Bulletin of the

Rhode Island School of Design

Issued Quarterly

Vol. IX OCTOBER, 1921 No. 4

MADONNA AND CHILD Attributed to Andrea di Giovanni Anonymous Gift, 1920

Entered as second-class matter January 16, 1913, at the post office at Providence, Rhode Island, under the Act of August 24, 1912. Copyright, 1921, by Rhode Island School of Design. All rights reserved. IX, 34 Bulletin of the Rhode Island School of Design

MADONNA AND CHILD, he painted in collaboration in 1372, and ATTRIBUTED TO he not infrequently repeated that master’s ANDREA DI GIOVANNI forms, though in a somewhat coarse manner. Pietro da Puccio executed in HE Rhode Island School of Design 1390 the mediocre frescoes of scenes from at Providence has acquired an ex- Genesis on the north wall of the Campo- T santo of ceptionally attractive panel picture Pisa. Of Cola da Petruccioli, of the Madonna and Child, which ap- Mr. Berenson has recently written, iden- pears at first sight to be a product of tifying this modest and not always attrac- 1 the Sienese school of the latter part of tive artist as a follower of Fei. the 14th century. No one will deny the A number of documents exist which en- Sienese character of the picture, although able us to follow the career of Andrea di closer study may suggest its attribution to Giovanni from 1370 to 1417. At the for- Andrea di Giovanni, a painter of Orvieto. mer date he was working with Cola da

I recently had occasion to call attention Petruccioli and other painters, under the to the fact that even as late as the begin- direction of Ugolino da Prete Ilario, on the ing of the 15th century painting at Orvieto tribune of the Cathedral of Orvieto; but was dominated by the artistic tradition it is impossible to distinguish in these

1 of . Two important frescoes the work of the different artists/ polyptychs of the great Sienese master In 1380 Andrea was still working in the were until late years among the treasures tribune of the Cathedral. In 1402 he of the town. One still exists in the Museo had finished a panel for the church of del Duomo; the other has passed into the Corneto. In 1404 he illuminated an collection of Mrs. Gardner at Fenway Indulgence, and in 1411 he executed fres- Court. There is also a Madonna della coes in the chapel of Bonconte in the Ca- Miseracordia in the Cathedral of Orvieto, thedral of Orvieto. The following year he and a Madonna and Child in the Museum. decorated the organ of the cathedral. Both are by Lippo Memmi, a painter Four documents dated 1417 show him whose best works are hardly distinguish- to have been occupied at that time with able from those of his brother-in-law and the restoration of mosaics of the facade of master, Simone Martini. That most of the Cathedral, probably those executed by the masters of continued to paint in Andrea Orcagna. the manner of Simone Martini may be Two identified works of Andrea di seen from their works in the churches of Giovanni are to be seen at Orvieto. One San Giovenale, San Domenico, and the is a panel of the Innocenti, in the church Cathedral. of San Luigi. It represents the Holy We learn from documents that between Child with the mystic lamb in a mandorla 1357 and 1400 no fewer than seventeen of Angels, flanked by groups of Saints and painters were employed in the Cathedral by the symbols of the Evangelists. Above alone, but only four of these masters have is a half figure of the Lord carried by four as yet been identified/ They are Ugolino Cherubim, and below a group of blood- da Prete Ilario, Pietro di Puccio, Cola da stained child Martyrs. The other is a Petruccioli, and Andrea di Giovanni. , above the left lateral entrance of Ugolino da Prete Ilario was the principal the Cathedral, representing the Madonna master of Orvieto in the second half of and Child enthroned between two Angels. the fourteenth century. He was strongly On the completion of this fresco, Andrea influenced by Luca di Tomnie, with whom di Giovanni received in April, 1412, the

