Bulletin of the Rhode Island School of Design

Issued Quarterly

Vol. Ill JULY, 1915 No. 3

MARBLE CIBORIUM Antonello Gagini, , 1478-1536

AN ITALIAN and lesser artists had visions of beauty for TABERNACLE-FRONT. which they frequently found expression, and it should be noted that they by no O really distinctive movement in art means lacked patronage. has ever assumed prominence ex- This was equally true in Sicily, where the N cept as it afforded a means of ex- new expression of ideas received was with pression at the same time individual and universal favor by the enthusiastic spirit racial. The measure of its expression of the race. Curiously enough, although both in quality and quantity depends to a much of very high merit was produced in large degree upon the economic conditions Sicily, general study has favored Renais- of the country, and its intellectual activity. sance expression in Northern and Central Given the conditions favorable to encour- . Despite this comparative lack of agement, either active or dormant, there interest in Sicilian art, even a slight study have been produced acknowledged masters of its manifestations brings us to the in art whose influence has spread to the Gagini family, which for so long a time most remote corners of the country, and fre- molded artistic expression in the island. quently to other lands. We may criticise The father, Domenico, was born in Bis- their execution in detail, but we yield all sone, near Lake Lugano, in the early fif- praise to their mastery of technic, their teenth century, but we find him settled in creative genius and their contributions to in 1463. He brought with him the world of beauty. Both the greater the spirit of the North Italian school. His 2 Bulletin of the Rhode Island School of Design

son, Antonello, is of especial interest as THE SURFACING OF PICTURES. the most productive Sicilian artist of his

time, and the probable sculptor of the HE surfacing of pictures is a subject unusual marble tabernacle-front which is which is often treated with the in the galleries of the School of Design. T greatest indifference by the artists He was born in Palermo in 1478, worked of the present day, and as a result of this at from 1498 to 1508, decorated fact a system has come into general use the choir of the cathedral at Palermo in which is resulting in much damage to fine 1510, and was very active elsewhere in works of art. It is difficult to understand Sicily, especially at Nicosia. Other work how the painters could have become influenced by him is found at Marsala, so careless of the preservation of their , Salemi, Trapani and Catania. In product, and why this important subject addition to his work in sculpture, he had should have received so little attention. many pupils, who spread his teaching Paintings which in themselves possess through the sixteenth century. Antonello enough merit to be preserved for future

1 died in 1536. The relief illustrated shows years will inevitably be varnished, but, if a tabernacle-front distinguished by high an improper varnish has been used, the artistic feeling, religious spirit and decora- chances are very great that the picture is tive value. The careful grouping of the ruined. As an illustration, a painting by angels on either side may be compared with Fromentin might be mentioned, which is Antonello’s shrine at Nicosia or the angel at present receiving attention from the in the Annunciation group in Monte San writer this originally was of cool, silvery ; Guiliano. It is also characteristic in its tone, quite high in key. At present, where treatment of perspective both in composi- the layers of lac, or retouching varnish, tion and detailed elements. Similar treat- have not been lifted, the picture is a deep ment is seen in certain parts of the relief sienna color, due entirely to successive showing the Miracle of the Apostle Philip coatings of hard copal varnish and lac. in the . The genius of Any attempt to hurry the work of clear- the artist, so far as our sculpture is con- ing this discoloration would result in ruin cerned, perhaps finds its highest expression to the painting, which was finished by the in the relief of the lunette, a detailed view of artist with tiny brush strokes of thin wash. which is here shown. The careful group- In other words, commercial handling ing of the figures, the subtle composition, would mean the disappearance of this and the emphasis on the central group may picture as a Fromentin. be noted. A hundred years ago painters busied Discussion of this relief should also in- themselves to a considerable extent with clude a word on its religious spirit. 2 Ales- the preparation of their materials, and the sandro Della Seta has called attention to consequent preservation of their pictures. the danger of “ accentuation of the value Accounts of the lives of Stuart and Sully, of form ” to the detriment of idealization. and their own writings, bear evidence of

