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The Stanford interior journal. [volume] (Stanford, Ky.) 1911-1912, 1911-02-03

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The Stanford interior journal. [volume] (Stanford, Ky.) 1911-1912, 1911-02-03

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The Stanford interior journal. [volume] (Stanford, Ky.) 1911-1912, 1911-02-03
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The Stanford interior journal. [volume] (Stanford, Ky.) 1911-1912, 1911-02-03

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New-York tribune., 1911-11-05

Stand i'm the desert Near them on the SAND
Half sunk, a shatterd visage Hes Whos'
And wrinkled lip and sneer of cold com
Tell that its sculptor we'll those passions
read ..
Which yet survive stampd on these life
less things
The hand that mock'd them and the heart
that fed .,,
And on the pedestal these words appear
MY name is Ozymandas, king OF kings
Look on my works, ye Mighty ana ue-
spair, ,
Nothing beside remains Round the decay
OF that colossal wreck. boundless and bare,
The lone and level sands stretch Iar away
The poet here is as useful as the
scholar i'm initiating us into the genius
Gf Egyptian art. 1t Is the genius OF
people whose aesthetic aspirations were
eatisfied by bulk and inertia. The Egyp-
tian temple is a cube of stark masonry
fat-topped. and lifted above the desert
like some grim. stony plateau. Inc
Egyptian pillar mounts but it does not
soar. TO the capital Of that pillar the
Ictus leaf lends something 81 its grace.
and on the shaft. as on the temple walls.
multitudinous carvings testify to deco
rative instinct. OFTEN. too, these sculpt-
ured representations of living form SEND
q flicker of color across the stone. The
ECvptian could paint as we'll as carve.
He was. too, according TO his mode and
tradition. a phenomenal master OF tech
nidue. And yet something perpetually
y rs lacking We begin To see what II
was when we read the counsel which
Amenemhat addressed to his son, nearly
two thousand years before Christ. and
come to the line i'm which he says: The
people give heed to him who terrorizes
them" In a world governed by terror
.bere was no place for the artist eXult
ing in his gift and plying ii for its own
sake. 1t was not for him to create
images of beauty out Of happy con-
seriousness Of lovely world; ne was
there 10 serve the glory Of his master
and to interpret the ideas of a priest
ridden state Who could carve thinS
CT beauty under the unwinking eye or
tha sacred crocodile? No breeZes from
,otr,, land blew over the Nile, but the
sullen airs of the charnel house Egyp-
,,an art at it's core is "A sunless art.
What of the common people or Tor
that matter, of all Egypt, in the daiiy
life that went on outside the shadow OF
the tomb? What of the art that was
expended on the friendly, familiar
things i'm houses and palaces? 1t had
a thriving existence, for the Egyptian
had. Of course, the oriental taste Tor
luxury. He cared for handsome dress
and furniture. and he and his women
folk were lavish in the purchase OF jew
els. But when Egyptian art mas not
mortuary purpose or does not minister
70 the haughtiness Of kings 1t Is utlli'
tartan. pure and simple. Hence the sub
current OF bleakness when permeates
those galleries at the museum. The
things in them live as part and parcel
of a poverfil civilization, they are evil
dences of desire To make society
urbane and pleasing to the eye but
New-York tribune., 1911-11-05

richest sensations to be derived from
the museums collection. The student
must labor to apprehend the inner mean
ing of mysterious figures and patterns
to identify the point at which line ana
form are allied with thought and spirit
ual speculation. But instantly he may
grasp the sensuous quality of that line
and that form, and always he may de-
light in the artists command over MS
technique. Look at the bestial heads
that top the Canopic jars; look at the
solemn. vet not repellent, flgurlnes that
accompanied the Pharaoh to his last
rest, and look more especially at the
various little bust portraits shown mere
and there. There is in their modelling
subtlety as delicate, as elusive, as that
of Rodin at its best, and it bears, be-
sides. the stamp of "A simplicity when
the modern Frenchman could not even
begin to rival. There is style in these
portraits, the style of school p'nlcn was
forbidden by racial ingredients IN It's
character to let it's spirit dance and play,
but which, in its rigid fashion, never
theless contrived to use it's tools win
fneness and distinction.
The Egyptian sculptor perhaps had,
after all. his dream, a dream OF. tfuth
and perfection See how he caresses the
surface OF the face: he gets the bony
structure underneath and models the
flesh and skin with something like tender
ness See how upon the walls of tomb
incising his figures and hieroglypns or
modelling them in low relief, he not only
tells his story with an animation OF
which we are conscious despite our igno-
rance of what he is saying, but coaXes
veritable charm out OF his convention
allied forms and stubborn material.
There are here some sculptors' models.
tiny uanels bearing animals or birds in
low relief, which Mr.. Lythgoe describes
as models common in Egyptian work.
shops. They are casual, unimportant
things. like leaves from a sketch book.
But they, too, speak of the artist work.
ing with gusto at his task. Ii is in this
Weakening of sympathy that the galleries
will best fulfil their purpose. Through
them we touch hands with the people OF
vanished world, and in some vague but
living fashion come to know their simple
human traits, the way they looked at
life and death and how they translated
emotions into artistic form. X. {.
New-York tribune., 1911-11-05

