33. Q. What are some of the characteristics of Assyrian sculpture? A. It is conventional. Nearly everything represented is from nature. The imitation is always laborious, and often most accurate and exact.

34. Q. Of what material did the Persians build their palaces, which rendered them more enduring than those of the Assyrians? A. Of stone in place of brick.

35. Q. Where are the ruins of the most important Persian palaces? A. At Persepolis.

36. Q. How many distinct buildings are upon the platform at Persepolis, and what are they called? A. Five: the Palace of Darius, the Palace of Xerxes, the Palace of Artaxerxes III, the Hall of Audience, and the Eastern Edifice.

37. Q. What is the only distinctively Phoenician form in architecture that we know of? A. That of a tomb built in cylinders, decreasing in size toward the top, which is shaped like a dome.

38. Q. What remains have we of Hebrew art? A. Some of the original courses of stone in Solomon's temple, and a few tombs belonging to late Jewish or Roman times are about all.

39. Q. What is said of painting and sculpture among the Jews? A. It was forbidden.

40. Q. What are the only important artistic remains left by the early inhabitants of Asia Minor? A. Tombs.

41. Q. What may be said, in a general way, of early art in Syria and Asia Minor? A. From what we know of it we may conclude that it was largely borrowed from Assyria and Egypt.

43. Q. What is Greek architecture? A. It is an intelligent, logical working out of the principles of construction involved in the use of the post, upright, or column, and the lintel, horizontal support, or entablature.

44. Q. How many orders of Greek architecture are there, and what are they called? A. Three: the Doric, the Ionic, and the Corinthian.

45. Q. How are the different orders distinguished? A. By different species of columns, each having its own special kind of entablature.

46. Q. Of how many parts does a column consist? A. Three: the capital, or upper part; the shaft, or middle part, and the base, or lower part.

47. Q. What are the three parts of which an entablature is composed? A. The architrave, or beam resting on the capital of the column; the frieze, or ornamental band; and the cornice, which projects and protects the frieze and architrave.

48. Q. What are the distinguishing features of the Doric order? A. It is the simplest of the three. The shaft has no independent base. The architrave is without ornament of any kind.

49. Q. In what respect does the Ionic differ from the Doric? A. The column is more slender and has a base of its own. The capital is like a cushion rolled åt either side to form a whorl. The frieze is a continuous line of ornament.

50. Q. How does the Corinthian differ from the Ionic? A. Chiefly in the form of the capital, which is richly carved in imitation of leaves.

51. Q. What are the most important Greek buildings? A. Temples.

52. Q. What are the three principal forms of Greek temples? A. The temple in Antis, an oblong cella with a portico of columns; the prostyle, in which the corner

53. Q. What is the most important temple of the Archaic period, extending from the pre-historic ages in Greece to the Persian wars, B. C. 47? A. The Doric peripteral temple of Poseidon, or Neptune, at Pæstum, in Italy. 54. Q. During the golden period of Greek art, the age of Pericles, where were the most important buildings erected? A. On the Acropolis at Athens.

55. Q. What are the three most prominent buildings of the Acropolis? A. The Parthenon, the Erechtheum, and the Propylea.

56. Q. To what order of architecture does each belong? A. The Parthenon to the Doric, the Erechtheum to the Ionic, and the Propylea to the Dorie and Ionic.

57. Q. What is now a well-known and remarkable fact about the Parthenon? A. That every line in it is a section of a circle; but the curves are so delicate as to have remained unnoticed for centuries.

58. Q. What Greek tomb was considered one of the seven wonders of the world? A. The tomb of Mausolus, in Caria, at Halicarnassus, erected by his wife, Queen Artemisia.

59. Q. In sculpture what forms a connecting link between Oriental and Greek art. A. The Cesnola marbles, now in the Metropolitan Museum, of New York.

60. Q. What is probably the oldest existing sculpture of the Archaic period of Greek art? A. The lion gate at Mykenæ. 61. Q. What are the most remarkable sculptures of the Archaic period? A. The pediment sculptures from the temple of Ægina, now at Munich.

62. Q. From what are the subjects of these sculptures taken? A. From the Trojan war.

63. Q. What are the greatest sculptures of the golden period, the most famous in the world? A. The Parthenon. sculptures, the work of Phidias and his pupils. The most of them are now in the British Museum, at London, and constitute the so-called Elgin marbles.

A. The

64. Q. What did these sculptures represent? frieze represented in relief the procession of the great PanAthenaic festival. The statues of the pediments represented the birth of Athene, and the contest of Athene and Neptune for the supremacy of Athens.

