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Les cartes, planches, tableaux, etc.. peuvent dtre film6s A des taux de rMuction diffirents. Lorsque le document est trop grand pour Atre reproduit en un seul cliche, il est film« d partir de Tangle supArieur gauche, de gauche A droite. et de haut en bas. en prenant le nombre d'imges n^cessairs. Les diagrammes suivants illustrent la m^thoda. 1 2 3 22t 1 2 3 4 5 6 vK s w» tP*-' «*■■.■■'-.'-* ■%■■*;>*'• '■ --'^j^i;* vX 1^ V Q.7- 6 ■*aMMM«HH«itM<*a SCHOOL ART LEAGUES G»npil«^d by the Advisory Boiitrd of the Toronto School Art Leagues and publisjied tstlder the auspices of the Education De- partment of Ontario^ ^ «^ wtt ^"^^wiffiiiBa^feiBfegiaifTnifcfjr; I w«rwieiE &»Q'ft & ii imW i iii j »iii ir i|iii M l » i uj i| i iipi jt iii iiiii-|i]p i ^riiri Knujj i pi iii Y^j v^t . > SCHOOL ART LEAGUES Compiled by the Advisory Board of the Toronto School Art Leagues and published under the auspices of the Education De- partment of Ontario, -ji ^ ^ Warwick Bro's & Rutter, Printers, Toronto, 1899. 'yillS |)an.j)I.I..t is c.nnpil.Ml l,y tlio A.lvisciy H.nird of tl..' 'l„n.nto School Art L('a;,ni.'s and piiblisliLHi uikI.t the auMpici.s of thn K.hic.itioii l)epMrtii...nt of Ontario, and is intrndcd not only for ii.se in Toronto Pnhlic Sc-l.oots Imt to promote tlir movement tia- scliool cJeconition tlu•ou^d.out the Province, and to .s.-rve a,s a manual in distrietH where experienced advice is not ohtainahle. The Advisory Hoanl of Tonaito will i,e pleased to ^dvo any further information and advice within its power at any time, and communications addressed to the Secretary, Mr. Actf.n Bond, Temple Buililin^r, Toronto, will receive prompt attention. Connnittees of School Ait Leagues havin;- sums of m(ai<-v to spend on pictures an.l ca,st.s, and who are willing- to entrust the .selec- tion to the Advi.sory Hoard of .school Art Leairues, may do so l.y addressing the Secretary, giving number of rooms witli amount of wall space in each, and the grade of each room indicated. The same arrangement may be made in connection with the framing, right framing being an important element in securing the decorative value of pictures, and as a .suggestion on framing when that is undertaken locally, it is advisable to u.se a perfectly plain, ti&t moulding of a dull colored wood with a silver or gilt line to accent its inner edge, and to vary from two to four inches in width, according to the size of the picture. With regard to tinting of walls and painting of woodwork, which is mentioned in another section of this pamphlet, it has been suggested that in the case of a school undertaking alterations of an important nature it would be advisable to send A committee to take notes of a room in the Rosedale school. Toronto, which has been altered under the supervision of the Advisory Board, [2] oocv^i'i till' 'I Kl'DlltD piccVS of tllH only for use t liir Hcliool I inaiiii.'il in I) ^nvo any y tinit!, and )nfl, Temple lllOIII-\' to t tlio selec- ■ do so liy aiiiount of I with the ciirino- the ninir when ' plain, tlat ) accent i<« 2cording to d painting pamphlet, idertaking 3 to send I, Toronto, y Board. AIMS OF SCHOOL ART LEAGUES. 