This is indeed true in later art, but in this this, and their pictures prove their practice work of Gagini’s we find rather a sympa- to be thoroughly workmanlike and intelli- thetic appreciation of the possibilities of gent. The modern painter uses material religious subjects, and an expression of furnished him by the dealer in art goods. that kinship of spirit which breathes A dealer subject to business competition throughout the Italian Renaissance at its is much more interested in the profits best. l. e. r. of his business than in the purity of his

product so long as it is not questioned by 1 For further details the reader is referred to Gioac- the purchaser. chino di Marzo, I Gagini e la Scultura in Sicilia nei Recently the writer took occasion to secoli XV e XVI, Palermd, 1880-1S83. 2 “ Religion and Art,” Alessandro Della Seta, p. 383. visit the art material stores to find what ;

Bulletin of the Rhode Island School of Design 3

LUNETTE Detail of Ciborium by A. Gagini was sold for picture varnish. He was ad- fact that this material will dry hard in a vised to use retouching varnish, and was few minutes, and is easily dulled in case

told that “ everybody ” was using it. Re- the picture owner wishes a mat surface. touching varnish, so called, is nothing but A proper surfacing material, on the other lac, or purified shellac, combined in various hand, takes about three days to dry, and ways. This material appeals strongly to considerable skill and experience are

the American temperament. It is thin, needed in its use. amber-colored, has a pleasing smell, and The picture-owner should remember can be applied easily. It dries very that varnish is not permanent, although

quickly, and the result is secured in a short it must be used to keep the action of the

time. It is a good working rule, worthy air from the picture. The time will come of constant repetition, that a quick-drying when the varnish must be removed, for

varnish is not beneficial to pictures. Lac it undergoes change. Then if a hard gum dries hard, becoming much harder than has been used, the slightest carelessness,

the paint beneath it, and in time turns very ignorance or hurry may ruin all that is dark and hot in color, to the end that a worth while in the picture. Therefore the

picture loses all its cool and silvery tones only safe thing to use is a soft-gum var-

in fact, turns a rather deep ecru shade if nish, which is easily removable with perfect

much lac is present on the surface. When safety to the painting. Soft gum has

it becomes necessary for the picture to be been generally used in England, mastic cleaned and this dark-stained surface re- being the favorite. The excellent preser-

moved, the greatest skill is needed to pre- vation of the English portraits may be vent ruin, for the varnish surface is much attributed to this custom. Sully, who had

more resistant than the paint, and if sol- instruction along the lines of the English

vents are used, as is the usual custom, the painters, wrote — “ A hard varnish, such as delicate finishing strokes of the picture copal, is not suitable for a portrait. Mastic

will be obliterated before the lac is lifted. varnish and gum-damar varnish are good.

Again, the lac resists moisture badly and I prefer mastic varnish.” The only draw-

