} Mathematical Society. April 23.-Dr. Story in the chair. Nine persons present. A Note on Ruled Surfaces, by W. E. STORY. On Curvature in n-flat space, by G. BISSING. May 21.-Dr. Story in the chair. Eleven persons present. On the Equations which Determine the Directions of the Axes of a Quadric Surface, by W. E. STORY. (Abstract on p. 123). A Note on the Divisibility of Numbers, by W. P. DURFEE. On the Number of Substitutions of a letters which leave k of them unaltered, by W. P. DURFEE. Baltimore Naturalists' Field Club, April 30.-Dr. G. H. Williams in the chair. Eleven members present. This beetle belongs to the large family of Meloidæ, and is parasitic in the nests of DR. BARTON of the botanical section made a report of the field work during the past month, and stated that several interesting additions had been made to the collec tion. DR. WILLIAMS of the geological section made a communication on "The so-called Quartz-porphyry at Hollins station, N. C. R. R., north of Baltimore." (See p. 132 of this Circular). May 25.-Dr. G. H. Williams in the chair. Ten members present. MR. LUGGER gave an account of a strange hymenopterous parasite infesting the larva of Tiphia. The Tiphia lays its eggs in the so-called white grub, or the larva of Lachnosterna fusca; the larva of the Tiphia when nearly mature eats the white grub and then spins for itself a beautiful silken cocoon. This larva in turn is often infested by the larva of the Rhipiphorus pectinatus or R. limbatus, the eggs of which have become fastened to the Tiphia, and in this way reach the Tiphia cocoon-as stated Mr. Lugger has also found in the same cocoons small hymenopterous parasites. The order of events in this case appears to be that the larva of a large coleopterous insect is destroyed by a hymenopterous larva, this in turn by a coleopterous larva, and this again by a hymenopterous larva. DR. STERNBERG made an address on micrococci, with especial reference to the micrococcus of pneumonia, which has lately been described. MR. DONALDSON showed two specimens of Liparis liliifolia found at Texas, N. C. R. R., Md., which possessed the keeled leaves characteristic of L. læsellia. He also mentioned a fertile plant of Podophyllum peltatum with only one leat, and a sterile specimen with the stem continued into a leaf-like structure. MEETINGS OF ART CIRCLES. Under the auspices of the University Archæological Society, DR. A. L. FROTHINGHAM, JR., has organized several circles for the study of various phases of art, illustrated by photographs and engravings. The meetings have been held in the rooms of the Peabody Institute and the following subjects have been taken up. First. March 1, on Romanesque Architecture. (16 present). Before the Romanesque period (XI and XII centuries) there had flourished since the Christian era four styles of Architecture: the Roman, the Eastern (especially Syrian), the Byzantine, and the Lombard: and from a combination of various elements existing in these styles Romanesque Architecture was formed. Its general characteristics are grandeur, simplicity, and power, while during the two centuries when it held sway not only did each country have a distinct form of the style, as France, Germany, Italy, England, and Spain, but every one of these still ununited countries included schools possessing traditions and methods of their own, and developing independently of each other. Some reached a higher scientific development than others, and obtained better results in their endeavors to solve the main architectural problems of the age-the problems connected with the arch and the vault. So that, while by some schools (especially those of Auvergne, Poitou and Perigord in France) completely vaulted churches were built as early as the middle of the XI century, most of the schools lagged far behind and used wooden roofs until the middle of the XII century. Second. March 8, on Gothic Architecture. (12 present). A sharp distinction must be drawn between the Transition-style, which formed the link between the Romanesque and the Gothic, and the Pointed style which, although using the pointed arch, had none of the constructional peculiarities of the Gothic. Amidst many conflicting claims it seems certain that Gothic architecture arose (c. 1200) in Northern France and more particularly in the province of the Ile-de-France, where we also find (c. 1150) the style of transition Nowhere are the attributes of true Gothic so well exemplified as in the great cathedrals of Rheims, Amiens, Chartres, and Bourges. From thence the Gothic style spread to other countries: although France, England, Germany, Italy, and Spain had different forms, these were mainly national, and there did not exist nearly so many distinct schools as in the Romanesque period. In the