned.
not forgetting that the Inherent color
of wood, oak and mahogany especially
con be mode to play an important part
in the color symphony.
Having made the parlor llcht and
airy, the dining room rich, have the
library solid and stately, tb bedrooms
cheerful and restful and when choosing
textures and arranging draperies, bear
in mtna tnat moth and dust corrupt and
that sweetness and cleanliness, than
which there Is no more retlned Ideal, are
more natural to simplicity than elabor
ateness. LITTLE THINGS OF LIFE.
When consideration fall to the lot
of the email ware, the counties little
thing which so much express the tastes
habits and culture of the family and
give individuality to each room and
character to the whole house. If we
would but banish each bit which we do
not know to be useful or believe to be
beautiful, we would do a great work
in tne interest of the simplicity and bar'
mony.
Only a few of the lovely things dis
played In the stores are meant for us.
Only those for which we have long felt
tne neeo, nave we tne right, artistical
ly, even to desire and a Blender pur
is often the happy fortune which saves
us from a foolish and blundering pur
chase. Let us try in this day of mater
ialism and luxury,-to emancipate our
elves from THJNG8. Let u not plead
guilty te the sin of acquisitiveness and
The Ladies
Can find very nice defilgna ta
Ideal, Battcnhurg and llonlton
Lace. Tea Cloths. Center Pieces
and Dollies at 400 Spruce St
Also a Una of material tor
modern lace making. I attrac
tions given in this work. Fine
Linen a Specialty.
Miss M. A. Cramer
406 Spraca St,. Scraatoa.
In the arrangement of these things
which are really a part of us and of
our lives. If thtre is a clear, coherent
mea underlying every effort w shall
be living toward those standards of
taste which express the philosophy of
beauty In the home: fitness, slmulli-ltv.
harmony, which answer to the spiritual
need of lite.
ELEANOR KINNE FINCH.
WOMEN ARTISTS OP UNITED STATES.
A rerard art. conaldrA tinAm. tha
head of sculpture and painting. In con
nection witn tne united states. It must
be borne In mind that this part of the
world la still In Its Infancy compared
with countries of the old world, and it
has been elsewhere said the tendency
of those having talent in this direction.
10 sees: inose countries for ages famed
far perfection In art. and there study,
has not helped to develop to any great
extent or even to foster American tal
ent. But the records of art Breve thl
to be a mistaken Idea.
Miss Harriet Hoamsr aa American
sculptor was born at Watertown,
Moss. Being delicate, her father, who
was a physician Insisted upon her fol
lowing an outdoor life. In a oiay pit
she spent much of her time modeling
horseo, dogs, and! whatever attracted
ner attention. With her father assist
ance she studied anatomy and then en
tered a studio In Boston. Later she
went to Rome and modelled from the
antique. In 1855 she modelled a statue
of Puck, and Its popularity procured her
oraers tor nearly thirty copies; one 1
now in the collection of the Prlnee of
Wales. A monument to be nlaced in a
church in memory of a young girl was
the first Instance of the work of a for
eign sculptor finding a permanent place
nooie anu in no tne. Tnese were fol
lowed by many beautiful statue and
monument for Europe and Amarlfa
that have long ago placed her In the
front rank of the world's artist. Mis
Anne Whitney' fame aa a aoulptor
stands equally high. And the Colum
bian Exposition showed to the world a
splendid galaxy of young Amsrlcan wo
men sculptors.
MISS CLARE T. M'CHESNBT
I from California, A a Btudent In the
San FranrtKco Art school h mass
rapid progreas, and the water color sent
10 me f.astem exhibition met with uoh
favor that she was encouraged to move
to New York. Her she entered the
Gotham Art school, coming under the
innuence or the best teachers. From
Mr. Freer she took her coiortn- and
technique. After seven year ot severe
training she opened the present stadlo
on west Twenty-second street. Every
moment of her vacation Is spent abroad
In the galleries of London and Part,
and in the peasants' homes of Holland
where she comes under the Influence of
the Dutch artists as well as studying the
01a imtcn masters. Sh Is best known
by her water color, two ef whloh were
exhibited at the World's Fair. "The
Old Cobbler" was purchased by the
president or the Board of Trade C
Chicago, a well known collector.
Mis Elizabeth Nourse is a naUv ef
Cincinnati, but for some time has been
living in Pari. Mr. Alex Harrison has
characterized her a the stronawet
woman painter of the present day. Mrs.
Nourse exhibited three pictures at the
World's Fair, notably among them
being "A Family Meal" which had been
pointed for the salon of '92. She was
one of the eight American women to
whom was awarded a medal at tats
exposition.
MISS CECILIA BEAUX
1 by birth a Philadelphian. She stud
lea witn ner aunt Mrs. Thomas Jan
vler, and with Mr. William Kartain un
til she went abroad in '89. She studied
In Pari for eome time and after trav
eling on the Continent and In England,
returned to Philadelphia, where she ex
hibited at the Society of American
Artists the portrait of a child, which
produced a strong impression. Her
iccnmq is strong ana aasnvng a a ner
pictures 01 emiaren are epeciauypie
lng.