turns white if exposed to damp air. In back to mastic is a tendency to become

such cases the picture is painted over in cloudy especially in the spring and fall, these places as the easiest way out of the when our heating systems are started or trouble. Against these drawbacks is the discontinued. This “ bloom ” is absolutely 4 Bulletin of the Rhode Island School of Design harmless, and will wipe off with a silk have received their training in America ; cloth dampened with pure linseed oil and the one develops a vigorous personality, turpentine or a little varnish, very much impatient of restraint, daring in his technic thinned with turpentine. h. e. t. and brilliant in execution while the other, ; equally personal in his way, finds instinc- RECENT ACQUISITIONS FROM tive delight in tonal harmony, the poetical side of nature and a feeling METCALF FUND. strong for THE JESSE decoration. OME of the most valuable works of It is probable that George W. Bellows art in American museums have been has in part sought the strong and daring S secured through the special funds because of his being one of America’s sometimes placed at their disposal to be young painters. He was born in Colum- used as opportunity should permit. This bus, Ohio, on August 12, 1882, and worked affords almost the only means the museum under both Robert Henri and Hayes- has of competing with the connoisseur of Miller in New York. While under their wealth who also is desirous of securing instruction he early yielded to the spell of works of art which are of merit. In this the great city, finding its many moods and respect the School of Design is fortunate scenes of decided interest. While he has in having the Jesse Metcalf Fund at its painted other masterly works, equally full disposal, the income of which may be used of vigor, there are many who prefer his in the purchase of American paintings. series of views of city life, of the busy The latest acquisitions through this special Hudson River, or of the scenes along fund have added to the permanent collec- shore. The artist is truly distinctive when tions representative examples of two artists he adds to his ability as a technician, the of great interest to-day. They are “ Rain power of painting city life without the on the River ” by George W. Bellows and story-telling or moralizing element. In “ Recall of Spring ” by Arthur B. Davies. this respect has Mr. Bellows achieved It would be difficult to find two artists success. more different in temperament and expres- The painting “ Rain on the River” shows sion yet the work of both, while distinctly the Hudson at a point opposite the great ; individual, is illustrative of healthy features city. The storm which sweeps across the

of American art. broken surface of the river is a severe one,

It is interesting to note that both artists but it does not prevent the activities of

RECALL OF SPRING Arthur B. Davies Bulletin of the Rhode Island School of Design 5

RAIN ON THE RIVER George W. Bellows life from following their usual course for usual as might be desired. This power ; the artist finds in the sheets of rain, the Davies does express, although few of his grey clouds, the hillside park and the works possess more delicacy and charm movement caused by the wind, unsus- of conception and treatment than his pected harmonies of green and grey, and “ Recall of Spring,” which has so recently

a wildness of spirit which is contagious. been added to the collections' of the He has surely fulfilled his function in thus School of Design. l. e. r. expressing himself with sincerity, in point- ing out the beauty of the commonplace, OUR HERITAGE AND OUR DUTY. and showing that at no moment is nature dull. All of these healthy characteristics T is well known that Europe has for give this painting an interest both for the years recognized the necessity of

student and visiting public. I preserving its buildings and objects of Arthur B. Davies, on the other hand, historical and archaeological interest, and feels the tradition of the older school, but by the enactment of measures, both civic expresses himself in full sympathy with the and national, has sought to save these decorative emphasis of the day. He was features of its heritage. In this respect born in Utica, New York, on September America has all to learn, for we find such 26, 1862, and studied both in New York interest only in sporadic instances and at and Chicago. The power to subordinate the best in small groups. To be sure, in the descriptive to the decorative is not as New England we have the Society for the 6 Bulletin of the Rhode Island School of Design

Preservation of New England Antiquities, ments of the years.” It has, therefore, whose efforts in this direction deserve the remained for several generous and public- heartiest commendation. It should also spirited citizens to see that certain restora- be stated that certain chapters of the tions of the proper kind be carried out in “ Patriotic Societies ” have interested them- the spirit and letter of the colonial period. selves in this work of conservation of the With wise forethought, the architectural heritage of colonial days, although this features were entrusted to Messrs. John certainly cannot be said of them all. The DuFais and Norman M. Isham, working result is, therefore, that most of the efforts in collaboration. With the funds available, hitherto shown have been made by in- the central hall has been remodeled in a dividuals who generously shouldered the manner both dignified and entirely in har- responsibilities of the many. It will in- mony with the features of Peter Harrison’s deed be a matter of reproach expressed work that remain on the earlier parts of by the generations to come that we are the building. so negligent in our duty. An equally important change is seen in This lack of interest betrays most remark- the paintings, which, in the hands of a com- able shortsightedness. Every thoughtful petent man, thoroughly conversant with citizen must recognize that property of the peculiarities of early American paint- any kind depreciates in financial and ar- ings, have quickly assumed importance of tistic value if neglected. Moreover, the the greatest value. Students for years pressure is always in the direction of its had known of certain of the early paintings relegation to the auction-room or the junk- there shown, but when at the present heap, with the result that our heritage is moment one considers the group, he finds ever becoming diminished. work of surprising interest. Chief among “ The lure of the antique ” with many these are five by Gilbert Stuart, including persons is still but a fad, as is shown by one of himself at the age of twenty-four. the usual way in which the work of in- All belong to his earlier period and merit terest is subjected to “ restoration,” too the closest study. It will also be re- frequently at the hands of an amateur. membered that among the other portraits,