XIV century Gothic lost its originality and artistic feeling; it lived on the past; and in the XV century it was overrun with purposeless ornamentation and its forms became perverted and debased, losing the lightness, symmetry, and beauty which characterized its early period. Third. March 22, on Italian Sculpture during the XIII-XV Centuries. (10 present). The revival of Italian Sculpture is all the more remarkable that previous to Niccola Pisano it was sunk so low as to seem incapable of renewed life. Niccola's style was not adopted by the school he founded; his massive, powerful figures, full of a quiet majesty, were exchanged for slender, artificial forms, and while the influence of the antique may be traced in him, it is entirely wanting in his successors. Giovanni his son came under the influence of foreign Gothic art, and the same may be said of the rest of the school. Andrea Pisano, however, and the great unknown sculp tors of the Orvieto Cathedral seem to return to an earlier and simpler style, related to Giottesque painting. The second great phase, beginning with the first years of the XV century shows us the great names of Jacopo della Quercia, Lorenzo Ghiberti, and Donatello. The pictorial style introduced by Ghiberti was fortunately counteracted by the more powerful genius of Donatello aided by the correct artistic taste of the time. It was Donatello who formed most of the sculptors who then acquired renown; but none reached to his height. The cause of his influence was not only that he conceived most completely the naturalistic type of his time, but that he commenced the renaissance of the classical ideal. On the other hand, Luca della Robbia was essentially a religious sculptor and founded an extensive Robbia school. He revived the earlier religious art with greater sentiment and beauty of form, and took, in sculpture, the position corresponding to that of Fra Angelico in painting. Fourth. March 29, on Italian Painting during the XIV Century. (13 present). The XIII century was in Italy the period of the greatest degradation in painting, when exaggeration of expression and distortion of form reached their climax. Giunta of Pisa, Guido of Siena, the Berlinghieri of Lucca and Margharitone of Arezzo do not rise much above the general standard. The revival in Tuscany,-headed in Florence by Cimabue and in Siena by Duccio,-was a regenerated form of Byzantine art: but a new departure, more humanistic and naturalistic in every way, and which spread rapidly in all directions, was taken by Giotto, to whom Simone Memmi corresponds in the Siennese school. During the XIV century these two Tuscan schools reigned supreme, and the few painters who flourish in other provinces acknowledge the rule of their style. Of the rivals, the Florentine adopts a relatively intellectual, and the Siennese a sentimental ideal. After Taddeo Gaddi, Giotto's great pupil, the Giottesque style became rapidly debased, and the Florentine School does not produce any great painter besides Andrea Orcagua, who was a universal master sui generis. In Siena the most important successors of Simone Memmi were the two Lorenzetti: there, also, at the close of the century a retrogressive movement takes place. Fifth. April 5, on Italian Painting during the XV Century. (15 present). The XV century witnesses a great revolution in the Florentine school and its dependThis encies; while the school of Siena continues to represent the ideal of the XIV. revolution in Art was caused by human nature being taken as its ideal and its model: hence the uniformity of the preceding period was replaced by distinct and new species developing side by side and which we may call the religious, the naturalistic, the realistic, and the classical. The ideal and religious style not according with the spirit of the age lost much of its life; but it was reborn in Fra Angelico whose paintings seem inspired and in Fra Filippo Lippi who is inferior only to him; while at the close of the century the school is represented by such great painters as Perugino and Pinturicchio. Masaccio was the prophet of the naturalistic and psychological school which was completed in Sandro Botticelli, Domenico Ghirlandaio and Filippino Lippi who develop portraiture in religious subjects to its limits. Another form is exemplified by Giovanni Bellini in whom the great power of color appears. The realistic and scientific school headed by Andrea del Castagno and Piero della Francesca studied the human body with a realism repugnant to true art. The Pollajuoli carried this to its extreme limits: Andrea del Verocchio somewhat refined it. The classical renaissance was not so striking in painting as in sculpture: it however inspired many works of Sandro Botticelli, Andrea Mantegna, and Luca