audience which taxed the capacity of the room. They were illustrated by such material as could be seen. These talks were not confined strictly to the fine arts, but embraced history and travel as well.

In June, 1905, was dedicated the auditorium which has been used this winter. This was thought to be large enough at the time, but with the increase in the interest manifested by the people, it has proven inadequate.

In addition to the Sunday lectures the auditorium has been used for lectures of a scientific character and for musical entertainments of a high order.

scribed, that met with the approval of the committee, SO I purchase was made.

Another meeting was held, and the committee, consisting of Mr. Charles L. Freer, chairman, Miss Dyar, Mr. F. K. Stearns, Mr. Claud H. Candler, and Mr. A. H. Griffith were authorized to secure a good example of American art at once "Before sunrise, June," by D. W. Tryori, was selected by this committee, but the price asked for it presented a seemingly unsurmountable barrier. At this critical moment, however, one of the subscribers to the fund-a gentleman much interested in art, and the work of the Detroit Museum of Art.

Painting By D. W. Tryon purchased by Annual Subscribers.

Like every other art gallery without an endowment, the Detroit Museum of Art has had to depend, for the growth of its collections, in years past, entirely upon the generosity of individuals. Pictures were presented from time to time with the best of motives, and an honest desire to add to the value of its permanent collection, and a number of good pictures have found their way to the institution through this channel. But there was a desire on the part of all, that the museum should have a fund of its own which would enable it to secure some good example of American Art each year.

A little over a year ago, a citizen suggested that a popular subscription fund could be organized, the members of which would subscribe annually. The sum was set at ten dollars, and one hundred and five names were secured. In Januarv, an exhibition of American art was held, out of which it was expected that some picture would be purchased, but at a meeting held during this exhibition, there was expressed a decided feeling by the subscribers, that the first purchase was a most important one, and that it should set the standard for all future acquisitions. While there were many good pictures in the exhibition which would grace a home, there were none, it was thought, the price of which came within the sum sub

came forward and generously proposed furnishing the balance of the required sum. His offer was gratefully accepted by the committee, and the picture now occupies a place in the permanent collection.

The influence of the first purchase has already been shown in the rapidly increasing list of subscribers. It is hoped that the number may reach three hundred this year.

It was the desire of the editor to reproduce the painting in this number of the Bulletin, but it was found to be too intangible for the camera and half-tone process.

"Before sunrise, June," is one of those charming American landscapes which Tryon has the happy faculty of finding. and lifting up away from all which distracts. Look across the uplands carpeted in the green of spring we see in the middle distance a clump of bare trees, and in the background the woods and gently rising hills. The grassy field reveals something more than a dull stretch of land; every inch of it is interesting. Tufts here and there vary the color-note and the elevation; and the intimation of a tiny stream, the shimmer of whose water is caught but once in the middle distance, together with an irregular row of leafless shrubs, goes to make the composition very charming, and gives the picture a spaciousness which extends far beyond the bordering frame. Foreground, middleground and background are alike seen through that caressing atmosphere which with its mists refreshes the whole of nature early on a June morning. The sun has not yet arisen to dispel the moisture, but its forerunners are tinting the few clouds of the otherwise clear sky, signalling its approach to the horizon.

vested clergyman. The bride and groom face him; the former holding a prayer book and with eyes cast down seems contemplative of the far-reaching words uttered by him; the latter with eager face, upturned, earnestly makes his vows. Opposite and facing them stand the parents and relatives of both bride and groom-a charming group because of the varied costumes, attitudes, and expressions. The child-the small sister of the bride-looks on more in wonder than comprehension, but the expressions of the others are mingled ones of joy and sorrow in varying degrees.

The light from two stained glass windows on either side of the pulpit brighten the scene and gives life to the group and substance to the cold, gray stone floor, the undecorated walls, and the sounding board and pulpit. The participants

Recent Gift of a copy of Fra Angelico's "Coronation of the Virgin."

A faithful copy of Fra Angelico's "Coronation of the Virgin," the original of which is in the Uffizi Gallery, Florence, forms one of a number of important accessions since the beginning of the year. It was the gift of Miss Caroline Godfroy of this city.

Having been abroad several times, and being particularly interested in Fra Angelico's work, Miss Godfroy is undoubtedly a competent judge of the merit of this copy. Even to us who have not the advantage of comparing it with the original, it shows a fidelity in color, and a careful handling of the brush which leads us to believe it to be a faithful fac

simile of the original. The multitude of delicate figures in their apparel of pure coloring are exquisitely finished.

The following extract from Lord Lindsay's Christian Art describes the original: "Quite unearthly is the Coronation of the Virgin; The Madonna crossing her arms meekly on her bosom and bending in humble awe to receive the crown of heaven, is very lovely; the Savior is perhaps a shade less excellent; the angels are admirable, and many of the assistant saints full of grace and dignity; but the characteristic of the picture is the flood of radiance and glory diffused over it; the brighest colors-gold, azure, pink, red, yellow--pure and unmixed, yet harmonizing and blending like a rich burst of wind music, in a manner incommunicable in recital-distinct yet soft-as if the whole scene were mirrored in a sea of glass that burns before the throne."

Owing to the absence of the Director and Assistant Director of the Museum, who will be in Europe for three months, the July number of the Bulletin will not be published. The next number will appear in October, and will take up the work of the Museum from the date of this issue.

"CCRONATION OF THE VIRGIN," After Fra Angelico. Gift of Caroline A. Godfroy.

Portrait of Mr. R. Storrs Willis Given.

At the quarterly meeting of the Board of Trustees the first Monday in April, Mr. William B. Conley presented to the Museum his portrait of Mr. R. Storrs Willis.

