LB 3257 ,E49 Copy 1 ^ ELSON, A. W. & CO, Art for schools. Boston 1910 Art for tmam ■mwiiimmi A. W- ELS ON & CO MP AN 146 OLIVER STREET BOSTON, MASS.' CATALOG OF Large Carbon Photographs Photogravures, Engravings, Etchings and Copper- Plate Paintings IN THE EDUCATIONAL ART EXHIBITIONS OF A. W. ELSON & COMPANY With a List of Other Pictures Recommended FOR School, Library, and Home Decoration A. W. Els ON & Company 146 Oliver Street Boston CAUTION! When you buy pictures for your schools you want to be sure of two things : First: That they are of the best quality. Second: That they will not fade. One of the prime requisites to pictures being of the first quality is that they should be original publications; that is, they should not be copied from other prints. In order that you may be assured that they will not fade, they must be made by some method that is scien- tifically accepted as giving absolutely permanent results. Solar prints, bromides, and all other prints made by sil- ver process cannot be relied upon as being fadeless. Pictures which are neither original publications nor fadeless are being offered to schools, and in time, after much money has been spent, these pictures will not be satisfactory on school walls. We advise that you get a guaranty, whenever you buy any pictures for your schools, reading as follows: "We guarantee that the pictures sold you this day are original pub- lications, not copied from other prints, and that they are not solar prints nor bromides, nor made by any other silver process, nor by any method which is not scientifically accepted as giving absolutely permanent prints; and we will refund your money if this statement is found to be in any particular incorrect." This guaranty should be signed by the house. We are always ready to give such guaranty on our publications, and where other publications are sold by us will state if desired exactly what we believe them to be, and not offer them under false or special names. A. W. Elson & Co.. Boston, Mass. Copyright, 1910, by A. W. Elson & Co. Educational Progress THE scope of the work of our public schools has certainly been enlarging rapidly. Where at first it was practically limited to the training of the mind, it has come to include manual and physical development, and to-day the school has begun to make its influence felt as a social center. The superintendent or principal who is abreast of the times is en- deavoring in every reasonable way within his power to make the school an elevating force in the whole community. There is one direction especially in which a most earnest effort is being made, and it is a movement that is growing in force every day. We refer to the work that is being done towards increasing an aes- thetic appreciation amongst the school-children. It is seen in the beautiful architecture of the best modern schoolhouses, in the careful tinting of the school walls, that were formerly white and bare, and in the placing of fine reproductions of the masterpieces of art in the cor- ridors and classrooms. It has gone further than this in many places, where at least once in every year, in a school-hall or in some other available place, a fine collection of works of art has been exhibited, not only for the benefit of the teachers and pupils themselves, but to bring together the whole community affiliated with the schools under conditions that have been helpful socially and educationally. Such exhibitions have been made possible by private enterprise, and entail no financial responsibility upon the superintendent or principal. Many collections have been offered to the schools, but none has acquired the high rank of THE ELSON ART EXHIBITIONS These exhibitions are not only a source of pleasure, but they pro- vide a means of realizing funds by which may be secured reproduc- tions in art for the permanent embellishment of the school. We have felt that an exhibition of pictures for schools should be to some degree educational, — that it should not be a mere conglomera- A. W. ELSON & COMPANY tion of different periods of art, hung without any relation of one pe- riod to another. We have followed in our exhibitions the arrange- ment accepted as the best plan by museums; viz., that the pictures of each period of art should be hung together. By this method the pic- tures can be studied intelligently, and, aided by the descriptions which we give in our catalog, an instructive as well as pleasurable hour may be spent with this collection. A series of subjects covering Egyptian, Greek, and Italian Art, Dutch and Modern Painting, has been selected by such authorities as Dr. Van Dyke, of Rutgers College, Professor Tarbell, of the Uni- versity of Chicago, Dr. Martin, of the Hague, and Dr. Reisner, of the Khedivial Museum, Cairo. THE COLLECTIONS CONTAIN two hundred large subjects, reproduced in carbon photographs, photogravures, engravings, and etchings, which are the most artistic and permanent forms of reproduction, especially adapted to school requirements. One hundred and eighty-eight photogravures of smaller size than those above enumerated, known as "Elson Prints," are in- cluded, and also a complete set of our famous " Copper-Plate Paint- ings." DISPLAY OF THE COLLECTIONS The pictures in our collections are mounted in a uniform manner, with brown linen mats, eyeletted top and bottom. In the exhibition hall there should be a picture rail, or where none exists a wire can be stretched or a temporary frame erected. On this the top row of pictures should be hung by hooks which we send with the collec- tion. From this row the lower ones can be hung. About 1,250 feet of wall space is required for one of our exhibits. In hanging the pictures the different periods in art should be kept together, — those illustrating Italian Painting in one group, those on Greek Art in another, and so on; and they should be arranged in chi'onological order, — Egyptian Art first, then Greek Art, Italian Painting, etc. Pictures should not be hung too high. The center of the top row should not come above ten feet from the floor. The pictures are all numbered to correspond with the numbers in the catalog. ART PUBLISHERS SELECTION OF HALL The exhibition should be held in some hall to which the people are accustomed to go. The assembly-room in one of the schools, a public