Chapter I: Part 1

Transcriber's Note:

Inconsistent hyphenation and spelling in the original document have
been preserved. Obvious typographical errors have been corrected.

Italic text is denoted by _underscores_.

SCRIBNER'S MAGAZINE

PUBLISHED MONTHLY
WITH ILLUSTRATIONS

VOLUME XXVI JULY-DECEMBER
1899

CHARLES SCRIBNER'S SONS NEW YORK
SAMPSON LOW, MARSTON & Co. LIMITED LONDON

Copyright, 1899,
By Charles Scribner's Sons.

Printed by
Trow Directory, Printing and Bookbinding Company,
New York, U. S. A.

CONTENTS
OF
SCRIBNER'S MAGAZINE

VOLUME XXVI JULY-DECEMBER, 1899.

PAGE
ACCENT, A QUESTION OF. Point of View, 380

AGUINALDO'S CAPITAL--WHY MALOLOS
WAS CHOSEN, LIEUT.-COL. J. D. MILEY, 320
Illustrated with drawings by Jules Guérin and F. D.
Steele, from photographs.

"AMERICAN LANGUAGE, THE." Point of View, 762

AMERICAN SOCIETY AND THE ARTIST, ALINE GORREN, 628

AMERICAN URBANITIES. Point of View, 121

ANNE. A Story, MRS. ROBERT LOUIS STEVENSON, 116

ANTARCTIC, AMERICAN SEAMEN IN THE, ALBERT WHITE VORSE, 700
Illustrations drawn from photographs taken by Frederick
A. Cook, M.D., during the recent voyage of the "Belgica."

ANTARCTIC EXPLORATION, THE POSSIBILITIES OF,
FREDERICK A. COOK, M.D. (Of the "Belgica" Expedition), 705
With drawings from the author's photographs.

ARCHIBALD, JAMES F. J. _Havana Since the Occupation_, 86

ARCHITECTURE, THE USE AND ABUSE OF DECORATIVE CONVENTIONS
IN. Field of Art, FREDERIC CROWNINSHIELD, 381

ART IN THE SCHOOLS--FIRST CONSIDERATIONS. Field of Art, 509

ART IN THE SCHOOLS--THE NEW YORK PHOTOGRAPHS, 637

AUNT MINERVY ANN, THE CHRONICLES OF, JOEL CHANDLER HARRIS.
IV. AN EVENING WITH THE KU-KLUX,
Illustrated by A. B. Frost, 34
V. HOW JESS WENT A-FIDDLIN', 310
VI. HOW SHE AND MAJOR PERDUE FRAILED OUT THE GOSSETT BOYS, 413
VII. HOW SHE JOINED THE GEORGIA LEGISLATURE, 439

AUTHOR'S STORY, AN, MAARTEN MAARTENS, 685

BALZAC, THE PARIS OF HONORÉ DE, BENJAMIN ELLIS MARTIN
and CHARLOTTE M. MARTIN, 588
Illustrated by J. Fulleylove,

BAXTER, SYLVESTER. _The Great November Storm of 1898_, 515

BIRRELL, AUGUSTINE. _John Wesley--Some Aspects of the
Eighteenth Century in England_, 753

BROWNE, WILLIAM MAYNADIER.
_The Royal Intent_, 496
_A Royal Ally_, 221

BROWNELL, W. C. _The Painting of George Butler_, 301

BUTLER, THE PAINTING OF GEORGE, W. C. BROWNELL, 301
With reproductions of Mr. Butler's work.

CAHAN, ABRAHAM. _Rabbi Eliezer's Christmas_, 661

CHANNING, GRACE ELLERY. _Francisco and Francisca_, 227

CHAT, E. G. _The Foreign Mail Service at New York_, 61

CHINON, ERNEST C. PEIXOTTO, 737
Illustrated by Mr. Peixotto,

COLTON, ARTHUR. _The Portate Ultimatum_, 713

COLVIN, SIDNEY. _See Stevenson Letters_.

COOK, FREDERICK A., M.D. _The Possibilities of
Antarctic Exploration_, 705

COPLEY BOY, A, CHARLES WARREN, 326
Illustrated by F. C. Yohn,

CROWNINSHIELD, FREDERIC. _The Use and Abuse of
Decorative Conventions in Architecture_, 381

CUBA. See _Havana Since the Occupation_.

DAVIS, RICHARD HARDING. _The Lion and the Unicorn_, 129

DEWEY RECEPTION IN NEW YORK, THE SCULPTURES OF THE,
Field of Art,
Illustrated from telephotographs by Dwight L. Elmendorf. 765

DREW, MRS. JOHN, AUTOBIOGRAPHICAL SKETCH OF.
WITH AN INTRODUCTION BY HER SON, JOHN DREW--I.-II., 417, 553
Illustrations from photographs and prints in the
collections of Peter Gilsey, Douglas Taylor, and
John Drew, and from a Painting by Sully, engraved
by H. Wolf; with Biographical Notes by Douglas Taylor.

ELMENDORF, DWIGHT L. _Telephotography_, 457

ENGLISH VOICE ON THE AMERICAN STAGE. Point of View, 123

FIELD OF ART, THE.
Architecture, The Use and Abuse of Decorative Conventions
in, 381
Art in the Schools--First Considerations, 509
Art in the Schools--The New York Photographs, 637
Dewey Reception in New York, The Sculptures of the, 765
Modern House, One Way of Designing a, 125
Painters Who Express Themselves in Words, Concerning, 254

FRANCISCO AND FRANCISCA, GRACE ELLERY CHANNING, 277
Illustrated by Walter Appleton Clark.

GIBSON, C. D. _The Seven Ages of American Women_, 669

GORREN, ALINE. _American Society and the Artist_, 628

GRANT, ROBERT. _Search-Light Letters_, 104, 364

HADLEY, ARTHUR T. _The Formation and the Control of
Trusts_, 604

HARRIS, JOEL CHANDLER. _The Chronicles of Aunt
Minervy Ann_, 34, 310, 413, 439

HAVANA SINCE THE OCCUPATION, JAMES F. J. ARCHIBALD, 86
Illustrated with drawings by Jules Guérin, E. C. Peixotto,
T. Chominski, and F. D. Steele, and from photographs.