Signorelli. Mantegna and Signorelli were the giants of the century, men of comprehensive genius whose influence was lasting the latter was hardly surpassed by Michel Angelo in mastery over the human figure. Sixth. May 3, on Ivory Carving from the IV to the XV century. (6 present). Art history is often best illustrated by its smallest productions: this is emphatically the case with carvings in ivory; not being of a precious material they have been preserved in great numbers and in uninterrupted sequence. The consular diptychs of the IV-VI centuries form an important series: they generally figured the consul presiding over the games. Many articles of ecclesiastical use were carved in ivory, such as church diptych, pyxes, holy-water vessels, vases, caskets, book covers, and later. flabella, aspersoria, devotional tablets, triptychs, &c. All these works were carved with the subjects of Christian art. After the classical and Byzantine period a new style came up with the Carlovingian revival this was succeeded by a degradation, with some improvement during the Romanesque period. At this time this branch of art was reaching great perfection in the Eastern Empire. When the Gothic style arose there was a great renaissance in ivory carving which became very popular: in France especially it was impressed with all the delicacy and refinement of Gothic sculpture, and many prominent artists devoted themselves to this branch. In Italy, Venice became famous for this specialty and exported carved ivories largely to other countries, while Germany, Spain, and England all possessed national schools. The ARCHEOLOGICAL INSTITUTE OF AMERICA founded five years ago for the promotion of archæological research and discovery on classical and American soil, by action of its Council in Boston May 17, 1884, urged the formation of affiliated societies in other cities. These scieties, besides sharing in the general advantages of the Institute, may, by electing members into the General Council, influence the work undertaken by the Institute, and create local interests by meetings. publications, etc. The University Archæological Society appointed Drs. Emerson and Frothingham a committee to forward the formation of a Baltimore Society by the addition of other members. The old and new members of the Institute were invited to meet on June 5th, at 8 p. m.. in President Gilman's office for the formal organization of the Society. Mr. John W. McCoy, whose interest in art and archæology is well-known, was chosen President. Dr. Emerson and Dr. Frothingham were named respectively recording and corresponding secretaries. The Baltimore Society at present numbers twenty-three members, as follows: Charles J. Bonaparte, George W. Brown, Arthur M. Elliott, Alfred Emerson, Arthur L. Frothingham, Jr., Miss Mary Garrett, Robert Garrett, T. Harrison Garrett, Basil L. Gildersleeve, Daniel C. Gilman, Edward M. Greenway, Jr., Joshua G. Harvey, Reverdy Johnson, Miss E. T. King, John W. McCoy, N. H. Morison, Charles D. Morris, Edmund Law Rogers, William W. Spence, S. Teackle Wallis, Harry Walters, Minton Warren, Miles White, Jr. THE JOHNS HOPKINS UNIVERSITY CIRCULARS BALTIMORE 1884-1885 BALTIMORE, MD. PRINTED BY JOHN MURPHY & Co. Mathematical Society. April 23.-Dr. Story in the chair. Nine persons present. A Note on Ruled Surfaces, by W. E. STORY. On Curvature in n-flat space, by G. BISSING. May 21.-Dr. Story in the chair. Eleven persons present. On the Equations which Determine the Directions of the Axes of a Quadric Surface, by W. E. STORY. (Abstract on p. 123). A Note on the Divisibility of Numbers, by W. P. Durfee. On the Number of Substitutions of n letters which leave k of them unaltered, by W. P. DURFEE. Baltimore Naturalists' Field Club. April 30.-Dr. G. H. Williams in the chair. Eleven members present. This beetle belongs to the large family of Meloidæ, and is parasitic in the nests of DR. BARTON of the botanical section made a report of the field work during the past month, and stated that several interesting additions had been made to the collec tion. DR. WILLIAMS of the geological section made a communication on "The so-called Quartz-porphyry at Hollins station, N. C. R. R., north of Baltimore." (See p. 132 of this Circular). May 25.