hall, the parlors of a church, — any one of these is better than a place unknown to the general public. ADVERTISING Tickets should be placed on sale in the various schools at least two weeks prior to the date set for the exhibition. Where possible the teachers should understand that all are equally interested, and that the money raised in each building should be used for the pur- chasing of pictures for that building. Let it be thoroughly known that the exhibition is to aid the schools in acquiring pictures. Committees should be appointed to look after all details connected with the exhibition. These committees should be made up of the school teachers or members of the various women's clubs in the city. The exhibition should be thoroughly advertised at least two weeks in advance, so that every one in your city may be aware of its coming. The newspapers should contain reading notices announcing the exhibition. Articles should be contributed on the use of pictures in the schools, etc. It is well to see that a week is selected when no other entertainment is to be held. ADVERTISING MATERIAL We furnish free all advertising material consisting of tickets, cir- culars, hand-bills and attractive posters. The place and date of the exhibit, together with any other needful information, should be filled in by the local printer. CATALOGS To each city or town where an exhibition is held we send a number of descriptive catalogs. These are charged for at the rate of ten cents each, and should be sold for fifteen cents each. The differ- ence may go to swell the proceeds of the exhibit. All unsold catalogs should be forwarded with the pictures and credit will be given for them. These catalogs should not be loaned. We also send a large number of lists giving the pictures in the ex- hibit and correspondingly numbered. For these we do not charge. A. W. ELSON & COMPANY ADDITIONAL ATTRACTIONS In nearly every place there are a number of persons familiar with art matters who would gladly give a short talk each evening on some interesting art topic that the pictures illustrate: Egyptian Art, Italian Painting, Old and Modern Masters, etc. This should be interesting and instructive, and give the teachers a clue, in some cases, to the way in which the pictures could be used when hung in the schools. Re- freshments should be served in the evenings, and a musical program or other entertainment should be arranged. The whole affair should be made as great a social success as possible. One night should be made a High-School Night or a Senior-Class Night, and the entire management and proceeds for that night could be given to the High School or to the Senior Class for placing pictures in the school. An earnest effort should be made, and everybody should be interested in the success of the undertaking. USE OF PROCEEDS The entire net proceeds of the exhibit, after deducting local ex- penses, unless other arrangements are made, must be used in pur- chasing pictures, or pictures and frames, of us, the subjects to be selected from our catalog. Where the funds raised exceed $50, the excess may be used, if desired, to purchase of us pictures framed or unframed published by other firms, and 10% of said excess may be used to purchase casts of us at manufacturers' prices to schools. DISCOUNTS The list-prices of our pictures are much lower than those of any other publications of equal quality and size. On an order of $80 net, however, we allow a discount of 20% from the list-prices of the pictures. Prices of frames are net. The order may include both pictures and frames, but the discount applies only to the pictures. To any school or individual whose initial order amounts to $80 net we will allow the 20% discount on future purchases if reasonably frequent. ART PUBLISHERS PRIVATE SALES The school fund for the purchase of pictures may be increased considerably by adding to it commissions on private sales. In the smaller cities where there are no art stores there are many individuals who would welcome the chance to purchase fine pictures for their homes, and at the same time aid the schools. On all private sales made at an exhibition we allow a commission of 20%. TRANSPORTATION CHARGES ON EXHIBIT We use every endeavor to keep the transportation charges as low as possible, and agree when such transportation charges exceed $10 that we will pay all of such excess. OTHER USES OF EXHIBITIONS We will also loan these pictures for the purpose of raising funds for other purposes than buying pictures, and will be glad to write a proposition for such special agreement upon hearing from you. State exactly what you desire to do. PICTURES ON APPROVAL In case there is a fund already available for the purchase of pic- tures we shall be very glad to send on approval a suitable collection of our publications. No obligation to purchase any picture is thereby incurred. We pay all transportation charges both ways on such approval shipments. AN ART LECTURE We have had prepared by an authority a lecture on art which treats especially of the pictures in the exhibit as the examples of the world's great masterpieces in sculpture, architecture, and painting. We send without charge two copies to each exhibitor to be read on the opening night of the exhibit. A. W. ELSON & COMPANY CARBON PHOTOGRAPHS AND PHOTOGRAVURES Carbon photographs and photogravures are almost universally acknowledged by authorities to be the most satisfactory pictures for schoolroom decoration. There are several reasons for this, the chief of which are the faithfulness of reproduction, carrying power, and permanency. Both of these forms of reproduction are absolutely fadeless, and should in no way be confused with fadeable prints such as silver prints, solar prints, or bromide enlargements (often sold under fanciful names). From the start our aim has been to produce the highest grade of carbon photographs and photogravures at prices more reasonable than equally good reproductions could be obtained elsewhere, and we invite comparison, picture by picture, with photogravures made by other houses, both foreign and domestic. As a whole the prices of our publications are 33|^% to 40% lower than carbon photographs and photogravures of equal quality made by other firms. Our col- lection of large carbon photographs is not equaled by any