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maha Sunday. Bee I
Copyright, HIS. by the Star Company Great Britain Rights ReserveO.
gYourPictures on Moor
Mont fort Cootidge, the New York Artist,
Captivates the Paris Art World by a
Very Original Conception of Art
"There is the masterpiece on the floor. No craning of necks to see it, no back-breaking
twist. One can walk on its glass even."
TliAT,thero is-no standard In
" "nrt" Is, of course, well
4, known. You may bo nn
"Impressionist," or adtnlro tlio tocli
nlquo which paints carefully every
button on ft coat and tlio tcxturo'te-t
tlio fabric of a lady's dress. Art Is
nnythlng that anybody likes and so
It comes nbout that anybody with n
new Idea may start a new "school"
of art at any moment and find ur
Mr. Frank Harris, tho distin
Kiilshed English critic and Shakes
pearian authority, has recently de
clared that thero nrq a dezon artists
walking thq streets oflLondon to-day,
who can palut ten times as well as
One of tho artists Mr, Harris ele
vates in this manner is S. II. Blmo,
who Is best known ns a newspaper
Illustrator. Mr. Blmo shows nn
amazing fertility of imagination,
and his drn-'ngs and paintings aro
numbered by tho thousand. Proba
bly no artist lias over had moro
Ideas than Mr. Slme.
Pierre Lot I bownlls (ho fact that
wo "value bread mftro than art," and
tho now Futurists wildly assort that
all art from earliest UtncB is absurd,
and that only no win tholr now fu
turist conniption of truo nrt has art
ut last como into its own.
All this being so, it is not surpris
ing that Mr. .Montfort P&Hdgo, tho
New York painter, has found np
plaiiBo for his now dictum that pic
tures should, practically bo bung on
Mr. Coolldgo has designed ono
room for an. Italian noblcmari, Count
Gabbl. at Rimini, Italy, according to
Ills Ideas! Tho decoration is so
planned that whllo sitting in this
room you have tho sensation of fly
ing in nn aeroplauo and looking at
tho earth beneath your feet.
The celling of tho room is colorod
to resemble tho sky, whllo in tbo
nppllcatlou of tho new principle ot
haiiRing your pictures on tho floor.
In this case it is used to produco
the illusion ot things that would nat
urally bo seeir beneath tho feet, but
It Is nsscrtcd that oycry plctifro, no
matter what It represent,, would bo
seen hotter if hung on tbo floor.
It Is well known that looking nt
pictures on tho wall, especially it
' they be hung rather high, gives one
"n headache This is chiefly duo to
' Action of holding tho head in nn
i v.itural position wjth tho neck
-tiarpiy pent backwards. Few objects
lu nature hnvo to bo viewed ut. tho
peculiar anglo required 'in looking
nt a plcturo high up on tho wall of
On tho other hand wheu you look
at n picture on tho floor tho attitude
Is tho eaBlcst ono possible. Moreover,
tlio action ot bending down tho head
sends tho blood toward tho brain,
nnd thus produces a moro nctivo In
telligence and n greater power ot
concentration nnd appreciation:
Artists have before now plimpscd
tho possibilities of making tho floor
attractive, but the Idea was never
dovoloped by a uchool.
Tho opposlto practise of putting
pictures on tho celling has been tried,
nnd, according to tho Coolldgo school
proved to bo a mlstnke. Raphael
painted his famous frescoes on tho
colling of tbo Slstlno Chapel.
Not ono person in a hundred thou
sand can seo theso paintings proper
ly. If it wcro not for photograhpy
tho world would bo virtually Ignor
ant of these great works.
The ancient Romans, who had cor
rect Ideas about most things, dis
covered the ndvantngo of putting
pictures on the floor. Tho mosaic
, pavements, which they placed In
their palaces and villas were floor
pictures In tho fullest sense ot the
expression. Every subject in Greek
nnd Roman mythology, ovory groai
episode in tho history of Rome wnf
depicted in mosaics upon some floor
When wo hnvo established -.thc'- derfnl-nchlevementH of his rato as
practise of hanging pictures on the ho ran about tho floor of his father'
floor, Mr, Coolldgo nnd his followers villa. Theso mosaics huvp been large
assert wo shnll have a richer, a ly destroyed during the centurle
"Laughter" by A. Boccioni. One of the Most Striking
Futurist Pictures Which Could Be Excellently Hung on
the Floor. This New Style 'Painting Is Considered by Many
Thinking Persons as the Highest Form of Art.
