The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-03-08

tons. These were made in the En-
peror's own garden by his own potters
who contentcd themselves with signing
their pieces with numerals. At least that
IA the modern explanation OF the nu-
merals incised IN the bases.
Tho shapes are very much the same,
two or three inches In height circular
In form, with the rim In petal shaped
divisions. but upon these forms the most
extraordinary changes have been rung
BY the magic Of the potter's skill. To
describe their prismatics would be fu-
tile. az they take on different aspects
with the changing hours Of the day.
Often there IL the tint called clair-de-
lune In the inside, dappied and frosted
with greenish gray. passing on the out
side from opaque olive tones to rose
puppies and black.sh browns. At the
edges where the glaze has run thin tho
warmer under tones show through. X.
L. Hobson Of the British Museum. who
has authenticated these pieces for the
Japan Society, calls the cpalescencc that
makes these pieces radiant n HAPPY nc
cident Of an immature technique In
which the thick. slow flowing. irregular
glaze, full Of minute bubbles and pin
holes. breaks up the light as 1t receives
Il into unimagined combinations OF pris-
matte colors. This is the secret Of the
ever changing tints Of the Chun ware.
to which age has added further charm
by investing the surface OF the glaze
with a'faint iridcscent lustre."
The examples OF Celadon ware. with
rs soft green glazes over modelled dec
orations In low relief. and the refined
ivory and waxen whites OF the Ting
wares are Just az noble.
The majority Of the Corean wares are
tomb pieces OF the Korai period s3s-
1892 a. D.. beautiful bowls, ritual ewers
and wine bowls OF rugged and graceful
but sometimes strange outlines. The en-
pert knowledge OF them is limited and
comparatively recent. The recent up
heavals in the East have liberated num-
bers Of them that we're cherished heir
looms and they have promptly taken
flight to Western collectors. Then. too.
rare specimens have come to light In the
territories where the railway construc-
lions have CHANGED TO unearth them.
IT HE exhibition OF sculptures by
Mrs. Sara Morris Greene In the
gallery OF Theodore B. Starr.
Fifth avenue and Fcrty-seventh street
ought TO make her the success In this
country that abe already II as an artist
In France. 1t ought to. because the
work is good. Mrs. Greene has a gem
nine talent for sculpture 1t IL natural
10 her. apparently. to express herself In
that medium. and her work. IN consc-
quonce suggests ideas and emotions
rather than technical questions. The
idea surmoun.s the technique. In other
words. the work IL artistic.
At the same time there IL nothing
sensational in the display. None of the
pieces Is OF the kind To stop the rush
of humanity along our busy thorough.
fares with life and death. now or
never. question that compcls immediate
answer. An amazingly large proportion
Of the finest art work OF the world Is
built for quieter public than that which
runs the streets. We need loud knock
ing works Of art for such people. for
they are entitled to their swift emotions.
but when they have tired of bnrfain
hunting. lamb shearing. tangoing or
the exhausting labors that put the tired
lines into 40 many American faces and
go apart for while into little garden,
drawing room II II be winter. It IL the
quieter work Of art that speaks to
them longest, speaks TO them most
deeply. speaks to them ut times that
they are unaware OF. FOR the quiet art is
tho kind We finally live with.
Mrs. Greene's three fountains for in
stance. would soon become like old
friends. It is apparent that she has
har hos.
saun;ered through lonely paths of Old
World parks To chance upon those
messy marbles that seem TO deny the
mutability OF things. or at least deny
II satisfactorily enough for poets; Mer-
cury's torso merely. or perhaps
laughing Grecian cupid perched upon a
pillar Greek had won from Persian. both
now blackened by Roman dews Stan
ford White brought many a fountain to
this country and had the taste 10 put his
antique fragments tremendously into
charming wholes for many Of our best
gardens. He would have liked Mrs.
Greene's. Without any great pretense,
probably just because OF that, they are
nice fountains. Fountains are such a
rarity In modern life. such n luxury, so
important and expensive. that when
the usual sculptor gets an order for
one he Is SO hustered that he forgets the
function Of the fountain utterly and Is
just as likely to end in making it look
like tomb to julius II. or a triumphal
arch to Titus as not. We are apt to
make too much fuss over the designing
Of fountain.
Two things that will initiate agains,
quick success for Mrs. Greene are
her !mpressionistic handling and her