1 B. Berenson: “A Sienese Little Master in New 1 Martini et les Raimond Van Marie: “Simone York and Elsewhere.” Art in America, February, 1918. Peintres de son Ecole,” Strasbourg, 1920, 169. pg. 2 Exception is of course to be made for the frescoes 2 L. Fumi: “II Duomo di Orvieto,” Roma, 1891, on the right wall, which were entirely repainted by An- pg. 385. tonio da Viterbo. Bulletin of the Rhode Island School of Design IX, 35

payment of four florins and five soldi. script guide of the city dated 1625, still With this latter work we shall compare preserved in the city archives, was signed thev panel of the Providence Museum; with the following rhyme: but we must remember that the fresco “Septantadue Milletrecento Anni thirty-four years after was executed the da Siena qui dipinsi Lippo Vanni.” first extant mention of Andrea di Gio- This fresco is the turning-point in Lip- vanni’s activity, and is, therefore, a crea- po ’s career. In his triptych at SS. Dom- tion of his approaching old age. Indeed enic and Sisto in Rome, dated 1358, he both works at Orvieto reveal that lack is still influenced by the Lorenzetti, but of inspiration and of careful execution in the fresco of 1372 he has become a fol- which so often characterize the late works lower of Simone Martini’s manner. of minor artists. But the picture in Prov- Bartolo di Fredi’s datable works are idence shows neither of these weaknesses three: the largely repainted frescoes of and evidently belongs to Andrea’s earlier San Gimignano, probably of 1362, and years, perhaps to about 1380; and it was the two polyptychs of Montalcino of undoubtedly inspired by the work of 1382 and 1388. It is especially this later artists then active in Siena. manner of the frequently varying Bartolo The similarity of the forms of the Provi- di Fredi which seems to have been familiar dence picture with those of the fresco of to Andrea di Giovanni when he painted 1412 suggest that both are by the same the Madonna of the Providence Museum. hand. The spirit of the work, the drawing He follows him in the detailed and decora- of the features, the similar shape of the tive design, the clear coloring, the some- hands, of the feet of the Child, the wavy what hard caligraphy of the outlines, and hair of the Madonna of the Providence in the pink cheeks of his figures. The Museum, compared with those of the Madonna of Bartolo’s Adoration of the figures of the Innocenti panel, are all to Magi in the gallery of Siena shows clearly be noted. The drawing of the mouth the link which existed between the two of the Madonna of the Providence panel artists. is more refined than that of the fresco, The iconography of the Providence and the eyes of the Madonna of the fresco picture is not quite clear. Whether the are rather elongated compared with those two crowns which the Child holds refer of the Madonna of Providence; but in to the coronation of the Virgin where the general the forms are the same. If, with Lord Himself is also represented as wearing the Providence picture in mind, we search a crown; or whether the panel was once for possible inspirers of Andrea di Gio- flanked by side-panels with representa- vanni, we find that no earlier Orvietan tions of Saints receiving the crown of painting accounts for its fine caligraphical Martyrdom, is a question which we cannot and coloristic qualities; but these elements answer. are present in the work of the Sienese Raimond Van Marle. master Fei, in Lippo Vanni, and more

especially in Bartolo di Maestro Fredi. Reprinted from Art in America, vol. TX, No. 3, April, 102 sq., by permission of Frederic Fairchild Fei, 1921, pg. whose Madonna at San Domenico in Sherman.. Siena has many affinities with the Provi- dence picture, was perhaps too closely “How does the artist get his sense of Andrea’s contemporary to have influenced Beauty? By seeking the beautiful in Na- him so early in his career. There is a ture and in works of art and trying to pro- fresco by Lippo Vanni which, more than duce the beautiful in his work. The sense of any other of his works, resembles the Beauty grows and develops as it is fed and

Providence panel. It is the fragment of by the efforts which are made to achieve it an Annunciation, in the cloister of the technically.” same church, which, according to a manu- — Denman W. Ross. IX, 36 Bulletin of the Rhode Island School of Design