This is especially true in the matter of are important ones by John Smibert, architecture and painting, where ignorance Chester Harding, G. P. A. Healey, Thomas has so frequently caused serious damage. Sully, Francis Alexander and Thomas It is a pleasure, therefore, to be able to Lawrence. The Charles Bird King collec- call attention to any great effort made in tion of portraits of Indian chieftains, of the direction of sympathetic treatment of which the Library is custodian, and which material, with knowledge and ability. holds the interest as being unique and of The latest and most notable step in this great historical value, also merits con- direction has been made in Newport, sideration. These details have been men- Rhode Island, where the Redwood Library tioned to call attention to the size and presents a wealth of fresh interest quite importance of the collection, which num- unsuspected by the general visitor. This bers in all over two hundred. It is indeed noble monument of the genius of Peter a matter of congratulation that in many Harrison, one of the most noted architects cases the condition of the paintings ad- of colonial days, has, in the course of years, mitted of effective repair. suffered alterations which have departed The pleasing appearance of the delivery far from the refined spirit of its creator. room and of the paintings warrants the Moreover, its collection of paintings, to hope that other public-spirited and far- which additions have been made by gift sighted citizens will see to it that the rest and bequest from time to time, have of the interior is restored by the same or gradually given evidence of “ the thou- equally competent authorities to the sand accidents caught in the trailing gar- attractiveness which gave distinction to Bulletin of the Rhode Island School of Design 7

Peter Harrison’s work. It also encour- European jewelry. The group shows ages the hope that a far wider interest be head-ornaments, ear-drops, necklaces and taken in these matters, to the end that pendants, and includes also several pieces all buildings of any historic or architectural of Tibetan and Siamese work. A pendant interest should be properly cared for, and of transparent Jaipur enamel also calls at- that our heritage of colonial and early tention to that very important phase of American art, whether owned by institu- Indian work. tions or individuals, should receive such sympathetic and craftsmanlike treatment Hokusai Exhibition.— In the gal- as to best preserve it. This is primarily an leries, during April, there was hung an un- interest of the Rhode Island School of usually fine exhibition of prints and original

Design, and it should equally be a duty drawings by Hokusai, which form part of felt by all institutions, patriotic and histori- the collection now on loan at the School cal societies, or individuals who appreciate of Design. With the Europeans, Hokusai our debt to our colonial ancestors, and our has long been the favorite among Japanese privilege in being custodians of the heri- artists, on account of his keen observation tage of those who come in after years. of nature, his richness of invention, and his realistic humor. Hokusai began by NOTES. illustrating books, being often both author and illustrator of the books which he Loan of Indian Jewelry. published. A MONG the many art interests of In the collection are illustrations for the IJL India, that of the manufacture of play, “ The F orty-seven Ronin,” also leaves ^ jewelry has long been in favor. from a guide-book, showing views along The many influences which have been the Tokaido or road between Tokio and brought to bear upon Indian art since the Kyoto, the present and the ancient capitals British control began, such as the general of Japan. The famous series, “Thirty- commercializing effect which the West six Views of Fujiyama,” is well repre- always exerts on the East, the changed sented, showing great variety in treatment conditions which no longer call for sym- of figure and landscape. One writer has pathetic treatment of symbolic religious said of them, “These views are, perhaps, subjects, or for the direct encouragement taken as a whole, the most superb set of by the state of individual artists of superior landscape compositions — in the technical merit, have all conspired to lower the sense of the word — ever made.” Among standard of craftsmanship and under- Hojkusai’s best-known books are the mine those features which gave such a “ Mangwa,” which, translated, may mean charm to old Indian work. The jewelry, “ drawing as it comes spontaneously.” however, continues to express the national The drawings in these volumes cover spirit, and always merits consideration. every phase of Japanese life and legend.

