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THE ART JOURNAL. 117

THE MERMAID OF LEGEND AND OF ART. BY LLEWELLYNN JEWITT, F.S;A., &c.

_________ UT few fabulous or mythological objects have entered so largely into Art, as well as into legend and poetry, as that of the " enchanting

I , X = s syren " " with

dulcet and harmonious breath " _ ? l @m) -the Mermaid (the mere-maiden, or maiden of

. _____ the sea)-and I have thought, therefore, that a few pages might profitably, as well as pleasantly, be devoted to a consideration of some of the main features under which the strange being has, at one time or other, been presented to the eye by the painter, sculptor, or worker in metals. The subject is large, but in this paper I merely intend to indicate the historical antiquity of the belief in the Mermaid, very briefly to hint at its origin, and then to pass on to notice some of the forms in which the " lovely maiden with the fishy tail " has been represented, and the almost universal way in

which the embodiment of the Mermaid has been applied to pic torial representation and carved and sculptured ornament.

From the very earliest periods, as I have already on another occasion shown, some gods and goddesses have-from special attributes or peculiar powers that have been assigned to, or believed to be possessed by, them-been represented in the form of a fish, and the fish has, as is universally known, from the very earliest days of Christianity, been used as a Christian emblem. Surely, therefore, we may look for, and find, connect ing links between the mermaiden legends and sculptures of

mediaval times, and their " old-world " prototypes of long-past

ages. The Indian god Vishnu [Fzsh-nu !], it will be remem bered, is said to have become incarnate in the form of a fish, for the purpose of recovering the Sacred Books lost in the Deluge; and in Ireland a similar legend obtains regarding Fin, or Finian (said to be identical with Bar-en-de, "The son of one God"),

who, according to the annals of Ireland, was an antediluvian that escaped drowning in the Deluge by being transformed into a salmon, and afterwards, having been reinstated in his original. human form, lived till the time of St. Patrick, by whom he was converted to Christianity. He was said to be " one of the four

men who lived before and after the Deluge, who afterwards divided and possessed themselves of the four quarters of the

world." Thus the fish was a divine figure in ancient Ireland, and many are the wonderful acts of recovery of lost treasuies said to have been performed by the gods who were transformed into its shape. This being so, as a natural consequence, the fish forms a not unfrequent feature in the richly interlaced and otherwise elaborately sculptured early crosses of that country. One example, in which eight men are shown in act of adoration of the Divine fish, from the famous Cross of Kells, is given on Fig. 5.

Of Vishnu, just alluded to, a very singular representation showing him rising from the sea as a joint god and fish, crowned, and holding in his right hand the sacred book he had recovered from the waters, is given in Morris's India, and reproduced in Fig. 3. Brahma, according to Hindoo legend, is said to have

appeared to Noah in form of a fish, for the purpose of instruct ing him in the preparation of his ark, and informing him as to the approaching, Deluge; and in that form (the fish) Brahma is further said " to have conducted the ark of Menu [Noah] through the waters of the Deluge to a place of safety at the summit of the Himalayas."

Dagon, or Oannes, the god of the Philistines, was also repre sented in form of a fish, much in the same manner as Vishnu, and Fin, or Fintan, or Finian, and doubtless all had one common origin. Oannes and L)ag-on (the fish On) are, as is well stated by Mr. Baring-Gould, identical. "According to ancient fable preserved by Berosus, a creature, half man and half fish, came out of 'that part of the Erythrman Sea which borders upon Babylonia,' where he taught men the arts of life, 'to construct cities, to found temples, to compile laws, and, in short, instructed them in all things that tend to soften manners and humanise their lives; ' " and he adds that a representation of this animal,

Oannes, was preserved in his day. M. Botta, in his excavations at Khorsabad, discovered a,piece of sculpture in which he was represented sporting on the waves, and apparently blessing a

fleet of vessels (Fig. 6), and at Nimroud Layard discovered a gigantic image (Fig. 2) of the fish-god, in which the two bodies are somewhat strangely intermixed; the fish's head forms his cap, or head-gear, its body depends down his back like a coat (its tail forming an appropriate coat tail !), while his face, legs, and arms are human and uncovered. In his left hand he " holds a richly decorated bag, while his right is upraised, as if in the act of presenting the mystic Assyrian fir-cone." "This Oanznes (or Dagon) is the Mizraimite On, and the Hebrew Aon, with a

