International studio (57.1915/1916)

In the Galleries

impressionist picture, we find the building listed
as a “bungalow of cottage type” whatever that
may signify. In looking through the wealth
of illustrations accompanying this little work,
one is impressed with two sensations, that of
pleasure to imagine that one can be a house-
holder for a mere thousand dollars, and then a
feeling of wonder that so much beauty and
ugliness can be planned by different members of
the same profession. Scattered about the pages
one sees faerie edifices of enchantment that might
be viewed from magic casements, and other
homes so repulsive in exterior that one marvels
at the types of people willing to inhabit them
even for a week-end. Quite recently passing
some charming cottages on a restricted property,
I noticed some abominations in course of con-
struction close by, and called the attention of a
lady in the party to this disquieting fact. “ Yes,”
she remarked, “those houses are detestably ugly
and vulgar; the people who buy or rent them
will be of the corned-beef-and-cabbage class as
opposed to their neighbours opposite who prefer
caviar.” Bluntly spoken, no doubt, but very
near to the truth.
The new edition is a great improvement on
the first and is further valuable for the contribu-
tion of Mr. Schermerhorn, besides many new
designs and illustrations including such heter-
ogeneous types of construction as camps, lodges,
and log cabins. A very pleasing design is a
bungalow at Omaha executed by Everett S.
Dodds, on p. 65. Page 25 reveals two very
attractive designs by C. E. Schermerhorn.
N THE GALLERIES
America has no intention because of
warring Europe and resultant misery to
forego its interest in the arts, an interest
which is somewhat dormant during the summer
months but which breaks out anew in company
with winter furs, hot chestnuts, and the activity
of the furnace. Already many exhibitions have
come and gone and more still are in course of
preparation.
A most prolific and uneven painter is C. Arnold
Slade who exhibited last month at the Art Club,
Philadelphia, and achieved a very notable success.
The fine gallery was filled with canvases, big and
small, sacred compositions, figure studies, land-
scape and marine, the subjects, as is his wont,

being culled from all quarters of the globe.
Particularly interesting are his Ogunquit studies
of rock and sea coast and some delightful solidly
painted types from Algeria. We reproduce on p.
xxxiv one of his larger compositions, where a vision
of the Saviour appears by the side of a fallen French
soldier on the battlefield. It is finely conceived,
but less attention to buttons, bootnails, and such
trifles would yield bigger results. Christ and the.
Money Changers is an immense composition
embracing some twenty figures, and on the whole
is a very creditable performance and full of
promise.


MLLE. LUCIE (PRISONER OF
WAR IN FRANCE)

BY ANNE
GOLDTHWAITE

The Folsom Galleries were fortunate to secure
a set of decorative panels in pastel by Carton
Moorepark, who, by a printer’s error in a great
daily, blossoms forth as Carbon. The highest
development of carbon, the diamond, is certainly
expressive of this unique exhibition of cranes,
adjutants, condors, vultures, and pelicans, which
one can assert, without fear of contradiction,
could only be the work of this artist.
Though very well known at all internationals,
it is a matter of surprise that he is not as well
known in New York as the Woolworth Building.
The rich neutral red background of the gallery
walls, combined with highly artistic framing,
form a joyous setting to these admirably com-

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