-Dr. G. H. Williams in the chair. Ten members present. MR. LOGGER gave an account of a strange hymenopterous parasite infesting the larva of Tiphia. The Fiphia lays its eggs in the so-called white grub, or the larva of Lachnosterna fusca; the larva of the Tiphia when nearly mature eats the white grub and then spins for itself a beautiful silken cocoon. This larva in turn is often infested by the larva of the Rhipiphorus pectinatus or R. limbatus, the eggs of which have become fastened to the Tiphia, and in this way reach the Tiphia cocoon-as stated Mr. Lugger has also found in the same cocoons small hymenopterous parasites. The order of events in this case appears to be that the larva of a large coleopterous insect is destroyed by a hymenopterous larva, this in turn by a coleopterous larva, and this again by a hymenopterous larva. DR. STERNBERG made an address on micrococci, with especial reference to the micrococcus of pneumonia, which has lately been described. MR. DONALDSON showed two specimens of Liparis liliifolia found at Texas, N. C. R. R., Md., which possessed the keeled leaves characteristic of L. læsellia. He also mentioned a fertile plant of Podophyllum peltatum with only one leat, and a sterile specimen with the stem continued into a leaf-like structure. MEETINGS OF ART CIRCLES. Under the auspices of the University Archæological Society, DR. A. L. FROTHINGHAM, JR., has organized several circles for the study of various phases of art, illustrated by photographs and engravings. The meetings have been held in the rooms of the Peabody Institute and the following subjects have been taken up. First. March 1, on Romanesque Architecture. (16 present). Before the Romanesque period (XI and XII centuries) there had flourished since the Christian era four styles of Architecture: the Roman, the Eastern (especially Syrian), the Byzantine, and the Lombard: and from a combination of various elements existing in these styles Romanesque Architecture was formed. Its general characteristics are grandeur, simplicity, and power, while during the two centuries when it held sway not only did each country have a distinct form of the style, as France, Germany, Italy, England, and Spain, but every one of these still ununited countries included schools possessing traditions and methods of their own, and developing independently of each other. Some reached a higher scientific development than others, and obtained better results in their endeavors to solve the main architectural problems of the age-the problems connected with the arch and the vault. So that, while by some schools (especially those of Auvergne, Poitou and Perigord in France) completely vaulted churches were built as early as the middle of the XI century, most of the schools lagged far behind and used wooden roofs until the middle of the XII century. Second. March 8, on Gothic Architecture. (12 present). A sharp distinction must be drawn between the Transition-style, which formed the link between the Romanesque and the Gothic, and the Pointed style which, although using the pointed arch, had none of the constructional peculiarities of the Gothic. Amidst many conflicting claims it seems certain that Gothic architecture arose (c. 1200) in Northern France and more particularly in the province of the Ile-de-France, where we also find (c. 1150) the style of transition Nowhere are the attributes of true Gothic so well exemplified as in the great cathedrals of Rheims, Amiens, Chartres, and Bourges. From thence the Gothic style spread to other countries: although France, England, Germany, Italy, and Spain had different forms, these were mainly national, and there did not exist nearly so many distinct schools as in the Romanesque period. In the XIV century Gothic lost its originality and artistic feeling; it lived on the past; and in the XV century it was overrun with purposeless ornamentation and its forms became perverted and debased, losing the lightness, symmetry, and beauty which characterized its early period. Third. March 22, on Italian Sculpture during the XIII-XV Centuries. (10 present). The revival of Italian Sculpture is all the more remarkable that previous to Niccola Pisano it was sunk so low as to seem incapable of renewed life. Niccola's style was not adopted by the school he founded; his massive, powerful figures, full of a quiet majesty, were exchanged for slender, artificial forms, and while the influence of the antique may be traced in him, it is entirely wanting in his successors. Giovanni his son came under the influence of foreign Gothic art, and the same may be said of the rest of the school. Andrea Pisano, however, and the great unknown sculptors of the Orvieto Cathedral seem to return to an earlier and simpler style, related to Giottesque painting. The second great phase, beginning with the first years of the XV century shows us the great names of Jacopo della Quercia, Lorenzo Ghiberti, and Donatello. The pictorial style introduced by Ghiberti was fortunately counteracted by the more powerful genius of Donatello aided by the correct artistic taste of the time. It was Donatelló who formed most of the sculptors who then acquired renown; but none reached to his height. The cause of his influence was not only that he conceived most completely the naturalistie