THE LIFE OF SAINT GODE- LIEVI * HIS curious and fascinating work, a product of the Bruges School of the late fifteenth or early sixteenth century, was bought by the Museum at

the dispersal of the Dollfus Collection in Paris. The painting is not of the highest order but it exempli- fies the delight in ornament and intri- cate detail, and the decorative beaut\ common to the tradi- which it Is the offspring. While lacking the eloquence

tion Ol

of the great Flemish masters, it has the simple charm that the direct telling of a deeply felt tale never

fails to give

The altar-piece consists of five parts; the large centre

panel 44 In X 57 In. Is flanked on either side by two hinged shut-

ters 44 In. X 104 In.


MUSEUM OF ART Saint James and Saint John the Evangelist, With the altar-piece open, all five panels are filled with the life of Saint Godeliéve, The catalogue of the Tollin collection? of which the work formed part before its acquisition by M. Dollfus) gives the story of this saint but upon authority, nor can | find in the usual books of reference any story of sufficient detail to nel

fails to say what

explain all the dents portraved

As an outline of the saint’s life is neces- sary to the under-

standing of the pic- tures, | will venture to translate what seems essential in the legend as given in the


\t this epoch 1007-1070) there lived at Ghistelles Saint Godeliéve,' who is held in great ven- eration in all Flan-


Bertolf, lord of the manor of Ghis- telles, had heard high praise of a young 3oulogne, belonging to the family of Hemftrid,

woman ol

painted on both (HE LIFE OF SAINT GODELIEVE lord of Longfort. sides. With the shut- PANELS I AND 2 Fame named her ters closed. the out- voung, beautiful, side shows four standing saints and the modest, virtuous, and Bertolf was ena- portraits of the two donors. At the left} mored before ever he saw her and asked

is Saint James the Greater, as the protec- tor of a kneeling donor, then Saint Nicholas with the three

tated from the On the third panel is a whom the Dollfus catalogue Ephron, and on the fourth is Saint John [he arms figure of

vouths whom he resusci-

salt vat at his feet. warrior-bishop



Evangelist with a second donor. of the donors appear above the

Collections de teu M. Jean Dollfus

*Catalogue des objets d'art et de la haute curiosité composant la collection de M. A

I ollin

Godeltiéve, drawn



her hand in marriage. for it she, felt to a monastic life and her parents did not attempt to thwart her, so Bertolf so- licited the help of the counts of Flanders and by their

Was more

and Boulogne persuasion the resistance of Godeliéve and the scruples of her parents were vanquished. The

marriage was performed with pomp

M. Croquery of Lille has written lately a life of St. Godeliéve

Godeliéve in Flemish signifies Friend of God



‘“‘Bertolf now took his bride to his castle where his mother met them, and here faded their hopes of happiness for the mother hated Godeliéve at first sight and as the son had alwavs been under the mother’s dominion, she made it appear to him that his choice was a bad one, and his mind became poisoned against his

to execute his design during his absence Bertolf started for night the two entered Godeliéve’s bed-

Jruges and at

chamber and strangled her with a long piece of cloth, chosen so that there should be no trace of their crime on the body of the victim. The murder done, they

perceived spots of blood in the eyes and


wife. Then Godeliéve had to submit not only to the outrages of her mother-in-law, her husband and the servants, but to material privations as well. But she bor all with angelic patience.

“Bertolf regretted his marriage more and more, and urged thereto by his wicked mother planned to do away with Godeliéve so that he might be free to contract an- other union. To avoid suspicion he pre- tended that his old affection had returned and then announced his intention of mak- ing a pilgrimage to Bruges, first instructing two of his faithful retainers (Lambert and


history has preserved their names)


ears, and to wash these away, plunged

the body head foremost in the castle well

then laid her on her bed as life-like as might be. The next day the body was found and though Bertolf and his mother

made great show of lamentation, they were

believed by all to be the assassins of the

beloved Godeliéve She was canonized a few vears later (1084). “Bertolf remarried but remorse for his

crime burned into him. In expiation he went on pilgrimage to Jerusalem. On his return he retired to the Abbey of Saint Winoc in Bergues where he died in most

edifving repentance (1075-1080).