BRONZE MIRROR Chinese, T’ang Dynasty Museum Appropriation, 1918

CHINESE BRONZE MIRRORS ever, in the Han (200 B. C.-264 A. D.) and T’ang (618-960 A. D.) dynasties HE metal mirror is something to the Chinese made some of their best which at the present time we mirrors, and the Museum collection T are unaccustomed, but which up contains many representative examples. to a comparatively recent date was in The mirror has always been an object common use. The Egyptians, Greeks, of interest to the Chinese. Wholly their metal Etruscans and Romans had apart from its utilitarian uses, it was, mirrors, some of them, notably the Greek, with the sword, one of the most impor- being distinguished by the beautiful tant symbols of the Taoist cult.* In designs applied to, or worked on the the religious ceremonies it was used, when backs. The Persians at a later date used it had a level surface, to secure condensed metal mirror design cast the a with on “dew from the moon,” and in its concave possibilities back, but the refinement of form to get “pure fire” from the sun. in cast design is found in the early In addition the mirror had certain prop- Chinese bronze mirrors, a very represen- erties appealing to the superstitious. tative group of which was bought in For example, they were hung on the 1918 with the Museum Appropriation. person so that worldly evil might be In the January issue of the Bulletin averted, and buried with the body, so mention was made of the early use of that as a symbol of the sun, the mirror bronze in China. In the form of mirrors could keep away evil spirits and light up we have mention of this metal as early the darkness. as the 26th century B. C., although no In addition to their interesting rela- known examples can with certainty be tion to the religious beliefs and supersti- dated before the I lan Dynasty. How- tions, the mirrors reveal to us a wealth Bulletin of the Rhode Island School of Design IX, 37

BRONZE MIRROR Chinese, T’ang Dynasty Museum Appropriation, 1918 of design which reflects absolutely the however, has changed many of these so changes of spirit of the race. That this that they have a lovely green patina. is true is shown by the severe, strong One which is broken shows the silvery work of the Han dynasty with its in- white of the metal. In fact, according terest in divination and symbolism, to some of the inscriptions, silver appears the division of the design into concentric also to have been used together with the bands and frequent use of the “comb copper and tin. design.” The introduction of Buddhism There is great variety in the mirrors. and the resulting frequent contact be- The most decorative is perhaps the so- tween China and the countries to the called “grape-mirror” type. The design West brings in a style of design which is calls for grape vines, leaves and fruit softer, more realistic and natural, al- with spirited animals, birds, or butter- though extremely beautiful. The art flies, all in rather high relief. The boss of the weaker Sung dynasty of later in the centre, to which a braided cord or date produced mirrors with frank studies tassel was tied, is in the shape of an ani- of plant and animal form for decoration. mal with arched back. These mirrors are But the finest work of all, so far as is influenced by the work in the province known at present, is T’ang or Han. of Bactria in India, or by the Sassanian Chinese mirrors are made of a bronze art of Persia. In either case Greek in- composed of equal parts of tin and copper fluence is felt, although in a remote known as “Chouli.” As previously sense. The two illustrated show the noted, the tin was rarely pure. This richness of design, and their wealth combination makes a “white metal” of interest. These are probably T’ang in which when first cast and used must have date. The mirror with the galloping

had a silvery color. Burial in the ground, horses is an interesting one for the action IX, 38 Bulletin of the Rhode Island School of Design

