of Andalusia." Let him feel that here in America are the World Ideals to be worked out, and resolve: to help work them out.

If he paints an undraped woman, let her be Nude, not naked, spiritually beautiful and not fleshly ugly. If he chants a song, let it be optimistic poetry, not pessimistic pot-pourri. If he carves a statue, let him worship the Creator by showing humanity in the most beautiful and inspiring aspect, and not in its pathological decay.

Let him apotheosize the heroism of our Fathers of 1776, 1812, 1861, which has never been adequately done and which offer the sublimest possible subjects. Let him render, for the walls of schoolhouses, the poetry of the political evolution of our country in great Historical works, to stimulate youth and citizens to good citizenship.

Let him, as a master-workman, show the sublimity of all of us, rich and poor, making some kind of Sacrifices: for the glory of America-so as to transfigure our democracy!

If he is unable to handle the human figure-ever the highest medium of self-expression-if he must paint only landscapes, let him at least paint more than a Haystack, and not ridicule the noble subjects of our Hudson River School, because he no longer cares for their "technique," or cannot do as well.

Whatever he does, let him avoid the satanically veiled and suggestive, as a more degrading social pest than the frankly licentious.

If he is really an artist, and able to express, with adequate truth, an Emotion on the human face, let him, if he feels called upon, quit the National field, and, instead of following the alcoholic, sexopathic, "modernistic" artists of Europe who are willing to descend into Tophet for idea-less subjects, to palaver about a lot of poisonous piffle, let him say-like John II: "Mount! Mount! my soul, thy seat is up on high!" and, like Shakespeare, go to the Universal field, and show, in Ideal forms, the dignity of man when, under the influence of a grand altruistic emotion, his life and work honor and embellish the earth.

Thus, he will surely allure his fellowmen, less gifted and strong than he is:-to unite with him, and follow him ever higher. More than that, he will again so dignify the world of art-that he will entice into it other men, greater than he, whom the World of Art sorely needs, and who, now, use their great powers in playing at soldier, engineer or business man: because they see in the world of art the supermen of the past largely replaced by a lot of spiritual shrimps, whose abject trifling with the highest human ideals fills their soul with a disgust they feel but cannot express, as they contemplate the fathomless triviality of what the parasites in the world of art produce and succeed in unloading on a lot of dilettante amateurs of art curios.

Thus, everything he produces will have an accentuated, but true, Individuality, and will be charged with that fecund social spirit which still radiates from the Iliad, from the Parthenon, and from the stanzas of the Vatican, and which make us so love their authors that they are ennobled, and justifies us in suspecting that they were, in reality, not mere instruments in the hands of the priest hoods, but lieutenants of the Creator in His efforts

mankind on this earth.

Is he badly bitten by the disease of "Individualism?" Let him not fear. For, while the law of "The Continuity of Effects" is always working, "The Law of Differentiation" never sleeps. And, just as sure as he becomes a superman-an artist, he will be singled out, and taken by the hand by Destiny, and made different from "the crowd" he so much despises, and be guaranteed a true, not a sham, individuality. For, as Goethe said: "The artist, make what contortion soever he will, can bring forth only his own Individuality," and, as sure as there is a sun in heaven, this is the shortest road for the artist to win his own self-approval, as well as to gain a place in the hearts of his countrymen, and, thus, immortality!

But, how about the Public? Its first duty is to lend a strong helping hand: to close the doors to the further influx of degenerate "modernistic" art, engendered in the degraded, low-down quarters of Europe: the "rathskellers" of Munich and Berlin, and the "cabarets" of Paris, some of which have such signs over their doors as "Le Chat Noir" (“The Black Cat"), "Le Rat Jaune" ("The Yellow Rat"), "La Truie Qui File" ("The Running Sow"), each made vile by males, semi-males and females—exhaling fumes of absinthe, musk and cigarettes!

Because it will be vain for the leaders of thought among our laymen, to whom these thoughts are principally addressed, to imagine that the artists, alone, are strong enough to bar the gates of America to the influx of all the foreign art poison that waits at our doors to rush in upon us. The great public must lend a heavy shoulder. To help, our citizens must remember that the world of art, like the world at large, is divided into normal, abnormal, semiinsane, and totally mad classes. That, among these, besides red-blooded men, there are all kinds of anæmic and degenerate persons, some of them possessed of a diabolic cunning worthy of a Mephisto, ever ready and able, like Cagliostro, to delude and bunco the public.