The painter of the altar-piece was more familiar with the details of the legend than the compiler of this story, which fails to explain several scenes of the picture. The beginning of the painting is the panel at the left where Godeliéve’s family is shown. Next is the meeting with Bertolf. In the background Godeliéve does good works, and in a balcony Bertolf is seen asking the parents for her hand. The large cen- tral panel is divided into three compart- ments, in the first of which is a repast at which the saint’s parents entertain a visitor (probably the Count of Flanders or the Count of Boul- ogner). In a chapel in the background Godeliéve is praying while angels do the tasks she has been assigned. The mar- riage takes place in the centre compart- ment before the altar of the Virgin, and in the third division of this panel is the home-coming to the castle of Ghistelles,


happenings after the saint’s death the people of Ghistelles mourning over the fatal well, and how Godeliéve sent a token to Bertolf. The right compartment of the background shows a funeral in front of a church which may refer to the end of Bertolf ‘‘in most edifying repentance” as a hand in rays of light stretches out from heaven in be nedictio toward the coffin. According to a statement in the Tollin catalogue the altarpiece of Saint Godeliéve comes from the Church of Ghis- telles near Bruges. B. B.


HE Museum recently pur- chased at the sale of the Dr. J. Hampden Robb collection a terracotta relief of the fifteenth century representing the Ma- donna holding the Child. The wonderful composition of the group, in which the

and the introduction THE LIFE OF SAINT GODELIEVE Virgin presses the in the narrative of PANELS 4 AND 5 Child close to her,

the wicked mother

and also of a little prattling maid who does not appear in our story, but in the picture carries tales to Bertolf and his mother and trouble to Godeliéve. The fourth panel tells of the strangling of the saint and the incidents which lead up to it privations, Bertolf and his mother chiding her, the false reconciliation where Bertolf is attended by a devil and Godeliéve by an angel, and the murderers leading her from her bedroom. In the last panel, Lambert and Hacca dip the body of Godeliéve in the well, then lay her on her couch (the head of this figure has real beauty) and above these groups are the


with a sad expression, as if conscious of the tragic future, is well known from the several different versions in which it occurs, and its authorship has been ascribed, undoubtedly rightly to the Florentine master, Donatello, by Bode, Schubring, and other critics. The group is usually called the Veronese Madonna as one of the versions adorns a corner in a street, the Via della Fogge, in Verona, and it must have been a famous work in its day, as at least four other replicas of the period are known to exist. These are in stucco and terracotta and are now in the Bargello, the Louvre, the Kaiser Friedrich Museum in Berlin, and in a private col-


; j j | '


lection in the latter city. The version owned by the Metropolitan Museum is executed in terracotta and is in its details one of the best of all, although it would be difficult to say that our group was the first of the different versions to be made. Since no one has yet proved that the com-

position is not by Donatello we may

recognize his workmanship at once. What other sculptor could have filled the simple plastic forms with a similar force and passion of feeling, who else could have given the Madonna such strong classical beauty together with an almost modern intensity of expression, at once tragic and heroic; who else could have formed a


ascribe our group to him with as much right as those in the Louvre, the Bargello, and the Berlin Museum are called by his name. And indeed it would be hard to prove convincingly the authorship of any other artist, for there are at best none too many men to whom works of the greatest merit can be ascribed, and when the high quality of this group is considered in con- nection with the number of Donatello’s pronounced and characteristic traits which it exhibits, it seems impossible not to


child so absolutely naive and life-like and have made the group as a whole an em- bodiment of the highest religious devotion of which the period was capable? No sculptor of the time excepting Michel- angelo - ~ possesses in such a degree Donatello a feeling for the true signifi- cance of his subject, for the heart and character of his models, combined with an


artistic intelligence of the highest order which enables him to give to his work the vitality of outline, the subtlety of surface,



and the expressive simplicity of plane that make his sculptures the masterly works of art they are

As this composition in all its different versions is quite in the style of the works which Donatello executed for the Church of S. Antonio in Padua, and since, as has been stated, one of the replicas 1s now in Verona, and another was originally in Venice, both very near Padua, it is gen- erally believed that the groups were made by Donatello while he was staying in Padua just before the middle of the century Compositions such as this exercised the strongest influence on the artists of North-

ern Italy and one can not imagine how Mantegna and the Bellinis would have succeeded without Donatello’s noble pre- cedent in expressing the most tragic moment of the relationship between the

