ART AT YALE By JOHN F. WEIR In 1863 Augustus Russell Street, a graduate of Yale of the Class of 1812, signified to the college authorities his desire to erect upon the college square a large and appropriate building adapted to the purposes of a School of the Fine Arts. Three objects were prominent in the plan of this liberal-minded benefactor: first, to provide a school of technical training for those proposing to follow art professionally as painters, sculptors, or architects; second, to provide courses of lectures in the history and criticism of art in all its branches, adapted to the need of professional students and undergraduates; and third, to provide for the community at large, including the university and the city, such familiarity with works of art as may be derived from loanexhibitions and permanent collections. Mr. Street was the first to give practical form to the conception. that the study of the Fine Arts properly comes within the scope of a university. His aim was not simply to establish a museum of art, which alone had found place in this connection in a few foreign universities, but to provide technical schools of practice with professional aims. When the founder of this department declined to have his name connected with the title of the institution, modestly suggesting that it be named the "Yale School of the Fine Arts," it was partly with the idea that future gifts contributing to its development would be free of the hindrance that sometimes attaches to institutions bearing a founder's name. The foundation-stone was laid in 1864, and the building was completed in 1867 at a cost of $220,000; while Mrs. Street's gifts, after the death of her husband (who did not live to see the building completed), amounted to above $85,000 more, principally for the endowment of chairs of instruction. Yale had already, in 1831, manifested an interest in art by the purchase of the Trumbull collection of historical paintings and portraits of the period of the American Revolution. This was a notable act under the circumstances, quite in advance of ideas then prevalent in similar institutions. The organization of the School of Fine Arts was begun through the endowment of a professorship of painting and design, to which was attached the directorship of the School in accordance with the terms of the original project. This office was filled in 1869, and at the same time a professor of the history and criticism of art was appointed, who entered upon his duties two years later. With the appointment of a Director the School opened at the beginning of the Fall Term of 1869 with an attendance of four students in the technical courses then provided. In 1871 a foundation was received for a professorship of drawing; and through arrangements made with other departments of the University for giving instruction in art to undergraduates, the annual attendance of students of all classes eventually rose, in succeeding years, to upwards of four hundred; while the teaching-force was increased to seven instructors. Classes were formed in drawing, painting, sculpture, and architecture; in composition, perspective, and anatomy; and in the history and criticism of art. The total number of students of various classes who have studied in the School from 1869 to the present time, is above eight thousand. Annual loan-exhibitions were held in connection with the general objects of the School, while courses of public lectures were provided, principally by persons distinguished in the profession as painters, sculptors, or architects; also by the leading critics of the day, and other writers on art. Among the endowments of the School that should be mentioned is that of the Winchester Fellowship, yielding an annual income of $1,000, for supplementing the courses in painting, sculpture or architecture, by sending the successful competitor abroad for two years to be passed in the art schools of Paris. Finding, ultimately, that the technical instruction given in the Yale Art School appeared to equal that received abroad, the competition for this fellowship was held annually, sending the student abroad for one year; on his return he is required to pass an additional year in an advanced course here, ending in the degree of Bachelor of Fine Arts conferred by the University. An endowment was also received for a traveling-scholarship, known as the English Scholarship, open to competition; which sends the successful student abroad for the summer vacation, under the supervision of the faculty as to the course to be pursued. An endowment, recently increased, was also received for a course of public lectures on art, known as the Trowbridge Course. Among the acquisitions that comprise what may now properly be termed the Yale Art Museum, is the Jarves Collection of Italian paintings, dating from the 11th to the 17th century, numbering one hundred and twenty examples; which was purchased in 1871. Also the Alden Wood-Carvings of the 17th century, comprising three confessionals and some eight hundred square feet of carved oak wainscoting from the Chapel of a suppressed convent in Ghent, purchased in 1897. Also a Collection of Casts from Greek, Roman, and Renaissance sculptures filling one of the large galleries. The purchase of these collections, instead of relying upon gifts, is what has given to the Yale Art Museum a unique distinction. Among the important gifts to the School was one in 1911, of $60,000, from a friend of the institution, which was partly applied as an endowment in the department of architecture, and more largely in the erection of an annex to the original Street building as a memorial to the late Richard S. Fellowes, a graduate of Yale of the Class of 1832. This fire-proof structure added three new exhibition-galleries and six class-rooms to the School, making its structural plant consist of five exhibition-galleries and seventeen other apartments, including a library, lecture-room, drawing, painting, modeling, and architectural class rooms, and studios for instructors. A like sum, namely $60,000 (subject to a life-annuity), was bequeathed to the School by Professor Hoppin, late professor in the history of art, for the endowment, when available, of a professorship in architecture. It may be proper to state that pecuniary gifts to this Department of the University for buildings, endowments, and other objects, have amounted to above $600,000. Something should be said of the system of instruction emphasized as appropriate to a School of the Fine Arts that takes its place beside other professional schools in the University. What is known as the academic system is the one most adequate for securing thoroughness of training in these arts, by its disciplining the faculties most widely active in the production of art; adding to the technical practice a knowledge of the historic standards; revealing the types as fundamentally fixed in art, as science reveals them fixed in nature; originality consisting in variations based on the type through new forms of selection and arrangement, and new methods of technique. A knowledge of the historic standards broadens and enriches the mind of the artist by storing it with materials applicable in the professional practice; and in common with other interests of the intellectual life this knowledge should receive its proper emphasis in a School of the Fine Arts included within the scheme of a great University. YALE IN ARCHITECTURE By GROSVENOR ATTERBURY To an Art which is called upon to express almost every phase of a nation's activities and aspirations, the contribution of a university may be correspondingly varied. It may be confined to the stimulation in the student body of that natural sense of beauty which exists to some extent in every normal human—an influence which can be the result both of class-room teaching and the architectural atmosphere of the university. Or, working more directly, its contribution may consist in the technical work of its laboratories in those sciences which are so intimately bound up with the Art of Architecture. But, most directly of all, its contribution may be made through the work of those graduates who, in the practice of the Art, formulate and solve in architectural language in wood, brick, stone, and steel,-the problems of the Body Social of their day;-the men who make its sense of beauty articulate, crystallize its esthetic tendencies, and stimulate its finest aspirations. In appraising Yale's service to the cause of American architecture it must be remembered that she has but recently passed out of that period of education when the recipe for the curriculum might well have read, as suggested by one of her ablest teachers:-"One cup of Latin, one cup of Greek, one cup of Mathematics, one tablespoonful of Philosophy, and a pinch of History." It must be remembered also that during the two hundred years reviewed in our Pageant she has represented more fully than any other college the broad average of Americanism, drawing her students from all corners of the continent as none of her sister universities have done. Now both the Puritanic curri |