Greek case-termination derived from the root signifying ' to illumine.' Aon was the original name of the god reverenced in the temple of Heliopolis, which in Scripture is called Be/h-Aon, the house of On; as well as by its translation Be/li-Sizemsesh, the house of the Sun. Not only does his name indicate his solar origin, but his representation with horned head-dress testifies to his nature. Ammon. Apis, Dionysos, are sun-gods; Isis, Io,

Artemis, are moon-goddesses, and are all horned. Indeed, in ancient iconography, horns invariably connect the gods repre sented with the two great sources of light. Apparent exceptions, such as the Fauns, are not so in reality when subjected to close

Fig. 2.-From Nimroud. Fig. I.-Mermaidens, or Syrens, from Alciatus. Fig. 3.-Vishnu.

THE ART JOURNAL.

scrutiny. Civilising gods who diffuse intelligence and instruct barbarians are also solar deities, as the Egyptian Osiris, the Nabathcean Tammus, the Greek Apollo, and the Mexican Quet zalcoatl; besides these Oannes [or Dagon] takes his place as the sun-god, giving knowledge and civilisation. According to the fable given by Berosus he came on earth each morning, and at evening plunged into the sea; this is a. mythical description of the rising and setting of the sun. His semi-piscine form was an expression of the idea that half his time was spent above ground, and half ' in the waters under the earth.' In like manner the Semitic moon-goddess (who followed the course of the sun, at times manifesting herself to the eyes of men, and at

others seeking concealment in the western flood) was represented as half woman, half fish, with characteristics which make her lunar origin indisputable. Her name was Derceto, or Atergatis, and she was identical with Mylitta, the universal mother, or source of life." She " was esteemed by her votaries as Venus or

Cupris;" "was worshipped by the Phigalians in Arcadia by the name of Eurunome Diana; her statue was of great antiquity, and represented a woman as far as the middle, but from thence had the figure of a fish." Macrobius makes her " the mother of the gods;" and Bryant wisely and properly concludes that this

mermaid figure was a hieroglyphic of the Ark. Semiramis, on the coins of Ascalon, is represented as half

woman and half fish, and at Joppa she is depicted as a mermaiden, the story being that she fled from Typhon, plunged into the sea, took the form of a fish, and thus preserved her incognito. The Syrian Goddess of Moisture, Tirgata (the

Derceto of Palestine), was also represented as a mermaid, and, as Mr. Keane says, " corresponds in a remarkable manner with

our Irish sculptures, legends, and hagiology." According to Bryant the Ark was styled Ce/is (icirog), which, with the prefix Der (the oak), makes the goddess Derce/us identical with the Irish saint Darerca-the Oak of the Ark. The figure of the

Arcadian mermaid, Eurunome Diana, corresponds exactly with the mermaid. of Clonfert (Fig. 4). In the metamorphoses of

Dercetus into a fish, and of her daughter Semiramis into a pigeon, we have the Arkite tradition corresponding with the stories of the Irish saints, Culm, Dagan, Fintan, Liban, and Shanaun (the ancient Ana, the mother of the gods)-the same heathen legends preserved, though in a different form. It seems clear that the Cuthite hieroglyphics of ancient historical facts were made the foundation of a corrupt mythology; and subse quently all of the mythology which here survived the lapse of ages was metamorphosed into what we now call Irish hagio logy." Thus there is abundant evidence that the figures of a mermaid and a merman were in ancient days used, the former as a hieroglyphic of the ark of Noah, and the latter as that of

Noah himself; that the Irish mermaid saint was known by two

names-Liban, answering to the name of the crescent moon, a type of the Ark, and Muirgen, answering to Moriogan, a female Tuath-de-Danaan divinity in Ireland; that Fintan the Antedilu vian answers to the representation of the Assyrian Dagon, and in

Irish legend is connected with the great Deluge; and that the

supposed saint, Darerca, corresponds with the Syrian goddess and mermaid D)erceto, and signifies in both names "The Oak

of the Ark." Thus "the mermaid Liban, answering to the

goddess Labana, the Moon, Cybele, or Damater, and the

goddess Derceto being the same as Damata, wve may reasonably

conclude that the Irish saints Liban and Darerca represented the same original, zie. the mermaid, as a hieroglyphic of the