Miss Mary Cassatt to also a PhlladeJ
phian, but has been a restdtnt of Paris
for the last fifteen year. She 1 classed
among tne Imsreselonlsta and has de
veloped a highly personal manner ef
her own. The Japanese eeter-prtnc ha
attracted her notice, and her reoent tl
paintings produce an effect now Ja
aneee, now appreaohlng the meaner at
the pre-Raxbaellte painter.
Miss Lucy Holme was born la Salem
county. New Jersey, but the greater
part of her life has been passed In Phila
delphia. Mi Holme began the study
of Art at the Pennsylvania Academy
of Fin Arts; she devoted herself to
figure painting and became a tsaober.
taking charge of the portrait class at
the Philadelphia School of Design for
Women. Later shs went abroad and
spent two years In various galleries,
returning to Philadelphia, where she 1
practicing ner profession. A Holiday
Occupation" exhibited at the World's
Fair will be remembered) with pleasure
by all who saw it
Miss Klumpke is to be found In her
THE BOYNTON FURNACE CO.,
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Styles in Ladies and Child,
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tained at
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213 WYOMING I.ENUL
FredL. AHTirno
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Meyer Manufacturor
AND ART DEALER.
311 Spruce Street, Scraitoa, Pl
The Griffin Studio
so WYQMINd AVENUB.
HIGH-CLASS PHOTOGRAPHY.
Picture Framing, Artist Materials, as.
FitANK CAULUCCt,
Dealer la
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flurrlM it HteheliM ul Forel Ik
Ttfi tU till, Ul Icraitw 81
JjUalS EAriTEULLSfi,' '
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M LACKAWANNA AVL,
Borawtow, fa.
tuato Is Boston, verlooklas; the Mp
torra Common. Havtsg a tact for-ost
lectio; rare aaa wonderful obtests, and
a fasulty for asrscvglng them la flaa
light and astnonyv U is truly a Meajaar
to be received there. Not maa at ap
paintlniia may be found viben tb assls
aa she has numerous order and ataaaM
no duplicates, but aoany phetosjr)s
or ner pictures that had been aa
to the Balon la Paris may be 1
Mrs. Amanda B. fiswell was bern fa
the Adirondack 0he began the sessff
of art in New York. Late went ta
Pari to purau her studies. Unt awW
received honorable mention at the Paris
Balon for ever! plot urea, and took
prize at the National Acadenay. Map
exhibited seven pictures at the MaW
Fair, and was on ot the medal wUuwri
8hs and her husband wtmtmi
year in Algiers and Tha
DAUGHTERS OF HSBPBKW
a joint production la unquestionably tha
most suueseful work in treating tb nusV
farm In open air that baa been BsjssVuosd
by any American artist.
Mis Ethel Fined wa bora ta Jfw
buryport and has her studio ia Poatom.
Her style is original, and full of fsree,
and after the Japanese; sh Is wp&Jay!
noted for her posters. Miss Reed'a be
trothal to P.ev. Edward Everett Hale's
en, also aa artist, has Just beea an
nounced. Mtes Mary Louts Ifaoomber is from
Fall Klver and practices her profuse.! no
In Boston. Eh was a student at tha
Museum of Fine Arts and a great ad
mirer of Burne Jene. Her picture as
noted for their delicacy, splrituaJity and
graoe, two of whloh Were exhibited at
the World's Fain.
OUR OWN JBNNIB BR0WN8C0MH.
Not least among th artist af th day
may be mentioned Mis Jennie Brewns
"oombe. and, we of NortheMtem Penn
sylvania, may be proud to claim bar for
our own. She was bom in Itaneadale,
and very early gave promise of great
talent and as tUne went on rapidly ad
vanced in her professlon.Mls Browns
comb studied In Brittany under Hall,
afterward In Paris and Italy and is
now on her way home. The eagerneaa
with which her painting are sought at
tests thp favor in which she is held.
Would pao permit muoh could ba
said of Mrs. Emily SeUnrer, of Boston,
noted for her flowers. Miss Elteaaath
Gardner, now In Paris, Miss Aloott, ot
Concord, Mane., and others who are
doing much to further art in America
In this nineteenth oantury, ana though
all these soem but a few In number
they may be regarded as to noble
pioneer of a glorious school of art,
whoa work may In th ages yet to
come, eomDAT favorably that at
th ofd watts.
ANNA . PjOBIMCOK.
An artist (hi atelelr" a dream
With raw silk drapery bung wlnvsnaM
eclat)
He never falats, 'tl trai
a fact
That only stands far vhaTs :
cal in art.
Rial art 1 tea. that oemea ta mmmil
bricks from Herat
And pretty girls ta
Tsar,
Tb studio tea astlst vita Ma
evar
SHEAR CO., SCRANTON.
OEHLER,
Last
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"fWU HAND TURN,
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