Is tho plcturo and you mny have no
cause for. complaint. It is impossible
to obtain a commonplace every-day
definition of Futurism, because the
nrtlst of this school speaks In futur
ist language, which 13 constructed on
the samp principle as his pictures.
A great Futurist exposition Is' go
ing to bo hold in Now York. Tho
movement' originated in Paris, but
It has many American followers. . .
A Cubist's Sketch of an Incident in the Turkish War. It Has
Been Printed Seriously by a Serious French Magazine.
it appeared to tho cyo of tho artist
nt a certain moment, and not to hold
tbo mirror up to nature.
Tho Impressionists wcro ridiculed
at ono time, as much as auy of tho
moro recent schools of art have been,
but now they aro admitted to have
produced tho greatest painters of
the niuotecnth century.
Just now wo have ,the Post-lm-presslonlsts.
tho Cubists, tho Futur
ists and other schools.
Tho Futurists aro tho most import
ant of any ot theso schools just now.
Tho Futurists take their namo be
cnuso they ossort that their way Is
the way all painting will be done In
the future. Otherwise their princi
pal idea, so far as it -can be ascer
tained, is that tho artist should
paint tho Impression that a subject
creates in his mind, rather thr.n the
Impression that at throws on the
retina ot his eye. Horo ts where
thoy aro I-. advance of 'th' moro Im
pressionists. If the impression in tho artist's
mind is a rathccxhaotlc one, then so .
1 n "
Tho Futurist does not'asplro pr
pretend to paint anythlug that stands
still. His ambition Is to make the
picture ;wigglc-waggle. figuratively
speaking. Ho wants to give an Im
pression of movement of constant
transformation.- ' '
Conventional art has established
thatwhen a woman sits tor her pic
ture she sits still, and no academic
painter has yet' endowed -a female
portrait with several heads, a mul
tiplicity of 'arms and countless legs.
Rut.one of tho ch.of.d'oeuvreB of Fu
turist art,- shows a woman with three
heads, a large collection ot arms and
numberless 7 s. if 'she was a zigzag
puzzle she would uot bo more sorely
In need, of. being put together, if
only the cut up parts matched, which
Tho Futurist Carra has tried to
convey In a painting entitled "Cahots
do flncro" (cab jolts), how many Jolts
ho received whllo riding In a Paris
cab. They look as an ensemblo like
tho realms of a scavenger with nn
ugly job on hand. and. a hideous
ghoul or two thrown in.
Near by hangs n rival picture, a
horse, and he Is endowed with twenty
legs. Tho anlranl might havo been a
cog' wheel If the extra legs lying
around his body hnd been properly
adjusted, each hoof answering to 11
cog. But tho trouble with trying to
put anything futurist Into order lies
in tho fnct that theso artists are
enemies of all established laws ot
order; so In Russollo's plcturo "La
Revolto" thero aro some hundred of
clawing fingers groping up and
down what either meant to be
window panes or elllng or wall pa
per or up-to-djito linoleum, for no
ono can tell just what Kussollo wants
the gucsscr to guess those bony ends
aro clutchlug after;
For all one knows tho mixing up
of tho window panes, wall paper,
celling and linoleum effect may bo
symbolics of the plutocrat who can
have anythlug he wants and all ho
wants, one right after the other.
"After the Theatre" by Carra. A Futurist's Impression of
Huge Black Cabs Like Beetles and Abrupt Floods
nobler and a moro iuflucutlnl art
middle; ot tbo floor is set a largo pan
el of glass. Some distance below tbo
glass and lighted electrically from
tbo sides is a painting representing
tho Italian Alps as they would ap
pear if seen from an immense height
This wonderful room will -be used
vfor musical entertainments. The
artist explains that tho painting be
ing below tho level of the eye it
can bo enjoyed in comfort, 'while lis
tening to tho music, but iv decorated
celling is far too high to bo proi
erly appreciated In these circum
stances. The music room is omy a modified
Peoplo will spend hours in contem
plation ot a great work ot art upon
the floor, when they would not spend
uvo minutes lu looking at tho sumo
plcturo on the wall.
These enthusiasts say that wo
shall havo groat galleries with ple-v
turcs 011 tho floor, whllo the walls
and celling will bo covered with rest
ful tones and designs. Tbo vainly in- .
creased power of 'appreciating nrt '
brought about by this iuuovatlou
will, they think, lead to "a develop
ment of an such as the world has
never known before.
