EXPOSE 
 
 OF 
 
 EXCEPTIONAL 
 EXPRESSIONISM 
 
 Chicago Literary Club 
 
 February 28 
 
 1898 
 
Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 CARL!: Consortium of Academic and Research Libraries in Illinois 
 
 http://www.archive.org/details/catalogueofexpreOOchic 
 
CATALOGUE 
 
 OF 
 
 Expressionist Pictures 
 
 BY 
 
 MEMBERS OF THE 
 
 CHICAGO LITERARY CLUB 
 
 EXPOSED 
 
 in the club rooms 
 
 Monday Evening, February 28, 1898 
 
 and not to be spoken of 
 
 ELSEWHERE 
 
 LEST THE 
 
 DIGNITY OF THE CLUB 
 
 BE DEROGATED 
 
 CHiCAGO ] 
 HISTORICAL 1 
 SOCIETY 
 
 

 I hereby certify that all the pictures described 
 in this catalogue are original works. There are 
 no replicas. All are for sale. For prices, apply 
 at the desk. 
 
 Walter L. Fisher, 
 
 Chairman. 
 
 , ^O 
 
 DEACCESSIONED BY 
 
 CHICAGO HISTORICAL SOClETt 
 
 PRINTED COLLECTION'S 
 
A PRELIMINARY EXPRESSION. 
 
 That which is good, needs for the spiritually initiate 
 no demonstration; albeit to the unillumined soul it must 
 per force be oft times a by-word and a cause of stumbling. 
 This brief foreword, then, shall utter no note of apology, 
 no sound of labored argument. The rather shall it seek, 
 by discriminating analogy and subtile suggestion, to 
 enhance the perfection of goodness, to heighten the 
 charm of beauty, and to encourage the truly initiate to 
 discern goodness and beauty hidden in that which to the 
 unanointed eye is but commonplace and homely. 
 
 Already there have arisen those who have told the 
 English people that pcfetry is inherent in the life of the 
 peddler as well as of the prince, and that the turning of 
 an ass' ears on the pivot of its skull may quite as well 
 bespeak the sublime as does the rolling of the earth upon 
 its axis and the spinning of the stars along their pathless 
 paths. Sic Wordsworth over seas, and not less loudly 
 this side of the ocean Whitman, " the good gray poet," 
 with his tables of contents of towns, his catalogues of 
 show windows and his worship of the unwashed body. 
 
 Already there has been heard a voice from the wilder- 
 ness proclaiming the downfall of the " Crumbling Idols " 
 of the old world literatures with their classic warriors, 
 their medieval knights, their modern princelings and their 
 outlandish garb. Shall we longer pretend to read Homer, 
 to con Dante, to wade through Goethe, to enjoy Shake- 
 speare ? They are not of us or for us, cries this voice of 
 the wilderness; their ways are not our ways, nor are their 
 thoughts our thoughts; let us away with their epics and 
 
their tragedies, their tales and their romances ; let us at 
 length loudly forswear them — yea, and also their eternal 
 imitators who concoct diluted^classics, and who, when too 
 empty even to concoct a 6oth dilution, besiege us with 
 unnumbered essays in criticism and helps toward the 
 appreciation of the classics. Away with them all. Obli- 
 vion yawns for them, and because of them we also yawn. 
 Sic Hamlin Garland—'' our Ham," as Armour fondly 
 calls him. Has not his voice once and for all told us that 
 here in this new world we are to find our own subject- 
 matter for literature ? Not outworn myths, not fantastic 
 romances, but themes from the life about us. That the 
 " salt estranging sea" has freed us from the old world; and 
 not merely this, but that the Alleghany Mountains have 
 cut the west off from the east, that we of the middle west 
 are to grow our own literature on our prairies, to find it in 
 the cottages of our western towns, to discover it germinat- 
 ing in Chicago's streets, plethoric of plot and more pro- 
 lific of incident than our lake is of bacteria. And the 
 summation of this doctrine is that poetry is the idealiza- 
 tion of the actual {i. e., of the commonplace), and that 
 literature is the offspring of the local. Wherein "our 
 Ham " treads very close on the heels of Mr. Matthew 
 Arnold, who said, " Literature is the criticism of life." 
 But Ham would rather be switched than be told this, for, 
 if there is one thing that he despises more than another, 
 it is such second-hand and fossilized culture as is cher- 
 ished at Rugby and Oxford. 
 
 Nor is it less true that sculpture and painting are 
 proper media for the expression of the commonplace and 
 the local. To the spiritually initiate the good is seen 
 beneath the uncouth, and beauty coyly walks in homely 
 garb. The new world hath her own charms awaiting only 
 the anointed eye. Oh, most sapient Teufelsdrockh! Here 
 or nowhere is our America, if we could but see! If Italy 
 has her Tiber, has not Chicago also her perfumed river ? 
 If Rome has the ruins of her Colosseum, has not Chicago 
 the fresher ruins of its own ? If Athens has its crumbling 
 Parthenon, has not Chicago its county building? If 
 
 4 
 
Rome has its Appian Way lined with empty tombs, has 
 not Chicago its Cottage Grove Hned with empty flats? 
 If the Romans had their aqueducts bestriding the land 
 with mighty steps, have we not elevated roads straddling 
 our streets with iron feet ? If the Acropolis had its Tem- 
 ple of Vesta, emblem of modesty, nestling close to earth, 
 has not State Street its Masonic Temple, emblem of nerve, 
 frightening the skies ? If the ghosts of unsung tragedies 
 haunt the little morgue on the Seine, what tails have 
 been silently packed away in those stock yards abattoirs ? 
 Doth not the picturesque lurk behind every hoarding? 
 Do our streets not reek with beauty ? But where is the 
 apostle of local art ? Following " our Ham," many voices 
 have been raised, on farms and elsewhere, in the name of 
 local letters, but hitherto there lacks an effective voice 
 for the proclamation of this truth — that there are almost 
 inexpressible, hitherto undepicted, beauties in our west as 
 nature has made it, in our cities as we have made them, in 
 ourselves as we are (and are bound to be.) 
 
 The C. L. C. is cognizant of the need. The C. L. C. 
 has long been a pioneer in letters, in which field it has 
 sturdily maintained that golden silence praised so loud 
 and long by Carlyle. The C. L. C. further recognizes the 
 essential unity of art ; it well knows that the world's 
 great, from Angelo to Hop. Smith, have builded domes 
 or dams, writ sonnets or stories, drawn cartoons or drafts, 
 painted frescoes or landscapes. It has seen the vision, 
 knows the way, and will at any cost follow its nose. It is 
 therefore in the pursuance of this plain duty to the plastic 
 and pictorial arts that the C. L. C. to-night turns aside 
 from literature and invites candid and serious contempla- 
 tion of its first exhibition of native art. Its members have 
 themselves wielded the brush, the crayon, the point, the 
 pen, the chisel ; they have assiduously sought beauty in 
 back streets and up alleys, along the river and in the 
 mart, and wherever the busy hum of humanity indicates 
 that human destiny is in the making. For when human 
 action and local color are lovingly portrayed, then, and 
 then only, shall we have true art, a genuine expressionist 
 art. 
 
 5 
 
Even a casual observer will note a wide range of style, 
 for the expressionist painter is not the slave of any tech- 
 nique or the mechanical product of petrified schools with 
 withering formulae. Everywhere the keen observer will 
 note that the emphasis is to be placed on the choice of 
 and the expression of the idea. Poetry has been defined 
 as " truth fused by the fire of emotion " ; so the plastic 
 and pictorial arts may most fitly be defined as " the con- 
 fusing of beauty by the fire of individual thought," and a 
 work of art as " a spiritual theme that has been cast by 
 the white heat of the artist's thought in a tangible, con- 
 crete form — a sort of visual-ideal red-hot." Studied in 
 the light of these definitions and this foreword, the pic- 
 tures placed on exhibition to-night will offer no difficulty 
 to the aforesaid illumined soul. 
 
