Bulletin of the Rhode Island School of Design

Issued Quarterly

Vol. VII APRIL, 1919 No. 2

PORTRAIT OF H. H., THE ARTIST’S DAUGHTER by Charles Sidney Hopkinson

Jesse Metcalf Fund 1918

Entered as second-class matter January 16, 1913, at the post office at Providence, Rhode Island, under the Act of August 24, 1912. Copyright, 1919, by Rhode Island School of Design. All rights reserved. VII, 14 Bulletin of the Rhode Island School of Design

PAINTING BY ated from in 1891, CHARLES S. HOPKINSON studied in the Art Students League in New York and in , has been an HE latest addition to the Museum enthusiastic follower of Dr. Denman W. from the Jesse Metcalf fund is very Ross in his work in theory of design £nd T color, representative of the modern ten- has travelled frequently, and has dency in American figure . It is been fortunate in finding ready market the “Portrait of H. H., the Artist’s for his work. His artistic success may Daughter,” by Charles Sidney Hopkin- be partly due to the fact that he has been son, an artist whose work ranks with in a position to choose precisely the the best of the present day. The paint- subject he wished, use his own judgment ing was exhibited in the 110th Pennsyl- as to treatment, and let his genius vania Academy Exhibition in 1915, where govern the time and method to be used. it was awarded the Carol H. Beck prize The result is that Charles Hopkinson which is given for “the best portrait in has made a place for himself in the hearts oil in the Exhibition.” The portrait of many lovers of American painting.

has qualities which commend it to the artist and layman alike. Both appreciate AN EARLY the sincerity of the character portrayal, STAINED-GLASS WINDOW both feel the sympathy of the artist FROM BOURGES with his subject, and both can appreciate

the qualities which give it lasting value. HROUGH the gift of Messrs The artist goes further and finds in TWilliam A. Viall and William C. Hopkinson a mastery of color treatment, Dart the Museum has been en- a knowledge of the subtleties of painting, riched by a stained-glass panel of the ability to avoid unnecessary detail, thirteenth century, said to come from and an understanding of the expression Bourges, . The panel is made up of theoretical principles without undue of parts of two windows, one is two- emphasis on them. thirds of a medallion showing a man The problem treated is a simple one, pursued by a dragon, and the other

a half-length portrait of a little girl, shows grisaille, floral and geometric dressed in winter hat and coat, with a patterns. These may or may not have background of gleaming snow-banks, and been incorporated originally in the same beyond, a glimpse of the blue ocean, and window. a few branches of rhododendron, with The stained glass of the thirteenth their dark green lustrous leaves, which by century marks the highest point of contrast, placing, and color, add much to achievement reached by artists in that the composition. The artist was in- fascinating field of decorative expression.

terested in a problem of delicate handling The work of the period is unsurpassed

of various shades of blue, the light blue for brilliancy of color, produced as it shadows of the snow being especially was by the use of metallic oxides placed

appealing. The pose chosen is natural in the glass while still in the melting and the entire treatment of the compo- pot. One appreciates the rich colors, sition shows complete union of practiced which give the impression of jewels, eye, trained mind, and the patient study and the eye passes with delight from deep of simple subjects. Wherever a painting blue to ruby red, and from “flash”

by Hopkinson is hung, it immediately glass, in which the lighter red is broken attracts attention and rewards study. up by still lighter streaks, to yellow and

The artist is a well-known member of green. The jewelled effect and the the group; he was born in Cam- play of interest in the colors is secured bridge, Massachusetts, in 1869, gradu- by an unevenness in the thickness of Bulletin of the Rhode Island School of Design VII, 15 the pieces used, the thicker spots giving deeper tones of the gen- eral shade. It was char- acteristic of the work of the period that the win- dow was built up of small pieces of glass, held by leads, which were there- fore many in number, and that there should be a minimum use of painted details. If this last fea- ture were not looked out for, the brilliancy of the glass, and the mosaic effect of the window would be affected. It is largely due to this point that glass of this early period differs so decidedly from the painted and stained glass of later periods which was more detailed and pictorial. It should also be pointed out that the “leading” of the period helped in two ways. By following the SS PANEL FROM BOURGES French, XIII Centur outlines the pattern was Messrs William A. Viai.i. and William Dart emphasized and the rays C. of light were broken up. In this way the mosaic effect was in- work. The third kind was clear colored creased and the brilliancy of the color glass in mosaic, and was especially used was intensified by the lines of separation. in rose-windows. Three kinds of glass were used in It should be remembered in con- churches of the period; the medallion sidering the glass of this period and es- glass for smaller chapels and the end of pecially the fine example recently ac- the apse where it was desirable to cut quired by the Museum, that it is meant down the amount of light, and the gri- to be .seen from a distance, since it was saille or light-colored glass painted with placed far above the eye. In later glass cross-hatching, gothic ornament and the pattern or figure was made much floral design of a formal nature, which larger so that its story might be fully was used in the clerestory and which understood by the worshippers. This supplied the general light. The details fact means that the earlier glass found were usually painted on the glass in a its chief glory in its brilliancy of color, brownish pigment. This was also used and the sketchy treatment of detail did on the medallion glass for lines of drapery, not imply a lack of artistic ability on the shadows and details of faces, arms and part of the artist but rather an attempt legs. The grisaille is usually treated to always keep in mind the distance be- with a border of the same brilliantly tween the window and the visitor to the colored glass as is found in medallion church. VII, 16 Bulletin of the Rhode Island School of Design

