The Craftsman - 1908 - 04 - April.pdf

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Many Misleading Advertisements

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Kindly mention The Craftsman

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THECRAFTSMAN\‘OLtJMl: ;Ii’ APRIL, 1908 NVMBER 1

amtentIda M. Tarbell Phofoqrcrpll I))’ Gf’I.li.lfdL. f<lr.Sc’i~lc’r I;rontispiece

Ida M. TarbellThe Woman Who Has Made People Comprehend the Meaning of the Trusts

I i J l ?r l . I r i i9 i r l , I l t l c -l )ol l i f l t l 3

Age: A Poem LiJ’ h0.J l’d\ic’ 11

Lorado ‘I-aft and the \Vestern School of SculptorsA Group of hlen and Women Who are Finding a New and Vital ExpressioIl in Arthy Recording the Simplest Phases of Life and Work. I(/zts/rc~t~,,l . _ 12

Gutzon 12orglum’s Portrait Bust of Abraham Lincoln. .,Il!2ISfYU/C,l 2/

Ann Going: A Story . 1j.v .1 JLJZiC fJozilfo12 /hJ / J ld l 28

The Scarlet Tanager: A Poem . Ii ?, -1JcIr lf J1,-.Z‘cil I~T c,ii oll~~s,~ .i 5

Art in Ornamental PlantingIllubt nted by a Mistake in Landscape Gardening. ~~!z~.s~r~r!~~.!. ljj, ~;,-~l~-~ ‘/‘lr/,(,,- 36

Significant b catures of the Twenty-third Exhibition of the ArchItectural IJeagueAn Imitative Rather than a Creative Spirit Xlanifest. 1/1zt~tw!c,~ 40

Small Farmrng and Profitable Handicrafts . /;1, 1111’ Gfif~~/- 52A (;eneral Outline of the Practical Features of the Plan

The Relation of Mural Decoration to the Yltaliry of a Natwnal Art

I l l zc~ l r~ r l~d . , /iJ’ (;li~‘.S /~d~lY’fOll 05A Cloud Along the Trackless Sky: A Poem . UJ~ F. 11.. LA~J-JJ i.3

Relation of Manual Training in the Public Schools to Industria! Education andEfficiency. Prize Essay . . . uy .:r1/1211. Ll I~l~,lll 74

Among the CraftsmenTwo ITnusual Cottages: One Designed by the Owner and the Other Intenrletl toExpress the Craftsman Idea. Il lu strated . . . . 82

Design in Theory and Practice: A Series of Lessons: Number 1.11.I l lz tst rf l tc~~l I . . IiJ’ fi/‘/WSt . 1 ~~ilfh/&l 89A Decorative Study in Wall Spaces: Lesson V.~lluslr~licd . , . NJ’ AIItl/s\’ I,i/lltJ/l l~~~~)kit’cllft!Y00

E‘rom The Craftsman \VorkshopsSome Camp Furniture and Fireplace Fittinga that Can Be Alade at Home. I/(wslnzt~.Li 10fJ

The Craftsmen’s Guild . . . . 112‘The Dun Emer Industries in Ireland: A Sucresaful Example of the Revival of Handi-crafts in a l:arming Community

Als ik Kan . 1:~’ /Ilc IJtfitor 1 15Practical Education Gained on the F3rm and in the Worlsh~~l~

Notes and Reviews 118

~‘VI3I.I>HI.I) 31 Gl~STA\. STICKLEY, 29 \VI:SI. 34~~ Sr., NEW YORK

25 Cent s u Copy , : By / he Year , $3.00Copyrlgl lk-d.’ l l18,v .“EL J Sncklc) En:crcd unr . ’100 C IW ork xy. s om-clasr zmer

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THE TECHNICAL CLASSES OF TAE

SAINT LOUIS SCHOOL AND MUSEUM OF FINE ARTSCompetently Cover the Field

Drawind, Paintin& Sculpture, Applied ArtTh e Il lu strati on, Pottery, Bt7okbin di ng Cour ses are pronouncedl y pracli cal successes.Grand Prize from Znternat ional Ju ry-for M ethods am! Resul ts in Art Educat ion-from Iai rz Louis ,Lar ge publi c and pri vate gift s for Art Edu cation in the West.The city has voted 1-5 mi ll or more than $100,000 a year for this inst i lut ion.

Director. HALSEY C. IVE S, LL.D. Write for I llustrated Handbook. Free. Term now Open.

Teachers (colege(aolumbla Qlnluereltg)

Rew IPorkOffers 185 courses of instruction, including the Theorand Practice of Teaching Art-Principles of Design-Drawing, Painting and Illustration-Clay Modeling-Design in Construction and Decoration--Interior Deeoration--the History and Appreciation of Art.

Announcemen t for 1908-09 now ready.

J AMES E. RUSSELL , L L.D., DeaARTHU R w. DOW. Dlrccror. D~paRment of Fi ne Am

PRATT INSTITUTE -ART SCHOOIBROOKLYN, NEW YORK

Classes n Applied Design. Stained Glass. nterior DerorstioTextlIe and Furniture Design, .lwelry. Chasing, Cnsmelin~Medal Work, Life. Portrait. llugtra4ion. omposition. odelin(HI and Water Color Painting. Two-yssr cowsa in Architetwo. Two-year COU~SOS n Normal Art and Manual raiaint

30 Studlos: 35 Instructors: 2lst YearWILTCR XOll PERRY, Director

SUMMER SCHOOL OF PAINTINlVINEYARD HAVEN, MASS.

(Island of Mari ha’s limeyard)

Conduccred by ARTHUR R. FREEDLANDERFOURTH SEASON-JULY l&-SEPTEMBER 15.1908

OJTLOOR CLASSES: L an sea. p e 2nd figure-with thrcriticisrrs r week.T;XFURE?to develop fac,/ity m the

Special course for students a,;“$~handhn

For prospectus addres5 A. R. FREE LANDEII80 West 40th Street. New York.

THE HANDICRAFT GUILDOF MINNEAPOLIS

SUMMER SESSION, June “‘“,&J”= Ivth*ERNEST A. BATCHELDER, Director

Author “Principles of Destgn,” and “Designin Theory and Practice” (The Craftsman).

Courses in Design, Composition, WaierColor, Metal Work and ewelry, Pottery,Leather, Rook-binding and i Yood-block Pr int-ing. Write for circulars and ill ustrations.

HANDICRAFT GUILDFlorence Wola, Secy.

89 Tenth Street So. Minneapolir, Minn.

Im

ART ACADEMYOF CINCINNATI

ENDOWED. Complete Tralnlng la Art. SCHOLAQSHIPS

D r a w l o g , P a l a t l n # , M o d el l a g , C o m p o a l l l o a . A n a t o m yWo od C M Y:~ & D a c o r a t i v e D ea : #n a p p l h d to p o r c a l a l a .

l M l O l # .

Frank Duvcneck &.A. Er,“m fienrlstta WilsonV. Nowottny Kate Q. MtllerL. Il. MenkIn A& Ril‘ W. E. Bryan

4 O T l i YEAP: SEPT. 23, 1907, TO MAY 23, 1908. $21.

J. H. CiBST, Director, Claclnaati, Ohio

ADELPHI COLLEGELafayette Ave., Clifton and St.. James Place, Brooklyn. N.Y.

A r t DersrtmsntThe largest and best appointed moms in Greater New York,

contaming every requisite for the most advanced Art studyThe result of its tra,n,ng may be seen by the work of its

students m every important art cxhlbition. native and i~rW?n.for ~hirf~-fve years. classes Darly (Antique. Still Life. Par-tmt and FIgwe). m which the best male and female modelsare employed. Drawing mediums are either Char~00l. GraYon.

Lead Penczl or Par and I nk Painting in 011. Water-Color andPastel. Modeling ,n Clay and Com$xvzfro~. Terms. 825.(Xfor 20 weeks (half of school year): Tuesday evening SketchClass, 52 00 per 5eason Individual instmctlon only is givenm all these classes. No grade work

J. B. WHITTAKER. Principal.

AiT SC H 0 0 L Io6yB”,“~o:sAwarded International Silver Medal. St,, Louis. 1904

Design, Modeling, Wood-Carving, Cast andLife Drawing, Water Color, Art Embroid-ery. Evening Class in Costume Drawing.

Young oman’shristianssoclaUon&1;::1

Emma Willard School of ArtTROY, NEW YORK

-

ART TOURS TO EUROPE

To see and to study the ART of ITALY, SPAIN. FRAI’iCE andGERMANY under the best Directors. Small parties for peo leof taste and culture. Also SUMMER PAINTING CLASS E 3IN SPAIN AND ITALY FOR STUDENTS. Apply

NEW YORK (Chase) SCHOOL OF ART2239 Broadway. New York

kindly mention The Crafts-n

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I832 Established 76 Years 1908

ARTISTS MATERIALS(THE OLDEST AND BEST KNOWN)

Oil, Water Colors, Fine BrushesWINSOR & g<NEWTON’S British” Canvas

Pw$mred for Of 1 Painfbg M ade in Rot;gk Roman and Smooth Surf ace

BRITISH LINEN. carefully selected and of fine quality, is used by WINSOR h NEWTON(Limited) ia the production of their British Prepared Canvas. Sample Book on application.

WINSOR &NEWTON’S Illustration oards

For Water Color and General Black and White Work for Reproductions. It is alsorecommended for Pencil and Crayon Work. Write for Samples.

Send Three Cents for Catrlogue coqtaiaing aa Interesting Arti cle n “The Composition and Permanence of Artists’ Colors.”

THE PALETTEART Co.

56 EAST ngd STREET

NEW YORK CITYTeIephcm. 253 Gramm~

Themost compl ete ARTI STS M ATE RI ALSupply Store in the U & d States

We handle all the leading manufacturers’ lines. of Oil andWater Color Material. Ca;yg, Brushes, Stuches. etc.

A Comj&f e Lin e of DRA UGH TSMEN’ S SUPPLI ES. in.& ding Drawin g Sets, “T” Squares. Drawing Boards

and accessoriesAlso Pictures. Picture Frames, Plaster Casts, Camera and

Photo Supplies. All orders filled promptly.

ART1

f DRAWM INK8

l l PUl 0 PASTEOFFI CE PASTEVEOETABLE QLUE, ETC.

Are the Fineat and Best Inks and Adhelra.Emancipate mmdf from the use of the corrosive andill-smelling kh and adopt the Higgins’ Inband Adhesivea. They wll be a nvelation to

you. they .re so sweet. dean and well put up.At Dealera Generally

CHAS. M. HIGGINS & CO., Mfra.271 Ninth Street BrwLlm, N. Y.

rmnchcai Chtcsgcb an&a-

STS’ MATERIALSWe carry the most complete stock in our line. Agents for “Lefranc & Cie.“,Paul Foinet Fils, J. Block Fils, Schoenfeld’s and Cambridge colors and materials,We supply the Individual artists as well as the largest jobbers.Linen Canvases mounted for Hotel, Church and Wall decorations.

Estimates given onContracts solicited

for furnishing schools, etc., with Artists’ Woodenware, especially drawing boardsin large quantities. Woodenware Factory, 136-140 Sullivan Street, New York;Canvas Works, Mt. Vernon, New York; Branch Store, 169 West 57th Street, oppo-site Carnegie Hall, N. Y. City.

E. H. & A. C. FRIEDRICHSTh e only exclu sive M anu factur ers of Ar ti sts’ M ateri als in the U . S.

163 COL UMBUS AVENUE NEW YORK


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of the Prize Winnersf &e Prize Winnerszk b5e Strathmorek the Strathmore

Artists’ Contestrtists’ Contest

W E have pleasure in announcing that the judges in the prizecontest for the best drawings made upon Strathmore

Water-Color Paper have awarded the $1,500 in prizes as follows:

I.1

IIONORARY MI:NTION

MITTINEAGUE PAPER COMPANYMITT’~dEAGUE, MASS., U. S. A.

Kindly mrntion The Craftsman

vii




James cCreery Co,INTERIOR DECORATION.

This department is prepared to execute in town orcountry, orders that require specific and technicalknowledge of the science of Interior Decoration,operating under the directions of architects, theirplans and specifications.

Original drawings by artists will be submittedfor Consideration.

FURNISHINGS.

Imported Fabrics for wall hangings and draperies.Wall paper and cretonne to match. Tissues, for longor casement curtains. Odd and unusual Art Stuffs forfurniture and cushion covering.

FURNITURE.

Mahogany, Craftsman and French Willow Fur-niture enameled in various shades to harmonize withdesired color schemes.

Representntires sent to study requirements.Eetimates with drawings eubmitted.

2 3r d S t r eetN e w Yo r k

34th S reet

H . 0 . WATSON & CO.

WORKS OF ARTIN

F u r n i t u r e

Porcelain

B r onzes d T apestr z’esA Uni que Exhibi i of

AIVCIENT PERSIAN POTTERY

16 West 30th Street NEW YORK

i

EDWARD:H:ASCHERMAN546:STH:AVE:NEW:YORKORIGINAL:: ESIGNINGAND:FURNISHING:FOR::COUNTRY:HOMES::PUPIL:OF:PROF:JOSEFHOFFMANN:OF:VIENNA


. . .VI11




Fr om n Photograjdk by Gertrr tde Kii sebier.

IDA M. TARBELL : HIS-

TORIAN AND EDITOR.




GUSTAV STICKLEY. EDITOR AND PUBLISHERVOLUME’ XIV APRIL, 1908 NUMBER 1

IDA M. TARBELL, THE WOMAN WHO HASMADE PEOPLE COMPREHEND THE MEANINGOF THE TRUSTS: BY M. IRWIN MACDONALD

“ Wi th w hat w eapon i s society to m eet th e exponent of a cor r upt i ngcreed but anal ysis, r ut hl ess am? unfi in chin g. I t is onl y the cour aqea& th oroughness wi th w hi ch she has stu di ed and labeled her o& n

pr oducts t hat h as ever h el ped her to i m pr ove th ose pr oducts.”-IDA MI. TARBELI,.

NALYSIS, ru thl ess and unflinching, of the corruptingcommercial and political creed and arrogantly cor-rupt practices that have made America at once thewonder and the scorn of other nations, is somethingto which we, as a people, find it difficult to grow ac-customed. The results of such analysis are not flat-tering to our national vanity. We understand, and

enter heartily into, a sensational denunciation of some particular

abuse, but when the excitement subsides we show that we also un-derstand only too well the comfortable and easy-going doctrine oflaissez faire. We are very roudcommercial growth during t r:

of our astonishing industrial ande past thirty-five or forty years, and it

is something of a shock to have set before us incontrovertible proofsthat it has been at least partially a mushroom growth, made possiblenot only by, our boasted energy and business acumen, but also bythe reckless granting of special privileges to the powerful few, theopportunities given to great organizations to take unfair and secretadvantage of lesser competitors, a.nd the unscrupulous exploitation ofpublic utilities for the purposes of private speculation.

Yet we are a fairly direct and honest people, and at bottom wehave the Anglo-Saxon love of fair play. So when the truth was putbefore us in a way.that carried conviction, the result was what mighthave been expected. A fierce. storm followed, others took up thecry, .and now we .are in the thick .of a national struggle against the

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IDA TARBELL AND THE TRUSTS

spirit of unscrupulous commercialism that of late years has swepteverything before it and has almost succeeded in imposing its owncode of morals upon the whole business world. This struggle hasbecome the one political issue upon which hangs the result of thecoming election, as it is the one great moral issue upon which hangsthe future welfare of the republic. It is a fight for life between thepeople and the trusts.

Naturally, the brunt of the battle on the people’s side is borneby the Administration. Considering the character of the President,it could not be otherwise. Theodore Roosevelt comes very close totypifying the better,-if also the more spectacular,-qualities of theAmerican nation, and the people know it. Brilliant, aggressive,somewhat reckless and a hard fighter, he has all the big human

qualities that win both confidence and affection. His very errors injudgment are of the kind that endear him to the people, for theyare the errors of a man who is honest and unafraid,-a man whofights in the neck-or-nothing Western style and who fi hts to win.Every attack upon him seems only to add strength to ii is position,and instead of being merely the head of the government he is theacknowledged leader of the people and the personal and dreaded foeof the money powers.

It is part of the unfailing American luck that this should be so,because only a powerful popular leader could concentrate an outburstof wrath against oppressive and disgraceful conditions into a reformmovement so steady and so strong that it is coming to indicate a

real turning of the tide in our commercial affairs. Such a move-ment needs a focus, and at resent the President is the focus. Butcredit for the courage and tRoroughness with which the commercialconditions that are the peculiar product of this country and thisperiod were first studied and labeled is not due to Mr. Roosevelt,courageous and thoroughgoing reformer as he is and always hasbeen. To search through all records, open and hidden, and then to

Present the facts in the case as clearly and impartially as if they be-

onged to the history of another country and another age, analyzingruthlessly and unflinchingly their significance in relation to the de-velopment or the downfall of the nation, was the task, not of the re-former, but of the historian. The reformer might have undertakenit, but he would have brought to it the emotional enthusiasm, thepersonal animus, which might have set the people aflame for thetime with a desire to take the situation by the throat and right allwrongs with a rush, but the chances are that the outburst would

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have spent itself as all popular outbursts do, and that the wave ofreform would have subsided,-to leave the situation much the sameas it was before, only with the big commercial powers a little betterorganized, a little more firmly entrenched behind legal technicalitiesand inspired legislation, a little more wary and secretive as to theirmethods, than before the attack. To make the effect of such arevelation far-reaching and permanent, it had to be a plain state-ment of fact, backed up by evidence that was exhaustive and unim-peachable, and that would stand unchanged through all the ebb andflow of popular excitement. It had to be history, not propaganda.

THE publication,

“History of theabout five years ago, of Ida &I. Tarbell’s

narrative of the

Standard Oil Company” gave to the people a

discovery, development and final monopoliza-tion of petroleum in this country. As a narrative, it was confinedstrictly to the petroleum industry and the growth of the StandardOil Company under the leadership of John D. Rockefeller, but asan analysis of our present commercial conditions it covered everyfeature of the trust situation as it exists today. Thousands of peopleread this history as it appeared serially in a popular magazine thatgoes to every part of the country, and with each succeeding chapterthe interest of the public grew greater,-and so did that of the Stand-ard Oil Company. The story of the turmoil which followed isfamiliar to everyone,-the shock of amazed indignation and alarmthat roused the people and set the press to humming with more or

less sensational “ muck-rake literature,” the efforts made by themoney powers to discredit the writer and nullify the effects of thestory, since it could not be suppressed, the fever of investigationand reform legislation which apparently has not even yet reached itsheight, the dragging into th.e light of day of supposedly inaccessiblesecrets of corporation methods and management.all a twice-told tale.

In these days it is

Yet even now it is doubtful if people realize the full significanceof this analytic history of the parent of all the trusts, or appreciatethe quality which will give it a permanent place in the archives ofthe nation. It is the very embodiment of the course which societymust take to free herself from the domination of an insidious andcorrupting commercial creed,-it is the truth told without fear OIfavor, and it is analysis, ruthless and unflinching, of hidden methodsand of fair-seeming conditions. It is as exhaustively accurate as acarefully prepared legal document, as impersonal as Fate, an d as

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full of big human interest and vital dramatic action as the mostthrilling tale of discovery, war and conquest. The carefully re-strained utterance of the historian whose viewpoint must be clear ofall prejudice and whose judgment must be absolutely fair, keeps it sofree from personal bias that there is hardly an expression of opinionfrom beginning to end,-only facts, facts, facts, and the revelationof their bearing upon the situation as a whole. Yet through it allrings an appeal which grips the heart,-a passionate appeal for fairplay. It is never actually uttered, but it glows like an in;,er lightthrough every page. It is the sort of appeal to which there is noanswer in words, it demands the response of deeds.

Ithe rush of events which followed the publication of Miss Tar-

bell’s narrative, the question has often been asked: What man-ner of woman is she and why did she do it ? As she is a womanabsorbed in her work and averse to personal publicity, the questionhas several times been answered more dramatically than accuratelyby writers in the sensational press,-who are somewhat noted fortelling a thin g as they think it ought to be, rather than as it is. Inthe effort to find a motive suficiently powerful to account for thepatient research and hard work that must have been involved in thewriting of such a history, some have made bliss Tarbell a privatesecretary in the employ of h1r. Rockefeller, where she is supposedto have gained her intimate knowledge of the inner workings of theStandard Oil Company, as well as of the personal characte‘ristics of

its founder and head. Others have insisted that she is the daughterof a man who was ruined under especially harrowing circumstancesby the methods employed by the Standard Oil Company to stiflecompetition, and that she has devoted her whole life to preparingfor the magnificent revenge which she has roused the whole nationto accomplish.

As a matter of fact, bliss Tarbell never met Mr. Rockefeller butonce in her life, and then exchanged only a few words with him. asany stranger would. She was born in the oil region,-at Titusville,I’a.,-and was the daughter of an oil producer, but her father suf-fered no more than thousands of others from the methods of Mr.Rockefeller and his associates, and the whole family took it all as apart of the inscrutable dealings of Fate. which allowed Mr. Rockc-feller to monopolize the whole oil industry through his control ofthe means of transportation, and somehow defeated every effortmade by the producers as well as the smaller. refiners to obtain fair

G





lay.ii

The feeling throughout the whole region was naturally veryitter, as was shown by the persistent and des rate fight made to

Ereserve the independence of the industry, an r the young girl wasrought up in the atmosphere of general hostility and sus

she went away to college when she was only eighteen, an 1iclon, butnever re-

turned to the oil region to live.The impress of the struggle was deep in her mind, however, and

she resolved some day to write a novel which should be foundedupon it and show some of its dramatic phases. But her work wasto take a different course. She had a natural aptitude for historicalresearch, and made a special study of history,the completion of her colle

oing to France after

in exhaustive study of the Be course, and spn f irench Revolution an the causes which

some years there

led to it. Her pu %omen of eighteent ose at first was to make a study of the famous-century France, showing the part they took inshaping the thought, and hence the events, of their times, but thissoon develoher book “ E

d into the laradame Rolan r

r interest of the period as a whole, and” was really a history of the whole rev+

lution and an analysis of the social conditions of the time, centeringaround one strong and typical personality. Unconscious1 ,

PMiss

Tarbell was even then preparing for her most important li e-work,for her analytical and logical mind went back of events to the causeswhich led to them, and she came out with a thorough understandinof the workings of that law of human nature by which the powerfu Tfew gain and abuse special privileges, and by which revolution comeswhen the people find it out.

M SS TARBELL returned to her native land a good deal of areactionary. She had not the tern rament of the extremist,but she had wide knowledge of t e si ‘ficance of certain

social, industrial and political conditions which s r e found in America.Looking at the situation from the viewpoint almost of a foreigner, itseemed to her that in the whole s

i!istem of American commercialism

there was a moral obliquity whit made it possible for monopoliesto evade or break the law with impunity in the obtaining of specialprivileges which would give them an unfair advantage over com-petitors. In private life such practices would not have been tol-erated, but the separation between personal honor and the code ofethics which allowed expediency to take the place of business honor,was so complete that to get the better of a rival by underhand meanswas regarded merely as an evidence of superior shrewdness and en-

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terprise.t seemed to her that from having been a nation that in

simplernd more rugged times was above all things honest, manly,

self-reliant, our swift growth and phenomenal prosperity had madeus a nation of tricksters, conducting all business transactions on theprinciple that the end justifies the means, and seeking always forsome inside track, some special dispensation that would enable theman who was lucky enough to get it to put all his competitors at adisadvantage. Everywhere it seemed to be a question, not of fight-ing fair, but of being smart enough to take an unfai- advantage.‘l’he whole business system apparently put a premium on rascality.The creed of John 1). Rockefeller had penetrated to all parts of thecommercial and industrial world, and, looked at from the viewpointof one who had but recently made a special study of exclusive privi-

leges and their results, conditions were not very promising for thefuture peace and prosperity of the country.Yet the “History of the Standard Oil Company” was still several

years in the future. The task of preparation was to be completed,and, although it was not even thought of at that time, the first im-portant work that Miss Tarbell undertook finished her equipmentfor dealing “ruthlessly and unflinchingly” with men like Mr. Rocke-feller and his associates. Sh e was at that time a member of theeditorial staff of X&lure’s M agazin e, and, owing to her experiencein historical research, she was selected to collect and edit all the ma-terial that could be found relating to the early life of Lincoln. Indoing this, she traveled much among the places where he had liveda,nd sought out the people who had known him personally, as wellas all documents relating to him. She learned at first hand whathad been the life of Lincoln’s times and environment,-what hadbeen the stern training of the man who is now the noblest and best-beloved figure in the history of this country. As she grew intocloser sympathy with the man himself and came to a fuller under-standing of the rugged, primitive conditions which had developedhim, she realized that her work of collecting and editing the recordswhich related to him must broaden into a definite biography basedupon those records and her own understanding of his character, orit could not be done. So the “Life of Abraham Lincoln” waswritten, and stands today not only as an historical record amazingin its scope and accuracy, but the living presentation of the man inhis splendid simplicity, profound wisdom, rugged honesty, quainthumor, and, above all, the brooding tenderness which took in allthe world. She never tells you this, but you grow to love him as

8




IDA TARBELL AND. THE TRUSTS

his friends and nei hbors loved him, to respect him as his opponentsrespected him, an 2 to realize as never before that, as she herselfsays, he is the best man that America has ever produced.”