Ark, whose emblem nas the crescent moon." From these brief lines it will be seen that the mermaid

was, in very early ages and in various countries, used as a hieroglyphic of the Ark, and as such had a scriptural origin. Later on, as a Christian symbol, the fish came much into use, and from it there can be no doubt arose, to some extent, the adoption of the fish-maiden and fish-man as Christian decora tions. In regard to the Christian emblem of the Fish, it may be

well to remark that the word JXeME (Ichthus) is literally an

f-N

'I -' ?;

71 ? y

-I __ - jI(

-- dl .-D;gon;from Khorsal'ad.

Fi?. 4.-Mer7naid of Clonfert. Fzg. 5.-From the Cross of Kells. Ficr. 6

Fig. 7.-From a Babylonian Seal. Fi g 8. -Mermaid, fr omn Alciatus. Fig. 9.-From Puci, Gironde.

THE ART JOURNAL. I9

acrostic, formed of the initials of the five words. Iesouts, Chrzs/os, Theou, Uios, So/er, or, as it here and there occurs in the Cata combs of Rome

'I naoi3c X pTaro6

e Eoi

*T Lk w WTrip

that is, 7eszes Chrzis, Son of God, Saviour-and is said to have been invented by the Christians of Alexandria, and to have been used till about the time of Constantine. The fish, according to

Walcott, "represented man in the troublous waves of this

mortal life; the fish, which had the tribute-money, typified, according to Optatus of Milevi, the offering of Christ for the

world; and the fish broiled on the lake side of Galilee, in St. Augustine's and Bede's explanation, the suffering of Christ. Sometimes the fish in the Catacombs bears on its back bread and wine, the ship of the Church, or the elements in two chests; or, when it is connected with baptism, a little child. When it represents a Christian it hangs on a hook, as if caught by the apostolic ' fishers of men; ' or is attached to the anchor of the

cross, qr sacred monogram. Sometimes two fish, symbolical of the Churches of the Jew and Gentile, are portrayed. Portable

[Christ] is that fish which in baptism descends, in answer to prayer, into the baptismal font, so that what was before water, is now called, from the fish (a jhzsce) Iiscizza.

" " This sacred sign was also regarded as an emblem of the sufferings of otur Lord, and the benefits of his Atonement. The Saviour, the Son of God, is a fish prepared in His passion, by whose interior remedies we are daily enlightened and fed," says Prosper of

* Aquitania; and Auigustine, " IXOEYl is the mystical name of Christ, because He descended alive into the depths of this mortal, as into the abyss of waters; " and Jerome, " The fish in whose

mouth was the coin paid as tribute money was Christ, at the cost of whose blood all sinners were redeemed." Thus, as Dr. North cote observes, '"' this symbol became a sacred lessera, embodying

fish were worn as marks of their profession by the newly bap tized." The Vesica Pisczr, the well-known mystical symbol and form for ancient ecclesiastical seals, although literally "the bladder of the fish," is often used for, and is actually given as, the fish itself: it was so described by medizeval writers. Emblematically, of course, the symbol is significant of the letters 'IXOYX (Ichthus), a fish, as just mentioned, and formed of the initial letters of the titles of our Saviour. The fish as an emblem, says Mr. Withrow, "is one of the

oldest symbols in the entire hieratic cycle. It is found accom

panying the first dated inscription which bears any emblem whatever (A.D. 234), and nearly a hundred examples occur which are attributed to the first three centuries. It also occurs in a Christian catacomb at Alexandria, and at Cyrene, in Upper Egypt; and is said to be first mentioned by Clement of Alexandria. There appears (he continues) to have been an allusion in this figure to the ordinance of baptism." " We are little fishes," says Tertullian, " in Christ, our great fish. For

we are born in water, and can only be saved by continuing therein," i.e. through the spiritual grace of which baptism is the visible sign. " This sign," says Clement, "will prevent

men from forgetting their origin; " and Optatus says, " He

with wonderful brevity and distinctness a complete abridgment of the Creed, a profession of faith, as it were, both in the two natures and unity of person, and in the redemptorial offices of Our Blessed Lord."