house. Every picture we publish is based on an original negative of the subject owned by us, and none of our publications are copies from any other reproductions. This is of great importance when it is considered how many of the pictures that are offered and sold to schools are merely copies of other prints, thus losing much of the feeling and detail of the originals. COPPER-PLATE PAINTINGS Especial interest attaches to our publications in color because of the constantly increasing demand for productions of this kind. The subjects are chosen from the modern school and foster an acquaint- ance with the works of contemporary masters, among whom are numbered : A. Mauve, the greatest landscape-painter of the modern Dutch school, "Autumn" and "A Misty Morning in Holland;" Wmslow Homer, our leading living American painter, "Fog Warning;" Lester G. Hornby, "Fish Wharves at Gloucester;" A. M. Gorter, "The Fading Light of Day;" Henri Stacquet, the late President of the Bel- gian Water-Color Society, "A Stormy Day on the North Sea;" Frank F. English, "After the Shower;" Colin Campbell Cooper, "Broad Street, New York," and Victor Gilsoul, "An Autumn After- noon on the Dyle, Malines." ART PUBLISHERS Each Is a veritable original painted upon the etched copper-plate, with brush and palette of color, after the manner of an artist painting in oil-colors, and is at one printing transferred to the sheet. The com- plete picture is not to be distinguished from the original itself, and to those schools that are buying original paintings or water-colors we can say with confidence that the same money invested in our Copper- Plate Paintings will give far greater satisfaction. The original paint- ings from which these are made are valued at hundreds, and in some cases thousands, of dollars each, and are a much higher form of art than any school can afford when buying originals. These copper-plate paintings represent works of art in full color of the highest merit, and the color is strictly permanent, and war- ranted as durable as the originals. There is nothing exceeding them in quality, beauty of tone, or durability. They are particularly well adapted for the decoration of schools, and there is a growing demand for them for this purpose. Their artistic quality can be appreciated only by being seen, and the complete set included as a part of the col- lection forms both a notable and a novel feature. SIZES OF PICTURES We give on page 12 the key to the symbols used in the catalogs. The sizes given are the average for each particular size, and are for the picture itself irrespective of any mat or mount. We will gladly give the exact size of any picture desired on application. FRAMING OF PICTURES It is important that every picture of any merit be framed artisti- cally, or much of its beauty may be lost. The molding should be of the right color to harmonize with the general tone of the picture. It should be of an appropriate design, and the frame put together in a thorough manner, so that the joints will not open. The glass must be clear, without waves or blows. We have made a careful study of the framing branch of our business and have one of the best-equipped plants in New England. We em- ploy only the very best workmen and use the finest quality of quar- tered white oak, stained to match the prevailing tone of the picture, and first-quality French glass, which is imported especially to our order. Where a picture is intended to fill a large space it is advisable to have it framed with margin, but we usually advise framing the larger A. W. ELSON & COMPANY sizes close to the work. Our carbon photographs are mounted on board of a color that harmonizes with the prevailing tone of the pic- ture, so that the use of mats is unnecessary. This is often not the case with pictures of other publishers. We do not allow a discount on prices for frames, but have made them as low as is consistent with first-class workmanship and the best materials. On page 12 we give prices for framing pictures in nearly all the diflFerent sizes published. It was found impracticable here to quote prices for framing certain prints, as engravings, copper-plate paint- ings, etc., as the sizes vary considerably. We shall be glad to quote special prices, on application, for framing any pictures not mentioned in the accompanying list. Regarding the width of molding, we have quoted prices on the width considered most suitable for each size. We shall be glad to quote on other widths if desired. ART PUBLISHERS EXTRA LARGE CARBON PHOTOGRAPHS There is a large and constantly increasing demand among schools for pictures of extra large size and excellent quality. Until recently the only form of reproduction in which these pictures could be ob- tained were bromide enlargements. Bromides are not printed by contact from a large negative, but enlarged on to the paper from a small negative. Much of the detail and values of the original is often lost in the process of enlarging. We have made a beginning on a line of extra large carbon photo- graphs to meet the demand for pictures of a very large size for school corridors and assembly rooms where the large spaces make large pic- tures very desirable. They will be known as our Double Extra A size. Price, $40. These carbons vary from 45 to 56 inches in length, according to the shape of the subject, and are printed by contact from glass nega- tives and are original reproductions; not copies of other prints. With the exception of a few subjects published by foreign houses, which are very high in price, these Double Extra A carbons are the only very large pictures for schools on the market that are not bromide or solar enlargements from small negatives, not to be compared with contact carbons, which are absolutely fadeless, retaining the sharp- ness and quality of the originals from which they are made. We shall be very glad to send any of these large carbons on approval for in- spection, and will pay all transportation charges. The following subjects are now ready: Pilgrims Going to Church, Boughton. Cicero's Oration Against Catiline, Maccari. Aurora, Guido Reni. Washington Crossing the Delaware, Leutze. Stratford-on-Avon, From Nature. 