F

RESH from this work, and with her mind full of the evidencesof what had once been the ideals and standards of this country,as contrasted with those of the present day of “progress,” the

next task given to Miss Tarbell in connection with her work on illc-CZure’s was to write a series of articles dealing with the trust questionand its bearing upon our national development. Her early famili-arity with the methods of the Standard Oil Company and her per-sonal knowledge of conditions in the oil regions at the time theindustry was absorbed by Rockefeller gave a definite basis upon

which to begin, and from that the “History of the Standard OilCompany” grew to its present form. Collecting the records was along and difhcult task, for they must be accurate and complete. Nohearsay information, no conclusions based upon a matter of opinion,could be used in an attack so serious, an exposure so complete, asthis would have to be if the doing of it were to be justified in theeyes of the nation. So long months were spent in searching allavailable records, and many more that were by no means easilyavailable. Only a thorough training in historical research couldhave fitted anyone to accomplish such a task, and that Miss Tarbellhad spent years of hard work to acquire. Nothing escaped her.She went wherever there was the chance of such a record existing,examined legal documents, business agreements, Con ressional re-ports, files of old newspapers,-everything that cou d furnish athread for the firm web of evidence she was weaving around the firstand greatest of the trusts, and then told the story as it is now known.In its pitiless accuracy and rigid impartiality, it is a terrific arraign-ment of the whole commercial theory that has produced the trustsand that, incidentally, is shaping the business side of our nationalcharacter upon the lines laid down and typified by Mr. Rockefeller.It is this bigger issue, this greater menace, that gleams betweenevery line of the simply told narrative. It is the old story of thespecially privileged few and the duped and plundered many, andthe reader is left to infer the possible consequences when the manygrow desperate. It is the sharply-drawn contrast between theAmerica of Lincoln’s times and the America of today.

And through it all, like some unseen, malevolent power, is felt,rather than perceived, the influence of John D. Rockefeller. To

9




THE ONLY CURE FOR THE TRUST EVIL

Miss Tarbell he is the exact antithesis of Lincoln, and as truly typi-fies his times. Yet her attitude toward him throughout is just, andeven kind. This is shown even more clearly in the character studyof the man that was published some months after the completion ofthe history of his trust. His great power, as well as that of the or-

anization he built, is fully acknowled%l

ed, and the utter pathos of‘s attempts to rehabilitate himself in t h e eyes of the world and to

free himself of a little of the crushing burden of its hate by means ofhis immense charities and his irreproachable private life. He is abusiness man who keeps his accounts straight to the last cent, andhe is paying his debt to civilization in his own way. But there isalways the conviction that the moral debt he owes to the nation cannever be paid, that the harm has been done and is irrevocable until

such time as the moral sense of the people purifies itself sufficientlyto once more produce a type of man like Abraham Lincoln,-sane,unselfish, devoted, and too innately honest to take unfair advantageof any man or to accept special privileges in the effort to achievesuccess.

That we, as a nation, are at last awakening to the necessity ofthis is due to the courage of those who have dared to give us “an-alysis, ruthless and unflinching,” of conditions as they exist, and topoint out whither they are leading us. The number of these an-alysts is increasing every day and the battle of strong powers forgood and for evil is on in earnest, but when the result is recorded inthe history of the future, first among the names of those who ledthe fight for national honor and fair play will be that of the womanwho was wise enough to see the truth, and strong enough to makethe people stop and listen while she told them what she saw.

THE ONLY CURE FOR THE TRUST EVIL64A

S for the ethical side, there is no cure but in an increasingscorn of unfair play-an increasing sense that a thing won bybreaking the rules of the game is not worth the winning.

When the business man who fights to secure special privileges, tocrowd his competitor off the track by other than fair competitivemethods, receives the same summary, disdainful ostracism by hisfellows that the doctor or lawyer who is ‘unprofessional,’ the athletewho abuses the rules, receive, we shall have gone a long way towardmaking commerce a fit pursuit for our young men.”

IDA M. TARBELL.

IO




AGE

Twatch the returning Spring and wonder secretly

If, missing those who greatly love such days,The Spring could ever be so gay and greenAs when they walked the lilac-budded ways.

‘1‘0 sigh o’er Winters, strangely bleak and cold,And see, in smouldering fires that char too soon,

No more what may be, shall be, but what was,-As one recalls the cadence of a tune.

‘l’o smile upon and bless young sweetheart vows,Remembering this face and that long passed,

To fancy love today a colder thing

Than this great love you cherish to the last.

To keep the friends grown faithfully old as young,Reluctant, when new hands knock at your door,

‘1’0 open; and if opening, withhold‘I’he heart of which you once gave all and more.

To dream in solitude with pipes and booksBorn old and sweet and good; to ask for songs

‘E’hey do not sing ; to find your happinessA homely grace that in your soul belong?:.

To seek again some calm forgiving godYou smiled at lightly in vour other youth;

Content to leave the mysteries of lifeTo mysteries of death-and wait the truth.

EMZERP POTTLE.

II




THE WESTERN SCHOOL OF SCULPTORS

Maeterlinck’s great drama, “The Blind.” Mr. Taft’s conception ofthe symbolism of the play and the reason for its inspiration to himis most interesting when given in his own words:

“After I had read the play, that wonderful tragedy whose sym-bolism expressed the great 1011 ingthe group shaped itself in my cf

of all humanity for light in life,reams. It refused to vanish, and as

it exhibited the concentration of a powerful emotion within thecanons of sculptural cornit would appear in the f

osition, I made a small model to see howc ay. This impressed me to such a degree

that I spent all my leisure constructing a larger grou ,friends found vastly interesting, but they ex ressed

which my

satisfied that the1

roblem should not be wor ed again.Flemselves as

However,the profound trut underlying the drama urged me on. It is a

theme that my mind dwells upon, this sounding of the human soul,questioning the future and longing for light.spired my group,

A similar thought in-‘The Solitude of the Soul,’ in which, as in ‘The

Blind,’ the great beyond is veiled from humanity, and man andwoman lean upon one another groping through life, seeking to solveits mystery.”

In the JIaeterlinck drama, a company of the blind, old andyoung, men and women, sane and mad, are gathered in an asylumup011 an island watched over by nuns and an aged priest. Thelatter takes his sightless wards to walk in the forest, and becomingweary. for he is very old, he seats the men on one side and the womenon the other, and placing himself near them falls into eternal

sleep. As the night comes on the forlorn company question one an-other in a trivial manner, just as men so often deal with the prob-lems of life. As the night grows chill and the snow begins to fall,the blind rise, and groping toward one another find the leader amongthem cold in death. The cry of the infant in the arms of theyoung blind mad woman awakens them to hope. They rememberthat the child cries when it sees the light and the young woman,whom they call beautiful, exclaims, “It sees! It sees! It must seesomething, it is crying,” and grasping the child in her hands shepushes before the anxious ones seeking relief, and holds it aloftabove their heads that it may give token when help is near.

“My group illustrates this climax of the scene,” Mr. Taft ex-plained. “It does not point to the hopeless note of Maeterlinck atthe close. The h ope that a little child shall lead them is one thatall gladly accept, as it keeps alive the light of faith that the racerenews itself in youth. It was a most absorbing creation. I felt for

13





them, I experienced the deepest emotion while modeling the facesof the blind. The pathos of helpless endeavor in the posture of thefigures, the hands reaching upward into empty air, appealed to thesympathies of my assistants as well as myself. It is not a work ofart that can serve a purpose of utility, but it has its mission like theancient drama, to purify the emotions through the sense of tragedy,and it is enough if it has caused one to stop and ponder.” 111 truth,

“Such passion here,Such agonies, such bitterness of pain,Seem so to tremble through the tortured stoneThat the touched heart engrosses all the view.”

MSS NELLIE

awarded the

V. WALKER’S group, “Her Son,” whicl~ was

Committee of first sculpture prize given by the Exhibitionthe Municipal Art Lea ue,right of “The Blind.”

was placed at theThe greatness of mot 1 er love is here vividly

portrayed, and one feels in this work the enveloping tenderness andfine dignity that made holy the madonnas of the masters. Thewoman, draped in flowing garments and wearing a head covering, isseated. She bends forward with her arm about the youth at herside, gazing tenderly into his face. The lad, clad in a girdled tunic,seems lost in devotional rapture, his face uplifted as if seeing a vision.It is a countenance of boyish nobility.

“This conception of mother and child has haunted me for years,”said Miss Walker, standing before her work in the gallery. “ It is a

labor of leisure and of love. My statue and monument of Mr.Stratton of Colorado being completed, I began this model in the in-terval between portrait busts. The figtire of the mother grew rap-idly and her face took expression in a moment of inspiration, butthe inquiring innocence of the child awed before the vision of life,that had appeared in my mental conception, eluded me for days. Iwatched children everywhere to help me to find the soul of youthfor my work.divine repose.

But above all was my desire to secure a feeling ofIf the group seems monumental, it is the influence

of my early training. When a child I spent much time in a marbleyard with my father in Iowa. I learned to cut marble. and thethought of how a composition will materialize in stone seems te con-trol my execution and my designs as well.”

Miss Walker ably assists Mr. Taft in the work of his studio, andis devoted. to her work. She has a winning personality and a finesort of enthusiasm that makes work to her a rare pleasure.




“THE FOUNTAIN OF THE GREATLAK ES :” LORADO TAFT, SCULPTOR.




“THE YOUNG L INCOLN :” CHARLES

,. XCLLI GAN, SCULPTOR.




“MARION :” LAURAKRATZ, SCULPTOR.

“BABY :” LEONARDCRUNELLE, SCULPTOR.




- 7




THR STRATTON MEMORIAL: NEL-

LIE v. WALKER, SCULPTOR.




THE WESTERN SCHOOL OF SCULBTORS

On the eastern side of the gallery were two massive groups bCharles J. Mulligan, “ Justice and Bower” and “Law and Pnow -edge,” seated female figures surrounded with objects enriching theirsignificance, the whole mounted on lofty pedestals. They aremodels for the decorations to be carved in soft stone for the newSupreme Court Building at Springfield, Illinois. Both groups areinteresting in detail, though in a different spirit from the imaginativecompositions previously described, and reveal the same audacity andvigor in Mr. Mulli an’svirile modelin if t

talent which came out so splendidly in the

“A Miner an 3e “Young Lincoln,” and the characterization of

Child,” which created a sensation the season that itwas exhibited. Since Mr. Mulligan received the commission to exe-cute the sculptural decorations for the Supreme Court Building, of

which the mural paintings are to be done by Albert H. Krehbiel, aChicago artist, he has spent much of his time in the seclusion of hisstudio, and, as the successor of Mr. Taft at the head of the sculptureschool of the Art Institute, he is frequently met in the galleries.Born in Ireland forty-two years ago, he came to Chicawith his parents. The latent germs of art inherited f

o as a child

ancestry in therom a good

old country lay dormant while he was seeking hisfortune when a boy, and then by chance, while cutting marble in asuburban manufactory, the report of certain figures that he hadmade reached the ears of Mr. Taft, whose curiosity led him to lookup the worker. Not long after Mr. Mulligan was taken into thesculpture school, and there made such progress that his work haswon for him a reco nized tors, and his influenceover the student bo P

place among sculy gathered about him to i ay is of the rarest sort.

I contrast to the heroic element that distinB

uishescreations is the facile and delicate point o

Mr. Mulligan’sview ap arin in the

collection of figures by Leonard Crunelle. His $ 7irre Boy,”which won the prize of last year in the plaster mode and in thebronze was purchased this year for the Municipal Art Gallery, isconsidered by the sculptors who criticize it to be a work of greatbeauty. The composition presents a roguish youth nude to thewaist, with hips entering into a pedestal. The idea is graceful andpoetic, and one finds other expressions of the same feeling in a com-panion decorative“Little Skater.“- 1

iece with doves, and the sparkling work entitledlso, in addition to a relief portrait subtly treated,

there is an infant head of the type which Mr. Crunelle models witha consummate appreciation of the charm of babyhood.

at-





Mr. Crunelle was born in eighteen hundred and seventy-two in amini

7i.ldistrict of France. To the uni ue life there the artist may

trace ‘s1

1ssion for beauty, as it cheris ed artistic traditions, lovedmusic an pursued the refinements of joy when the toil of the day’swork was over. With others of their neighbors, the Crunelle farmlyemigrated to America and to the cruder associations of the coalmines of Decatur, Illinois. As the story goes, Mr. Taft was calledto lecture in the town, and while there was told of a miner’slad who carved objects from coal. On meeting the youth, whospoke only his native French, Mr. Taft recognized a mind of un-usual gift. Later he sent for him to come to Chicago to performvarious tasks for the scul tors workin on the decorations of theHorticultural Building of t Ke World’s P air of eighteen hundred and

ninety-three. When that was a thing of the past, the young manreturning to Decatur sent back, as a token of hius appreciation of theinterest shown by his Chicago friends, a baby’s head modeled froman infant in the family,-a remarkable piece of work and full of in-telligence and promise.

“Crunelle’s feeling for art,” said Mr. Taft, “reminds me of thepurity and simplicity of the titeenth century Florentines. It re-Joices in youth and the s ringtime of life.” Several years a o theyoung sculptor purchase B a home in the rural suburb of fi disonPark, where a colony of ainters have established themselves, andhas there his studio, in w cl ‘ch he models youthful figures from thechildren growing up under his own roof tree.

A OTHER instance of individual creative work appeared in thepopular groups of Miss Clyde Chandler of Dallas, Texas, whoentered the sculpture class under Mr. Taft and remains to

assist in his studio. The assemblies of children in “Blind Man’sBuff,” “ Hunting for the Fairies,” and “Scherzo,” are happy pres-entations of the real spirit of the child world. It is romantic sculp-ture, full of joyousness and personality. Miss Chandler lives inthe unreal world of nymphs and fauns with the imagination thatcreates a fairy world, and there is a tradition that wherever she oes,though lacking the ipe of the “Pied Piper,” she is followed f“comet’s tail of chi dren”

y awho have discovered her gift for story

telling.fi ures

In a more lofty vein were two terminals surmounted by huge

iIf“Winter” and “Autumn,” freely and boldly executed by

iss Chandler, who has also conceived designs for friezes of classicproportions.

a2





In ‘uxtacrick 6 ‘!o

sition to the terminals by Miss Chandler was Fred-Hi bard’s plaster model of a- portrait statue of the late

Carter H. Harrison, a heroic fi ure that cast in bronze was chosento be placed in Union Park. % his is particular1 commended be-cause of its commanding appearance, free from i: e rigidity that isso commonly a characteristic of the formal work of this order.

“At the SiKratz. The

n of the Spade” is a gitP re

task in the soil isof a digger ben 8

antic piece of work by Laura‘ng his great strength to his

that of a man who has seen the storms of manywinters and has found no compensation for toil. It is a ‘m con-ception, and in it is an expression of a sympathy toward r e fate ofunredeemed toil which presents the art of this woman as at once in-telligent, kind and sensitive.

woman, claims with some

The artist, a quiet, unobtrusive young

and her home a farm near Kride that she is a daughter of Illinois,onticello. “At the Sign of the Spade”was suggested by a poem of John Vance Cheney’s, which was readby Mrs. Elia Peattie in the presence of a company at the summerresidence of Mr. Taft at Eagle’s Nest on Rock River, not far fromChicago. Reuben Fisher, living at Miss Kratz’s home, posed forthis ideal figure and also for his own portrait bust, which is a strongcharacterization of sterling virtues.

A THOUGH all that may be said of the work of these pupilsof Lorado Taft is vicariously a tribute to the master, yetfurther word of the man himself seems justifiable and of

genuine interest. He is a native of Illinois, and althouart trainin

fwas in Paris, subsequent travel and work %

h his earlyas rid his

brain of a 1 Latin Quarter mannerism or point of view, and todayhe stands in universal sympathy with all sorts and conditions ofmen. A cultivated brain, a tender heart, a masterly technique-these are a part of his e

1any years director of tuipment for his work of the present. Fore school of sculpture of the Art Institute,

and actively identified with the work of the National Sculpture So-ciety, the Society of Western Artists, the Chicago Society of Artists,the Municipal Art League and Municipal Art Commission of Chicago,and at present the president of the Polytechnic Society of five hun-dred young persons working in the downtown districts who meetfrequently for purposes of culture, Mr. Taft yet finds time to writea most significant History of American Sculpture, to model idealconceptions and to establish a reputation as the lasting friend of alltrue art and artists. In the eyes of those who truly understand the

23





breadth and depth of his achievement, human as well as artistic, hewill always stand foremost among artists in this country who havestimulated a genuine love’of art and sympathized with the aspira-tion for the highest ideal of life through labor.

It was through his influence,for the past decade or more,

which has been steadily increasingthat the Ferguson Fund Bequest for

one million dollars was made for sculptural municipal decoration inChicago. And it was most fitting that the first commission shouldbe awarded Mr. Taft and that his heroic “Fountain of the GreatLakes ” should be selected by the donor as the monument. Thisbeautiful design, of which an early model was shown at St. Louis,contains the figures of five nymphs grouped on a pyramid of rocks,pouring water from shells. The nymph Lake Superior is poised on

the summit, bending to the group of Michigan and Huron belowher, who pour the stream to Erie and Ontario at the base, fromwhence it flows to the reat flood of waters that unite with the sea.

The very human si iie of the work of Mr. Taft and his school iswhat is most noticeable, not only in this recent exhibit, but in allthe best work of this group of artists. The master and his pupilsseem to have dwelt close to the real things of life, and the profoundlyemotional phases of the very simple primitive conditions of life arerecorded in their work faithfully and sympathetically ;-the longingfor light of the blind, of all the blind, physical or moral; the loveand aspirations of maternity; the play and joy of childhood,-thesimplest childhood; the tragedy of unintelligent, unrewarded labor;the splendid courage and virility of awakened youth where strengthhas been gained by labor; the strength of love where it stands with-out competitors in the heart of a man; emotions to be found in anysmall cott

Te out on the prairie edge or in the back street in the

outer city s urns. These workers have not striven for beauty alone,for the mere outer form, but to present the spirit of beauty thatdwells in strange abodes, far from conventional standards of ex-cellence. And so by the honest presentation of what they knowgenuinely, by sincere associatioris with each phase of life whichtouches the brain, with the fine purpose of carving truth always,whether in symbol or fact, this group of men and women are hold-ing art to its right intention-the presenting beautifully the growthof a nation through triumphs and failures, telling the truth in anutterance individual, cultivated and honest.




“A M INE R AND CHlL D :” CHARL ESJ . MULL IGAN, SCULPTOR.




ABRAHAAI LINCOLN, FROM A FOR-

TRAIT-BUST BY CUTZON RORGLUM.




ALL THE VARYING PHASES OF ABRAHAMLINCOLN’S CHARACTER SHOWN IN GUTZONBORGLUM’S GREAT PORTRAIT BUST

N profound insight into character and in subtleness ofportrayal Gutzon Bor lum’s “Head of Lincoln” mustbe accounted among t B etrait sculpture that have 73

reates t achievements in por-een made by any American

artist. In forming his conception Mr. Borglumstudied the photo of Lincoln taken at differentages, but in the i

raphsnal working out he used only the

beardless pictures of the war President’s last years. These he sub-jected to a system of minute measurements, exact and intricate, andthe results he applied to the enlarged head as it grew under his

hands. The differences of measurement which he found on the twosides of the face resulted inevitably in a sli& difference of expres-sion-a difference which close students of physiognomy will find inmuch of the Lincoln portraiture. Mr. Borglum thinks that the rightside of Lincoln’s countenance was that in which the forcefulness ofhis character, his common sense, his executive ca

Kacity, his reason-

ableness, that is, his intellectual qualities, found c iefly their expres-sion. But his gentleness, his tenderness, his bigness and warmth ofheart, in short, his spiritual side, the artist thinks left its marks moreupon the left half of his countenance. His measurements of theface have convinced Mr. Borglum that Lincoln must have had thehabit of grindin

!

together the teeth in his right jaws, doubtless as a

vent for some o those exasperations of the burden which he nevervisited upon others. And the artist has given, from that point ofview, an almost poignant impression of the tensity and weight of theman’s inner life. It is a difl’erent Lincoln which one perceives fromevery different viewscop’ic as the man

oint of this noble and impressive head-kaleido-Rimself was in character. Perhaps it is in just

this particular that the greatness of the work chiefly lies. For thewhole of Lincoln’s varied and contradictory character is in thissculptured countenance. The theory from which the artist workedof making different parts of the face show varying phases of mindand soul has resulted in an expression singularly lifelike, as if onewere watching the changing play of deep feeling over the face of aliving man. This head is by far the most impressive presentment ofLincoln in any form that has ever been made.

27




ANN GOING: A STORY: BY ANNIE HAMILTONDONNELL

HE moonlight lying placid on the familiar surroundings-on the neat outbuildings, the upper fringe of theorchard, on fence and woodpile and pump-was dif-ferent. To the woman in the scant nightgown at thewindow the very air that fanned her gentle face wasdifferent, for the woman was different: the thing shehad decided to do set her apart from this peaceful

moonlit scene, from the rugged old face on the pillow behind her,from herself. Sh e was still Ann Juliet Going, but a different Ann.

It was a thing for youth to do, especially since it must be donealone. She stood there, resolutely growing young. She straight-ened her rounded old back and held her head up; her thoughts going

back to her youth were youthful thoughts.“I feel’s if I wasn’t more’n twenty-thirty, anyway,” she laughedaloud in her soft old voice. But there was a strained, sixty-year-oldnote in the sound. Laughing tells tales.

“It’s got to be now or never-it’s going to be now! I’m standin’here right on the edge of it !”

Everythin8

was in readiness. She had packed the trunk at oddtimes when nward was in the fields. She remembered now thefirst thing she had put in-her wedding dress! Ever since, she hadlaughed at the idea, but she had never taken it out. It made itseem a little, a very little, like the first packing she would have doneif she and Onward had gone forty years ago. For of course she

would have put in her wedding dress then. It had been white then-now, yellow. Oh no, oh no, she could never have gone withoutthe wedding dress!

The second thing had been Onward’s wedding suit. She did notlaugh when she remembered putting that in.

“Men are so different,” she sighed. “They don’t hang on tothings the way women do-for forty years. There’s always newthings-barns and cattle and going to town meeting.”

There always had been. Standing there in the window, on the“ edge” of the great thin, a she had decided to do, Ann Juliet Goinrealized that there were “new things,” too, for women, but there ha !!inever been for her. New little babies laid, after awful birth-pains,in the warm hollows of their arms, to look down on with weak rap-tures,-but never in the hollow of )ber arm.

“If there ever had been-I’d have taken him with me,” she saidsimply. Sure he would have wanted to go. He would have been

28




ANN GOING

tall, not short like his father.her, carrying her bags.

He would have walked away beside“Hurry, mother!” he would have said, “or

lve’ll miss the boat.”In a locked drawer of an old dresser were all his little clothes.

Snn had got them ready “in case.” She had never for a moment inthe first years of the forty doubted that he would come some time,and so she had fashioned the little shirts and slips. ,4 certain thriftdeep-planted in her New England foremothers’ natures had by rightdescended to her. She had always “got ready” before there wasneed,-made towels, sheets, quilts. It was her gentle creed, in-herited.

Suddenly now she turned from the tableau of the pale moonlightover homely night things and went hurrying away noiselessly. There

\vas ‘ust room in the tray of the trunk; she got them and put themin. k er old fingers touched the small, neat piles with the infinitetenderness of a great

Jvearning. It is thus that childless mothers

handle tiny clothes-“ ell, it would be a little like his going, too.”The brief flame of youth flickered out and Ann Going crept like

an old woman back to bed. Only the inflexible resolution she hadinherited from her ancestors together with their thrift kept her to herdecision. She would not give it up, although she longed to at thismoment of disillusion. She would do it tomorrow-go tomorrow.

In his rugged sleep Onward B. Going stirred repeatedly, as if un-easy premonitions disturbed his dreams. He was not a man to becommonly disturbed, but these premonitions would not be common

ones. His gentle wife, Ann Juliet, had never done it before. Smallwonder that his grizzled head rolled on the pillows.The first disturbing element in his life had been his name, and

even that had taken its time to disturb him. It was not until thechild Onward had joined his fellow children at the district schoolthat the humorous aspect of his name had occurred to him. Thenrepeated mockings had roused his tiny rage, and he had stumpedhome one recess to demand a new name. The middle letter, B, hadbeen the compromise, and though it remained from that far periodto this a letter only, without the dignity of standing for a word, ithad served its purpose. Oddly enough the added humor of the newname had never occurred to Onward. His friends never suggestedit, his wife ignored it in the gentle way in which she ignored allhis failings-the name had ever to her mind been one of them. Shecould recall in her secret musings the potent factor it had been inher long resistance to his suit for her hand. Then love, as love will,

29




AXN GOING

had stepped into the troubled pool and her decision had been clear.She had accepted him, name and all. Besides that, there had beenmany other failings, she had found, though she had never beensorry. But she had longed unutterably for a chance to use the littleslips and shirts.