1. * i^O improve flu.' arcliitecture of schools hy havinjf the huilii- iiiL^'s correctly (Icsicriicd in hannony with tin" furiiiaiiu'iital laws of true arehitt'Cturc. 2. To have the interiors of schoolrooms made artistic in propor- tion, in construction, and in the coloring of walls and ceilings. 3. To provide good reproductions of the best art, the great masterpieces of the various schools of painting, arcliitecture, ami artistic design, to hatitr on the walls of the .schoolrooniH. 4. To purcliase m few small copies of the most beautiful statues, the finest va.ses, and other forms of Ijeauty, that the pupils mav see them regularly day after day, and powers of expression ; Hrst by the stimulation of the mind along'new lines of feelin^r an.l thought, secon.l by improving the processes by which feeling, thought and knowledge are defined in the niin.l and wrought into character. Art has a directly beneficial inHuenc in the development .)f th.> nund by training the observant powers, the ju.lgnient, and the imagin- ation. It cultivates the powers of observation. Seeing is really an act of the mind. Thousands of pictures form themselves in th.,- eye daily that are not seen. We see only those to which w,> give attenti.jn. Culture in seeing means culture of the mind, not of the eye.— [From " The Influence of Art Education in the Evolution of Humanity," by James L. Hughes.] tion oF LitiTji- I and ennoble iportani intlii- I ilt'vt'iopMient 'am one-third )ecaii,se lie c/in lan who ail'ls Is most to the co-orilinatioii t.s liy iDiiviits ; tlie d along new proeoHHes hy le mind and mont of the the imairin- is really an !8 in the eye ve attention. jye. — [From inanity," hy I. THE MOVEMENT IN TORONTO. A T tile openinjj of the Rosedale Scliool in Toronto in 189G, Mr. llui,'heH, the Inspectoi', in niakinj,' some observations on art iiithi- cnees in ediieation referred to the wide .spread mov('ment which had for its ohjeet tlie improvement of the decoration of scliool room.s, and acting on his sug^jestion tlie ladies of the distrii't immediately organized a leaijue which was named the Ladies' I,eaj,Mii' of School Art. The need was so manife.si that few arguments were re(piired to reconnneml the movement to those who lecognized the value of artiHtic sniToundings, and the work of organization was wariidy welcomed. At the same time there was some an.Kiety felt as to its develojanent hy tho^e who had hopes for the movement, hnt who realized the danger of mere activity withont a wise and experienced direction. After .some years of active work the Rose(hili> League took .steps to extend the movement, and with that object in view a deputation waited on the Ontario Society of Artists to ask their co-operation That body warmly approved of such extension, and after due delibera- tion ])repared a memorandum which set forth their \ lews respecting the formation of a general organization, and how the necessary advisory body .should be appointeil. At a confi-rence held in the Rosedale School in l)ecend>ei' 