10 A. W. ELSON & COMPANY A NEW SERIES OF PUBLICATIONS Eison Intaglio Prints Copper-plate engravings of the highest quality in a size suitable for small wall spaces. Average size of work, 11 x 14 inches. Printed with plate-mark on heavy toned plate paper made with two deckle edges especially for this series. Size of paper, 18 x 24 inches. Price, $1.00 each. We have brought out this series to replace the inferior gelatine, bromide, and similar prints, which are either flat in shadows and toned over in lights, or not permanent, or uneven in the editions. All the ELSON INTAGLIO PRINTS Are Made from Original Negatives Taken Directly from the Paintings and Not Copied from Other Prints, as Are Many of the Inferior Pictures Offered. The Elson Intaglio Prints are a very high-grade production oflFered at a low price to insure a large sale. They are equally with the Elson Carbons and Elson Prints the best value now obtainable. List of subjects now ready (others will be announced shortly) : Landscape with Windmill, Ruysdael. Madonna of the Chair, Raphael. Concord Bridge (Nature). Holland Cattle, Van Marcke. Spring, Mauve. Moonlight in Holland, Cazin. Children of the Shell, Murillo. Knitting Lesson, Millet. In the Pasture, Jacques, ART PUBLISHERS 11 We believe we can justly say that our pictures always give absolute satisfaction. Of the many hundred exhibitions we have held we do not recall a single instance of our failure to fully satisfy the schools in the quality of our pictures and in our methods of dealing. Here are extracts from a few recent letters, selected from a very large number of a similar nature. "We have on at least two occasions imported pictures from Em-ope, but we do not feel that we can secure anything superior to your own pictures." F. P. Whitney, Superintendent of Schools, Sept. 21, 1909. Collinwood, O. "Oiu- Board appreciated the pictures enough to vote $75 of the district's money for the purchase of pictiures. The excellence of your exhibit won their support." C. W. Vandekgkift, Principal of High School, June 4, 1909. Bolivar, N. Y. "We have several of your pictiu-es in the school and they are all standing the light well; not one of them has faded in the least. At least one of the pictures has been ex- posed to the afternoon sun for more than four years now, and it is just as bright and looks just as good as the one just received new from your offices." H. E. Clewell, Superintendent of Schools, Sept. 21, 1909. Florence, Kan. "The 78 pictures have arrived, and are very beautiful, and far surpass our expecta- tions. We are eagerly looking for the rest. Let me say that the unfailing courtesy and liberality of your firm has made my deaUngs with you delightful. It will give me great pleasure to recommend your Art Exhibit wherever I can." (Mrs.) E. L. Hetdecker, May 22, 1910. Mount Vernon, N. Y. "We are more than delighted with our pictures. They are a great addition to our buildings. Our teachers are very much pleased." A. E. Cook, Superintendent of Schools, May 16, 1910. Lackawanna, N. Y. "The pictures sent us are magnificent and are considered by all who have seen them the finest reproductions they have ever seen. Another exhibition of the same kind would be very successful here, as people would know what to expect." G. A. Harkleeoad, July 2, 1910. Reedley, Cal. "The eleven pictures named in the enclosed bill arrived this morning. We imme- diately unpacked them, and found them in good condition. I am greatly pleased with them, and congratulate you on doing such nice work." Allen F. Wood, Principal Fifth Street Grammar School, April 12, 1910. New Bedford, Mass. "The pictvues and frames go beyond our most sanguine expectations. It is a pleas- xu-e to deal with you, and we hope to get more pictures later." W. M. Henderson, Superintendent of Schools, April 2S, 1910. Waynesburg, Penn. "The exhibit was the finest we ever had. I have heard nothing but words of praise for the splendid display the pictures made. We have had other exhibits in the last two years, and they were good, too, but I can truthfully say that the Elson Exhibit was better." Walter Kiechel, Superintendent of Schools, Nov. 23, 1909. Tecumseh, Neb. "The pictures were very satisfactory, and the people in general were much pleased with the exhibit." Leon C. Staples, Feb. 12, 1910. Portland, Cona 12 A. W. ELSON & COMPANY o o d 0«5OO»COM5«500«50 o to o »o o o CO «5 CO CO ^^ M5 -i^l ihKn Hn HC^ iiIin OOtMCOGOO^COO^COO^O^O^ O* CO b£) 0) be a; 'Be o 'So « *5c 'So 'So *5c '5b *3d *5b <^ ■'1 W! w ^ !« ^ w «^ VI ^ w S-T h f-i ^H ;h "^ s O c« o 03 o 03 o 03 O c3 03 c3 ce 03 (-1 C/2 ^ 1 U S ^ G g ^ ^ ^§§ ^S^g ^ W n:3 03 S zn i "^ C/5 o © o © © © © © © > © ^ © © .^ O o «5 © «5 © © © © < © © © © ■el 1 d d J> m: *c 'S? CO O O »c 00 «5 CO o 1 § <^ w ?^ P5 Ph W5 u •* O © 'f* © © t^ © ■^ I-H © ©< i> »o Ph 12 CO 3 (3< ©< I-H I— 1 I-H I-H I-H T-H ®< y-< i-t § "t?- o V w ^ «• ^ ^ o ^ %• t« ^ ° -O "* ^ >• w >• ^ Xi " %• %a «o. o5o Napoleon. Delaroche. No. 396 Song of the Lark, Breton. No. 394 Pestalozzi, Anker. No. 392 ' \ \ ' - --^ 1 i i Angel Heads, Reynolds. No. 400 ■ The Iron Guard, Jank. No. 126 ART PUBLISHERS 71 Masterpieces in Art ELSON PRINTS Elson prints are exquisite little copper-plate photogravures made from our large original negatives. They have all of the detail and modeling of our large photographs, and are rec- ommended for the use of Art Study Clubs, or for framing. They may be had singly, or in sets of ten enclosed in a strong portfolio with descriptive text. The work size averages 5^ x 8 inches, printed with a plate mark and engraved title, on special deckle-edge paper, 9 x 12 inches. Price, $1.25 per portfolio of 10 prints with descriptive text. Single prints 10 cents each. GREEK AND ROMAN ARCHITECTURE Text by Prof. F. B. Tarbell, University of Chicago El. Lion Gate of Mycenae. E2. Great Temple (so-called Temple of Posidon) at Psestum. E3. Theseum, from Southwest, Athens. E4. Parthenon, from Southwest, Athens. E5. The Temple of Victory, from North- east, AtneuSf E6. Erechtheum, from Northwest, Athens. E7. Caryatid (South), Porch of the Erech- theum, Athens. E8. Colosseum, Rome. E9. Arch of Constantine, Rome. ElO. "Maison Carree," Nimes. GREEK SCULPTURE. A Ell. Gravestone of Aristion. (Athens Na- tional Museum.) El2. Harmodius and Aristogiton. (Naples Museum.) E13. Three Fates from East Pediment of the Parthenon. (British Musemn.) E14. Theseus from same. (British Mu- seum.) E15. Metope from Parthenon. (No. 310 in Catalogue of British Museum.) E16. E17. E18. E19. E20. Portion of Slab of the East Frieze of the Parthenon, with Seated Divin- ities. (Acropolis Museum.) Two Slabs of the North Frieze of the Parthenon. (British Museum.) Doryphorus. (Naples Museum.) Woimded Amazon, perhaps after Polyclitus. (Landsdowne House, London.) Caryatid from South Porch of Erech- theum. (British Museum.) GREEK SCULPTURE. B E21. Hermes of Praxiteles. (Olympia Mu- seum.) E22. Slab of Mausolemn Frieze. (British Museum.) E23. The Alexander Sarcophagus. (Con- stantinople.) E24. The Aphrodite of Melos. (Paris, Louvre.) E25. The Otricoli Zeus. (Rome, Vatican.) E26. E27. E28. E29. E30. Apollo Belvedere. (Rome. Vatican.) Victory of Samothrace. (Paris. Louvre.) Laocoon. (Rome, Vatican.) Group of Athena and Other figures from the Altar of Pergamon. (Ber lin Museum.) Augustus from Prima Porta. (Rome Vatican.) 