type of his time, but that he commenced the renaissance of the classical ideal. On the other hand, Luca della Robbia was essentially a religious sculptor and founded an extensive Robbia school. He revived the carlier religious art with greater sentiment and beauty of form, and took, in sculpture, the position corresponding to that of Fra Augelico in painting. Fourth. March 29, on Italian Painting during the XIV Century. (13 present). The XIII century was in Italy the period of the greatest degradation in painting, when exaggeration of expression and distortion of form reached their climax. Giunta of Pisa, Guido of Siena, the Berlinghieri of Lucca and Margharitone of Arezzo do not rise much above the general standard. The revival in Tuscany,-headed in Florence by Cimabue and in Siena by Duccio,-was a regenerated form of Byzantine art: but a new departure, more humanistic and naturalistic in every way, and which spread rapidly in all directions, was taken by Giotto, to whom Simone Memmi corresponds in the Siennese school. During the XIV century these two Tuscan schools reigned supreme, and the few painters who flourish in other provinces acknowledge the rule of their style. Of the rivals, the Florentine adopts a relatively intellectual, and the Siennese a sentimental ideal. After Taddeo Gaddi, Giotto's great pupil, the Giottesque style became rapidly debased, and the Florentine School does not produce any great painter besides Andrea Orcagua, who was a universal master sui generis. In Siena the most important successors of Simone Memmi were the two Lorenzetti: there, also, at the close of the century a retrogressive movement takes place. Fifth. April 5, on Italian Painting during the XV Century. (15 present). The XV century witnesses a great revolution in the Florentine school and its dependThis encies; while the school of Siena continues to represent the ideal of the XIV. revolution in Art was caused by human nature being taken as its ideal and its model: hence the uniformity of the preceding period was replaced by distinct and new species developing side by side and which we may call the religious, the naturalistic, the realistic, and the classical. The ideal and religious style not according with the spirit of the age lost much of its life; but it was reborn in Fra Angelico whose paintings seem inspired and in Fra Filippo Lippi who is inferior only to him; while at the close of the century the school is represented by such great painters as Perugino and Pinturicchio. Masaccio was the prophet of the naturalistic and psychological school which was completed in Sandro Botticelli, Domenico Ghirlandaio and Filippino Lippi who develop portraiture in religious subjects to its limits. Another form is exemplified by Giovanni Bellini in whom the great power of color appears. The realistic and scientific school headed by Andrea del Castagno and Piero della Francesca studied the human body with a realism repugnant to true art. The Pollajuoli carried this to its extreme limits: Andrea del Verocchio somewhat refined it. The classical renaissance was not so striking in painting as in sculpture: it however inspired many works of Sandro Botticelli, Andrea Mantegna, and Luca Signorelli. Mantegna and Signorelli were the giants of the century, men of comprehensive genius whose influence was lasting the latter was hardly surpassed by Michel Angelo in mastery over the human figure. Sixth. May 3, on Ivory Carving from the IV to the XV century. (6 present). Art history is often best illustrated by its smallest productions: this is emphatically the case with carvings in ivory; not being of a precious material they have been preserved in great numbers and in uninterrupted sequence. The consular diptychs of the IV-VI centuries form an important series: they generally figured the consul presiding over the games. Many articles of ecclesiastical use were carved in ivory, such as church diptych, pyxes, holy-water vessels, vases, caskets, book covers, and later. flabella, aspersoria, devotional tablets, triptychs, &c. All these works were carved with the subjects of Christian art. After the classical and Byzantine period a new style came up with the Carlovingian revival this was succeeded by a degradation, with some improvement during the Romanesque period. At this time this branch of art was reaching great perfection in the Eastern Empire. When the Gothic style arose there was a great renaissance in ivory carving which became very popular in France especially it was impressed with all the delicacy and refinement of Gothic sculpture, and many prominent artists devoted themselves to this branch. In Italy, Venice became famous for this specialty and exported carved ivories largely to other countries, while Germany, Spain, and