1898, this memorandum was presented and iliscus.sed, with the n-sidt that the suggestions ottered were adopted as the liasis on wdiicli '\ procei'd with the work, and the Society of Artists was asked to take the initiative in the apjiointment of the mend}ers of the Advisory Board. The memorandum provided that this board should consist of four artists, fo\ir architects, and four lay mem- bers, an eijual number of each to be appointed by the Ontario Society of Artists and the Toronto (iuild of Civic Ait, and besides the.se twelve appointed members there should be four ex offirio members, viz.: The Minister of Education, the Mayor, the Chairman of the Scliool Bcjard, and the Inspector of Public Schools. At the first meeting of the Board held in the Education Department, Mr. Hughes, the Inspector of Public Schools, was elected permanent (Jhairman. The Super- intendent of Public School Buildings was added as an ex o^cio mem- l»or, and the Woman's Art Association was asked to appoint three IS] Ill" <)r;,oiiii/ati()ii of .sections of H„. I • . coMunitt.. will !,'» „ " ; '^ ""■ '"'^^"' '^'•^'"" " •""'t'-''' ,s.'nt..«l- iMf Ti » p . ' 'ii'ans ot tho viiiious Mitfivst.s icdiv- ;;«:!,; 0, 'j;:ut::z;7 "" '" r' ■ ■'"•■™' < ™''" Hysteinoruov..rnn.,..,f ,.,..1 i- ''""'' **"^" '*«"'< to make a uniform interest. !i„,: ^z ,:'.'':, ■:,;t:^i;';',' '""""" "r '^" ' The Advi«„y Board of ,he Toron.o School Art Ua»„«. ■hot. L. fJuglifs. /•Jx-ojfirio Mfmhers : Til"' MiiiiHttT of Kilucrttioii, 'I'lif Mayor of Toronto. The (;hain>mn of the P.il.li,. School Hoar.I lie .Siip.Tinton.U.nt .,f Srhoo) HuiI.ii„K.s I he IiiHpctor of l>„l,li,. s,.|,oo|«. '^^^'■. of tlm t is r«M|uirL'(J. League*. N.s : .( ih'ifs . iinl. ans. --cording the I ideals, the ed in other oreanizpi-.s I he L.'Hgiif will liHVf pleaHur.' in giving any iiif'orniation wliioh may b.- ask.-d for on tlu- suhj.'ct of its modi- of work, its syNtem of managcniHiit, its arfistic and .• Incatioiml aims, and, in.l.'.'.l, on any Bubjeot within its proper scope. The kevHtone of our league nmy l.c said to be the recognition of the educational value of goo.l surroundings for our children. By "good "surroundings, w.> mean: Ist. Proper hygh-nic conditions of the el.Miienttiry kiiul, such u.s relate to sanitation and ventilation, 2nd. (where possible) a good .style of architecture. : when the building of a mnv school-house is under eontemplati(m. or when it is po.ssible or desirable to make alterations and improve- ments in the school ah'eady existing These alterations may be veiy proKtably made, in most instances, by the substitution of more artis- tically designed woodwork for the inferior sort which is usuullv found in mo.stof the ordinary .school laiildings of this country; and even when the expense of putting in rn-w woodwork is beyond the means at the disposal of the .school, a great improvement may often be made by a decent and attractive coat of paint. (lood colouring throughout the building is .lecidedly rhe mo.st practical, and in mo,st cases the cheapest way to beautify a .school- hoij.se. On this subject it may be