Similar glass treatment is seen in PREDELLA PANELS episcopal palaces and public buildings By Mariotto di Nardo of the period. Here, and even in the m m churches, the fancy of the artist was • ‘ r W M I F men who first originate re- allowed full sway, and the subjects were I markable inventions have at all not always strictly religious. times received considerable at- The use of the figure of the dragon tention from those who write history, in our medallion is interesting not only and this arises from the fact that the for the action expressed, but also for first discovery of a thing is more prized its symbolic use. Whether the scene — because of the charm attached to represented is based on some special novelty — than all the improvements legend or generally symbolic we cannot that are afterwards made, although tell. It is probably an allegory of Con- by these last it may be that the matter science fleeing from Remorse. The is brought to its ultimate perfection. symbolic use of animals in the Gothic Nor is this without reason, seeing that period is well known. The types chosen if none made a beginning, there would may have been influenced by those il- be no place for the gradual amelioration lustrated in the earlier bestiaries, or which brings us to the middle point, they may have been created out of the and none for those last improvements artist’s fancy. The bestiaries were curi- by which the thing invented attains to ous compilations of fables about ani- the perfection of its beauty.” mals partly pagan and partly Christian This introduction by Giorgio Varsari in origin, which were in use until they to his life of Duccio is interesting be- were supplanted by printed books. In cause it shows that the point of view of a its symbolic use the dragon represents sixteenth century author toward early the devil. Our interest in the panel art differs little from our own attitude is due to its wealth of color, its con- toward Italian primitives. It has fre- formity to the characteristic technique, quently been pointed out that in this and its reminder of the glory in stained period when production was so great in glass to be found in Chartres, Rouen, response to the awakening interest in Rheims, Bourges and other cities. In art, only the work of the most tal- nearly every place where stained glass ented has received attention. To a of this period may be seen, there are lesser degree however the same merits pieces of the XHIth century glass incor- are to be found throughout the work of porated with later pieces. These earlier the entire period. One may criticise examples have come from buildings drawing or composition, but the techni- which have been removed in the course cal ability shown, the interest in color, of years, or else where change of taste the forceful telling of the story, the seek- required the addition of glass of the ing after deep religious feeling, all repay newer style. From such occurrences the consideration of the student. Ital- come the occasional opportunities to ian primitives are at a disadvantage when secure such notable specimens of glass seen away from the architectural and as is seen in our recent acquisition. religious setting for which they were L. E. R. intended. Two small panels from a predella have From the close relationship and co- recently been purchased from the Mu- operation of generations of good crafts- seum Appropriation. The name of the men in all the arts of design, and by artist can only be established on stylistic their associated and harmonious efforts grounds. According to Osvald Siren, has been reared the house of art in the they may be attributed to Mariotto di past. — Walter Crane. Nardo, a Florentine artist of the first Bulletin of the Rhode Island School of Design VII, 17

THE STIGMATIZATION OF ST. FRANCIS by Mariotto di Nardo. Italian, XV Century Museum Appropriation 1918 quarter of the XV century. Although more formal traditions of the XIVth later in date, he was an exponent of the century. Details of his life, apart from a