England all possessed national schools. The ARCHEOLOGICAL INSTITUTE OF AMERICA founded five years ago for the promotion of archæological research and discovery on classical and American soil, by action of its Council in Boston May 17, 1884, urged the formation of affiliated societies in other cities. These societies, besides sharing in the general advantages of the Institute, may, by electing members into the General Council, influence the work undertaken by the Institute, and create local interests by meetings. publications, etc. The University Archæological Society appointed Drs. Emerson and Frothingham a committee to forward the formation of a Baltimore Society by the addition of other members. The old and new members of the Institute were invited to meet on June 5th, at 8 p. m., in President Gilman's office for the formal organization of the Society. Mr. John W. McCoy, whose interest in art and archæology is well-known, was chosen President. Dr. Emerson and Dr. Frothingham were named respectively recording and corresponding secretaries. The Baltimore Society at present numbers twenty-three members, as follows: Charles J. Bonaparte, George W. Brown, Arthur M. Elliott, Alfred Emerson, Arthur L. Frothingham, Jr., Miss Mary Garrett, Robert Garrett, T. Harrison Garrett, Basil L. Gildersleeve, Daniel C. Gilman, Edward M. Greenway, Jr., Joshua G. Harvey, Reverdy Johnson, Miss E. T. King, John W. McCoy, N. H. Morison, Charles D. Morris, Edmund Law Rogers, William W. Spence, S. Teackle Wallis, Harry Walters, Minton Warren, Miles White, Jr. THE JOHNS HOPKINS UNIVERSITY CIRCULARS BALTIMORE 1884-1885 BALTIMORE, MD. PRINTED BY JOHN MURPHY & Co. Mathematical Society. April 23.-Dr. Story in the chair. Nine persons present. A Note on Ruled Surfaces, by W. E. STORY. On Curvature in n-flat space, by G. BISSING. May 21.-Dr. Story in the chair. Eleven persons present. On the Equations which Determine the Directions of the Axes of a Quadric Surface, by W. E. STORY. (Abstract on p. 123). A Note on the Divisibility of Numbers, by W. P. DURFEE. On the Number of Substitutions of n letters which leave k of them unaltered, by W. P. DURFEE. Baltimore Naturalists' Field Club, April 30.-Dr. G. H. Williams in the chair. Eleven members present. This beetle belongs to the large family of Meloidae, and is parasitic in the nests of DR. BARTON of the botanical section made a report of the field work during the past month, and stated that several interesting additions had been made to the collection. DR. WILLIAMS of the geological section made a communication on "The so-called Quartz-porphyry at Hollins station, N. C. R. R., north of Baltimore." (See p. 132 of this Circular). May 25.-Dr. G. H. Williams in the chair. Ten members present. MR. LUGGER gave an account of a strange hymenopterous parasite infesting the larva of Tiphia. The Tiphia lays its eggs in the so-called white grub, or the larva of Lachnosterna fusca; the larva of the Tiphia when nearly mature eats the white grub and then spins for itself a beautiful silken cocoon. This larva in turn is often infested by the larva of the Rhipiphorus pectinatus or R. limbatus, the eggs of which have become fastened to the Tiphia, and in this way reach the Tiphia cocoon-as stated Mr. Lugger has also found in the same cocoons small hymenopterous parasites. The order of events in this case appears to be that the larva of a large coleopterous insect is destroyed by a hymenopterous larva, this in turn by a coleopterous larva, and this again by a hymenopterous larva. DR. STERNBERG made an address on micrococci, with especial reference to the micrococcus of pneumonia, which has lately been described. MR. DONALDSON showed two specimens of Liparis liliifolia found at Texas, N. C. R. R., Md., which possessed the keeled leaves characteristic of L. læsellia. He also mentioned a fertile plant of Podophyllum peltatum with only one leaf, and a sterile specimen with the stem continued into a leaf-like structure. MEETINGS OF ART CIRCLES. Under the auspices of the University Archæological Society, DR. A. L. FROTHINGHAM, JR., has organized several circles for the study of various phases of art, illustrated by photographs and engravings. The meetings have been held in the rooms of the Peabody Institute and the following subjects have been taken up. First. March 1, on Romanesque Architecture. (16 present). Before the Romanesque period (XI and XII centuries) there had flourished since the Christian era four styles of Architecture: the Roman, the Eastern (especially Syrian), the Byzantine, and the Lombard and from a combination of various elements existing in these styles Romanesque Architecture was formed. Its general characteristics are grandeur, simplicity, and power, while during the two centuries when