65. Q. What were two of the most noted statues of Pericles? A. The Venus de Milo, and the gold and ivory statue of Jupiter Olympus for the temple at Olympia.

66. Q. During the age of Pericles what other great school of Greek sculpture was founded? A. The school of Argus, under Polycletus.

67. Q. What work of Polycletus is said by some to have rivalled those of Phidias? A. His colossal statue of Hera. 68. Q. Mention some of the more important works of sculpture in the subsequent history of Grecian art. A. "The Faun" of Praxiteles, the Laocoön Group, "The Dying Glad-iator," the Pergamos Marbles.

69. Q. What is said of Greek painting? A. No works by Greek painters are extant, and our knowledge of what they did is confined to descriptions in classic writers.

70. Q. What was the character of Greek painting? A. It was more nearly akin to sculpture than to our modern painting, and its charm was due to beauty of outline, and simplicity of color and grouping.

71. Q. What are the most important elements in the architecture of the Etruscans? A. The arch and the vault. 72. Q. What are the only important architectural works of Etruscan times that now remain? A. City walls and tombs.

73. Q. To what have the earliest Etruscan sculptures a marked likeness? A. To Egyptian work.

74. Q. In what did the Etruscans excel? A. In bronze

work. They executed vast numbers of statues in this ma terial. 75.

94. Q. In what was the sculpture of that time lacking? A. In the simplicity and grace of earlier Greek sculpture. 95. Q. Mention some of the works executed during this

prized treasures of our galleries. A. The Torso of the Belvedere Hercules, the Farnese Hercules, the Venus de Medici, and the Sleeping Ariadne.

96. Q. What is said of portraiture? A. It was a favorite branch of Roman art.

97. Q. How many kinds of portraits are there in Roman art? A. Two: The Iconic, or real portrait, and the Heroic, or ideal portrait. In the latter the person depicted was made in the likeness and with the attributes of some god or

80.

Q. In what position with reference to the east were Roman temples usually built? A. To face the sun as it rose on the day sacred to the God to whom the temple was dedicated.

81. Q. At the present day what is one of the most remarkable monuments of Rome? A. The Pantheon, a temple built by Agrippa, and dedicated to all the gods. It was completed B. C. 25, and was converted into a Christian church in the seventh century.

82. Q. What were among the most extensive buildings of Rome? A. The baths, which were erected on a magnificent scale.

83. Q. What is said of the Roman amphitheaters? A. They resembled the Greek, were of great size, and were oblong in place of round, in order to give more space for the extensive shows that were conducted in them.

84. Q. What is the largest Roman amphitheater? A. The Colosseum at Rome, the largest amphitheater in the world.

85. Q. What is said of Roman private houses? A. They were often erected at great cost, and fitted up with much magnificence.

86. Q. What was their ground plan? A. That of a number of small rooms opening but of one or more large halls or central courts.

87. Q. What were the Roman palaces in reality? A. Little cities, containing on a small scale baths, temples, and other buildings.

88. Q. What other constructions were produced by Roman hands on a magnificent scale? A. Sewers, aqueducts, artificial harbors, fortified camps, roads and bridges.

89. Q. Mention some of the most noted of these constructions. A. Appian Way, Cloaca Maxima, Prætorian camp, and harbor of Ostia.

90. Q. What were often erected to commemorate the founding of a road, or some great victory? A. Splendid arches, decorated with sculpture, and columns with richly carved reliefs.

91. Q. Mention some of the most noted of these erections. A. Arch of Claudius, Arch of Titus, Column of Trajan, and Column of Antoninus Pius.

92. Q. What served to early induce a taste for Greek art at Rome? A. Trophies, consisting of masterpieces of Greek sculptures, graced the triumphs of Roman generals, and their beauty soon began to be recognized.

93. Q. In the absence of any native artist who could gratify this taste, what was done? A. Greek sculptors were induced to emigrate to Rome, and the masterpieces of Greek art were reproduced.

98. Q. What is the finest one of these heroic portrait statues? A. That of Augustus in Armor.

99. Q. During the time of the emperors, from Augustus to Hadrian, where are the elements of a native Roman school of sculpture found? A. In the shape of historical reliefs.

100. Q. What are some of the most noted of these reliefs? A. Those on the Arch of Titus, and on the Column of Trajan. 101. Q. How are the various stages of the decadence of Roman sculpture marked? A. By portraits of the emperors. 102. Q. In the late days of the Roman empire, what are the only examples of Roman sculpture in which any degree of merit is discovered? A. Reliefs on sarcophagi.