THE MARTYRDOM OF ST. LAWRENCE by Mariotto di Nardo. Italian, XV Century Museum Appropriation 1918 VII, 18 Bulletin, of the Rhode Island School of Design

few points mentioned in documents, are The composition and grouping of the not easy to establish. We know that his figures is of interest. The red screen father was Nardo di Cione and that he behind keeps the action in the foreground. probably worked in the studio of Niccola This panel is more brilliant than the di Pietro Gerini. Judging by the works other, having besides the red noted, which have been attributed to him he green, pink, grey, white and gold. Both was also influenced by Lorenzo Monaco. panels measure 12 /4s" x 934". He was regarded in his day as an artist It is because such panels express so worthy to be employed by Santa Maria sincerely the spirit of the period of their de Fiore, the Cathedral at Florence. production, and have an artistic appeal We also know from the records of the as well as an archaeological or historical Guild of Saint Luke that he was a mem- one, that they merit a place in our mu- ber of that body from 1408. Little else seums. is known except the date of his will, April 14, 1424. CHINESE JADE STELE The predella panels are those placed on the step or ledge on the altar-table N the unusual group of Chinese which supports the altar-piece. The I sculptures which were given to interest which an artist took in the larger the Museum by Mr. Manton B. opportunity of the altar-piece was often Metcalf in 1918, there is a votive tablet extended to the predella as well, although which dates back to the early days of the in some cases different artists were em- Wei dynasty. According to the inscrip-

ployed for each. tions incised upon it we learn that The two owned by the Museum show “in memory of my parents this jade “the Stigmatization of St. Francis” and tablet is erected by Chao Pao Lo” and

“the Martyrdom of St. Lawrence.” that it is dated the sixth day of the ninth In the former the tradition of the XIVth month of the second year of Yung Sih, century is seen in the keeping of the ac- which corresponds to our 533 a. d. A tion in the foreground, the sketchy hills second inscription adds the name of with dark green trees, the houses so out Hu-Fu, governor, and the date, thir- of scale and drawing, and the gold back- teenth day of the fifth month of the

ground with punched ornamentation. second year of Tai-Tung. Tai-Tung is a The figure of St. Francis has a certain title of the reign of Liang Wu-Ti of the dignity and intensity of expression which Division period, and the date given is

is interesting, while the lines of light 536 A. d. Other names added in smaller from the body of the Christ to the inscriptions placed on the sides are those corresponding parts of the body of the of the father Chao Shih Yuang, mother saint follow the precedent of Giotto and Chi Ch’Nui, wife Wang Shou Shih, and others of his school. That the miracle nephew Chia Hao. The sculpture then, ^should be so represented shows the child- quite apart from its artistic interest,

like simplicity of the religious life of the bridges the long period of 1386 years, period which must needs have so visual and we become acquainted with the a manifestation. The colors used are pious members of a Chinese family who grey-brown, pink, red, greenish brown, obey the traditions of the land in per- black and gold. petuating the memory of their ancestors, The Martyrdom of St. Lawrence rep- especially the parents. resents that patient sufferer resting The period to which this interesting quietly on a grid-iron placed over a bed piece of sculpture belongs was one of

ot blazing coals. Here again is the senti- the most disturbed in Chinese history. ment of the period expressing itself in as The country was torn with internal dis- direct and detailed a manner as possible. sensions. In the north ruled a group of Bulletin of the Rhode Island School of Design VII, 19

Tartars under the name of Northern cense-burner in her left hand, and a Wei. In the south, a group of rulers, lily (?) in her right. The sweep of the under the name of Southern Wei, ruled drapery recalls the freedom of work done from their capital of Nan-King. In this under Greek influence, however remote. group Wu-ti was the founder of the Below in a small panel is a graceful Liang dynasty and lived from 502 to figure of a kneeling woman holding an 550 a. D. The chief events of his reign incense-burner with a long handle. The are concerned with struggles with the back of the stele has at the top a deep power in the north and with a deep in- panel with the figure of a seated man terest in Buddhism. The mention of the title, Tai-Tung, would lead one to find an origin for the tablet in southern China, but nothing more definite can be stated. Previous to A. d. 67, when Buddhism was officially approved by China, the religious faiths of the country had been Taoist and that founded by Confucius. In both, especially the latter, respect for the parents and worship of the ancestors were strongly emphasized, following ear- lier tradition. With the entrance of Buddhism the Chinese continued these features with little or no change. The general style of drapery and pose in the stele would suggest Buddhist influence.

