International studio (49.1913)

22

THE INTERNATIONAL STUDIO

March, 1913


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Fitted

BOAT DECK

I PROMENADf

PROMENADE DEC

BOTTOM

BOAT DECK

New York
Plymouth
Cherbourg
Southampton

AS WELL AS
DOUBLE
B OTTOM

White
Star
Line

MAY 24 JUNE 14 JULY 5
and regularly thereafter
White Star Line, 9 Broadway, New York
Offices and Agencies Everywhere

.tTO
______
PROMENADE |J

wit h. -
WATERTIGHT
BULKHEADS
EXTENDING FROM THE
BOTTOM to THE
TOP OFTHE HULL
THUS AUGMENTING THE
FLOTATION CAPACITY
and enhancing
TO THE UTMOST
THE SAFETY^ VESSEL
The New “Olympic” is the greatest produc¬
tion of the premier British shipbuilders*—
the highest achievement of their long and
fruitful experience in constructing many of
the largest steamers of recent years and in
her will be embodied everything that human
foresight has devised for the safety of the
passengers and crew.
Sailing from * *
NEW YORK 2A. UI 1

THE NEW OLYMPIC
Virtually “Two Ships in One




U. S. MINERAL WOOL CO., 90 WEST STREET, NEW YORK

SECTION
OF ROOF,
ALL AND

W
FLOOR, SHOW-
IN G USE OF
MINERAL WOOL

SHUTS IN THE WARMTH IN WINTER
SHUTS OUT THE HEAT IN SUMMER
KEEPS OUT DAMPNESS
CHECKS THE SPREAD OF FIRE
DEADENS NOISES
MAKES WALLS AND FLOORS PROOF
AGAINST RATS, MICE AND VERMIN
Sample and Descriptive Circular on Request

MINERAL WOOL
THE MODERN HOUSE LINING


Art Museums and Schools. Four lec-
tures by G. Stanley Hall, Kenyon Cox,
Stockton Axson and Oliver S. Tonks.
(New York, Charles Scribner’s Sons.)
$1.00 net.
Until quite recent years museums have
failed signally to be of any general educa-
tional value, their utility being confined
to a few connoisseurs, collectors and
students. This condition of things led
thoughtful people to consider how these
charnel-houses of literary treasures, these
art mausoleums, could be vitalized; how,
in short, co-operation between museum
and school could be accomplished. With
this end in view these lectures were held at
the Metropolitan Museum of Art and the
interest they awakened led to their being
published in book form. The pedantic
and pedagogic spirit which might be sus-
pected of lurking within these lectures is
carefully subdued and four polished essays
of classical value and interest show in
numerous ways and with numerous ex-
amples how the schools can harness the
museums and derive full benefit from them.
Interesting and suggestive instruction
finds its greatest aid in the museums.
For instance a sight of Borglum’s Mares
of Diomedes might be shown as illus-
trating Mazeppa’s wild ride. Millet’s
Water carrier might call up Wordsworth’s
Michael. Sculpture and architecture can
be visualized and can be made to show
the Greek spirit as well as, or better
than, the Greek language. Art must be
regarded as something living, not as
something in a. cabinet with a label on
it. All these lecturers concur in their
opinions that the museum habit should be
fostered, that an inexhaustible fund of
information lies to hand of the teacher
who will make use of these institutions.
The Letters of a Post-Impressionist
From the German by Anthony M.
Ludovici. (Boston and New York,
Houghton Mifflin Co.) $2.00 net.
It is impossible to read these intimate
letters without feeling the greatest admira-
tion for the man and for his ceaseless
efforts in the cause of his art. For twenty
years he plodded along in a titanic struggle
with ill-success and ill-health, the fight of a
strong will in a feeble body, added to
which was the galling knowledge that he
was practically the pensioner of his
brother Theodore who could ill afford the
strain but who was notwithstanding a
willing contributor to the end. His pic-
tures found no market and Vincent van
Gogh was not the man to truckle to the
public taste; he was an innovator, renova-
tor, subverter, revolutionary—call him
what you will—and painted along with the
conviction that some day he would be
understood and appreciated. Twenty
years have passed since his untimely end,
and people have been crowding to an
exhibition of modern art in New York
where the three biggest men are Van Gogh,
Gauguin and Cezanne.
These letters, excellently edited, are
translated from the French. They prove
his absolute sincerity and apart from their
interest as artistic essays they are human
documents of rare value. Not the least
interesting part of the work is an excellent
and lengthy appreciation by the translator
who has been at great pains to see the
original letters wherever possible.