Gothic Cathedrals. American paintings and American artists.
Entering the Museum take the elevator at the end of the corridor to the third floor, which is entirely devoted to art. On the walls of the landing are large photographs of Gothic cathedrals, of special interest to architects.
Passing into the central section (A) one finds an important collection of lace, which covers three of the best centuries of lace making.
In gallery 5, at the entrance to the American paintings, are representative water colors by Winslow Homer, and a case of charming statuettes by Bessie Potter Vonnoh (ill. no. 39).
The majority of the collection of American paintings is the work of living men. The sunny landscapes of Groll, Redfield, Symons, the marines of Carlsen, Tracy, and Waugh and the figure studies of Henri, Reid and Hassam are notable in the first alcoves.
Somewhat more subdued are the pictures by Gruppe, Genth, Ranger, Mura, Murphy, Swain Gifford and others in the second division. In the third, several pictures by Chase—interiors, portraits, still life; characteristic landscapes by Inness; and canvases by Whistler, LaFarge and others, offer much that is enjoyable not only in subject but also in color and brush work.
Then follows the room of smaller paintings by Dewing, Cornoyer, Boggs, Richards and others. The western alcove is filled with works by XVIIIth and early XIXth century American artists. Especially interesting are the Copley portraits of Anstice Greenleaf and Jonathan Mountford, Trumbull's Alexander Hamilton, Peale's George Taylor and two portraits by Inman.
Unusual in selection of subject, brilliant in color, swift and marvelous in handling are the eighty or more Sargent water colors in gallery 3, adjoining. Mr. Sargent has registered here those delightful fleeting glimpses that really compose one's impression of the place.
The next gallery and alcoves are hung with many pictures of a detailed technique in marked contrast to those just seen. The French painter, James Tissot, has presented as faithfully as possible the entrancing scenes of "The Life of Our Lord Jesus Christ." To do it the artist went to the Holy Land and recorded the exact aspect of things with the deliberate intention of dispelling the inaccurate and vague view in the minds of most people, regarding the setting of the Gospel story.