"mastaba" tombs to the fantastic ego
tism which expressed itself in the pyra-
mids. Keeping pace with the changes
in tomb construction and the slow evo-
luton of architectural forms, we have
displayed. at just the right, illuminat-
inc points, those examples of pottery.
iewelry and sculpture which disclose
the fluctuations in the decorative arts
and crafts Thus. in one Of the rooms.
the fourth of the series. the cedar cof-
fin of a woman Of the twelfth dynasty
is shown i'm marvellous state OF pres
ervaticn. the gold leaf ornamenting it
still intact and the eye panel at the
end of one of the sides glarng forth as
| IT glared centuries ago That eye panel
recalls notable custom in the use Of
ancient Egyptian cofns. "the mumg-:S
within being so disposed that its eyes
came just opposite the panel, with in
tent that thereby the soul might be en-
ahled to look out at the world" With
this coffin there are shown the Canopic
vases, fashioned out Of alabaster with
wooder heads. to contain the viscera,
and besides there are implements or
wood. bits Of pottery. necklaces jewels.
bronze dagger, two maces of stone
and ceremonial whip Of Wool Taken
together, even as they lie in glass cases,
they call up an enchanting picture of
men and women thousands of years ago.
b,r,.;ne, +boir daoJ occordinc IN a n1Vs-
terious and yet still touching ritual. 1t
may appropriately be noted at this point
that Mr.. Lythgoe has written for the
collection n handbook which does not
pretend to he exhaustive, but which,
with it's numerous illustrations. throws
abundant light on the exhibits and WV
idly connects them with tho march Of
Egyptian history.
Time and patient application are
needed to make profitable the tale there
the things at the museum would be Of
no service to the reader, even If 1t were
possible in this place, and so we for
bear any minute description of the new
galleries The temptation is strong. how
ever, to pause upon this or that exhibit
which may serve to bring out certain of
the leading traits of Egyptian art. Take,
for example, any one of the immense
stone sarcophagi which figure in the
collection. Even more arrestingly than
the huge masses of Egyptian architect
ure. these peculiarly personal relics set
us to thinking on the tragic irony which
long ago overlook the rulers Of the Nile.
Their bodies were preserved against the
insidious worm and buried under monu-
inents immeasurably scornfdl in their
challenge of time. But the king who
New-York tribune., 1911-11-05

has indeed been marked by no improve
,,ent possessing quite the weighty i'm
rortance attached TO this one. In II
There may be discerned the best ele-
uents Of an enlightened policy; energy
and Judgment in the acquisition Of
archaeological and art treasures skill
and scholarship in the care Of them ana
the emcidation of their history and
above all. true administrative wisdom IN
such installation, cataloguing. etc, as
cannot but make the whole subject lu-
minous and interesting 10 the layman'
These galleries should give considerable
jmpetus 10 the study of ancient Egypt.
The art Of that civilization has not
hitherto been neglected at the museum
but neither has It received until very
recently anything like the attention
which the trustees would have been glad
10 have given it if circumstances had
permitted. In fact, for years the
Egyptian collection, though containing
valuable pieces, was so small as to
be confined 10 one corridor. The ex-
New-York tribune., 1911-11-05