Christ Child and His Mother


BY HUBERT ROBERI UBERT ROBERT was perhaps the most popular and successful among the various French paint- ers of the eighteenth century who devoted themselves to producing decorative landscapes of a romantic and Italianate character, and the Museum 1s fortunate in being able to exhibit eight panels by him in his best manner, recently lent by Mr. J. Pierpont Morgan. These are now placed in the Louis XVI room on the second floor of the Wing of Decora- tive Arts, where they show to advantage in relation with the objects of the same period in the Hoentschel Collection. They are admirable examples of a phase of French decorative painting heretofore very inadequately represented in the Museum. Robert, who was born in Paris in 1733, spent many years of study in Italy, and returned to Paris in 1765 to gain instant recognition with his skilful and charming renderings of Italian landscape and Roman ruins. He was soon famous as “Robert des Ruines” and from the time of his return honors and success never failed.

In two vears he was made an Academician, later he became Director of the Musée des Arts, keeper of the Musée Royal, and landscape architect to the king. He died In 1508.

Never in the least a realist, Robert idealized the romantic aspect of classical suave and graceful way very

ruins in characteristic of the eighteenth century His knowledge of the great remains of Roman architecture was exhaustive, and ancient buildings

both in the delineation o actually extant, and in the creation of the purely imaginative ruins which he delighted to invent with such unending variation he showed an extraordinary architectural sense. Yet he was never in any degree a classicist, as the next generation was to understand the term, and his desire was not to reconstruct Rome as she really was, but to show her vast and splendid ruins, softened by time, and _ sheltering the life of a later and very different day. His crumbling temples, and shattered monuments, his caves and waterfalls, the small gracious figures peopling his long green avenues and delicious gardens, are all part of the Italy of the eighteenth cen- tury, seen through the Parisian eves of a court painter and suffused with a poetry peculiar to his time.

Mr. Morgan’s eight paintings, six of which are uprights and two overdoors, form a compete series which was evidently intended to be inset into the paneling of a room. The scenes depicted are all different and all are apparently purely decorative in purpose, as none of the ruins and build- ings represented can be identified as existing elsewhere than in the painter's imagination. Five of the panels show re- mains of classical architecture with many figures in the foreground, a sixth is a charming garden scene with a féte champé- tre in progress, and the remaining two are rocky landscapes, the one a mountain gorge with a waterfall and Spanish peas- ants dancing in the roadway in front, the other perhaps the most beautiful of the whole set the interior of a high grotto looking toward the sea, with fishing boats in the distance. The last is signed and dated 1784, and from their similarity



in style all the pictures were apparently painted in the same period. Robert at that time was at his best, his imagination unflagging, his touch sure, his color delicate and rich, as Mr. Morgan’s panels amply testify.

a P.


HE Field Museum of Natural History in Chicago has issued a antiquities which, for

publication on its

from Boscoreale, comparative studies with our own examples, will prove of great interest. \s is well known, Boscoreale, situated about one and a_éehalf miles’ north

of Pompei, has vielded some of the most

interesting discoveries of recent vears.



is largely


collec t rT n villa in

Museum famous

I he Field derived from the

was found the treasure of gold coins and silver vases now in the Museum of the Louvre; a few pieces came from neighbor- ing villas, none, however, from that in which our own frescoes were discovered. Ihe collection consists of eighteen frescoes in bronze, glass,

iron. The

and a number of utensils stone, and they dv not

terracotta, silver, frescoes, though

with our own in importance, form an inter-


esting series, the subjects being mostly of an architectural or decorative character. Among the other pieces the most valuable three legs in the


bronze table with

is a form of lions’ hind legs, naturalisti-

cally modeled. The text of the publica-

tion is by Herbert F. De Cou; there are forty-nine plates in which every object of the collection ts illustrated.

