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.
pictures of the island city, and the “Whale Ship” is in his late style. There are some
wonderful water-colors by him on loan.

ARABS CROSSING A FORD. By Eugène Fromentin

The French School of the seventeenth and eighteenth centuries is represented

by pictures few in number, but excellent in quality. Boucher (boo´-shay), Largillière
(lar-geel´-yare), Nattier (nat´-ee-ay), Drouais (droo´-ay)—all these men show
amazing strength on the decorative side, and, always, exquisite taste. Chardin
(shar´-dahn) has a beautiful low-toned still-life, “Preparations for a Breakfast.”
David’s portrait in the Fletcher Gallery is a marvel of directness. In the Morgan
Wing there are eight decorative landscapes by Hubert Robert well worth looking up
in this connection.

Modern French Artists

Some of the modern French artists were appreciated by Americans before their
genius was recognized at home. Certainly the Modern French Section is one of the
strongest in the Museum. Romanticism, realism and impressionism are all to be
seen in the work of their chief exponents. An afternoon might profitably be spent
with the men of Barbizon (bar´-bee-zong). Corot’s (kor´-ro) poetic outlook upon
nature is plain in each of twelve landscapes. The “Lane Through the Trees,” with a
sense of cool shadow after the heat of a dusty road, is perhaps the best of them.
 ENGLISH LANDSCAPE. By Thomas Gainsborough

LANDSCAPE WITH FIGURES. By George Morland

Rousseau (roos-so) speaks a more rugged and direct language in the fifteen
subjects by him. The sober “Gorges d’Apremont (gorge da´-pre-mong); Evening,”
with a still luminous sky above the hills, is magnificent. Millet (mee´-yay) is
represented by the famous “Sower,” with its rhythm and swing, an almost equally
fine “Water-Carrier,” the impressive “Autumn” in the Fletcher Collection, and half a
dozen others. Dupré (dyu´-pray) and Diaz (dee´-ath) have good pictures, and
when has Troyon ever surpassed his superb “Holland Cattle”? Daubigny (daw-been
´-yee), though he comes a bit later, is usually associated with these men. There
are eight or nine of the subjects he used to find in punting about among the
streams and back-waters of the Seine (sane) and Oise (wahz)—how intimate they
seem!
 LADY WILLIAMS. By Ralph BOY WITH A SWORD. By
Earle Edouard Manet

The Museum is fortunate in owning a

number of pictures that are recognized as the
masterpieces of their respective artists.
Bastien-Lepage’s (bas-tee-en lah-pazsh´)
“Joan of Arc” is one of these. Realism?—yes,
but so combined with imagination that the
result is gripping. Rosa Bonheur’s “Horse Fair”
is one of the best-known pictures in the
Museum. Many are familiar with it in black and
white reproduction, in which it shows to good
advantage. The original painting is somewhat
disappointing in color. Meissonier’s (may-sone-
yay) “Friedland, 1807” is an example of his
careful brushwork, but is less successful than
some of his smaller panels that are shown in
the Museum. Regnault’s (rane´-yoe) “Salome,”
a daring harmony in yellow, shows the dancer
awaiting her reward from Herod. “Madame
LANDSCAPE. By Charles François
Daubigny Charpentier (shar-pen´-tee-ay) and her
Children,” by Renoir (ren´-wahr), is one of the
most charming groups to be found anywhere.
Renoir employed the methods of the impressionists, but he never allowed his
subject to become secondary to the medium—a thing his brother-impressionists
sometimes seemed to do. There are pictures by the other exponents of these
principles to speak for themselves, and some of them speak very well. Manet
(mah-nay) in the “Boy with a Sword” is following Velasquez to good advantage. A
portrait by Fantin-Latour (fahn´-tang-la-toor´) depicts the wonderfully sensitive
face of a lady in black. A turquoise brooch gives a piquant touch of color that is
repeated in the other jewels she wears. There are many other pictures that one
could ill afford to pass by—Couture’s “Day Dreams,” for example, and “Arabs
Crossing a Ford” by Fromentin (fro-mahn-tang), or the pictures by Delacroix (del-
lah-krwah), Courbet (koor-bay), Jacque (zshock), and Dagnan-Bouveret (dahn´-
yahn-boo´-ver-ray), to mention only the more important. Last, but far from being
least, is the group by Puvis de Chavannes (poo´-vee de sha-van´) to show the
power of that great mural painter.