which is portrayed. In type the horses In shape, Chinese mirrors of the earlier conform to the remarkable steeds of the periods are circular, although square ones Emperor T’ang T’ai Tsung in the reliefs are occasionally found and eight-leaved at the University of Pennsylvania forms also occur. Museum. (The Museum Journal, vol. The mirrors form an interesting group IX, September and December, 1918, in the minor arts, revealing to us some page 244.) There attention is called to of the distinctive points of excellence in the small stature, the large size of the casting and design, and giving evidence body, the large head and feet and the in a definite though humble way of the rather long neck. This type seems high standards of art in the great Han to have been found all over the Far East, and T’ang dynasties of China. In especially in Manchuria and China. addition, they offer all kinds of sugges- The winged horses on the central field tions to the artist and designer of today. raise a tempting question. Do they L. E. R. have any relationship to the “heavenly The writer is indebted to an article on “Ancient horses” imported, by force of arms, Chinese Bronze Mirrors” by Kimpei Takeuchi in the by the Emperor Chang K’ien in 126 B.C., Burlington Magazine, Vol. 19, 1911, page 311 sq. *It is of interest to note an equal importance for both from the plains of Persia, or are the wings in the Shinto religion in Japan, and that these, with the merely decorative elements? In any jewel, are symbols of the power of the Mikado. The case, it is interesting to find evidences of three original symbols are preserved, the mirror being in legendary winged horses in China, and the Naigu or “Inner Shrine” at Ise in Japan. it may be a delicate indication of their speed. Every inch of this mirror back A PAINTING BY AERT de GELDER is worthy of study, and full of interest. HE first painting bought with The second is a fine specimen of casting, the Museum Appropriation was sharply modelled, and with a clean sur- T “Esther and Mordecai” by Aert face. It is comparatively free from de Gelder. It is 23 inches high by green patina, and with its birds, insects, 56J^ inches long and is on the original lions, and graceful vines and bunches of canvas. This painting formerly be- grapes offers much of interest to the longed to the Sanford Collection and designer. some years ago was on exhibition in the Other unusual mirrors in the group Metropolitan Museum of Art in New include a T’ang example with flower York under the owner’s attribution to forms and butterflies, a Han piece with Ferdinand Bol, and known as “The seated figures in long robes and fierce Misers.” It is only in recent years that Kylin lions, several Han specimens with the differences between some of the characteristic, concentric ringed bands lesser painters have been established. of ornament with signs of the zodiac, Out of this study has come a clearer sulings, phoenixes, comb-pattern borders, knowledge of many worthy painters, and with inscriptions in Chinese charac- among them being Arent or Aert de ters. One of the most distinguished Gelder. shows a broad band with remarkable The painting in the Museum takes us three-toed dragons and Chinese clouds, back to Holland of the 17th century, while within is a small boss with a ring when, after the Spanish wars, she en- of leaf-ornament. In the group are also joyed a period of rest and expansion. severa Korean examples which are Her merchants brought her wealth, thinner and of a different alloy, so that her artists brought her honor. It was their general appearance is much greener. The designs are writing characters, signs characteristic of them in the main that of the zodiac, and plant, animal and they did portraits, genre paintings, or bird forms. landscapes. It is also to be noted that Bulletin of the Rhode Island School of Design IX, 39

ESTHER AND MORDECAI by Aert de Gelder Museum Appropriation, 1917 many chose to represent scenes from dressed in olive green and brown. Dr. the Bible, using the dress and models of Karl Lilienfeld in his monograph (Arent their own day or studio costumes. It de Gelder, Sein leben und seine Kunst, has been repeatedly pointed out that Nijhoff, Haag, 1914) claims that the there was a sharp division in religious models chosen by the artist were his forms between Protestant and Catholic, brother and sister-in-law. From doc- that Holland was a centre of strong uments existing in Dordrecht it is estab- adherence to Calvinism, and that, lished that the brother was a lawyer and speaking broadly, the Dutch prided them- his wife was fond of dress and luxuries. selves on being the chosen people of this Perhaps then she was all the more ready faith. It is small wonder then that to pose as Esther in de Gelder’s paint- there was a constant demand for re- ings. ligious subjects in paintings.- Rem- There are four versions of the same brandt is perhaps the greatest Dutch subject with sufficient difference of color exponent of the Bible story in art, but or detail to show that they are various many of his followers were noted in this studies and not replicas of any one paint- field as well. Old and New Testaments ing. These are in the Nationalgalerie at alike furnish the subjects to be inter- Budapest, the Gemalde-galerie at Dres- preted by the artist in terms of the life den, the example in Providence, and one about him. which was sold in the V. D. Spyk Col- The Museum painting shows Esther lection, which was dispersed by auction seated and holding a chart in her hands. in 1802. The example in Budapest is She has on a rich dress, semi-oriental signed and dated 1685, but the Provi- in character. The accessories of veil, dence painting is not signed. In date, diadem with pearls in the hair, and the however, it would seem from its treat- rich embroidery of the gown all show ment, to belong to the artist’s earlier the artist’s delight in the problem before period, or before 1685. him. The dress is rich in color, with Aert de Gelder was born October 26, olive-brown bodice, orange-red drapery- 1645. He was the son of Jan de Gelder over the shoulders, and red skirt. Before of Dordrecht. He studied first under Esther is a table on which she is lean- Samuel van Hoogstraten, then entered ing; this is covered with a dark green the studio of Rembrandt van Ryn where cloth, on which is an inkstand and a roll. he so absorbed the methods of the master Esther is addressing Mordecai who sits that he became one of his closest imita- behind the table on the right. He is tors, so close in fact that some of his IX, 40 Bulletin of the Rhode Island School of Design portraits have been attributed to Rem- of pigs on a rocky hillside in the shade brandt. Like him he was often careless of the oaks while his charges rooted in drawing, but a master of light and around for acorns or mast. shade, and very fond of rich color. The bronze figurine was doubtless a