On the front is a recessed panel con- taining the figure of a man in long robes which are arranged in the formal manner seen in Buddha figures and reliefs of the Six Dynasties. A curtain looped up with cords is above his head. Below on a shallow panel, in low relief, are two lions, back to back, but with heads turned to the center. The tails are crossed and curve upwards in a graceful manner to

fill the empty space. From the mouths spring two floral motives which entwine

and fill the empty space above. The YELLOW JADE STELE Chinese, VI Century A. D. lion as a native animal is unknown in Gift of Manton B. Metcalf, 19 IS

China in the historic period, and is a enface, and dressed in long robes. The Buddhist motive introduced from India. familiar long Oriental sleeve is much in This probably accounts for the curious evidence. The rest of the area is cov- representations so often made, and the ered by the inscription which has been freedom of decorative effect secured by mentioned. The fourth side shows a the artist. female figure similar to that on the oppo- If we consider the other three sides of site side, with flowing robes, a lily in her the block of jade, going to the left, we left hand and a lantern (?) or incense- find the narrow panel of decoration in- burner in her right. Below is a kneeling cludes a standing female figure facing figure of a man dressed in a long robe towards the front panel, carrying an in- and holding an incense burner. VII, 20 Bulletin of the Rhode Island School of Design

The top of the stele represents the roof presepio figures of the eighteenth cen- of a shrine with tiling and roof beams, tury which was loaned by Mrs. W. L. which recall similar treatment in earlier Jackson and Mrs. L. Earle Rowe. The Han pottery. setting was made by the students in the

The material chosen, yellow jade, is school, especially from the department unusual for such a memorial. In the of decorative design, working under earlier periods jade was chiefly used in direction. The presepio figures were used the form of symbolic shapes employed in Italy, to tell the Christmas story. in the ritual of the dead. There green By having the figures separate, different and white jade predominate. Yellow grouping could be produced. They are jade must have had quite an appeal distinguished for their lifelike presenta- for the Chinese, for yellow is the color tion of Italian life, a careful use of native symbolizing the earth, and it was much costume, and a sincerity of religious ex- rarer than the other shades. pression which make these figures worthy

It is characteristic of Han sculpture of exhibition in an art museum. which preceded in date the stele in ques- Extension of Educational Work. tion, that the relief was kept very flat — The Rhode Island School of Design and the details were incised on the sur- has introduced into its educational work face. The higher modelling of the story hours for children of members example in the museum shows the new and their friends. The first one of these spirit coming in with Buddhist artistic given by Mrs. Mary Shakspeare Puech, traditions and which was to bear such on March 15th, was “The Lamp of the excellent fruit in the superb art of the Madonna, A Tale of Old Venice.” The T’ang dynasty. l. e. r. second one will be given on April 12th, A Novel Christmas Feature.— Dur- the subject of which is “A Persian Gar- ing the Christmas season the Museum den.” These illustrated story hours are had on exhibition a group of Neapolitan in Memorial Hall at a quarter of twelve.

NEAPOLITAN PRESEPIO FIGURES XVII and XVIII Century. Setting modern Lent by Mrs. W. L. Jackson and Mrs. L. Earle Rowe, 1918 .

Bulletin of the Rhode Island School of Design VII, 21

Both children and parents were present Tile fragment from Rhages, twelfth at the first story hour. The children century, Museum Appropriation. have the privilege of inviting such adult Dado tile fragment from Yezd, six- companions as they wish to their story teenth century, Museum Appropriation. hour. Chinese cinerary jar, Han Dynasty, Museum Appropriation. Membership.— At the meetings of the Trustees held since January 1st, the Engravings and Prints following members were elected: Life Print on glass, “Europe and Asia," member— Albert W. Claflin; Annual English, early nineteenth century, gift members — Miss Jeannette M. Hodg- of Miss Ellen D. Sharpe.

