Dulwich College Gallery. A collection of more than 300 paintings of various schools bequeathed in 1810 by Sir Peter P. Bourgeois.

Manchester-City Art Gallery. Opened 1883. A valuable gathering of modern British paintings, with other art objects.

Oxford University Galleries and Ashmolean Museum. Here are shown a valuable body of paintings on drawings, notably the drawings of Raphael and Michel Angelo, and extensive collections of art objects and antiquities, particularly Egyptian.

HOLLAND

Amsterdam-The Ryks Museum.

Founded in 1808, and installed in its present building in 1888. This fine collection of pictures is almost exclusively made up of Dutch and Flemish masters of the seventeenth century, but is deficient in the primitive art of the Netherlands.

--The Municipal Museum. Established as a district museum in 1895, and devoted to contemporaneous painting, chiefly Dutch.

Dordrecht-Museum. Founded in 1842, but of importance only since the Dupper Bequest of 1870. It is rich in the painters of Dordrecht and vicinity, and associated with it is the Ary Scheffer Museum, devoted to the work of that Dordrecht artist.

Haarlem-City Museum. Contains many works of the local school, and is notable for the important corporation groups by Frans Hals.

The Hague-Royal Gallery in the Mauritshuis. Based on the old collections of the Kingly House of Orange, and organized as a public museum in 1816. Rich in Dutch masters of the seventeenth century.

Municipal Gallery. A modest collection of modern Dutch artists, with local corporation groups and minor art objects.

Leyden-Municipal Museum. Founded 1869. Contains paintings by Leyden artists, portraits and other paintings and objects connected with the history of Levden.

Rotterdam-Boymans Museum. Founded in 1847 by the gift by Boymans of his pictures. It was largely destroyed by fire in 1864, but it has been recreated, and has an extensive collection of Dutch and Flemish painters of the grand period, with some modern Dutch art. Utrecht-Archiepiscopal Museum, and Museum of Antiquities. Contains chiefly ecclesiastical and mediæval art objects, carvings, etc.

ITALY

The Italian art collections are among the earliest in Europe, although many of the public museums were organized in the nineteenth century. In most Italian towns, the town itself, with its palaces, and in particular its churches, is an art repository more interesting than its museums. Many towns beside these detailed below have local museums of much interest. Among these may be named, Bologna, Brescia, Cremona, Lucca, Mantua, Modena, Padua, Parma, Pavia, Perugia, Pisa, Pistoia, Pompeii, Sien, Urbino, Verona, and Vicenza.

Bergamo-Accademia Carrara. Rich in the local schools of painting in north Italy. Here are the collections of Morelli and the Galleria Loches.

Florence-Uffizi Gallery. These collections date back to the early sixteenth century. Gradually most of the art treasures other than paintings have been transferred to other Florentine museums. It is very rich in the Italians and the schools of the Netherlands.

Pitti Gallery in the Palazzo Pitti. Founded as a separate collection about 1640, like the Uffizi Gallery from the assembled treasures of the Medici family. It contains chiefly Italian pictures.

- Academy of the Fine Arts. A historical gathering of early Florentine art, but other schools are well represented, with modern Italians.

Monastery of San Marco. A museum of the religious painting of Fra Angelico and others of his class. - Museo Archeologico. Early Italian art objects in immense collections, metal and stone work, carvings, and ecclesiastical art.

National Museum. Similar collections. Carved work, terracotta, sculpture. Cathedral Museum. Contains chiefly pictures, sculpture, and decorative objects removed from the cathedral and churches, including the singing gallery of Della Robbia.

Genoa-Palazzo Rosso. Given to the city in 1874, with good Van Dycks and Italian paintings. In other palaces of the nobility, to some of which the public have access, are similar treasures. Among these are the Palazzo Bianco and Palazzo Durazzo-Pallavicini. Milan-Pinacoteca or Galleria di Brera. practically about 1805, and largely developed from pictures derived from the secularized religious establishments. Rich in the Lombard and other north Italian schools, including the Venetian.

Founded

Archeological Museum. Contains ecclesiastical and historical art objects, sculptures, etc.

Municipal Museum. Early Italian pictures and art objects. Founded 1874.

Museum Poldi-Pezzoli. Bequeathed to the city 1879. Pictures, arms and armor, and other objects. Naples National Museum. Founded about 1790, and based on the royal collections, the Farnese Gallery, and the excavated treasures. It is very rich in ancient marbles and other plastic art, terracottas, vases, medals, glass, etc. The gallery of paintings is chiefly Italian, strong in the Southern schools.