G. M. A. R








USEUM authorities are depend- ent in forming a collection of antiquities on the chances of the market and of excavation [hey may have very good fortune in one direction and find serious lacunae un- avoidable in another. Further, one of the major arts, architecture, can never be adequately represented within the limited space of a Museum interior. | affirm this despite the report current this past winter that Mr. Morgan had bought the island of Philae at the first Egyptian Cataract and was bringing its temples to The Metropolitan Museum! If, then, the attempt be made, as in our Egyptian rooms upstairs, to illustrate the suc- cessive stages of a national civilization and art, supplementary photographic 1l- lustrations render the picture of a given period far more nearly complete than it could be without them. Consider the early period in Egypt when the land was emerging from barbarism. We possess a considerable knowledge of that formative time derived from contemporary graves. But merely to show in our exhibition cases pots, maces, slate palettes, and other small objects found in these graves which 1s all we can show at present in the original would be to tell but half the tale. Here, as in other rooms of the Egyptian section, glass positives at the windows supplement the original objects. In the three frames of positives within the First Egyptian Room we are able to exhibit the methods of burial of more than five hundred years, and in passing from the primitive grave, only a hole dug in the sand, on to the larger brick-lined and brick-roofed tombs of the end of the period one has traced the emergence of the instinct and the ability to construct buildings. These primitive tombs cannot be called architecture in any high sense of the term, but they are the beginnings of the development which ‘Report of an address made at the session of the American Association of Museums, June 10, 1912

was to culminate in the mighty temples of egvpt and are essential to the story of the History of Egyptian Art as we are attempt- ing to tell it in our rooms. Again in our Sixth and Seventh Rooms it would be a pity to miss from the impressions to be gained there of the art of the Egyptian Empire, the views and plan of the palace of Amenhotep III, at Thebes. I might thus point out in every room the way in which the glass positives at the windows and the photographic enlargements on the walls and pedestals supplement that which it has been possible to obtain in the way of original objects

[he use of photographic illustrations sometimes obviates the necessity of plac- ing casts in the same galleries with originals. The photographic illustration is an obvious substitute, the cast is not always so easily recognized as such by the untrained observer and the presence of casts among originals, particularly skilfully colored, is likely to lead to con- fusion in the minds of many people as to what 1s ancient and what is modern in the collection. Architectural models, how- ever, are not open to this objection, for they are not in the size of the originals and could never be mistaken for originals.

But perhaps even more important than their function in supplementing the original material in museums is the explanatory value of photographic illustrations in relation to the main exhibit. There may be museum authorities who think it un- wise to attempt to embrace in their ex- hibition rooms anything more than can be duly represented in original objects. But no one can dispute the fact that it is our business to make the original objects as attractive and intelligible to the public as possible. The Egyptian department of this museum has found glass positives and photographs an indispensable help to this end. In many rooms it is possible to turn from the objects in the cases to pictures showing the conditions under which they were found. For instance about one half of our Fourth Room is given to the contents of an unplundered tomb of 2,000 B. C. which was excavated by the Museum’s Egyptian Expedition in


At the window all the stages in

1907. the clearing of the tomb are shown, first the top of the tomb shaft as it appears at the level of the desert surface, then the first chamber of the tomb as yet uncleared,

débris and jars; the

chamber freed of filled with numerous pottery visitor then has to look but room to see these same jars occupying a wall-case, further views show the second chamber before and after clearing, the opening of the coffin revealing for the first time to the modern world the necklaces, bracelets, ceremonial whip and other fune- rary equipment of the deceased Snebtes, all of which may be seen in near-by cases

The Egyptian collection has been built up in three ways, by gift, by purchase, and by excavation. Most valuable of all is the material obtained through the excava- tions conducted by our own Metropolitan Museum’s Expedition to Egypt, because we have the full scientific records of the conditions under which each object was found. The photographic illustrations both glass positives and prints serve to keep before the public the nature and the value of this work as the people turn from the material results of the exc; vations in the way of actual antiquities to the pictures of these same objects as they were found