profitable to (|uote the " Notes and Suggestions " of the Boston Public School Art League : "A consideration of the subje(,'t of wall-tinting led to unexpected results, namely, that the glaring white of the walls of our school-rooms was not only inarti.stic, but actually injurious to the pupils' eyes, straining and weakening them ; and fui-ther eonsideration led to the welcome fact that art and hygiene were here at one, namely, that the tints which would rest and plea.se the eye were also tho.se which were most artistic, such as soft gray-greens or delicate shades of dull blue, while for halls and corridors, terra cotta tones afford a contrast to thJ class-rooms. Tints should l)e laid on in Hat washes, the depth of color used .should depend ujjon the lighting of the room. In general, the tints are to ba .selected according to the situation of the room and tht^ liffhtinir of it." if of tl.e hmhUng : /.) historic, or 1 , •l"'''"""'^'"^ feature., merit. reproductions ..f works of l.i^rl, .tafcnr'"T'''" ''' "''«'''^' P"^''^^ ''"'''""fr^ «^' tl.e world and of in N.Xt„ ";,,;.'' '?'?""" "' '"""J' ■>«"•■■ "i"-" •-' town. Not Ion,cr aftcrwar.ls, i„ Salem, Mr. Ross Tui^n.r feeling the lack inthoHcluK.l"l 1 ; ^"l;!;""-'"'' ^""'P'*-'^^^^- thought that here, was pv!, ' ''"''^''"' "^^ ^h« plaice to begin, if America t"a lu ' : 7'''T'' "•'' """-•^- «^ f"""'^ *he schfol author ties teache.s and pup.l.s n.o.st ready to co-operate. A considerable su n of non^ was r.sed. and the result was the decoration o/ : Z „ were tilled" wh. '^/^^ «^" ^^P^nse. The spaces for pictures men ati^ nl ^'^" "7' "°*'"^ ^''''^ '^'^''^''^ *" "-^e orna- mentation. One room was decorated as a Ronum room, another as when they ar« iild be (rt) har- indinfr features ter ; but, in the <" HO simple and hiid of ordinary that reproduc- :' tlie works of itingH oi- other iverage scliools ' works of hiffh world and of some of these egard the mat- novel experi- in the United s and Sugfros- 3ady produced ies and towns ing taken up f-'e in art only oration of the ol Committee ' the English ling the lack n he saw the lit that here, n, if America 1 authorities, rable sum of ur rooms in i casts ; the for pictures ) mere orna- I. another as 9 An.erican, the third with subjects of the Italian Renaissance, and the fourth with Egyptian subjects. The room of the Italian Renaissance is perhaps tiie most complete and interesting. Here the light was cold and cheerless in eHect, and to oHset this tin- walls were tinted with a light Venetian red. For decoration, five large casts of the bas-relief of Luca della Robbni wei-e used. The large space at the end of the room was adorn.