Rome-The Vatican. The residence of the Popes, and the storehouse of their vast possessions in ancient and modern art. The Vatican is a complex of museums and collections, rich in ancient sculpture, Egyptian, Etruscan, and Roman antiquities, gems, coins, vases, tapestries, with Italian paintings of the first order. More famous then all else are the fresco paintings by Raphael in the Stanze and Loggie, and by Michel Angelo in the Sistine Chapel.

Capitoline Museum. Antique sculpture and other collections with paintings.

ture.

Lateran Museum. Antique and medieval sculp

National Gallery in the Palazzo Corsina. Older modern paintings, drawings, etc. National Gallery of Modern Art. Built 1883. Modern painting and sculpture, chiefly Italian. In addition to these and other minor collections in Rome, are the valuable collections, owned by the various noble houses, which are usually open to visitors and have a semi-public character. They are rich in good Italian pictures, often have important wall paintings, ancient sculpture, and other treasures. Among these are the Barberini Gallery, the Borghese Villa, the Colonna Gallery, the Doria-Pamphilli Gallery, the Villa Farnesina with the Psyche and the Galatea by Raphael, and the Palazzo Rospigliosi.

Turin-Royal Gallery (Pinacoteca). Founded as a public museum 1832 from the art possessions of the Sardinian royal house. A good miscellaneous collections of old masters, especially of north Italy.

Gallery of Modern Art. Modern Italian painting and sculpture. Venice-Academy of Fine Arts. Founded in 1798.

St. Petersburg-The Hermitage. These immense collections date back to the middle of the eighteenth century, and have been increased constantly to the present time. In 1768 the Empress Catherine, the founder of the collections, built as a retreat a smaller palace, styled the Hermitage. In this building with the additions, the art treasures were displayed until, in 1852, the magnificent new Hermitage Museum building was opened. It contains, beside most valuable collections of sculpture, vases, gems, antique jewelry, etc., the picture gallery. This is rich in Italians of the sixteenth and seventeenth centuries, in the Spanish school, and in French seventeenth century works, but its greatest strength is in the Flemish and Dutch painters. Here are over forty Rembrandts, some fifty Wouvermans, twenty-eight or more Van Dycks, with about twenty Murillos, and a still larger number by Poussin.

SPAIN AND PORTUGAL

Madrid-Prado Museum. Contains, with a collection of sculpture, the famous gallery of paintings, the great storehouse of Spanish pictures, with its masterpieces by Velasquez and Murillo-its important Italian mastersand a strong representation of the art of the Netherlands-numbering in all over 2,600 pictures.

Museum of Modern Art. Collections of Spanish painting and sculpture of the nineteenth century. National Archæological Museum. Rich in Roman, Moorish, and Christian antiquities of the Peninsula.

Royal Armory. Contains a famous collection of arms and armor, gathered and increased from the time of Charles V to the present. Seville-Provincial Museum. Founded about 1835, and contains important paintings of the local school, including twenty-three Murillos.

Lisbon, Portugal-National Museum of the Fine Arts. Contains about 500 paintings from Portuguese artists and others, together with industrial art objects.

THE UNITED STATES

The Art Museums of the United States, with one or two exceptions, have sprung up within the past forty years, as the result of private undertakings, although some of them enjoy municipal aid for the erection of museum buildings and toward the expenses of administrations. With two or three exceptions they are still very poorly endowed, and the growth of most is slow in comparison with their wide-reaching plans and the public needs. The vast wealth in art objects, now so fast accumulating in this country in private possession, gives hope for the future to console for present destitution. Many beginnings of promise beside the institutions noted below exist through the country. Baltimore-Peabody Institute. Contains a small gallery of painting, and other material.

Walters's Collection. The public is admitted under easy conditions to the fine galleries of Mr. Henry Walters, which contain a well-chosen body of modern European paintings, a collection of Italian masters, and a famous collection of Oriental porcelains and allied

matter.

Boston-Museum of the Fine Arts. Incorporated in 1870 and opened in 1876. A valuable collection of

old masters and modern European and American paintings. The museum is strong in the departments of classic archæology and of Japanese art, and has excellent collections of prints, sculptural casts, and in several industrial arts. It occupied in 1909 its fine new building.

Buffalo-Albright Art Gallery. Contains in its handsome building growing collections of modern paintings and art objects.