Without entering, however, into the somewhat intricate, but hiighly interesting, subject of the form, uses, and symbolical

meanings of the Veszca Pzscev, it will be enough to say that its form is that of "a pointed oval figure, formed by two equal circles cutting each other in their centres," each half of which is, of course, an equilateral pointed arch, considered to be the best proportioned of any, and much used during the Early English and Decorated periods of architecture. Probably it may therefore have been the origin of the pointed arch itself.

1rI57 I~

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t

Fz~ i.-?bsree,Lyns atedal

I

j U

SI' 0

.14lf I .,.? I

Fio,-. i.-.- Berkele), Badge.

.

Fig- 13 - - Nei-inazdeii fi-om Borne, or Boeren. F-ig- 14.-Afernmid 7k-ern.

lp~~~~~~~~~~0

Fig. I I . XArns of Bishop Berkeley, Br istol Cathzed el.

I20 THE ART JOURNAL.

In ecclesiastical decoration the mermaid itself, as well as the emblem of the fish in all its various ramifications, forms a pro

minent and striking feature. No matter in what parts of Gothic buildings we may look-whether on the capitals of the pillars, the bosses of the groined roof, the corbels and brackets on the

walls, the tympanum arch or spandrel of the door, the tiles of the pavement, or the misereres of the stalls, it is here and there found introduced, often in exquisite form and pure in taste, but sometimes with accessories not strictly in keeping with one's

modern notions, though clearly connected with legendary lore. It seems to have been as favourite a subject with the designers

and carvers of misereres as any other legendary matters, and not

unfrequently the foliage or other surroundings are of extreme beauty and elegance.

In Bristol Cathedral, for instance, a mermnaiden, exquisitely proportioned and beautifully carved, is represented (Fig. I7) in an attitude of fear and surprise, botlh her arms upraised, and hands expanded, while a winged human-headed monster on the one side, and a dragon or griffin on the other, are evidently intent on seizing her. At Chichester (Fig. i9) a somewhat attenuated and melancholy mermaiden holds a mirror in her right hand; and at St. Albans one is shown (Fig. 2I) holding a

mirror in the left, and a comb in the right, hand. At Exeter the figure is represented enclosed in a bower of foliage-fig

leaves evidently, as a sly hint of the mediaval artist that they were needful to the nude fish-maiden-in which she is shown gracefully holding her own finny tail in her right hand (Fig. 20). At Beverley is a mermaid with a fish (Fig. i8), and in this instance one of the side carvings represents the " Trinity of Fish," and the other, one fish in the act of swallowing another. At Win chester, Bakewell, and other places both mermaidens and mer

men are represented. In the former (Fig. 15) the male figure grasps in his left hand a fish, while his spouse holds in her right hand a comb, the other hand of each figure being elevated. At Lyons Cathedral (Fig. io) the family party is completed by the addition of a mer-baby, whiclh its crowned mother is holding lovingly in her arms, while her husband discourses sweet music

on a violin, to which his scaly-tailed wife and her offspring are paying rapt attention. At Boston Church, in Lincolnshire, one of the misereres (Fig. i6) is carved with a design of two men with hoods on their heads in a boat, one of them holding aloft the oar. Close to the boat is a mermaid, who has just risen from the sea, and, pipe in hand, is playing her " syren notes " to such entrancing effect that the men seem overpowered, or "dazed," at the sound. Numberless other examples occur in various localities; but these will doubtless be sufficient to show not only the variety, but the extent to which mermaiden decoration is carried in the carvings of these curious and interesting remains of mediaval Art.

(To be con5iizued.)

---7777=? 1- --

I

I'419 1

Ill.. I i I I

,Ill

Fig- I5.-Miserere, Wiizchester Catliedral. Fig. i6.-Afiserere, Bostoiz Cliurch.

EAST ANGLIAN POTTERY.