CATALOGUE 
 
 Leake, Joseph Bloomfield 
 
 Born, Iowa, when very young^. Studied in the famous school 
 of Napoleon. Medal of Honor in 1850, for Extraordinary Pre- 
 cocity. 
 
 I. DESIGN FOR A CLUB EMBLEM. 
 
 '' This superb design fills a long- felt want. Especially 
 should it be commended to the pious consideration of the 
 younger members of the Club, whose disposition to drag 
 down the solemn traditions of our venerable past by 
 ignoble and unseemly levity cannot be too strongly repro- 
 bated." Slason Thompson. 
 
 Fiske, George Foster 
 
 Born in the springtime. Studied at the Chicago Athletic Asso- 
 ciation, the Presbyterian Hospital, and on the Onwentsia 
 lyinks. A promising Disciple of the School. Author of the 
 well-known book, "The Everlasting Aye, the True Basis ot 
 Art." 
 
 2. AN OPERATION. 
 
 " This work can justly be classed with the masterpieces 
 of modern realism. In it the painter portrays himself in 
 the act of performing an entirely novel operation on the 
 
eye-ball, viz.: Golforotomy. The bulbus is exposed, the 
 ingeniously constructed Golfotome is ready to do its bloody 
 work. That the fearless surgeon will hole out is not to be 
 doubted. He is indeed an ornament to his sex." 
 
 Edwin James Gardiner. 
 
 High, James Lambert 
 
 Pupil of Isaac Walton. Author of " The Landscape Lover's 
 Handbook," also of "Critique on the Ars Poetica of Horace." 
 
 3. THE SEATS OF THE MIGHTY. 
 
 A DESIGN FOR A BOOK COVER. 
 
 " Doubtless no better index is afforded to the breadth 
 and elevation of public taste in Chicago than the fact 
 that a busy fisherman like James L. High should desert 
 the breakwater at Fourteenth Street for a season and de- 
 vote himself to the designing of book-covers. And with 
 what signal success in this unexpected field ! How charm- 
 ing the conceit ! What fine disposition of the masses ! 
 How adequate the rendering ! In my whole India pil- 
 grimage I saw nothing more excellent, though I travelled 
 fifty thousand miles and delivered forty-nine lectures." 
 
 John Henry Barrows. 
 
 Jones, David Benton 
 
 Claims to have been a pupil of Carol us Duran, and to have been 
 fond of Munich secessionists and Pschorrbrau. 
 
 4. PORTRAIT OF GEN. GEORGE W. SMITH. 
 
 (1863.) 
 "The artist has gotten down to his subject and has 
 used his colors vividly ; but we cannot furnish literary 
 light and heat gratis, even for soldiers." 
 
 AZEL FaRNSWORTH HATCH. 
 
Dauchy, George Kellogg 
 
 5. PORTRAIT OF CAPTAIN ALEXANDER C. 
 McCLURG. 
 
 (1862.) 
 
 '' This picture shows great technical skill in the use of 
 colors and proper subordination of details to the theme. 
 The finely chiseled features portrayed compare well with 
 those older heroes, the Dearborns." 
 
 Daniel Goodwin. 
 
 Waterman, Arba Nelson 
 
 Pupil of Blackstone and Buddha. Also has travelled in For- 
 eign Lands. 
 
 6. PORTRAIT OF HENRY V. FREEMAN. 
 
 (1863.) 
 
 " The artist shows a symptomatic diathesis, indicating 
 a determination of the circulation to the capitibranchiates. 
 This exposes a high order of genius." 
 
 Henry Payson Merriman. 
 
 Locke, Clinton 
 
 Born,— well, no matter when. Studied,— well, no matter about 
 that either, as it is doubtful. Professor of Biblical Anectodiana 
 in the Western Theological Seminary, Prairie Avenue. 
 
 7. FIRST COMMUNION. 
 
 " This picture shows a fine intuition and delicate sym- 
 pathy strangely at variance with the well known austere 
 and ascetic character of the artist. The central fore- 
 ground of the picture shows much taste and is touchingly 
 depicted." William Wallace Fenn. 
 
MacVeagh, Franklin 
 
 Pupil of Tom Nast. Studied with Dexter Bros, and with the 
 National Bill Board Advertising Co. 
 
 8. RIENZI, THE TRIBUNE OF THE PEOPLE. 
 
 A CARTOON. 
 
 " This is a vile piece of drawing or I am no anatomist; 
 and the motive is as bad as the technique. I am short on 
 the history of Rienzi ; but I seem to remember in a vague 
 way that he sold out the people or something of the sort. 
 I can't, for the life of me, see why so capable a man as 
 MacVeagh doesn't learn to draw people. By the everlast- 
 ing grippe, I would, if I had as much sugar and molasses 
 and leisure as he has ; if he'll come to me I'll write him a 
 prescription for it." Frank Billings. 
 
 S}4. "EASY LIES THE HEAD THAT WINS RE- 
 RENOWN." 
 
 " The chiaroscuro is wonderful, the figures stand forth 
 from the gloom with rare luminosity, and the work is full 
 of atmosphere. But I can't, for the life of me, see why 
 MacVeagh doesn't choose a subject that has something to 
 do with civil service or the municipal voters' league." 
 
 Edwin Burritt Smith. 
 
 Freeman, Henry Varnum 
 
 Born in Gettysburg, Penn., July i6, 1S39. Studied at West 
 Point and Antietam. Elected President of the Expressionist 
 League, 1S97. 
 
 9. GLIMPSES OF OLD COLONY LIFE. 
 
 ''Perhaps the Judge thinks that the incident so admir- 
 ably depicted was so purely a colonial one that no reason 
 is of necessity indicated for the infliction of the punish- 
 ment. If so his historical accuracy is to be questioned, 
 
CHICAGO I 
 
 t 1 1 <:> -f- -^i tT' ! "^ A ! 
 
 sr . _ \ 
 
 for we have known even in our own early days (and this is 
 corroborated by a reference to our father) that such a form 
 of discipline had not become extinct. We think that the 
 Judge would, however, have issued a writ of error, a habeas 
 corpus, or at least a stay of proceedings, if the case had 
 been more thoroughly and judicially investigated." 
 
 Henry Sherman Boutell. 
 
 lo. APPOLINARIS. 
 
 " The painting is fine ; that cannot be gainsaid. But 
 the title given to it by the artist is most absurd. I shall 
 never believe that Appolinaris had anything to do with it 
 until 1 have some real proof." J AMES L. High. 
 
 Otis, Ephraim Allen 
 
 II. PORTRAIT OF GEORGE KELLOGG 
 
 DAUCHY. 
 
 (1863.) 
 
 "The background of this picture is superb, but some- 
 what too much cumbered with details. Especial notice 
 should be taken of the delicate blue tints." 
 
 Pliny B. Smith. 
 
 McClurg, Alexander Caldwell 
 
 Pupil of Detaille. Student at Fisher's Garden and the Colum- 
 bian Museum. Easily the Foremost Military Painter of the 
 North Side. 
 