Like his master, he was a collector, and votive offering, but to what divinity is his studio was crowded with properties a difficult question. Pan was the chief and costumes. With so many of his god of Arcadia and patron god of flocks countrymen he delighted in painting and herds. But Hermes was also pro- the smaller accessories from the actual tector of the shepherd and his charges objects, such as the inkstand and the as well, and Apollo likewise had a similar roll in the Museum painting. De Gelder duty. However, Pan has the greatest was successful for years. He died in appeal to the Arcadian, and therefore, Amsterdam in 1727, aged 82 years. was probably the recipient of this offer- The fact that De Gelder is responsible ing. for the series of paintings of “Esther and

Mordecai” is established by the signed and dated example in Budapest. L. E. R. A GREEK VOTIVE STATUETTE N the Louvre hangs Poussin’s master- piece showing a group of shepherds I and shepherdesses reading the in- scription, “And I too lived in Arcadia,” on a grave monument. The setting is in an idyllic pastoral scene. To many of us the name Arcadia doubtless stands for some like characteristics of scenery, but Arcadia in Greece hardly conforms to such a vision. On the contrary,

Arcadia is in the heart of the Peloponnese, a district of mountains and hills, of two high plains, and without access to the sea. It was by no means adapted for cattle but perfectly adapted for goats, sheep and pigs. In this land the oak trees grew in abundance, as Pausanias doubtless much of the life tells us, and Bronze Statuette of Arcadian Shepherd of the peasants was devoted to the care Greek, 5th cen. B. C. Gift of Mrs. Gustav Radeke, 1920 of flocks and droves. This was the life about which Theocritus sang, although In style it is characteristic of Arcadian his actual setting was Sicily; and some work of the late sixth or early fifth of its humble actors are represented in the century B. C. The hat, arrangement bronze statuettes which have been found of hair, pointed beard, treatment of in Arcadia, one of which was recently eyes and type of cloak may be noted. given to the Museum by Mrs. Gustav This statuette may be compared to Radeke. several in the National Museum at The figure is of a standing swineherd Athens (Nos. 13057-13060), to terracot- or peasant, dressed in a cloak or himation tas from the temple of Pan Nomios on and wearing a pilos or pointed cap. One Mt. Lykeion, and to the bronze statuette can easily imagine him with his drove of Phauleas in the Metropolitan Museum ”

Bulletin of the Rhode Island School of Design IX, 41 of Art in New York, which came from Andritzena. It is possible that our bronze statuette came from the same find.

It has been well said that our interest in Greek works of art is justified because the Greeks “were once so intensely alive, and because that spirit permeated the entire range of art production. This is true of the masterpiece of the greatest artist and of such an example of humble bronze casting as the statuette of the peasant. L. E. R.