103. Q. How do we obtain a knowledge of antique Roman painting? A. From wall paintings, many of them frescos, discovered at Herculaneum, Pompeii, Stabiæ, and in Rome and its vicinity.

104. Q. Designate three of these paintings, each representative of a class. A. The Aldobrondini marriage, the Odyssey landscapes, and a decorative Pompeian wall-painting.

105. Q. Within what period is early Christian art included? A. The three centuries which intervene between the death of Christ and the accession of Constantine.

106. Q. Where are the works of early Christian art mainly found? A. In the paintings and sculptures in the catacombs near Naples, Paris, Alexandria, and especially Rome. 107. Q. What is the character of this early Christian art? A. It is very crude, and resembles cotemporary pagan work. 108. Q. At what did Christian painting aim? A. At a pictorial and symbolic presentation of those doctrines which early believers dwelt upon, and which they wished to keep constantly before their minds.

109. Q. What are the three classes of pictures in the catacombs? A. Symbolical, typical, and latest in point of time, historical.

110. Q. Mention a painting that represents the first two classes. A. A ceiling painting from the catacomb of St. Calixtus, in which Orpheus is the central figure, typical of Christ, and figures of animals and trees are symbols of the rest of the saints in Paradise.

111. Q. Into what three periods is early Christian architecture above ground divided? A. Roman Christian, Byzantine, and the architecture of the Western Church.

112. Q. Into what three periods is the architecture of the Western Church subdivided? A. Romanesque, Gothic, and Renaissance.

113. Q. What early Christian edifices are classified under the head of Roman Christian? A. Those modeled after Roman buildings, such as Basilicas, temples, and tombs.

116. Q. What was the most important modification in the plan of cotemporary Roman buildings to adapt them to Christian uses? A. The transfer of external decorative feasures to the interior, as colonnades.

117. Q. Under what influence was the style of Christian architecture developed that is classified as of the Byzantine period? A. That of the Eastern Church. When the style was once formed no important changes were introduced in it. 118. Q. What is the chief monument of Byzantine architecture? A. The Church of Santa Sophia, or Divine Wisdom, at Constantinople, built by Justinian, A. D. 527, and now turned into a Mohammedan mosque.

119. Q. What is the prominent feature of this building? A. The great dome, which rests on four piers, twenty-five feet wide, and seventy-five feet deep.

120. Q. What is the character of Byzantine decorative sculpture? A. It is Phoenician, and resembles fragments of ornament that come from Jewish buildings.

121. Q. What is said of Roman mosaics? A. They gradually developed into conventional representations of Scripture scenes, and an individual type for saints and apostles.

122. Q. What was the character of Byzantine mosaics? A. The gold ground and rich colors rendered them very beautiful, but the minutest details were subject to fixed rules, and dead forms were repeated long after they had lost all meaning.

123. Q. How was sculpture regarded with the early Christians? A. It was not a favorite art with them, and we have very few examples of their skill in that line.

124. Q. What is the character of Romanesque sculpture? A. It is rude, and was subordinate to architecture.

125. Q. What is the period of the Romanesque, or roundarched architecture of the Western Church? A. From 527 A. D., the reign of Justinian, to 1100 A. D. 126. Q. What was the starting point of Romanesque architecture, and what its greatest achievement? A. The Basilica was the starting point, and its greatest achievement was the re-discovery of the vaulted stone roof which had fallen into oblivion in late classic times.

127. Q. What are some of the peculiarities in the ground plan of Romanesque churches? A. The length of the building is greatly increased, and a transept introduced between the naves and the apse, giving the ground plan the form of a Latin cross.

128. Q. As architects became more experienced what improvements were made in the form of the stone roofs? A. Cross vaults were used, resting on piers, strengthened by buttresses, and the intermediate wall was built of light material.

129. Q. Name two typical Romanesque churches, one in Italy and the other in Germany. A. The Church of St. Micchele at Lucca, and the Cathedral of Speyer.

130. Q. What style in England corresponds to the Romanesque style in other parts of Europe? A. The Norman. 131. Q. What is the period of the Gothic, or pointed arch architecture of the Western Church? A. From 1100 A. D. to 1400 A. D.

132. Q. What is the only dividing line between Romanesque and Gothic architecture? A. The introduction of the pointed arch. In all other respects Gothic architecture is a development of the Romanesque style.