Lying there in the darkened room after the moonlight had beenquenched in clouds Ann Juliet Going listened to the uneasy rustlingsof Onward’s head upon its pillow and wondered vague things:1Vould he be lonely ? Would he count the days in the ellow al-manac hanging by a corner-loop on the kitchen wall 1 9Vould helike Salomy Hyde’s cooking-her bread and doughnuts and pies ?Onward was so fond of pies, but would he be of Salomy Hyde’s ?Would he sometimes-just sometimes-wish it were time for her to

come back?It was not Salomy Hyde Ann meant that last time. She lay inthe gloom and wished it were time now, before she had started, forher to come back. But she did not than e the Plan.

It was a very old Plan, conceived in t Bearly time when she had married Onward.

e joyous ambitions of the’

it was born.At last, after forty years,

But now it was a lonely Plan, and the flavor of it wassuddenly like ashes in her mouth.

“I hate to do it alone,”sadder than patience.

she lamented in her silent way that was“Not all soul alone!” She broke into soft

sobbing that scarcely stirred the covers of the bed. “Other women’sold as me have husbands or sons to go.” It was odd that she never

said dau hters.P The little shirts had been made for sons; it wassons she ad missed.Onward’s share in the Plan had been a brief one, though not

lacking, while it lasted, in enthusiasm. He had not thought of it inmany years. Other plans had crowded it out, elbowed it into thecorner of cobwebs in his memory where plans die unfuneraled andunlamented. The other plans had embraced his lands and herds,new barns, new mowers and reapers, a windmill, a bank account.The forty years had been pleasant enough to Onward. He, too, hadhoped for sons,resignation.

but had taken his deprivation with philosophicalHe could hire tall youths to work beside him in the

fields. In the house there was always Ann,-Onward n-as not hardto satisfy.

The early morning work next day began quite in the monoto-nous, usual way. Milking and foddering in the great barns, thewarm steam of the cooking breakfast within the little house. There

30




ANN GOING

was nothing to indicate a strange thing would be happening withina little time; nothing hinted of the Plan. But Ann Juliet Goingstepped heavily about her work and could not put on youth. Shehad meant to step springily and be young.

Onward ate his meal with the relish of a hungry man. He nevertalked at meals, rarely of late years talked at all. And Ann alwayshad been a silent woman, thinking where other women chattered.She was thinking now.

Would he find the letter at once? Would he be angry-no, notangry and be Onward! She was not afraid of that. But he wouldbe surprised, and he had never liked to be surprised. And if hecared-Ann could not decide that to her comforting. “He will care-he won’t care. He will-he won’t,-will,-won’t-” ran her

heavy heart to the tune of its throbs. Young women say their daisypetals that way wistfully; old women-Arms-count them off likedrops of blood. She found herself at this last moment longing un-utterably for Onward to care.

The letter she left pinned to the kitchen hand towel, for he wouldsee it there when he washed before dinner. As it ha pened, histhoughts were upon the coming town meeting at which e expectedlelection to an important office as usual, and the little envelope es-caped his notice till he felt it crumpling under his vigorous hands.

“Hullo!” he ejaculated in slow surprise. “Well, I never,-if itain’t pinned on ! Ann, where are you ? Here’s a letter- ” It wasfrom Ann!

He read it with the labor of one unused to reading letters, his oldbrows frowning with the pain of it. It was from Ann-a letter fromAnn-a letter! He read it again, and the pain of translation be-came the pain of understanding-a double, treble, awful pain. Itwas his first letter from Ann, and he sixty-six, Ann sixty. It was aterrible letter to read at sixty-six, written by an old wife.

“Dear Onward :-I’m doing it, as I’ve always known I would.All of a sudden, I knew it was now or never. When you wash fordinner I’ll be doing it. I guess I’ll be as far as the Junction then.You’ll say that’s going abroad, but I’m going the whole ways. Ialways meant to, and I am. There’s a steamship going to start to-morrow noon from Boston. I decided to do it when your brotherJoel sent me that money in his will-when it ca,me, I mean. Seemedjust as if he sent it on purpose. Joel kind of understood people.

“When you and me planned going to Europe we made out a listof places we would go to, first one and then another. I’m going to

31




ANN GOING

every single one of them. I kept the list. You’ll find your socks allmended up; begin at the right hand to wear them. I’ve arrangedthem according to thickness. Counting two pairs to a week that’11bring you to the woollen ones just right. Salomy Hyde is going tocome tonight to cook and keep house, but I cooked your dinner to-day. I hope you’ll like the pie. I’ve told Salomy Hyde not to boilyour tea and how you like your beans baked and to air your clothesafter she irons them. You better not cross Salomy-otherways she’sa good woman. I got new glasses to see the foreign places with.They’re the strongest kind I could get. L4nd I’m going to keep adiary same as I meant to then.”

“Then” w-as forty years ago. Onward Going winced. He hadmeant, too, to keep a diary.

glasses then.

But they had not planned for strong

He read on with a gripping at his heart.“I can’t tell when I shall get back, but I’m going to hurry. Andyou’ll have the town election and the Grange meetings. You bettergo to them alZ. Have Salomy Hyde put you up a nice hearty lunchelection day. I’ve told her the way you like lunches. Don’t evercross her. The handkerchiefs in the left-hand pile are your bestones. I’ve taken the same trunk we were going to take. If you feela sore throat coming on wrap your stocking round it when you go tobed and t ake th e medicin e in the blu e bott le. Well shaken, a table-spoonful. I kind of hate to go alone, but I knew it wasn’t any useto wait as I’m getting old. I began to write this letter three daysago, excuse mistakes.

&4ff. your wife Ann.“P. S. It was now or never.“P. S. 2.“P. S. 3.

The liniment is on the upPer shelf.Don’t cross Salomy Hyde. ’

Salomy Hyde came in through the sunny doorway. She wassmiling affably, uncrossed.

“I guess I’m some early. Mis’ Goin’ said to come sometime inthe afternoon an’ I says, ‘Do it now,’ I says. That’s my motter. Isee one hangin’ up once in a store.”

The man beside the roller-towel scarcely seemed to see her.“Land, Onward Goin’, be you sick?” He scarcely seemed to

hear.To Ann Juliet Going, sitting upright on the car-seat, jolting and

jarring through all her tender old bones, the miles flew past but themoments crawled. Dread and determination warred in her oldbreast. And she had written it in the Plan that she would be re-

32




ANN GOING

joicin .%

With Onward on the seat beside her, or the Son, she mighthave een.

“But I’m doing it-I’m going,” she repeated to herself. Thenthe daisy petal tune took up its jog a ain to the

P‘o of the train:

“He will care-he won’t care. Wil -won’t. #I‘il -won’t.” Ittired her, but it would not stop. Not until her weary old headjogged into brief sleep against the tawdry velvet back of the seat. Itstopped then, but its last word was “won’t.” She dreamed thatOnward went whistling-he had never been a whistling man-abouthis work in the barns and fields now that she was gone, and even inthe dream the thought hurt her with mortal hurt. He had been asilent, undemonstrative husband, but she carried in her memoryalways the short, sweet

been eve

eriod of their love-making. And he had

had not 7 thing to her- ittle unborn sons as well as husband. Heeen tender after that first tenderness, but he had beengentle. There were no harsh things to remember.

When at length she stood on board the steamer that was to takeher across sea to the places she was determined to see, a sense ofutter loneliness overcame her. She was not alone-all about her ondeck and dock crowded and clamored an excited throng. She sawhappy people and unhappy; she herself was unhappy, yet she wassaying good-bye to no one.ling about his work.

Onward, she reflected sadly, was whist-It did not occur to her to turn back, but the

zest of going had turned bitter on her tongue.it was her duty to go took possession of her.

An odd feeling that

A tall son kissed his mother at Ann’s elbow. She turned tocatch the love in the big fellow’s face.good-bye-he should be going, too.

But he should not be sayingAnn’s son would have been go

ing with her, standing, tall and splendid, beside her-Ann’s son wasfiner-looking than ths one who was kissing his mother, than anyother woman’s son.

“ I declare !”was Ann.

uttered in a soft wail the lonely little old person who“Oh, I declare, I declare, I wish I wasn’t going,-but I

am! I’m going to shut my eyes to keep from seeing that woman’sson go back ashore, for if I see him just as likely as not I’ll go, too.I’ve got a queer feeling all over me. I don’t know whether it’s inthe pit o’ my stomach or in my heart.”

It was in the pit of her heart. It grew steadily worse. Tearsforced themselves to Ann’s faded eyes, but because she was Ann theydid not fall. Because she was Ann she closed her eyes to the gen-eral exodus of tall sons, of mothers, fathers and sweethearts that

33




ANN GOING

began now at the clang of a warning bell. Her strong, firm figurestood in their path, and they jolted against her as they hurried, someof them blinded by tears, but she did not open her eyes. She wasAnn.

He was Onward. Someone stood in his way, and he mutteredan imprecation between his teeth and brushed the obstacle awaywith tough old arms muscled to swing a scythe. Now, at the lastmoment, he did not mean to be too late. He leaped across thegangplank-to Ann.

“Here I be-here I be, Ann,” het

asped in triumph. ‘l’he oldvalise that he had crammed with a jum le of clothes he swung abouthis head boyishly as Ann opened her eyes. What she saw was theyoung Onward who had begun to go abroad with her forty yearsago; It was to him she cried out bewilderedly.

“ Onward ! Onward !”“ I’m him-Onward Going!” he laughed. “ Mebbe you thought

you was Goin alone!”Y

He had never joked about his name before,,or joked at a 1 since those early days. It was another proof thatthis was the early Onward. Grizzled beard, bald spot, crookingback, all counted for nothing against him, and suddenly she washerself the early Ann. They were going abroad together to theplaces, one at a time, that they had planned to see. The steamerwas movin smoothly on its way!

Onwar 6: fled for relief from the curious pressure of the momentto common things. Salomy Hyde was a common thing. He

chuckled reminiscently.“You’d ought to seen Salomy’s face when I hove in sight withthe old carpet-bag!” he said. To Ann, too, here was relief. Shecame down to Salomy’s level with a sense of alighting from a dizz!height. She had even room for faint consternation.

“Onward! You didn’t cross Salomy Hyde!”He beat his roughened :lands together in self-applause.“ Didn’t I! ‘Where be you goin’ with that carpet-bag ? she says,

up high. ‘,Me? Oh, jest to Europe,’ I says, kind of indifferent.Then’s when you’d ought to seen her face, Ann. ‘ Land, OnwardGoin’,’ she sort of chippered, ‘be you crazy ?’ ”

Ann laughed tremulously.“You were, Onward,-Salomy Hyde was right. I’m crazv.

Both of us are. But it’s too late now to be in our right minds:”She threw out her hands in a gesture of unconscious grace. Theshore was receding from them. “ I’m glad it’s too late, Onward! I

34




THE SCARLET TANAGER

was getting scared toP

o alone, but now- ” She turned her radiantface to him. He cou d not know she was thinking of tall sons andin her heart preferring him.

Years slipped away from Onward Goin -twenty of them,thirty, forty. 7is awkward tongue picked up o d words of love.

“Annie,‘‘-that was one of them-“ you look here. There ain’tanybody in this crowd sixty, nor sixty-six.

She caught eagerly at the fancy.You ain’t but twenty.”

“In May, Onward!” she nodded. “And you twenty-six comeMarch !”

“That’s the ticket. And look here”-now his old face pleadedwith her-“nobody’s been thoughtless nor-nor mean, Annie.”

“ Nobody!” she cried. There seemed no one but Onward and

herself, Ann, on the great ship. Together, he twenty-six, she twenty,their hands found each other in the way of young hands. Ann’sface put on a radiance like a soft, becoming garment.

THE SCARLET TANAGER

TE goldenrod, her autumn routHas changed to silver spray:The milkweed holds thin tresses out

Against an azure day.

The hill is sweet with fern and burrAnd brown with brier and sheaves.

Is it a scarlet tanagerThat flickers in the leaves?

The autumn haze mounts sudden, strongThe field is like a pyre.

What if one tiny spark of songShould set a world on fire!

MARY FENoLLoSA.

35




ART IN ORNAMENTAL PLANTING: IL LUS-TRATED BY A MISTAKE IN LANDSCAPE

GARDENING: BY GRACE TABORHE really \\-ise man has discovered that he often learns

more through his mistakes than he does by his suc-cesses; and although this is an expensive way of ac-cumulatin knowledge, the wise man consoles himselfwith the t% ought that it is a very sure way. Thereare, however, experiences which one can hardly affordto pay for by blunders, because the blunders cost too

much in time, energy and money. Landscape gardening may bereckoned as one of these experiences, for you see a garden requiresyears to grow up, and mistakes in early training can only be dis-

covered when it is difficult to rectify them, and the worse the mis-takes are the more conspicuous they grow from year to year. Thelittle shrub in the wrong place this spring grows up into an accusingmistake next year. And so the best way to grow wise about gardeningis to study from the mistakes of others, and this article offers a lessonin landscape planting by showing how a garden was in the first placemade an eyesore instead of a beauty, and what was done to all thisbad management to convert the lawns and walks and shrubs into abeautiful setting for a charming house.

When I first saw the garden in question, it seemed to me thatnearly every offense possible against art in planting and arrange-ment had been committed. For my illustrations in this article I am

submitting two plans, first the one of the garden as it was originallyplanted, and second, my own suggestion for replanting it in har-mony with the house, the slope of the land and the fundamentalpurpose of all landscape gardening-beauty of line and color andproportion.

If you will look at the original plan you will see that the first andmost glaring fault in the arrangement is the entire absence of anysense of spaciousness ; the lovely sloping lawn might as well havebeen a small, flat suburban lot so far as it conveyed any impressionof space and breadth. Not only did the garden itself seem crampedand distorted, but it actually appeared to crowd back against thehouse, as though there had not been room enough in the first placeto afford the building a position with sufficient elbow room. Youwill notice also that large shrubs were set close against the house,shutting off all view of the grounds and surrounding country fromeither porch or windows. Thus, instead of “planting i6” the

36




ART IN ORNAMENTAL GARDENING

VIE W OF GARDEN AS ORIGINAL LYPLANTE D, SHOWING THE WRONGMASSING OF FOLI AGE, TH E HEDG-

ING IN OF THE LAWN AND THEIAX% OF OIJ TIA3OK BY A MIS-TAKE IN LANDSCAPE GARDENING.

grounds to set off the house, and framing the wide lawns by massplanting to its outermost limits, the gardener “planted out” prac-tically all the beauty of the slope itself and lost the distant views be-sides. Foliage is massed about the house, and the only stretch of

lawn is invisible both from the road and the house itself by beingenclosed with a hard formal hedge which runs in a stiff line alongthe boundary.

This is exactly reversing the correct order of things in landscapegardening. The architecture of a dwelling house should always berevealed freely, and the view of it should be unhampered from theroof to ground; there should be only low-growing shrubs near thefoundation, while masses of shrubs or trees should mark boundarylines and fill the base and the sweeping curves of walks and drives.And yet about the house, if you will notice the original drawing, youwill see magnificent shrubs fifteen and twenty feet high crowdedclose to the foundation and a walk made impassable because of

shrubs which run along the top of the terrace which sloped sharplyto the driveway. All the walks, terraces and drives have the effectof being cramped and isolated by a growth of tall shrubs or trees.Over the porch a crimson rambler drapes itself, combining with the

37





shrubs to destroy the faintest outlook. From the southeast view ofthe house there should have been a clean sweep of vision straightdown to the distant sea, but on this side magnolias close to the houseand an orchard beyond prevent a glimmer of the water, and a circleof shrubs choke off even the sight of the little lawn.

Not only are the trees and shrubs actually in the way in thisoriginal plan, but even in the very planting there is no symmetry.Everythinnot relate f

seems to have been done in pairs, and the shrubs areto the scheme or to the lawns or to the house. Even the

color scheme seems to have been ignored in the doing of this garden.Looking from the porch over a bed which obstructs the entrancewalk there was only bare earth until July. Then coleus and petuniasfilled in the space; later salvia appeared, making a color combinationtoo dreadful for words, and the plants being hardy the colors screamed

aloud until frost. In the closed-in lawn, which is a prisoner fromevery point of view on the grounds, there stands a foolish urn, whichis neither decorative nor useful. In driving up to the house, ac-cording to the old plan, one had a sense of turning abrupt corners,of apprehension lest one should meet another vehicle on the narrow

38





driveway, and always the feeling of being shut in, of seeing the entireestate in patches without pleasure or appreciation.

In the second plan the idea has been to relate the lawns anddriveways to each other and to the house, to plant in such a way asto secure and hold every possible bit of view. The slope of the landabout the house is by nature very beautiful, curving down from thefoundation in all directions save southwest. This suggested at oncebringing a drive in long curves from the road to the doorway, fordriveways and walks should always run along the easiest way, justas paths do in woods and fields, or at least they should give one thesense of doing so. The walk was also made a graceful, easy gradefrom street to house; this to avoid cutting through the lawn, whichin the new plan was made to spread its restful green across the entire

slope in front of the house. Groups of shrubs hide the terrace stepsfrom the street, also the carriage steps at the side, and irregularmasses enclose the lawn in front and on the north. Similar masseshide the vegetable garden and afford an excuse for the Y in thedrive as it comes from the street, suggesting a division between thefruit trees and the purely ornamental portions of the plantin on thesouth. The only trees left near the house are an elm and a c B estnut,both tall and hi h-branching trees, affording a view underneaththeir lowest branc 1 es. Large shrubs are used along the boundaries ;medium-sized shrubs alone are employed within the grounds andalways at a distance from the house, and only the lowest varietiesare planted about the house and on the terrace at the north. Vinesare confined to the columns of the porch, framinThe crimson rambler roses are transplanted to t B

the open sP

aces.e solid wa 1 and

over the trellises at a distance, so that at last from the porch one cansee all the beauty about the house, the country beyond, and fromthe southeast section, the glimpse of the ocean, everything beingplanned to admit light and air to the house and to extend the viewin every desirable direction.

39




SIGNIFICANT FEATURES OF THE TWENTY-THIRD EXHIBITION OF THE ARCHITEC-TURAL LEAGUE: AN IMITATIVE RATHERTHAN A CREATIVE SPIRIT MANIFEST

HE eneral impression given by the Twenty-third An-nua P Exhibition of the Architectural League of NewYork was that it differed widely from that of lastyear, which was notable for expressions of a progressivespirit in architecture and the development of orig-inal and characteristic ideas, especially in dwellinghouses. This year there was a definite return to

the conventional architectural styles adapted more or less literallyfrom other countries and former periods. The Greek and the

English Gothic were both prominent, and public buildings seemedfor the most part to take precedence of the charming domesticarchitecture of which so much was seen last year.

Perhaps the best part of the whole exhibit was the display ofmural decorations, which is treated at length in another article inthis issue of THE CRA~SMA.N. There were various excellent ex-amples of new mural work by some of our most notable men, athing that cannot be said of the architectural exhibit, which seemedto be mainly made up of things done at different times and judgedto be good enough for exhibition purposes. This was demonstratedby the fact that the gold medal for architectural design was notawarded, owing to the quality of the work submitted. The silvermedal was awarded to Herman Kahle, of Columbia University.

The special prize of three hundred dollars for the best designsubmitted by an architect, sculptor and mural painter working incollaboration was awarded to Evelyn B. Longman, Henry Baconand Milton Bancroft, although this team gained only the secondaward, the first having been given to Mrs. Harry Payne Whitney,who collaborated with Hugo Ballin, mural painter, and GrosvenorAtterbury, architect, in a design for an out of door swimming pooland pavilion. As Mr. Atterbury was a member of the committeeawarding the prize, this composition was necessarily out of the run-ning, and so the actual prize went to the winners of the second award.

The subject given for competition called for a large pool to beplaced so that three sides were screened by the building or enclosingwings, trellises or planting, leaving the fourth or south side open tothe view. It was the architect’s task to design this pavilion andalso the lateral trellises or wings and appropriate landscape plant-

40




THE NEW YORK ARCHITECTURAL LEAGUE

ing to form a frame and screen for the pool and pavilion. To thesculptor was awarded the task of desifrom which the water is to be fed to t %

ning the source or fountaine pool, this to be

xlaced at

the north end, either in front of or within the pavilion, an to formthe chief sculptural ornament in the composition. The decorationof the open room or logpainter, the work of the t B

ia facing the pool was given to the muralree to be in collaboration so that it should

form a symmetrical and harmonious whole.conditions of the corn etition that the Avery

It was provided in the

the President’s prize or mural painting shou d be awarded to thesePrize for sculpture and

decorative features in some one of the competing designs. There-fore, Charles Carey Rumsey, of New York, was given the Averyprize and Hugo Ballin received the President’s prize.

W ILE the architectural part of the exhibition as a whole wasconventional to a degree, there were nevertheless a few ex-amples of what has come to be characteristic American

architecture. Notable among these were the houses designed byGrosvenor Atterbury, of New York, of which one of the best was acount

7house built at Rid

fefield, Connecticut.

four il ustrations showinWe reproduce here

fiifferent views of the house itself and one

glimpse of a portion of t e garden. Thesuited to the landscape, whmh is hilly an f;

lan of the building is wellbroken in contour. Ex-

tensive grounds surround the house on all sides, and at the rear de-velop into a small formal

semi-circular pergola and P

arden surrounded by a stone wall with a

attice at the back, as shown in the illus-tration. The foundation and first story are of field rubble set incement, and the second story is built of over-burnt brick with half-timber construction, giving a delightful color effect. A long wing atthe back of the house contains a conservatory which opens into thewalled garden s

foken of above.

the other side oThis conservatory is balanced on

the house by a per ala,a great semi-circular bay entirely fi led with glass, which looks out

and between them appears

upon the terrace leading into the garden. The plan gives the im-pression of close relationship and perfect harmony between thehouse and the garden, which are so linked together that the usualsense of the aloofness of a building from the ground is not felt. Thisfact is heightened by the steps leading down to the garden, whichare great semi-circular slabs of stone set in cement.

Another house designed by Mr. Atterbury masquerades underthe modest name of a shooting lodge at Timotly, South Carolina,

41




THE NEW YORK ARCHITECTURAL LEAGUE

but in reality it is a large country house one story in height andspreading over a goodly portion of ground. It has an ample allow-ance of veranda and the walls are almost entirely windows, so thatwhile it serves for shelter it can be thrown so wide open to the outof doors as to bring the feeling of sunshine and forest and open airinto every part of it.

The third house leans more to foreign influence in the design, asit has many characteristics of a Normandy dwelling, but it has beenadapted to American uses and surroundings until it may be said tohave become thoroughly naturalized. It is so irregular in ground

Rlan that it gives much the impression of an old English house thatas had wing after wing added by each successive owner until it is

almost a group of buildings lAxstead of one structure. This irregu-

larity of construction brings it into harmony with the plan of thegrounds, designed by James L. Greenleaf. landscape architect.The house is situated in Locust Valley, Long Island, near Oyster

Bay, and the material used for its construction is over-burnt brickset in white plaster and patterned in the panels as shown in the de-tail illustrated, and this decorative arrangement of the “blackheaders” appears very prominently in the tower and around thewindows. It is quite the distinctive feature in the house, and theeffect is unusual and most quaint and decorative, carrying as it doesan excellent suggestion for purely structural ornamentation that is inentire keeping with the design of the building.

The detail of the two verandas gives not only an excellent idea

of the construction, but also of the effective use of windows and thesense of space and sunniness given by the vista through the houseand down the lane in the garden. At the back of the house is aformal garden laid out in the conventional style with steps leadingdown to the sunken portion around a large circular fountain. Op-posite the steps a broad opening leads into the shrubbery beside thetennis court.lead, affords a

A pergola shading a platform, to which broad steps

illustration, wit %leasant shelter, and opposite is the seat shown in thea portion of the brick wall and the decorative lattice

construction in the upper part.A beautiful building that shows evidences of the modern spirits

the club house designed for the Mohawk Golf Club in Schenectady,New York, by Willia,m Wells Bosworth, of New York. It is anideal plan for a club house, ample in its dimensions, simple in lineand affording the maximum of room both inside the house and onthe verandas.

42




-

PERGOLA FORCH AND INT ERESTlNC EX-

TRANCE OF THE ROUSE AT RIDGEFIELD.CONK. : GROSVENOR A’I‘TERBURY. ARCHIT ECT.




FRONT ELEVATION OF

HOUSE AT RIDGEFIELD.

SECOND VIEW, SHOWING

CARRIAGE APPROACH.




VIE\ \ ’ OF HOUSE AT LOCUST VALLEY, SHOWING GEN-ER.ZL SCHEME OF CONSTRUCTION. WITH P ERGOLA,\T THE REAR: GROSVENOR ATTERIIL J RY, ARCHITECT.

COCRT RlLCONY FROM GARDEN OF LOCUST VALL EY

HOYSE.