American Artists
Naturally, American artists are
well represented in the
Metropolitan Museum. Nine pictures
stand sponsor for Gilbert Stuart’s
skill, and several are surprisingly
fine. Such work as John Singleton
Copley’s “Mrs. Bowers” and Stuart’s
“Mrs. Anthony” do not suffer from
comparison with the productions of
the English School of their time.
Indeed, Ralph Earle’s “Lady
Williams,” sometime previous to its FORENOON, ADIRONDACKS. By Alexander H.
purchase in London, masqued as a Wyant
Gainsborough! Its simplicity and
slightly awkward directness are
captivating. Do not fail to observe, however, that the table accessories are
exceedingly well painted. One of the most interesting of these early pictures is a
group of pupils in the studio of Benjamin West. As president of the Royal Academy,
his aid was sought by almost every American with any artistic ability who could
obtain passage money to London. Matthew Pratt, one of those whom West helped,
here shows him criticizing the sketch of one of a group. Prominent among the men
of the next generation is Morse, the inventor of the telegraph, but also a painter of
no mean order, and the author of good portraits of Henry Clay and De Witt Clinton.
Sully, another man of exceptional taste for his time, has ten pictures, including the
sketch for his portrait of Queen Victoria.
Nowhere else can the “Hudson River School”[4] be studied so well. To our eyes
these beginnings seem a bit hard and crude, but such canvases as F. E. Church’s
“Heart of the Andes” and “Parthenon” are really impressive. But most of these men
interest us today chiefly as the forbears of a later group. Inness, Wyant, Homer
Martin and Blakelock have only a point of view in common, and yet they form a
transition group that leads out of the “Hudson River School” to the landscape men
 of the present day. In no other
gallery is the work of these four
artists so well represented. In some
of the canvases the inspiration of
the Barbizon men is very apparent.
Inness succeeds best, perhaps, in
his oft-reproduced “Autumn Oaks”
or his “Delaware Valley.” Wyant’s
work is very even—“An Old
Clearing” is the best of his ten
pictures. Blakelock’s “Pipe Dance” is
fine in a very different way. Homer
Martin, perhaps the most
interesting figure of them all,
MARBLE QUARRY AT CARRARA. By John S. Sargent reached his highest level in the
“View on the Seine,” or as his wife
named it, “The Harp of the Winds.”
That picture may fairly claim to be the best-known and most loved landscape by
any American artist. His sight was almost gone when the last touches were added.
No less impressive, to some, is his “Sand Dunes, Lake Ontario.” All the
desertedness and barrenness of the dunes seem to have been caught and
expressed on his canvas.
[4] The Hudson River School of Art is considered at length in Monograph Six,
Mentor No. 136, “The Story of the Hudson.”
Sargent, Whistler, La Farge, Chase—all are here, and in many phases. Sargent’s
portraits are fine, but do not miss his water-colors, or his “Marble Quarry at
Carrara.” Winslow Homer was one of the first Americans to realize the possibilities
of the sea as a subject, and there are eight paintings by him, as well as a dozen
forceful water-colors. Carlsen, Dougherty (dock´-er-tee) and Waugh (wah) are sea-
lovers too. And as for the figure-painters, Dannat’s (dan´-nah) “Quartette,” Abbey’s
“Lear” and Mary Cassatt’s “Mother and Child” should not be omitted. Among the
landscapists come Twachtman and Tryon, Groll with his Arizona mesa, Lie with
“Culebra Cut” for his subject, and Ben Foster with a fine “Late Summer Moonrise.”
Here is a rich assemblage of American art.
 SAND DUNES, LAKE ONTARIO. By Homer Martin

SUPPLEMENTARY READING

THE ART OF THE METROPOLITAN MUSEUM OF NEW YORK By David C. Preyer

WHAT PICTURES TO SEE IN AMERICA By Lorinda M. Bryant
A HISTORY OF THE METROPOLITAN MUSEUM OF ART By Winifred E. Howe
Issued by the Museum.
CATALOGUE.
Issued by the Museum.
⁂ Information concerning the above books may be had on application to the Editor of The Mentor.
 THE OPEN LETTER

THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY

he story of the Metropolitan Museum of Art begins with an address by John

Jay before a company of Americans at a Fourth of July dinner in Paris in
1866. In the course of his address Mr. Jay stated that “it was time for the
American people to lay the foundation of a national institution and gallery
of art.” This suggestion commended itself to a number of notable American
gentlemen who were present, and who formed themselves into a committee for
inaugurating the movement. This committee subsequently addressed an appeal to
the Union League Club of New York City, urging the importance of founding a
permanent national gallery of art and museum of historical relics for the benefit of
the people at large, and suggesting that the Union League Club might properly
institute the means for promoting this great object.
Mr. Jay, on returning home from Paris, was elected president of the Union
League Club, and the letter from the committee came up for his own official notice.
The result was a meeting at the Union League Club on November 23, 1869, to
consider the founding of a museum, and a committee of fifty, made up of some of
the most distinguished men of the day, was appointed to carry out the project.
It is interesting to read today that the sum of money that the founders placed
before them as the goal of their ambition with which to establish this great art
institution was only $250,000—a sum $100,000 less than the present
administration’s expenses for one year. And yet this distinguished committee, after
more than a year’s effort, raised less than half of the desired sum—only $106,000.
Such, financially, was the modest beginning of the great Metropolitan Museum
which now, besides its extensive buildings and its priceless collections, has an
endowment for a purchase fund of over ten million dollars.
The idea of locating the art museum in Central Park originated with Andrew H.
Green, known as the father of that great park. From 1870 until 1879 the Museum
was housed, first on Fifth Avenue, and then on Fourteenth Street. The original
building, in Central Park, was completed in 1880, and was opened by President
Rutherford B. Hayes. Additions were erected in 1888, 1894 and 1902. Since then
more contributions have been made to the complete plan which, when realized,
will comprise a group of buildings that will cover an area of 18½ acres, and will
cost about $20,000,000. The architects were Calvert Vaux, then Theodore Weston,
Richard M. Hunt and McKim, Mead & White. The Museum had first to rely largely
upon voluntary service. This ended in 1879 with the election of a salaried director,
General di Cesnola. At his death, in 1904, he left a valuable memorial in the
collection of antiquities that he gathered together while United States consul in
Cyprus, and which includes over 30,000 specimens. A new era in the affairs of the
Museum began with the election of Mr. J. Pierpont Morgan as president. Under Mr.
Morgan’s presidency the Metropolitan became one of the richest museums in the
world, and on his death, in 1914, it received for exhibition his great collection of art
objects, valued at $50,000,000. Of this, the greatest private collection in the world,
a large part has now become the property of the Museum through the princely gift
of Mr. Morgan’s son, the present J. Pierpont Morgan, and is being installed by itself
in a wing called the Pierpont Morgan Wing. The Museum has been the recipient of
many large endowments, and many fine private collections. Notable among the
benefactors may be named three of New York’s most distinguished merchants, A.
T. Stewart, James A. Hearn and Benjamin Altman.
During its existence many of the most prominent citizens of New York City have
been connected in some active capacity with the Museum. The past presidents of
the Institution were John Taylor Johnston, Henry G. Marquand, Frederick W.
Rhinelander and J. Pierpont Morgan. Mr. Robert W. de Forest, for many years
secretary of the Museum, is now its president. Among the vice-presidents were
William Cullen Bryant, Andrew H. Green, General John A. Dix, A. T. Stewart, John
S. Kennedy, D. O. Mills, Joseph H. Choate, and others. The affairs of the Museum
were directed during the first years by General di Cesnola, then by Sir Casper
Purdon Clarke, and now by Mr. Edward Robinson.
Under the direction of the present secretary, Mr. Henry W. Kent, the history of
the Metropolitan Museum has been written by Winifred E. Howe, and published in
a luxurious volume of 360 pages. This beautiful book affords a most interesting
and instructive lesson in what can be accomplished in less than fifty years in the
development of a great art institution.
W. D. Moffat
Editor
 A Letter From Japan
I have been interested in The Mentor ever since a warm morning in June
four years ago when, as a delegate to the General Federation of Women’s
Clubs held that year in Chicago, I found in my seat a sample copy. “American
Sculptors” was the title of the number. I was delighted with it. I asked if it
would be all right to take some extra copies, and I was told “yes.” So I loaded
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the case. Every Mentor I brought was used in the best way possible, and many
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Fortunately my mother has been sending The Mentor to me. She began to
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I have been much interested in the letters that you have printed. No one has
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The foreign things shown in Japan are usually crude. With such a heritage of
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With every good wish for your continued success,
 F. ELIZABETH COLEMAN.
10 Hinoki Cho, Ahasaka, Tokyo.

The Mentor Association

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*** END OF THE PROJECT GUTENBERG EBOOK THE MENTOR: THE
METROPOLITAN MUSEUM OF ART, VOL. 6, NUM. 9, SERIAL NO. 157,
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