-d with a large photograph of the "Aurora," by Guido Reni. n t „ i This attempt at the decoration of the I'hiilips School attracted instant attention among the friends of education cv.'rywhere. The school was visited l,y large numbers of people from all parts of the United States, Canada, and even Europe. Other buildings that have been in part decorate.l in Sal.in are the Beiitley, Bertram, Saltonstal' nd Ffij^h schools. In May, 1892, the Publ.. ..chuol Art Leayue was forme.l in Bos- ton, being the first attempt to organize the mov<.ment on a largr scale, and sufficient funds were collected to decorate two rooms, a petition having been presented to the School Boaranklin, JefTer- son, Lincoln, ({rant, etc. Cla.ss Room No. 6 is to be decorated with subjects pertaining to English history. At present it contains busts of Sir Isaac Newton and Shakespeare. Ad.litions will be made by successive graduating classes. ''srnT^m^^ST'^''^^''"^' ^^'N'^S AND CASTS SUITABLE FOR SCHOOL-ROOM DECORATION. PHOTOGRAPHS AND PRINTS OF PAINTINGS. Italian School, 1. Oiottci, I'oidnit of Dam,., (».y|o j,, __ 2. Orcagna, Tiiiimph of Death, Kix'Jd in 3. Fra Angolico, Coronation of the V 4. F.a Angeli.-o, Angel IWting the Tamhon, A. Masneeio, Tril.ute Money, (ixS i, SO SO (Soulo). . . , •» 00 (Braun). "■«'"• ""'■^*' i" 4(K>(Braun). 1 0 in ., ,,. „ 2«. Rubens, ( 'hihl xyith Bird ''■* ^' 'f^''""'). 29. Rubens, Koly Famil.y ' ^" ' I'rang). 30. Van Dyk, Holy Family ' "*' (^rang). 31. Van Dyek. Three Chil.iren o/omHes V..'.: ! J"! '!;■•""«'■ 32. Van Dyek, Baby Stuart .... ' "^^ ' ' '""g)- 33. Teniers, The Village Fete, Kix-Y.'.n ' "^ (Fra.ig). 4 (Kl (Braun) f 10 1 ND CASTS )RATION. VTINGS. 4 00 4 (H) I (Ml ;«) ;«» 4 (M) 4 00 1 00 80 1 00 •2 (K) I 00 I 00 •M) 1 00 I 00 4 00 I 00 I 00 1 m I (H) 4 Of» 4 (H) I 00 I 00 (Sfiiilu). (Hrauiil. (Hraun). (Prang). (Soule). (Soiile), (Brail 1 1 1. (Braiiii). (Prang). (Souk.). (Prant'). (Braun). (Pranf,') (Pranj;). (Simlf). (Prang). (Prang). (Bmnn). (Prang). (Prang). (I'rang). (i'rang). (Braun). (Braun). (Prang). fPiiing). .?4 (K) (Braun). 1 00 (Prang). I \. Defregger, Maiionna •Vi. Unknown. ( 'oiinte.'js I'otoka French School. M. BO. (il. 62. fi3. 64. r,r,. m. 67. 68. 69. 70. 7!. 72. PoMssin. The .An^adian Sh..|)lierds. Itix20 in Claude Loiraine, l.and.seape with Cattle, VVattoau, .Mandolin Player, 9x12 in Boucher. .Mu.'iie, 16x20 in (xreuze. The Broken Pitcluu David, Portrait of Xaiioleoii Vigee le Biiin, Portrait of Her.self and Daughter, Mornirn;. Vernet, Fleeing Aral), 9\ 12 in Oerard, Mme. Rec.iniiei Ingres, (Kdipus, 16x20 in • Virot, The Lake . Delacroix, .Jcwisli Wedding, I6.x20 in. . . . Diaz, Landscape, Wood Interior, l(!x20 ii ?l". 00 (Riann). 4 00 (Braun). •?1 00 (Prang I. I 'Mt ( Prang > i o<» (I'rang). M(0 (Prang). 4 00 (Braun). 4 (M) (Braun). 4 00 (Braun). SI 00 (Prang) l.T (H) (Braun) 1 IM) (Prang) 2 00 (Braun) 1 00 (Prang). 1 2.'! (Soule). 1 (Ml (Prang). 1 (Ml (Prang). 1 (Ml (Prang). 1 00 (Prang). .?4 (Ml (Braun). Spanish School. /)3. Rihera, Diogene.s, 16x20 in M. Velasquez, Portrait of Prince ( 'harles . , ,„, , „ .W. Velasquez .-Ksop, Hea.l .... ^ ' ''^"« .m. .Mnrillo, Immaculate Conception ■'>7. .Murillo, Holy AntouiuM of Pa. Millfl, 'I'll,' .\iij;cliis 70. Milli't. TIk^ filirtiMTH ]]][ 77. l>»iil)igiiy, Spiiiigtinif, I(ix2i) ill 78. Coiirbi't, TIk! VViivf, Itix2() in 7M. .