mittee of collectors and experts, works
which have been seldom, II ever, eX-
hibited are brought to light, and protec-
ton against reckless and self-opinion-
ated criticism is offered by the compila-
ton of an official programme by MI
Maurice w. Brockwell containing what
may fairly be said about the authorship
of controversial pictures. Apart from
the special interest taken by Few
learned experts in the correctness OF
medieval traditions and modern at
tributions, there is the pleasure to be
drawn by the main body OF spectators
from so varied and interesting a show as
the one recently opened under royal
patronage. 1t is rich in Italian ana
Flemish primitives. and their beauty, re-
ligious feeling and childlike simplicity
can be enjoyed without precise knowl-
edge of the authorship.
In the octagonal gallery the most in
teresting picture for modern eyes is one
from Sir Julius Wernher's collection dis
closing ST. Michael in a coat of mail
flahting with Satan. IL Is attributed 10
Vermejo, who may have been either a
Spaniard or a Fleming, and the sig
nature, "Bartolomeus Rubens," is in
geniously explained. Authorship is of
small account in comparison with the
resplendent beauty Of the armor, the
triumphant dignity Of the angelic war
rior and the malignant fury Of the fiery
eyed fend. The cassone front, illus
trating the story Of Cupid and Psyche
from Apuleius's Golden ASS" is bright,
animated and pleasing. whether the
PAINTER was Fra Filppo Lippi or his
pupil. Jacopo del Sellaio, who initiated
his master and Botticelli with sympa-
thetc facility. Lady Jekylps "Salvator
Mundi" may be a doubtful Giotto, but
the MasacciO, a Madonna and Child en-
throned with angels, is undoubtedly the
, authentic centre of an altar piece
painted for church in Pisa, and yet
neither more vigorous nor interesting
than when il was attributed to Gentle
da Fabriano Sir Hubert Parry's
polyptych, "Crucifixion and Saints" is
a most refined and impressive example
of altar decoration, little as may be
known about Giotto's pupil. Bernardo
Daddi, who painted frescos for Santa
Croce and the miracle working picture
of the Virgin in Or San Michele.
Other names i'm this entrance gallery
are Ugoino da Siena, an imitator of
Cimabue, whose panels painted for
Santa Croce are already in the National
New-York tribune., 1911-11-05

nuenced Michel Angelo; Benozzo Coz
zol, Taddeo Gaddi, Bramatino and Bar
tolommeo Montagna, with Madonnas
and Magdalenes Names count for less
than the naivete with which solemn
subjects were treated by primitive color
lists This impression is confirmed when
the large gallery is entered and Sir
Henry B. Samuelson's panels, Moses
striking the Rock" and Worship Of the
Golden Calf" are seen. These were
once attributed 10 Piero di Cosimo. and
are now definitely ascribed TO Filipino
Lippi. but their beauty. animation and
charm remain under any name. Mr.
Benson has lent most romantic Piero
d Coslmo in "Hylas and the Nymphs.'
although it does not rival in beauty tho
"Teath of Procris' in the National Gall
lery. Major Kennards Gina. st.
Jerome in the Desert" IS not to be COM
pared with the "Incredulity Of Thomas
in the National collection: but Sir Fred
erick Cooks Sodoma. st. George ana
the Dragon" is most spirited. the morse
fa.iting as well as the rider: ana
Countess Cowper's Joseph Discovering
Himself TO His Brethren" is most anl-
mated Andrea del Sarto. and finer sun
in richness OF colorns and boldness OK
relief is her Holy Family" by Fra Bar
tolommeC.
There are FIVE Rembrandts IN tnese
galleries: a hypothetical portrait OF his
father another Of the woman known as
his cook and third Of Caterina Hoosh-
saet. I'm black gown and white cap ana
tipret: the forecourt scene from Lord
Dorbv's collection, with Jacob swooning
at the sight of Joseph's blood-staineo
coat and Lady Wantage's large land
scape. lie commencement dOrage'
marvel Of chiaroscuro, whether he or
De Koninck painted it. There is
varied series Of Dutch and Flemish
pictures. from Memling Roger van oer
Wovden and Mabuse to Sir Edgar VIM
cents supremely vital Frans Hals ana
characteristic Cuyps Ruisdaels ana
uobbemas. The Holbein needs TO %
vouched for. but there is a charming ex-
annie of one OF Durer's followers. AIS
New-York tribune., 1911-11-05