HOAR, SENATOR GEORGE F. _Daniel Webster_, 74, 213

"HUNDRED THOUSAND COPIES, A." Point of View, 253

INANIMATE OBJECTS, ETIQUETTE TOWARD. Point of View, 636

IRLAND, FREDERIC. _Where the Water Runs Both Ways_, 259

JAPANESE FLOWER ARRANGEMENT, THEODORE WORES, 205
Illustrations from paintings by Mr. Wores.

KNOX, JUDSON. _The Man from the Machine_, 447

LA FARGE, JOHN. _Concerning Painters Who Express
Themselves in Words_, 254

LA FARGE, JOHN, RUSSELL STURGIS, 3
Illustrations from unpublished drawings and from paintings
by Mr. La Farge.

LION AND THE UNICORN, THE, RICHARD HARDING DAVIS, 129
Illustrated by Howard Chandler Christy.

MAARTENS, MAARTEN. _An Author's Story_, 685

MAIL SERVICE AT NEW YORK, THE FOREIGN, E. G. CHAT, 61
Illustrated by W. R. Leigh.

MAN FROM THE MACHINE, THE, JUDSON KNOX, 447
Illustrated by F. D. Steele.

MAN ON HORSEBACK, THE, WILLIAM ALLEN WHITE, 538
Illustrated by A. I. Keller.

MARTIN, BENJAMIN ELLIS AND CHARLOTTE M. _The Paris of
Honoré de Balzac_, 588

MATTHEWS, BRANDER. _In the Small Hours_, 502

MAX--OR HIS PICTURE, OCTAVE THANET, 739
Illustrated by Howard Chandler Christy.

MILEY, LIEUT.-COL. J. D. _Aguinaldo's Capital_, 320

MILITARISM AND WOMEN. Point of View, 507

MODERN HOUSE, ONE WAY OF DESIGNING A. Field of Art, 125

NAVY, ON A TEXT FROM THE. Point of View, 763

PAGE, THOMAS NELSON. _The Spectre in the Cart_, 179

PAINTERS WHO EXPRESS THEMSELVES IN WORDS, CONCERNING.
Field of Art, JOHN LA FARGE, 254

PEACEMAKER, THE, BLISS PERRY, 643
Illustrated by F. C. Yohn.

PEIXOTTO, ERNEST C. _Chinon_, 737

PERRY, BLISS. {_The White Blackbird_, 96
{_The Peacemaker_, 643

PHILIPPINES. See _Aguinaldo's Capital_.

"PLAY'S THE THING, THE," ALBERT WHITE VORSE, 167
Illustrations by W. Glackens, reproduced in color.

PHOTOGRAPHY, PICTORIAL, ALFRED STIEGLITZ, 528
Illustrated by the author's photographs.

POINT OF VIEW, THE.
Accent, A Question of, 380
American Language, The, 762
American Urbanities, 121
English Voice on the American Stage, The, 123
"Hundred Thousand Copies, A," 253
Inanimate Objects, Etiquette Toward, 636
Militarism and Women, 507
Navy, On a Text from the, 763
Superstitious, A Convention of the, 634
Vain Seeking, A, 506
Women, The Public Manners of, 122
World with No Country, A, 635

PORTATE ULTIMATUM, THE, ARTHUR COLTON, 713
Illustrated in color by W. Glackens.

PRAED, THE EDUCATION OF, ALBERT WHITE VORSE, 290
Illustrated by Henry McCarter.

QUILLER-COUCH, A. T. _The Ship of Stars_, 47, 234, 354, 402, 611

RABBI ELIEZER'S CHRISTMAS, ABRAHAM CAHAN, 661
Illustrated by W. Glackens.

REAL ONE, THE, JESSE LYNCH WILLIAMS, 620
Illustrated by Henry Hutt.

ROYAL ALLY, A, WILLIAM MAYNADIER BROWNE, 221
Illustrated by A. I. Keller.

ROYAL INTENT, THE, WILLIAM MAYNADIER BROWNE, 496

ROYLE, EDWIN MILTON. _The Vaudeville Theatre_, 485

SANDHILL STAG, THE TRAIL OF THE, ERNEST SETON-THOMPSON, 191
Author of "Wild Illustrated by Animals I Have Known."
Mr. Thompson.

SEARCH-LIGHT LETTERS, ROBERT GRANT.
III. Letter To a Young Man Wishing To Be an American, 104
IV. Letter To a Political Optimist, 364

SENIOR READER, THE, ARTHUR COSSLETT SMITH, 725
Illustrations by Albert Sterner.

SEVEN AGES OF AMERICAN WOMEN, THE, C. D. GIBSON, 669
A series of drawings.

SHIP OF STARS, THE, A. T. QUILLER-COUCH (Q.),
Chapters XIV.-XXIX., 47, 234, 351
(_Concluded_.), 402, 611

SMALL HOURS, IN THE, BRANDER MATTHEWS, 502

SMITH, ARTHUR COSSLETT. _The Senior Reader_, 725

SPECTRE IN THE CART, THE, THOMAS NELSON PAGE, 179
Full-page illustration by F. C. Yohn.

STEVENSON, ROBERT LOUIS, THE LETTERS OF.
Edited by SIDNEY COLVIN.
FROM BOURNEMOUTH, 1884-85, 20
DRAWING by E. C. Peixotto.
BOURNEMOUTH (CONTINUED), 1885-86, 242
SARANAC LAKE--WINTER, 1887-88, 338
Illustrated with drawings from photographs by Jules
Guérin.
THE VOYAGE OF THE CASCO; HONOLULU (JULY, 1888-JUNE, 1889), 469
LIFE IN SAMOA: NOVEMBER, 1890-DECEMBER, 1894, 570
(Concluded.)