But even for the purchases and gifts about whose provenance nothing is known we are able to do something. When the actual object cannot be shown in position in Egypt, it is often possible to exhibit related material under the conditions of finding. Then it is often desirable to show a photograph of a complete object to make an original fragment intelligible. On loan in our collection at present is a wooden panel from a chair found by Mr. Theodore M. Davis in one of the royal tombs at Thebes. Even though the label states the fact that the panel is from a chair, it would be imp ssible for the visitor unfamiliar with Egyptian furniture to visualize the object of which this mere fragment remains. But we were able to place on the pedestal a photograph of a complete chair from another royal tomb with two such panels in position.

next that

across the



The use of photographs occasionally has a bearing on the much-vexed question of how far to restore objects. [he prin- ciple we trv to follow in the Egyptian department is to restore accessories when by so doing the object gains in aesthetic value, but not to restore essential parts. In the latter case a photograph of a similar complete object may serve to explain our fragmentary one and relieve us of the necessity of restoring where restoration would seem a sacrilege. Let me_ illus- trate this. In the Sixth Egyptian Room is a red quartzite portrait head of that remarkable religious revolutionist and visionary, King Amenhotep 1V. The head is incomplete, having lost the headdress and whole back part as well as the eyes which were inset. We have restored the headdress in plaster tinting it the general tone of the stone, but we should not dream f renewing the Che however, is a mere accessor)

( eves. headdress,

to the realis- tic and subtly modeled face, and by supply-

ing it this masterpiece of portraiture

regains much of its original effect. On the other hand in our Fifth Room may be seen absolutely unrestored a_ colossal lion’s head of limestone which lacks the

greater part of the muzzle. We cannot bring ourselves to fill out this essential part of the powerful animal’s head with modern work but we have placed on the pedestal a photograph of a similar colossal head of a lion found practically uninjured in the German excavations at Abusir which will aid the visitor to complete in imagination this impressive work Finally let me say a few the popular appeal of photographic illus- trations. Undoubtedly this appeal ts greater in the case of glass positives, which are more vivid and give the illusion of reality better than the flat print, but what I have to say applies to some degree also to large photographs. These illus- trations relieve the monotony of the rooms, they attract attention and _ hold it often when the original objects in cases fail to do so, but interest once awakened is transferred to the all-important material in the cases and thus the pictures help in promoting the education of the public. |

words about




»a distinct memory «

ur Museum workmen used

often to stop and look ; he glass positives

legitimate interest

Few people who

traveled widel\

pictures which

baskets of sand and transport heavy stone

slung to poles, and as they otherwise employ the ancient methods of the Nile Valley.

How far the use of glass positives is de- sirable in other departments of an Art Museum than the Egyptian is more than | would presume to judge. The tdea is not a new one in Museums of Natural Historv, but so far as | know, has never been tried on so extensive as scale as here. We feel that the experiment with us has been a wholly successful one and | shall be

very glad if the brief statement of our


aims and results here attempted offers

any suggestions to other museum officers










HEARN.— The Ring, by John W.

\lexander, which was one of the successes at the last Autumn exhibition of the National Academy of Design, has been given to the Museum by Mrs. Mary Hearn Greims in memory of her brother, Arthur Hoppock Hearn, and has been shown since the first last month in the Room ol Recent Accessions. It represents a young

,r i


woman sitting in a window-seat with her large straw hat on her knees, looking indo-

lently at a ring which she holds in het right hand. The sunlight shines in at the

window and the soft curtains back of the sitter are gently ruffled by the breeze. A sentiment of tranquillity pervades the pic- ture. It evokes the drowsy feeling of a summer afternoon in pleasant surround- ings.

With this gift from Mrs. Greims the Museum owns three works by Alexander

the portrait of Walt Whitman given in 1891 by Mrs. Jeremiah Milbank, and the Study in Black and Green purchased out of the Hearn Fund in 1908.


B. |






rhe following pictures have been re cently purchased out of the Hearn Fund The Chinese Statuette by Richard | Miller, Christ Stilling the Tempest b\ Elliott Daingerfield, Passing of Summer by Harry W. Watrous, Metropolitan lower by Guy C. Wiggins, and Morning Light by Eugene Speicher.

