The record-union., 1897-04-25

The fourteenth annual exhibition of
paintings and sculpture, held under the
auspices of the ST. Louis Exposition
Company, will open on September Sth
this year, and continue until the latter
part of October. OF the paintings
shown at the last exhibition forty-nine
were sold. The expense of shipping,
collecting, ETC., is betrayed by the Ex-
position Company in the usual way.
A remarkable instance of the COM
mercial value of vogue" in art occurred
at Christies, in London, the other day.
A fine portrait of Miss Farren, after
ward Countess of Derby, in white silk
dress trimed with fur, by Sir T. Law
renee, P. r. A, was sold for the extra
ordinary price of 1890 guineas; whereas
in 1868 the same canvas fetched only 10
guineas.
On Monday, April 10Th, the great art
exhibition in the new Brooklyn Museum
of Arts and Sciences opened to the pub
lie. 1t was a notable event in the art
history of the city, as, apart from its
own Importance, it marked the opening
of a wing of the noble building which
is to crown a superb site on the East
Side Park lands.
Prince Borghese whose sale of the
famous Borghese art collection to the
Italian Government took place not long
ago, has found it necessary to raise
more money. He has just sold a large
tract of land adjoining the Vatican gar
dens to the Pope. Before the latter
could accept it, it was necessary that
the Italian Government should extend
the right of extra territoriality now en-
joyed by the Vatican to the new acqui-
sition.
New York Post: The preposterous
proposition of the Dingley tariff bill to
make dutiable the works of art done
abroad by American artists, should be
antagonized by every artist in the land,
whether he ever intends to go abroad
himself or not. 1t means that one can
not go to Canada, even for summer S
sketching, without paying dearly for
the privilege; that those artists who
have for years lived as best they could
upon the proceeds of work done in Hol-
land, England, France, Italy, Mexico or
Spain each year, must not only take
the always large risk of not realizing
any returns at all on their necessary
outlay, but that they must, if they go
abroad, actually invest % per cent. ad-
ditionally in their own works. Other
wise they must stay at home and miss
the stimulus of the great exhibitions of
the world and all the benefit arising
from contact with foreign painters, for
the majority of artists never could af-
ford-and just now less than ever-to go
abroad without working. 1t virtually
means that the painting of the pictur-
esque peaSantry and architecture of
Europe shall be handed over hereafter
to the very foreigners against whom
American artists are ostensibly to be
protected" And quite as surely it
means no increase of revenue to the
Government. for the artists will simply
stay at home. This they richly deserve
if they sit supinely and allow the meas
ure to become operative without max
ing the most energetic and untiring
protest against the enactment of such
stupid, insular, unjust law. There are
differences of opinion among them as
to the comparative benefit of a specific
or per cent duty upon imported works
of art by foreign painters, but upon the
question of taxing the works of art
brought or sent home from abroad by
American artists there surely can be
none.
New York Post: That was a capital
idea which occurred to Professor Helm
rich Strack, or to his publisher Was
muth of Fredericksburg Photographic
illustrations of lie Tarouilly's famous
work on the non-classical buildings of
Rome That work, Les Edifices de
Rome Moderne," was published in Par
is, the first volume more than half a
century ago. AS it stands it comprises
three folio volumes of plates and one
quarto volume of text, in which text
are included many plans, details, and
explanatory diagrams. The plates
themselves are extraordinarily full of
matter They are not handsome and
fair sheets of white paper with more
margin than picture and everything
done for elegance; they are rather
crowded with plans, sections, detailed
plans, plans of surroundings and vi
cinity, and small perspective views,
within and without. All the work is
in outline, or nearly so, the visible and
certain facts of the structure being
given with but little reference to the
artistic effect of the plates. AS for
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