STEVENSON, MRS. ROBERT LOUIS. _Anne_, 116

STIEGLITZ, ALFRED. _Pictorial Photography_, 528

STORM OF 1898, THE GREAT NOVEMBER, SYLVESTER BAXTER, 515
Illustrations by H. W. Ditzler.

STURGIS, RUSSELL. _John La Farge_, 3

SUPERSTITIOUS, A CONVENTION OF THE. Point of View, 634

TELEPHOTOGRAPHY, DWIGHT L. ELMENDORF, 457
Illustrated by the author's photographs and
telephotographs.

THANET, OCTAVE. _Max--Or His Picture_, 739

THOMPSON, ERNEST SETON. _The Trail of the Sandhill Stag_, 191

TRUSTS, THE FORMATION AND THE CONTROL OF, ARTHUR T. HADLEY, 604
President of Yale University.

VAILLANTCOEUR, HENRY VAN DYKE, 153
Illustrated by Walter Appleton Clark.

VAIN SEEKING, A. Point of View, 506

VAN DYKE, HENRY. _Valiantcoeur_, 153

VAUDEVILLE THEATRE, THE, EDWIN MILTON ROYLE, 485
Illustrations by W. Glackens.

VORSE, ALBERT WHITE. {"_The Play's the Thing_," 167
{_The Education of Praed_, 290
{_American Seamen in the
Antarctic_, 700

WARREN, CHARLES. _A Copley Boy_, 326

WATER-FRONT OF NEW YORK, THE, JESSE LYNCH WILLIAMS, 385
Illustrated from drawings by Henry McCarter, Jules
Guérin, E. C. Peixotto, W. R. Leigh, C. L. Hinton,
G. A. Shipley, and G. W. Peters.

WEBSTER, DANIEL. I., II. WITH UNPUBLISHED MANUSCRIPTS AND
SOME EXAMPLES OF HIS PREPARATION FOR PUBLIC SPEAKING,
GEORGE F. HOAR, 74, 213
Senator from Massachusetts.
With a portrait and fac-similes.

WESLEY, JOHN--SOME ASPECTS OF THE EIGHTEENTH
CENTURY IN ENGLAND, AUGUSTINE BIRRELL, 753

WHERE THE WATER RUNS BOTH WAYS, FREDERIC IRLAND, 259
Illustrated with photographs by the author, and with
drawings by Jules Guérin, H. L. Brown, and Howard Giles
from photographs.

WHITE BLACKBIRD, THE, BLISS PERRY, 96

WHITE, WILLIAM ALLEN. _The Man on Horseback_, 538

WILLIAMS, JESSE LYNCH. {_The Water-Front of New York_, 385
{_The Real One_, 620

WOMEN, THE PUBLIC MANNERS OF. Point of View, 122

WORES, THEODORE. _Japanese Flower Arrangement_, 205

WORLD WITH NO COUNTRY, A. Point of View, 635

POETRY

ADVERTISING SIGN, AN, MARVIN R. VINCENT, 751

BALLAD, J. RUSSELL TAYLOR, 220

CELEBRANTS, THE, CAROLYN WELLS, 85
Illustrated by Oliver Herford.

CRICKET SONG, THE, R. H. STODDARD, 526
Illustrations in color by Harvey Ellis.

ENDURING, THE, JAMES WHITCOMB RILEY, 103

HERB O' GRACE, THE, ARTHUR COLTON, 401
Illustrated by Orson Lowell.

HEY NONNY NO. A Song, MARGUERITE MERINGTON, 416

HUSH! A Sonnet, JULIA C. R. DORR, 120

LONELINESS, J. H. ADAMS, 712

NARCISSUS, GUY WETMORE CARRYL, 525

NEMESIS, BENJAMIN PAUL BLOOD, 72

OLD HOME HAUNTS, THE, F. COLBURN CLARKE, 289
Illustrated by Henry Hutt.

POPPY-GARDEN, IN A, SARA KING WILEY, 325

ROMANCE 363

SILENT WAYFELLOW, THE, BLISS CARMAN, 446

SLUMBER SONG, A. _For the Fisherman's Child_, HENRY VAN DYKE, 298
Illustrated by Maude Cowles.

SONG WITH A DISCORD, A, ARTHUR COLTON, 603

SUICIDE, THE, EDWIN MARKHAM, 551

TEARS. A Sonnet, LIZETTE WOODWORTH REESE, 569

THREE KINGS, THE. HARRISON S. MORRIS, 653
A Christmas Ballad,
Illustrated in color by Walter Appleton Clark;
decorations by T. Guernsey Moore.

URBAN HARBINGER, AN, E. S. MARTIN, 190
With an illustration by W. Glackens.

VEERY-THRUSH, THE, J. RUSSELL TAYLOR, 350

WIND AT THE DOOR, THE, BLISS CARMAN, 652

SCRIBNER'S MAGAZINE

VOL. XXVI. JULY, 1899. NO. 1.

JOHN LA FARGE

By Russell Sturgis

The artist of four hundred years ago, or of any great time for individual effort as opposed to the associated and unrecorded work of more primitive times, was a many-sided man. He was probably a traveller, if not a monk; he was almost certainly a man of adventure; a man of thought, whether monk or layman. The artist did not travel far; but he encountered more personal risk between Florence and Naples than our contemporary does in voyaging to the Isles of Summer; he encountered in Sicily, in Hungary, or in Spain a people as remote from him as the Japanese are from us; and he had still Constantinople and Cairo to visit, places more distant and as inaccessible to him as Thibet or Kafiristan in the nineteenth century. The old artist was something of a scholar, too, with a habit of study and meditation, if not master of many books. And, moreover, the old artist was very much in love with his work and loved to play with it as well as to work in it; so that he touched many materials, handled many processes, and used many methods of artistic utterance. Again it is worth noting that no one had discovered, in 1499, that architecture was an art to be practised without regard to the other manifestations of the artistic spirit; nor yet that the sculptor and the painter were two workmen whose art was to be practised apart from and independent of building or other industrial occupation.