It mav be well at this time to review thi rapid growth of the Hearn Colle« n « American Pictures. Since the reception of the Hearn Fund in 1906 the total number of purchases to date is twenty-six. But these are overshadowed by the importance: of the gifts received from Mr. Hearn for the collection, which have included very not worthy examples by the most famous art ists, in some cases of works which it would

otherwise have been impossible to secur

By the gifts which number fiftv-one, Mr. Hearn has lightened the Museum’s task

in torming a representative conte mporary American collection of the most difficult and expensive part of the work, and has enabled the income of the fund to be con- centrated on the acquiring of current pro- ductions as shown in Galleries 13 and 14.


PoRTRAIT MAN, rHE MaAsTER OF THE HOLZHAUSEN PorTRAITS (CONRAD Von In Monatshefte iir kunst wissenschaft \ugust, 1911,

| ' Franz Rieffel has an essay on the pictures


the lor


of the Holzhausen Collection which were lent at that time to the Stadel Institute at Frankfurt. Accompanying the articl are certain illustra tions of the works discussed, several of which are by the artist who is the

painter ot our ture One of these


of Gil- Holz-


is a portrait brecht von hausen, dated and with a monogram, CVC According to recent researches this mon- ogrammist is iden- tified with Conrad Creuznach. native ol


von He was a

Frankfurt and was





conventional perspective three sides of an

1e background represents in somewhat

apse or bay of a chapel. The lower half of the wall is decorated with an engraved three nar-



and gilded pattern; above are

row, pointed windows with tracery.

painted blue; the ribs

vaulting window

1s framework, gilded.

The paintings on

the doors represent

four saints: on the left door, inside Saint Barbara; out- side, Saint Sebas- tian; on the right door, inside, Saint

Margaret; outside,

Saint John the Bap-

tist They recall the manner of Bar- tholomaus Zeit-

blom, a of the school (


painter yf Ulm, who in, or shortly after, While the unknown

carver of this altar-


influenced by the shrine belongs clear- work of Diirer to lv to the Suabian whom indeed the School, its painted Portrait of a Man doors, as well as was until late times, other evidence of a attributed B. B stylistic character, PORTRAIT OF A MAN permit one to as-

AN ALTAR-SHRINI BY sign, at least ten- WITH PAINTED THE MASTER OF THI tatively, the pro- Doors. \mong HOLZHAUSEN PORTRAITS duction of it to the

the recent purchases

in the Accession Room

German altar-shrine with painted doors, The shrine encloses

wood of the Virgin

and wearing a gilded

this month is a dating about 1500. a high relief in

standing, crowned mantle lined with blue, over a red gown, supporting on her left arm the nude Christ Child, while in her right hand she holds a gilded apple or ball. Kneeling at the right in the foreground is the miniature figure of a bishop (the donor) who wears a gilded mitre, a red chasuble, a dalmatic, and blue alb. His hands, presumably folded in adoration, have been destroved.

local school of Ulm. With the doors closed the shrine measures 20{ inches in height, 43 inches in depth, and 15? inches in width; with the doors open, 323 inches in width, 32 inches in depth. Since the nu-

sculptures in Museum’s collection are neither so merous nor widely representative as those of the French and Flemish sections, the addition of this characteristic and beautiful example of one of the German at its best particularly welcome. J. B.

the German


schools is






The follow-

™y HEFFIELD PLATE. ing additions to this collection by purchases made during the past month, were a small round tea-urn

with a large pineapple finial, and gadrooned base: a cotfee-pot, beautifully chased; a pair of candlesticks, square on plan, chased with masks and rams’ heads, etc.; a sugar- bowl of beaded wire with a round gallery dozen

around the base and one plain

teaspoons, hall-marked 1802, suspended

] =e , around the lip} a cake-basket, oval, pierced

and chased; a fruit-basket in the form of

boat, the upper part pierced; and two small round wire baskets of square shape; small salver and sauce-boat; all of the ghteenth century Of the early part of the nineteenth cen-

late el

tury are a large tray, twenty-one inches in

diameter, flat chased in the centre, with pie-crust border, on four moulded feet; a salver with flat chased centre and chased border; ; \ large round tea- pot, flat chased, with G. R. under a crown,

been the property of


is said to have Ceorge lV. We have had lent to us by Lieut

C. D. Stearns, a round wire cake-basket,


and a sugar-bowl, also of round wire, both of the late eighteenth century, and a bowl with moulded edge and base, of the nine- teenth century. 5. hs. Ds

[HE GERMAN FLEET. In connection with the visit of the German fleet to this country, five of the educational institu- tions of the city, The Metropolitan Mu- seum, The American Museum of Natural History, the Public Library, the Botanical Garden and the Zodlogical Society have issued a special folder of information in German for distribution to the officers and crews. This is entitled Wichtige 6ffen- tliche Institute der Stadt New York and contains with illustrations the kind of information that might be found useful by those visiting the various buildings.