133. Q. What advances were made in the construction of the piers and in the cross-vaulting? A. Piers were made lighter, pilasters were incorporated with the piers, and complicated kinds of cross-vaulting were introduced.

134. Q. What are the most important internal decorative features of Gothic architecture? A. The windows. They are large and filled with painted glass.

136. Q. Where did Gothic architecture originate, and what is its historical development? A. It originated in France, developed in the twelfth century, was perfected in the thirteenth, declined in the fifteenth, and gradually fell into disuse in the sixteenth.

137. Q. What are some of the most noted examples of Gothic architecture? A. The Cathedral of Notre Dame in Paris, Westminster Abbey, in London, and the Cathedral of Cologne, in Germany.

138. Q. In Gothic sculpture what was the Christian ideal? A. The expression of a human spirit triumphant over suffering, and sorrow, and sin.

139. Q. How was Gothic sculpture largely employed? A. In the service of Gothic architecture.

140. Q. What cathedral exhibits examples of Gothic sculpture at its prime in France? A. Rheims Cathedral. 141. Q. What is said of religious sculpture in England? A. It was not in high favor. The most important works produced were tomb slabs.

142. Q. Under whom was there a transient revival of classic sculpture in Italy during the thirteenth century? A. Under Nicolo Pisano.

143. Q. What countries were the centers of painting during the Gothic period? A. Germany and Italy.

144. Q. What was the most interesting and the most important art school in Germany? A. The school of Cologne. 145. Q. What were the two great art centers in Italy in the fourteenth century? A. Florence and Siena.

146. Q. What is the school of Italian painting that arose at this time called? A. The Giottesque, after Giotto Bondone, who founded it.

147. Q. What was the aim of the painters of this period? A. Not to make a picture but to tell a story.

148. Q. What are the most celebrated works of Giotto? A. The frescos in the Church of St. Francis, at Assisi, Italy. 149. Q. With what painter, belonging in point of time to the Renaissance, did devotional painting reach its height? A. With Fra Angelico.

150. Q. What are his best works? A. The frescos in the Convent of St. Marks, in Florence, and those in the chapel of Nicolas V, in the Vatican, at Rome.

C. L. S. C. NOTES AND LETTERS.

The impulse for reading and study given by the C. L. S. C. course will not end with the four years. Already many of the Class of 1882 are looking beyond the coming year. As an example, one writes: "This is my last annual fee. I have enjoyed the Circle, and shall not sever my connection with it when this year is done, but shall take some of the special courses." Another member says: "I wish very much to express to you some idea of the pleasure and benefit I have derived from this course of reading. I hope to read all my coming life with the C. L. S. C."

The experience of a single year's reading in the line of the C. L. S. C course is often of the most gratifying character. For instance, a member of the Class of 1884 writes: "After taking the C. L. S. C. course for one year, I am more than ever determined to 'press on.' Although I have many duties, the Circle has not seemed to add to my labors, but rather to lighten them. It has given me some definite thing to think about and study for." Another member of the same class writes: "In closing this, the first year of my membership, I beg to state that I feel I have been greatly benefitted, and hope that nothing will interfere with my continuing it, for I feel deeply interested."

The inspiration and good cheer which the C. L. S. C. may bring into the family circle is well illustrated in the follow

ing from a lady member: "Enclosed is my memoranda for the present year, and I cannot send it off without expressing my gratitude to you and others for this wonderful plan of the C. L. S. C. It was exactly what I wanted. Poverty in younger days compelled me to leave school one year sooner than I wished to. After teaching for several years I was married, and I soon found that if I wished to keep within hailing distance of my husband it was necessary for me to put forth some exertion. Had I done otherwise, my life would not now be so complete and harmonious as it is. Sometimes I have found it difficult to get the time for reading, for with household cares, church and temperance work to do, a Sunday-school class to look after, and social obligations to meet, it is not always easy to even compose one's mind sufficiently to comprehend what you are reading. However, with the help and sympathy of my husband, I have perhaps found the way easier than some of my less fortunate sisters, although much of the time I have had a large family. The whole household are interested in my studies-that is why I tell you of them. Three years of the C. L. S. C. have passed away, only one more remaining for me of the four years' course, but the inspir:ation and love for knowledge which I have received through this circle—although I have pursued my studies without the aid of a local circle-will be a benediction to the rest of my life."