All these things have been so much changed of late that it is noticeable in Mr. La Farge's life that he should be, in many ways, like a painter of old time, that is, traveller, reader, collector and student; colorist and decorator; painter in large and in little. He has been a working artist for forty years, and has done many things. He has made many book illustrations which have been published and many which have never been given to the world. The illustrations to Browning's book, "Men and Women," as it was originally published in 1855, are among these; and there are reproduced here the full-page design for the beginning of _Protus_ and also two studies for _Fra Lippo Lippi_:

The little children round him in a row
Of admiration, half for his beard and half
For that white anger of his victim's son.

This was early work. The illustration to _Misconceptions_ is as mystical as that for _Protus_; and that which concludes _Bishop Blougram's Apology_ is as realistic as these studies of children.

Then, still of his early days, are to be considered the faithful little studies and close-to-nature drawings which served as a foundation for a structure of knowledge which was to pile itself high enough. _Sic itur ad astra_; and with a different result from the tower-building recorded in Genesis. The reproduction given [on page 9] is from a sketch-book of 1860; and the work has been a careful drawing in black on white, done in the flat country about Bayou Têche. These are drawings _in values_, or made for values; that is to say, the relative force of darkness or of light is carefully preserved. A certain green of the trees may be lighter than the blue, still water below, but is very much darker than the same water where it reflects the pale evening sky; the reflection in the water of those same trees is a shade or two darker than the mass of trees themselves; and so on, forever. Of the same epoch is this drawing of a beacon [page 10], a flaming cresset, a signal light seen against a night sky. These are warnings to steamboats on the Mississippi to avoid a shoal or to make a landing. Other studies, those of pure line and those of masses, those of his youth and those of his maturity, are scattered over these pages.

He has produced also a very great number of water-color drawings, generally small, and very commonly having for their subjects pieces of foreground detail, such as one or several blossoms in a pool of water, or a water-lily or two afloat on the surface of a still pond. It might almost be said that his water-colors were generally of such detail as this, except that the work done during his journeys into tropical and oriental lands has resulted differently.

Again he has produced, during those years of work, a few large pictures painted in oil-color or by a process which he learned in his youth and in which melted wax has a part; though this is not the encaustic process of antiquity or of modern revival. One or two of these are portraits, several are landscapes, several are studies of interesting details which he wished to preserve and which for some reason or other had struck him as more easily rendered on a large scale and in the more solid material; and some are, to all appearance, concepts for mural decoration--advance studies for that which was to be painted on a still larger scale, or in combination with other parts of a large composition, and finally to be fixed upon the wall where it was to remain permanently. Some, also, of the water-colors produced in recent years are, though not large in superficies, very large in treatment. A glowing color composition suggested by the mountain country of Fiji, a monochrome study of a river landscape in Japan, may be as grandiose in character and may contain as much matter, both in represented detail and in artistic purpose, as an oil-painting of four times the surface-measurement. Some illustrations given on another page of this treatise may partly show the qualities here suggested.

He has produced, also, a few such mural paintings as those whose intention is assumed in the last paragraph. Of these, much the largest is that which covers the end wall of the Church of the Ascension in New York. There are others in St. Thomas's Church and in the Church of the Incarnation, both in New York City; the interior of Trinity Church in Boston was painted by him with a series of figure subjects, though the chromatic treatment of this interior does not include any large single painting of great importance; and of late years, two lunettes in the Villard-Reid house in New York and one in the Walker Art Gallery at Bowdoin College have been added to this summary list. There is reproduced here the last-named picture [page 17]; a picture of fantastic subject in the "literary" or narrative sense. _Athens_ is its given name; but it represents Pallas making a drawing of the lovely and unadorned genius of the open country or wood, while the robed and crowned impersonated City looks affectionately at both the subject and the recording goddess. To be classed under the head of mural paintings also is the remarkable composition of small pictures involved in a large design with panels and arabesques, which decorates the wooden vaults of that gallery in Mr. Cornelius Vanderbilt's house, which used to be called the Water-Color Room, and which now, since the alteration of the house and the removal of this painted vault into the new building, may be considered the gallery of entrance for stately entertainments. To a limited extent, the work of other painters is associated with his own in the last-named achievement, as also in Trinity Church. In this, the work of the artist comes very near to decoration pure and simple. The reader is not to understand that any sharp distinction is made here between decoration and that painting which is not so designated. It is to be hoped that he, the reader, will see as he reads that to deny this distinction is part of the life-purpose of John La Farge; a purpose which his critic is glad to recognize and to second. It is merely with reference to its placing--to its apparent intended service--to its fixed location and its consequent exclusion from the category of "gallery pictures" or "easel pictures" that the words decoration and decorative are here applied to certain paintings. For throughout his career this artist has leaned strongly toward the treatment of his expressional and significant painting in a decorative way.

Decoration in the more usual sense has been also a large part of his work. Thus, when in 1878 he contracted with Mr. Cornelius Vanderbilt for a carved ceiling, it appeared that his intentions in the matter were those which could have been suggested only by a mind full of the decorative idea. "A carved ceiling" might have been almost anything; but this one was an elaborate composition of colored sculpture, or, if you please, of polychromy in relief; certainly one of the most remarkable undertakings of the time. What seem to be (for the true constructional character of the ceiling is not here guaranteed) what seem to be the beams, the constructional part of the ceiling, were of light-colored walnut. The panels within were filled with figures of armed warriors and of draped women of about half life-size, and these panels were framed by rim within rim, moulding within moulding, of elaborate sculptured pattern. All these sculptured patterns, all these figures, were invested with color in a way which it is hard to describe; for different chosen woods, alloys of metal of which some are of Japanese origin, opaque and colored glass, ivory, mother-of-pearl, and even coral are combined to give delicately tinted color and subtle variety of surface to the work. That ceiling has been broken up; but there has been great good judgment shown in its rearrangement. The panels of the ceiling are now arranged so that they are well lighted both by day and by night, and show admirably. Although the original design has disappeared, the separate panels, each with its enclosing mouldings and woodwork, at least four by six feet in superficies, are well displayed. One of these panels is here engraved [page 6]. Here also is given part of a decorative frieze in which castings specially made of blue glass were used with ivory and with carvings in solid _nacre_, in combination with the carved walnut.