72 A. W. ELSON & COMPANY E31. E32. E33. E34. E35. RENAISSANCE PAINTING IN ITALY Text by Dr. John C. Van Dyke, of Rutgers College PORTFOLIO. A Giotto di Bondone, Flight into Egypt. Benozzo Gozzoli, Adoration of the Ma^ (Detail of Kneeling Angels). Filippmo Lippi, Vision of St. Bernard (Detail of Prajing Angel). Sandro Botticelh, Allegory of Spring. Fra Giovanni Angelico, Angel with Tambourine. E36. Domenico Ghirlandajo, Presentation in the Temple. E37. Melozzo da Forli, Angel Playing Viol. E38. Pietro Perugino, St. Mary Magdalene. E39. Francesco Francia, The Annuncia- tion. E40. Gentile da Fabriano, Adoration of the Magi (Detail of Group of Kings). PORITOLIO. B E41. £42. E43. E44. E45. E46. Andrea del Sarto, Madonna of the Harpies. Michael Angelo Buonarroti, Delphic Sibyl (Detail). Raphael Sanzio, Madonna of the Chair. Raphael Sanzio, Sistine Madonna. Leonardo da Vinci, Mona Lisa. Bernardino Pinturicchio, Portrait of a Youth. E47. Sodoma, Ecstasy of St. Catherine (De- tail of Nuns). E48. Andrea Mantegna, Madonna of Vic- tory. EJ49. Giovanni BelliiH, Madonna and Saints. E50. Vittore Carpaccio, Angel with Lute (From Presentation in the Temple). PORTFOLIO. C E51. Corre^gio, Holy Night. E52. Giorgione, Madonna with Saints. E53. Titian, Three Graces. E54. Titian, Man with a Glove. E55. Tintoretto, Bacchus and Ariadne. E56. Paolo Veronese, Madoima and Saints. E57. Lorenzo Lotto, Portrait of a Lady. E58. Pahna il Vecchio, St. Barbara. E59. Paris Bordone, The Fisherman and the Ring. E60. Giovanni Battista Moroni, Portrait of a Tailor. EGYPT (ARCHITECTURE) Text by Dr. George A. Reisner, of Khedivial Museum, Cairo E61. Temple of Philse. E62. The Great Sphinx (Showing Pyra- mids in Distance). E63. Interior of Rock Temple, Abu Simbel. E64. Granite Temple at Gizeh. £65. Great Hall of Columns, Kamak. £66. Avenue of Sphinxes, Kamak. £67. Temple of Edfu. £68. Facade of Rock Temple, Abu Simbel. £69. Peristyle Hall of Amenophis HI, Luxor. £70. Great Pyramid. 'HERE SHAKESPEARE LIVED E71. Bust of Shakespeare in Chancel of Trinity Church. £72. Shakespeare House. £73. Room in Which Shakespeare Was Born. £74. Ann Hathaway's Cottage. £75. View of Stratford from Memorial Theatre. £76. View of Memorial Theatre from Clop- ton Bridge. £77. Mary Arden's Cottage. £78. In the Garden of Ann Hathaway's Cottage. £79. Grammar School and Guild Chapel. £80. Interior of Trinity Church. ART PUBLISHERS 73 E81. E82. ESS. E84. E85. GENERAL WASHINGTON Greneral Washington, Athenaeum Por- trait by Gilbert Stuart. General Washington, Lansdowne Por- trait, by Gilbert Stuart. Martha Washington, Athenaeum Por- trait, by Gilbert Stuart. Sulgrave Manor, Northamptonshire, England. Signing the Declaration of Independ- ence, by John Trumbull. E86, Washington Crossing the Delaware, by Emanuel Leutze. E87. Washington Resigning His Conunis< sion, by John Trumbull. EBB. Surrender of Comwallis at Yorktown, by John Trumbull. E89. The Washington Family, by E. Sav- age. E90. Mount Vemon, the Home of Wash- ington. MAKERS OF OUR NATION E91. E92. E93. E94. E95. ElOl. E102. E103. E104. £105. Gteneral Washington. Thomas Jefferson. Alexander Hamilton. Benjamin Franklin. James Otis. E96. E97. E98. E99. ElOO. Joseph Warren. Samuel Adams. Patrick Henry. Abraham Lincoln. General Grant. CALIFORNIA MISSIONS San Diego de Alcald. San Antonio de Pala. San Luis, Rey de Francia. San Juan Capistrano, Old Garden and Cloisters. San Juan Capistrano, Cloister Arches. E106. San Gabriel, Arcdngel. E107. San Fernando, Rey de EspaiSa. ElOB. Santa Barbara. E109. San Miguel, Arcdngel. EllO. San Carlos Borromeo Mission. THE ENGLISH LAKES Scenes AssoaATED with the Lake Poetts Elll. Rydal Mount. E113. Crummockwater. E113. Wastdale Church. El 14. Ullswater. E115. Thirhnere and Helvellyn. E116. Blea Tarn. El 17. Wastwater, The Screes. El 18. Derwentwater. El 19. Buttermere. E120. Bowness from Orrest Head. TEN MASTERPIECES OF OLD AND MODERN MASTERS E121. Murillo, Holy Family. E122. M. Hobbema, Avenue Middelhamis. E123. Van Dyck. Children of Charles I. E124. J. Constable, Cornfield. E125. J. M. W. Turner, Fightmg Teme- raire. E126. A. Mauve, Spring. E127. G. F. Watts, Sir Galahad. E128. C. Troyon, Return to the Farm. E129. J. B. C. Corot, Matinee. E130. J. F. Millet, Gleaners. TEN MASTERPIECES FROM THE METROPOLITAN MUSEUM OF ART, NEW YORK E159. E160. E161. E162. £103. Schreyer, Arabs on the March. Cabanel, Queen Vashti Refuses to Come at the Command of King Ahasuerus. Jacque, The Sheepfold. Van Marcke, The Mill. Troyon, Holland Cattle. E164. Lhermitte, The Vintage. E165. Bonheur, Deer in the Forest-Twi- Kght. E166. Dupre, The Balloon. E126. Mauve, Spring. E167. Mauve, Autimm. 74 A. W. ELSON & COMPANY TEN MASTERPIECES FROM THE CORCORAN GALLERY OF ART, WASHINGTON, D. C. E179. Daubigny, Hamlet on the Seine. E180. Cazin, Moonlight in Holland. E181. Israels, Interior of a Cottage. E182. Richards, on the Coast of New Jersey. E183. Lenbach, Bismarck. El 84. Brush, Mother and Child. E185. Picknell, Road to Concameau. E186. Van Marcke, Farm Scene with Cattle. E187. Renouf, Helping Hand. E188. Corot, Wood-gatherers. TEN MASTERPIECES FROM THE MUSEUM OF FINE ARTS, BOSTON 189. Greuze, Chapeau Blanc. 81. Stuart, George Washington. 83. Stuart, Martha Washington. 190. Whistler, Little Rose. 178. Millet, Knittmg Lesson. 176. Homer, Fog Warning. 140. Lerolle, By the River. 154. Regnault, Horses of Achilles. 