Courtesy of the Bri ckbuilder and Archi tectural M onthly.

PERGOLA IN GARDEN AT RIDGE-

FIELD HOUSE.

GARDEN SEAT OF THE HOL-SE

AT LOCl-ST VALLE Y.




aHOOTING LODGE AT TIXOTL T, S. c. :

GROSYFZNOR ATTERBCRY, ARCHIT ECT.

MOHAWK GOLF CLUB. SCHENE CT.lDT. K. Y. :\ VILL IABI \ VELLS BOSWORTH, ARCHITECT.




SIXTY-FIVE HUNDRRD DOLLARCOTTAGE AT ENGLE WOOD, N. J .

ORR HOI’SE AT ENCLE WOOD.N. J .




TWO MORE IK TERESTI NG COTTAGES AT ENGLE-

WOOD, N. J.. DESIGNED l3Y AYMAR EMBURY IT-




A SCHOOL OF FI NE ARTS: FI RST PRI ZEBEAUX ARTS COMPETITION FOR PARIS

PRIZE : W. SIDNEY WAGNER, ARCHIT ECT.

DESIC? FOR MAUSOLEU M, KI NGSTON,N. Y.: YORK & SAWYER, ARCHITE CTS.




THE NE11’ YORK ARCHITECTURAL LEAGUE

MCH more modest in character, but very attractive and char-acteristic in de.4 n, is a group of cotta es built in Englewood,New Jersey, an cf designed by Aymar % mbury, II. The cot-tageuilt for H. S. Orr is a modernized version of the old-fashioned

farmhouse, its plan bein*

simple to a degree and having an air ofold-fashioned comfort. he lower story is built of terra cotta blockscovered with stucco, a favorite material with Mr. Embury, who con-siders it one of the best for insulating purposes, as it maintains aneven temperature against the extremes of heat and cold and is alsoinexpensive.features of

The upper part of the house is shingled. Attractivethe exterior are the porches roofed with a pergola con-

struction, of which the beams are held in place by massive squarepillars of the stuccoed terra cotta blocks.

Another cottage of Mr. Embury’s design shows the same con-struction of plaster below and shingles above. It is strongly remin-iscent of the best of the old homesteads that are dotted so thicklyover New Jersey, showing the ol’d Dutch Colonial roof and the par-tially latticed porch. The grou in of the windows in this house is

ii%xcellent, and also the use of t ethe roof of the veranda.

eavy round pillars that supportAnother of Mr. Embury’s houses is equally

sug estive of the buildings most in vogue in this part of the countryin %e beginning of the last century, as it is made partly of blocks ofthe red stone so much used in the old houses, and is partly stuccoed.The windows with their old-fashioned blinds, the square entranceporches with their heavy stone

r

illars and trim white columns be-

tween, and, indeed, the whole p an of the house, suggest the build-ings of an earlier day, and show a revival worth while, because someof these old Revolutionary homesteads in New Jersey have an at-tractiveness conspicuously lacking in the more pretentious structuresof a later period.

The same can hardly be said of the fourth of Mr. Embury’sEnglewood cottages, because this, although attractive in design, issomewhat overornamented with half-timber construction that ispalpably false and suggests “ trimmin ” more than decoration.The lower story is built of good plain brie -, but the upper part showsa use of timber that comes very close to being fantastic, and carriesno special suggestion of fitness to its surroundings.




SMALL FARMING AND PROFITABLE HANDI-CRAFTS: A GENERAL OUTLINE OF THEPRACTICAL FEATURES OF THE PLAN : BYTHE EDITOR

HEN it is urged that the social and industrial condi-tions that are now so unsettled, and even menacing,because of the growing riches and power of the em-ployer as opposed to the helplessness, poverty and un-certainty of the average man or woman who worksfor daily wages, could be permanently relieved by theorganization on a national scale of a system of prac-

tical and profitable handicrafts allied with agriculture, the firstquestions naturally raised in ob’ection are: How can things made

by hand compete on anything li k e equal terms with the same kindof goods made much more cheaply and quickly by machinery in thefactories ? and: How, with living expenses at their present scale, canthe workman expect to live without an assured wage for his dailywork, during the time that he is perfecting his sEUU in some onehandicraft and finding a market steady enough to afford him alivelihood ?

Without a reasonably satl,factory answer to both these ques-tions, no man could be expected to take the step, to him so hazard-ous, from the factory and his re ular weekly income,-so long as thefactory keeps open and he can ll old his job,-to the farm and free-dom coupled with uncertainty as to his daily bread. With reference

to the matter of competition between hand-made and factory-made

%oods I can only say that the result of long experience in making0th has satisfied me that there can be no competition as it is com-

monly understood, because they are not measured by the samestandard of value nor do they appeal to the same class of consumer.Hand-made articles have a certam intrinsic value of their own thatsets them entirely apart from machine-made goods. This value de-pends, not upon the fact that the article is made entirely by hand orwith primitive tools,-that is not the point,-but upon the skill ofthe workman, his power to appreciate his own work sufficiently togive it the quality that appeals to the cultivated taste, and the carethat he gives to every detail of workmanship from the preparationofzthe raw material to the final finish of the piece. He may call inthe aid of machinery to expedite the doing of such parts of the workas it would be a waste of time and energy to do by hand, he mayuse the most modern methods and appliances, but if he gives per-

52




FARMING ALLIED WITH HANDICRAFTS

*sonal thought, care and skill to every part of the work, the articlewill surely have that indefinable quality of individuality and in-trinsic worth which is never found in the stereotyped and over-finished

xroduct

large anof the machine, and will as surely appeal to the

steadily-increasing class of people who know the differ-ence and who are able and willing to pay awhich has the same quality that 1s so

ood price for the thing

prized in heirlooms and antieager y sought and so highly

ues.It would not be desirab e, even if it were possible, for handi-

crafts to attemB

twith them for t

to take the place of the factories or to competee same class of trade. With the demand that neces-

sitates the immensesaving machinery an B

reduction of goods of all kinds, the labor-efficient methods of the factories are abso-

lutely essential, just as they are essential in the general economicscheme because they furnish employment to thousands of workerswho ask nothing better than to be allowed to tend a machine withthe certainty of so much a day coming to them at the end of theweek. The lace of home and villa e industries is to supplementthe factories i Pproducing a grade o goods which it is impossibleto duplicate by machinery,-and which command a ready marketwhen they can be found,-and to give to the better class of workersa chance not only to develop what individual ability they may pos-sess, but to reain the feeling t fl

the direct reward of their own energy and industryat they are free of the wage-system with all its un-

certainties and that what they make goes to maintain a home that istheir own, to educate their children and to lay up a sufficient pro-vision against old age,-all of which is next to rmaverage workman of today, burdened by unreasona B

ossible for the1 heavy living

expenses and under the double domination of the emp oyers and theumons.

T HE question of competition with the factories, however, al-though the first that usually comes up, is not the first in im-portance when we consider the practicability of actually in-

troducing handicrafts in connection with small farming; for thesecond, that of assuri a livelihood to the worker, touches what isreally the vital point o the whole subject, for it brings up the ques-tions of organized effort to obtain government recognition and aid,of the kind of instruction that is necessary before success can be as-sured either in handicrafts or farming, and, above all, of an entirechange:of our present standards of living as well as workmanship.

53




i


There is no denying that handicrafts, as practised by individual artsand crafts workers in the studios, do not afford a sufficient living to ’craftworkers as a class, and also there is no denying that small farm-ing, as carried on in our thinly-populated districts, is neither inter-esting, pleasant nor profitable. To connect the two, and carry themon upon a basis that will insure permanent success, it is necessarynot only to get rid of the artificial standards of quality and valuethat we have come to adopt as a result of the predominance of showyand commonof living. P

lace factory-made goods, but to change our standardsW e a realize that in this country both wa1

Bxpenses conform to a scale that is artificially and aes and livingsurdly high.

The thrifty foreigner comes here because he can make more moneyin a few years than he could in his own country in a lifetime, but he

makes it because his custom for generations has been to keep hisliving expenses down to the minimum by the strictest economy andby turning everything to account. The native American,-and eventhe foreigners take only one generation, or two at most, to becomenativ? Americans,-has no real understanding of economy in thesense ,bf making a little go a long way. He lets the little go as faras it will, and then discontentedly goes without the rest. He ismiserable and apprehensive because the rent is so high, food so dearand clothing so expensive that he has no chance to save anythingand get ahead, but the one remedy he sees is to get higher wages forhis work, not realizing that the increased income inevitably bringsincreased expenditure as the pinch of poverty slackens, and that in

the end the result is the same. If thm$

san artificial scale of income and

are thus equalized uponexpen iture, why not try the ex-

periment of adjustingl

them so that they will equalize upon a lowerand more natural sea e, in other words, to balance a lessened moneyincome by expenditures lessened as much or more by a differentand more reasonable way of living ? In this period of false stand-ards and inflated values we have lost sight of the principle thateconomy means wealth, and that comfort and hap

Rot depend upon the amount of money we can mainess in hving doe and spend, but

upon pleasant surroundings and freedom from the pressure of wantand apprehension.

T HIS vitally necessary change can be brought about only by areturn to cultivating the sol1 as a means of obtaining the actualliving,-by looking to

farden, grain-patch, orchard, chicken-

yard and pasture, instead o to the grocery, bakery and butcher

54





and that of charity on the other, it is necessary that the governmentrecognize and stand back of this plan as it stands back of the cam-paigns to save our forests,our methods of agriculture.

to reclaim our arid lands and to improveLocal organizations and arts and crafts

societies that really wish to do practical work for the common goodcould render much assistance, but it would be necessary to proceedon some recognized basis of action that in all essentials would bethe same all over the country. Other countries are already showinus what may be done in the way of lessening the cost of livin

fan 3

of raw materials for working by means of practical and intel igentcooperation in buying in large quantities and distributing at cost

Flrice plus the small charge made for transportation, storage andandling. Take, for example, the Vooruit in Belgium, which buys

its flour in Minnesota by the shipload and distributes it direct to theconsumers at wholesale prices. The same principle would easilyobtain with regard to every necessity that, under such a system,could be purchased more economically than it could be made athome. Through such cooperation, not only could such provisionsas were not easily raised on the farms be obtained at the lowest cost,but also materials for clothing and other household necessities, aswell as raw materials such as lumber, iron and other metals, yarn,cotton or linen thread, leather and the like, which could be broughtin quantities to the central depot and sold to the workers at cost,while the same central organization could market the finished productso economically that it would be possible for the larger part of the

profit to go to the producer. A certain number of these villagedepots could also combine in maintaining a store in some one of thelarge cities where goods could be displayed for sale and orders taken.

B such means not only would the cost of living be greatly less-ened and its conditions correspondingly improved, but handi-crafts as a definite form of industry would be made possible.

The relief from the strain of meeting each day’s burdensome de-mand for ready money to provide the barest necessities of life, andthe certainty that every industrious and skilful worker would besure of all the work he could do,-whether in the shop or on thefarm,-would go far toward bringing about that attitude of confi-dence in himself and interest in doing good work which means somuch to the intrinsic value of hand-work and adds so largely to theearning power of the worker. Also, the direct method of marketinggoods and receiving orders would tend to bring the producer into

56





direct contact with the consumer instead of the dealer,-an associa-tion which in early times did more for the development of goodcraftsmanship than any other one thing. Not only does such con-tact and the exchange of ideas tend to raise the standard of taste inthe consumer, but the suggestions he receives in carrying out ordersform a source of constant inspiration to the worker to go on doingdirectly creative things, and the sense of power and independencethat comes from being able to control his own product instead ofdelivering it over to the tender mercies of a dealer gives him a. con-fidence in his own ability and in the quality of the work that soonproduces a keen discrimination in the matter of what appeals to thepublic and what does not.a machine.

In short, he is working as a man, not as

With me this is not theory, but a fact proven by my own experi-ence as well as by observation. I know that when a man worksonly for the dealer,-when he takes another man’s orders concerningwhat he shall make, how he shall make it and what he shall sell itfor, he works half-heartedly and in doubt. But when he worksdirectly for the people who use the things he makes, and who knowwhat they want as well as he knows what he delights in making,every evidence of appreciation,-every proof that he has “hit themark,“-is just so much food for that inspiration and enthusiasmwhich is the main element in success. It was under these condi-tions and in this spirit that the old craftsmen worked,-and thethings they made are treasured like jewels today. It is this element

that must enter into modern handicrafts if they are to possess realvalue and achieve lasting success.

A OTHER element that is vitally necessary to the productionof the sort of work that will command its own market, en-tirely aside from the question of factory competition, is that of

thorough knowledge. Skill in actual workmanship goes far, but itis not enough. Take the cabinetmakers of a generation ago in thiscountry. Their skill of hand was wonderful, but they had no skillof brain. They could model most delicately with spokeshave andscraper,edent.

but they could make nothing for which they had not prec-The most simple thin g which they had not been in the

habit of doing was beyond them.machines.

They were little more than human

day.So with the French and English cabinetmakers of to-

They are individual workers, buying their lumber and wheel-ing it home on a pushcart to their own little shops, and making there

57





by hand the furniture or furniture frames which they then sell to thedealer, but in their work there is no element of real handicraft be-cause it adheres rigidly to tradition. They know nothing exce twhat has been done, and even if, by some rare chance, they shou dattempt to work directly for the consumer on some special ordercalling for something out of the beaten track, the chances are thatnot one workman in five hundred would be able to do it. Thesemen make everything by hand, but they are not handicraftsmen.They are sweatshop workers, toiling day by day under conditionsfar more oppressive than those of the factories, absolutely at thedealer’s mercy for an opportunity to sell their goods, and compelledto make what he dictates and sell at the price he fixes, or starve.

These men have all a skill of hand that is little short of mar-

velous, but they are living in cities, under city conditions, and aredependent for their daily bread upon what they make from day today. The fact that their work is done by hand, and extremely welldone, contains no element of hope for the betterin of their condi-tion, for they have neither the inerest nor the know edge that wouldenable them to use their brains They know nothing of design,nothing of the principles of construction, nothing of drawing, andwithout some knowledge of all three it is difficult for even the mostexperienced workman to take the one step beyond mere mechanicalreproduction to the beginning of direct creative work. In the train-ing of the handicraftsman the foundation should be laid with athorough knowledge of that branch of drawing which relates to con-

structive design, for such knowledge is fundamental and does morethan anything else to give a man the right sort of confidence in him-self and the ability to appreciate the quality of his own work whenit is good and to realize its shortcomings when it is inferior. With-out it he lacks the greatest incentive to the creative thought and in-terest which alone stimulates advance.

Therefore, in starting an industry,-almost any indust that canbe included under the name of handicrafts,-one of the rst thingsto be considered in the way of instruction is a general working knowl-edge of drawing, to go hand in hand with the actual manual train-ing in any particular craft. Here is where the artists who are in-terested in craft work can make a most practical use of their ownskill and that of such of their pupils as have proven themselves fairlycompetent in design. Each school of handicrafts would require agood teacher of drawing, and the results probably would be wellworth while. In addition to the drawing teacher, there should be,

58





as suggested by Mrs. Albee in THE CRAFTSMAN last month, teachersfor each craft who would stay in one place long enough to train ad-vanced pupils so that they would be able in turn to give instructionto others. Th ese eat h ers might be men or women who have learnedand worked at the craft they teach as an actual trade. For ex-ample, a skilled weaver, or cabinetmaker, or carpenter, or printer,or bookbinder would be best qualified to teach as well as to work ateach particular trade, when carried on as a farm or village industryunder the conditions we have described, and an experienced work-man, in the event of there being no school within reach, might easilyteach his own family or his neighbors to become proficient in thework in which he is skilled. A more practical turn could also begiven to the manual training departments in public schools, so that

the training gained by learning to use the hands could be carriedone step farther into the actual doing of practical work with the ideaof making it a profitable industry.

I AVE already suggested the way in which cooperation might beutilized in obtainin raw material at low cost, and also in mar-keting the goods. 54% ‘le I do not believe it is advisable to at-

tempt to carry cooperation too far, it would be an excellent planwith reference to another common need, that of the necessary ma-chinery for the first rough preparation of materials for workin .For examworking armed the chief industry, it would

le, in a village where cabinetmaki7

or any form of woo f -e not only advisable,

but necessary, to have a few machines, such as a cut-off saw, ripsaw, band saw and buzz planer, to shape and plane the wood tosuch dimensions as would meet the requirements of each individualcabinetmaker. Nothing is added to the value of a hand-made pieceby doing such work by hand, as it is so tedious and laborious as tobe a foolish waste of time that might be spent in more importantwork. Such machines could be owned in common, like a threshimachine in a farming community, and the power to run them coulbe supplied by waterfrom a central plant t K

ower where it was available, or by electricityat could also be utilized for lighting and for

furnishing power to other industries.Cabinetmaking, considered as a handicraft, opens a field of un-

usually wide and varied interests, as the making of things so closelyassociated with our daily life and surroundings is a form of workthat is peculiarly fascinating as well as profitable. This is the onecraft above all others in which I am personally very much interested,

59





and I speak of it with the knowledge born of lifelong experience. Iknow exactly what I am talking about when I say that we are fastoutgrowing the taste for the tawdry, overornamented furniture pro-duced by the factories, and that plain, simple furniture, designed ongood structural lines, made from carefully selected wood and fin-ished so that the double purpose of revealing the natural beauty ofthe wood and bringing the piece into harmony with the general colorscheme of the room in which it is to stand, is fulfilled, will find aready and constant sale at good prices. Especially would this bethe case if each piece were made to order and modified to the exactuse to which it was to be put and to the personal taste and need ofthe purchaser, as was the case with the best of the old furniture. Itis in the doing of this kind of work that a knowledge of drawing and

of the principles of construction is absolutely necessary, for with itthe workman is free to modify or change existing designs, or evencreate new ones in carrying out the wishes of the purchaser, withlittle danger of going wrong and every chance of doing good originalwork. In this connection, also, there is a chance for the wood-carver who has the knowledge as well as the initiative to deviseforms of decoration that seem inevitable, so exactly are they suitedto the requirements of the piece and the characteristics of the woodthat is used.

In countries where handicrafts have flourished for centuries, orwhere they have died out and been revived, it is almost an axiomthat no form of handicraft takes permanent root in a locality too far

from the base of supplies for raw material. Thus, woodworkingflourishes in a part of the country where the kinds of wood requiredare close at hand and easily obtainable at low cost; spinning andweaving in a locality where sheep are raised or flax grows, and so on.Whether or not this rule would hold good in this country of variedresources and quick transportation, I do not know. I should im-agine, with the purchasing of raw material carried on systematicallywith the idea of obtaining large quantities at low prices, the actualnearness to the base of supplies would not count for as much as itmight under more primitive conditions. In the case of a com-munity where cabinetmaking formed the chief industry, it would benecessary to have an adequate organization for supplying the differ-ent kinds of wood that were needed,tically wholesale prices, but, while

roperly kiln dried and at prac-t I:e expense would of course be

less if the wood grew near at hand, it could easily be brou ht fromdifferent parts of the country and delivered as it is to the F actories.

60





In direct connection with cabinetmaking would be the dressing,coloring and decorating of leather, an industry that offers almost asmany possibilities as working in wood. When leather is treated sothat the surface is soft and inviting, and is possessed of a rich, softcolor quality as well as of all the characteristics that belong to leather,it is one of the most generally satisfactory materials for upholsteringfurniture and is effective for many uses. There is a chance for thevveaver and the needleworker, too, for very few fabrics, as well asvery few decorative designs, are suited to the upholstering of simplefurniture, and in the making and designing of such there is endlessopportunity. for originality combined with keen artistic perception ofthe right thing.

WAVING occupies a territory of its own, and is one of themost important and necessary of the handicrafts, for a hand-woven fabric, to be interesting and individual, must have

other qualities than are given merely by weaving ordinary threads ona hand loom. Many enthusiasts for hand-weaving seem to believethat all that is required is the throwing of the shuttle by hand in-stead of machinery, and this theory is res

Ronsible for the production

of much material that dickers only from tbeing quite so good.

e machine product in notXy experience along these lines has proven to

me beyond question that the superior interest of a hand-wovenfabric is not so much a question of the method of weaving,-althoughthat is of course to be considered,-as it is of the way in which the

material is treated, and particularly the way in which the thread isspun. The preparation of the thread is an industry in itself, andone that is absorbing in its interest as well as most important to thefinished product, for above all things it requires the care, interestand knowledge that should always be devoted to the preparation ofthe raw material if the products of handicraft are to have the in-trinsic value that should by right be theirs. We all know the charmthat is found in the hand-woven fabrics made by peasants in foreigncountries, and we also know how seldom it is attained by the cra,ft-workers here. The difference lies in the way they handle the flaxor wool, the way the thread is spun and dyed, and the way the qualityof each is preserved in the weaving. This matter of the preparationof the thread I have found to be of such vital importance to thequality of hand-woven fabrics, that I purpose to devote severalmonths of the coming spring and summer to making a special studyof the methods employed in several of the European countries, with

61





a view to ascertaining the practicability of introducing them here.When I have found out just how they do it, the knowledge I havegained will be put freely at the disposal of craftworkers here.

I ON work and metal work of all kinds occupy a high place inthe list of practical and profitable handicrafts. Here, also, aknowledge of the princi

offers wider oppor tum ties fles of design is necessary, for no craft

or originality and the quality of indi-viduality in design and workmanship. A preliminary training ingood hard blacksmithing offers an excellent foundation for the doingof admirable thinos in structural iron work and articles for house-hold use, provided it is supplemented with a working knowledge of

constructive design. A little shop in the back yard, with the ordi-nary equipment of a small country blacksmith shop, is sufficient,and it would require by no means exhaustive training to fit any goodbl$ks;m: for such work as the needs of the consumer will suggest.

along these 7rinciple applies to work in brass or copper, and skillines will be in demand so long as peo le appreciate and

desire individual and beautiful lighting fixtures, K re sets, andirons,door hinges, knobs and pulls, serving trays, jugs, and the hundredand one metal things that, if interestingly designed and beautifullymade, add so much to the distinctiveness of any scheme of house-hold decoration. Metal work is above all thin s a handicraft, andin no form of work does the care, leisure an x interest which the

worker devotes to it show to greater advantage or command moregeneral interest.

Another industry of equal importance is the making of hand-tufted rugs from coarse wool yarn-such as are now woven in Ire-land, German and Austria. In all of these countries this industryhas grown to ssale at good

arge proportions, and its products command a ready

with proper crrices. In this country, under the right conditions and

irection, there would be almost no limit to the development of such an industry, which would be especially favored by thepresent almost prohibitive tariff on woollen goods of all kinds. Thereis always a demand for the right kind of rugs, and these are pecu-liarly adapted to harmonize with the simple style of building andfurnishing that is becoming so popular because it is so characteristicof the better element among the American people. The method ofweaving these rugs is the same as that employed for the fine andcostly Turkish rugs, and, owing to the fact that each thread mustbe separately knotted in by hand, they can never be made by ma-62





chines. Owing to the coarseness of the yarn used, and the bolderand simpler forms of the designs that are best ada ted to our use,the work is much less laborious and more rapidly CFne than in thecase of the Oriental rugs, and consequently the price is not so high.They can be woven on coarsely constructed and inexpensive loomsby women and girls, and during the summer months the work canbe done in open sheds, where the workers are practically out of doors.

A simpler rug is the farm rug, known among farmers as the old-fashioned rag rug. These are woven on inexpensive hand loomswith a warp of Sne twine, and meet with a ready sale when made ofthe pro

Fr materials and in effective desi ns

fand color combina-

tions. hey are easily cleaned and very urable, being especiallydesirable for use in bedrooms, on verandas and in summer homes in

the country. Also a modern development of an old-fashioned homeindustry is the hooked rug, like those made by Mrs. Albee and herworkers in the White Mountains of New Ham shire. No loom isrequired for these, only a frame that is much li E e a quilting frame,and they can be made by the less experienced workers who may notwish to take the training that is necessary for the making of thehand-tufted ru s.sizes, for they w

These are beautiful rugs, especially in the smallerave almost the color effect of jewels in a room that

is furnished in a quiet color key. Also, they give wide opportunityfor the exercise of individual taste in desi as they are not madefrom cartoons like the hand-tufted rugs, u’t from smaller designs”that are less exact and more suggestive in character.

A L the industries mentioned are sure to command a market,for they are confined to the making of such household furnish-ings as are always required, and which are now in most in-

stances commonplace and unsatisfactory because little is made inthis country except the stereotyped factory goods. In the same listmight be included the making of willow furniture in good, simpledesigns that would harmonize with the darker and heavier forms ofthe wood furniture and furnish a delightful contrast. Pottery alsocomes within the list of necessary thin

‘7s, as well as the ornamental,

and a separate industry might be deve oped from the designing andmaking of tiles. Basketry has its place, and also the weaving ofstraw and raffia hats in quaintly individual shapes and color effects,but these are more in the nature of side issues or lesser industries.Needlework, block-printing, dyeing and lace-making all have theirmarket value as handicrafts, although they come more in the purely




VALUE OF MANUAL LABOR TO SOCIETY

ornamental class, but in book-binding and printing there is a greatchance for the development of payin industries.lishment, carried on under the con itions described, where skilledf

A printing estab-

printers might have the opportunity and the leisure to do the bestwork that was in them, would soon make a place for itself with allpublishers who care to make a s ecialty of beautiful typographicaleffects, and could command all t fie work it needed at good payingprices.