Finally, to help, the cultured public must, above all, follow its NATIVE INSTINCTS. It must adhere to the common-sense rule that: Any work of art whose conception and composition is incomprehensible, the facial expression of whose figures is false, or insufficient; whose drawing of form is unnatural; whose color values are poor, and whose "technique" is brutal-is bad art; and, if its conception and spirit is, in any degree, licentious-it is not merely unsocial but criminal art.

Above all, the public must give increased and steadier support to the truly rational and great artists that we have among us now, who shed lustre on American life, and who, perhaps all unconsciously, are surely helping along the gradual liberation of the world from slavery and animalism to that higher civilization and freedom which--the dream of heroes throughout the ages-can only be realized by a Spiritual Democracy, freed from fraud and hypocrisy; the only kind that can resist the sapping of the selfish monarchists; the only kind that will, in the immortal words of Lincoln, guarantee: "That this nation, under God, shall have a new birth of freedom-and that government of the people, by the people, and for the people-shall not perish from the earth."

WE

marvelous Sanity are eternal!

The first fruit of Decadent "Modernism" was: neurotic "Impressionism," which flouted the pursuit of the Beautiful by Artists, and offered in its place, as an aim:-"Expression of Character in a Personal Technique." The net result has been-Anarchy in the World of Art.

This Cover symbolizes our aim: to React against this Degeneracy, and to urge a return to the pursuit of Spiritual Beauty-whether an Artist works in the Greek, Gothic, Renaissance, English or American Style.

Mr. Brown has finely expressed our intention, and we congratulate him and ourselves upon the result.

FOR

OR more than thirty-five years the beautiful wood-engravings of Mr. Timothy Cole have appeared with almost unbroken regularity in the monthly issues of the Century Magazine.

Thanks, then, to the enterprise and discriminating taste of the publishers and editors of that magazine and to his own unrivaled productions, Mr. Cole needs no present introduction to the public, but it is with much gratification that we are able to announce an engagement with him to engrave a series of twelve subjects selected from American Masterpieces, one of which will appear each month in THE ART WORLD.

The first of these is the "Youth," painted by Thomas Cole, who, although no relative, was, like his interpreter in this wood-engraving, born in London. [1852.]

Timothy Cole was brought to this country when a child in 1857. In 1868 he was apprenticed to a Chicago firm of wood-engravers, but losing all his effects-including his beloved piano and violin-in the great fire of 1871, he fortunately decided to come to New York.

After various ventures in his art Mr. Cole attracted the attention of the late Mr. A. W. Drake, superintendent of the art work of Scribners'—now the Century Magazine, and from that time his career has been one of uninterrupted success. Through the liberality of the publishers and his own sterling artistic conscience Mr. Cole escaped all temptation to produce "pot-boilers" the bane of so many talented artists, or even to produce work unworthy of his last efforts, and to-day we find him with enthusiasm unabated in the full strength of his powers and with Artistic judgment and feeling matured to a rare excellence. In 1883 Mr. Cole was engaged by the Century Company to go abroad to engrave the masterpieces of painting at first hand in the galleries of Europe. The first series he undertook

was the Italian, beginning with the primitives and reaching to the time of Tintoretto and Paolo Veronese.

Leaving Italy, Mr. Cole went to Holland and there engraved the most notable examples of the Dutch and Flemish Schools. After this in turn came the English, Spanish and French masters, and finally in 1909 he returned to this country to add to previous successes his renderings of the Masterpieces in American Galleries.

Mr. Cole rewards us in his own work-in the satisfaction of pursuing and achieving-of contributing a high artistic ideal and a wealth of imperishable beauty to the finer treasures of the world, but he has not failed of ample recognition and honor. At the Chicago Exposition, in 1893, he was awarded a gold medal. One at the St. Louis and another at the Buffalo Exposition, also a gold medal at the Paris Exhibition (American Section) 1900. In 1910 Mr. Cole received honorable mention from the Society of Arts in Paris for his Carrière subject. He is an honorary member of the Guild of Craftsmen of London, England, and in 1906 was elected an Associate Member of the National Academy, New York, and made a full Academician in 1908. In 1912 the degree of Doctor of Arts was conferred upon Mr. Cole by Dickerson College, Carlisle, Pa., and about the same time he was made a member of the National Institute of Arts and Letters of the City of New York.

Not the least gratifying to him must have been the dinner lately given in his honor by the National Arts Club, New York, when he was presented with a gold medal. His address on that occasion was notable, not only as an expression of the highest artistic ideals, but for its broad philosophical and ethical trend-an evidence that Timothy Cole regards the Art of Life of supreme importance and that it includes the motives and activities of the Artist with all other forms of human endeavor.

