The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1901-03-17

imaginable SUBJECTIVE dance. the hunt,
the levee. and the promenade. as well as
everyday life in city ard in country, and
in war and In peace.
SCOPE OF THE PLAN.
The scope of the museum would include,
as has been said. the date of the first Ro-
man invasions. OF which a significant mon
ument would be the column of Marcus
Aurelius in Rome, in the reliefs of which
an attempt was made TO characterize, in
celebrating the Emperoris campaigns
against the Marcomanni and the Quad, the
ancient Germanic warrior types. For a
later period such objects would be sought
as models of the Viking boats that have
been found, in a remarkable state of preser-
walton, imbedded in the German moorlands,
or the model of the ancient Saxon hall.
from the description of the AnglO-Saxon
poet Beowulf.
In these earlier periods the territory COW
cred would include Scandinavia, for ex-
ample. and Denmark. Later it would mar
row down to the present German empire,
the low countries. German Austria, and the
German cantons of switzerland. Before this
later limitation, however, opportunity
would be given to illustrate the Carlovingian
NHN C-oANA cAAA AAAANA c1f
for example. in the diptychs and worries
from the monasteries. Later would follow
the Romanesque monuments-in architec-
ture and sculpture-of the Saxon emperors
in the tenth and eleventh. and of the Ho-
henstaufen in the twelfth and thirteenth
centuries. These last two centuries, indeed,
were the great epoch of German sculpture,
originating in Saxony, which then en-
hraCoI ou a 4orO, tho 1o~Uo-+ - - IS NIL,
Germany, and thence spreading to the west
and south. A figure like that at Strasburg-
representing the Church Triumphant,
where it takes its part in the naive miracle
play in stone which forms the subject of
the decoration of the great portal by the
side of which it is placed-may be regarded
as a typical monument of the realistic
beauty of German art.
BY means of casts and photographs the
of this period and those of the
more strictly Gothic era which succeeded
may be easily gathered. The same is
true of the notable sepulchral monuments
OF the fourteenth ceItury-in which the
museum at Nuremberg is so rich-and of
the wood carving, in which German real
ism found its most detailed expression,
OF the fifteenth and sixteenth centuries.
by photographs, too, it is possible to
show the progress of painting in Ger
many from the Van Eycks to Duerer and
Holbein and down to the present day.
just as, to revert to an earlier period, the
great Minnesinger manuscripts can be
shown in the form of the excellent fac
SMILES which have recently been published.
OF ENDLESS VARIETY.
But, indeed. the variety which such a
museum can present is almost without
limit, except what scholarship and mod
GRAFTON suggest. Costume, armor, instru-
ments of music and implements and
weapons of the chase suggest themselves
at once. Here, as well as in certain
ether departments - as, for example, in
the collections of engravings and printed
books, both of which, too, would relate
themselves to the larger collections of
the same kind in the Harvard Art Mu-
scum and the Harvard library-it should
be possible TO secure at once originals as
we'll as reproductions.
Finally, the museum will contain a few
objects representative of the classic era
of German literature in the time of Goethe
and Schiller, or summarizing the triumph
of modern Germany by reproductions of
the monuments which have arisen to COM
memorate the victories of Frederick of
Prussia, or the unification of the empire
under William l.. These latter will have
their purpose in furnishing the fitting CHI
max of a history which began in the same
museum with the spectacle of uncouth
barbarians led in chains to make the Ro-
man holiday of the Emperor Marcus Aure-
Illus.
"A considerable part of the money needed
| for beginning the museum is already in
band; and it is hoped that the rest Will
| be secured without much more delay. One
friend the plan raised up in Mr.. Heinrich
| Conreid, of the Irving-place Theater in
New York, who has twice brought his
German company to Cambridge, entirely
at his own expense, to play for the benefit
of the museum. The first performance, a
year ago, was of Goethe's "Iphigenia;'
the second, last month, of Lessing's
.'Minna Won Barnhelm." Both perform
ances were warmly received, with al en-
thusiasm indeed which quite belied the
traditional Cambridge character of merely
reserved approval, and Mr.. Conried has
offered TO make his visit an annual pill
grimage