International studio . of a ship,a design given by some ships worker in mem-ory of a safe port after dangerous seas; amaritime thank-ofJering. And, daintiest oftouches, the little New-World spiders havewoven lovely shimmering tissues of veils foreach Virgin and Child. It is all a great conception, greatly achievedby a great mind. Here is not a vast place—unless meastired foursquare by the angel withthe heavenly rod,—but its appeal is measure-less. A miracle of art has been accomplishedhere. So beautiful an achievement was adestined one. It was written, when in theninth century St. Guilhem was
International studio . of a ship,a design given by some ships worker in mem-ory of a safe port after dangerous seas; amaritime thank-ofJering. And, daintiest oftouches, the little New-World spiders havewoven lovely shimmering tissues of veils foreach Virgin and Child. It is all a great conception, greatly achievedby a great mind. Here is not a vast place—unless meastired foursquare by the angel withthe heavenly rod,—but its appeal is measure-less. A miracle of art has been accomplishedhere. So beautiful an achievement was adestined one. It was written, when in theninth century St. Guilhem was first quarriedout, that it should in the twentieth centuryfind its apotheosis across the sea. That thishas come to pass through him is not the leastof the great works of George Grey Barnard. Note.—The Cloisters are open Monday for the benefit of French art-ists families. Entrance at West \^\st St. andFort ]Vashington Ave. Photos courtesy of Kaplan Photo Service. The Etchings of Troy Kifiney. THE SEVENTHVEIL TROYKINNEY T HE ETCHINGS OF TROYKINNEYBY AMEEN RIHANI While painting is continually un-dergoing changes in method and technique, andmaking fitful efforts to rise out of the revo-lutionary turmoil of schools to a greater free-dom and a more dominating vision, etchingis still bound in classic limitations and hedgedabout with sentiment and tradition. Theetchers art, on the whole, remains the same as when Rembrandt crowned it with hisachievements and Haydon made it popularthrough his own work and activity; whiledealers and collectors maintain the same senti-mental attitude towards it that characterizedits earliest votaries. In other words, etchinglias acquired a sort of sacro-sanct influencethat gives it, among the shifting vantages andvanishing guide-posts of art, an enduringplace.—a little temple sheltered by a time-hallowed sentiment and devotion. And this is fortunate. For the ?esthetic The Etchings of Troy Kinney feeling, while all around the p
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