International studio (26.1905)

5*/.

Excellent in themselves, these paintings do not
share, in their nature and purpose, quite the same
interest that attaches to the decorative work proper.
The splendid modelling, too, of Daniel Chester
French and Edward C. Potter, in the recently
completed quadriga, and of Mr. French's figures
for the attic of the central pavillion, relates itself to
the marble exterior, answering quite a different
problem. In passing, it will be noted that the
windowless attic which these beautiful figures
adorn takes the place of the pediment found in
several important but less pleasing examples.
Though we know little of the Greek roof, the pedi-
ment certainly suggests an echo of the ridgepole,
and to pile a dome on top is much like clapping a
helmet over a bonnet. If the architect has given
the dome an unusually satisfying support, the
sculptors have made it possible to get rid of an in-
harmonious angular feature with enhanced grace.
But neither the sculpture nor the pictorial work is

"TRUTH" DANIEL CHESTER FRENCH
of agreement, and General Alexander Ramsay
near-by, while below to the left other chiefs are add-
ing their signatures. In the centre stands a barrel
of sugar water, a mild drink dear to the gullets of
these fierce negotiators, who were soon to break
out again into their disappearing mode of war.
The warm July sun strikes the figures in the fore-
ground and lightens the colour of the assembly as it
floods down here and there through the leaf canopy.
Mr. Volk's painting shows Father Hennepin
discovering the Falls of St. Anthony. The Indians
are a small hunting party he chanced upon at the
spot. He was accompanied by one white com-
panion, and had only recently succeeded in obtain-
ing leave to descend the river from the Sioux, who
had captured him after he had parted company with
La Salle. The painting, which measures about
eight by ten feet, is in old gold, brown, dull green
and rich blue.

DANIEL CHESTER FRENCH

XCII

"JURISPRUDENCE "