Important gifts continue to be received
from the Egypt Exploration Fund. in recog-
milton of the subscriptions 1t receives from
New York, and since 1906 similar recogni-
ton has been made by the Egypt Research
Account, of which Professor w. Flinders
Petrie is the head. Among private donors
especial mention should be made of Messrs.
J. Pierpont Morgan, who has recently con-
tributed some Of the most beautiful objects
in the collection, and Theodore NJ DaVls'
who has given and lent material OF eXcep-
tiCnal value. both historically and artis-
ticaly. from his excavations In the Valley
Of the Kings also of the daughters or
John Cardwell. for the gift OF their fathers
collection, and Miss Helen Gould, whose
gift last year of the Murch collection was
one Of the most important yet received.
II is plain from the foregoing that
the public is in debt to many persons,
but the inquirer passing slowly and ap-
rreciatively through these galleries will
find it hard to resist an impulse to be-
stow all Of his gratitude upon Mr..
LNthgoe. His fruitful activities In
Egypt have been followed by the pro-
duction Of a little miracle of co-ordina-
ton at home. Distributing his objects
in a chronological sequence, so that the
rooms very Systematically carry the
subject down from the pre-dynastic
period to the dawn OF Christian infiu-
ences. he has caused his great mass of
material 10 play very simply into the
hands of the student who wants 10
know the broad stream of Egyptian civ
iIization. one OF the happiest o. his eX-
pedicnts 20 give reality to that civil-
zation is TO show, in frames set against
the light n series of photographs on
q ass. an instance of the old-fashioned
Transparency" turned to scientific uses.
These views attempt no scheme Of fac
titious reconstruction, but In showing
the Egyptian landscape. the sites eXca-
waited. many of the objects now in the
museum lying actually as they were
found. and in some Of the stages or
their transportation, they are striking
,ly effective in creating a sympathetic
latmosphere. This cOunteracts the in
evitable dead and cold aspect taken on
! by things arranged in an exhibition
gallery. One turns to those things from
the photographs with heightened
sense of Their significance in the imme-
mortal but ever human past. There is.
i'm fact, something that sharply touches
the emotions in the Photographic rec
ords Of early Egyptian burial customs.
With the aid of Mr.. Lythgoe's chro-
nology we may trace the development
Of those customs from the first graves.
which were mere pits dug in the earth
to receive BODY drawn ur in a Curl
ouslv contracted position. through the
New-York tribune., 1911-11-05

built his tomb on a colossal scale mas
turned to a handful of dust, which mas
gone down the wind and his monstrous
sarcophagus confronts us with klnd
cf sardonic humor in modern museum
Nobody is quite so dead as Pharaoh'
The gods of Greece live in mems mlnds
and even in their hearts, for the fgures
Of the old mythology serve to this day
TO enliven the love poems of youth. But
who turns for tag to the Book OF the
Dead?
The ruin of a great race, when mas
Welded these objects at the museum Is
the more impressive when 1t IS con-
trasted with the pOmp and arrogance
that have come down 10 us in their
words. In Mr.. Theodore NJ Daviss
volume on "rhe Tomb of Hatshopsitu.'
which he discovered in 1905, NJ. Navllle
New-York tribune., 1911-11-05

together his mother and the uraus god
desses I'm the sacred barge, az long as the
sky is stable and is firm that he has made.
! shall be forever like the star which
changeth not | shall rest in life like rum
Nherefore) these are the two obelisks
which my Majesty hath wrought with elec-
trum to my father Anon with the intent
that my name should remain permanent IN
this temple forever and ever
There speaks the authentic voice OF
Egypt. in it's characteristic tone Of fair
" inhuman pride. And Hatshopsitu
had her wish. Her name remains per-
manent to this day. But only ono or
her two obelisks is still standing and we
go to the roo: of the matter when we
choose for a pendant to her boast this
sonnet Of Sheiley's:
OZYMANDIAS OF EGYPT.
met a traveller from an antique land
Who said: TWO vast and trunkless legs OF
stone
New-York tribune., 1911-11-05

master Of grandeur in sculpture as in
building. Then, too, there overiiowed
from his religious hypothesis, embracing
as they did the embodiment of super
natural forces in animal forms, kim
ding interest in nature. Pastoral en-
pigments fostered his sympathy for
bird and beast, and it is interesting as
we study his decoration to see how CON
stantly he gave himself 10 the delinea-
ton of the things about him and of his
occupations. not forgetting his sports.
Finally, Egyptian art is significant OF
great plastic gift and an amazing man
ual dexterity.
1t was, as has been shown, largely the
servant of religious symbolism, but at
bottom il was profoundly realistic.
There lies the source of perhaps the
New-York tribune., 1911-11-05

dorfer portraying sympathetlcally tho
nartinr between Christ and his mother.
rbore is a suberb bacchanal by Poussln,
from Mr.. +. Cavendish Bentincks col
lection. and q most interesting Janet--a
rortrait of Diane de Poitiers I'm her patn'
English masterpieces are also ADDED
notably a splendid Reynolds, Mrs. Bou-
veric and Mrs. Crewe"; Romneys 30
sanquet Family" and Lady Elizabeth
Forbes; three Gainsboroughs, including
Lord Michelham's portrait of Catherine
Elizabeth Tatton, the BedinSheids'
mother and daughter, and the Lans-
downe Franklin, which now turns out To
be Surgeon General Middleton ana
Turner's Windmill and Lock-, which
Ruskin considered a type of the higher
n,cturosnue." l. y. +.
New-York tribune., 1911-11-05
Matters Of Art