 12. THE TAKING OF LUNGTUNGPEN. 
 
 " It has rarely been the case that men of great military 
 experience have been likewise painters of military scenes. 
 This happy combination is found but once on the North 
 Side, and in the person of my distinguished fellow- citizen. 
 Gen. McClurg. It is not strange that so brilliant an officer 
 should have been captivated by so dashing an exploit as is 
 
here depicted ; but I fancy that an attraction even more 
 subtile led to the selection of this scene. Scarcely in the 
 entire Union armies was there another officer so immacu- 
 late in appearance as Gen. McClurg, and never, I believe, 
 in all military history was a hazardous enterprise pushed 
 to so triumphant a conclusion by so immaculate a band of 
 soldiers — ' ivry wan av thim,' as Private Mulvaney said, 
 'clad like Vanus herself.' It is not for me, a disciple of 
 Steuben and of Blackstone, little skilled in the niceties of 
 artistic rendering, to criticise this great painting on its 
 technical side. But even to the inexpert its masterful 
 quality is manifest. None but an artist of consummate 
 imaginative quality could have conceived so perfectly an 
 unvisited foreign scene. None but an artist with excep- 
 tional literary talent could have depicted so happily the 
 town of Lungtungpen. The colors are as natural as Ca- 
 bot's shingle stains ; the water is unmistakable, and the 
 Venus-like aspect of the soldiers is rendered with a touch 
 worthy a Praxiteles or a Taf t. I sincerely hope that some 
 millionaire member of the C. L. C. will purchase this 
 masterpiece and present it to the Club." 
 
 Ephraim a. Otis. 
 
 Furness, William Eliot 
 
 Pupil of Shadrach and Meschack. Graduate student at Har- 
 vard Annex. First Medal at Steenth Annual Conclave of the 
 Brotherhood of American Sign Painters. 
 
 13. PORTRAIT OF MAJ. GEORGE L. PADDOCK. 
 
 " I had to rub my hands with delight at this striking 
 likeness; but really it is very fearsome in its heroic grand- 
 eur, and my suggestion is a sip of weak tea to brace your 
 nerves before viewing this counterpart of the ferocious 
 chieftain, whose fiery eye is one of the characteristic de- 
 tails of the product of the Furness in which the work was 
 wrought. The horse on which the Major should be 
 mounted escaped from the Paddock during the sitting, so 
 
does not appear on the canvas. The violent colors of this 
 artist are too exhausting for a long view, so I advise you to 
 pass quickly to some restful theme like Washington's 
 serene countenance." Thomas Dent. 
 
 Paddock, George Laban 
 
 14. PORTRAIT OF MAJOR WILLIAM ELIOT 
 FURNESS. 
 
 " This is cute — very cute. A cocky young chap. The 
 portrait is good, though the coloring is sombre. Taken as 
 a whole it is a peach." Martin D. Hardin. 
 
 " A soldier true — in blue. 
 Does it appeal to you ? 
 
 Why not ? 
 Should those who risked their lives 
 And relatives of wives 
 Be e'er forgot." 
 
 Alexander C. McClurg. 
 
 Pond, Allen Bartlit 
 
 Bom in Ann Harbour. Lit out for Chicago when his legs 
 grew long enough. LLL-D. (Long-legged Literary Dabster), 
 Michigan. 
 
 15. ANCESTRAL RECOGNITION. 
 
 " It gives countenance to an un-American, and, there- 
 fore, highly reprehensible sentiment, but the colouring is 
 a dream of delight." Edgar A. Bancroft. 
 
 Barrows, John Henry 
 
 16. THE LIGHT OF ASIA. 
 
 " From the far East it comes serene and mystic, teach- 
 ing the truth of beauty, and the beauty of truth. Our 
 
 13 
 
Western artist caught the spiritual nature of the cultured 
 ethical, as well as the color style of the Orient." 
 
 William M. Salter. 
 
 Greeley, Samuel Sewall 
 
 17. A SUN SURVEY. 
 
 "A splendid subject, typically Western and full of 
 resonant colour. Not satisfied alone with a survey of 
 earth, our artist reaches out to the great orb of the heavens 
 and triangulates it to our complete aesthetic satisfaction, 
 making it commensurate with the needs of our two million 
 eager souls. What grand lines ! The straight horizon 
 and the endless curve which only a metric system could 
 measure! It is, indeed, elemental ! Art can go no further. 
 Science in harmony with art or the marriage of the 
 straight line with the curve finds its poetic realization in 
 this truly touching canvas." Frederick Greeley. 
 
 Fay, Charles Norman 
 
 Graduate of Vassar. Pupil of Lord Chesterfield. Frequent 
 Honorable Mention by the world's fair. Highest Medal for 
 Decorative Design at Exhibition of Chicago Woman's Club, 
 
 18. THE GENTLE HUNTER. 
 
 '' What a vivifying sense of human range and possibil- 
 ity we feel when such an accomplished chevalier as Mr. 
 Norman Fay turns aside from the conduct of great indus- 
 trial enterprises and from the enticements of the beau 
 monde, and in the fullness of his manhood sets his face to- 
 ward art, in search of another, and this the highest, world 
 to conquer. And of a truth he shall conquer. He has 
 but to bend to the expressing of beauty the same deft 
 touch with which he laid pipe and strung wires, and the 
 victory is his. Behold, too, how wisely he chooses his 
 
 14 
 
theme from the actual ! What a fetching quality has this 
 charming canvas ! How beautiful the sight of this gentle 
 Hunter going forth in the glow of his youth and in the glad- 
 someness of the springtime ! What manner of game seeks 
 he ? The mating birds are not afraid ; the rabbits dance 
 about in glee ! How now ! See I right ? Oh, maid, be- 
 ware ! the gentle Hunter comes ! I thought I was beyond 
 all that ; but, hang me, I've the confoundedest notion to 
 set out to-morrow on a similar hunting !" 
 
 George H. Holt. 
 
 Glessner, John Jacob 
 
 Fellow of Oshkosh Society of Fine Arts. Honorable Mention 
 at Baraboo for " Ruth " and " Harvest Home." 
 
 19. PORTRAIT OF PRESIDENT HARPER. 
 
 ''There is an elegance and grace about this portrait, 
 which, taken together with the breadth of treatment shown, 
 makes it a masterpiece. The intimation of the life work 
 of the portraitee is so delicate and unobtrusive that it does 
 not detract from the general effect by too great realism ; 
 and yet it is clearly suggested that money is the standard 
 oil for the wheels of universities. 
 
 Walter Cranston Larned. 
 
 Taylor, Thomas, Jr. 
 
 Born in Madagascar, 1865. Pupil of Kamehameha the Second. 
 
 20. UTOPIA. 
 
 " The true meaning of Utopia is that state or condition 
 which we all want, and how well the artist has indicated 
 this want every man of us can testify. His delicacy of 
 feeling, too, in leaving to each one's imagination (imagina- 
 tion is emblemized by the parasol) the exact condition de- 
 
 15 
 
picted, is true art, whether it is better to be about to kiss, 
 to be kissing or to have kissed once with such a cinch on 
 the subject that you can kiss again, shows us the highest 
 pictorial art well tempered by a divine philosophy." 
 
 MuRRY Nelson, Jr. 
 
 Rosenthal, Julius 
 
 studied with the "Spread-Eagle Photo-Engraving Co.," and 
 the "Terre Haute Chromo-Lithographic Pub. Co." 
 
 21. PORTRAIT OF EDWARD G. MASON IN HIS 
 LIBRARY. 
 
 "I always suspected that Rosenthal had talent of some 
 kind." Selim H. Peabody. 
 
 "The legal acumen of the painter is shown in his ap- 
 prehension of the fact that, in writing history, time is not 
 of the essence of the contract." 
 
 George A. Follansbee, 
 
 " Mason ought to patent his double-automatic roller 
 device." James H. Peirce. 
 
 "Wait, James Joseph 
 
 Pupil of the Chicago Manual Training School (where his 
 draughtsmanship in the upper registers was considered espe- 
 cially effective.) 
 