The following letter tells in an interesting way what the C. L. S. C. has done for the writer, as well as for others:

"I have enjoyed nearly everything in the course of the past year. It seemed to be just the course of study I felt the need of, and the fact that so many were working on the same subject proved to be a great incentive and help. It seems now as if when I finish the full course, I shall want to begin again and go through with the next class. . . Shall I tell you what your plan for children has done for a little boy I have found in the country? He had some time ago a present of ‘A Child's History of England' by Dickens. It has always seemed like a formidable task to begin to read a book of history. But he has become so much interested in those pleasing little articles of history that now he thinks he can take hold of it at once. It has served to interest some of the older people here too. I feel that the people all over the land have reason to tender you a unanimous vote of thanks."

The varied and wide-reaching benefits of the C. L. S. C. course of reading and study are stated in a number of letters before us, addressed to Dr. Vincent, from which we quote as follows: One writes: "From the first I have been much interested in the course. It has been of great benefit to me, not only in what I have learned from the required books, but it has given me a desire for knowledge, and an interest in so-called 'solid reading' which I never had before. I am determined to complete the course." Another member says: "I cannot close without adding my testimony to the many that you have already received. The studies of the C. L. S. C. are of much use to me in my teaching. Though some of them treat of subjects which I studied when at school, I derive no small pleasure and benefit in reviewing them. As to the tastes and aspirations, to say nothing of the knowledge itself, which the reading of such a course inspires, no one can speak of them in terms too extravagant." A lady member writes: "While I fall very far short of what I wish in these studies, I feel that they are a great blessing to me. They have been the means of my whiling away many a weary week when confined at home with an invalid mother, and when mother has been well enough she has enjoyed hearing me read aloud." Another member says: "The three years' reading have created in me a more systematic method of study than any other ven

ture I ever made. May the Circle increase and prosper is my prayer."

One of the richest treats the members of the C. L. S.C. ever enjoyed at Chautauqua, was during the last Assembly. Prof. J. L. Corning, of New Jersey, delivered ten lectures on the subject of art, nine of which were illustrated by magnificent stereopticon views. The glories of art, as shown by the reproduction of the masterpieces in all countries and of all ages, were vividly portrayed on the screen. But the views were not all. Prof. Corning is an enthusiastic lover of art, has mastered the minutest details of its history, and his accompanying descriptive lectures glow with the fervid eloquence of his inspiring theme. His lectures were published in full in the ASSEMBLY HERALD, and to the members of the C. L. S. C. who have not heard nor read them, we do not know as we can give any better advice than to say: "Send for the last volume of the HERALD containing them." They will afford a most admirable help in studying the "History of Art," now in the course of reading for October and November.

The nucleus of the Class of 1885 is the Bryant Class of 1881. The Bryant Class was organized at first for the purpose of accommodating those whose applications were made too late in the year for membership in the C. L. S. C., and it has been continued every year since. The membership for 1881 is not so large as heretofore, but nevertheless serves as a good rallying point for the new C. L. S. C. class. The course for the Bryant Class comprises readings of the life and works of Bryant, and is intended to occupy about forty minutes a day of the student's time during the summer months.

The following letter, from a member of the Class of 1882, addressed to Dr. Vincent, will be read with interest: "My health has greatly improved, and I trust that I shall be able to read for the 'White Seal,' in connection with the last year of the Class of 1882. Thinking that I am crowned with a greater number of years than any other member of the C. L. S. C., the date of my birth being January 14, 1810, you may like to know the motive that induced one so far advanced in life to take this course of study. Some twelve years ago I lost my health, and was laid aside from active employment, at times being very ill. After months and years of suffering, I so far recovered my strength as to desire once more to have something to do, but was not able to be actively engaged in any business. When the 'People's College' opened in 1878, by the inauguration of the C. L. S. C., I seized with avidity the opportunity offered of being regularly employed. My periods of health and strength are still intermittent, yet I have taken great pleasure in reviewing my previous stock of book knowledge; in trying to keep pace with the progress of this most enlightened century, and in being introduced systematically to the new publications of the present age. hope that this course of training will be an aid in introducing me, when I am called to enter the 'great beyond,' to spirits who will assist each other in carrying on God's plans for his own glory, and for the happiness of the universe. . This college for the people, or rather university, is the greatest enterprise for the masses that has ever been planned by man in all ages."

Besides, I do

The matter of a preparatory course to the C. L. S. C. has proved rather a difficult question to solve satisfactorily. The regular course is too heavy for some who would be induced to undertake it after a year's preparatory reading, and it is very evident that such a course is needed. The plan heretofore recommended has not seemed to fully meet the requirements of the case, and the present year a somewhat new de