Naturally, everything said on this subject at present must bemore in the nature of suggestion than of outlining any definite planof action. Still, even at this stage we have a practical and workabletheory to start on and conditions that are more than favorable forits development. When the start is once made the rest will follow

easily enough. The next utterance in THE CFLAIWSMAN upon thissubject will be a series of articles upon intensive a%

riculture, by anexpert who has given much time to the sub’ect

1an has proven his

theories by practical experience. We will a so take up each handi-craft in turn, makin the articles definitely instructive, and handlingeach subject in detai with reference to the practicability of the craftfor the purposes we have described.

VALUE OF MANUAL LABOR TO SOCIETY64

MN is made to work with his hands. This is a fact whichcannot be got over. From this central fact he cannot travelfar. I don’t care whether it is an individual or a class, the

life which is far removed from this becomes corrupt, shriveled, anddiseased. You may explain it how you like, but it is so. Adminis-trative work has to be done in a nation as well as productive work;but it must be done by men accustomed to manual labor, who havethe healthy decision and primitive authentic judgment which comesof that, else it cannot be done well. In the new form of society whichis slow1

Kadvancing upon us, this will be felt more than now. The

higher t e position of trust a man occuf

ies, the more will it be thoughtimportant that, at some period of his ife, he should have been thor-ou hly inured to manual work; this not only on account of the physical

%n moral robustness implied by it, but equally because it will be seento be impossible for anyone, without this experience of what is thevery flesh and blood of national life, to promote the good health ofthe nation, or to understand the conditions under which the peoplelive whom he has to serve.” EDWARD CARPENTER.

64




THE RE LATION OF MURAL DECORATIONTO THE VITALITY OF A NATIONAL ART:BY GILES EDGERTON

1\J many respects architecture is the most intimate ofarts-the one which, whether good or bad, representsthe most immediate thought of the people; and asmural decoration is so closely allied with architecture,inevitably the painting of walls for purposes of beautymust express very genuinely the feeling of a 0 le

K”Koward such decorative art-not necessarily w et erthe art is good or bad technically (for that in one way or anothercould easily be a matter of chance), but it is not a matter of chancethat a series of mural decorations for an important public building is

Greek in idea, Teutonic in expression or in imitation of Boucher orBurne-Jones. Any d ecoration, no matter how unusual in technique,which is purely imitative, shows a tendency, and whether the art isgood or bad, the tendency is not good, for it is away from the nationalnote which every nation should strike from time to time in its dec-orative expression. It is evading its historical responsibility and be-coming impersonal, and so does not make for that help in growthwhich every nation has a right to expect from its great men.

Perhaps the point in question could be most easily illustrated byan allusion to a series of lectures on art which are at present beingdelivered in New York by Professor Ernest F. Fenollosa, a man ofthe widest culture in the art of all lands, ancient and modern. Inthis series of illustrated talks Professor Fenollosa shows plainly (notto prove any point, but because it is a part of the art history of eachcountry) that the art to which one inevitably returns as the most in-teresting and significant in each nation is that which springs mostclosely and vividly from the people, illustrating the life of a par-ticular period of a special land. He does not present Japanesemural decorations with Chinese subjects to show you how well theJapanese of certain ages could imitate or represent the art of anotherland. Although the Chinese influence on Ja

itan is freely and fully

dwelt upon, it is only to show the effect that t e interrelation of artshas, not to bring up an argument as to whether or no Japanese artis better when it is presenting Chinese men and landscapes. On thecontrary, when the lecturer presents those periods of Japanese historywhen the finest and most vital art appeared, whether in wall decora-tions or in sculpture, he proves conclusively that the subjects, thescenery, the manners and customs, the history, the religion, the civ-




MURAL DECORATION IN NATIONAL A4RT

ilization presented was purely Japanese, the Japanese in?I

rosperityor in the processes of some change of dynasty, but always t e peopleof the nation appearing in the art of the nation whenever that art isputting forth some consummate expression.

The same fact is absolutely true in relation to Greek art; theflower of its supreme beauty is seen when subject and presentation iswholly Greek; when the history, the beauty, the aspirations, the joyof living, the high courage and the patriotism of that great nationwere amalgamated in the art expression.

On the other hand, Roman art did not take heed of Romanways, nor seemed to find aught of beauty in native surroundings.The life which the Roman artists deemed worthy of living did notsomehow a

R

peal to them as worth recordin

f

with brush or chisel.

And thus Oman art became a flavorless egenerate imitation ofGreek ideals and standards, and because of thus the days of her ex-pression were numbered. She was but a reservoir of still water in-stead of a fresh clear brook flowing from a living spring. TO besure, the very fact that Roman art was weak and futile does presentthe truth of Roman civilization: but not a truth of historical im-portance; a too negative utterance as a foundation for permanent art.

Instances without limit could be enumerated to bear witness tothe virility of art that is cradled on its own soil, and to prove notonly its significance to its native land, but to all history in creating anational individuality in an expression of the truth about beauty andthe beauty in truth.

Until recently we have not only been denied by all modern civ-ilized nations the right to a serious art impulse of our own, but wehave also strenuously denied ourselves the great privilege of making

Permanent a conception of beauty as it exists for us. We have

aughed at our own artists and at the picture dealers among us,pro hetsma x

that they were, who championed these artists ; we havee deep Salaam to any man who would bind himself closely to

foreign standards of excellence ; foreign dealers have flooded ourmarkets with second-class greatness, and we have been very humbleand thankful to them.

THE first article of any length about the Architectural League,

published in THE CRAFTSMAN just two years ago, took up thequestion of the mural decorations shown at that exhibit, and

dwelt upon the encoura ingdrawn from American li e,

sign that the subjects were largelyfrom modern conditions or from his-

66




Cofiyr zglzted, rpdl, by C. Kl ackner.

APRIL : LOVE.

Copyrighted, I @, & ~y C. Kl ackner.

AUGUST : CONQt

TWO PANEL S FROM A MURAL

ORATION BT ROBERT V. V. SEM

J EST.

DEC-

IELL.




“THE ISLE OF PLE NTY :” A DEC-ORATIVE PANEL : BY F. LUI S MORA.




MURAL DECORATION OVER MANTEL IN COUN-TRY HOUSE: BY EDUARD J. STEICHEN.

CARTOON F OR STAINE D GLASS WIflDOW FOR AMAUSOLEUM : BY WILL IAM DE L. DODGE.




MURAL DECORATION IN NATIONAL ART

torical scenes, often those which had been enacted in the environ-ment of the public building for which the decoration was designed.This was true from time to time in the work of Elihu Vedder, ofBlashfield, of John La Farge, and other men of significance. Youngermen also were feeling their way along the same ways, Deming andCouse and Millet. And we seemed justified in the opinion that inour mural decoration we were moving forward into the ranks ofnations which have been jealous of the national flavor of their art;we congratulated ourselves that a true conception of the place of artin our country had at last developed among us and that we hadopened our eyes to the difference between art for art’s sake and artfor the sake of truth as well as beauty.

This point of view we still had in mind on the day of our visit in

February last to the Twenty-third Exhibition of the ArchitecturalLeague of New York. We had heard that the mural decorationswere the finest things at the exhibition; especially favorable criticismhad been made of men whose work THE CRAFTSMAN has always

reatly respected,fi

of Albert Herter, of Luis Mora, of Robertewell. And a careful study of the walls of the League proved it

was quite true that these men were showing some of the best can-vases at the League; painting which was brilliant in execution, in-teresting in drawing and partmularly vital in color, which consideredpurely as a phase of universal art would rank this work as amongthe finest mural decorations we have produced.

But when we reverted to the designs for wall paintings at the ex-hibition last year and the year before, the failure of this year froman American point of view was quickly apparent, for in no instanceswere the paintings an expression of American life or conditions, ofthis or any otherpersonal delightfu f

eriod in our history. The work was a finely im-presentation of ideas by men of big ability, and

the ideas were pleasant subjects of foreign inspiration, or, at least,so it seemed to a thoughtful observer. One design differed fromanclher in technique and in subject, but not in point of view, andall were foreign. Yet each of these men is unquestionably an in-dividualist and not consciously working from an uncreative purpose.

Mr. Mora’s work as a whole ranks him as one of the foremostyoung American painters. He has the seeing eye and the surestroke. Few men have ever so corn letely found out how to drench

Epicture with sunlight or so inevita ly in a few crisp brush strokeshow to develop temperament in a portrait or emotion in a genrescene. Mr. Mora knows how to draw well and how to handle his

71




MURAL DECORATION IN NATIOS-1L ART

color, and he is manifestly interested in vivid life and in the simplehuman side of it; yet the brilliantly beautiful mural painting at theLeague this year is as remote from modern occidental conditions insubject and line as though Mr. Mora had lived in the Orient andwas interested only in the dramatic history of centuries ago. Per-haps this artist would say to us that all wheat is grist for his mill,that to paint brilliantly and to compose well are what he is strivingfor, and that, furthermore, America does not supply him with themost imposing material for his work. Mr. Mora, of course, has notsaid this, but many of the best of his impersonal fellow artists have,and have ainted as though this were the rule of their artistic career.Conscious y or unconsciously, they do not relate their art to theirown individuality, and the nation, if not themselves, is bound to be

the loser. Their way, they feel, is the greater way, and possibly itmay be for the individual, so far as versatility of expression is con-cerned, but a nation has a right to ask bigger things of her painters,her sculptors, her musicians, than their personal development. Mr.Mora could be a vital factor in the growth of American art history;he has proved this already by what he has achieved along lines ofsignificance to us nationally.

The same statement could be made of the more recent work ofAlbert Herter, who not on1but who has the rare gift of fl

is a painter of exceptional brilliancy,umor, or rather satire, when he chooses

to introduce it into his work. His panel, “The Attributes of Art”(exhibited at the recent Architectural League), although it showshim at his best as a colorist, possesses neither humor nor human in-terest; it is purely classical in conception, composition and treat-ment, a memory of Italy’s great days, a Maurice Hewlett paintingof rare skill, but non-existent so far as one is considering the growthof decorative art in America.

Mr. Sewell’s decorative work is almost wholly out of the MiddleAges-work so beautiful in composition and execution, so fine a re-alization of the best a man can do solely from the point of view of a

reat impersonal artist, irrespective of nation or period, that it isiI ‘fficult to ask more, to desire that to all this fine presentation heshould add that last gift to his country-that his art should repre-sent it, belong to it and its history forever.

Another interesting example of this same foreign spirit in muraldecoration at the League is a design by William de L. Dodge, astained glass window for a mausoleum, the central detail of which isshown in our illustration. In motif and composition it suggests the

72




A CLOUD ALONG THE TRACKLESS SKY

work of Elihu Vedder, in effect it is less purely decorative and moreemotional. The color is vivid and beautifully balanced, and thewhole as absolutely unrelated to any home-grown art expression a,scould well be evolved.

We have yet to consider the mural work of Eduard J. Steichen.He has sent from Paris to be hung at the League a decorative panelfor a chimneypiece of a country house. This panel is more Ameri-can than the work we have just been speaking of, because it is lessdefinitely foreign in inspiration rather than for any strongly nationalcharacteristic. He presents a stretch of canvas, wide and low, cov-ered with the woods of a springtime day, deep woods and fragrant,with mists trailing through slender branches, with pale flowers blos-soming under foot-a lyric day rests in the depths of these woods.

A poet should have found and strayed through this rare spring morn-ing. And yet it is the forest edge of dreamland-a dreamland thatwe would not miss, but we would also have Mr. Steichen paint forus as he photographs, conditions of the civilization of our own landand times.

It is not that any or all of these men should not dream back intoold centuries and gather there light and color and grace; it is ratherthat all the mural work of one annual exhibition should not be whollyremote from us, the recollection of legends and fair verses and fairystories of other lands. Our wish is solely that the greatest amongus should not forget to make the art of our own land picture forththe legends and stories which belong to us and our posterity.

A CLOUD ALONG THE TRACKLESS SKY

A CLOUD along thet rackless sky,The shimmering of the trees,

A bird, a bee, a butterfly,The rippling of the waves,

Speak in glad language to my every part,And, sense-transfigured, live within my heart.

F. W. DORN

73




RELATION OF MANUAL TRAINING IN THEPUBLIC SCHOOLS TO INDUSTRIAL EDUCA-TION AND EFFICIENCY: PRIZE ESSAY: BYARTHUR D. DEAN

WO score years ago John Stuart Mill expressed hisconception of education as the culture which onegeneration gives to the next in order that the culturealready existing may continue . A similar philosophyunderlies our educational systems: there has been auniversal dependence on the interpretation of thepast; a eneral belief that an acquaintance with his-

tory, literature, art an fi Orientalism not only broadens the horizon,but fits one to meet the changing conditions of modern life and gives

an understanding of present-day problems. Our public schools,necessarily conservative, have clung to the tradition of general edu-cation; an education which, drawing inspiration from the past ratherthan from the present that it might prepare definitely for the future,has been expected to mark indelibly the various callings of life.With it, a man was to become a truer citizen, a better employer, amore conscientious workman; with it, the more a man would enjoyhis work, and whatever his trade or profession be, the more inclinedto fit in with the existing industrial order, and the more intelligentlyappreciative of his civic duties and responsibilities. A feeling hasbeen growing, however, that the present eneration has obligationsto the next quite apart from making it t i e beneficiary of past ex-perience ; that we must make conscious effort to prepare boys andgirls for the future not only by perpetuating what we believe is bestm our civilization, but by anticipating social and industrial conditionsbound to exist in that to come.

For ip its industrial hases our% i

resent generation differs vastlyfrom the last. We see t at boys an girls have been led away fromthe crafts and the home, that they no longer desire to learn a tradeof the shop or household, and that individual skill and experiencehave been lost sight of in the mad race for gain in department storeand factory. One of the noblest of callings, that of tilling the soil,has so far deteriorated in common estimation that a particularlyawkward boy is derided by the term “farmer.” We see the aban-doned farms, we note the disappearance of the small industries andcommercial enterprises. We find our workers in the factory, in thecounting room, in the store, thinking of duty in terms of hours andwages instead of showing the interest and respecting the skill for which

74




PRIZE ESSAY ON MANUAL TRAINING

hours and wages are but the material symbols of the exchangefpersonal effort between the employer and employee.

We have now confronting us a problem perhaps more seriousthan any of the past. We are summoned by the constructive sof a busy world to work out a system of education which shall ii

iritold

a definite and intimate relationship to the industrial activities of life,-vast public and private enterprises which are enlisting every radeof human ener y

fi7nd skill from the foreigner, distinguished on y by

his badge num er, to the captain of industry. The difficulty of theproblem is largely due to rapid changes made possible by our indus-trial development. In no previous era of ancient, medireval, ormodern times have there been the swift transformations of the lastfew decades. To educate our youth, to fit them for life’s work, was

a comparatively easy task when their environment and employmentdiffered but little from those of their parents; it is a much harder taskto repare a boy or girl of today to meet the changing conditions

phf t e present and of the future ten years from now when they mustfind their place as a unit in an industrial democracy.

It is ossible in a measure to anticipate some of the needs of thefuture. % t will need, as does the present, a general intelligence, arefinement of manner and thought; in common with the present itwill need the exercise of hand skil.l;.and it will need a new understand-ing of obligation to work, to indlvrduals, to the state. A thoughtfulleader of workingmen has said that boys and girls need a trainingwhich will enable them to earn readily and honestly good wages

which the must spend wisely. Now, earning readily implies atechnical s cl 11; earning honestly, the industrial exercise of the GoldenRule; spending wisely, a training in manner, morals and taste. Thetechnical skill alone of a craft is fairly easy to master. It is notdifficult for a girl to learn to cook, but the art is poor if not accom-panied by habits of cleanliness, order and economy; to teach a boyto saw, to plan furniture, to adjust machinery, is a simple task com-

Bared with that of training in him a social conscience whrch will makeim feel his obligations to his employer and the public.

IDISCUSSING the place of hand-work in our public schools

we must remember that the boys and girls in school today are tomeet not the present but the future; in considerin its effect on the

industries we must set clearly before our vision our in dg strial environ-ment, its needs and its tendencies. Furthermore, to determine itsplace in industrial education and efficiency, we must bear in mind

75




PRIZE ESSAY ON lK4NUAL TRAINING

that the value of manual training depends very largely on the kind ofmanual training that is given in our elementary and high schools.

Undoubtedly the conception of manual trainin5as that of a handmaid to the academic work of t

in the beginninge school. If the

Pupil did not comprehend that two and one-half and three and three-

ourths made six and one-fourth by the use of arithmetical processesit was considered a profitable task to prove to him the result by mak-ing a box. If he did not learn honesty, neatness and painstaking inwriting a composition or taking care of his school desk many a teacherof manual training asserted that he would ac uire these qualitiesif he made a tabouret. If he did not like to soil ?u s hands by carryingcoal for his mother or developed a distaste for chopping kindlings,then sawing boards and driving nails in a school room would create

a love for manual labor and a belief in its dignity. Such manualtraining has not and never will have any effect on industries andindustrial education, for it was founded on a false basis,-to accom-plish things in a school room by doing something else. To facilitatethe progress of pupils in arithmetic and other academic work is notthe proper function of hand-work. Rather let us advocate it forits own sake. Apart from cultivatin

%a deftness in hand processes,-

a facility of movement which like t e speech of various languagesought to be learned in childhood,-surely the arts of weaving, ofworking in wood, leather, and metal, have in themselves sufficienteducational content to make them worthy of a primary place in ourschools. Nor should we cavil at the vocational aspect of cabinet-

makin , machine-shop work, and pattern making when we rememberthat al of us are closely tied to industrial life.

.

T HE ri ht kind of manual training must not only develop anabsor ing interest in one’s work and a consciousness of itsvalue, but must make the pupil have a sense of his individual

relation to the whole system. Too much of our factory life involvesfeeding into an automatic machine a raw product about which theworker knows little either of its source or of those whose lives haveentered into it; too much of the counting, sortinmanufactured article is done without knowing w %

and packing of theere it

life it touches. A great textile industry in a New Egoes or whosengland town

recently began an experiment with the purpose of correcting the lackof general mtelliits employees. 4

ence and interest in industrial life evident amonghe mana er of the mill has offered in a private

school free tuition to the cm dren of his operatives. A visitor to that

76




PRlZE ESSAY OX MANUAL TRAINING

school will find not an elaborate equipment of textile machinery, notextensive laboratories for dyeing, nor drawing rooms for design,such as would be proper in a special school of the industry, but ratherordinary manual training shops and class rooms. It is the teachingwhich is out of the ordinary, not the equipment. It is a place whereboys and girls are taught to know the different textile materials, areshown the different steps in making cloth in the simplest way; wherepupils make hand looms and study the development of the machineinto the power loom of today. They learn the sources of the rawmaterial, the great world centers of textiles, and the commercial valueof the finished product. This venture has already demonstrated thatthe children-for many of our wage earners are children in years-carry into the mill an appreciation of their single task due to a feeling

of connection and unity with the industrial life about them. Thismanufacturer in striving to correct the effect of too many unthinkingprocesses in machine work is doing no more than is possible in anymanual training course in a mill town, whatever its industry. Heis showing that manual training has a relation to industrial efficiency.

If we desire work which expresses personal effort we must givein our schools problems which develop skill, cultivate taste, and stim-ulate initiative. Manual training need not have as its goal technicalskill, and yet the training of skill must be recognized as of primaryimportance in establishing a proper relation of manual training toindustrial life. Xow skill is not only an element necessary to thequality of the result; it also involves the way in which the result is

reached. For true efficiency there must be a saving of time and energy,a straight-to-the-goal method of working. Experience teaches usthat, especially in the upper grades, pupils’ interest is better main-tained by a reasonable demand of the sort of skill which requiresthoughtful procedure. Certainly the thought side of the work needscareful attention by the teacher. It has been variously interpreted:some give talks on wood, machinery, transportation ; others havemodels illustrative of bridges, airships and the like. Would it not bewell to select problems which stimulate constructive thought fromthe very beginning of the project, starting with a variety of projectsso that there would be initial thought even in the choice? Possiblythe teacher has done the real planning in his sketches, leaving thepupil to work out the manual part of the problem. It might be wellin the elementary work to leave ofi some or all dimensions; perhapseven to allow a box of any dimension after the pupil has submitteda sketch, a bill of materials, and has specified a use for the article.

77





IIS important for us to remember that we are educating boys and

girls to become good consumers as well as good producers. Forthis reason, if we expect manual training to have a far-reaching

influence on the industrial art of our country, we must not separateindustrial hand-work and industrial design. A great deal has beenwritten of the demoralization of taste consequent to machine-madeproducts. It is evident, however, that machinery is here to stay;we cannot remove its ill effects by an ineffectual tirade. Let usrather regard the case hopefully. Every improvement in machinerymeans nearing a goal where disagreeable, irksome and unfeeling workcan be accomplished by material things, leaving human energy liber-ated to create forms of beauty and individuality. Beauty of form,color, harmony, belong to no class distinction; if anything in the world

is to be democratic it should be beauty, whether it is in the publicsquare or in the home. It is the teacher of manual training who hasthe unrivalled opportunity to make the pupil realize the fitness ofbeautiful things. He must extend his work farther than havi?g thepupil make a beautiful table or chair; he must make the pup11 feelthe importance of the harmony of the article with rugs,pictures, and furniture in the home.

hangin s,It is borne upon those %o

visit the houses. of pupils who make commendable single pieces offurniture that too often the sense of relation of these to home furnish-ings has been omitted in our instruction. Only by training a sense ofharmony can the boy and girl be made more critical of cheap waresin shop windows, and less ready to buy what is tawdry or exaggerated.

A market must be created for stimulating a personal effort on thepart of our workers which will express individual initiative, intelli-gence and skill.

While emphasizing the social influence of manual training, wemust still dwell on its distinctive function-that of cultivatina skillin hand processes. What do our great industries demand o P theirworkers ? The advocates of industrial education would adopt oneof two procedures; modify the work in manual arts in our publicschools, making it more definite117 vocational; or establish specialschools to meet industrial demands. Let us consider the technicalneeds of industry. A prominent manufacturer, speaking with theauthority of a national textile organization, recently stated that whilethe special textile schools which could cover more advanced workthan our elementary schools were of great advantage, it still remainedtrue that the preliminary operations of the factory do not require ahigh order of technical skill; that processes easily acquired when

78





young are almost beyond attainment after a certain age and that agrown woman can never learn to spin deftly; that the mentalrequirements are essentially those of discipline. It would thusappear that while there is a need for special textile schools there is alarger demand for suppleness fingers and general intelligence,-for the training practicable in the elementary schools. In themachine trades the call is for a number of broadly trained men, a rela-tively larger proportion of highly skilled men to unskilled men than isrequired in any other industry. A machinist and a pattern makerneed to have considerable ability to read drawings, to adjust specialtools and fixtures, and to interpret mathematical tables and formulas.Managers in these trades point to the growin demand for specialmachines which the industry is called upon to % uild and to the ever

increasing use of automatic and special machines. They claim,however, that this development will not eliminate the mechanic ofgeneral and broad training. The perfection of machinery calls formore intelligence to make and repair the highly perfected machine.It is true that the mechanic of today needs a special training; buthe also needs as foundation for this, the general mechanical principlestaught in the elementary schools. The shoe industry points to aneed of workers with a dexterity of hand, arm, and back which willallow the body to adapt its movements to those of the machine; theefficient workman being one who keeps step with his machine in itsspeed and its varying motions of mechanical parts. This industry,in common with textiles, demands a few specially trained men, but

the great cry is for workers with dexterity and character. In thejewelry and art metal industry there is a call for more workers withan art sense, with power to originate and execute products with dis-tinctive features in order that we may have a handicraft individualand typical. The workers in the forest, in the mine, the multitudeof laborers in our public enterprises of subways, streets and railroadsspeak for themselves, for so far no one has included these vast num-bers of workers in any scheme of technical training. They cry outfor shorter hours, more pay, a living wage, a higher standard ofliving. For the most part their education will not go beyond thatdrawn from the elementary schools. For these, manual trainingcan do much; it can develop a standard of laborship which must bethe foundation of any true improvement in the condition of our so-called unskilled laborers, but, to do this, it must bear some relationto actual work, instead of being, as is so often the case, the solutionof some purely theoretical problem.

79





CREFUL analysis of the movement for industrial education willshow that it comes from two sources; first, from the skilledindustries, those trades where specialized machinery with its

differentiation of processes has made so many machine tenders whileeliminating the all-round mechanic fitted for duties of supervision,that the problem of supplying efficient foremen has become acute;second, from all industries, both skilled and unskilled, where thereis a need for intelligence, adaptability, general appreciation of work.What is demanded is not only technical skill but a proper attitudeof mind. The president of a large railroad remarked in a recentstatement that every raise in wages had resulted in a decreased effii-cienc .