 22. MY BARQUE IS ON THE HIGH SEA. 
 
 "James J. was successfully raised in his father's studio, 
 and is one of that notable family of heavy Waits who do 
 everything on an immense scale — whose work is always 
 high pitched. This canvas is no exception to the rule. 
 There is in it a universality of sentiment and a soundness 
 which appeals to the human passions, especially when it 
 
 i6 
 
steals upon one in the (otherwise) silent watches of the 
 night. That dainty barque dancing so lightly and grace- 
 fully on the ethereal waves of sound — and yet tugging 
 under restraint, presents the entire problem of human 
 destiny, and makes one to wonder if ever he sausage meat 
 for reflection in the work of any other artist. There might 
 be unfolded the special tail which lies at the bottom of 
 this special subject, but space forbids and you have your 
 imaginations with you." Henry H. Belfield. 
 
 Burnham, Daniel Hudson 
 
 student of Greece and Rome. Chief of Construction, and 
 Medal awarded, World's Columbian Exposition, Chicago, 1893. 
 IvI,. D., Prince-j^ard ; D. D., McCormick Semetery; Professor of 
 Poetry, Artinstitute, Chicago ; G. O. M. of Architecture, by 
 general acclaim. 
 
 23. THE LOVERS; OR, SENTIMENT IN ARCHI- 
 
 TECTURE. 
 
 '' Into this composition has crept (for I believe the art- 
 ist in this ' builded better than he knew ') a delicious sen- 
 timent which may be described as the 'very ecstasy of 
 love.' The representation of manly strength and inde- 
 pendence and womanly grace and tenderness is exquisite 
 beyond the power of words to express, and can be realized 
 only in massive unrelenting iron and stone and yielding 
 clay and iron, all fused in the artistic crucible of one who, 
 sleeping or waking, has drunk in through the pores of his 
 epidermis the poetry, the love, the light, the very essence 
 of beauty, until his very essential being is in soak. Carp- 
 ing critics say this artist is not poetical, but I say that he 
 is nothing if not poetical. In hoc signo vincit." 
 
 Joseph L. Silsbee. 
 
 24. A MIRAGE. 
 
 All hail, Father of the White City, another triumph 
 crowns thy brow with laurels ! 
 
 What breadth of effect — what knowledge of values — 
 
 17 
 
subordination of self — restraint and true artistic modesty 
 characterizes this, Mr. B.'s latest and best ? 
 
 It is, as it were, a composite photograph, in color, re- 
 vealing to the educated eye the best of the Patton, Mont- 
 gomery Ward, Ellsworth, and other choice designs which 
 are available (not being copyrighted). It is in the formal 
 Italian style, relieved by a profusion of statuary designed 
 with the chaste chisel of a Donatello, and colored with 
 the brush of a Luccadella Robbia. 
 
 There is one pathetic feature about this design to be 
 noted. Mr. Burnham has presented to the Lake Front 
 the choicest specimens of the trees around Chicago that 
 he has known, and with tears in his eyes has trimmed 
 them to the shapes the plan demanded. He has also en- 
 dowed the city with the cow seen in the foreground, which 
 is the very one that has so long, to the joy of Evanston, 
 browsed on his front lawn. What greater self-abnegation 
 has the world seen ! Louis H, Sullivan. 
 
 *' No longer seek in foreign climes 
 
 For nature's beauties, mountains, trees, 
 We have them here beyond all times. 
 By far more grand than over seas. 
 What waste of waters, ceaseless waves ! 
 
 What towering peaks snow-capped — in black ! 
 And when the stranger comes and raves, 
 We'll get all our assessments back." 
 
 Charles Norman Fay. 
 
 25. SOME TREES AROUND CHICAGO. 
 
 (Photographs ) 
 
 The Christmas Tree, 
 The Golf Tree, 
 The Boodle Tree. 
 
 " These beautiful photographs will not surprise those 
 lovers of nature who are in the habit of exploring our lanes 
 and by-ways. The first of the three was imported many 
 
 18 
 
years ago and still continues to thrive and bear fruit an- 
 nually. The second is a most hardy exotic, which flour- 
 ishes excellently when grafted on native saplings. The 
 third is indigenous to the soil, and such a rapid grower that 
 it threatens to root out all other forms of vegetation within 
 the city limits before many years are past. 
 
 N. B. — What I don't know about trees isn't worth 
 knowing." John V. Farwell, Jr. 
 
 Wait, Horatio Loomis 
 
 Educated in Paris, where he was employed in divers capacities 
 in the studios of eminent Marine Painters. Studied under 
 Apollonaris Waters, R. A., where his style gained its sparkling 
 and effervescent characteristics. 
 
 26. A NAVAL SCENE. 
 
 '* The artist has aptly caught the rollicking, reeking 
 power of the natural elements. He has breathed upon 
 canvas the spirit of the deep. The belly in the sail shows 
 to a nicety the direction and force of the wind. The keen, 
 questioning glance of the eye at the foretop suggests even 
 to those who do not habitually * go down to the sea in 
 ships,' the possibility of nautical dangers, the sunken 
 reefs (in the sail) and the submerged rocks. This effort 
 alone would entitle the artist to rank as one of the great 
 three-masters of marine painting." 
 
 LORING W. MESSER. 
 
 Smith, Edwin Burritt 
 
 Pupil of Diogenes. Gold Medal, 1896, for portrait of Mr. Wm. J. 
 Bryan. I,ibel Suit, 1S98, for a study called Hinky Dink and 
 the Bath House. 
 
 27. A PALPABLE HIT. 
 
 "■ The artist has depicted fine action, and the compo- 
 sition shows great dignity in treatment. The weakness ot 
 
 19 
 
the picture is in the subject rather than the execution. 
 High art requires no tale to be told, and tilting at wind- 
 mills is an old story." NORMAN Williams. 
 
 Johnson, Herrick 
 
 Pupil of David. Honorable Mention for his distilled water- 
 colour. Author of brochure, "Actresses Whom I Have Saw." 
 
 28. MY IDOL. 
 
 *' Positively entrancing; delicious in rendering ; charm- 
 ing in color ; a thing of beauty, instinct with life." 
 
 Daniel L. Shorey. 
 
 29. LIBRARY OF THE CHICAGO LIKERARY 
 
 CLUB. 
 
 ''This picture is a water color on the classic lines that 
 Mr. Johnson so faithfully learned from his great French 
 (not Hebrew) master. If any body likes this kind of 
 picture, why, then, this is just the kind of picture he will 
 like. But it is entirely foreign to the spirit of this exhi- 
 bition, and I must protest against the implication which it 
 is likely to convey to the outside public. I am sure that I 
 have seen no such lay-out at the C. L. C. in the past two 
 years." ROBERT Toddy Lincoln. 
 
 Pond, Irving Kane 
 
 Pupil of Augelo and Wrenn (now dead); has been known to 
 speak well of the works of these gentlemen and oi Ictiuus 
 (who also is dead). Kleve du Gymnase Y. M. C. A., where he 
 received a black eye and other decorations at the January 
 Salon, 1898. 
 
 30. AN ELIZABETH-ANN MANSHUN. 
 
 " This is the principal expose of one of our most notori- 
 ous painter-architects. While as a picture it may be a 
 
work of art, as an architectural composition it is a flat 
 failure. The fenestration is frivolous, and the massing 
 mountainous. The pattern in the frieze is too warm in 
 tone and besides it is misplaced. It would be more appro- 
 priate under a bay window or just above the underpin- 
 ning. Manshun! why shun? Why not ^pity-then em- 
 brace ? ' That is the attitude of the public toward archi- 
 tecture — not pity, but embrace — swallow with relish any 
 truck, however tasteless. Elizabeth-Ann ! Wherein lies 
 the appropriateness? Why not, rather, Yvette-Susanne ? 
 Pooh, Pooh, Pah ! Clarence A. Burley. 
 