191. Rembrandt, Shower of Gold. 192. Alexander, Pot of Basil. MISCELLANEOUS SUBJECTS E131. E132. E133. E134 E135. E136. E137. E138. E139. E140. E141. E142. E143. E144. E145. E146. E147. EMS. E149. E150. E151 Angelas — Millet. Baby Stuart — Van Dyck. Ralph Waldo Emerson. From a daguerreotype from life. Nathaniel Hawthorne. From a drawing from life. James Russell Lowell. From a nega- tive from life. William HickUng Prescott. From a drawing from life by G«o. Rich- mond, R.A. Abraham Lincohi. From the Statue in Lincobi Park, Chicago, by Augustus St. Gaudens. U. S. Frigate Constitution (Old Iron- sides). From a paintmg by Mar- shall Johnson. Aurora — Guido Reni. By the River — Lerolle. Amiens Cathedral. Poets' Corner, Westmmster Abbey. Sir Walter Scott. From a pamtmg from Kfe by John Watson Gordon. Henry Wadsworth Longfellow. From a negative from life. John Greenleaf Whittier. From a negative from life. Robert Bums. From a painting from life by Alexander Nasmyth. Shakespeare, Chandos portrait. William Cullen Bryant. From a portrait from life. Oliver Wendell Hohnes. From a portrait from life, 1894. Tennyson. From a drawing by M. Arnault. Vittore Carpaccio, Presentation m the Temple. E152. E153. E154. E155. E156. E157. E158. E168. E169. E170. E171. E172. E173. E174. E175. E176. E177. E178. 193. 194. 195. 196. 197. 198. 199. 200. 201. 202. 203. 204. Abbotsford, Home of Sir Walter Scott. Signing of the Compact in the Cabin of the Mayflower — White. H. Regnault, Horses of Achilles. The SjTidics — Rembrandt. Landscape with Windmill — Ruys- dael. Longfellow's House. Portland Head Light. The Acropolis, Athens. The Forum, Rome. Milan Cathedral. Cologne Cathedral. Grand Canal. Venice. St. Mark's Cathedral. Capitol at Washington. Concord Bridge. Fog Warning — Homer. Coming Storm — Millet. Knitting Lesson — Millet. Pilgrims Going to Church — Boughton. Spring — Douglass. Alice Freeman Palmer Memorial — French. In the Pasture — Jacque. Cicero's Oration Against Catiline — Maccari. Feeding Her Birds — Millet. Milton Dictating Paradise Lost — Munkacsy. Children of the Shell — Murillo. Age of Innocence — Reynolds. Angel Heads — Reynolds. At the Water Gate — Van Marcke. Prince Don Balthazar Carlos — Velasquez. Index of Subjects Number of Number of Picture Picture A-bbotsford 253 Baby Stuart Van Dyck 92 Acropolis 9 Bacchus and Ari- Adams, Samuel Copley 363 adne Tintoretto 291 Adoration of the Balloon Dupre 104 Holy Trinity Diirer 347 Barnyard in South- Adoration of the ern Germany Haueisen 125 Magi Fabriano 261 Bismarck Lenbach 123 Adoration of the Borghese Warrior 242 Magi (Detail) Fabriano 55 Boston Massacre Page 369 Adoration of the Broad Street, New Magi (Detail) Gozzoli 56 York Cooper 375 After the Shower English Walker 154 Broken Pitcher Greuze 105 Age of Happiness 148 Browning 173 Age of Innocence Reynolds 144 Burns Nasmyth 171 Auce Freeman Palmer By the River Lerolle 109 Memorial French 386 Allegory of Spring "All's WeU" Botticelli Homer 262 156 Cannon Shot Canterbury Cathe- Van de Velde 332 Alma Mater French 387 dral 36 Amiens Cathedral 32 Capitol, Washing- Anatomy Lesson Rembrandt 315 ton 180 Andromeda and Captain, The Hals 306 Perseus Piero di Cosimo 266 Caryatid 237 Angel Heads Reynolds 400 Castle of San An- Angel Playing gelo 27 Mandolin Da Forli 267 Charles I Van Dyck 312 Angel Playing Viol Da ForU 59 Child with Lap Dog Reynolds 145 Angel with Harp Angehco 54 Children Catching Angel with Lute Carpaccio 61 Minnows Curran 371 Angel with Tam- Children of Charles I Van Dyck 91 bourine Angelico MiUet 58 Children of the Angelus 110 Painter De Vos 333 Ann Hathaway's Children of the SheU Murillo 390 Cottage 46 Choir, Lincohi Ca- Annunciation Francia 269 thedral 39 Annunciation Crivelli 272 Cicero's Oration Aphrodite of Melos 21 against Catiline Maccari 374 Apollo of the Belve !- Citadel of Cairo 217 dere 22 Citadel of Tu-yns Apollo, from Tem- (Gallery) 219 ple of Zeus 231 Citadel of Tiryns Apollo of Tenea 228 (South End) 218 Apostles, John and 1 Cloister Soup Kaulbach 122 Peter Diirer 348 Cologne Cathedral 33 Apostles, Paul and Colosseum 14 Mark Diirer 349 Columbus at Court of Arabs on the March Schreyer 124 Isabella Brozik 385 Arch of Constantine 15 Coming Storm Inness 372 Archaic Female Concert Giorgione 289 Figure 227 Concord Bridge 176 Audubon, John J. Inman 361 Constitution 189 Augustus 26 Cornfield Constable 128 Aiu-ora Reni 75 Cornfield Volkman 127 Autumn Mauve 81 Coronation of Vir- Autumn Afternoon gin Angelico 259 on the Dyle Gilsoul 376 Coronation of Vir- Auvers-on-the-Oise Daubigny 337 gin (Detail) Angelico 260 Avenue Hackaert 302 Countess Potocka 343 Avenue of Sphinxes 205 Court of Temple J It Avenue, Middel- Edfu 214 harnis Hobbema 78 76 ART PUBLISHERS Number of Number of Picture Picture Courtship of Miles Firs in the Felsental Calame 345 Standish Turner 195 First Sunday in New Courtyard of a England Bayes 184 Dutch House De Hooch 311 Fish Wharves at Gloucester Hornby 157 Danae Rembrandt 324 Fisherman and the Dance of the Cupids Albani 297 Ring Bordone 74 Dance of the Flight into Egypt Bondone 52 Nymphs Corot 99 Fog Warning Forester's Family Homer 155 Dancing Women 200 Landseer 140 David Michael Angelo 50 Forum 16 Declaration of Inde . Franklin Duplessis 165 pendence (Facsimile) 181 Decorations Symbolic Gate of Justice, Al- of Law Blashfield 380-383 hambra Fortuny 354 Deer in the Forest Bonheur 97 Gateway at Medinet- Delphic Sibyl Michael Angelo 64 Habu 209 Departure of the Ginevra de' Benci Ghirlandajo 265 !