IThe heads of industries which require but few skilled work-

ers w en asked what industrial education can do for the mass of their

emB loyees usual1an P enter into a discussion of inefficiency, incompetency,irresponsibi ity; implying that the public schools are at fault.When pressed for a solution of the difficulty and for a definite suggestiontheof t i

offer some such one as this: Give the pupils an understandinge industrialism of the city, tell them about the raw product, where

it comes from, how it gets to the city, the way it is manufactured, thevalue of the finished product, the part that labor, the investment andthe capitalist play in this process. In short, make for a characterwhich will get our workers interested in our business.

Special schools of printing, lithography, textiles, shoes, machineand other trades must have an important place in the industrialcenters of the future; but the main

personal service of our workers, whet K

roblem of intelligent, efficient

er in store or factory as clerk,floor walker, machine tender, foreman, producer or consumer, restson our public schools. The lower the grade the more general mustbe the instruction; the higher, the more technical and differentiatedit can be made. The largest part of the burden rests upon the teacherof manual training in the elementary school. He must know that toomuch reliance should not be placed on those activities and interestsof childhood which are transitory and supeficial because of a schoolroom environment, unless that environment is typical of what is to bethe child’s future. The child must have activities which fit him forhis proper place in a larger society; the teacher must know what arethe conditions imfor selection of %

osed by this larger society and make them a basise material of instruction. If he believes that a

return to hand processes of smaller industries and business enter-

Erises is coming inevitably, he must adapt his instruction to that end., on the other hand, he is convinced that the development of indus-

80





trialism is tending toward greater differentiation of processes ofmanufacture,. to an even greater exploitation of the many by the fewin our commercial life, he must arrange his work accordingly. In theformer case he will believe that the study and practice of the obsoleteindustrial processes which awaken a hereditary activity and interestin the child are of more value than a conscious effort to prepare thisgeneration for the next by the study and practice in the methods ofthe present industries which are an outgrowth of the past. Thedifference between these two convictions is the cause of the variousidealslof hand-work, and the wise teacher needs an insight into thefuture which shall be based on an intimate study of industrialism,past and resent.influence tR

Fortunately this difference of opinion need note contribution which manual training may make to in-

dustrial education and efficiency, for each of them implies a develop-ing of the process of observation and initiative, of a desire for personalexcellence of workmanship, of an attitude of mind both social andindustrial. These qualities of head, hand and heart are at the baseof every call for service, whether it be for vocational training, for in-dustrial efficiency or for citizenship in an industrial democracy.

[EDITOR’S hiOTE:-] The preceding essay, written by Arthur D. Dean, 167Trernont street, Boston, Mass., has been awarded the first prize in THE CRAFTSMANcompetition for essays upon “The Relation of Manual Training in the Public Schoolsto Industrial Education and Efficiency.” The judges, who all occupy prominent posi-tions as instructors in the departments of manual training in different schools andcolleges, were unanimous in their praise of Mr. Dean’s essay, which they describe as“a fine piece of work, clear, forceful, sound and suggestive.” The second prize wasawarded to A. B. Williams, Jr., Gates Mills, Ohio, who submitted an essay dwellingin a very direct way with the defects of our present system of training and the needfor a more practical method of manual training calculated to fit pupils for undertakingactual work. The third prize was awarded to Isaac Fisher, of Pine Bluff, Ark., andthe fourth to S. J. Vaughn, 206 Cedar Slip, Joliet, Ill. A large number of essayswere submitted, covering the subject very thoroughly from the point of view of theinstructor. Unfortunately, we have space in THE CRMTSMAN for the publication ofonly the winner of the first prize, much as we realize the interest that would attachto the publication of some of the others. THE CRAFTSMAN desires to thank all thecompetitors for giving such serious attention to this vitally important subject, andalso to acknowledge most gratefully the courtesy of the judge!, who have givenerously of their scanty leisure to the consideration of the merits of these essays.

gen-




TWO UNUSUAL COTTAGES; ONE DESIGNEDENTIRELY BY THE OWNER, AND THE

OTHER INTENDED TO EXPRESS THECRAFTSMAN IDEA OF HOUSE BUILDING

Whave always maintained that

the most successful dwellinghouse, both in the matter ofbeauty and in that of adapta-

tion to all practical uses, must be de-signed at least partly by the owner orunder his personal supervision, as onlyby this means can the individual touchthat comes from directly satisfying apersonal need be obtained in the planand also in the material selected for theconstruction.

In the charming bungalow shownhere, which is the country home of Mr.F. E. Wettstein, of Cleveland, Ohio, theplanning wasdone entirely bythe owner, whofinds his bestrecreation from

business in the doing of various sorts ofcreative work. His taste, ingenuity andskill are evident in every detail of theplanning, building and furnishing of“Glen Lodge,” as he calls the roomyand comfortable log house which heuses as a summer home. In the begin-ning, much care was given by Mr.Wettstein to the selection of the site,which is on a hill two hundred feethigh, overlooking the beautiful ChagrinRiver Valley, within an hour by trolleyof Cleveland. The grounds includetwenty-three acres of hill, forest andglen, and upon the place is a naturalgas well which supplies all the light-ing that is necessary, as well as Ifuelfor cooking and heating. A springon higher ground furnishes excellent

GLEN LOD~~E- NLAR-

CLdELAND-OHfO.

drinking water, whichis carried into thehouse by the force ofgravitation, and softwater for the kitchen,laundry and bath ispumped by an hy-draulic ram into atank placed just overthe chambers at theleft side of the build-ing.

The house is plan-ned according to theSouthern idea, withwide verandas and anopen passage runningthrough the houseand across the spacethat separates themain building fromthe smaller building,which contains thedining room, kitchenand servants’ quar-




THE \ \ ‘IDE ENTRANCE VERAND.4 i\ T GLES LODGE,

DESIGNED BY F. E. WETTSTEI N OF CLEVE LAND, OHIO.




“GLEN LODGE,” A ROOMY SUMMER LOGCABIN.

FRONT VIE W OF THE CABI N SHOW-

ING VERANDA SIXTY-EIGHT FEET LOSG.




TWO VIEWS OF THE LIVI NG ROOM ATGLEN LODGE : MUCH OF THE FUK-NITURE WAS MADE BY THE OWNER.




EXTERJ OR AND INTERIOR VIEWS OF HOUSE DE-

SIGNED AND BUI LT AS CLOSE TO A CRAFTSMAN,\I ODEL .4S F’OSSIRLE BY KAR,L H . NI CKEL




TWO UNUSUAL COTTAGES

ters. This open ,passage not only doesaway with the odor of cooking in themain rooms, but adds greatly to thecoolness of the house in the hot sum-mer months.

The house is very substantially builton the ordinary plan as to frame, thetwo-by-six studding being sheathed in-side and out with matched pine boards.The outer walls are of half-logs spikedfirmly to the frame and sheathing, sothat the house has all the rugged pic-turesqueness of a log cabin, and at thesame time is a much tighter, more sub-stantial and more serviceable buildingthan could be made of logs alone. Allthe wood used in the building was cutin the adjacent forest, sawed out at alittle portable saw mill and finished byhand. The pillars, rafters and housewalls are made of beech and maple logscarefully selected and left in the naturalshape, as the design of the owner wasto bring the house into the closest pos-sible harmony with the wild sylvanbeauty of the country around.

The main veranda, which is sixty-eight feet long and ten feet wide, facesthe Chagrin River Valley, with its fine

trees and beautiful natural terraces. Itis furnished as an outdoor living room,with plain comfortable rockers, settles,hammock, steamer chairs and a numberof rustic pieces made by Mr. Wettsteinhimself. Japanese lanterns hang fromthe rafters, so that the veranda is acheery place in the evening as well asthe daytime, and the fern baskets arefilled with ferns from the glen close athand. The construction of this verandais beautiful, as will be seen by a carefulexamination of the two detail illustra-tions given of it. The structural effect

of the use of logs in the small peak atthe entrance is unusual and very inter-esting. At the side the roof of theveranda gives place to an open pergolaconstruction, which is now coveredwith climbing roses.

A look at the floor plan will showthat the house is not only separatedfrom the kitchen and dining room, butis itself divided into two parts by theopen passageway. One side is givenup entirely to the living room with itslittle recessed den, and the other to thethree bedchambers with the bathroom,clothes closets and small hall.

The rooms are all paneled in hard-wood, the living room being done inblack walnut, the dining room and twoof the chambers in cherry, and the re-

FLBOR PLAN OF HOUSE B E -

SIGNELI BY KARL. EL N’ICZICEL,




TWO UNUSUAL COTTAGES

maining chamber and the bathroom inoak. Like the logs used outside, allthis wood was cut in the forest near by,and all is left as nearly in the naturalstate as possible, being given only a

l sanded finish, rubbed with boiled linseedoil, with no paint, stain or hard finish ofany description.

In all the rooms the walls are paneledto a height of five feet, the upper wallsin the living room being finished in darkred burlaps, and those in the diningroom and chambers with buckram intints of blue and green. As will beseen in the two illustrations given of theliving room, the construction of the ceil-ing is very interesting, as the beamsand rafters are of maple logs left in thenatural state. The spaces between therafters are covered with natural-coloredburlap. The floors are of maple, andthe chimneypiece is built of stonespicked up in the fields near by. Thenook, which is small and particularlyinviting, has a seat built around thethree sides and bookshelves above, andthe whole place is furnished in a stylethat harmonizes with its rustic charac-ter. Much of the furniture was madeby Mr. Wettstein himself, who is par-ticularly fond of cabinetmaking anddoes a great deal of it. The large tableand chair shown in the living room areexamples of his skill.

The house shows for what it is, ahome that is exactly after the owner’sown heart, and therefore one that notonly expresses the life that is lived init, but comes into perfect relationshipwith its surroundings and is, moreover,a beautiful thing in itself. Every onewho builds such a dwelling adds not alittle to the sum total of progress in thedevelopment of characteristic Americanarchitecture, for there is no more de-lightfully absorbing occupation thanthat of planning one’s own house andpersonally superintending the buildingof it. Each new example is an inspira-

88

tion for others to follow, and the num-ber of such houses that is now going upis very encouraging when we think ofthe few years that have passed since thereign of the paint brush and jig saw.

I LUSTKATIONS of another cot-tage that is more conventional but

nevertheless distinctive and charming inits way have come to us from Cali-fornia, where this house was built byMr. Karl H. Nickel, with the idea ofmaking it as nearly like a Craftsmanhouse as possible. Mr. Nickel has beenworking for a number of years to aidin the development of a style in homebuilding which should embody the es-sential features of comfort, simplicityand beauty, and be so planned that thecares of housekeeping would be reducedto a minimum.

The house is a plain shingled cottage,but distinction is given it by the broadterrace of Venetian cement tile whichextends the full width of the house andis covered with a pergola over whichwill clamber vines, affording a pleasantleafy shade during a greater part of theyear.

The living room and dining room aredecorated in varying shades of copper,and the construction of the former isshown to good advantage in the illus-tration. The kitchen is planned withespecial care ‘for compactness and con-venience. The sink, stove and pantryare all recessed, leaving the room rec-tangular in shape. The drain board ofthe sink forms a shelf for the passopening into the china closet in thedining room. The stove alcove ishooded and vented to the roof, carry-ing off all steam and all odors fromcooking.

Most of the furniture in the house isCraftsman, and the Craftsman idea iscarried out in the lighting, which isdone by lanterns suspended from thebeams overhead by wrought iron chains.




DESIGN IN THEORY AND PRACTICE: A SE-RIES OF LESSONS: BY ERNEST A. BATCH-

ELDER: NUMBER VII“Yet, notwithstanding its remarkableexpression of life based on nature, thework of the Gothic carver is as a rule ao-propriately conventionalized. Only tho;eabstract qualities of form which are capa-ble of effective monumental treatment aretaken from nature.” -C. H . M oore.

LST month a few relatively un-important sketches were offeredto illustrate the wholesome spiritof play that has ever entered into

the industrial product of men who arein some measure free to exercise cre-ative thought in the work they are calledupon to perform. It was found thatthe most interesting manifestation ofthis pleasure in work appeared at timeswhen workmen were designers; whenbuilders were architects. This combi-nation, the facility to design and theskill to execute, lends an intimate fas-cination to the work of primitive men,to the peasant industries, now fast dis-appearing under pressure of modernfactory methods, to the best work ofthe Orient, and to the product of themedizeval craftsmen.

Into the conditions outlined in thetext last month there gradually came achange, so subtle in its transition thatit is only from this distance that wecan note its developments. Brieflystated, the change is this:-workmenhave ceased to be designers; buildershave ceased to be architects. This evo-lution, the separation of artist fromartisan, is an interesting topic forstudy. Space permits o&y a sugges-tion of the steos in the transition.

The early centuries of medkeval his-tory were a period of reconstruction,when all men were groping toward anexpression of new ideals. In later cen-turies, with traditions acquired throughhard-earned experience and with idealsmore clearly in sight, with judgments

strengthened and technical difficultieslessened, workmen with greater abilityand taste than their fellows becameknown for the excellence of theirachievements. Their presence wassought wherever important work wasunder way. From one town to anotherthey wandered, leaving behind them atrail of noble churches, palaces, foun-tains, pulpits, and frescoes. And asthese men did more of the thinking,their fellows did less. Still later, withthe revival of classical traditions, anincrease of luxury, and a consequentshifting of standards, the pathway toartistic renown ceased to lead throughthe workshop. But for a long time,during a period of notable productionin the early days of the Renaissance,there was still a bond of intimate sym-pathy between the artist and the artisan.Old ties and traditions were not easilysevered. Gradually, however, the menwho practiced art began to depend moreand more upon a theoretic knowledge oftools and materials, while the men whoknew much about technical processesand methods of construction concernedthemselves less and less with the ab-stract ideals, the principles and modesof expression of the artist. It has beenleft for us in modern times to add thefinal step in the transition with our arbi-trary distinctions between tine and in-dustrial art, and our subdivision oflabor for purposes of commercial gain.One wonders if the skilled craftsman ofold who gave mind, heart, eye and handto his work is to be entirely displaced bythe “hand” whose function it will be tofeed raw material into one end of a ma-chine at so much per day, without ques-tioning why or whence.

It is an odd commentary on thestandards bv which we measure ourpresent civilization that our material

83




DESIGN IN THEORY AND PRACTICE: NUMBER VII

progress, our tremendous strides in sci-ence and in mechanical invention, have

contributed nothing to our esthetic de-velopment ; even less than this,-haveconsistently contributed toward a lower-ing of artistic standards and the degra-dation of the skilled craftsman to theposition of an unskilled operative. Wehave printing presses that are marvelsof mechanical invention, ensuring speedand accuracy of production ; but it isseldom that we approach the artisticstandards set by the old printers whostruggled with their rude presses in theearly days of the craft in Augsberg,Bamberg and Venice. We have power

looms that do everythiyg but think; yetwe are scarcely withm reach of theproducts that came from the looms ofPersia, Sicily and Italy, or of the oldFlemish textiles. Science and mechani-cal invention h,ave revolutionized metalworking ; we employ processes un-dreamed of by the medieval craftsmen;yet they left behind them standards ofbeauty that make a comparison odious.Our builders have perfected devicesunknown to the master builders of old;yer we never cease to measure and pho-tograph the old churches and palaceswith admiration and wonder.

Thus we find that the things now em-phasized in the training of the artistare no longer essential to the productiveefficiency of the workman. Art and in-dustry are scarcely on speaking terms;whenever they meet they are mutuallyembarrassed because they have no topicin common for conversation. Betweenthe shop-trained man and the studio-trained man there is ever a lack ofunderstanding and sympathy. The artistdeplores the lack of feeling and goodtaste on the part of the workman onwhom he depends to execute his de-signs; the latter is impatient over thelack of practical knowledge shown bythe artist. Both are right. The oneapproaches his problem with a super-

ficial knowledge of technical limitationsand possibilities ; the other in the ac-

quisition of technical skill is affordedneither opportunity nor incentive to cul-tivate a tine taste or an artistic judg-ment. Some day we shall have an arttraining that penetrates into the activi-ties of daily life, based on the shop prin-ciples, though not necessarily on themethods, of the medieval crafts. Weshall think none the less of an art thatseeks expression in terms of paintingand sculpture; but we shall recognizethe truth that art is a matter of degreeand not of kind.

In our study of design today we turn

to the studio for our traditions ratherthan to the shop. We approach thesubject from a point of view diametri-cally opposed to the development of de-sign to its periods of finest production.We begin by drawing, painting andmodeling ; we accumulate studies fromnature, and attempt to conventionalizethis material on paper; we study his-toric ornament, make careful copiesfrom the various historic styles, andadapt motifs found through this processto our own needs; we visit shops andfactories (sometimes) and listen to in-

teresting talks on the technique of carv-ing, weaving and metal work, on therelation of pattern to material; wegather from practice in the “arts andcra’fts” a superficial idea of the toolsand materials of many crafts. but haveno thorough or practical knowledge ofthe technical demands of any one craft.We aim to produce studio-trainedcraftsmen. What we need most areshop-trained artists.

Now, if we turn back the pages ofhistory and follow the story to theperiods of most notable achievement,we find that the development is fromtools and materials to art, if one may soexpress it. The master craftsman foundinherent within the tools and materialsof his craft the principles that led him




PLATE THIRTY-ONE.

PLATE THIRTY-TWO.




DESIGN 1N THEORY AND PRACTlCE: NUMBER VII

unerringly to the beautiful product.The examples of industrial art whichare so carefully treasured in our mu-seums and galleries were the work ofshop-trained men, not of studio-trainedmen.

The point is of sufficient importanceto demand several illustrations. Let ustake the development of design in ironwork as typical. (Figs. 41 to 46.) Theuse of iron as a factor in art properlybegins with the period of medieval his-tory. The ancientsused iron; but thismaterial occupied anen t i rely subordinateplace in their produc-tions. With the begin-ning of mediaeval his-tory the iron workerenters upon the sceneas an artisan of thefirst importance : thelocksmiths, armorersand brazers becamecraftsmen of the firstrank. In a study ofthe history of thiscraft we find that thedevelopment is fromiron to nature, if onemay so state it. Theearlier examples arecomparatively ru de.(Fig. 41.) It is evi-dent that the men ofthe time were acquir-ing a great deal ofpractical knowledgeof iron, of its pos-,sibilities and limita-tions. Their work wasa consistent develop-ment from demandsof strength and struc-tural fitness. In themanipulation of theirmaterial they gradu-ally wrought it into

forms suggestive of nature. With in-creasing skill and with the conservativecomparison and selection of results,which has ever distinguished the prod-uct of the true craftsman, the work be-came more and more refined in propor-tions, with more intimate suggestions ofnatural growth. Plant form at first ap-pears in an abstract way, gradually de-veloping into more specific forms. InFig. 43, for instance, there is a consist-ent plant growth suggested throughout ;

PLATE THIRTY-THREE

93





yet there is nothing that would lead us mistakably iron, to which nature is

to believe that the craftsman attempted adapted. Now, when iron is adapted toa direct conventionalization af any spe- nature we come to the turning-point.cific plant. There are suggestions of (Fig. 46.) When the iron workeracorns, possibly of thistles or other nat- essays the production of festooned gar-ural forms ; but these entered into the lands of roses with flying ribbons hework of the craftsman merely as a re- abordinates his material to nature.fining influence suggested by nature. Whatever there may be of grace andHe was first and last a blacksmith with elegance in line and form in the result,the traditions of his craft back of him. wind-blown iron ribbons and strings ofIf he had been trained in the studio naturalistic iron flowers are illogicalrather than at the forge, if he had at- and inconsistent with the material intempted to design on the basis of a theo- which they are executed. Then, whenretie knowledge of iron rather than on we find that touches of paint werethe basis of hard-earned experience, he added to enhance the naturalistic ap-

never would have fashioned such a piece pearance of the work, we have arrivedof simple, honest iron work. And what at the other extreme of the transition.is said of this piece of work applies with The iron worker began by drawingequal force to all the work contempo- upon nature for suggestions that wouldrary with it. Most of the so-called add beauty o the structural lines of histhistle designs can be traced back design, and ended by subordinating histhrough various abstract forms, which material to a minor plane of illogicalresulted from the application of certain imitation.tools to the material, gradually shaping The point is again illustrated inthemselves with increasing refinement Plates 29-30, mosaics from the porticointo specific forms. of San Marco, in Venice. This old

Soon nature enters more intimately church offers a rare opportunity for theinto the designs. Structural lines are comparative study of mosaic work fromturned more gracefully; the material the ninth century to the present day.

bends and yields to the curve of leaf Plate 29 shows one of the early Byzan-and flower under hands of consummate tine mosaics. Plate 30 is the work ofskill. (Figs. 44-45.) But it is still un- the brothers Zucato from the sixteenth

PLATE THIRTY-FOUR

century. The first illustratesthe beauty of construction ; itsdesign in line, form, and toneis in structural unity with itsarchitectural environment; itis organically related to theconstructive lines and formsabout it. The second repre-sents the construction ofbeauty; it is the work of menwho accepted their commis-

sion as an opportunity to dis-play their ability as painters;it is a picture within a halfcircle ; its beauty is of a char-acter quite independent fromthe structural features of the

9-F





church. To under-stand the first it mustbe seen in the spacewhich it occupies ; thesecond can be quite aswell understood whenit is isolated from itssurroundings. The in-genious brothers Zu-cato even ignored thelimitations of theirmaterial and employ-ed the brush to ac-quire gradations oftone in their picturewhich a legitimateuse of mosaic did notallow.

Illustrations mightbe multiplied fromevery line of indus-trial activity. As shoptrained men ceased tobe designers the struc-tural fitness of thework decreased andthe peculiar characterthat came from an in-timate knowledge oftools and materialsgradually disap-peared.

Problem : -In ourfirst studies of plantlife let us seek an-other expression ofthe same principlesthat have been defined through geo-metric design. We will endeavor todevelop a rhythmic, balanced com-position of blacks and whites, sug-gesting plant growth, though notbound to any specific ‘specimen fromplant life. First, let us again thresh outthe question of space and mass. It isten to one that the student who has ap-proached the study of design by accu-mulating sketches from nature, and byseeking in nature a justification for the

principles that are to govern the struc-tural development of his design, willfeel that the problem of conventionali-zation is solved when he has adaptedthe lines and forms of a specific speci-men to a definite shape. His attention

is absorbed almost entirely by the linesand forms of the specimen with whichhe is working ; it is difficult for him todepart from the specific character of hismotif to the abstract consideration ofhis design in terms of line, form and

95





FlGURE FORTY-ONE

tone. Ff we are ready to accept the ’assertion that the beauty of a design isdependent, in the final analysis, on itsstructural fitness and the relation oflines, forms, and tones, rather than uponits relation to nature, to historic orna-ment, to “style,” or to pictorial interest,then, whether the designer wills it or not,the background, or space in his design,whatever it may be, must be consideredas an integral part of his composition.Seek where we will through the wall-papers and textiles of modern produc-tion, we find, with a very few excep-tions, motifs derived from specific nat-ural forms, arranged in more or lessingenious patterns. The backgroundsenter into the composition as mere acci-dents, holes left after the pattern is re-peated. In the worst of these designssad efforts are made to imitate naturein color and form, and to hide the verystructural lines on which the finest orna-ment has ever depended ,for its beauty ;in the best of them we find a consistentand thoughtful treatment of nature ;-and yet we turn with increasing admira-tion to the simple, dignified, soul-satis-fying textiles of primitive men and tothe product that came from the loomsof the Orient, from Persia, Italy, Sicilyand Flanders during the palmy days ofweaving. We discard modern carpetsfor plain floors and Oriental rugs. Weprefer an unpapered wall to the restless,

96

naturalistic patterns of modern produc-tion. What is it, then, that imparts so

much of unrest to our papers and tex-tiles, so much of restful simplicity to theolder product? Aside from the all-important question of color, it is this:-modern patterns are imposed upon abackground; the older patterns are in-corporated i n t o a background. Themodern designer works from nature to-ward technical demands ; the old workerproceeded from a knowledge of techni-cal demands, backed by the traditions ofgenerations of weavers, toward nature.It is difficult to find a modern wall-paper that will harmonize with any en-vironment ; the old product lends dis-tinction to any environment in which it

FIGURE FORTY-TWO





may be placed. The first creates holesthrozcgh the wall; the second remainson the wall. The clue to the characterof the designs found in the best of theold textiles (Plates 31-32) was not dis-covered in plant life. The designerspossessed an intuitive feeling for beau-tiful space and mass relations, for theprinciples governing line, form, andtone adjustment. Nature gave to theirwork its final touch of distinction;

FIGURE FORTY-THREE

It is our problem, then, to define themeaning of rhythm and balance as ex-pressed in curved lines rather than tobegin by the direct conventionalizationof any natural specimen. It would bewell, though, to analyze a flower ofcareful selection ,-say a rose that is setwith particular beauty upon its stem.We will pass the rose of symmetrical

development for one which offers agreater variety of petal curvature, witha balanced disposition of parts. Makea few simple line studies of the flowerin different positions-noting the rela-tion of the petals to the center and to

each other. Then de-tach a few of, thepetals, and draw themfrom different pointsof view. Now, withthese forms as a key-note, let us try theconstruction of simi-lar forms suggestive,not imitative, of flow-er petals. (Plates 33-34.) With .a littlepractice of this kind,it is our purpose toconstruct an abstractflower form from thegarden of our imagi-nations. The beautyof this flower is not

FIGURE FORTY-FOUR

dependent upon its identity with anyparticular form of nature, but uponan appreciation of rhythm and bal-ance as applied to a composition ofcurved lines. Starting with a centralpoint, a few tentative lines will definethe general form of the flower and therelation of the parts. In shaping thepetals into which this general form isto be subdivided, it is essential to bear

these points in mind:-each petal mustbe graceful in movement, pleasing inshape ; there should be variety withunity in the shapes and measures of thedifferent petals; they should be unitedin a movement toward a common cen-ter ; and, last, you are compelled, under

pressure of necessity, tostudy the whites as wellas the blacks. IS you areable to attain the desiredresult in a single flower,it will be found an easyproblem to combine lines

and forms suggesting twoAowers, or a flower and abud, in a common move-

AhMvyr ment. The demands ofFIGURE balanced composition,FORTY-FIVE rather than a symmetrical

97





FIGURE FORTY-SIX

arrangement, will naturally lead oneto give dominant height to one flower.Then see if you can strike a fewwell-curved lines having a commongrowing-point and related by a move-ment in harmony with the move-ment of the blacks and whites rep-resented by the flower heads. In thesame way see if you can develop asimple, abstract leaf form. Each leafshould have, like a good story, a start-ing-point, a gradual unfolding of itsmovement and a definite conclusion.The movement of this leaf form maybe rapid, or sinuous and slow in itscourse. The eye moves most rapidlyalong straight lines or combinations ofrelated straight lines.

