x 
* 
a 
be 
Conyregational church, 
chester, last Sunday evening 
e ‘‘Value of Fine Pietures’’. 
mong many other things Mr. Ruge 
A great picture gallery is a place 
elevating influences, a place of 
ibdued mystery. We instinctively 
el that we are in the presence of 
great master spirits that gave 
nel ete expression to their hopes 
id ideals. 
It is a place of courtesy and cul- 
re where few intrude upon the 
mtemplation of others by rude 
owding or conversation. With 
talog in hand and a keen desire 
discovery and pleasure the 
-owd moves reverently about as in 
sactuary, and the mere atmos- 
here is elevating. 
‘he unpracticed and inexpert ob- 
srver finds it difficult to compre- 
end the high aims of the artists at 
st and they are like awed child- 
m in a kindergarten in which the 
ictures are still beyond their con- 
tion. The untutored taste can 
aver appreciate the glories of art 
y more than an untutored child 
mn appreciate the wonders of know- 
sdge. They may influence and ef- 
et the mind in a subtle and unac- 
ountable way, but they cannot be 
iterpreted until after years of 
tudy has had its effect. 
Many, however, have gone to view 
he Frick collection that have a fine 
mowledge of paintings, artists and 
rt critics, and they are drawn from 
1 classes of society both native and 
foreign, poor and rich alike, as could 
eadily be seen, and all with a hun- 
er for the beautiful. 
The American public is being edu- 
sated by the increase of public art 
stitutions and free exhibits of 
masterpieces. Even public educa- 
tion is along this line. Many other- 
wise hard, practical men of affairs 
day have capacities for the high- 
st art. 
There is apt to be too much cri- 
ficism and contempt on the part of 
Juropeans for American interpreta- 
Hon and creation in art, for Ameri- 
“an capacity in artistic conceptions 
md spirit is as old as-it is in Europe. 
Besides Americans are not bound 
7 traditional names or dogmatic 
sonceptions, And some day there 
NORTH SHORE BREEZE 
& The Value of Fine Paintings 
will be an original American art re- 
cognized throughout the world sup- 
erior to any. Already the American 
artist and art are becoming famous. 
The American landscape paintings, 
unmatched for grandeur in the 
world, are arousing highest praise 
abroad. From the aboriginal life of 
America to its magnificent unfold- 
ing, it furnishes subjects that need a 
masterly interpretation all their 
own. 
It has long ago dawned upon 
America how important it is to de- 
velop and create a genuine interest 
and conception of art among the 
people. Wealthy men are even an- 
xious to make the public, in a meas- 
ure, sharers in their art treasures by 
such exhibitions as the Boston pco- 
ple have the pleasure of seeing this 
week. 7 
Many cities are today doing a fine 
work along this line and under the 
inspiration of the great need of edu- 
cation in art every city will soon 
have its great art center. 
The mind will hang pictures on 
walls of memory anyway. If I could 
swing open the galleries of your 
mind I would see on the walls of 
memory pictures that have been 
there since childhood and that will 
be there until death and perhaps be- 
yond. I would also see artists at 
work there today. How imperative 
then to see that the right kind of 
pictures and frescos are there. 
Everyone who has seen the fifty 
great paintings of the Frick collec- 
tion is laid under deep obligation to 
the man who has brought them from 
abroad and assembled them not only 
for his own pleasure but the plea- 
sure and profit of the public. 
The first painting that held my at- 
tention was that of ‘‘St. Jerome’’ by 
El Greco. To see this is to be held 
by the patriarchical expression of 
the ascetic with the fires of faith 
and fanaticism undimmed to the 
end. 
The next picture that attracted 
my attention was the portrait of the 
‘Hon. Elizabeth Hamilton’’, by Nat- 
tier. The artist has here certainly 
wrought a great spell in the combin- 
ation of beauty and sweet, lovable 
expression hardly duplicated in the 
fine collection of portraits here dis- 
played. 
fanchester Pastor Spoke in High Praise of the Frick Collection of Paintings in the Museum of 
Bs Fine Arts, Boston, and of the Spirit that Prompted the Free Exhibition. 
‘¢_- — — the sweet, half-solemn look 
Where some past thought was cling- 
ing. 
———a 
face 
Filled with 
grace’’. 
A portrait of Miss Byng, by Hopp- 
ner attracted attention by its vivid 
coloring, beauty and filmy lace. 
The ‘‘Woman sewing by a lamp’’ 
by Millet, considered by many the 
greatest work of this artist, is a sim- 
ple subject of a peasant woman sew- 
ing on a coarse garment by the light 
of a primitive lamp that throws in- 
to relief the woman’s face and the 
outlines of a child sleeping near. 
A Titian portrait of Pietro Are- 
tino attracted considerable atten- 
tion. Someone has said that he 
could do without all others but Ti- 
tians. 
The subject of the ‘‘Musie Les- 
son’’, ‘‘Henrietta, Countess of War- 
wick’’ by Romney, and Hals ‘‘Bur- 
germeister’’ all earned merited com- 
ment. 
The three Rembrants of which 
“The Polish Rider’’ was literally 
and figuratively the center of at- 
traction were continually surround- 
ed by the crowd. 
But of all the portraits Van Dy- 
ke’s masterpieces were easily in my 
individual estimation the greatest of 
them all. In ‘‘Franz Snyder’’ the 
artist portrays a simple refinement 
of expression that reveals the in- 
ward character. In ‘‘Canevari’’ the 
skill of refinement blends with per- 
sonal attraction. But in the portrait 
of ‘‘Marehesa Giovanna Cattaneo’’ 
the climax of the Van Dyke group 
is reached. 
Turner’s marine subjects are sim- 
ply superb. In the ‘‘Mortlake Ter- 
race’’ sunlight and shadow, shroud- 
ed in mere suggestions of mists, are 
effects that are marvelous. In ‘‘Ca- 
lais Harbor’’ the keynote to me was 
the light in a topsail as the ship 
rides before the wind and wave of 
the gale. But the ‘‘Van Goyan 
Looking for a Subject’’ beggars des- 
eription. The spectral shore and 
cathedral in the spectral light, the 
harbor boats, the gathering rain and 
clouds must be seen. 
Several pastoral scenes in minor 
tones and lovely silver grey lhghts 
have a charm not easily expressed. 
a fine, old-fashioned 
Continued to page 27 