A RAKKA EWER. REECE had her gods, and Egypt and Assyria their kings; and unto G them were buildings reared, and EWER Persian, 12th cen. to their glories were their likenesses cut Gift of Mrs. Gustav Radeke, 1912 in stone. The world of art has these great monarchs and deities to thank for Rakka. This ancient city, once the capital much on which it has since learned to build. of the kingdom, lay half way between Bag- What of Persia — the Persia of Europe’s dad and Aleppo. Merchants passed on their dark ages? Troubled with shifting dynas- way through Mesopotamia and traded not ties of foreign tyrants, Saracen and Tartar only in goods but in the secrets of ce- and Turk, she felt little impulse to honor ramic arts. Rakka and Sultanabad, near her royalty. Robbed of her own true fire- the centers of commerce, borrowed from worship, and forced into acquiescence, or Egypt, Babylonia and Assyria rare tur- at least submission, to an alien Arab faith, quoise shades and a rich lapis-lazuli blue she felt little impulse to honor Mohammed. that have given to their wares a charm of These fields of expression were left to the color unique and unapproached. It is to invaders. With nothing of which to be this turquoise -blue ware that the ewer proud, and nothing for which to feel thank- in the School of Design museum belongs. ful, what urge was there for artistic expres- Long burial gives these pieces of pottery sion? And it is perfectly true that through- an iridescence like that of Graeco-Syrian out this humiliating period no work of art glass. This action of the earth is especially that was not also utilitarian in purpose was beautiful in the Rakka ware, for its fine produced in Persia. Yet the spirit of art glaze, thinner than the Sultanabad, is eaten was there and did manifest itself. Into the through more quickly, until the grey-white carpets, hangings and furniture made for paste is laid bare and acted upon. The re-

Mohammedan mosques, into the vases, sult is a marvelous mother-of-pearl effect, bowls, ewers and wine-cups made for the apparently of great delicacy, yet in reality royal banquet hall, the artisans of Persia firm and solid, quite the opposite in dura- wrought the heart of Persia. Sultanabad, bility of the flaky glass from Syria.

Rhages, and Rakka, with other less famous The School of Design is fortunate in pos- centers, turned out pottery in this period as sessing, besides the ewer illustrated, other rich in color as that of China. fine specimens of Rakka, Sultanabad and In the Persian collection of the Rhode Rhages faience. The collection contains Island School of Design is an ewer of this the older 11th and 12th century lustre ware,

period from the pile of rubbish that was with its brown-purple glow and its floral IX, 42 Bulletin of the Rhode Island School of Design arabesques. There are rich turquoise-green NOTE bowls, with decorations in black under the New Appointment on Museum Staff glaze, from Sultanabad, and white ware of —The Trustees of the Rhode Island Rhages, with its decoration of human fig- School of Design have appointed Stephen ures and birds sketchily drawn, but ar- Bleeker Luce, Ph. D., of Boston, as ranged with a true sense of balance and Honorary Curator of Classical Antiquities design. ware, with Cobalt-blue monochrome in the Museum. Dr. Luce is a graduate arabesques in relief, and gorgeous dado- of Harvard University, has studied at tiles bearingCuficinscriptionsthere are, and the American School of Classical Studies an entertaining octagon tile from Kasvin in Rome and Athens, and for a number of showing a running deer. One of the rarest years has been Assistant Curator of the pieces is a lamp-holder of iridescent tex- Mediterranean Section (Classical) in the ture, also from Rakka. Yet one of the University of Pennsylvania Museum in choicest is the little 12th century ewer, Philadelphia. He resigned this position with its rich, soft tones and graceful lines. last year. It reflects the spirit of Persia, with her for- eign tyrants and her foreign gods, minister- ACCESSIONS AND GIFTS ing to the humbler needs of men in a beau- April 1 to September 15, 1921 tiful way. Poet-nation that she was, em- Ceramics bittered perhaps by her subjection, yet still French Empire vase and stand, gift of holding to her national feeling, she learned Mrs. William B. McElroy. from her potters many a lesson of life: Ten pieces of English and French pot- tery, gift of Mrs. Edward Holbrook. “For I remember stopping by the way To watch a Potter thumbing his wet Clay Chinese and Japanese And with its all-obliterated Tongue, Six Chinese paintings: Tung-Fang-Su with a Peach by Sui Zen, T’ang Dynasty; It murmur’d, ‘Gently, Brother, gently, , Landscape by Wang Wei, T’ang Dynasty; pray!’ , Ladies on a Horse by Chang Hsuen, T’ang , “Listen—a moment listen!—Of the same Dynasty; The Empress, by Chou-Fang, Poor Earth from which that Human T’ang Dynasty; Gathering of the Lohans, Whisper came by Liu-Sung-Nien, Sung Dynasty; Lohan The luckless mould in which Man- with a Toad, by Hsi-Ko, Five Dynasties, kind was cast gift of Mr. Manton B. Metcalf. They did compose, and call’d him by the Walking tiger, bronze, Japanese, Meiji name.” Period Chinese garden vase, Ching Dy- ; D. L. F. nasty; three Chinese teakwood tables, Ching Dynasty; two Japanese plates and EXHIBITIONS FROM JUNE 1 TO a Japanese vase, Meiji Period, gift of Mrs. OCTOBER 1, 1921 William B. McElroy. June 1-July 1. —Chinese Paintings and Votive terra-cotta statuette, Chinese, Sculpture. T’ang Dynasty, Museum Appropriation. June 1-October 12. —Recently acquired Carved wood mandarin wand, Chinese, oil paintings, water-colors, drawings and Ch’ien Lung, gift of Mr. Frank H. Foster. furniture. Three trays and a vase, Japanese; one September 5-September 15. —Drawings Chinese vase, gift of Mrs. Edward Hol- and Sketches by Anna Milo Upjohn, made brook. in the war-stricken countries for the Drawings American Red Cross. Twenty-three drawings: Portrait Head,