Similar work has been done by Mr. La Farge in connection with his own paintings, and sometimes where no paintings were used. This use, on a large scale, of rich material, rich in color, in surface and in lustre, as a medium for sculpture, is almost peculiar to this artist among modern men. Others who have cared for color in sculpture have played with it, rather, in small objects of the cabinet; and this remains true in a general way in spite of a pleasant use of enamel in some French work in bronze of a more important or, at least, more pretentious character.

At a time not far removed from the undertaking of the ceiling and the mantelpiece above mentioned, a monument was put up in the Newport Cemetery under the direction of Mr. La Farge [page 16]. He associated with himself in this task the sculptor, since so widely known, but then a young man, Augustus St. Gaudens, who had already worked with him on the carved and colored ceiling. Every student of architectural designs will be struck by the informal character of this design: the steps which are clearly not meant to be ascended and which have an obvious symbolic meaning; the horizontal cross sunk in the table of the monument in such a way that few persons can be so placed as to see it favorably; the inscription carved upon the butt or foot of that cross; the apparently disproportionate slenderness of the upright cross with its thin cylindrical shaft; the placing of other inscriptions on the body of the massive base in which no specially arranged panels or medallions have been prepared for them; and, most of all, the treatment of the leaf sculpture which, though composed carefully enough and far enough in itself from being a piece of crude realism, is yet realistic in its disposition--suggesting the natural fall of sprays and branches of leafage allowed to dry and harden in the sun. No architect--as we now understand the term--no architect, even one who had kept himself free from the neo-classic influence and the teaching of the schools, could have designed such a piece as this. It is the more interesting to see how the highly trained decorative artist who has not been fettered by the taught maxims of the architect's school or the architect's office has handled this problem--a problem rarely met by decorators of modern experience.

About 1876 these same demands upon him for decoration led him to the careful observation of ancient stained glass, with a view to providing the modern world with something which might be to it what the windows of Reims Cathedral and Fairford Church were to the Middle Ages. It appeared to the modern artist that there was still a course open to him which had not been tried by the decorators of the Middle Ages, early or late. It appeared that the modern materials and processes of glassmaking might give to the artist in glass a "palette" such as the mediæval man had never possessed. What is called opal glass, opaline, and also opalescent glass may be said to have formed the basis of a new system of window decoration, though the other essential, the leaden framework, was to play its own part in the artistical result. Uncolored opaline glass has a milky-white look when seen by reflected light; but by transmitted light its color passes from a cloudy bluish-gray to red, with a yellow spark. If, now, such glass be charged with color of many shades, the chromatic effects producible by the combination of such translucent materials, at once contrasting in color and harmonized by the opaline quality, might prove successful beyond what had been known. To this, then, La Farge set himself; to obtain glass of richness, depth, and glow of color hitherto unattempted, and in a multitude of tints; so that, whereas the thirteenth-century artist had five or six colors in all, susceptible of nothing more than a gradation from darker to lighter, as the glass was thicker or thinner or more or less thickly flashed--now, colors were to be supplied by the score, each color capable of these same gradations in darker and lighter, and each color harmonized with all the other colors by the common quality of softness and a certain misty iridescence caused by the opaline stain. Even in a piece of glass so brilliant in color that the opalescence is hardly perceptible, its presence in that part of the general chromatic scheme will surely be felt.

A window is, when considered as a work of fine art in color, a translucent composition, there being no part of it which can appeal to the eye by other than transmitted light. The artist has, then, the need of something strong to lean upon, some background, some _fond_ upon which to relieve his more brilliant pieces of translucency; for it can be easily understood that color composition which is wholly translucent will tend toward feebleness, toward paleness, toward a certain evanescent and doubtful character of its colors, from which it must be saved. This needed background was found in the use of the leads; that is to say, of those strips of lead made generally in the form of a capital I, in which the edges of the separate pieces of glass are held. By taking these leads as the artistic sub-structure of the composition, by placing them where needed, and by cutting the glass accordingly, by combining the colors of the glass in such a way as to allow the leads to be put where they were needed for this purpose of background, results were obtained which no artist in glass had ever yet attempted. La Farge's use of leads, in this way, remains peculiarly his own in the subtlety and refinement of the linear design. Occasionally, indeed, a certain amount of opaque painting, of that solid non-translucent painting which the men of the Middle Ages used continually, has been used to increase the area of his lead sash-bars or to diminish the brilliancy of a background. All artists recognize the need of the _repentir_, of the amendment made after the work is partly done, or even, to all eyes but their own, completed; and painting in opaque color has been used by La Farge when it has appeared that the lead-sash was not quite sufficient for the background needed. In like manner, painting in translucent colored enamels has been used by him where it has appeared to him that no glass available would produce the tone desired. As such instances are occasional and rare, these devices are not a part of the essence of La Farge's work in glass, and they are mentioned here merely because their existence must be understood as accidental. The treatment of heads and hands and other necessarily nude parts of the body, in order that these surfaces may harmonize with the generally unpainted drapery and background, would require pages of discussion if entered upon at all.

The purpose of this article is not, however, to dwell in detail upon the historical development of his art, but to criticise it in its main features, and to institute an inquiry into those traits of La Farge's personality which have made his work especially interesting to all persons who care for the retention of noble design in that which is obviously novel, original, modern in art.