it held sway not only did each country have a distinct form of the style, as France, Germany, Italy, England, and Spain, but every one of these still ununited countries included schools possessing traditions and methods of their own, and developing independently of each other. Some reached a higher scientific development than others, and obtained better results in their endeavors to solve the main architectural problems of the age-the problems connected with the arch and the vault. So that, while by some schools (especially those of Auvergne, Poitou and Perigord in France) completely vaulted churches were built as early as the middle of the XI century, most of the schools lagged far behind and used wooden roofs until the middle of the XII century. Second. March 8, on Gothic Architecture. (12 present). A sharp distinction must be drawn between the Transition-style, which formed the link between the Romanesque and the Gothic, and the Pointed style which, although using the pointed arch, had none of the constructional peculiarities of the Gothic. Amidst many conflicting claims it seems certain that Gothic architecture arose (c. 1200) in Northern France and more particularly in the province of the Ile-de-France, where we also find (c. 1150) the style of transition Nowhere are the attributes of true Gothic so well exemplified as in the great cathedrals of Rheims, Amiens, Chartres, and Bourges. From thence the Gothic style spread to other countries: although France, England, Germany, Italy, and Spain had different forms, these were mainly national, and there did not exist nearly so many distinct schools as in the Romanesque period. In the XIV century Gothic lost its originality and artistic feeling; it lived on the past; and in the XV century it was overrun with purposeless ornamentation and its forms became perverted and debased, losing the lightness, symmetry, and beauty which characterized its early period. Third. March 22, on Italian Sculpture during the XIII-XV Centuries. (10 present). The revival of Italian Sculpture is all the more remarkable that previous to Niccola Pisano it was sunk so low as to seem incapable of renewed life. Niccola's style was not adopted by the school he founded; his massive, powerful figures, full of a quiet majesty, were exchanged for slender, artificial forms, and while the influence of the antique may be traced in him, it is entirely wanting in his successors. Giovanni his son came under the influence of foreign Gothic art, and the same may be said of the rest of the school. Andrea Pisano, however, and the great unknown sculptors of the Orvieto Cathedral seem to return to an earlier and simpler style, related to Giottesque painting. The second great phase, beginning with the first years of the XV century shows us the great names of Jacopo della Quercia, Lorenzo Ghiberti, and Donatello. The pictorial style introduced by Ghiberti was fortunately counteracted by the more powerful genius of Donatello aided by the correct artistic taste of the time. It was Donatelló who formed most of the sculptors who then acquired renown; but none reached to his height. The cause of his influence was not only that he conceived most completely the naturalistic type of his time, but that he commenced the renaissance of the classical ideal. On the other hand, Luca della Robbia was essentially a religious sculptor and founded an extensive Robbia school. He revived the carlier religious art with greater sentiment and beauty of form, and took, in sculpture, the position corresponding to that of Fra Angelico in painting. Fourth. March 29, on Italian Painting during the XIV Century. (13 present). The XIII century was in Italy the period of the greatest degradation in painting, when exaggeration of expression and distortion of form reached their climax. Giunta of Pisa, Guido of Siena, the Berlinghieri of Lucca and Margharitone of Arezzo do not rise much above the general standard. The revival in Tuscany,-headed in Florence by Cimabue and in Siena by Duccio,-was a regenerated form of Byzantine art: but a new departure, more humanistic and naturalistic in every way, and which spread rapidly in all directions, was taken by Giotto, to whom Simone Memmi corresponds in the Siennese school. During the XIV century these two Tuscan schools reigned supreme, and the few painters who flourish in other provinces acknowledge the rule of their style. Of the rivals, the Florentine adopts a relatively intellectual, and the Siennese a sentimental ideal. After Taddeo Gaddi, Giotto's great pupil, the Giottesque style became rapidly debased, and the Florentine School does not produce any great painter besides Andrea Orcagna, who was a universal master sui generis. In Siena the most important successors of Simone Memmi