September 12-October 12. —Neapolitan by Abbott H. Thayer; Sketch by J. J. miniatures, lent by Dr. Luigi Maiello. Lemordant; Sketch, by Charles Conder; , ,;

Bulletin of the Rhode Island School of Design IX, 43

Mrs. Dalrymple, by Dante Gabriel Rossetti; Brussels black lace jacket, 19th century, Man's Head by Augustus E. John; Cliffs gift of Mrs. Daniel Goodwin. by Childe Hassam; Landscape, by Thomas Italian Buratto altar frontal, 16th cen- Gainsborough; Landscape, by Claude Lor- tury, gift of Mrs. Gustav Radeke. rain; Portrait Study, by William Rothen- stein Bathing the Baby, by William Orpen Metalwork ; Tobias and the Angel, Rembrandt van Silver tankard, made by Stephen Minot Ryn; Sketch of a Beggar, by Jacques Callot; of Boston in 1763, gift of Mrs. Gustav Pernicious Dream, by John Flaxman; Radeke. Horse and Two Jockeys, by H.G. E. Degas; Iron tea caddy, American, gift of Mrs. Siamese Dancers, b.y Auguste Rodin; Edward Holbrook.

Heads, by Goya; Laborers, by J. L. Forain; Cats, by A. T. Steinlen; Mother and Child, Paintings by Mary Cassatt; Boys Bathing, by Max Panel painting, “Mary Magdalen,” by Liebermann; Old Woman, by Paul Gar- Simone Martini, Museum Appropriation. varni; Distant Oxford, by Muirhead Bone: Oil painting, “Portraitof Two Brothers,” gift of Mrs. Gustav Radeke. by John Arnold, gift of Mrs. E. L. Springer. Four Corners of the World Bringing Oil painting, “The Orange Bowl,” by Treasures to Britannia, by Benjamin AnnaS. Fisher, gift of the Council of the West, Museum Appropriation. National Academy of Design administrat- ing the H. W. Ranger Estate Fund. Furniture One chair, reproduction of Old French, Prints gift of Miss Ellen D. Sharpe. Five lithographs illustrating Poe’s Gold cassone, Italian, 15th century, “Raven,” by Edouard Manet, gift of Museum Appropriation. Mrs. Henry Chace in memory of Sarah Cradle, Early American, gift of Mrs. Helen Whitman. Gustav Radeke. Skein winder, Early American, gift of Sculpture Combination Ladder Company. “Madonna and Child,” by Andrea Glass Pisano, gift of Mrs. Gustav Radeke. Eighty-seven pieces of English, Amer- Cast of “David Vainqueur,” by Antonin Mercie, gift of Mrs. Frederick ican, Dutch and Irish glass, gift of Mrs. R. Hoard. Edward Holbrook. Textiles Jewelry One piece of Italian cut velvet, 15th Gold fibula, Syrian, Greek period; century, gift of Mrs. Gustav Radeke. gold necklace, Roman, 2nd century, A. D., Scotch plaid shawl, gift of Mr. Brooks gift of Ostby & Barton Co., in memory of Reed. Englehardt Cornelius Ostby. Philippine embroidered chalice cover, Silver crown, Roman, 2nd century A. D., gift of Miss Catherine B. Mills. Museum Appropriation. Indian shawl, 19th century, gift of Mrs. Cameo pin, French, gift of Miss Mary Daniel Goodwin. L. Newcomb. Lace Water- Colors Three pieces of lace: Spanish almagro, Sketch by Edward Dayes, gift of Mr. 17th century; Spanish drawn work, 17th William T. Aldrich. century; Spanish malla, 18th century, gift of Prof. E. L. Ashley. Woodwork Brussels lace shawl, 18th century, gift Moorish panel-door, 16th century, Mu- of Mrs. A. B. Fenno-Gcndrot. seum Appropriation. IX, 44 Bulletin of the Rhode Island School of Design