\Iayflower Bayes 185 Girl with Apple Greuze 106 Derwentwater 404 " Give us this day " Maas 313 Descent from the Gleaners MiUet 111 Cross Bartolommeo 279 Golden Autumn Day Van Marcke 401 Dignity and Impu- Grand Canal, Venice 48 dence Landseer 136 Granite Temple at Distingxiished Mem- Gizeh 202 ber of the Hu- Grant, U. S. 167 mane Society Trfindseer 135 Gravestone of Aris- Doryphorus (Copy) Durham Cathedral 235 tion 226 38 Great HaU of Col- Dutch Household De Hooch 310 umns 4 Dutch Kitchen VaJkenburg 329 Great Hall of Col- Dying Gaul 25 umns (Detail) 206 Dying Warrior 229 Great Pyramids at Gizeh 2 East Frieze of Par- Great Sphinx 1 thenon (Slab) 19 Great Temple at Ecstasy of St. Cath- Paestum 10 erine (Detail of Group of Kings Fabriano 55 Nuns) Sodoma 283 Group with Athena 245 Embarkation of the Group with Zeus 244 Pilgrims Parker 191 Guidoriccio Martino 258 Emerson 175 Erechthemn, from Hamilton Trumbull 164 East 223 Hamlet on the Seine Daubigny 102 Erechthemn, from Harmodius and Aris- Northwest 224 togiton 230 Evening Cuyp 299 Hay Wain Constable 395 Evening in May Tryon 377 Head of Unknown Man Messina 276 Facade of Large Heidelberg Castle 249 Rock Temple, Helene Fourment Rubens 325 Abu Simbel 5 Helping Hand Renouf 114 Fapade of Small Hermes Praxiteles 20 Rock Temple, Abu Simbel Hermes (Detail) Praxiteles 238 212 Hiawatha Norris 158 Fading Light of Hieronymus Holz- Day Gorter 76 schuer Di'irer 350 Farm Scene with Holland Cattle Troyon 116 Cattle Van Marcke 118 Hohnes 169 Feeding Her Birds Millet 399 Holy Family Murillo 151 Fighting Temeraire Turner 147 Holy Family (Detail; 355 Figure of an Athlete Michael Angelo 65 Holy Night Corr^gio 70 F^ure of Christ Murillo 355 Holyrood Palace 250 ART PUBLISHERS 77 Homer Homer and His Guide Horse Fair Horse Fair (Detail) Horses of Achilles House where Shake- speare Was Born Houses of Parliament I Hear a Voice In the Pasture Independence Hall Interior of a Cot tage Interior of Rock Temple, Abu Sim- bel Iron Guard Jay, John Jefferson, Thomas Joan of Arc Jolly Man Kenilworth Castle King Arthur King Charles Span- iels Kneeling Angels Knight of Malta Knitting Lesson Lafayette Landscape with Windmill Lane Laocoon Laughing Cavalier Law Lichfield Cathedral (West Front) Lincoln Lincoln Lincoln Lincoln's Address at Gettysburg Lion Gate, Myceme Little Princess Little Rose Longfellow Longfellow's House Longfellow's Study Lowell Madam LeBrun and Daughter Madison, James Madonna del Arpie Madonna del Arpie (Detail) Madonna of the Chair Bouguereau Bonheur Bonheur Regnault Earl Jacque Israels Number of Picture 248 393 95 334 113 44 40 132 S7S 178 79 Luini Jank 213 126 Stuart Stuart Bastien-Lepage Hals 357 163 378 304 Vischer 42 51 Landseer Gozzoli Gioreione MiUet 137 56 288 112 Houdon 257 Ruysdael Troyon Hals Blashfield 89 342 24 77 379 Bachmann Saint-Gaudens 251 166 255 182 Morellse Whistler Longfellow 183 8 83 160 168 367 368 172 LeBrun Stuart Del Sarto 108 356 62 Bellini Raphael Botticelli Holbein Del Sarto Correggio Veronese Bellini Del Sarto Raphael 66 Madonna and Child Madonna and Four Saints Madonna Gran' duca Madonna, Infant Jesus and St. John Madonna of the Meyer Family Madonna of the Sack Madonna of St. Francis Madonna and Saints Madonna and Saints Madonna with Saints Giorgione Madonna of the Tribune Correggio Madonna of Victory Mantegna Magnificat Madonna Botticelh Maison Carree, Nimes Man with Fur Cap Rembrandt Man with Fur Cap (Detail) Mandolin Player Marble Faun Marie von Tassis Marshall, John Masked Ball Matinee Mausoleum Frieze (Slab) Melon Eaters Merwyn's Tower (Kenilworth) Metope from Par- thenon Milan Cathedral Milkmaiden MiU Milton Dictating "Par- adise Lost" Munkacsy Minute Man Miracle of St. Mark Misty Morning in Holland Mona Lisa Monarch of the Glen Modern Egypt Moonlight in Hol- land Moses Motley, John L. Mount Vernon Mouse Musical Angels Napoleon Niche, for Statue with Reliefs Normandy Cow Rembrandt Hals Van Dyck Inman Madrazo Corot Murillo Greuze Van Marcke French Tintoretto Mauve Da Vinci Landseer Cazin Michael Angelo Kaulbach Van Eyck Delaroche Van Marcke Number of Picture 282 60 280 58 308 277 284 72 273 286 285 271 263 225 86 305 241 331 358 341 99 239 150 252 18 30 338 119 389 177 71 82 69 139 215 98 49 359 179 121 301 396 199 344 78 A. W. ELSON & COMPANY Jfumler of Picture 233 31 346 142 364 243 96 North Frieze of Parthenon (Two Slabs) Notre Dame Cathe- dral Oaks by Mountaui Stream Calame Odin Landseer Otis, James Blackburn Otricoli Zeus Oxen Plowing Bonheur Parthenon, from Northwest Parthenon, from Southeast Peristyle Hall of Amenophis III Peristyle Hall of Ramses II Pestalozzi Pharaoh's Bed, Phite Pilgrim Exiles Pilgrims Going to Church Playing Children Poets' Corner, West- minster Abbey Portland Head Light Portrait of the Doge Portrait of Herself Portrait of Himself Portrait of a Lady Portrait of Morette Portrait of Mrs. Siddons Portrait of a Tailor Portrait of a Woman Portrait of a Woman Portrait of a Youth Pot of Basil Praying Angel • Pres Gisors Prescott, W. H. Prescott, Col. Will- iam Presentation in the Temple Presentation in the Temple Prince Don Balthazar Carlos Velasquez 403 Prince Ra-Hotep and His Wife Ne- fert 196 Princess Frederika Sophia Tischbein 352 Propylsea of Acrop- olis _ 222 Puritans Going to Church Boughton 188 11 221 210 . 207 Anker 392 216 Boughton 186 Boughton 384 Rubens 88 35 405 Bellini 274 LeBrun 339 Rembrandt 318 Lotto 292 Holbein 309 Gainsborough 353 Moroni 294 Piombo 281 Rembrandt 322 Pinturicchio 270 Alexander 153 Lippi 57 Corot 336 Richmond 360 Story 256 Carpaccio 275 Ghirlandajo 264 Tischbein Landseer Rembrandt Braith Boughton Troyon Picknell Pyramids and Sphinx (Distant View) Queen Louise Elamesseum (South- west Corner) Red Deer at Chil- Ungham ReUef from Arch of Titus Rembrandt with Saskia Return of the Flock Return of the May- flower Return to the Farm Road to Concameau Rock Tomb of Ameny Roman Orator Rondanini Alexan- der Room in which Shakespeare Was Bom Ruskin, John St. Anthony St. Barbara St. Barbara (Detail) St. John St. Joseph and In- fant Jesus St. Liberale St. Mark's Cathe- dral St. Mary Magda- lene St. Peter's and Vat- ican Saskia as a Young Woman Saskia with a Flower Saved Scanty Meal School of Vestals Scott Shakespeare (From Bust) Sheepfold Sheikh-el-Beled Sherman Statue Shoeing the Bay Mare Signing the Declara- tion of Independ- ence Trumbull Singing Angels Van Eyck Sir Galahad Watts Sisters Benson Sistine Madonna Raphael yuniber of Picture 351 208 138 247 320 120 187 115 159 203 246 Tiepolo Giorgione Perugino Rembrandt Rembrandt Landseer Herring Leroux Gordon Jacque St. Gaudens Landseer 240 45 Murillo 152 Palma il Vecchio 73 Palma il Vecchio 293 Andrea del Sarto 278 296 287 47 29 319 321 143 133 388 170 254 .107 197 391 134 192 300 149 370 67 ART PUBLISHERS 79 Number of Picture Number of Picture Sistine Madonna Three Graces Titian 290 (Detail) Raphael 68 Tower of London 41 Sleeping Endynaion Guercino 295 Treaty with the Song of the Lark Breton 394 Indians Millet 398 Sons of the Painter Rubens 326 Triumph of David Roselli 298 South Porch of Twins Landseer 141 Erechtheum 13 Sphinx (Great) 1 Valley of the Sphinx from Tanis 198 Toucques Van Marcke 117 Spring