Evening star., 1909-05-04

Passing from architecture to the allied
arts. the visitor TO this exhibition Will
undoubtedly first take note of the hve
large decorative panels i'll strong color
by +. D. MiIlet which represent in part
the life of the pioneer, and are intended
for the Cleveland Trust Company OF
Cleveland Ohio. The paintings shown are
not those which will finally be placed
upon the walls of that building, but trial
panels, which. somewhat aiter the man
ner of cartoons are purposed for guidance
and experimentation. No mural painting.
moreover. can he judged as a detached
picture. 1t must belong TO the place
where it will permanently remain ana
therefore cannot be considered separate
unit The types Mr. Millet has illustrat-
ed are exceedingly interesting and the
mode in which I've has pictured them, at
tractiye-the craftsmanship is ample-the
use of color free.
painting with fresco pantng-to suppose
they they are one and the same. But
this is not SO. Fresco. is water color
painting of kind, done on wet plaster.
Many of the wall paintings of the OLD
masters were done in this way, but there
are comarativey few frescos in this coun-
try. Mr. Morris Hunt painted one OIL the
wall of the capitol at Albany. which.
however. has perished. John La Farse
did some in Boston and there is one.
in the capitol here.
Two Interesting Experiments.
Two interesting experiments in this
medium are included in the present ex-
hibition, both by Carl Rakemann of this
CITY. One is a head, the other study of
two figures both broadly handled and dec
orative in effect. The way MIR. Rakemann
has managed is to lay a surface OF plaster
in sunken frame and to work upon
this as upon wall. Some painters
maintain that this is a more permanent
as well as a more legitimate method or
wall paintine whereas, others feel that
il is less safe and more restrictive.
I'm this same connection two excellent
rendering Of tiles found in cathedra!s
at Salamanca and Ravello. the work or
Mr. LeisenriDg. will be remarked. as well
as some studies In the use of iron lat
tices in conjunction with stone and brick
for garden walls, for the hrm OF Boai I"
Brown.
An attractive little water color of the
Smithsonian building, seen beyond the
trees has been contributed by James
Henry Moser. and quite a group OF
water colors of architectural subjects
has been sent by Frederick. H. Brooke.
whose style is crisp and engaging.
Series Of Photographs.
Quite a remarkable series of photo
graDhS or arChltectuTdi themes US iGOe-
rick Reed is shown-pictures taken IN
both Europe and America. There is one
| of a doorway of Avila, Spain, which
could not be more lovely or more ap-
healing as a work of art, if it were the
reproduction of painting. and there are
several views of Washington Monument
taken from unusual view points which
are extraordinarily pleasing-indeed
one will be inclined to linger over each
picture in the group-the temple al Cir
| eenti the panoramic scene in Sicily, the
old street in Dinnan.
But one of the chief features of this
| exhibition-a group of thirty etchings
and colored wood block prints by the
| Baroness Hedwig Lekow, has not yet
| been mentioned-a feature which in real
| ity is an independent exhibit held in con-
| junction with that of the Architectural
| Club but truly compliments it,. Almost
without exception the subjects which the
Baroness Lekow has chosen are architec-
| tural-such for example as "Magdalen
| College. oxford" st German d'Auxer-
vols Paris ''Musee de Cluny.' In her
| etchines she is seen seldom TO resort &c
/ dry point. hut quite occasionally to aqua.
| tint and now and then To introduce 4
| color note for accent Her wood block
prints are, however. The more interesting
| portion of her exhibit being in quite a