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Telephone 4764 R Madison Sq. Intended for ? "O wad some power the gifte gi'e us To see oursel's as ithers see us." ARGUS PRESS CLIPPING BUREAU Established: Paris 1879 O. SPENGLER, M'gr. Cable Address: "ARGUSCLIP" NEW YORK. 352 Third Avenue, New York. SCRAPBOOK MAKING A SPECIALITY for memorial or business purposes TERMS: $35 for 1,000 clippings $20 for 500 clippings $11 for 250 clippings $5 for 100 clippings Special rates on yearly contracts. Clipping from NEW YORK HERALD Address of Paper DEC - 4 1907 DATE BACK Num[ber]

MR. FRICK LOANS NOTED PICTURE Metropolitan Museum of Art to Display a Primitive by Antonello da Messina. OF EARLIEST ITALIAN SCHOOL Painting in Oils Was Counted a "New Discovery" When Work Was Completed. Growing enthusiasm in art circles in the study of the Italian primitives is shown by the interest which has been aroused by the loan to the Metropolitan Museum of Art by Mr. Henry C. Frick of one of the works of Antonello da Messina which dates from the time when painting in oils was a newly discovered process. Within a few days the picture will be mounted on a screen especially prepared for it, after the manner adopted in English museums when it is desired to call attention to a particularly notable example. The picture was painted about the middle of the fifteenth century, when the brothers Jan and Hubert Van Eyck had discovered in Flanders that colors ground with oil enabled the artist to get effects which could not be obtained in the distemper medium. The thrifty Flemings kept this a secret, but an Italian who went to Bruges learned all about it, and published it to the world. Antonello learned much from a painting of Jan Van Eyck, which he saw in Naples, the story goes, and at once devoted himself to the new art. The picture which the New York public is shortly to see is comporatively small, but it is a striking example of the early Italian school. It represents the removal of Christ from the cross preparatory to the entombment. Mr. Roger E. Fry, curator of paintings at the Museum, is an admirer of primitives, and he is preparing a detailed description of the work for a forthcoming number of the Official Bulletin of the Museum. Another evidence of the reawakening interest in the early Italian school is shown by the cordial reception given to Dr. Oswald Siren, of Stockholm, who has just returned to Sweden, by artists and scholars, during his visit to this country. Although he is a Swede, Dr. Siren is a noted authority on the Trecentists, the painters who flourished in Italy in the thirteenth century. He passed through this city on his return home. Among the collections which he saw were that which bears the name of Jarvis, at New Haven, and those of the Metropolitan Museum of Art and of the many notable pictures in private galleries in New York and Boston. He was much impressed by the high artistic value of the American collections.