 Stirling, William Robert 
 
 Born in Cork, Ireland, 1872. Pupil of Sir William Bessemer. 
 
 31. A. B. P. IN GOLF. 
 
 " Na siccan Sir Walter hae the Scott speered so 
 mickle. In bukes he is and noo in golf. 'Tis a sonsie 
 bairn ye hae anent ye. Hoot mon. Fore ! Fore ! " 
 
 Thomas D. Jones. 
 
 Silsbee, Joseph Lyman 
 
 Kducated at the Syracuse Kindergarten and Grammar Schools; 
 later pupil of the Universal Lumber Co., and of the Edgewater 
 College of Golf and Decorative Art. 
 
 32. SENTIMENT AND SOLIDITY. 
 
 A cartoon. 
 
 '• It is impossible to fathom the real significance of this 
 production. In all my experience on the drainage canal 
 I never saw such a drawing. I will willingly submit to a 
 jury of my fellow-citizens that the floral emblem is stolen 
 from the worthy Secretary of the C. L. C. in plain viola- 
 tion of the copyright laws. The lettering N.W.N. B. K. 
 and the several words seem to form a cipher ; and the 
 money bags, the shadowy female and the two hearts are 
 undoubtedly symbolical. It will be necessary to submit 
 
the bordereau to a board of experts before attempting to 
 explain it. But I fear that it is the mask of some deep 
 villainy, having its origin, perhaps, in some diabolical 
 Spanish plot. The fact that it purports to come from an 
 architect serves rather to enhance my suspicions. Archi- 
 tects are, beyond peradventure, a very scaly lot." 
 
 George E. Uawson. 
 
 Perkins, Herbert Farrington 
 
 Expelled from Sheffield Scientific School. Dishonorable 
 Mention, Paris, 1890. Refused admission to Amsterdam and 
 Havana. 
 
 33. FAMILY SECRETS. 
 
 "Exquisite, but premature and exaggerated." 
 
 Rudolph Matz. 
 
 Scott, Frank Hamline 
 
 student at Zuni Pueblo and Milwaukee. Pupil of Joseph 
 Schlitz and Hiram Walker ; shows also the influence of An- 
 heuser-Busch and Glen Lyon. 
 
 34. DESIGN FOR A POSTER. 
 
 " Well now, isn't it a Buster ! " 
 
 Horace S. Oakley. 
 
 34>^. A SNAKE DANCE, 
 
 "I know all about art; I'm what they call a conny- 
 shure; and I tell you candidly that this is the greatest 
 work exposed in Chicago since that Belgian collection was 
 auctioned off over in Studebaker's building. George Holt 
 and I saved that collection to the city. This Snake Dance 
 is true expressionism ; see the intensity of feeling depicted 
 by so few lines ; it has the gruesome power of that Russian, 
 Veryshockiug. The Munich symbolists are weird to a de- 
 gree ; but they aren't in it with Scott, or I'm no judge. If 
 
this picture were to be put up at auction, I would buy it 
 for the Union League Club bar room; I would 'pon my 
 honor." JOHN BARTON Payne. 
 
 Hutchinson, Charles Lawrence 
 
 Pupil of Pharaoh, Jr. Late of Karnac. Step-father of the 
 Chicago Art Institute. Honorable Mention, Roma, 1S94. 
 
 35. THE FATHER OF HIS COUNTRY. 
 
 *'It is a relief to find a satisfactory picture of Wash- 
 ington without the hatchet, cherry-tree, or rear elevation 
 of a horse ; but the effect of the artist's Egyptian research 
 is very apparent. Too much grave robbing among the 
 tombs of the Pharaoh's has left its impression upon his 
 technique." Martin A. Ryerson. 
 
 Hyde, James Nevins 
 
 student of Ecole de Medecine. Rue de I'Ecole de Medecine, 
 Paris, France. Pupil of Henner. Bougereau and Skinner. 
 Leather Medal expected at Exposition Internationale at 
 Morocco in 1920. 
 
 36. APOLLO FLAYING MARSYAS. 
 
 "A work remarkable for vigor of handling and for well- 
 balanced composition. We note the masterly treatment 
 of detail for which Mr. Nevins Hyde is famous ; and yet 
 all details are carefully subordinated to the main theme. 
 At first blush one is surprised at the choice of a mytholo- 
 gical subject ; but the scientific modernity of the treat- 
 ment reconciles us; and moreover Mr. Nevins Hyde in his 
 selection of subject has unconsciously illustrated two deep 
 spiritual laws, — the unity of art and the subtile influence 
 of heredity and kinship. The Nevinses stand for the 
 highest conception of the ballad ; and Mr. Nevins Hyde 
 is drawn by occult sympathy to find in the contest of 
 Apollo with Marsyas a prophecy of the ultimate destruc- 
 
 23 
 
tion of the Chas. K. Harris school of ballad music. When 
 ^ it comes to technique and execution, Mr. Nevins Hyde is 
 right up in G ; the precision of his attack is admirable ; 
 he has produced in this work a symphonic poem in color 
 worthy to rank with Tschackowsky's 1812. I think, how- 
 ever, that he ought to undertake something more essen- 
 tially American — something, for instance, in the old dog 
 Tray line." Frederic W. Root. 
 
 Aldis, Owen Franklin 
 
 Shows no signs of having been educated and no evidence ot 
 repentence. 
 
 37. A SKY SCRAPER. 
 
 " The treatment of the subject lacks originality. The 
 monumental proportions are fairly preserved, but the ped- 
 estal is too large for the central figure. Its chief merit is 
 its faithful representation of the artist in his favorite act 
 of foozling." Slason Thompson. 
 
 Fullerton, Charles William 
 
 38. PORTRAIT OF GENERAL LEAKE. 
 
 " The importance of the executive department in the 
 last appeal known to mankind is well expressed in this 
 determined countenance. Would that pure primaries and 
 civil service reform had the support of such men. 
 
 John H. Hamline. 
 
 Shortall, John George 
 
 studied abstract art at an early age. Pupil of Howard. Au- 
 thor of " The Horse Heaven, a Homiletic." 
 
 39. THE GIRL I LEFT BEHIND ME. 
 
 ''This requires an explanation." 
 
 Cyrus H. McCormick. 
 
 24 
 
40. AN APPARITION. 
 
 "No such delicacy of touch in rendering the beauty 
 and appeaUng helplessness of infancy could be expected 
 of the artist from any former example of his work. He 
 would rather be expected to treat this subject in severe 
 style." Irving Kane Pond. 
 
 Jackson, Huntington Whistler 
 
 Bom at Red Bank, Dak. Studied in Pullman Paint Shop. Fa- 
 vorite pupil of R. J. Gunning (the inventor of the system). 
 Medal of Honor at Stock Yards for daring use of pigments. 
 
 41. GETTYSBURG. 
 
 *'The chief difficulty in painting battle pictures is to 
 combine the detail necessary to excite individual interest 
 with a broad enough view to convey a general idea of the 
 field of conflict. Colonel Jackson is to be congratulated 
 upon getting all that there was of Gettysburg upon his 
 canvas. There is something in the bearing of the chief 
 figure of this picture which reminds me of the one bestrode 
 by my great namesake." Frank H. Scott. 
 
 Lathrop, Bryan, of Graceland, Esq., Gent. 
 42. DESIGN FOR A HEAD STONE. 
 