Douglas 131 Velletri Athena 234 Spring Mauve 80 Venus of Mile 21 Spring Plowing Step Pyramid of Saqqarah Davis 129 Victory of Samo- 201 thrace View of Delft Vermeer 23 94 Stormy Day on the View of Haarlem Ruysdael 327 North Sea Stacquet 90 Ville d'Avray Corot 335 Stormy Sea Ruysdael 328 Vintage Lhermitte 340 Stratford on Avon 43 Vision of Saint Strawberry Girl Re:ynolds 146 Bernard Lippi 57 Sunset Corot 100 Surrender of Bur- Warren, Joseph Copley 365 goyne Tnunbull 193 Water Gate Van Marcke 402 Surrender of Com- Washington, George, wallis Trumbull 194 Athenseum Portrait Stuart 161 Syndics Rembrandt 87 Washington, George, Syndics, Detail No. Lansdowne Por- 90 Rembrandt 317 trait Stuart 366 Syndics, Detail No. Washington, Martha Stuart 162 91 Rembrandt 316 Washington Crossing the Delaware Leutze 190 Taj Mahal 28 Water Mill Hobbema 807 Temple at Edfu 6 Westminster Abbey 34 Temple of Isis, White Cow Dupre 103 Philse 7 Willem van Huy- Temple of Seti I, thuysen Hals 303 Abydos 204 William of Orange Van Dyck 330 Temple of Seti I, William of Orange Gurnah 211 (Detail) Van Dyck 93 Temple of Victory 12 Winter Douglas 130 Tennyson Arnault 174 Wood Gatherers ' Corot 101 There's No Place Wounded Amazon 236 Like Home Firle 397 Theseum 220 York Cathedral 37 Theseus 232 Young Bull Potter 84 Three Fates 17 Young Bull (Detail) Potter S14 Index of Artists Albanl, Francesco Alexander, John W. Andrea del Sarto Anker, Albert Antonella da Messina Arnault, M. Bachmann, Max Bastien-Lepage, Jules Bayes, A. W. Bellini, Giovanni Benozzo Gozzoli Benson, Frank W. Blackbin-n Blashfield, Edwin H. Bonheur, Rosa Bordone, Paris Botticelli, Sandro Boughton, Greorge H. Bouguereau, W. A. Braith, Anton Breton, Jules Brozik, Vacslav von Calame, Alexandre Canevari Carpaccio, Vittore Cazin, Jean Charles Constable, John Cooper, Colin C. Copley, J. S. Corot, J. B. C. Correggio Crivelli, Carlo Cm"ran, Charles C. Cuyp, Albert Daubigny, Charles Franyois Davis, H. W. B. Delaroche, Paul Douglass, Edwin Duplessis Dupre, Julien Diirer, Albrecht Earl, Maud English, Frank F. Eyck, Hubert van Eyck, Jan van Filippino Lippi Firle, Walter Fortvmy, Mariano Fra Angelico Fra Bartolommeo Francia, Francesco French, Daniel C. No. of Page 62 44 30, 61 69 61 50 60, 68 54 29,61 28 67 67 68 37, 65 32 29, 60 54, 68 69 41 69 68 m 37 30, 61 38 41,69 68 67 38, 65 31, 62 61 67 63 38,65 42 69 42 47 38 66 42 44 63 63 69 66 28, 60 61 61 52, 68 Gainsborough, Thomas Gentile da Fabriano Ghirlandajo, Domenico Gilsoul, Victor Giotto di Bondone Giorgione Gordon, Sir John W. Gorter, A, M. Greuze, Jean B. Guercino Hackasrt, Jan Hals, Franz Haueisen Herring, J. F. Hobbema, Meindert Holbein, Hans Homer, Winslow Hooch, Pieter de Hornby, Lester G. Houdon, Jean A. Inman, Henry Inness, George Israels, Josef Jacque, Charles Emile Jank, Angelo Johnson, Marshall Kaulbach, Hermann Landseer, Sir Edwin LeBrun, Vigee Lely, Sir Peter Lenbach, Franz Leonardo da Vind Lerolle, Henri Leroux, Hector Leutze, Emanuel Lhermitte, Leon A Longfellow, Ernest Lotto, Lorenzo Luini, Bernardino Maas, Nicholas Maccari, Cesare Madrazo, Raymundo D. Mantegna, Andrea Mauve, Anton Melozzo da Forli Michael Angelo Millet, Frank D. MiUet, J. F. Morellse, Paul Moroni, Giovanni Munkacsy, M. Murillo, Bartolome Esteban No. of Page 66 28, , 60 60 68 28 62 49 34 39: , 65 62 63 34, , 63 41 42 34, , 63 63 44 63 45 60 66, ,67 67 34 39, ,67 41 55 41 42 89, 65 63 41 31 39 69 55 65 48 62 61 63 67 65 61 35 29, 60 26, 30 69 89, 69 35 62 69 44.66, 69 ART PUBLISHERS 81 No. of No. of Page Page Nasmyth, Alexander 49 Staquet, Henrij 36 Norris, Elizabeth 45 Story, W. W. 60 Stuart, Gilbert 45. 46, 66, 67 Page, Walter G. Palma il Vecchio 67 32, 62 Tiepolo, Giovanni 62 Parker, Edgar 55 Tintoretto 32,62 Perugino, Pietro 61 Tischbein, Johann 66 Picknell, William L, 45 Titian 62 Piero di Cosimo 60 Troyon, Constant 40,65 Pinturicchio, Bernardino 61 Tryon, Dwight W. 68 Potter, Paul 35,64 Trumbull, John 46,56 Praxiteles 20,59 Turner, C. Y. 57 Turner, J. M. W. 43 Raphael Sanzio 31,61 Regnault, Henri Rembrandt van Ryu Reni, Guido Renouf, Emile 40 35,64 33 40 Valkenbtirg, Henri Van Dyck, Anton Van Marcke, Emile 64 36,64 40, 65, 70 Reynolds, Joshua Richmond, George Roselli, Matteo Rubens, Peter Paul Ruysdael, Jacob van 43,69 66 62 36,64 36,64 Velasquez, D. R. Velde, Willem van de Vermeer, Jan Veronese, Paolo Vischer, Peter Volkmann 70 64 37 32 26 41 St. Gaudens, Augustus 53,69 Vos Cornelius de 65 Schreyer, Adolphe 41 Sebastiano del Piombo 61 Walker, J. H. 43 Simone di Martino 60 Watts, George F. 43 Sodoma 62 Whistler, James McNdO 45 The Art Reader THERE exists in the schools an interest, which is constantly increasing, in the subject of art, and an earnest desire to become familiar with the great works in painting, sculpture, and architecture. This interest has shown itself in an effort on the part of the schools to acquire artistic reproductions of these mas- terpieces for the walls of the rooms, both for use as dec- orations and for study as objects of instruction. To aid in this study some art literature explanatory and historical seems necessary, and this Art Reader is pub- lished to supply in a measure this need. The Art Reader is not a text-book on the history of art, but is what its name implies, a reader that may be opened at random and read with pleasure and profit. "It seems to me a very good idea that the pupils of schools while reading for reading's sake should read about art and somewhat for art's sake. As the book comes to me now, with its handsome illustrations and good printing, and I am able to see it in its entirety, it seems worthy of much success, and I trust will have it," — Dr. John C. Van Dyke. The Art Reader has been prepared by Mr. P. E. Quinn, a member of the Parliament in Australia, who is in close touch with art education in the schools. It contains 167 pages of text, a valuable pronouncing vocabulary, and 53 full-page illustrations, all beautifully printed on good paper and bound in cloth. Price, $1.00 per copy. Teachers' price, 90 cents. School boards are requested to write for special quota- tions. The Art Reader will be sent on receipt of price to any one wishing to examine it, and if not desired money will be refunded if returned in ten days in good condition. A. W. ELSON & COMPANY 146 OLIVER STREET BOSTON April, 1911. <^ i ( rf % *** I ^