Identifier: mccluresmagazinev8mccl (find matches)
Title: McClure's magazine
Year: 1893 (1890s)
Authors: McClure, S. S. (Samuel Sidney), 1857-1949
Subjects:
Publisher: New York : S.S. McClure
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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alive,while the attention of their compeers hasbeen virtually monopolized in the effort toattain a standard of truth to nature. Be-fore considering the works of Baudry,Puvis de Chavannes, and Galland, it maybe well briefly to explain the purposes ofdecorative painting in contradistinction tothe detached easel picture. In the practice of the earliest paintersevery picture was decorative, inasmuch asit was either painted in or for a specialplace. The easel picture, which repre-sents an unrelated effort on the part of thepainter to depict a scene or a subject in-dependently of such special emplacement,is of comparatively modern growth. Thelittle pictures which were the characteris-tic productions of the Holland painterswere an exception to this rule, and fromthem, no doubt, the custom of holding ex-hibitions and of forming collections ofpaintings grew. Of so recent a date isthis custom, however, that though paintingwas practised in Egypt, and the houses of EARLY DECORATIVE PAINTING. 473
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THE ABDUCTION OF PSYCHE. FROM A CEILING PAINTING BY PAUL BAUDRY, IN THE PALACE OF CHANTILLY. This is one of the latest and best of Baudrys works, but from its size and subtlety of color difficult to reproduceadequately in black and white. It and the three pictures immediately following are reproduced by the special permissionof Braun, Clement & Co., New York. Pompeii were decorated, the first exhibi-tion of paintings dates from the middle ofthe last century. The desire to beautifyones surroundings, which led the cave-dweller to decorate his bone implements,gave painting its first and its most legiti-mate impulse. With the practice of theart, principles were established. It wasseen that a painting on a wall surfacemust have a relation to its environment, acertain architectural fitness. It was obvi-ous that the representation of great dis-tances between intervening objects in thepicture would make, as it were, a hole inthe wall which the architect desired tohave retain its character

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