F or the designer or stone-worker, there is The original drawings, which are a more a wealth of interest in those examples of unusual feature, give proof of Hokusai’s intricate, heavy designs which may be masterly handling of the brush, and his occasionally found in the bazaars of the remarkable control of line. East. The loan to the School of Design

by Mr. Hervey E. Wetzel of Boston of a Ernest Lawson Exhibition.— It is select group of this jewelry is therefore of a long-established practice of the School decided interest. In the pieces shown of Design to hang in the galleries, for the may be noted the richness brought about consideration of its many visitors, the work through the Oriental use of semi-precious of artists of the day who have developed stones, which are rarely cut in facets this individuality. This has been brought ; adds a charm not always in evidence in about through general exhibitions and —

8 Bulletin of the Rhode Island School of Design special ones illustrative of one man’s work. States represented, 10 + Canada The latest exhibition of the second type Number of teachers, 60

Diplomas . (from five depart- was shown in the special gallery during . 34 ments) the first three weeks in April, when six- Certificates . . 21 (from five depart- teen examples of the work of Ernest Law- ments) son were on view. This painter finds his Museum material in the infinite variety of moods in Number of additions . . 1040 “ “ nature, apparently being in greatest har- children from Public Schools .... 2239 mony with the opalescent tones of spring Special Exhibitions held . . 23 and the light mists of early morning. The artist was born in California in 1873, and Library has spent several years of study in France. Volumes added . . . 173

his Reproductions added . He frequently has work in annual and . 939

circulated . special exhibitions in New York and else- Volumes . 4703 Reproductions circulated . 16,044 where, and has been honored with several medals and prizes of importance. Membership Number of honorary members 2 “ “ life . Lecture by Norman M. Isiiam. members . 34 “ “ The sincere interest in objects reminiscent governing members 151 “ “ annual members . 571 of the colonial and early American period needs no comment, for it finds expression whenever opportunity presents. This was The Bulletin of the well evidenced on April 28th, when the School of Design presented an unusual Rhode Island School of Design feature in connection with its exhibition Providence of photographs of colonial houses and All communications should be addressed to the General Editor, Mr. L. Earle Rowe. their interiors. This was a lecture by Mr. Norman M. Isham on “The Interest of Entered as second-class matter January 16, 1913, at Colonial Houses.” The speaker is a well- the post office at Providence, Rhode Island, under the Act of August 24, 1912. known authority and enthusiast on the Copyright, 1914, by Rhode Island School of Design. subject, and his lecture was very interest- All rights reserved. ing to the audience. Besides the usual OFFICERS invitations to the members of the corpo- Mrs. Gustav Radeke President ration, special invitations were sent to the Theodore Francis Green . Vice-President G. Alder Bi.umer, M. D. Secretary officers of the Society of Colonial Dames, Stephen O. Metcalf Treasurer the Daughters of the American Revolu- L. Earle Rowe Director tion, and the Rhode Island Historical Society. ADMISSIONS. Opening.— galleries SIGNS OF PROGRESS. Hours of The are open to the public on every day of the June, 1914-JuNE, 1915. year, with the exception of Thanksgiving Day, Christmas Day, and the Fourth of Age of institution, thirty-eight years July. From July ist to September 15th

School the hours are from 1 to 5 P. m. on week 2 to P. m. Sundays from . days and from otal Registration 1026 5 ; ist hours are • September 15th to the Day Classes . 235 July

Evening Classes 544 from 10 a. m. to 5 P. m. week days and 2 p. m. Pendle. Saturday Classes . 222 from to 5 Sundays. The

Special Class in Manual ton Collection is open from 2 to 5 P. m- T raining 25 daily.