 " My friend Lathrop is a globe-trotter of the first mag- 
 nitude. What he can't tell you about Japanese women 
 isn't worth knowing. It's a queer fad, though— this fad 
 he has of designing tombstones for his friends. But he's 
 a good one at it, and his designs go right along with the 
 Taj -Mahal every time. There is always such an intrinsic 
 fitness about his designs that even Fred Hild can usually 
 tell what he is aiming at. My brother owns a Venetian 
 palace, and I'm naturally a good judge of design — sort of 
 caught it like malaria — and I think this one is a daisy. 
 By the way, the other day I asked Frank Head how he 
 
 25 
 
justified his historico-literary fabrications, and he only- 
 laughed and sang this stanza : 
 
 " It doesn't matter what you do, 
 If your art is true; 
 And my art is true to Poll." 
 
 Owen F. Aldis. 
 
 Starr, Merritt 
 
 Pupil of Diaz and Vonnoh. Shows some traits of the Fitzsim- 
 mons-Corbett school. Award of Merritt on his first appear- 
 ance. Frequent subsequent mention, complimentary and 
 otherwise (mostly otherwise) . 
 
 43. AN IDYL OF THE FIELDS. 
 
 "This picture appeals to me strangely; it makes me 
 think of Lake Geneva, of the homely joys of rural life, of 
 the lowing herds, and of the milkmaids. I never saw 
 ' idle ' spelled that way before ; but every one knows that 
 cows and pigs are idle beasts. I never made much money 
 in cows, but I know cow color when I see it ; and th s 
 color scheme is all right; it shows that this young man is 
 in the very forefront of the luminist school, a real advance 
 agent of the spectrum bill-poster school of art. I am told 
 that the personality of the artist is somewhat marred by a 
 vanity that is shriller than Whistler's; but one can pardon 
 vanity to Merritt, and I'm going to help this young chap 
 along— the fact is, if I can find the cow he copied that 
 picture from, I'm going to buy it— the cow, I mean, not 
 the picture. I believe in fostering the arts." 
 
 Nathaniel K. Fairbank. 
 
 43X. DESIGN FOR BOOK PLATE AND SEAL 
 FOR THE C. L. C. 
 
 " They say an honest confession is good for the soul. 
 Well, then, bless my soul, but I don't see any Merritt in 
 this design. It might do for branding Pribilof seals, but I 
 can't imagine any one using it for a book plate." . 
 
 George R. Peck. 
 
 26 
 
Payne, William Morton 
 
 Pupil of Sappho and Rossetti. Student of Newspaper Slang. 
 Medal of Honor at the International Exhibition of Carica- 
 tures, Stockholm, 1896. 
 
 44. THE DIAL, 
 
 "A grand and lofty portrait, gothic in its simplicity 
 and elevation of motif, and with a face so lucid in its ex- 
 pression that he who runs may read ($2 per annum in ad- 
 vance). Its benignity seems to say, but with no suggestion 
 of real pain, ' Tick dollar owe ! Tick (two) dollar owe ! ' 
 ' with true editorial solicitude.' The artist is to be con- 
 gratulated on having so timely a subject and upon the 
 objective manner in which he has encased it. (See Rolston 
 for estimates)." William S. Oppenheim. 
 
 Lrloyd, Henry Demorest 
 
 A widely cultivated artist, who learned the distinction between 
 truth and falsehood in the Tribune office, mastered the science 
 of statistics with the Standard Oil Co., and pursued the study 
 of cosmology at the Yerkes observatory ; honorable member 
 of the Ancient Order of Dilatory Hod Carriers ; associate mem- 
 ber of the Amalgamated Federation of Labor Shirkers ; some- 
 time pupil of Carl Marx, and himself the author of numerous 
 oft-quoted remarks. 
 
 For example: "All is not gold that glitters." "The 
 laborer is worthy of his beer." " Bottled evolution developes 
 latent heat and results in revolution." "Art should be the 
 hand-maid of humanity." "Environment moulds man, but 
 men may mould environment, and by stealing a march get 
 the better of fate— Q. E. D.", etc., etc., etc. 
 
 45. THE WORLD AS I SEE IT. 
 
 "It is a surprise to me that the kunst-bild fest com- 
 mittee did not hang the painter instead of the painting. 
 Every freeborn American child, educated in the noble 
 common schools that we so generously provide for the 
 children of our fellow-citizens, knows that the world looks 
 no more like that than it does like a like a 
 
 27 
 
like a toadstool, I must acknowledge that the dis- 
 contented sullen expression on the mechanic's face is quite 
 realistic ; such people never think of being thankful that 
 the attraction of gravitation keeps them from falling ofit 
 entirely and getting their just deserts. If this is the 
 'beauty of local color' that Hutchinson talks about, I 
 prefer Bougereau. This rubbish about the poetry of the 
 commonplace and the tragedy of the actual is distinctly 
 anarchistic and socialistic in its tendency and ought to be 
 suppressed." Albert A. Sprague. 
 
 Blatchford, Eliphalet W. 
 
 Sometime student of the Ecole de Beaux Arts de West Side. 
 Author of " The World's Three Great Libraries," etc. 
 
 46. SUGGESTION FOR A LIBRARY BUILDING. 
 
 "This daring 'projet' fills me with astonishment and 
 admiration. How simple, how courageous, how fitting, 
 how inevitable ! And yet it should have been foreseen 
 that the great modern commercial communities would 
 discover a wholly new type of library building in harmony 
 with the environment and the communal life. And what 
 motive so appropriate as that of a shot-tower — according 
 as it does with the necessity for the economy of land, and 
 with the industrial idea and with the sky-scraping idea ! 
 We have herein merely the full evolution of the stack 
 motive developed naturally and in perfect harmony with 
 local conditions. This building expresses in tangible form 
 the essential principles of the new art." 
 
 Clement W. Andrews. 
 
 Brown, Edward Osgood 
 
 Graduate of the " School of Experience. ' ' Pupil of Blackstone 
 and Henry George. Diploma at North Side Turner Hall- 
 Honorable Mention at Hull House. 
 
 28 
 
47. SINGLE TAX— A VISION. 
 
 " Heretofore my friend Brown has only done still-life 
 subjects — cabbages, chestnuts, and the like ; now, feeling 
 the pulse of the market, he has joined the ranks of the 
 aggressive group who seek to depict life it its more vital 
 phases. In this '' Vision " he has at a single bound reached 
 the acme of pictorial art — namely, the portrayal of a 
 repose implicit with the prophecy of immediate action. 
 The doctrine that art should suggest more than it tells, 
 cannot possibly be carried to a higher degree of perfec- 
 tion. It makes it perfectly clear that, when Brown gets 
 the single-tax theory squarely under the public notice, the 
 issue cannot longer be avoided. I strongly hope that the 
 crisis may be avoided until I have a chance to protect my 
 interests ; just now I am exceeding busy puncturing the 
 civil service regulations and patching the currency sys- 
 tem." Lyman J. Gage. 
 
 Dent, Thomas 
 
 Pupil of Ulysses S. Grant. Also studied under Joseph Hooker 
 and Rufus Choate. 
 
 48. TRIAL BY WAGER OF BATTLE. 
 
 " It is impressive to see how the humanities struggle 
 for mastery in this incomparable picture. The grace of 
 movement suggested is equaled only by the artist's deli- 
 cacy in coloring. It is a pleasure to see such work. 
 
 Adolphus C. Bartlett. 
 
 Nelson, Murry 
 
 Born on a farm in New Jersey. Pupil of Horace Greeley. 
 
 49. HARVEST IN CHICAGO. 
 
 ''This is the kind of picture I like. It really means 
 something." Chales H. Hulburd. 
 