(aicnii's, Fofdiiin H'l- ( !liii kcnw Di'liiidi'lic, (.'hiliiirri of Kilwani IV Triiydii, Tiic licuini ti, the Fmin I'lipic (.luiicii), 'I'hf Meadow Hretori, Tin. Hea|M'r H4. Riwa Hoiilii'ur, The Iforsi; Fair >S"i. Kosa Hdiiliciir, I'louf^hiiig Hti. Van .Maikc, ( 'at tic in .Mar.sli .S7. Dctaillf, 'i'lic Soldiers Dream. Ii!xir» in .SS. I )agnan. .At the Trough Uastien LL•|)aJ,'(^ Joan of Arc Listening to the Voioe.s .Nfeissonier, 1S14 < leronie, The f.ast h'rayei- " «'J. ( "alianel, Life of St. Louis, ( I'antheon) 1 !i;i. Laurens. Kxooinnuinieation of Robert the I'ious. Itix'2(t in K4. Hoiniut, Ti iuMiph of Art, I()x2(l in »"i. Bougiiereau, The Broken Pit(jher 90. I'uvis de Chavannes, The Sacred VVoo.l, 25x31 in . ] 97. Lefebvre, The Reader, IfixViO in 9S. MersoM, St. Francis of As.sisi Freaehing to the Fish, Klxu'n in 99. Munkacsy, ( 'hrist Before Pilate 10(1. Adaii. The t.'lo.so of Day 101 Lerolle, The Slicnherde.ss Hit. SI. H-2. H'X M9. 90. 91. •*1 W 4 00 I 00 I 00 4 (X» 4 00 1 00 1 00 1 00 1 00 1 00 1 00 1 im 1 00 1 •_'.■. I IMI 1 IMI I IH) 1 (X) 00 4 (X» 4 (.Soulf). 1 (Prang). 1 00 (Prang). 1 (K) (Prang). 10 00 (Braun). 4 (XI (Hraun). 4 (Ml (Braun). 1 00 (Prang). !."> (M) (Braun). 4 (Ml (Braun). 4 00 (Braun). 1 00 (Prang), 1 (M) (Prang). 1 (HI (Prang). •'«4 (Ml (Braun) 1 (MJ ( Prang). 1 00 (Prang). 1 (Ml ( Prang). 1 (K) (Prang). 4 0(1 (Braun). 1 00 (Prang). 1 00 ( Prang). 1 01) (Prang). 90 (Suule). 1 00 ( Prang). 80 (Soule). 1 (K) (I'rang). 1 (M) (Prang). 1 (H) (Prang). 1 00 ( Prang). 1 00 ( Prang). 18 American School. 1 19. (Jopley, Portrait, Samuel Adams, 9x12 if., (^^ 120. Hunt, Thf Flight of Night, 9x1-2 '...,. •' (ki J21. Vcdder, Soul botwei-n Kaith anil Douht, \r, x I9 . . . ', (hj \-22. St. (iaudens. Snaw Mrniorial. 10 x i;{ 3 ,^ 1-i.T Sargunt, View of Piojjhi't.s, 8 x J(i ..........' \ (Ml \24. Sargent, Hose,. ... " ■ IINI 12;'). Md(.her.s, War, S x 21 126. Mcluher.s, Peace, S x 21 127. La Kargc. Suonatorc, 12.^ x 10 3 00 12«. Thayer, Winged Figure, 10 x l.S '.. ,^, 12<». Bhwhtield, Chrintma.s Bells ", ^|, 130. Abbey, Hound Table of King Arthur, from Fr.^i/e in Bo.st.',,, Ubrarv, 10x29 . .,, / .)() Almcst all the subjeet« published in the Pran.c Prints may be obtai,„.d"i^T Photographs at S4.00 eaei>, .size l(j x 20 in. (Coplc\ ), (Copley). (Copley). (Copley). iPrangl. (Prang). (Copley). (Copley). (Copley). (Copley). (Prany). (<-'ople_\ ). le Braun 14 PRINTS OF ARCHITECTURAL SUBJECTS. Mi'iliiim sj7.>, i;i X 17, lil.iMt. Kovi'TIW : Tim 'IViiiplo nf KiuiKik. Ml, Till- Pviuinids ajid Sphiiix. Ml. The TcMi|)lc cif HaMicss.-s ,i( Tli..|,(.s (Ki-'yi.t). Ml. Tlie .Spliiiix anil Pyniiiiids. M I, The Ishiiid cif I'hila. and Tunijdc. M - L The Small Tciiiplr .,f I'liil .-. Ml. ( I'raiig. I Liii%'c size. IS \-2t\, ij-j.no. Mll(l|i|>H 'I'lic .Mlianiliia, Court of Liouh. ML The .Alhainlini, Cnuit i.f \Ai,ns. Thci l''iniiitaiii. Ml, The Alhainlira. Coiirl nf |.i(,iis, The •ifillcry. Ml, The .