Chicago-Art Institute. Incorporated 1879. A collection of casts, varied art objects, some excellent old masters, and many modern paintings, including the Field, Munger and Nickerson Collections.

Cincinnati-Museum of Art. Paintings, statuary and casts, and various art objects, including the Bookwalter Collection.

Detroit-Museum of Art. Founded about 1883. Its most valuable possession is the collection of old masters given in 1889 by James E. Scripps, largely Dutch painters, with the important Meeting of David and Abigail," by Rubens.

66

Hartford-Wadsworth Athenæum. Has a considerable body of paintings, early American and modern European.

Milwaukee-Layton Art Gallery. Founded 1888 by Frederick Layton. It has a well-selected collection of modern paintings, with many of the English school.

Minneapolis-Society of Fine Art. Its collection of American paintings is shown in the Public Library where selections from the extensive gallery of modern paintings, owned by Mr. T. B. Walker, are often placed as a loan.

New York-Metropolitan Museum of Art. Founded in 1869. By contract with the city, the municipality erects the museum buildings and contributes a liberal sum to the expenses of maintenance. The purchase of a good collection of Dutch and Flemish pictures in 1876; the acquisition in 1873 and 1878 of the Cesnola Collections from Cyprus; the Wolfe bequest in 1887 of a fine gallery of modern paintings with a maintenance fund; the Marquand gift in 1888 and 1890; the gradual gift by Mrs. John Crosby Brown of an unsurpassed collection of musical instruments; the bequest of the Bishop Jade Collection; the purchase of the Dino Collection of arms and armor; the generous gifts and loans of special collections in many fields by J. Pierpont Morgan; the valuable gifts of English and American pictures with a fund made by Geo. A. Hearne; the continued loan of the great Vanderbilt Collection of paintings; the munificent bequests for endowment constituting the Rogers, Hewett, and Kennedy Funds; these, with countless other gifts, have made this institution, present and prospective, one of the great museums of the world.

New York Historical Society. Owns an extensive collection of old masters and of earlier American pictures, with a collection of Egyptian antiquities.

·Public Library. Contains the Lenox Collection of English and other paintings, and the Robert L. Stuart Gallery of modern pictures.

Hispanic Society. A collection of Spanish pictures and objects of art from Spain, with a Spanish library.

Brooklyn Institute of Arts and Sciences. Among other activities the institute has gathered many art objects, including a gallery of American and European paintings. Special collections are the Tissot illustrations of the "Life of Christ," and sketches and drawings by Sargent.

Philadelphia-Pennsylvania Academy of the Fine Arts. Founded 1805. Contains an extensive collection of modern European and especially American paintings and sculpture, including the Gibson Collection.

Wilstach Collection. Opened about 1893. Modern paintings, German, French, and American.

Pittsburg-Carnegie Institute. Contains a gallery of contemporaneous European and American paintings. Sacramento-Crocker Gallery. Modern paintings. Saint Louis-Museum of Fine Arts. Miscellaneous art objects and a growing collection of good European and American modern paintings.

San Francisco-Mark Hopkins Institute of Art. Owns a considerable gallery of modern paintings. Springfield (Mass.)-Art Association. Possesses a valuable gathering of art objects and modern paintings.

Washington-Corcoran Gallery. Founded, in 1869, by W. W. Corcoran. Contains an excellent collection of modern paintings, with bronzes and casts.

-National Gallery. At present housed with the Smithsonian Institution, and consisting mostly of American paintings given by Messrs. Freer and W. T. Evans. Worcester-Art Museum. A collection of art objects and pictures, ancient and modern. The large Salisbury bequest recently received gives the museum an endowment which insures an important future.

Artemis (är'te-mis).-The Greek goddess embodying some of the characteristics of Apollo, her twin brother; the Roman Diana is identified with her. Atelier (at-e-lyā′).—The studio or workrooms of a painter or sculptor.

Athene (a-the'nē).-The Greek goddess of wisdom, arts, science, and just wars; corresponds to the Roman Minerva. Often called Pallas Athene. Atlantes (at-lan'tēz).-Figures or half-figures of men used in architecture in the places of columns or pillars. Figures of women so used were called caryatides.

Atmosphere.-Controlling or pervading influence; moral or intellectual environment.

Aureola (â-re'ō-lä).-A representation in art of an emanation of light about the whole body, of a Divine or sainted person, symbolizing glory and goodness.

Bacchante (băkʼänt).-A priestess or devotee of the festivals of Bacchus; a woman possessed by a bacchic frenzy.