The Bulletin of the ton Collection is open from 2 to 5 p. M. Rhode Island School of Design daily. Twenty-five cents admission to the

Providence museum is charged on Mondays, Wednes-

All communications should be addressed to the days and Fridays and the museum is free General Editor, Mr. L. Earle Rowe. on Tuesdays, Thursdays, Saturdays and Sundays. OFFICERS Free transferable tickets admitting four persons on pay-days are sent to all mem- Mrs. Gustav Radeke President Theodore Francis Green Vice-President bers of the corporation. Art students G. Alder Blumer, M. D. Secretary and artists, on application to the authori- Stephen O. Metcalf Treasurer ties, may obtain free tickets of admission

L. Earle Rowe Director for any pay-day. Teachers with pupils of public and private schools will be TRUSTEES both admitted without payment upon applica- Term expiring 1927 William L. Hodgman, Sydney R. Burleigh tion. Term expiring 1926 William T. Aldrich, Henry D. Sharpe Term expiring 1925 PHOTOGRAPHS ON SALE. Mrs. Gustav Radeke, Jesse H. Metcalf Term expiring 1924 Photographic copies of many of the ob- Howard L. Clark, Theodore Francis Green Term expiring 1923 jects belonging to the museum, including King, Alder Blumer, M.D. Miss Lida Shaw G. photographs of the Pendleton Collection Term expiring 1922 Howard Hoppin, Harald W. Ostby of furniture, are on sale at the entrance to EX-OFFICIO the museum.

His Excellency Governor Emery J. San Souci His Honor Mayor Joseph H. Gainer PUBLICATIONS. Commissioner of Public Schools, Walter E. Ranger The Superintendent of Providence Schools, Isaac O. Four quarterly bulletins are issued and Winslow President of Brown University, William H. P. are sent free of charge to the members, Faunce and, on written request, to alumni of the Professor John Francis Greene, of Brown University institution. E. Charles Francis, of State Board of Education Judge Frederick Rueckert, of State Board of Edu- The year book of the school containing cation detailed information regarding its many Librarian of Providence Public Library, William E. Foster activities, and presenting conditions of ad- MEMBERSHIP mission and a list of the courses given in its several departments, will be forwarded Honorary Members Governing Members for Life, who pay at one time free of charge to prospective students and $100.00 others are interested in the institu- Annual Governing Members, who pay annual dues of who $10.00 tion and its work. Annual Members, who pay annual dues of $3.00 COPYING.

ADMISSIONS. Permission to copy or photograph in the Hours of Opening.—The galleries galleries of the museum may be obtained are open to the public on every day of the in the office. Such permits will not be year, with the exception of Thanksgiving issued for Sundays or legal holidays. Day, Christmas Day, and the Fourth of July. From July 1st to September 15th LIBRARY. the hours are from 1 to 5 p. m. on week The Library contains 4,543 volumes, days and from 2 to 5 p. m. Sundays; from 16,643 mounted photographs and repro- September 15th to July 1st the hours are ductions, 3,546 lantern slides, and about from 10 A. m. to 5 P. M. week days and 3,480 postcards. During the months of from 2 to 5 p. m. Sundays. The Pendle- June, July and August the library is closed.