In the first place, then, Mr. La Farge is very individual as a designer. He hardly belongs to any school of designers. The reader will suggest at once that, as there is no school of designers at the present day, a man of force is compelled to be individual; and this dictum will be readily accepted. Inasmuch as there has been no time since La Farge reached the age of intelligence and of interest in art--no time when he has not been a student of Japanese art; inasmuch as he began, as long ago as 1860, to buy and study what few pieces of Japanese art and handicraft he could find--it has been thought that he is strongly influenced by Japanese design; but this it will be hard to establish. His design is individual and personal, and it is that whether we take design to mean his way of conceiving the human figure; or his way of composing human figures in large groups with care for the effect of line and mass; or whether we think, rather, of the filling of the panel or the canvas, the parallelogram or the half-circle, with masses of color and tendencies of line.

Now, in this individuality of his art, there is a weaker as well as a stronger side. It cannot be ignored by those who admire his larger and statelier designs that they lack something of stateliness. The figures in his small woodcuts are carried out of the strict and grave system of academic drawing into an extreme of freedom of gesture and movement, and that with the evident purpose of expressing in the strongest possible way the intense meaning of the artist; but this hardly allows of mention except as a virtue. Bishop Hatto in his screaming agony, as the rats attack him on every side while he crouches at the foot of the column on the capital of which the cat has taken refuge (for each and all the details of which see Southey's poem)--Bishop Hatto is almost liquified, has almost lost the solid substance of his corporeal form, in his horror and hopelessness. Enoch Arden, "the long-haired, long-bearded solitary," hardly shows the strong man, the vigorous sailor under his rags and through his squalor; the emphasis is laid on the fourteen years' solitary confinement in this lonely island, and the "strong heroic soul" which the poet drew has not interested the artist as part of this design. These are small drawings for wood-engraving and for book illustration; but the same character of design occurs again and again in the larger and statelier pieces; and it may there be less easy to accept. The impression made upon a student of mural painting, ancient and modern, by such a painting as that in the Church of the Ascension is that it is, in a sense, lacking in repose. The Adoring Angels around the risen Saviour are individual in their gestures, in the pose of their bodies, in the expression of their faces. They are personalities rather than parts of a "Glory of Angels." The figure of Christ itself has the same peculiarity and is marked by a singularly free and unconventional pose of the body and gesture of the right arm, suggestive rather of the teacher of men than of the Son taken up to his Father. Moreover, this effect as of too much movement and incident, as of too little stability and gravity, is heightened by the flowing drapery, which is so marked a feature of the composition that it remains uppermost in the minds of many students to the very end of their study of the picture. Something of this may be seen in the illustration given here of the noble window which was sent to the Exhibition of 1889 [page 15]. The subject is the Sealing of the Servants of God. These groups are of indubitable truth and power as illustrations of the passage in the Apocalypse; but as parts of a solemn color design another standard needs to be applied to them.

So much for the less agreeable side of this familiar and personal way of designing. In the favorable aspect there would, of course, be very much to be said, for he is no illustrator, he is no story-teller, he is no composer of pictured fable or pictured record who does not understand how to give his figures that life and movement, that action and expression, which will explain all that is explainable of their purpose and their function. Nothing, for instance, can be more perfect as a bit of mystical story-telling than the Wolf-Charmer, the picture in which the gaunt and haggard magician, with his pipe at his lips, comes out of the forest surrounded by his drove of gigantic wolves. Two studies for the wolves are given here; and the spirit of the design is interesting to trace in them. To give the savage creatures something more than their due size, and, above all, something more than their due ferocity, is a natural and obvious device; but to express, as the artist has expressed, their familiarity with their leader, their sympathy with him, their spirit entering into his as he heads and controls them, is something admirable in descriptive art. So in that grim picture in which some part of the spirit of feudal Japan is contained; the picture which tells the tale of little Kio-Sai; the rushing and turbulent stream between its high banks is gray and sombre as if with the swollen waters of a flood; and upon it, whirled along in its course, the severed head which frightened the child floats face upward with something of its living expression still lingering about the eyes and lips, but still as dead, as corpse-like as a severed head could be. This powerful drawing, made within the last two years, is to be cited as a characteristic specimen of expressional art. There is nothing in the picture but whirling water and floating head; and yet the stern, fierce, half-savage, feudal system of Japan, which coexisted with an almost too subtle refinement of manners and of thought, both literary and artistic, is expressed in this little square of grave coloring. So, in the numerous South Sea Island studies which have filled many a frame and delighted so many a student of water-color drawings, it is hard to say whether the pictures of movement and action, of fishing with cormorants, of riding and marching, of bustle and life, or the pictures of tropical and oriental men and women in repose, are more delightful--half naked girls carrying canoes, seated dancers going through the sacred movements of the _siva_, portraits of individuals, and studies of groups intended to preserve for the artist the recollection, and for the instruction of those at home the singular life, of these brown islanders, so different from the negroids of the southern groups, so over-civilized in ceremony and tradition, with all their lack of policing and of steady social conditions. In all this work the artist's indifference to the accepted conventional ways of expressing his meaning is altogether fortunate for his art. He knows how to tell a story in pictures which have very much, if not all, of his highest artistic qualities, and this he would hardly be capable of were he more fettered than he is by the rules of the academies as to how the action of man should be put into form and color.