N OT long since we had the pleasure of inspecting some very artistic productions in the new Linthorpe ware, which,

through the instruimentality of one or two gentlemen, had been brought before the public. More recently an opportunity has been afforded us of seeing another new ware, manufactured at Castle Hedingham, an out-of-the-way village in Essex, under the title of East Anglian Ware. The ware produced at Hed ingham is in no way likely to be compared with the handsome "Linthorpe," at least in its present state; the Hedingham, as it now stands, being only remarkable from its extreine sim plicity, and from the fact that it is all produced in the most primitive manner by a self-taught potter, who procures the clay, modelling, decorating, and baking it within the precincts of his small premises, and by the aid only of tools and apparatus made by himself.

The present potter, Edward Bingham, tuirned his attention some time ago to the production of terra-cotta ware for the purpose of greenhouse decoration; later on he seems to have made further experiments in mixing clays, and attempts at glazing; and after repeated failures his efforts have been, to a certain extent, crowned with success.

The potter has never received any instruction in the art of

drawing or modellinog, so that his productions, though exceed ingly interesting, are not highly artistic. In those specimens

where he has taken floral nature as a model he has been most

successful; but, as might be expected, his figure subjects, war

riors clad in armour, &c., are of the most alarming type. He also seems to have taken old Dresden, Delft, and early English as his special models, and some of the specimens placed before us, taking into consideration the manifold disadvantages under

which he has laboured, were really remarkable. Some of the forms are handsome, and their quiet, nacuralesque ornamenta tion shows delicacy and feeling. It is where he has en deavoured to delineate a subject which only an educated eye and well-trained hand can execute, that the absence of culti vated ability is perceptible.

The pieces which he had attempted to glaze are of a peculiar mottled appearance, not unlike the earlier Doulton ware, and similar in effect to the Dinapur pottery, or the red earthenware of Travancore. These he has scarcely decorated at all, and, on the whole, they cannot vie with his unglazed productions. Perhaps later on he may be more successful. As we have already hinted, he has himself constructed his own apparatus, and manufactured his modelling tools out of chicken bones. One cannot but admire the Essex potter in this small village, who, with few resources at his command further than those vith wvhich nature has endowed him, has been able, by dint of a ready perception, watchfulness, and perseverance, to produce these specimens of East Anglian ware, which may be but the precursors of an industry that, in enterprising hands, may be come of great importance.