Now, with some command over theelementary forms involved inthe problem, let us develop aconvention suggesting naturalgrowth. To be consistent with I

The most interesting interpretation ofthe principles of rhythm and balance inline and form applied to nature is to befound in the flower compositions prac-ticed in Japan, and explained by Mr. J.Conder in his valuable book entitled“The Flowers of Japan and the Art ofFloral Arrangement,” from which Figs.47-48 are adapted. To us a mass offlowers thrust into a vase, or bound to-gether as a bouquet, is sufficient. Butto the Japanese the leaves and stems,their arrangement and grouping, arequite as important as the flower itself.He endeavors to adjust a few lines andforms into a rhythmic and balancedcomposition. He assists Nature, so tospeak, to achieve the ideal toward whichshe seems ever striving. This type ofcomposition has become with the Jap-anese an art, governed by definite prin-ciples. By careful selection of flowers,pruning of leaves, subtle bending ofstems, #he attains to the desired effect.Mr. Conder describes and illustratesthese laws and principles with thor-oughness and completeness. Fig. 47illustrates one of the movements to bedesired in two, three and five stem com-positions. It will be noted that the unityof the composition is dependent pri-marily upon the reciprocal relations ofthe stems, then upon the grouping ofleaves and flowers. ,Fig. 48 illustratesa few of the many things to be avoided,-formal symmetry,--equal height,-equal stepping,-“dew spilling” leaveswhich carry the eye out of the compo-sition. The ideas thus briefly noted are

;Nature’s principles of growth,we will see that our lines forma common growing-point andthat the leaves and sterns forma tangential union at theirpoints of intersection.

98

FIGURE FORTY-SEVEN




THE SECRET OF TRUE COMPREHENSION

ures of black and white adds force tothe conclusion of the movement ; in (2)the downward increase of measuresadds force to the beginning of the

FIGURE FORTY-EIGHT

the same that must guide us to theachievement of any interest or unity inthe present problem. In Plate 35 aresome sketches to define the generalcharacter of the motifs we are trying toconstruct. It will be seen that com-plete command may be acquired overthe movement of the motif. It may berapid in its development, by clearly de-fined rhythmic connections, or subtleand slow in movement, as in the lastexample in this plate. Not only in linesand shapes but in measures we may also

FIGURE FORTY-NINE

command the rhythm which we are movement. To borrow terms fromseeking to establish. (Fig. 49.) In music, the former is a crescendo, the(I) the upward increase in the meas- latter a diminuendo.

THE SECRET OF TRUE COMPREHENSION‘OTHING worth doing is done

N quickly. The masterpiece is- the product of a lifetime; it

may bloom in the hour, but itdeveloped in the years. Your life isyour preparation ; the few years youspend studying and learning how tohandle brush or chisel are but thebreaking in of your hand, the subduingof refractory fingers, the master ofobstinate muscles; if your heart is notand has not been for long filled tooverflowing with things you feel youmust speak, then is your technicalfacility acquired in vain. I dare saythere are those among you who havelaboriously and exactly drawn fromthe antique, lo, these many days, fill-ing great clean white sheets of paper

with painfully faithful outlines of thecontours before them, and yet havenever once really looked at the statueor cast, have never once really seenwhat they have so mechanically drawn.I might almost say that one never doessee what one is at the time drawing.If you have not seen it, felt it, under-stood it, loved it before, no amount ofdrawing or copying will enable you tocomprehend it. You must see, feel,and know your landscape before youso much as dream of painting it;

in fact, the very thought of painting itshould come at the very last, as thefruition of your understanding and ofaffection for your subject.

ARTHUR JEROME EDDY.

93




A DECORATIVE STUDY OF WALL SPACE:LESSON V: BY MARY LINTON BOOKWALTER

TE first impression made uponone when entering the majorityof houses is the lack of thoughtdisplayed in planning the rela-

tion between the woodwork and thewall spaces to be covered by papers orfabrics.

An interesting problem in decorativework is the division of the wall bymeans of wood treatment. This can bedone with three definite purposes inmind: First, if the height of the roomis out of proportion to its floor space,the object will be to lower the effect;second, if the wall spaces in the room-as divided by the windows and doors-are not in good proportion, making itimpossible to use papers and fabricsproperly, the aim would be to simplifythe spacing *by a few strong lines ofwood ; third, if the wall spaces havebeen well considered by the architect,the problem would be to make as beau-tiful an arrangement in balance of spac-ing as the wall will allow.

A simple method for beginning thestudy of the spaces to be decorated isto take each side of the room and layout to scale the proportions, treatingeach of the four sides as a lesson inthe division of a rectangle by lines. Forexample, take the end of the hall (No.I), with the large tree design. Thiswall space gives a rectangle which is inproportion two and one-quarter bythree and one-quarter inches. Makethree or four divisions of that spaceby means of the baseboard, picturemoulding and the broad moulding toseparate the upper and lower wall. Thearchitect fixes the width of the base-board, but the width and position of thetwo upper mouldings are for the deco-rator to determine.

When the line arrangement has beencarefully determined in the problem,then comes the adaptation of pattern

100

and balance in color. In the selectionof pattern to fill the wall spaces thereare again three points to consider: Theeffect of giving height to a room whichis too low ; the line of a design todeceive the eye and apparently lower aceiling which is too high ; or merely themaking beautiful of what was good inthe beginning.

After the wood trim and pattern aresettled, the balance in color plays animportant part. Sharp contrasts be-tween sidewall and ceiling are rarelypleasing; for example, a strong redwall with a cream ceiling and darkwoodwork. There is truth in the factthat a light ceiling makes a lighterroom, but why not have the contrastin color less abrupt, making rather agradation from dark to light? Abruptchanges in color are like discords inmusic.

For the style of the hall (No. I) hetapestry design seems well chosen. Theinterplay of color in this wall coveringis beautiful; the ceiling is in tan, thebackground color of the sidewall, withthe large design in tans, greens andblue, running into the green tone ofthe base. The woodwork is a deep oldivory, and the mahogany of the hand-rail and the treads and risers of thestairs is on the brown cast. The walltreatment in this hall is designed to bethe entire decoration, as no pictures areto be used.

The second problem (No. 2) pre-sented .about all the difficulties possiblein one room. There was no symmetryin the arrangements of its parts; thefireplace in one end of the room wasnot on the axis of the room; the ceilingwas much too high and was thrown intoshadow; the windows were entirely outof proportion, extending from floor toceiling; and the baseboard and casingswere the only wood trim. 1Vhen a




PROBLEM NUMRER TWO, SHOWINGTHE REL ATION OF CORNER SEAT TO

PANEL , FRIE ZE AND DOOR SPACE.




PROBLEM NUMBER THREE, SHOtYINL

AN INTE RESTING DTVISION OF SPACEIN WALL PANELS AND FRIEZE.




PKOBLEM NUMBER FOUR IN WHICRTHE SPACES OF WALL, WINWWS ANDSEAT ARE DELIGHTF ULL Y PROPORTIONED.

PROBLEM NUMBER F IVE WHICE SHOWS

GREAT REFINE MENT OF SPACING AND

NICETY OF BALANCE.




A DECORATIVE STUDY OF WALL SPACES

room has no harmony of line to beginwith, and the limitations must be ac-cepted as part of the problem, it is adifficult task to bring about a unity ofexpression.

The conditions in problem No. 2were overcome in the following man-ner: A pattern in wood was used onthe ceiling, which disguised the lack ofunity in the plan of the room; a broadband of wood below the frieze accentu-ated that height all round the room;the windows were filled in at the topby panels covered with the same ma-terial as that used on the walls and inthe hangings. The lower edge of thesepanels carried the line of the broadwood band. The color scheme wasfrom a green on the ceiling throughgrays, green, brown-red and brown inthe frieze to the brown of the cloth onthe lower wall. With this careful plan-ning in color and woodwork the roombecame one of dignity and refinement.

The corner of the dining room shownin No. 3 gives a simple arrangementwhich can be carried out with small ex-pense and very satisfactory results. Thecriticism might be made here that themoulding in the angle is too small forthe weight of the lower wood trim, butthe balance in color in this room is veryinteresting. The quality of the color iscompletely lost in the photograph andthe light lines of the design .are exag-gerated. The color combination is froma rich pinkish yellow through the shadesof brown, one cool and the other a pinkbrown, to a deep tan. The plasterspaces in the skeleton wainscot are COV-

ered with a burlap in the pink browntone, and the woodwork is brown.

For the sake of comfort and utility,in planning the seat for the small tea-rmrn in No. 4 the line of the back wasmade to divide the wall space into al-most equal parts. But the effect of thetwo-toned stripes of the wall coveringand the broad horizontal curves of the

fabric used to cover the seat empha-sized the opposing lines-the wall, be-cause of the vertical lines, lookinglonger from the seat to the ceiling, andthe seat with horizontal lines appearinglower. The color contrasts, a combina-tion of soft yellows, gray and green,also add to the effect produced by thelines. The high windows are an at-tractive feature in this room, both insize and placing.

The last of the five problems shownin this number is one which has greatrefinement in spacing and nicety of ba!-ante. The room was attractive in itsproportions and the decorator’s workwas to carry the good points on fromthe foundation given. The walls werecarefully spaced for this treatment, andthe grounds were bedded in the plasterthat the tapestry might be stretchedand nailed to these and no stretchersplaced on the surface of the wall. Thisgives a workmanlike finish. The innermouldings around the panels were leftloose and put in place after the tapestrywas hung. In this problem the kind ofwood treatment, pattern of tapestry andcolor scheme were planned together. Aunity of effect is thus produced whichcan only be obtained when the deco-rator and architect work with a definiteresult in mind.

These five examples are given toshow that the steps in the problems indesign which are met in study, by thedivision of squares, rectangles and otherabstract spaces can be put into practice,giving the student a practical applica-tion of his theoretical work. One doesnot decorate an entire room, any morethan an entire house, at once. Theproblem is taken up a step at a time.When you have planned a space adapt-ed to one side of the room, and havemade a pleasing balance of proportions,then the next step is to plan four wallsand ceiling in such a manner as to makethem a unit.

10;




SOME CAMP FURNITURE AND FIREPLACEFITTINGS THAT CAN BE MADE AT HOME

AL the models shown here, bothof cabinet work and metalwork, are designed for use ina camp or in a country house

where all the surroundings and fur-nishings are rugged and somewhatcrude. The plan and proportions ofthe ,sideboard shown in the first draw-ing give it a certain decorative qualitythat harmonizes with the sort of a roomin which it is intended to stand. It ismuch higher than the ordinary side-

board and has two shelves across thetop rfor holding dishes. Below theseshelves are three small drawers forsilver, table napkins, etc., and belowthese again one long deep drawer fortable cloths. At the bottom a space isleft for the larger and heavier pieces ofchina or metal, and at one side is acupboard for storing odds and ends.The ends of the sideboard extendstraight to the top, like the ends of abookcase, and are made of thick boards

DETAIL @F SIDEBOARD.




FURNITURE AND FIREPLACE FITTINGSURNITURE AND FIREPLACE FITTINGS

CAMP CHAIRAMP CHAIR

which slope outward from the top tothe bottom. The cupboard door and

the back of the sideboard are not pan-eled, but made of ordinary matchedboards. The whole construction is mor-tise and tenon, the projecting ends ofthe tenons being fastened with keys,and the whole left with an intentionaleffect of crudity. The corners, insteadof being rounded or left in a square,are cut straight across, leaving theangles sharp.

The camp chair is in the same styleof construction, as, indeed, are all thepieces shown here. Instead of legs, the&air is made with a solid piece at the

front and back, sloped outward fromthe seat to the bottom, where it is cutin a square to relieve the effect of over-massiveness. The side rails are curvedvery slightly and are fastened throughto the front and the back with heavy

StZCTlON AT-A& REAR VIEW

tenons and keys. The back of the chairis also one solid piece, sloped from the

top to the bottom, with a small openingcut in the top for convenience in liftingthe chair. It is fastened to the seatwith the tenon and key.

The bench is meant to be used on theveranda outdoors, or in the dining roomin the place of two dining chairs. Thefeatures of the construction are pre-cisely the same as those already de-scribed. The camp stool is simply thebench made square instead of long.This may be used for a low tea table onthe veranda or out of doors for a plantstand, or to supplement the supply of

dining chairs. In many cases thesestools and benches would be found moresatisfactory for use around the diningtable than the heavier chairs.

The table is perhaps the most ef-fective piece of all. It is made of heavy

107




FURNITURE AND FIREPLACE FITTINGS

FRONT END

LTAIL OF

CAMP BENCH

J ,t0

( 1 . I

LJ

a- 4

Al L TOR A CAM :P STOOL_ sCALE or lNCH.ES la

, I ,





CAMP-TABLE

I%-inch boards, and the ends are solid,the same as in the other pieces. It isvery strongly made, with the sides ten-oned to the ends and fastened withheavy keys. Below, a beam that isnearly square serves as a support tohold the two ends together, and thetenons and keys with which it is fast-ened bring down a touch of decorationtoward the bottom to balance the similar

features at the top.

T HE designs for metal work thismonth are also intended for use

in a country home or in a camp. Thefirst piece shown is an old-fashioned

crane which can be used in any ordinarvfireplace. Of course, if the fireplace isto be built, the construction can beadapted to the placing of a crane, butif it is already built, all that is neces-sary is to remove a few bricks andinsert the plates that support the frame.The bricks can easily be taken out bydriving a nail into the cement betweenthem and making a hole large enough

to insert a thin keyhole saw, with whichthe cement or mortar can be sawed outaround the bricks that are to be re-moved. The plates can then be laid onand fastened with a nail or screw put.through the hole in the back part of





each plate. This will hold the platefirmly after it is once in place. Thecrane can be removed from the platesat any time by lifting it up and out.Both crane and brace should be made ofs-inch round iron and welded togetheras shown in the drawing. The hook ismade by drawing the iron down andtapering it to the length of about fouror five inches. A little ball is formedon the end of the hook by holding theiron firmly and “butting” the end withthe face of the hammer, and the hookis then shaped over the horn of theanvil. The shaping of the hook should!be done before the crane is welded tothe brace. Any large fireplace mayeasily be equipped both with this craneand with the adjustable grate next illus-trated, as both are easily removed andmay be used one at a time.

A fireplace of large size is needed forthe grate, which can be swung over thefire for broiling, toasting or almost anykind of cooking. A standard extendsfrom the floor to the top of the fireplaceopening, in which a plate is laid, or, ifan iron bar ex-

0

0I

WROUGHT IRON CRANE

above. The standard is about 2% or 3inches wide by y2 inch thick, and istapered at the top and bottom to form

a round shank at either end that caneasily turn in the holes leflt in the platesor in the hearth plate and top bar, asthe case may be. The hole at the topshould be deep enough to allow someplay, as the grate is removed from thefireplace by lifting the standard up fromthe bottom and drawing it out of thetop plate. The standard has holespunched about three or four inchesapart along its entire length, so thatthe grate maybe adjusted at anyheight

ADJUSTABLF, IRON GRATE

by inserting the pinthrough the standardand the small bracketarm that extendsdown about six inchesfrom the bottom ofthe grate, as shown inthe small detail. Ifdesirable, a chain canbe attached to the pinand secured to anyconvenient place, sothat it can never belost. It is best tofasten a washer at thebottom of the stand-

ard, so that it mayturn easily on theplate. The illustrationclearly shows the con-struction of the grate.The outer frame is

tends across the

bar. A similarplate, also witha hole drilled init, is laid in thehearth directlyunder the one

II0





FITTI NGS FOR FIREPLACE

made of iron measuring about 1% by sof an inch. This is bent as shown in thedrawing and welded, forming a frameabout 24 inches long by II inches wide.The cross bars are arranged so that onepiece of iron will make two bars. TOdo this the bar should be cut longenough to go twice across the width ofthe grate and turn at the end, leaving

a space of about 2% inches betweeneach one. A space of I inch is leftbetween every pair of these bars. Aswill be noted by examining the draw-ing, the joints of each pair of bars areconnected with the outer band by theuse of one and two rivets, alternately.The bracket that extends beneath thegrate and holds it to the standard isconnected between the two bars asshown in the small sketch. The holescan either be punched or drilled, andin either case should be made after theband is formed and welded.

The design of the tire set is of thesame primitive order as that of thecrane and the grate. The standard ismade of g-inch square iron “butted”at the bottom to form a sufficient shoul-der to which may be riveted the pan.

Near the top the iron is flat-tened to a width of 1% orI% inches, where the crossarm is riveted on. From thisflare the iron is then tapereddown and the handle formedby bending the end backwardand around to form a flat-tened loop, and welding. Agood deal of care should betaken in hammering thehandle, so that it will not cutthe hands when the standardis riveted. The top cross baris made of iron measuring

a,bout 1% by 3/16 of an inch,and the scrolls at either endare made by first flatteningand widening the iron andthen bending over the horn of._ . _ .

the anvil. At the bottom two armsabout 3 or % of an inch wide bys or g of an inch thick are weldedto the standard and then rivetedto the pan in order to strengthenthe whole structure. The height of thestandard should be at least 30 inchesover all. The pan is made of No. 18gauge sheet iron. This can be cut with

a cold chisel and hammered cold intothe form of a rectangular pan withrounded corners.

The handle of the shovel is made of apiece of iron about I inch in diameterand 8 inches long. Hammer this downabout an inch from one end to form thehandle. Two knobs about 6 inchesapart should be formed by hammeringall around and leaving these two placesuntouched until a neck is drawn down.Then the knobs can be hammered round,leaving about 3 inches of iron to betapered down. Weld this to a rod about

g of an inch in diameter. At the ex-treme end this rod should be flattenedout and riveted to the shovel, which ismade of No. 18 sheet iron, hammeredout cold. The same methods are em-ployed in making the poker and tongs.

III




THE DUN EMER INDUSTRIES IN IRELAND:A SUCCESSFUL EXAMPLE OF THE REVIVALOF HANDICRAFTS INNITY

FOR the past ten years there has

been growing among Irish peoplea great racial movement whichhas resulted in what is now

called the Irish Revival-a reawakeningof the literature, the art and the indus-tries characteristic of the Celtic people.The revival of the handicraft work forwhich Ireland was at one time famousis a part of this great movement, and isactuated by the same race feeling thathas produced the poetry of Yeats, andled to the revival of the ancient musicof the bards. Yet this renewal of thecottage industries is not the result of adesire to revive the ancient Irish indus-trial art for its own sake merely, but isa recognition that ~has come to be of-ficial of the urgent needs of the Irishpeasant. It is in her farming popula-tion that Ireland’s salvation lies, as eventhe slow-moving English governmenthas come to know, and the starvingcondition of the peasants, with the re-sulting enormous emigration to Amer-ica of the most progressive among them,is, as Irishmen have long known, a dis-tinct menace. The recent introductionof the handicraft work so well knownto their ancestors has proved to be ofimmense interest as well as benefit to

II2

A FARMING COMMU-

the peasant class, and, in giving them away to earn more than the bare sub-sistence-and sometimes not even that-yielded by the impoverished Irishfarms, has gone a long way towardkeeping them contented with their farmlife and has added another alternativeto the two which formerly confrontedthem-to starve, or to go to America.

It is a number of years now since theCongested Districts Board started thefirst industries in the west of Ireland.In that part of the island the custom ofdividing the father’s farm among thesons had made each farm so small thatthe peasants were in a most pitiablestate of poverty, and the revival of theindustries which the competition of ma-chinery had killed proved to be a god-send. The Board of Agriculture andTechnical Instruction also came torealize the importance to the farmingpopulation of the introduction of handi-crafts, and has added to its first meagerprogramme of teaching a little carpen-try to the farmers, instruction in allbranches of the industrial arts.

However, in Ireland the teaching ofcraft work finds its most enthusiasticpromotion not through the governmentbut in the private enterprises that have




REVIVAL OF IRISH HANDICRAFTS

sprung up, headed by workers in thegreat cause of the Irish revival. Thereare such enterprises as the BelfastGuild, composed of workers in all kindsof handicrafts; the Art Association,-also in Belfast,-a society of Irish ladieswho are engaged in promoting thereally national art ; and the stained-glass works of Dublin, in which MissPurser seeks to revive the wonderfulIrish glass of centuries ago. Of all theprivate enterprises, however, one of themost characteristic of the fine spirit ofthe Irish revival and of the success ofthe peasant handicraft work is thegroup of workers at the little town ofDundrum, near Dublin.

When Miss Evelyn Gleeson startedthis enterprise it was with a firm beliefin the capabilities of the Irish peasantsand with a keen desire to make farmlife attractive and profitable. MissGleeson is an artist who had been livingin London, where she was a member ofthe Gaelic League and was intimatelyassociated with the circle of Irish peoplein the capital. It chanced that she wasasked by a manufacturer of carpets tomake some designs for him. She sub-mitted them, and he was delighted,complimenting her on her excellentcolor sense. This encouragement suz-gested to Miss Gleeson what she coulddo to help Ireland. She learned weav-ing and rug-making, and perfected herdesigning and her knowledge of colorsand dyes, with the idea of teaching thepeasant girls.

It is only five years since MissGleeson left London to start her enter-prise. After a careful search she hireda large country house in Dundrum thatwas near enough to Dublin to allowquick and easy shipment of goods, yetfar enough away to be of benefit to thefarming class she was trying to reach.She named this house “Dun Emer” (orEmer House), after the wife of thegreat hero of the Irish sagas. The

legend runs that Chuchulain first sawEmer when she was teaching embroid-

ery to her maidens, and she has cometo be to the Irish the embodiment of thewomanly arts of sewing and weaving.

From the day when she left Londonfor Dun Emer Miss Gleeson has beendevoting all her time, her energies andher fortune to her work. After thefirst year and a half of hard endeavorhad demonstrated the usefulness andsuccess of the enterprise, the Board ofAgriculture and Technical Instructionfurnished her with sufficient aid to in-sure the payment of the workers-forher belief in the interest and intelli-gence of the peasants and efficacy ofthe work was justified by the quicknesswith which the country girls took ad-vantage of her instruction. She had nodifficulty in finding pupils, and todavthe school could be indefinitely enlargedif capital were forthcoming.

Miss Gleeson took with her the twoMisses Yeats, sisters of the poet whohas so wonderfully embodied the spiritof Ireland in his verse. Miss ElizabethYeats had learned printing, and herbooks published today at Dun Emerare distinguished for their simplicityand fine workmanship. Miss Lily Yeatshad studied for six yetars under WilliamMorris and his wife, and is an expertin embroidery and needlework.

At the end of two years Dun Emerwas made into two coiiperative societies.An estimate was made of the v,alue ofthe entire plant, and the workers nowbuy shares at one pound each as theysave enough. The management of theschool and its policy has gradually cometo be in the hands of the workers them-selves, who elect officers and executivecommittees, and are called together tovote on all matters of importance. Oneof these ctiperative societies, composedof fifteen girls, is under the direction ofMiss Gleeson, who personally superin-tends the weaving of rugs and tapes-

113,




REVIVAL OF IRISH HANDICRAFTS

tries, the leather work and illumination,while under her are two ladies whoteach enameling and bookbinding. Theother society of ten girls is under theMisses Yeats, who teach printing andneedlework. Miss Gleeson herselfteaches drawing, ,and gives supplement-ary lessons in cookery and the Gaeliclanguage. And it may be said in paren-thesis that it is strange but also verytrue that learning the Gaelic languagehas a remarkable effect in increasingthe brightness and intelligence of theIrish peasants.