Bacchus (bak'us).—Dionysus, the god of wine; son of Zeus (Jupiter) and Semele.

Balance. To arrange the component parts of a painting or sculptured group so as to preserve the symmetry of the whole.

Baldacchino (bäl-dä-ke'-no).-The canopy over an altar or throne.

Bambino (bäm-bē’nö).—The child or baby figure of Christ.

Baptistery or Baptistry (băp'tis-ter-i or tri).—A portion

of a building in which the rite of baptism is performed; often a building devoted to this purpose. Baroque (bä-rōk').—Fantastic, corrupt, odd, bizarre, extravagant; applied to the architecture and decoration which prevailed in Europe throughout the greater part of the eighteenth century. Very like the Louis XV. style.

Basilica (bä-sil'-i-kä).—A Roman rectangular building often with an apse, used as an exchange or for courts. Then a Christian church adapted from or built like a Roman basilica.

Bas-relief (bä-rē-lēf').—Low relief. That form of sculpture in which the figures but slightly project from the surface. Also basso-relievo.

Belvedere (běl-vě-dēr'; Italian, bāl-va-dā'ra).-An upper story, or part of a story, of a building open to the air on one or more sides, providing both view and exposure to the cool breezes.

Bizarre (bi-zär').—Grotesque, fanciful, whimsical, fantastic.

Buhl-work or Buhl (böl).—Cabinet work inlaid with ornaments of gilt, metal or other substance, usually not wood. So called from André Charles Boulle (1642-1732), who perfected the process.

Bust. A figure showing only the head, shoulders and breast of a person.

Buttress. A structure placed against another to give strength and support to the second.

Caryatid (kär-i-ăt'id).-A female figure used in place of a column or pillar in architecture.

Cella. The central enclosed structure in a Greek or Roman temple. It held the sacred image, and was entered only by the priests.

Centaur. A mythical creature in Greek mythology, in which the upper part of a human body replaced the neck and head of a horse, uniting the powers of both. Symbolically in modern art, it represents violence, unbridled passion and brute force guided by low cunning.

Ceres.

In classic mythology, the goddess of grain and the abundance of harvest. Usually shown as a stately woman, often with a sheaf of wheat. Cestus. A girdle or band, as the girdle of Venus, typifying womanly charm.

Chain-Molding.-Norman ornament, sculptured in imitation of a chain.

Chalcography.-Engraving on copper or other metal. Chalice. A goblet-shaped, sacred cup used in the celebration of the mass or holy communion. Chamfer. To cut a continuous excavation or groove in a surface, as in channeling or fluting a column. It also signifies to bevel or slope off the rectangular edge of an object.

Champlevé (chon-la-va').—An early sort of enamel process in which the metal is dug out between the lines of a design on a surface, and the spaces filled with the enamel.

Chancel. The space in a church in which stands the altar and in which services are chiefly celebrated. Channels.-Longitudinal grooves cut in the surface of a column in Doric style, and separated from one another only by a line or sharp edge.

Chapel. In church architecture, a smaller inclosure or structure connected with a larger church, usually built against the inclosing walls within or without, and containing an altar.

Chaplet. An oval or semicylindrical molding carved

into beads.

Chapter-House. In a cathedral organization, a building or room used for the official meetings of the clergy, known in its corporate capacity as the chapter. Chasuble. An outer embroidered vestment worn by the priest in saying mass.

Cherub

Cherubim.-In the medieval Christian hierarchy, of the nine choirs or orders of angelic beings, the Cherubim were the second in rank, excelled only by the Seraphim. Councillors of Deity, they see and worship. In ancient art they are represented as human heads with wings, surrounding and glorifying the persons of the Trinity. Later the symbol degenerated to a mere infant's head, to cherubs, used with little meaning in art, signifying spiritual beings or living souls, or merely a decorative feature. Chevet (sha-va').-In French ecclesiastical architecture, the east end of a church or cathedral, usually consisting of a series of radiating chapels, about a round or polygonal apse, which are separated from the choir by an aisle or ambulatory.

Chiaroscuro (kē-ä-rō-scö'-rō) (Italian, light and dark). -In graphic art, the distribution and use of lighter and darker tones of light and shadow. Painters working chiefly in chiaroscuro form the image to be represented, not by lines inclosing patches of color, but by the juxtaposition and contrast of masses of lighter and darker color, giving not contours but seemingly molded or plastic surfaces and forms. Chiaroscuro is also used to create striking effects of light and shade, emphasizing lights by