The record-union., 1898-11-13

The death of Stephane Malarme, the
leader of the symbolistic movement in
| modern French literature. recalls to
mind that Whistler's portrait of his
mother was purchased by the Luxem-
bourg Gallery largely through NAL
larme's efforts. This purchase was n
great triumph for American art
A writer in the Boston TRANSCRIPT
recalls the interesting circumstances of
Robins first exhibit at the Salon This
was nude figure in plaster, entitled
THE Age of Brass" The character of
the modelling of this statue was so un-
usual and it's general effect so lifelike,
that some members of the jury sus-
pected that it was not genuine piece
of modelling, but reproduction by
pressing from mold on the living
model, and, therefore, not entitled to
admission. This suspicion meant that
the figure was a fraud and it's author
an imDostor. The statue caused con-
siderable and varied comment, one of
the jury remarking: IF it is not cast
from nature, he who made it is strong
er than we are" 1t was finally ac-
cepted under protest, and put in side
objects of questionable origin and
merit. However, Adrian Gaudez, him.
self sculptor of superior ability, found
1t out and brought it to the notice of
his friends. who procured for it a bet
ter position. There it was seen by
Edmund Turquet, an art lover and a
man of Independent judgment, who
was also member of the State Com
Tniffno Ar<e
Buying Committee of the Salon. He
tried hard to induce his colleagues to
buy it, To the objections raised on
the score of genuineness he replied
There is a Chief of Police whose duty
1t is to solve greater mysteries than
this. Call him in and ask him to open
an inquest 1t must certainly be easier
to find out the truth about this figure
than to detect counterfeit money! But
Notwithstanding NJ. Turquet's urgent
appeal, the statue was returned to the
sculptor's studio.
BY the will of Mrs. E. H. Stickney,
the sum of $4,000 has been bequeathed
to the Art Institute Of Chicago. 1t is
to be known as the "Stickney fund.-"
and the income is to be used in the
purchase of pictures and other works
of art, or otherwise. for the general
purposes of the institute. The Fuller
ton Memorial Hail." erected by Charles
w. Fullerton in memory of his father
is just finished. 1t is in the shape os
an amphitheater, seating 500 persons,
and is situated in the north court of
the building.
Henri Frantz quotes Lamartine's de-
scription of Balzac, which, he says in
the Magazine of Art Rodin absorbed
and he draws attention to the close
connection between it and Robins con-
ception. The passage runs: He was
not tall man. though the radiance
of his expression and the mobility of
his person did not allow one to con-
slider his figure; and that figure moved
as f1uently as his thoughts. He was
stout, heavy, squarely built; his neck,
his bust, his body, his thighs, all his
limbs powerfully made. With a great
deal of Mirabeau's massiveness. he
was not in the least heavy: there was
so great a soul that it could carry all
this lightly, and like a plant sheath,
and not as a burden. The weight
seemed to give him force" Lamartine
adds that he often sat with his head
bent forward, and would throw it back
with heroic pride as he grew ami
mated in speaking. In reading this
passage, one remembers that the
sculptor has represented Balzac in mis-
favorite attire. The bulky frame is
wrapped in a monks frock; the arms
are not through the sleeves, but folded
underneath; and the folds of the gar
ment and the structure of the body
are as little emphasized as possible. The
neck is very thick and the head thrown
back in a slightly exaggerated posi-
ton.
Gladstone and Ruskin were always at
opposite poles on nearly every ques-
ton, and nothing could be at once fun
nier and more embarrassing than a
meeting between them There is said
to have been an absolute contrast at
every point on which conversation
could conceivably turn. At one time
Walter Scott was uppermost. Here, in
deed, it was thought, was common
ground, but Mr.. Gladstone unfor-
tunately dropped the remark that "Sir