The museum is glad to become possessed of this portrait of Mr. Willis, who from the very beginning of the Art Loan, which ultimately resulted in the founding of the present Detroit Museum of Art, was a sincere and earnest worker, never for one moment losing interest in its plans. His office in the Moffat Block was for more than three years the headquarters for all the detail work in connection with the founding of the institution. It was thro' his inflnence that His Holiness, Pope Leo XIII gave the "The Marriage of St. Catherine," the first painting in the permanent collection of this city, and it was thro' his personal effort that the Catholics of the city so handsomely framed it.

After the organization of the museum he was for some years active as a trustee, serving on numerous important committees. A gentleman of refinement and culture, the work appealed to him, and his chief desire was that the museum should prove of value to the people of his home city.

William B. Conley, who presents the picture, is one of Detroit's veteran artists. He came to Detroit after studying in the New York Academy in 1868, and devoted himself enthusiastically to his art. He opened one of the first art schools in the city, and established the first life class. His quality as a paint er has been uneven. He did many things which were masterful, and others which were commonplace. But whatever average he strikes, he may rightly be said to be an important factor in the development of the art of this city.

This painting is one of Mr. Conley's best portraits, painted from life in 1887, about the time of the building of the first section of the museum It will be placed in the Board Room.

+4

- BULLETIN

JCT 5 1905

A STUDY OF FOREIGN MUSEUMS.
By A. H. Griffith.

One of the main considerations in going abroad this last summer was the study of the art galleries and museums of the old world. In America the museum idea is comparatively new and has as yet taken root in but few cities, tho' the number is rapidly increasing.

In the old countries, museums have long been recognized as a necessity and they hold a prominent place in the educational work of every nation. So much are the galleries and museums appreciated that even in time of war when cities are beseiged, an effort is always made to protect and preserve these treasure nouses from injury, and destruction. Often even the smallest towns have galleries, in which are works of the greatest importance which the people value as among their most sacred possessions. In most cases these are free to the people, made so by municipal or government appropriation.

It was with a desire to know more of their work, and management to find out if possible their influence on the communities in which they were situated and the results attained-that we visited them.

Everywhere we received the most cordial welcome and every facility was afforded us in the way of securing information.

To judge by their number, one would think that the museums and picture galleries formed the chief attractions of some of the cities of Europe. Often they were combined under one roof, and as frequently we found them scattered in various buildings, in as many different parts of the city, each devoted to some special line of study and thought, and everywhere we were impressed with the use made of them, not only by the artist and

Number 11

student, but by the artist-artisan and mechanic whom we found in their working clothes copying designs, or making notes that were to be used in their different vocations. In the great Germanic museum at Nuremberg, we saw the bookbinder copying the tooling on old books, the engraver and type-maker were getting designs for initial letters from those beautiful old books, decorated by the hands of the ancient monks. The weaver and lace maker were studying the patterns in fragments of old tapestries and damasks. The wood-carver was carefully modeling in clay or wax, the work of those masters who wrought their lives in their work. The iron worker and locksmith, were there catching some of the spirit that actuated the artisan of the days of Peter Vischer. The frame maker was there finding new ideas and thoughts that would give his work some individuality and stamp it as being above the ordinary. The architect and stone cutter found an inspiration in the plaster casts of ornaments on buildings from far distant countries, the originals of which he never hoped to see. Do you wonder that the foreign mechanic displays in his work that something which makes it artistic when he profits by all that has been done before him?

Everywhere we found that museums and picture galleries were intended to foster two purposes; one to interest, and entertain the casual visitor who would give but a passing glance, perhaps, to the most valuable exhibit; the other and greater purpose, to furnish the opportunity to the artist and artisan, mechanic and student, to see, thro' the medium of pictures, photographs, casts and other material, the work of other men in other countries in all the lines of human endeavor. To do this in the best and most effective manner should be the aim and tireless effort of all similar institutions.

On Sunday October 28th, at 3 P. M., will be given the first of the fourteenth annual series of lectures. Having just returned from a three months vacation in Europe, the director is in every way equipped for this winter's course, having secured while abroad, new material and new slides in France and Germany.

The Museum is now in possession of one of the latest and most improved electric stereopticons, especially arranged for lecture work.

In this connection we will say that plans have been made, for a series of Saturday afternoon talks on lines similar to those given on Sundays. These Saturday afternoon talks will be for the benefit of the pupils of the public schools primarily. It is hoped in this way, to provide for that large class of young people which it is found impossible to accommodate on Sunday, owing to the crowded condition of the Auditorium. The subjects to be treated will be announced later through the public They will be given at the same hour as the Sunday talks, 3 o'clock.

press.

The subjects of the Sunday talks follow: October 28-Cologne, its churches and galleries. November 4-The Rhine, its castles and legends. November 11-Cities of the Upper Rhine. November 18-Munich, the home of Royalty. November 25-Nuremberg, the jewel casket of the German Empire.

December 2-Dresden and its art treasures.

December 9-Historic Berlin.

December 16-Holland and the Dutch.
December 23-Amsterdam and Rembrandt.
December 30-Harlem and Franz Hals.

Ornithological Club.

The Michigan Ornithological Club held its regular quarterly meeting in the Ornithological Room of the Museum, August 16th. Various bird topics were discussed. This room, but recently arranged, is now open to visitors interested in this subject. The collection, while incomplete in many respects has a good representation of Michigan birds.

The next meeting of the Ornithological Club will be held Friday evening, October 5th, at S o'clock. The meeting is open to all interested in bird study.