The sun., 1919-07-27

from the earliest times to the reign of
Diocletian. This course, like History
A and B 2, completes a general sur
vey OF the period.
The Renaissance.-A study of the
intellectual development of Europe
from the beginning Of the fourteenth
century. Lectures on the history of
the fine arts in the Renaissance.
History of Roman and Etruscan Art
This course includes such subjects
as Roman architecture, Greco-Roman
sculpture. topography and monuments
of Rome and of Pompeii, and the do
nestle arts. Selected topics are in
vestigated by members of the class
Three hours. Assistant Professor
Baur. (Omitted 1890. Given 1920
21)
History of Renaissance Painting and
Sculpture.-A critical sypdy of the de-
velopment Of F1orenti1 art of the
fourteenth and fifteenth centuries.
The paintings in the Jarves collection
are studied and analysed in detail. A
study OF the development of sculpture
in Italy from the twelfth to the six
tenth century. instruction is given
by means of illustrated lectures and
informal discussions.
History OF Medieval Painting and
Sculpture.-A study of painting and
color decoration during the classical,
Pompeiian and Byzantine periods up
to the time of the early Renaissapce
painters in Italy. and of sculpture
from the later period of the Roman
Empire to the Renaissance in Italy
and France.
The Japanese gallery of the Mime
apolis Institute of Arts has recently
undergone some changes and received
some new installations which are de-
scribed in the current Bulletin of the
gallery. The windows have been low
cred in height SO as to conform more
nearly to dimensions appropriate to
the exhibition of its contents, rice
paper screens have been installed to
modify the incoming light. and some
old temple carvings of great age and
rarity have been placed at the top
of the windows and over the entrance
door.
These carvings originally supported
the heavy roof beams of an eGifice,
and were themselves supported upon
the tops of columns. or upon oorbels
emerging from the upright framing OF
the building OF which they formed
part. Fashioned out of heavy tim
bers of cryptomeria wood, they are
six feet in length by six inches in
| thickness and some nineteen inches
| -, t&,,N 90 80
forated cutting OF the design, after
| the cunningly deceptive manner o.
these versatile and imaginative folk
their bulk and weight are lost sigh
OF and they appear light and grace
| full. These fine examples disclose con
spicuously the peculiar power OF OBJ
servat.on Of the Japanese artist, tn
power of what one may call ins'an
taneous vision, possessed by no othel
people, which enables him to catch tn,
pose of the flying bird, the motion o
the sweeping wave, the furtive move
ment of the timid, lurking wild life
and, through his skilful craftsmanship
to visualize them for the amazemen
and delight of those of us who lacl
this almost superhuman keenness o
sight and Photographic mental re
tention of action seen. Without I'm
necessary detail or elaboration, al
these qualities are exhibited in tn
new sculptures referred to.
Another unusual object. in a who'll,
different field, is of the latter part o
the eighteenth, or early part of tn
nineteenth, century, and is a work O
high artistic merit. 1t is a Daimyo'
saddle of elaborate design and OF ad
mirable-in some details of exquisite
workmanship. 1t brings vividly I
mind the unique history OF Japanes
government and the consequen
strange persistence of medieval Japa
nese customs down almost TO our oWT
day.
From the beginning of authenti
Japanese history. in the sixth 0
seventh century Of this era, for NOR
than a thousand years before the revo
luton of 1867 when the last vestig
OF medievalism was swept away an
the Hermit Nation was transformed
as II by magic. into the full modernit
Of the nineteenth century, the contrC
, OF the government OF the Island EN-
pire.was in the hands OF the Shoguni
although the Mikado vas studiousl.
one may say religioV3y. recognize
as its nominal head This government
was wholly feudal in character. TIL