In connection with this matter, the question comes up how far Mr. La Farge is a thorough draughtsman. It hardly becomes one who is not ready to go into the minute examination of his work, figure by figure, to challenge its merit in the way of anatomical correctness and academic severity of drawing; but it is to be said, at least, that the strongest reason exists for the belief that many of the draped figures would prove incorrect if an absolutely accurate drawing of the nude body in the position assumed by the draped figure could be laid upon the drapery. It is difficult here to express one's exact meaning, because there is no such thing as an absolutely correct drawing of the nude body in any position; but if we take a draped angel or a draped St. Peter or a draped Buddhist priest from this gallery of pictured men and women, we can imagine the consummate draughtsman, the Paul Veronese of the present, if there were such a man, pointing out that a figure seated or standing in that position could not get within the drapery which the artist has pictured. We can even imagine the painter aware of the fact--in advance of all criticism by others. It will be observed that La Farge has seldom painted the nude. His early work involved a great deal of drawing, both from the nude model and in the way of designed and composed nude figures. Naked figures represented on a small scale, as among his numerous Eastern subjects, exist, of course, in his work in great numbers; but the nude in the larger European sense of elaborately rendered, well modelled, thoroughly understood naked figures, male and female, is rare in his work. Mural painting in churches hardly allows of that; glass is, of course, wholly foreign in its purpose and mission from such art as includes the nude, and hardly allows even of the naked hands and head. Now, let it be admitted for the moment not only that La Farge is not given to drawing the nude, but even that he has not done consummate work in that direction; let that be admitted, and let us then see how that affects his pictures and drawings. It need not be asked whether it affects the decorative value of his work--considered as a body of art it cannot affect it badly; we need think, now, only of fine drawing considered by itself. It is a part of the true traditional doctrine of art that no man should paint from the model, nude or draped; that no man should draw from the model, nude or draped, with the intention of using the drawing upon his wall surface or canvas. It is a tradition which ought to have been left intact as it came from older men, that when the artist composes it is his duty to forget his anatomy and to forget the preparatory drawings which he has made by hundreds, and to draw directly upon his canvas or sheet of paper the figure which he now conceives as a part of his design, the figure which he desires to put into his composition as one of its elements. He is free then to do what La Farge himself does freely, to compare this result with the model, nude or draped, or first nude and then draped; but this comparison has for its purpose, not the correction of the drawing or the picture with reference to its anatomical correctness nearly so much as it has in view the lifelike appearance of the figure. Given a draped figure which does not seem to stand quite as firmly upon its feet, or to be moving quite as freely, as the composer himself desires, it is required by consultation of the model to rectify those errors in the drawing which have led to this unfortunate result and to give to that figure the lifelike character which it does not yet possess.

It is a characteristic of Mr. La Farge's art as a painter that he is primarily a colorist. Now it is fairly safe to say that no man since the great Venetians has been at once a consummate draughtsman of the human figure and a consummate master of color; and that apparently the mind of the workman cannot lead his artistic production in such paths that both of these excellences may be attained at once. The workman, if he is sincere, and if he is well advised, follows the course which is easiest for him, and if he conceives of every figure and every group of figures with their setting of landscape or architecture primarily as a piece of splendid coloring, to be taken from nature as an abstract piece of coloring, and so modified that it will tell as an abstract piece of coloring on canvas or on wall--if that is the artist's object he will not improve the work produced on these lines by giving his time and strength to the proposed consideration of accuracy of drawing.

To ask whether La Farge's work would be artistically better if it were consummate in drawing is to ask a question which no one can answer. It is certain that no wise student will go to La Farge to learn figure drawing in the technical sense. It is not that which his art offers the student. There are, however, two large pictures, which can hardly be challenged--the two lunettes in the Villard-Reid house; and it is probable that if these pictures were within easy reach of the public, and could be seen as the wall paintings in the Congressional Library can be seen by all the world and every day, they would tend to raise the general opinion of La Farge's capacity and range as a painter beyond what even his admirers now hold. The pictures represent "The Dance" and "Music." In each of them, smiling landscape forms the background, a landscape not to be called sunny because the work of the true colorist hardly allows of sunshine. Sunshine and full glowing color are not generally found possible of simultaneous presentation, and La Farge certainly makes no attempt to combine them. If, then, we consider one of these two groups of six or eight maidens invested in rather bright and high-lighted colors and set off by a landscape somewhat deeper in tone than their own figures--if we consider each of these pictures as a mural painting intended to be festal in character and to glorify and heighten the beauty of the room which it adorns, while at the same time it is in itself a piece of coloring of almost the highest quality--we have then, perhaps, the fairest and most complete idea of what one of these lunettes is as a work of art--what it has been in the artist's well-realized purpose. The beauty of composition in line and mass in either of the pictures, noticeable as it is, is not important in comparison. The power of line-composition is not very rare; except in its very highest manifestation, it is almost like correct spelling; necessary, but deserving no special remark. But when it is said of any picture that it is a piece of coloring of the highest or almost the highest rank, there has been said of it the utmost that can be said of a work of graphic art. It is not claimed that color is essentially greater or nobler than form, but that color is the graphic artist's especial domain, in which he alone can rule; and further, that color is peculiarly artistical, ideal, abstract, and in this way loftier. Is it possible for the mind of man to conceive of anything more perfect, more remote from, and, in a sense, superior to, whatever else there is in the world of humanity than a color composition of the highest quality? There is only one product of the human mind which can be compared with it; a musical composition of the highest class; a symphony of Beethoven, alone, can be compared to a great composition by Titian. That such a color-gift and such a color-purpose are to be seen in all of Mr. La Farge's work alike would be hardly too much to say. The touch of the consummate colorist is not as evident, but is as discoverable by one who knows how to look, in a piece of nature-study from Fiji, six inches square, as it is in a large composition of saints and angels. The disposition and the power to give to tinted paper the glow, the radiance, the wealth and charm of that strange and inexplicable thing, the mingling of tints into a resulting color-scheme--these are in small work the same essentially that they are in large. Nor is the background of the Ascension picture in the eponymic church to be exalted above the bits of hillside and surf in the drawings of oceanic life, otherwise than as its greater size allows it greater splendor.