were the two Lorenzetti: there, also, at the close of the century a retrogressive movement takes place. Fifth. April 5, on Italian Painting during the XV Century. (15 present). The XV century witnesses a great revolution in the Florentine school and its dependencies; while the school of Siena continues to represent the ideal of the XIV. This revolution in Art was caused by human nature being taken as its ideal and its model: hence the uniformity of the preceding period was replaced by distinct and new species developing side by side and which we may call the religious, the naturalistic, the realistic, and the classical. The ideal and religious style not according with the spirit of the age lost much of its life; but it was reborn in Fra Angelico whose paintings seem inspired and in Fra Filippo Lippi who is inferior only to him; while at the close of the century the school is represented by such great painters as Perugino and Pinturicchio. Masaccio was the prophet of the naturalistic and psychological school which was completed in Sandro Botticelli, Domenico Ghirlandaio and Filippino Lippi who develop portraiture in religious subjects to its limits. Another form is exemplified by Giovanni Bellini in whom the great power of color appears. The realistic and scientific school headed by Andrea del Castagno and Piero della Francesca studied the human body with a realism repugnant to true art. The Pollajuoli carried this to its extreme limits: Andrea del Verocchio somewhat refined it. The classical renaissance was not so striking in painting as in sculpture: it however inspired many works of Sandro Botticelli, Andrea Mantegna, and Luca Signorelli. Mantegna and Signorelli were the giants of the century, men of comprehensive genius whose influence was lasting: the latter was hardly surpassed by Michel Angelo in mastery over the human figure. Sixth. May 3, on Ivory Carving from the IV to the XV century. (6 present). Art history is often best illustrated by its smallest productions; this is emphatically the case with carvings in ivory; not being of a precious material they have been preserved in great numbers and in uninterrupted sequence. The consular diptychs of the IV-VI centuries form an important series: they generally figured the cousul presiding over the games. Many articles of ecclesiastical use were carved in ivory, such as church diptych, pyxes, holy-water vessels, vases, caskets, book covers, and later. flabella, aspersoria, devotional tablets, triptychs, &c. All these works were carved with the subjects of Christian art. After the classical and Byzantine period a new style came up with the Carlovingian revival: this was succeeded by a degradation, with some improvement during the Romanesque period. At this time this branch of art was reaching great perfection in the Eastern Empire. When the Gothic style arose there was a great renaissance in ivory carving which became very popular: in France especially it was impressed with all the delicacy and refinement of Gothic sculpture, and many prominent artists devoted themselves to this branch. In Italy, Venice became famous for this specialty and exported carved ivories largely to other countries, while Germany, Spain, and England all possessed national schools. The ARCHEOLOGICAL INSTITUTE OF AMERICA founded five years ago for the promotion of archæological research and discovery on classical and American soil, by action of its Council in Boston May 17, 1884, urged the formation of affiliated societies in other cities. These scieties, besides sharing in the general advantages of the Institute, may, by electing members into the General Council, influence the work undertaken by the Institute, and create local interests by meetings. publications, etc. The University Archæological Society appointed Drs. Emerson and Frothingham a committee to forward the formation of a Baltimore Society by the addition of other members. The old and new members of the Institute were invited to meet on June 5th, at 8 p. m.. in President Gilman's office for the formal organization of the Society. Mr. John W. McCoy, whose interest in art and archæology is well-known, was chosen President. Dr. Emerson and Dr. Frothingham were named respectively recording and corresponding secretaries. The Baltimore Society at present numbers twenty-three members, as follows: Charles J. Bonaparte, George W. Brown, Arthur M. Elliott, Alfred Emerson, Arthur L. Frothingham, Jr., Miss Mary Garrett, Robert Garrett, T. Harrison Garrett, Basil L. Gildersleeve, Daniel C. Gilman, Edward M. Greenway, Jr., Joshua G. Harvey, Reverdy Johnson, Miss E. T. King, John W. McCoy, N. H. Morison, Charles D. Morris, Edmund Law Rogers, William W. Spence, S. Teackle Wallis, Harry Walters, Minton Warren, Miles White, Jr. |