Evening star., 1903-07-11
AMONG ART WORKS
Boston's Collections Thrown
Open for Visitors.
PUBLIC DECORATIONS
SPECIAL EXHIBITS AT MUSEUM
OF FINE ARTS.
Character Telling in. the Sargent
Portraits-Work Of Old
Masters.
PUBLIC DECORATIONS
Special Correspondence of The Evening Star.

| Special Correspondence of The Evening Star.
BOSTON. Mass. July 10. 1908.
During the past week Boston has been
| experiencing a sudden and unusual revival
| of the art season, which commonly at this
time Is quite as dead here as elsewhere.
] For this the convention Of the National Ed
ucatiOnal Association is in part accounta-
| BILE, special exhibitions being arranged for
| the edificatiOn and pleasure of the horde of
| twenty thousand teachers who have verita-
| bly, taken possession of the hub this week.
| At the Museum Of Fine Arts there was a
| special exhibition of Sargents recent por-
traits; in the Latin School a comprehensive
| collection of public school art work was on
view; in the Public Library a group Of ex-
cepdonally fine designs for carpets, rugs
| and textiles were shown as Illustrations for
| a lecture delivered by Prof. Denman Ross;
| school room decoration were exhibited, and
| at the several dealers galleries special rep
| resentative collections Of works by Boston
| artists were to be seen.
Besides these special attractions, how
| ever, and Of even greater interest and i'm
| portance. were the works Of art which Bos-
| ton as a city has been gradually accumu-
| lating within the last few years, chief
| among which must be numbered the Sar-
| gent and Abbey decorations in the Public
Library, the mural paintings of Horatio o.
Walker. Edward Simmons and Robert Reid
t - .ne $50 nouS1 anu .no SiVn11 haoa.u nao.
ae, - M.ah.t aasv O. 49, W 49,. Inc
haIr h.s haor o"s,T - ,,iti; tS, 1"r re 81
twelve months. record which no other
Amer1can CITY mas yet equaied.
| rihrarv nass,re q, H. Uov The nit,f,iIv
| weak and characterless decorations by
| Puvis de Chavannes. which. It has been
said. could only have been imposed by q
dolelsneI ot leno"n upon an ,a,e unkI,owahs. M
Sn,.o h psop.e, o1s mus n I.nseh IN M =.
iise oa,e, ~hlte waheu han~sy at eilleI
eno OF which are the famous Old and new
| Ss Sals seHt uecof a.ions. 10 tHe Hew, aAo
| Dosma OF tne redemption. cneI attention
IS olsecteo, ana De1ore II al the week
| croWos nave gatnereo In tnougntlul sllence.
! Al giance II is oisappolnting' even more.
| unpleasant; but after Few minutes It's
! aWfuI fmpressiveness bears down upon the
| observer with unWonted force. A ngure
| Of Christ upon cross occupies the central
position. to whom Adam and Eve uphoiding
@ chahees TO eaten & the ,a Dio1a from rom, HIS % nahos
| an emblem Of the passion, form frfeze
similar in position to that Of the prophets
and above, in the lunette, are seen tho
! three persons Of the Trinity seated upon a
| single throne, robed in the same garment
| and pictured with Identical features The
| symbolism, which Is simple yet studied, is
| carried into the minutest detail; the fig
| ures are stif and conventional. and the
| colors are dark and dull, as though seen
| through bloom or veil The whole is in
tensey Byzanne m EN- IN emec. hd ana neemng v afo no
some ancient Basilica.
rb. Main Eonres
Co.. =. .s ,a
| Ano no :. 49,.
Cse ao " no 80 - - -
Ai'' o poA ..o,e % ~ 80 ,r, -.
| as thoush carVeo Afoih s.ohe' AHe Nhiis'
Is neither spiritual nor human IN interpre-
tation. and with the Trinity. Adam and Eve
| and the angelic host stands for dogma
| purely.
The power Of the painter. which usually
| individual.zes Sargent's work, Is entirely
| lost sight Of in this Interpretation, which,
| while deeply thoughtful. seems almost la
| bored in execution. 1t is powerful and i'm
pressive. but it is not beautiful nor grand.
It is marvellous modern imitation OF the
| must fall short Of the IDEAL The value of
| the art of any period lies in its perfect
| reflection of the thought that produced 1t,
and no modern can so rid his mind Of the
present as to be able to perfectly enter into
| the thought of the past. With appropriate
| surroundings this painting would increase
| in effectiveness, but its present surround
| ings are thoroughly a misfit The archi-
| lecture OF the hall, to say nothing Of its
relentless astuteness, Is inharmonious, and
| the painting against all rules Of decoration
predomnates the surroundings. From the
dogma standpoint and its Byzantine heri-
work or art 1t falls Tar short OF the ideal
The Abbev Frieze
~ .ear :, ~ "rocs,,;nz 80. iaeAo "
Aoor below. In perfect harmony With ,ts
surroundings II ia at once Immensely i'm
nress,ve and beaut,ful As 90 many sceros
or a drama snlendidIv staged this n.rv.1-
ons worL annears to the ohsarvar Th.
Hra+ heine a renrasentativa ~ the I,fant
GaIahad held mn hv his saintIv roothar fnr
the anpeis h,ess,ne. the newt bis LniabtIv
r,s,, ~ th;rS tha t.hie ro,,,,a ~ 90 hts '
oass,on 70 The saora4 te-rthia sniSo.H, as a.
| t,r,, hu nictmras Of ths Lnintt;, .T1tooni
1iass;D.." SaIhod -, ~ t2 "a
of ~ cr.ii. he ranr;1nond ~" ~ thrao
ra.;ds &c b.tt1e ,,;th 4ha 80. Uy .ne eS
.aa. a. ~ ,,onLss b,assi, ~ oea.;oaa uoahy ~!
ss ta snn oH IN. Dtsss ut,e Lscepton py
sne ts 'zoI.,a.sae @ 20, e ~s'a nuS own @ Ian
xen.. ~ tr,,,n,1haI GU .oaon., ". N.ns
Apo cIoa' t., p.oSIseaoa. tno
tou,nes s 6,o%g IA oU.onoI Sip anu sns tlahsIa-
l..s uo.t ~ s issa,r Ian "H. 10 congietS COM
posi.ion ny ltseu. yet an are clearly re-
isteo. ,s,. IN ms poIerayai OF Galahad, Abbey.
nAo many announcer. AaS ialleo, expressing
sainlnness py w9nannnesS rather .nan
periect mahnooo. Dut Ior thlS single Iauit
one mas sma" reason TO complain or cause
ior crlucism. FROM nrst 10 last the work
is q RranQ poem, winch all may read. The