ΤΗ

`HAT unique assemblage of buildings which Mr. Archer M. Huntington is erecting at Audubon Park, Manhattan, in connection with the Museum of the Hispanic Society will have a gateway designed in keeping with the structures already there and others in course of erection. The entrance will be called the Cervantes Gate and will be recessed from the Broadway front, rising where the terrace begins from which one enters the Hispanic Museum and the Numismatic. It will run north and south between the building of the Geographical Society to the right and the coming Heye Museum of the American Indian to the left, connecting the respective western ends of these two buildings. We show the design made for this gateway by Mr. Charles P. Huntington, the architect.

The design is according to the somewhat severe classical style with Ionic columns which Mr. C. P. Huntington has employed in the other structures. On entering from Broadway, having the Geographical on the right and the Heye Indian museum on the left, one descends a few steps to the courtyard and has before one a flight of steps leading to the Cervantes Gate. In the center is a bronze doubledoor in openwork, with a border carrying twentyone escutcheons to be decorated with the coats of arms of Spanish colonies in Central and South America. The entablature above and the attic over that will carry inscriptions. The top of the attic, having an area of thirty by fifteen feet, will form a fine site for a composite group of sculpture in bronze or marble. The openings in the two wings of the gateway between the freestanding Ionic columns will afford emplacement for statues. Thus the gate will furnish the same opportunity for

TH

varied sculpture that a small triumphal arch would give. give. Seen from Broadway, it will indicate in a remarkably dignified and monumental fashion the meaning of the complex of museums which are gathered about the Hispanic.

In addition to the Heye Indian museum, of which we show a cut from the architect's design, there will come in time a building for the National Institute of Arts and Letters. For this structure Mr. Archer M. Huntington has given a site of 100 by 200 feet in size, running from 155th to 156th Street. It will rise to the westward, overlooking the Hudson River, and will thus close the quadrangle now formed by the museums and the Spanish Chapel already built.

We cannot allow this occasion to escape without calling attention to the extraordinary character of Mr. Archer M. Huntington's services to the higher education. He has not been content to publish works of the greatest value to Spanish literature and art from his own pen, but has saved from oblivion by beautiful editions the works of old Spanish writers which would have been lost otherwise to the world. He keeps alive the old Spanish traditions through the Revue Hispanique, a periodical of the greatest value to scholars, and through the Hispanic Museum he permits the student of Old Spain and her colonies to work here in New York to better advantage than would be possible abroad. To all this he adds the gift of sites for the various museums and societies in a part of Manhattan favored by its position and the presence of churches and other buildings remarkable for their size and beauty. In all New York it would be hard to find a citizen who better fits Disraeli's term of a "man of light and leading."

HOSE who have had the privilege of meeting Ralph Waldo Emerson will remember his urbanity and courtesy, even after age had impaired his memory. The scholar's face was there, and that look of solicitous affection which was so constant an attribute that one had to wonder how so placid and sustained a character could have had the warmth and passion to write:

Give all to love,

Obey thy heart—
Friends, kindred, days,
Estate, good fame,

Plans, credit and the Muse-
Nothing refuse!

It is this large urbanity which the sculptor has pronounced in the seated figure of Emerson we reproduce. Mr. French was a Concord lad and knew Emerson well. Here there was no necessity (the bane of portraitists) to recur to the family daguerreotypes and photographs in order to bring back the likeness. Emerson was the Great Man of Concord and, if his attitude toward a long-established form of Calvinism in New England caused some of his fellow-townsmen to shake their heads, they could not quarrel with such a character as his, for it takes two to make a quarrel.

Just as Emerson was during his later years, when an aureole, or, to use up-to-date words, an aura, as

of our autumn woodlands, hung about his face and figure, so Mr. French has portrayed him imperishably. Though distinctly literary in his mind rather than artistic, Emerson was too much the poet not to reach out eagerly toward such pabulum of Art as the meagre Anglo-Saxon fields afforded in his day. Perhaps a trifle condescending toward Art, he did not neglect it in his essays and lectures. 'Tis the privilege of Art Thus to play its cheerful part, Man in earth to acclimate

And bend the exile to his fate.

Many devotees of Art have taken umbrage at the word "exile," as if the old view of mankind exiled from heaven clashed with their idea that man is the apex of evolution and is entirely at home on the earth. Love, friendship, beauty have been celebrated by Emerson in charming phrase and verse, in words that linger in the memory persuasively, rather than with a rush of surprise.

A ruddy drop of manly blood

The surging sea outweighs;

The world uncertain comes and goes,

The lover rooted stays.

It was indeed fortunate for us that Concord contained a sculptor who was able to appreciate the fine soul of Emerson and had the skill to express his understanding thereof.