W. W.

Article Contentsp. 117p. 118p. 119p. 120

Issue Table of ContentsThe Art Journal, New Series, Vol. 6 (1880), pp. i-vi, 1-380Front MatterNew York Studios. III [pp. 1-4]Principles of Decoration. I. Wall-Papers [pp. 4-11]Literature with Art [pp. 11-12]The Lost Rembrandt [pp. 13-16]The Land of Egypt. Chapter XII [pp. 16-19]New Painting by Rossetti [p. 19-19]The Page [p. 20-20]"Lucks" Associated with Art Objects [pp. 21-24]Our Steel Engravings [pp. 24-25]The Philosophy of a Statue [pp. 25-26]Contemporary French Artists [pp. 26-28]The Hunt Collection of Paintings [pp. 28-29]Paris Art - Notes [pp. 29-31]Art in the Cities [pp. 31-32]British Painters. Francis William Topham [pp. 33-35]A Florentine Bronze [p. 36-36]A Collection of the Old Masters in Peru [p. 36-36]The Mosques of Cairo [pp. 37-40]The Light-Houses of Old [pp. 41-45]Corporation Plate and Insignia of Office, Etc. [pp. 46-49]Original Designs for Art-Manufacture [pp. 49-52]American Painters. H. Bolton Jones [pp. 53-54]Illustrated Books. Pictures from Bible Lands [p. 55-55]The London French Gallery Winter Exhibition [pp. 56-57]Our Steel Engravings [pp. 57-57]Artist-Life in New York [pp. 57-60]The Second Exhibition of the French Water-Colour Society [pp. 60-62]Art in the Cities [pp. 62-64]Notes [p. 64-64]Corporation Plate and Insignia of Office, Etc. [pp. 65-68]Principles of Decoration. II. Ceilings and Dados [pp. 68-74]The London India Museum [p. 74-74]Original Designs for Art Manufacture [pp. 75-78]Sketches and Studies. From the Portfolios of Arthur Quartley, George H. Smillie, and J. Carroll Beckwith [pp. 81-85]New Clay for Art-Pottery [p. 85-85]Causes of Certain Differences in the Styles of Domestic Architecture in Syria and Palestine [pp. 86-89]Our Steel Engravings [pp. 89-90]Couture's 'A Roman Orgie' [pp. 90, 80]American Water-Colour Society. Thirteenth Annual Exhibition [pp. 91-93]Art in Paris. Exhibition of Russian Art, the Coming Salon, the Luxembourg Gallery [pp. 93-94]Italian Sculpture [p. 95-95]Art in the Cities [pp. 95-96]Dusseldorf: Its Old School and Its New Academy [pp. 97-100]The Brunswick Scaglieri Monument [p. 100-100]The Mosques of Cairo. Part II [pp. 101-104]Sketches and Studies. II. From the Portfolios of A. H. Thayer, William M. Chase, Winslow Homer, and Peter Moran [pp. 105-109]The Illustrated Longfellow [pp. 110-111]Sunshine and Storm in the East [p. 112-112]Original Designs for Art Manufacture [pp. 113-116]The Mermaid of Legend and of Art [pp. 117-120]East Anglian Pottery [p. 120-120]Our Steel Engravings [pp. 121-121]Artist-Life in New York [pp. 121-124]Art in Paris. The Exhibition at the Cercle De l'union Artistique [pp. 124-126]Art in the Cities [pp. 126-128]Notes [p. 128-128]The Æsthetics of Dress [pp. 129-131]British Painters. Hubert Herkomer, A.R.A. [pp. 132-134]Still Life. From a Painting by William M. Chase [pp. 136-137]American Painters: George Inness, Jr. [pp. 137-138]Additions to the Louvre [p. 138-138]A Model Theatre [pp. 139-141]Corporation Plate and Insignia of Office, Etc [pp. 142-144]Causes of Certain Differences in the Styles of Domestic Architecture in Syria and Palestine [pp. 145-148]Original Designs for Art Manufacture [pp. 149-152]Our Steel Engravings [pp. 153-153]The New York Spring Exhibitions [pp. 153-156]Art-Notes from Paris. Exhibition at the Rue Volney, American Artists and Their Salon Pictures, Historical Picture by M. Horace De Callas, American Portrait-Painters [pp. 156-158]Art in the Cities [pp. 158-160]Notes [p. 160-160]American Painters. William Sartain [pp. 161-162]On the Framing of Pictures [pp. 162-163]British Painters. Hamilton MaCallum [pp. 164-166]Equestrian Statue of Lord Gough [p. 166-166]Quentin Massys the Elder [pp. 167-169]The Mermaid of Legend and of Art [pp. 170-172]Sketches and Studies. III. From the Portfolios of R. Swain Gifford, A. H. Thayer, J. Selinger, and W. Gedney Bunce [pp. 173-176]Original Designs for Art Manufacture [pp. 177-180]Metropolitan Museum of Art. I [pp. 181-185]Our Steel Engravings [pp. 185-186]The New York Etching Club [pp. 186-187]The Science of Colour [pp. 187-188]Art-Notes from Paris. The Water-Colour Exhibition. The De Nittis Exhibition. Manet and the Impressionists. M. Baugniet. The Blanchard Sale. Mr. Schaus in Paris [pp. 