 29 
 
''This delicate bit of genre chiaroscuro, by Mr. Murry 
 Nelson, is one of the gems of this exhibition. It is in- 
 tensely impressionistic in conception and at the same time 
 sternly realistic in execution. The aerial perspective is 
 boldly treated, although as a whole the composition is 
 somewhat lacking in action. Mr. Nelson is probably the 
 finest exponent of the Indiana avenue school, which has 
 produced so many works of sterling merit. He will per- 
 haps be best remembered for his historical work of some 
 years ago, entitled, "Squeezing the Shorts." 
 
 " Mr. Nelson is sometimes a trifle too sentimental and 
 imaginative in his work, but this is probably the effect of 
 the school with which he associates himself. It is impos- 
 sible to escape this tendency with such tender, aspiring 
 souls as N. K. Fairbank and Norman Williams. 
 
 Charles D. Hamill. 
 
 Green, Oliver Bourne 
 
 Professor of Music and Drawing in the Calliope Academy, Cook 
 County. The great number of his sails reputed to be due to 
 the artistic quality of his work as well as to his pull with the 
 ship owners. 
 
 49^. SPRING LANDSCAPE. 
 
 "This canvas, meo judice, is absolutely stale, flat and 
 unprofitable. The green is not the real Paris green, but 
 a sort of bastard mixture of Chicago river water and ver- 
 digris. O. B., your drawing may be all right, but hang 
 your music and your color." Chas. S. Holt. 
 
 49%. MARINE. 
 
 "This genial artist has long stood in the front rank of 
 our local marine painters, and keeps a warm place in the 
 public heart. The picture which Mr. Green sends is not 
 one of his best, as it is certainly somewhat lacking in spirit, 
 although it is painted intelligently and with a certain 
 
 30 
 
vigor. He knows his river as few painters do, and his 
 treatment of the flesh tints in the water is admirable ; it 
 might almost be said that he had realized the painting of 
 odors. 
 
 "The treatment of tugs and mudscows is perhaps a trifle 
 too severely realistic. There is, however, plenty of atmos- 
 phere of a certain sort in the picture ; indeed, it is difficult 
 to avoid this in paintings of this locality. 
 
 "Mr. Green will always be remembered for his delight- 
 ful studies in tug- whistles and smoke."' 
 
 Edward G. Mason. 
 
 Farr, Marvin Andrus 
 
 Pupil of Euclid. Member of Humboldt Park Academy of 
 Design and the Real Estate Board. Honorable Mention on 
 manv vacant lots. 
 
 51. COUNTRY LIFE. 
 
 Scene in Sec. 32, Town 47 N., Range 13 West. 
 "Very promising." Uavid B. Lyman. 
 
 McPherson, Simon John 
 
 Pupil of Calvin. Studied also under Shakespeare and Ibsen. 
 
 52. THE PROMISED LAND. 
 
 "A glorious conception. Here is my dream of the 
 future completely realized. Art can go no further ; poetry 
 is not equal to the expression of such fervent passion ; 
 paint alone, in the hands of a great master, can adequately 
 portray our visions of the world to come." 
 
 Emil G. Hirsch. 
 
 31 
 
Holt, George Hardwood 
 
 Born in the Backwoods once upon a time. Pupil of Sawyer. 
 Also studied under Von Schlaussenheimer. 
 
 53. OUR PERMANENT SECRETARY. 
 
 "This speaks for itself." 
 
 Charles G. Fuller. 
 
 '^ In all my large experience I never surveyed such a 
 wretched attempt at portraiture ; I could do a better job 
 on a fence with a transit. I should think that this sort of 
 painting would properly take rank just about ten thousand 
 miles below city datum. But then who could do justice to 
 Gookin ? Perhaps I may, when I have surveyed my title 
 clear to the heavenly hill of art." 
 
 Samuel S. Greeley. 
 
 Sullivan, Louis Henry 
 
 Born in Benares, Septembers, 1356. Reincarnated in Boston 
 three centuries later. Pupil of the Ecole de Bozar, Paree- 
 Later studied under himself. 
 
 54. DESIGN FOR CHAIR. 
 
 "This is Dr. Sullivan's latest work. It might be well 
 named the Apotheosis of L. H. S. To design a chair for 
 time ! What well deserved luck ! And what perfect har- 
 mony with its surroundings is exhibited in its pure and 
 chaste design. Well may Fame deserve a rest. But the 
 eager multitude still clamor for more, and, as you may 
 note, there are more to be had. He simply throws them 
 off. N. B. — The costume that Mr. S. wears on this occa- 
 sion is that which he has designed for his semi-tropical 
 home in the South." Williaivi Morton Payne. 
 
 55 AN ARCHITECTURAL POEM. 
 
 " In this masterly design we have what every compe- 
 tent judge will recognize as a completely successful 
 
 32 
 
attempt to give organic and poetical expression to the 
 affairs of daily life in this generation. Note how cleverly 
 the national colours are worked into the entrance arch- 
 way. Then observe the novel yet chaste and lovely arab- 
 esques (Turkabesques, Mr. Sullivan calls them), which 
 form the frieze and redeem the facade from the uncom- 
 promising severity that would otherwise make it common- 
 place." Daniel H. BuRNHAM. 
 
 Zeisler, Herr Professor Joseph, M. D. 
 
 Graduate in philosophy at Heidelberg, in medicine at "Vienna, 
 in music at Berlin, in art at Chicago. Now bacteriologist in 
 chief to Mrs. Honore Palmer, queen of the North Side, and to 
 Miss Jane Addams, queen of the West Side. [N. B.— The 
 South Side is an Ochlocracy and has no queen.] 
 
 56. A CARTOON BACTERIOLOGIQUE. 
 
 A Bacillus pictoris. ' 
 
 This little beast shows at a glance its true nature. 
 Unlike many other bacteria, it requires years for its full 
 development. Among the chief symptoms which it causes 
 are color blindness and astigmatism. The poor victim 
 loses all sense of perspective or of anatomical truth. Now 
 at last we have an explanation for such manifestations of 
 art as the impressionist school, notably that of Glasgow. 
 
 B Bacillus poeticus. 
 
 This parasite is responsible for one of the most virulent 
 diseases of the social body, which has been' called in Ger- 
 many " Dichteritis," or might be termed " Mania scriba- 
 toris." Pure cultures of it can be found among the 
 followers of what is known as the realistic school, viz.: 
 Zola, Ibsen, Maeterlinck, Chatfield-Taylor and others. 
 
 C Bacillus musicalis. 
 
 This is only a representative of a large class of sinister 
 micro-organisms. There is hardly a household in which 
 
 33 
 
the species, B. pianensis, is not found. It is specially 
 destructive to the eardrums of innocent neighbors. The 
 other variety, B. chordatus or violinensis, is less frequent, 
 but equally pernicious. The B. mandolinatus is chiefly 
 found inj nooks and corners at social affairs, during the 
 summer in boating and other excursions. A specially 
 virulent form is the B. musicalis programmatus. It is 
 found in composers of the type of R. Strauss and F. Root. 
 
 D Bacillus aldermanicus. 
 
 This pernicious parasite has been long felt in Amer- 
 ican politics before being discovered. It causes the dis- 
 ease known as " Aldermania," of which the majority of 
 the City Council appears seized. 
 
 E Bacillus golfophilus— s. wheatonensis. 
 
 This club-shaped bacillus has developed in our litera- 
 ture only within the last few years, but has caused one of 
 the most mfectious and catching diseases, Golfomania. 
 This disease is found in its most acute form at Wheaton, 
 wherefrom the name of the parasite. Even doctors are 
 not immune against it, viz., Fiske. 
 