"Swathed Women's Forms,
but -wo possess enpugb of them to
know how well they were executed.
Perhaps if tho Roman Emplro had
not boon swallowed up In tho bar
barism ot the dark ages, the art ot
arranging and painting pictures on
tho floor would, long before now,
havo been tremendously developed.
There has been a remarkable ef
fort lu our timo to mako nrt more
original, more expresslvo ot the
mind ot tbo artist nnd less a mere
effort to reproduce nature. Fifty or
sixty years ago the impressionists
came up and asserted that tho way
to nalnt was to ranrount n thin an
The Odd Home Life of Our Earliest 5-Toed Ancestors
jEOEXTLY a perfect fossil of an Eryops or
&r Mud Puppy, tho dominant animal of tho
Coal age. teas found in Texas. Tho body
and bones of tho creature itself had disappeared,
but in the red rock teas a perfect print of it. Tho
soft soli of millions of years ago had made a com
plete. negative) of tho carcass and in the ages dur
ing which it slowly turned to rock, retained tho
The Mud Puppy is interesting because it is
man's earliest known direct ancestor. Hero is
the picture and here is Professor W. D. Matthew's
picture of the world in which it lived.
By Prof. W. D. Matthew
of the New York Museum of Natural History.
fHERE were no broad-leaved trees nor flow
ering plants, birds nor mammals, nor any
of the higher kinds of Insects. The swamp
vegetation was chlofly ferns and fern-like plants
and giant relatives ot tho modern equlsetums
and club mosses, whllo coniferous trees grew
In the uplands. Tho Insects were all of tho
lower ordors, dragon flies, cockroaches, milli
pedes and others; no bees, no unto, no butter
flies nor booties.
The land vertebrates woto, at this ancient
period, in tho early Btages of their adaptation
to terrestrial We. Liko the modern efts and
salamanders, thoy were amphibious animals,
halt reptile, half fish, In appearance and habits.
In tho carboniferous ago tho amphibians were
tho domlnaut type, aud the reptiles were Just be
ginning to evolve from them, becoming adapt
ed to a moro strictly terrestrial life. Theso
earliest reptiles are very close to tho primitive
amphibians, and the wide gap that now sepa-rates-
these two classes of vertebrates was
then so slight that It Is difficult to draw any
separating lino between them.
Here, then, Is the type of animal that lorded
It over the denizens of the gloomy forests and
dark morasses of the coal period; a sort" of gi
gantic tadpole or mud puppy, with wide, flat
hcd, no neck, a thick, heavy bou, short legs
and' paddle-llke feet and a heavy flattened tail.
While able to crawl clumsily and slowly upon
the land, he must have been far more at homo
In the water, living In the dead poola and back
waters and slow moving streams that traversed
the far extended coast marshes of the great In
terior sea to the west of the Appalachian
That this beast, slow, heavy and clumsy,
small brained and low organized, should be ono
"ot tho highest types of living beings in bis time
may help us to realize how remote and far
away was the era of tho coal forests.
That he Is, a collateral ancestor of all the
higher animals of reptiles, birds, mammals
and of man nimseif
all evolved through the
millions of years which
have since elapsed from
animals of the same
type and grade of or
ganization, may serve
at least to raise our re
sstact for the possibili
ties of development
which lay In the primi
Tho giant dragon fly
that darted over the
head of the slow-crawling
Eryops might seem,
except In size, a far
motu promising can
didate for tbo position
of ancestor to the intelligent life which was to
appear in tho dim future. But tho Insect bad
fulfilled tbo mechanical possibilities of which
his structural organization was capable. The
future progress of the Insect typo was to Ho
not in tbo direction of a more perfect mechan
ism, but in the perfection of tho metamorphosis
during tbo growth ot the individual and In the
establishment ot elaborate social organizations
The amphibian was but beginning tho adap
tation of tho vertebrate structure to a terres
trial habitat, and in his organization lay con
cealed a potential evolution to a far higher
piano ot existence than the Insect organization
has been able to reach. It Is not bo easy to
say Just wherein this superiority lay, but prob-
aDiy tno possession or an internal instead or.
an external skeleton was an essential feature
of It Tho Internal skoleton has also certain'
marked mechanical advantages.
Tki Is Your Ancestor, the Mud Puppy.