That this power over color is the life and soul of the decorator need hardly be urged. Decoration which is applied to a flat surface and which is not in relief, except, perhaps, to a slight extent and occasionally, has for its main object, its main _desideratum_, richness or refinement of coloring, or both. If one has a wall to decorate, the first idea of the true decorator is to invest it with splendor or with delicate strength of color. He seeks for fresco, or the encaustic process, or mosaic, or, as in modern times, oil-painting upon a strained canvas, indifferently and according to the spirit of his time and the practice of his contemporaries; but his object is one and the same--to invest his wall or ceiling with noble color. Little may he care what the subject of the painting or mosaic may be. According to the requirements of the epoch or community in which he lives, it may be a procession of saints or a dance of bacchanals; the primary object which he has in view is to procure a most enjoyable and delightful piece of color--and other things are of secondary importance. Glass, then, would seem to be especially prepared for La Farge's work, and La Farge especially prepared for glass. Consider the memorial window which fills a window-opening in a church at North Easton, Mass., a town which owes much to the lady whose memory is thus honored. Upon a background of broken and changing blue are relieved the three figures larger than life-size which nearly fill the opening. Two of these figures are clothed, one in drapery of the most vivid green, the other in drapery of orange-brown; that is to say, these are the general colors offered to the eye of the spectator by the infinite number of minor tints, all passing into one another in subtle gradation, which make up the general mass of drapery. It is to be observed, then, that these figures are also seen to be clothed in rags, and that the idea, the notion of wretchedness and tatters is maintained in spite of the sumptuous clothing of glowing color which invests it all. That is an instance as good as can be found of what the colorist has to do in this world. He does not ask whether beggars have ever been dressed in such garments as have been described, but he has to express the two-fold image, Beggary and splendid color, and out of these he makes up his work of art, as unlike as may be to anything in nature, but none the worse for that. To return to mural painting; there is one merit which all La Farge's brother-painters agree in awarding to him, and that is the power of putting a painting upon the wall so that it does not change the character of the wall as a part of the building. His painting takes nothing away from the solidity of the wall which it invests. The upright mass retains its rigidity and weight, it still carries the roof, it still holds firmly to the adjoining walls, it is a massive and trustworthy part of the construction, and the painted picture has added to rather than taken from its permanent and resting quality. How this is done is fully as inexplicable as is the glow and splendor of color itself. No one can say abstractly and without having the picture immediately before him how any such result is attained, nor is it easy to explain the picture, even to the looker-on, in any such terms as will fully express this quality. It is one of the most valuable qualities which mural painting can possess--mural painting which fluctuates between the flatness which is also feebleness and a kind of realism which carries with it the effect of out-of-doors--of a hole in the wall. The same thing obtains in his minor work, and here the background, the temple, or rock, forty feet away, is as perfectly detached from the foreground figures as would be a distant and airy mountain miles away, while still the picture remains flat cardboard or flat canvass invested with light and shade and color.

We are brought naturally to the consideration of Mr. La Farge's landscape. He is not generally considered as a landscape painter; and yet he has produced a great deal of landscape in the secondary or accessory part of his work. He has also painted landscape of first intention, so to speak, landscape which is nothing but landscape, and that, at different times in his life; always succeeding, and yet always turning away from landscape to what seems to be his chosen work of figure subject used decoratively. Landscape-painting is unquestionably the art of our epoch, the one branch of the art of painting which this century has excelled in; and, therefore, La Farge was inevitably drawn toward landscape painting, he being a man of his time, if also a man of strong individual peculiarities. It would be hard for a student of art in the abstract, a theorizer, a critic and a lover of the arts of the past, to avoid painting landscape when everybody around him is painting landscape; and accordingly La Farge has turned his attention to that, but the odd thing is that he has not stayed there, that he has not continued to be a landscape painter primarily. It would seem to the hasty observer of landscape painting that this department of art alone would have afforded material for all of his artistic dreams and for all his artistic purposes, for what is more truly decorative than landscape such as is shown in the wonderful Paradise Valley? That picture is made up of light and color. The surface of thick, lush, summer grass, the surface of rock dimly seen, the surface of ocean, the hazy sky, all together go to form a mass of glowing and yet delicate color the like of which it is very hard to find in simple landscape anywhere in ancient or modern art. Until recent years there were only half a dozen such pictures of wide landscape, numerous as were his studies in that style; for otherwise his finished landscapes were chiefly those composed of foreground rock, of iris seen against a wild-rose covered bank, of three or four water-lily blossoms and a dozen little buds floating on still water; or else they were landscape backgrounds to figure subjects in which the landscape was evidently made, of deliberate purpose, a thing of less intention and of inferior interest. During the last ten years, however, La Farge has produced an immense number of singularly effective drawings in monochrome and in color, made either on the spot in Samoa, in Fiji, in Japan, or elsewhere in the far East, or made after his return home, from studies carefully noted during his stay abroad. Of these landscape drawings, some are of extended and really vast stretches of country. Mountains are introduced which are several miles away, and show in relief against a pale sky, every detail of the mountain being rendered as the eye could have seen it from the point of view occupied by the painter, and the whole wrought into a wonderfully glowing panorama of green passing into blue against the green mystery of the firmament. There are also among these drawings pictures which are Turnerian in their love of and sympathy with mist and vapor and their enjoyment of pure and delightful color produced by sunlight upon such vapor. Among these are four drawings of the Valley of Tokio seen from a hill above the city, the vision of the artist reaching across the valley and including its whole extent and the mountains which form the boundary. In other words, each of these landscapes includes a range of one hundred square miles of country at least, and its investing and overflowing drapery of cloud and of low-lying vapor; and yet these were four small drawings, mere studies on leaves of a sketch-book. It is the greatest misfortune to Americans that they have been scattered among four different owners. If it were possible for the Boston Museum, under its wise direction, to gather these four drawings into its ownership and to exhibit them side by side well lighted and isolated from other conflicting art, a real service would be done to the whole community of art students; for there is in them an abundance of the true landscape feeling, of the true landscape sympathy, of that love of the magnificence, and the refinement of nature which no transcript can give, but which the thought of the artist when stimulated powerfully by the contemplation of the glory of nature will transfer to his material medium.

Much of this character exists in the sepia drawing of the "Dry Bed of the Dayagawa River," [page 7] which hardly needs analysis in words, since it is capable of fairly complete reproduction.

THE LETTERS OF ROBERT LOUIS STEVENSON

Edited by Sidney Colvin

FROM BOURNEMOUTH: 1884-1885