eXcavate at three promising sites ronro-
senting three important periods of Egvntian
art-the pyramid field of Lisht about
thirty miles south Of Cairo; the oasis Of
kharga, situated in the Libyan desert
about one hundred miles west of the Nile
and the palace of Amenhotep III at
Thebes. Excavations have been made at
all three of these sites. but are NOT vet
completed at any one of them: i'm fact.
those at Thehcs We're begun only during
the last season. Nevertheless, the splen-
did objects from each which arc now about
10 be shown in the museum amply demon
strate the wisdom of the selection .
1t should be observed that as the museum
had no funds OF its own which could be
properly devoted to excavations this part
Of ts work has been made possible by the
generosity of friend, who wishes his
name withheld. .
Finally. it IS a pleasure to record the
fact that what the museum has been do
ing out OF its own resources to deyelop its
Fgyptian collection has not weakened the
interest of donors during the last few years
New-York tribune., 1911-11-05
The Genius of Egypt at the Met
ropoIitan Museum.

rha autumn reception at the Metro
,ol,,an Museum of Art, to be held to-
.r,ov evening. will reveal ore Of the
anost pieces Of constructive work in the
,',s,orv OF this institution. The new de-
nsrtment of Egyptian art will be opened
.,nosing in ten great galleries collec-
ION of objects the high intrinsic value
= which has been fairly doubled for the
.,,dant by a mastery system of ar
rsngement. The reorganization which
,as been going forward at the museum
aurine the last few years with such
sn,endid results in so many departments
New-York tribune., 1911-11-05

never for an instant do we feel that
Egypt knew, as we know. that a thing
of beauty is a joy forever. Running in
and out through all their works, like
some sinister thread is the influence OF
their tyrannous political system doubled
with that of their dark religion. Heart
and mind were imprisoned in crushing
formula. And yet so potent is the force
Of the artistic instinct that in more than
one respect the Egyptian managed to
triumph over his shackles. That feeling
of his to which we have referred for
vastness and immobility made him the
New-York tribune., 1911-11-05

traverses the life and monuments OF
that queen and cites some OF her In
scriptions. Here is one OF them:
when they will see my monuments, In
,ho course OF years, and speak of what |
bavc done, beware lest you say: Il know
not [ know not. why have all these things
heen done, how can mountain In all us
inngth be formed iuto god?" Verify, II has
henn done BY my life. by the love OF
Pa and the favor of my father Anon. who
in~,icorateth my nostris with life and
health. | bear the white crown: ] am dia-
DENIED with the red crown, the two gods
rave united In me two shares (of life). |
mic over this land like the son Of Isis: ]
am mighty like the son OF Nu tas long
ash the sun reposes in the Sekti boat and
rcmains i'm the At boat, when he brings
New-York tribune., 1911-11-05
THE GOOD ADVISER.

Poor Carrie Nation said a New YORK
clergyman. had her good points, ana
one of them was belief In the uplttihs
power OF woman.
Carrie Nation often used to tell about
a clubman who. In very bad way con-
suited his physician. The clubman sug-
costed for himself sea voyage but
the physlcian didn't seem to think that
necessary.
...What you must do, he said-'and II
,ou do II you'll be- yourself again i'm a
month-is to give up smoking and drink
ing
..Oh. hang &C. doctor said the clubman
peeylshly. YOU talk Just like my Wife. 4"
New-York tribune., 1911-11-05

Gallery; Duccio di Buoninsegna, whose
scenes from the life of Christ, painted
for the Cathedral of Siena, have been
scattered over the world; Luca Signo-
rell, whose studies OF the nude in
New-York tribune., 1911-11-05
LONDON ART
Treasures from Famous Old
Country Houses.

London, October -.
The old masters are working out their
own salvation in England. The exhibi-
tions at the Grafton Gallery rival those
of the Academy in attractive power and
of pounds are now received In
gate money for use in the purchase OK
art treasures for the nation. Through
the organization of an influential COM
New-York tribune., 1911-11-05

thousands OF little black figures in bath
ing dress.
"A woman on her vacation SAID Mr'
Goodwin thoughtfully, rs always SEEKING
the perfect man. Hut a man on ms -
always seeking the imperfect woman
New-York tribune., 1911-11-05
HIGH AIMS AND LOW.

"Women are finer than men. They have
nobler ideals"
The soeakcr was y. G. Goodwin, the
actor He stood on the Atlantic City
Boardwalk, gazing down upon a glitter-
ing and wind-swept beach dotted with