188-190]Rowlandson's Caricatures [p. 190-190]Art in the Cities [pp. 191-192]Sketches and Studies. IV. From the Portfolios of J. G. Brown, Gungengigl, and Samuel Colman [pp. 193-196]Metropolitan Museum of Art. II [pp. 197-200]Cemeteries and Mosque Tombs, Cairo [pp. 201-204]Corporation Plate and Insignia of Office, Etc [pp. 205-208]Original Designs for Art Manufacture [pp. 209-212]Quentin Massys the Elder [pp. 213-215]A Museum or Picture Gallery: Its Functions and Its Formation [pp. 215-217]Our Steel Engravings [pp. 217-218]The London Royal Academy. I [pp. 218-221]The Paris Salon of 1880. I [pp. 221-222]The Grosvenor Gallery [pp. 223-224]Notes [p. 224-224]American Painters. William Starbuck Macy [pp. 225-226]'The Arts of War.' A Wall-Painting in the South Kensington Museum, by Sir Frederick Leighton, P.R.A. [pp. 226-227]Sketches and Studies. V. From the Portfolios of A. F. Bellows and A. T. Bricher [pp. 228-230]The Mermaid of Legend and of Art [pp. 230-233]'The Race for Wealth,' by W. P. Frith, R.A. [p. 233-233]The Works of James Fairman [pp. 234-236]Metropolitan Museum of Art. III [pp. 237-240]Street Scenes, Cairo [pp. 241-244]Original Designs for Art Manufacture [pp. 245-248]Our Steel Engravings [pp. 249-249]The London Royal Academy. II [pp. 249-252]Art-Notes from Paris. The Schaus Purchases. The Prize Pictures at the Salon [pp. 252-253]Art in the Cities [pp. 254-255]Notes [pp. 255-256]American Painters. Edward Moran [pp. 257-259]Imitation in Art [p. 259-259]Family Festivals and Fete-Days at Cairo [pp. 260-264]Exhibition of Armour [p. 264-264]Sketches and Studies. VI. From the Portfolios of Peter Moran, W. Sartain, J. W. Champney, and R. Swain Gifford [pp. 265-269]On the Legend of St. Macarius [p. 269-269]The Æsthetics of Dress [pp. 270-272]Statue to Goethe at Berlin [p. 272-272]Artists' Studios [pp. 273-276]Original Designs for Art Manufacture [pp. 277-280]Our Steel Engravings [pp. 281-281]A Museum or Picture-Gallery. Its Functions and Its Formation [pp. 281-282]Realism in Painting [pp. 282-284]Art in Paris. The Exhibition at the Cercle Des Arts Libéraux. The New Spanish Painter Villegas. Two Pictures by Robie, of Belgium, Destined for the United States. Antique Books and Artistic Bindings at the Exhibition of the Cercle De La Librairie. Recently Deceased Painters. The Coming Couture Exhibition [pp. 285-286]The Metropolitan Museum Technical Schools [pp. 286-287]Notes [pp. 287-288]The Rising of the Nile and Opening of the Canal of Cairo [pp. 289-292]The Art of the Silversmith [pp. 293-295]Artists' Colours [pp. 295-296]Metropolitan Museum of Art. IV [pp. 297-303]Edouard Detaille [pp. 303-304]American Painters. Wordsworth Thompson [pp. 305-306]Bookbinding [p. 306-306]Original Designs for Art Manufacture [pp. 307-310]The Æsthetics of Dress [pp. 311-313]Etching: Its Relation to the Artist, the Amateur, and the Collector [pp. 313-316]Our Steel Engravings [pp. 316-317]Art-Notes from Paris. The Exhibition of Arts Applied to Industry. The Museum of Decorative Art. Cabanel's New Picture. Death of Compte-Calix [pp. 317-319]Sanford R. Gifford [pp. 319-320]Notes [p. 320-320]American Painters. Homer D. Martin [pp. 321-323]Art in Russia [pp. 323-324]Sketches and Studies. VII. From the Portfolios of R. Swain Gifford, Winslow Homer, Arthur Quartley, and A. T. Bricher [pp. 325-328]Decoration in Excess [pp. 328-329]The Suez Canal [pp. 329-332]Works of John Bagnold Burgess, A.R.A. [pp. 333-336]A Louisville Mansion [pp. 336-337]Original Designs for Art Manufacture [pp. 338-341]Corporation Plate and Insignia of Office, Etc. [pp. 342-345]Our Steel Engravings [pp. 345-346]The Couture Exhibition [pp. 346-347]Etching: Its Relation to the Artist, the Amateur, and the Collector [pp. 348-350]Notes [pp. 351-352]The Art of the Silversmith. Part II [pp. 353-355]Forgotten Gems of the Renaissance [pp. 355-360]Education in Egypt [pp. 361-364]George H. Boughton [pp. 365, 367-368]The Reproduction of Statuary [p. 368-368]Sketches and Studies. VIII. From the Portfolios of Wyatt Eaton, J. G. Brown, A. F. Bellows, A. T. Bricher, and R. M. Shurtleff [pp. 369-375]The Art-Treasures of Bowdoin College [pp. 375-378]Our Steel Engravings [pp. 378-378]Art-Notes from Paris [pp. 379-380]The Philadelphia Society of Artists [p. 380-380]