man, John P. Farnsworth, Jr., Charles Valentine, English, gift of Miss Ellen E. Hoefler, Erling C. Ostby and Mrs. D. Sharpe. Erling C. Ostby. Messrs. William L. Reproduction of etching by Philip Hodgman and Gustav Saacke have Little, gift of Mrs. Gustav Radeke. changed to life-membership. Eleven war lithographs, French, Lectures for the Quarter.— The Museum Appropriation. Thirty-seven American, French, Brit- program for the lectures for the season ish, Czecho-Slovak posters, given by was continued during the past quarter. American Committee for Relief in the On January 22nd, Dr. Richard Deming near East, American Red Cross, Dr. Hollington gave a fascinating and schol- G. Alder Blumer, The Boy’s Working arly discussion of “The Spirit of Old Reserve, Food Conservation Committee, Japan.” The illustrations were unusually Mrs. Jesse H. Metcalf, Mrs. Gustav beautiful and the audience showed keen Radeke, Mr. Henry W. Sackett, Miss interest and appreciation. On Febru- Ellen D. Sharpe, U. S. Shipping Board, ary 20th, the Rhode Island School of also the Museum Appropriation. Design was privileged to offer a lecture by Seymour de Ricci of the Official Furniture French Mission on the subject of “Art Spice box, English, oak, seventeenth in Old French Homes.” The third lecture century, gift of Miss Ellen D. Sharpe. on March 28th was given by Mr. Clar- Chinese cabinet, Ming Dynasty, six- ence H. Blackall, who spoke on “The teenth century, gift of Mrs. Jesse H. Ruined Buildings of Northern France Metcalf . Jewdry and Flanders.” Mr. Blackall’s presen- tation of the sad fate of structures that Two gold rings and “boat-shape” were part of the world’s heritage, was earring, Persian, twelfth century from gift of Barton. both impelling and timely, and his lec- Rhages, Ostby & ture proved to be of exceptional interest. Gold ring, T’ang Dynasty, Chinese, gift of Ostby & Barton. ACCESSIONS TO THE MUSEUM Eleven pieces of gold jewelry, chiefly December 1st to March 15th Greek and Roman, from Syria, gift of Ceramics Ostby & Barton. Earring, mounted with lapis-lazuli Pottery albarello, from Rakka, elev- and turquoise, Nepal, eighteenth cen- enth to thirteenth century. Anonymous. tury, gift of Mr. H. Kevorkian. Ring bottle, brown glazed, pottery. Laces American, about 1845, gift of Dr. R. Meyer- Riefstahl Three pieces of lace “Malla,” “Re- Cream pitcher, English-Liverpool, dano ” and “Binche,” gift of Mrs. Gustav nineteenth century, gift of Mrs. A. E. Radeke. Sweet. Malla lace, Spanish, early sixteenth Indian vase, gift of A. L. Bullard. century, gift of Miss Cornelia Ashley. VII, 22 Bulletin of the Rhode Island School of Design

Medals Two silver tablespoons and three “Victory,” Art War Relief medallion silver teaspoons, early American, gift by Paul Manship, Museum Appropria- of Dr. J. O. Arnold. tion. Stained-Glass Metal Work Stained-glass panel, thirteenth cen- Toaster (cast iron), early American, tury from Bourges, France, gift of Mr. eighteenth century, gift of Dr. Augustus William A. Viall and Mr. William C. M. Lord. Dart. Two Spanish wrought iron locks, Textiles sixteenth century, Museum Appropria- Brocade, fragment of Hispano-Mor- tion. esque, fourteenth century, from Burgos, gift of Mr. William A. Viall and Mr. Painting, “Brittany Girl, Lammercke,” William C. Dart. by Cecelia Beaux, Jesse Metcalf Fund, Piece of silk fabric, American, gift of 1919. Mrs. A. L. Waterman. Mary Magdalen, by Carlo Cignani, EXHIBITIONS OF THE QUARTER gift of Mrs. J. P. C. Weiss. Water Color, by Sulpice Paul Gavarni, Dec. 31-Jan. 8. — Mural decorations Museum Appropriation. made for the Park Museum by Mr. “Virgin,” Ikon, Byzantine School Percy F. Albee. sixteenth century, gift of Prof. V. G. Jan. 9-Feb. 3. — Jacobean oak furni- Simkhovitch. ture and early prints, lent by Mr. Wil- Kakemono, Buddha on Lotus Throne liam G. Roelker. with attendants, Korean, Korai Period, Feb. 3-Feb. 19. — (1) Silhouettes by gift of Mr. Manton B. Metcalf. Katharine M. Buffum. Chinese Makemono, “Mountains and (2) Miniatures by Martha B. Willson. Mist,” Mi-Yuen-Wei, Sung Dynasty, by (3) Recent acquisitions to the Persian gift of Mr. Manton B. Metcalf. Department. Feb. 19-Mar. 3. — Etchings and dry- Sculptures points by John Wright. Wooden grave monument of Abul- Mar. 5-Mar. 26. — Studies for mural ghassem, Persian, fourteenth century, decorations and original drawings by Museum Appropriation. Violet Oakley. Archaic actor’s mask, Japanese, Wood, Museum Appropriation. LIBRARY