MEETING OF THE AMERICAN Associa- TION OF MUSEUMS. \ \merican Association of Museums’ seventh annual meeting was held at The Metro-

politan Museum on Wednesday the 12th,

session of the

beginning at 10 A. M.

\n address of welcome was delivered by Mr Robert \ de Forest, and the follow- Ing papers were read:

The Value of Photographs and Transparencies as Adjuncts to Museum Exhibits, Caroline | Ransome

The Care and Classification of Photographs at the Metropolitan Museum of Art, Ethel A Pennell

lhe Functions of a Museum, Paul M. Rea

[he training of Museum Louis Pollard

Board of Trustees and the Executive Officers of Museums, Henry L. Ward. Why “A Museum °’” Chester |

I rustees, Charles

PR poone

Luncheon was served to the members of the Association at one o'clock and after- wards an opportunity was given to visit the various departments not usually open to visitors, the photograph department, the workroom of the repairer of tapestries, the repair shop, the printing office, and the shop of the armorer.

PUBLICATION, Les Points Dt Though the liberality of Miss laylor Johnston, to whose in-

the collection of lace the

\ New FRANCE. Margaret terest in Museum has been much indebted in the past, a volume entitled Les Points de France will soon be placed on sale, at the catalogue stands and in the hands of the dealers.

lhe work is a translation by Miss John- ston of a brochure written by Ernest Lefébure for the International Exhibition held in Paris, 1900. We quote from Miss Johnston’s preface:

“An important part of the artistic life of Paris consists of the loan collections which, from time to time, bring into view



tere: seur toge Fret Frat vels com min and

Ern for

orig to enti and peri the

| rel Pou artis Bail illus kinc a lit man and few

exhi lect Mu: own és tion



the private treasures of the nation, and in- teresting indeed is the company of connois- seurs who assemble for the Private View.

“The exhibition of 1900 thus brought together many of the more important French laces, and notably the Points de France of the period of Louis XIV, mar- vels of work and design, created at the command of the King and of his great minister, Colbert, from Venetian traditions and inspiration.

“An interesting brochure by Monsieur Ernest Lefébure was written at that time for private distribution, to explain the origin of these beautiful laces. It is much to be regretted that this booklet is now entirely out of print, for it gives a simple and consecutive account of the great period of lace-making in France, and of the evolution of a new and characteristic French stvle from the earlier Venice Points, on lines adapted to lace by leading artists of the day Lebrun, Bérain, Bailly, Bonnemer. The large number of illustrations, correctly named as to both kind and period, makes this pamphlet a little gallery of art, which should reach many who may never have the rare chance and pleasure of being in Paris during the few weeks when a loan collection is on exhibition. An even more extensive col- lection of laces was shown in 1906 at the Musée des Arts décoratifs, a museum that owns several beautiful Points de France.

“It therefore seems a valuable contribu- tion to the literature of lace, to translate some few of these interesting pages for an

American public, which already has a number of specimens at hand in our own Metropolitan Museum of Art in New York. A very few years ago, these Points de France were as entirely beyond our reach as the Memlings or Botticellis of European galleries; but generous gifts and bequests have started an historic sequence, which the future will certainly complete.”

The volume is a large octavo, with twenty-nine illustrations, handsomely printed by Bruce Rogers at the Riverside Press in Cambridge.

[he price of the volume in paper cover is $1.50. In ordering by letter, nine cents

should be sent for postage.

THE Liprary.— The additions to the Library during the past month were one hundred and ninety-six volumes, divided as follows: by purchase one hundred and eightyv-three; by gift thirteen.

The names of the donors are Hon.</