 " The crude disciples of the elder art have depicted 
 death scenes galore, Rembrandt even progressed so far as 
 to picture a group of surgeons watching an anatomist at 
 work. But it has remained for the Herr Professor Zeisler 
 to put the capstone to the arch of beauty by finding a 
 theme for pictorial art in the bacteria that pre-occupy us 
 as the ether pre-occupies space. Here is the veritable 
 Ultima Thule of Art ; here local color and the idealizing 
 of the scientific are alike pushed to the farthest verge — 
 far be it from me to say, quite pushed off into the limbo of 
 unideality. This is a proud day for the medical profession 
 of Chicago, for to-day and forever Taft and Zeisler shall 
 walk arm and arm down the corridors of time." 
 
 Emilius C. Dudley. 
 
 34 
 
French, William M. R. 
 
 Born in Concord, N. H., 1833. Pupil of Bougereau. 
 
 90. PORTRAIT OF ALLEN B. POND, DRAWN 
 FROM THE BUST BY LORADO TAFT. 
 
 "A musical dream." Joseph Adams. 
 
 Peirce, James Harvey 
 
 Non-resident member of the C. L. C. by patent-right; now of 
 Reikiavik. Head-Scald to His Majesty, Christian of Denmark. 
 
 92. PORTRAIT OF I. K. BOY'S SON. 
 
 " Worthy of any old master." 
 
 Abram M. Pence. 
 
 McCormick, Alexander Agnew 
 
 studied at the Philadelphia Post-office and the Wanamaker 
 Academy of Advertising and Fine Art. First-class Medal for 
 his $3.00 Sunsets. Honorable Mention for deportment at the 
 Marquette Supscription Dances. 
 
 100. ST. GEORGE AND THE DRAGGING. 
 
 "Thus does history repeat itself. Here at P^t. Sheri- 
 dan, on the shores of the inland sea, we find the old legend 
 of St. George re-enacted." Edward G. Mason. 
 
 " This picture is a dandy. It shows that true art is, in 
 its last analysis, quite independent of composition, draw- 
 ing and color. For though this work has none of these 
 elements, it is abnormally beautiful." 
 
 W. M. R. French. 
 
 loi. SLASON THOMPSON, A PORTRAIT. 
 
 "This explains itself and also the degradation of the 
 press." John J. Schobinger. 
 
 35 
 
Long, James H. 
 
 Educated at home and shows it. 
 
 102. PORTRAIT OF JOHN G. SHORTALL. 
 
 "A home product which does not need protection." 
 
 George E. Adams. 
 
 Gookin, Frederick William 
 
 Formerly of Tokio ; said to have descended from Fuji-san, the 
 central figure in Japanese art. 
 
 103. JAPANESE IDYL. 
 
 " It was to be expected that Mr. Gookin would show 
 his usual clever brush work and his high mediocrity of 
 idea ; we were prepared for unity and simplicity and ex- 
 quisite color. But this ! We never expected this of 
 Gookin!" William T. Belfield. 
 
 Young, Kimball 
 
 Bachelor of Arts. Sometime fellow of the Kirkland School. 
 
 104. GENERAL LEAKE AT STONE RIVER. 
 
 ''This striking work is characterized by great vigor of 
 execution, and shows the free, dashing style of Mr. Young 
 at ^its best. It is, however, plainly one of his earlier pro- 
 ductions and lacks the suave pencil of his later years. 
 Why Gen. Leake was never hung before we do not know ; 
 but he well deserves it." Walter M. Rowland. 
 
 Root, Frederic W^. 
 
 studied at South Kensington (one and one-half miles from 
 Pullman.) Pupil of Allegro Alia Zingara, of Adagio Molto, 
 and of the original Allegretto. Diploma of Honor for " Danse 
 a la Scherzo " and " Downfall of King Cole." 
 
 36 
 
no. RESOURCES OF MUSICAL EXPRESSION. 
 
 '' This picture is exceedingly attractive to me because 
 of its faithfulness in the rendering of values ; I have 
 found this quality very rare in the artists whom I have 
 met during this recent period of depression. And, espe- 
 cially worthy of note, this picture keeps up the interest on 
 long acquaintance — a very sure test of high excellence." 
 
 Elbridge G. Keith. 
 
 III. THE REAL AMERICAN MUSIC. 
 
 (A BASE CONUNDRUM.) 
 
 " Why is this the real American music ? Because it's 
 hard to beat." William R. Harper. 
 
 ''Why is this drum like the Hydra? Because the 
 more you knock it on the head the worse you are off." 
 
 Louis J. Block. 
 
 "Why is the drum like the Chicago Literary Club ? 
 Because it has a great head." Herbert F. Perkins. 
 
 '■'■ Well, why did Root paint such a measly picture any- 
 how? He did'nt. 'Twas George Holt." 
 
 F. W. GOOKIN. 
 
 Ingolf K. Boyesen. 
 
 Graduate of the School of Jonah. Pupil of Zorn. 
 
 112. DISCOVERY OF AMERICA BY THE VIK- 
 INGS. 
 
 " A gold medal should be awarded Ingolf K. Boyesen 
 for this magnificent canvas, in which he has, in such a 
 masterly way, represented his Viking ancestors discover- 
 ing Rhode Island — the smallest State in the Union — 
 "yeahs and yeahs and yeahs" before the dastardly Span- 
 iards were able to discover such a large place as South 
 America. What archeeological accuracy ! What faith- 
 
 37 
 
fulness in detail ! Note the triumphant attitude of the 
 proud man in the prow (supposed to be one Ingolf) and 
 the majestic demeanor of the stern man in the stern (sup- 
 posed to be one Boyesen) and the absent look of the man 
 below deck (supposed to be one K) ! What sublimity of 
 conception ! What superbity of execution ! This is the 
 real art-icle ; there are absolutely no flies on this picture. 
 
 Henry W. Blodgett. 
 
 McCormick, Cyrus Harvester 
 
 studied in the Blue Island Academy of Design. Pupil of 
 Gates and Millet. Prix de Chicago for " The Reaper's Dream," 
 1890. Gold Medal for "Haystack a la Monet," 1S93. Honor- 
 able Mention for " The Old Mill," 1897. 
 
 120. GOLD PRODUCERS IN THE KLONDIKE. 
 
 "Conspicuous for breadth of treatment and for faith- 
 ful preservation of values. Exceptionally successful in 
 rendering distance so that it shall lend enchantment to 
 the view. Picture marred, if we may so put it, by too 
 great self-consciousness, recalling the saying that 'one 
 who travels always sees that which he brings with him 
 from home.'" ARTHUR D. Wheeler. 
 
The following works were rejected by the Vigilance 
 Committee : 
 
 "Shem and Japhheth" . . Henry M. Bacon 
 ''The Man in the Malle- 
 able Iron Mask" . . . Edward P. Bailey 
 
 *' My Partner" Henry M. Bates 
 
 "Postmortem" .... Nathan S. Davis, Jr. 
 
 "Symphony in Gangrene". Henry B. Favill 
 
 "Landscape with Coal" . James W. Ellsworth 
 
 " Spoiling the Child " . . John C. Grant 
 
 "A Joke" Franklin H. Head 
 
 "Bringing Home the Bride" Blewett Lee 
 
 "A Cracker" Frank O. Lowden 
 
 "Plate o' Frogs" (Koaks) . Paul Shorey 
 
 "Lot" Dunlap Smith 
 
 "Bust of A. B. Pond" . . Lorado Taft 
 
 39 
 
PRESS OF 
 
 ROGERS & SMITH CO, 
 
 1*8-54 MONROE STi 
 
 CHICAQO 
 
phi