Collection of 118 Japanese netsuke, Among the accessions of the quarter wood and ivory, Museum Appropriation. are the following: Babylonian clay tablet, gift of Mr. Balch, E. S. and Balch, E. M.— Art and E. L. Ashley. man. 1913. Ivory statuette of Han-yu, Early Bone, Muirhead.— The Western front. Ming, gift of Mr. Manton B. Metcalf. 1907. Ivory amulet (Indo-Chinese) T’ang Brinton, Christian, ed. — War paintings Dynasty, eighth century, gift of Prof. and drawings by British artists. V. G. Simkhovitch. 1919. Three Egyptian moulds for amulets Dalton, O. M.— The treasure of the and scarab, gift of Dr. R. Meyer-Rief- Oxus. 1905. stahl. Dieulafoy, Marcel. — L’art antique de la Silverware Perse. 1884. Teaspoon (silver), early American, Exposition des primitifs fran^ais gift of Miss Jane Bucklin. au Palais du Louvre. 1904. Bulletin of the Rhode Island School of Design VII, 23

Fosbroke, T. D.— Encyclopaedia of an- Viollet-le-Duc, E. E.— Dictionnaire tiquities and elements of archae- raisonne du mobilier frangais. 6v. ology. 2v. 1843. 1874. Gavarni.— Les gens de Paris, n. d. Wharton, Edith.— Italian villas and Giles, H. A.— A Chinese biographical their gardens. 1905. dictionary. 1898. If a work of art does not express in Griinwedel, Albert.— Buddhist art in itself the emotion, thought, or feeling to India. 1901. which the artist wished to give tangible Havell, E. B. — Indian sculpture and form, then that work of art is a failure, painting. 1908. and no name or title will redeem it. Hawkshaw, C. Japanese sword- J. — You give a group or a figure a classi- 1910. mounts. cal or a literary title and immediately in- Hirth, Friedrich — Scraps from a col- to the beholder’s mind there sweeps a lector’s note book: Some Chinese long train of memories and associations painters. that often quite blur and altogether con- Mason, C. A.— The spell of Italy. 1909. fuse the thought or emotion which the Petrie, VV. M. F.— The Hawara port- artist was striving to express. — Jo Davidson (sculptor). folio. 1913. Porter, A. K.— The construction of Now I say without hesitation that the Lombard and Gothic vaults. 1911. purpose of applying art to articles of Sartor, N.— Les tapisseries, toiles peintes utility is two-fold; first, to add beauty et broderies de Reims. 1912. to the results of the work of man, which Sherrill, C. H.— Stained glass tours in would otherwise be ugly, and secondly, France. 1908. to add pleasure to the work itself, which Van De Put, A.— Hispano-Moresque would otherwise be painfully disgustful. ware of the fifteenth century. 1904. — William Morris.

CORNER OF THE JANUARY EXHIBITION OF FURNITURE VII, 24 Bulletin of the Rhode Island School of Design

The Bulletin of the ton Collection is open from 2 to 5 p. m. daily. Rhode Island School Design of 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 Mrs. Gustav Radeke President persons on pay-days are sent to all mem-

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 both public TRUSTEES and private schools will be Term expiring 1924 admitted without payment upon applica- Howard L. Clark, Theodore Francis Green tion. Term expiring 1923 Miss Lida Shaw King, G. Alder Blumer, M.D. Term expiring 1922 PHOTOGRAPHS ON SALE. Howard Hoppin, Harald W. Ostby Term expiring 1921 Photographic copies of many of the ob- William L. Hodgman Term expiring 1920 jects belonging to the museum, including William T. Aldrich, Henry D. Sharpe Term expiring 1919 photographs of the Pendleton Collection Mrs. Gustav Radeke, Jesse H. Metcalf of furniture, are on sale at the entrance to the museum. EX-OFFICIO His Excellency Governor R. Livingston Beeckman 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 are sent free of President of Brown University, William H. P. 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 year-book of the school containing Judge Frederick RuECKERT,of State Board of Edu- The 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 Honorary Members its several departments, will be forwarded Governing Members for Life, who pay at one time free of charge to prospective students and $ 100.00 Annual Governing Members, who pay annual dues of others who are interested in the institu- $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 LIBRARY. July. From July ist to September 15th the hours are from 1 to 5 p. m. on week The Library contains 3,585 volumes, days and from 2 to P. m. Sundays from mounted photographs and repro- 5 ; 16,157 September 15th to July ist the hours are ductions, 2,808 lantern slides, and about from 10 A. m. to 5 p. m. week days and 3,250 postcards. During the months of from 2 to 5 p. m. Sundays. The Pendle- June, July and August the library is closed.