\lrazai (Spaiin. M.l, (ilvKKK M (ii'iicM'al \\r\v (if III,. Arni|),,|js. The Tfiiiplc iif .lii|iiti.r. M I. The I'arthirKiii. .MI, The Pmpylaa. MI, Temple of N'eptiin.. at l'a>.Hliini. MI, The Krec'litlieuiii ami Poich. Ml, Acropolis at Coiiiitli. Ml, Interior of tilt! I'ropylaa. MI, l^olunins of the Temple of Jupiter. .ML The Porch of the Carv.itides. .ML Roman ; The Areh of Titus. Ml. The Roman Koruiu, .Ml. The Arch of ( loiistautiue. ML The Colosseum (Interior). ML BaZANTINE A.NIi KoMANKSyl.K: St. Mark's (Venice). ML The Baptistry at Pisa. M-L La Ca (Jastlc. M Durham Cathedral. .M Litchtichl Cathedial. .M Amiens ( 'atlicdral (Amiens, PVanee). M-L The (Jrand Canal (Venice), .ML Westmin.ster Ahhey. ML The Cathedral of \otre Dame (Paris) ML The Choir of Amiens. M-L Court of Doge's I'alace. ML (.'athedral of Rheims. ML I'ortal of Amiens Catliedral. ML Rknaissasc'k : .St, Peters. .ML Interior of St. Peters. .M L The Soule Co. pul.iishes hromide enlargements of almost all the awTTiibj^^ two larger sizes at .•JD.OO and «8.00 each, suoje.ts in 16 ECTS. 3<>, .«•_'.(¥). I iif IJoriH. ML t iif Lions. 'I'liii ■I nf Lions, Tlie .\LL li-iiiorial ( 'hapcl. M . Loiiilon, Kj]g. M \l ii'iis, F ■ai]oe).M-L ice). ML ML e Dame (Paris). ML . ML ML ■^dral. ML M L bove siibjeota in PLASTER CASTS. ( l>l'colil|)s. I *il!RKK Vomis of Milo, ;( feot V'ernw of Milo (HnuiU) 2() imlies Hoi-Ho Honii, AMti<|uc Partlii'iioii Horses, i; x -JM inches Froi/.eof Parthenon (six (JKUles) II x;il hw^hes Vietory Tying SiiiidaL 4 feet Victory of .Saniothrace. 3 feet ' ^ '""^ Victory of ,Snni(jthrace, Vietory of the Capital, HIlWllI . , . •V2 inches HOMAN : Julius Caesar VoiniK .Aiijrustiis, Kmperor Kaw.v Italian : Two I'ane! «7 50 3 76 3 00 3 00 3 00 7 50 22 50 4 50 7 50 4 50 4 no tin ee .Angels each, 40 v K. inches. l,y Donatello g 00 Long Panel „,th ch,Mren, 12 x 40 inches, l,y l.onatello ... l^ The Snignig Hoys, l,y L.ica Delia Rnhbia. Three Panels, 3 feet 5 x 33 inches, each. Two Panels, 3 feet ") x 26 inches, each '"' '^ St. John, by Donatello ^'^ ^ Little Hoy, by Donatello ' •'* St. John, by Donatello ~ ^ Slave, by Michael Angelo, 19 niohe.s . * ''^'^ St. Francis, by Michael Angelo J ^ Slave, by .Michael Angelo 1 50 3 75 Modern Fre.vih 3 00 Walking Lion, by Barye Walking Tiger, by Barye Walking Panther, by Barye ^ ^ Lion Sitting, bv Barve ' ' "^ 1 50 16 :\f Directiom for orderinj Photographs, Cast, and EnUrgtmenh. "^..!"M:;::r;i-'v;::: ;;':"::;:"' ■"'■■'■">' ■ '-* ->• < ^^;:.?;;::;;':v:t";::i';:„^;;!;'» -" - • ■■■*- - «'■ » ... J«::,::;';;js';:;:;,:;;;;,,;;;;;,:;";:-:;;-:;,;",; , ■- - from $2.0(1 t.. S4.(M). ' ''" "'" "'""'"•'■•^ vaiyi,,- „, ph,.. IVi-:esH„.| .u,.saM.upp,.„xi,Ma.,., I,„, „„. ,„axi„n.,M is .iv,.,, i, ,1, ,.,..,„ -":;it;::;:::;= however of tj^^ ^^^^t "''■'•'' /lu,- , ..,,,1,1 ,.,.,.,„„„„.„,. „„,,,„.„„, «o,no f„t„,.e .U'r ' """"" ''"' " -■PP'--"t.u.y list will 1„. „„,,,,.„!„, „ ...J^";:';:;:;:;:";;; *: r^"^ ;i".;:r i ^""^"^'•^"''' '"-- ^- '•■■-^ •- -- painting. *- ^ ^'" ''"*^'™"' P^'""''^ "^ "'d-it,.,!,,,.,., s.„lpt,„.,. a,„i nlargements. Il|>'<). (11(1. T tll|-.il|;;|| i(ici' llir. ii(l;1i Smiln "iij^c St.. 'I'didtito, I'oiitd. 'I'lic I'niiig I'lldK (111(1 |ll.llilill||, t \ 17 illclic--. Ijllt ii 'N viiiyiiij; ii( pi-ici- (111 CilSCS. iviiiliiliilit \ (iiid as ' wild hiivf iiiii(l(> < '"'I'll liiiiilcd (III ■ml. On aivMiiiMl, 11. tlic iiiatcrinl i> 'iiimiliiiii sulijccls. 11 lie |iiilili.slic(l 111 ' iiri'iiiigi.iiiiMit lia.s !'<', sculpture and