The work has steadily grown, andnow the courtyard and stables havebeen converted into workshops, andlarge looms are placed in them forweaving great carpets and tapestries.The rugs are tufted-that is, the warpis stretched on a loom and woollenthreads are pulled through and knotted.This is the way the finest Oriental rugsare made, although these Irish rugs arethicker and softer and coarser in weave.So far as possible Miss Gleeson foundsthe designs on Celtic ornaments, suchas the endless three-looped Celtic knot,the emblem of the trinity, which is mostdecorative. The rugs are made in theIrish colors,-the soft greens and bluesof Irish fields and skies, and the purpleof the hills. Whenever practicable,peasant women dye the wools with theirown vegetable dyes; otherwise they aremade and dyed in the woollen works atAthbne. In making tapestries MissGleeson has been most successful, andthe excellence of this work has beenattested recently by the receipt of anorder to copy for the Dublin Museum

one of the most valuable tapestries inthe South Kensington Museum.

The rug weavers are paid by thepiece-sixpence for a thousand knots,and a clever worker earns from threeto four dollars ,a week-a sum whichhas double the value in Ireland that ithas in America. Since the hours areonly from nine-thirty to five-thirty, withan hour out at lunch-a short day forpeasant workers-the girls have achance to do their home work in addi-tion to the handicrafts. Miss Gleesonherself furnishes them with their teabefore they go home in the afternoon.

As for the girls, nearly all of whomhave been with Miss Gleeson since thebeginning of the school five years ago,there could be no greater tribute to thesuccess of the enterprise than the re-mark of the visitor to Dun Emer whoasked what social class the girls camefrom. “Surely,” she said, “they are notpeasants,“-which only goes to proveMiss Gleeson’s belief that no one ismore susceptible to refining influencesthan the Irish peasant. And this devel-opment of the girls who have been soclosely associated with her for five yearsMiss Gleeson considers her greatestsuccess. Yet she has not only enabledthem to earn more than the mere pit-tance that their farm work alone wouldmean, broadened their outlook andbrightened their prospects, but, in fur-nishing an outlet for the energy thatwould otherwise have led them to go toAmerica, she has saved to Irelandtwenty-five bright, fine peasant girls ofthe type that may one day yet retrievethe fallen fortunes of the Celts.




PRACTICAL EDUCATION GAINED ON THEFARM AND IN THE WORKSHOP

PESIDENT Roosevelt, with hiscustomary ‘force and directness,touched the really vital point inall our present movement toward

social and industrial reform and theestablishment of better standards ofliving when he said, in a recent addressto the delegates attending the conven-tion of the National Educational Association in Washington :

“I trust that more and more ourpeople will see to it that the schoolstrain toward and not away from thefarm and the workshop. We havespoken a great deal about the dignityof labor in this country, but we havenot acted up to our spoken words, forin our education we have tended to pro-ceed upon the assumption that the edu-cated man was to be educated awayfrom and not toward labor. The greatnations of mediazval times who leftsuch marvelous works of architectureand art behind them were able to do SObecause they educated alike the brainand hand of the craftsman. We, too,in our turn must :show that we under-stand the law which decrees that apeople which loses physical address in+

variably deteriorates, so that our peopleshall understand that the good carpen-ter, the good blacksmith, the good me-chanic, the good farmer, really do fillthe most important positions in ourland, and that it is an evil thing for

them and for the nation to have theirsons and daughters forsake the workwhich, if well and efficiently performed,means more than any other work forour people as a whole. . . . We needto have a certain readjustment of valuesin this country, which must primarilycome through the efforts of lust youmen and women here and the men andwomen like you throughout this land.”

Our need for this readjustment ofvalues is so keenly felt just now thatnearly all the forces of society arestruggling toward it in one way-or an-other. Some of the ways are mistaken

and tend rather to disintegration thanto construction on a sounder basis, butthese are only passing expressions ofthe prevailing spirit of unrest; the ten-dency as a whole is altogether co?struc-tive. Nevertheless, the most optimisticamong us must admit that, strive as wemay, we of the present generation cando hardly more than lay the foundationfor a readjustment of values that shallbe sufficiently far-reaching to bringabout a general return to simpler andmore wholesome standards of life andwork. The actual accomplishment lies

in the hands of the sons and daughtersnow growing up among us, and no partof our task is more important than thetraining of these boys and girls alonglines that will equip them to build *welland strongly upon these foundations.




ALS IK KAN

There is no question that our owntraining is largely responsible for thefalse standards that prevail today andfor the serious mistakes we have madeas to the nature of true and lastingnational development. We do thingsswiftly and on a big scale, and in threegenerations we have leaped from thesimple, hardy pioneer stage to the posi-tion we occupy today, with its immenseexpansion, its extremes of poverty andwealth, its great power, industrial, com-mercial and nolitical, and the inwardcorruption that threatens, if it is notarrested, to tumble the whole glitteringstructure about our ears. Our fatherswere trained in the hard and ruggedschool that makes men, and so theygained the power to succeed mightilyand to conquer the ast resources of therichest country in the world, but theytrained %their sons to reap the fruits ofthat victory rather than to sow for thefuture as they had sown. Success hadcome so swiftly and in such generousmeasure that there seemed to be nolonger the necessity for heeding smallthings. The farmer, miner or mechanicwho had grown rich through his powerto grapple with and master the condi-tions of his life desired to see his son“la gentleman and a scholar,” and theeducation of the boy was carried onwith this end in view rather than withthe object of making him as good aworkmnn and as gmd a citizen ,as hisfather. The man w(ho had not SLIC-

ceeded accepted the prevailing standardjust the same, with the one idea thathis children must be fitted for an easierlife Ithan he had led himself, and so itcame about that all our twining for thepast thirty-five or forty years has beenaway from the farm and the workshopand toward the acquirement of bookknowledge rather than the mastery oflife and work.

The effect of this is seen throughoutall our national life,-in the loss of re-

x16

spect for honest labor that is evident noless in the uneasy aggressiveness of theworkingman than in the groundless as-sumption of superiority on the part ofthe man who might have made a goodworkman had he not been educded forsome ‘profession in the mistaken bel,iefthat it was the passport to a highersocial grade and an emancipation fromthe necessity of really working for aliving; in the prevailing belief1 in“smartness” that has made our com-merce a battle-ground for the war ofkeen and unscrupulous wits, #and in thealmost superstitious respect for a “col-lege education” ‘as being all that is re-quired in the way of an &$ipment forthe practical affairs of life. Until verylately book knowledge,-and that alongthe most conventional and imitativelines,-has been regarded as the onlyform of education worth considering,and the best vears of life have beenspent in acquiiing a fund of informa-tion that unquestionably affords an ad-mimble background for general cul-ture, but that nevertheless is very farfrom being an adequate preparation foractual life and work. No further proofof this is needed than the fact that inmost business offices a college graduateis considered of very little use until hehas “recovered from college,” and a boywith no more experience in any line ofwork than that gained by theoreticalpractice in a school of technology is putto the necessity of learning his tradealong practical lines before he is worthanything in the workshop or on thefarm.

We are not in any way belittling thenecessity of eduaation or of mentaltraining. Education is a far more seri-ous and comprehensive affair than theschools make it, for it does not beginwith the three R’s and end with a col-lege diploma, but is a lifelong pursuitwhich gathers material from all of life.Book knowledge is good in its way, for




ALS IK KAN

we are entitled to the benefit of thecumulative experience of the race, butit is only a small part of what we haveto learn. The greater knowledge comesonly by the exertion of all our powersin grappling with the actual problemsof life and in the actual doing of someform of useful work, for by these aredeveloped true self-reliance and self-respect in the individual, and hence atruer standard of national life.

For several years now there has beena growing realization of this truth, andthe schools have met it by establishingdepartments of manual tr,aining whereboys are taught carpentry, cabinet-making, metal working and the like, andthe girl,s sewing, weaving, basketry andgeneral housekeeping, on the theorythat the ability to use the hands inmaking things is an important factorin the development of the brain. It isa step in the right direction,, but only astep, for it is only play work done forthe sake of education, not real workwhich is educat,ive because it is done inthe most direct and practical way tosatisfy a real need, and therefore is notonly well done but most interesting tothe worker. The quality and characterof the play work done in our schools isshown not only by the things that aremade but by the fact that the teacher ofmanual training is never a practicalworkman. In fact, it is a theory that isgenerally accepted that a good work-man does not make a good teacher, andthis theory proves more clearly thanalmost anything else how wide the gapis which we have opened between edu-cation and actual life.

Why would it not be equally practi-cable to devote the time and energynow given to manual training alongtheoretical lines to the actual doing ofneedful things under the guidance of anexperienced workman who does- hasdone-just such work for a living? Inthis way every bit of knowledge ac-

quired would count, and there wouldbe no gap between learning how a thingought to be done and doing it. Whenit is only play work, done under theguidance of a teacher whose own knowl-edge is theoretical, the confidence feltin it by the pupil vanishes the momenthe is confronted with the necessity ofdoing real work which must stand onits own merits and perform its ownfunction. Al,so, his attitude toward thedoing of play work is very differentfrom that where real work is concerned.On the one hand, he is less genuinelyinterested, and, on the other, the doingof any amount of it will not change oneiota of the false standards toward reallabor in any form that he is taught bythe conditions of Ihome life as well asschool life.

This is one of our chief reasons forurging the establishment of practicalhandicrafts in connection with farm life.Its immediate effect would be the reliefof many of the most ‘serious disadvan-tages of the present industrial situation,but the most permanent effect would bethe opportunity for the better trainingof our boys ;and girls, in whose handslies the future welfare of the nation.Under these conditions alone could edu-cation be made a part of life instead ofa period of almost complete separationfrom it during the formative years whenthe child is sensitive to every impressionand when his standards ‘for all time are{being shaped by the teaching he re-ceives. A man is only a grown-up boy,and if he is to do honestly and well hisfull share in the work of the world, whyshould he not take it up early in life,and so gain the mental developmentthat comes only from doing real things ?The combination of school and farmand workshop afford,s an opportunityfor learning something during everywaking hour, for the manual trainingwould come with the actual doing ofnecessary things under the teaching of




NOTES AND REVIEWS

experienced workmen, the mental de-velopment would come from the con-stant stimulus of a desire for informa-tion as to the physical world about himand the great things that Ihave been ac-complished by men in other ages andin other lands, ,a.nd a true standard as tothe significance and the relation of theconditions and events that go to makeup life would be the natural result of alife naturally and healthily lived and ofnecessary work well and conscientiouslydone.

Book learning was by no means neg-lected or despised by the great men ofour nation who lived and worked underjust such simple, natural conditions, butit was sought eagerly and voluntarily asa mental stimulus and recreation, ratherthan disliked as a necessary evil incidentto “getting an education,” and everybook counted as a factor in real develop-ment. Boys who worked all day sat upfar into the night to study by the lightof flickering candle or pine-knot, sokeenly was knowledge sought and sopreciously prized. In the present daysuch eagerness is somewhat rare, notbecause children are more lacking insound mentality, but becau’se they aresurfeited with book knowledge andstarved in the exercise of actual creativeability inI the form of work. Given agroundwork of actual experience, thetheoretical training that is acquired inaddition is of some practical use be-cause there is the understanding of howit mlay be practically applied, but whenthe process is reversed the probabilityis that the theory will prevail, to theeverlasting detriment of the practicalside. Therefore, it would seem to bequite in accordance with the sound com-mon sense which, in spite of our vaga-ries and extravagances, is one of ournational advantages, that we think seri-ously of the next step to be taken to-ward an educational system that shallmean all-around development, and con-

118

sider the advisability of training ourchildren so that, as the President says,“they will be fit to work with the headand to work with the hands, realizingthat work with the hands is just as hon-orable as work with the head.”

NOTES

Aollection of Rodin’s cartoonswere exhibited in New Yorkrecently at the Phot*SecessionGalleries. To those who have

never visited Rodin’s studio in Parisand there acquired some understandingand appreciation of the French sculp-tor’s methods of work, these drawingswere most enlightening and instructive.A cartoon of a master has always theseeming of a more personal glimpse ofthe man. It is intimate and friendlyand frank. It tells you his first andmost definite impression of his art. Itis informal as a man is by his own fire-side talking with friends. Later in thefinal marble or canvas he may concedesomewhat to public opinion, or a little,unconsciously, to tradition, or the veryfinal touch may be the handwork of an-other.

It is thus with the Rcdin sketches-a glimpse of the man working withoutremembrance of, public or critic, striv-ing to achieve the utmost possible un-derstanding of the great primitiveforces of human existence. He is amaster draughtsman, and more thanthat, he is the philosopher searchingafter truth, all of truth, in whateverguise or form it may present itself. Thetremendous, everlasting, universal emo-tions of life are what he seeks to expressin this collection of small, wholly un-

pretentious drawings,-fear, love, joy,passion are told in a few vigorousstrokes, scarcely more than a sugges-tion of a mood, an item in a note book.He studies people constantly, men andwomen, what they think and feel and




NOTES AND REVIEWS

their ways of showing boldly, franklyall that they feel. The human body is

t0 his pencil what for another purposeit is to the surgeon’s dissecting knife.He has no scruples, no reserves ; in theinterest of art all that the body canreveal he repeats swiftly with brush orpencil, i.mpersonally, without bias orhesitation, that in marble later he maypresent the truth about life.

In these drawings you realize thepurpose of the man as an artist, andyou feel that the reason for his great-ness lies in the superb technique withwhich he presents with absolute sin-cerity all the truth, naked and un-

ashamed, that he has been able towrench from the fastnesses of life.

M USICAL matters in America arestill in the main remote from cre-

ative achievement; but not from appre-ciation. Operas may not be written byus or for us, but they assuredly arebeing presented with sure understand-ing, and not only do we demand thebest productions artistically and finan-cially, but we are learning to compre-hend the best. We are being trained,in fact, to appreciate the finest shadingand subtlest expression of musicalgenius of every other land.

And those of sincere appreciationmake the audiences for matinees ofmusical lectures and evenings of ex-planatory recitals where men of wideknowledge of mwsic and profound sym-pathy with the purpose of great com-posers make clear the pathway of theAmerican public toward that finermusical culture which formerly wasacquired by years of patient endeavorand practice.

Among the cultivated men who bestinterpret foreign music to the New,York public is Mr. Walter Damrosch,conductor of the Symphony Orchestraof New York, a man who is unique inwhat he has done for the development

of music in this country, and even moreparticularly for the development ofmusical appreciation.

It is impossible in a note of thislength to give the briefest survey of thework af this conscientious musician, or,for that matter, to even more than men-tion the very important musical lecturegiven by him in New York during themonth of February under the manage-ment of the Symphony Society. Thesubject of this lecture was the operaof “PClleas et Melisande,” the text fromMaeterlinck’s play of the same nameand the music by possibly the greatestliving ‘French composer, Claude De-bussy. The first production of the operaitself was given at the ManhattanOpera House, February nineteenth,with Mary Garden as Miltiande, andM. PCrier as P l l l t h . The lecture, al-though entirely separate from the ,Man-hattan Opera House, was undoubtedlygiven as a preparation for a more thor-ough enjoyment of the production ofthe opera, just as in the past Mr. Dam-rosch has lectured upon “The Ring”prior to its production at the Metro-politan Opera House.

Before beginning the story of theopera with the musical accompaniment,Mr. Damrosch in a few minutes’ talkmade his audience understand to whatextent Debussy’s work was the most in-teresting expression of modern Frenchmusic, #He made clear the way in whichit had been influenced vicariously byWagner, and suggested the significanceof Debussy’s creative genius to the fu-ture music ofi France.

Then Mr. Damrosch selected por-tions of the text, which he recitedwith marked vocal distinction and withmost interesting #sympathetic musicalaccompaniment. And, without stagesetting, trained voices, orchestra or cos-tume, this musician succeeded in giv-ing his audience,--or perhaps oneshould say his students,-an impression




NOTES AND REVIEWS

of an opera in which the music wasfresh, mysterious, haunting, full ofspring days in deep forests and oftragedy in drear, dark castles. In thetext one felt poetry saturated with thevague terror of relentless fate, of love,young, wistful, born out of season andplace. And the ineffable quality of themusic, which might be secured withoutgreat difficulty by the wood wind in-struments of an orchestra, was never-theless suggested on the single instru-ment and left to linger in one’s mem-ory, an exaltation, a song leading to theinfinite.

Thus in an hour and a half the cul-ture of years was transmitted to eagerminds,7a new method of self-develop-ment, very American and very interest-ing, and partly interesting because itmakes possible the realization of thegifts of such a man as Walter Dam-rosch, who not only adapted the musicof the opera to the piano, but translatedthe entire text into the simple Englishversion which he uses in the lecture.

I N point of view of the numbers whosaw it and from an estimate of the

space given by the press to notices andcomments, the exhibition that was her-,alded in an article of the FebruaryCRAFTSMAN of “the Eight” (for thathas now come to be an accepted cog-nomen) was undoubtedly the greatestevent of the season in the American artworld. Whether the aggregate of thecomment that was whispered about thegalleries during those two weeks of ex-himbition was favorable or not, it wasplain to any observer that many whocame to scoff-and did so-remainedfor prayerful consideration of the glar-ing canvases of Prendergast, the poeti-cal phantasies of Davies, or the wonder-ful coloring that Luks puts into whatthe public would term “sordid” sub-jects.

It is difficult to tell without greater

120

perspective of time what will be theeffect of this exhibition on the eightpainters themselves, but it is safe to saythat the message they had to impart hasmade a profound impression on the art-loving public and on their fellow-crafts-men-an influence that will make itselffelt in future exhibitions through thebrushes of other men.

A N exhibition of the paintings andwood block prints of Arthur W.

Dow at the Montross Gallery in Feb-ruary was interesting as showing how aman who has made a study of Japaneseart can still be thoroughly American instyle, even when using a Japanese me-dium. Possibly the delicacy and reline-ment of the Japanese use of woodblocks has created a prejudice in favorof their style; at any rate, to one whoadmires the Oriental prints, Mr. Dow’sOccidental use of block coloring seemedharsh and his lines crude. His land-scapes in oil were mostly pleasingstudies in outdoor color done at hiswell-beloved Ipswich.

M R. Cadwallader Washburn exhib-ited during February in the gal-

lery of the New York School of Artan interesting collection of dry pointsand etchings. The dry points were,with one exception, outdoor studies ofwind-blown trees and grasses andgently rippled pools. The etchingswere divided into three groups, Italian,American and Japanese. The work inJapan was by far the strongest. Therewere sunny outdoor sketches of Jap-anese landscape, and occasional studiesof Oriental faces that were full of char-acter.

THE Colony Club of New York inFebruary held a loan exhibition of

drawings, pastels, water colors andgouaches, principally of the eighteenthcentury. Since many of the members




NOTES AND REVIEWS

of the club are well known art con-noisseurs, the exhibition was extremely

worth while, and allowed part of thepublic at least to have a glimpse of theart treasures that are in private NewYork collections.

A T the Secession Gallery in Feb-ruary Mr. George H. Seeley held

another exhibition of his photographs.Mr. Seeley% work is always full ofspirituality, and in sweep of line andmass of light and shade it excels. Hismost interesting studies are those madeout of doors, soft landscapes and effectsof sunlight shining through thebranches of trees or across broad lawns.

A N unusually fine collection of Diirerand Rembrandt prints and draw-

ings was exhibited at Keppel’s in Feb-ruary. There were forty-five Rem-brandt etchings, and fourteen drawingsand engravings on both copper andwood by Diirer. The exhibition waspreliminary to the sale of the collectionnext summer in Europe.

A MERICAN collectors visiting Eu-rope this sum,mer will find the

Knoedler Galleries in Paris and Lon-don hung with the best work of themost eminent artists, affording a widerange of choice of beautiful paintings,under the most advantageous condi-tions.

A LTHOUGH possessed of a nameso decidedly English, Mr. Richard

Hall, who recently exhibited a groupof portraits at Knoedler’s, NewYork, is almost entirely French. Notonly was his mother a Frenchwoman,but he himself has lived in Paris for agreat many years. His work shows hisFrench trainin’g in its bold, yet finished,technique. He is fond of painting ef-fects of light. A large portrait of hisdaughter at one end of the gallery was

conspicuous for the brilliant red glowwhich strikes across the whole canvas,makes the face and bare neck of thegirl glowing and vivid, and tints theEaster lilies in her arms and at her feet.A most interesting sketch is the portraitof Prince Wilhe1.m of Sweden, whichwas made in only eight hours. Thestrong, quick grasp of the artist is re-markably well shown in the way he hascaught so quickly and so readily thecharm in the face of the homely, inter-esting prince. Of the other portraits,that of Mr. Reginald Vanderbilt wasstriking and well painted, while thecanvas next it, of Major von Miihlen-fels, painted outdoors with a back-ground of a low-hanging branch of atree, was full of outdoor atmosphere.

REVIEWS

THE large and handsome volumecalled “In English Homes,” withits profuse illustrations of fineold country seats, comes as

something of ia revelation, for it isseldom that entrance can be gainedto these old places, and their treas-ures are known to comparatively few.In studying their architecture, as Mr.H. Avray Tipping remarks in hisable introduction, it must be remem-bered that adaptation to the needsand tastes of succeeding generationsof inhabitants has in every case moreor less altered the original form ofthe houses, making such changes thatit is difficult to say that any one belongsdistinctly to one of the ,four periods intowhich English architecture can roughlybe divided :-Gothic, Renascent, Classicand Modern. In this book the first twoperiods are described, leaving theClassic and Modern for a later work.The comprehensive introduction tracesthe growth and development of Englisharchitecture from the earliest Normanbaronial hall that is still standing down

121




NOTES AND REVIEWS

to the beginning of the era of themodem professional architects, which

dates from the second visit of InigoJones to Italy in sixteen hundred andfifteen.

The Gothic is kept with remarkablepurity in some of the old Englishhouses. However, the classic spirit en-tered into the architecture with theRenascence, and the new learningtaught men to build houses for theirown grandeur rather than for the gloryof God. The new form came to beknown as the lay style-a distinctionwhich gave the Gothic a certain sanctitywhich was enhanced by its adoption for

ecclesiastical architecture under the re-ligious revival of Laud. In England,‘however, there was little of that directcopying of the Italian that pervadedFrance and all Europe during the Ren-ascence. The English Gothic gave wayvery slowly before the new art, and theresult is that the English architecture ofthe time is a combination of Italian andGothic which is a style in itself, ad-mirably illustrated in this comprehen-sive book. The general discussion ofEnglish architecture is supplementedwith detailed and illustrated descrip-

tions of forty-nine of the finest oldcountry houses in England. (“In Eng-lish Homes.” By Charles Latham. Il-lustrated. 436 pages. Price, $I~.OO

net. Published by George Newnes,London ; Charles Scribner’s Sons, NewYork.)

A book full of interest to any loverof pictures is “Portraits and Por-

trait Painting,” by E-stelle M. Hurll.While it is in its essence an historicalaccount of the origin and developmentof portraiture, the tracing of this ,branchof art from its meager beginningsthrough its quaint realism with Holbeinand his contemporaries, to its magnifi-cence with Velasquez, its humor andstrength in Hals, its understanding in

I22

Rembrandt, down to its many varia-tions and possibilities in the present

day, has an interest far wider thanthat of mere art history.In the early days when artists were

merely artisans and pictures were puredecorations, to make likenesses of faceswas a recreation in which a paintercould seldom indulge himself. So thepictures of friends or patrons that ap-pear tucked away in comers of thesaintly canvases of Lippi or Botticelli,or the autograph likeness of the artisthimself-a favorite way of signing awork with Masaccio, Perugino andmany others-seem like little glimpses

into the personality of the artist.A full appreciation of the lasting hu-

man qualities of portraits, and a cer-tain sympathetic and intimate way oftalking about the artist, his work andhis model, make the book full of pleas-ure to the casual reader; while, on theother hand, the authority of wide andexhaustive learning, careful and ap-preciative taste, lends value to the bookas a reference for art students andcritics.

(“Portraits and Portrait Painting,”by Estelle ,M. Hurl]. Illustrated. 333pages. Price, $2.50. Published by L.C. Page & Co., Boston.)

A MERICAN morality,+r lack ofit-tinged, as it is, with the

false prudishness that is the American’sheritage from his Puritan ancestry,would find that it needed fewer so-cieties for the prevention of vice ifmore often it faced the truth and hadthat lack of shame that is the naturalresult of absolute openness and frank-ness.

It is unfortunate that any attempt inthe direction of greater candidness andhigher exposition of the truth shouldso far diverge from a normal, sanepoint of view and, as a result, have solittle persuasive power as the bk




NOTES AND REVIEWS

called “Woman and the Race,” by awoman who attempts to disguise her

femininity under the num de ~1um.e ofGordon Hart. While it is frank andhonest according to its lights, it istinged with a certain morbid senti-mentality that would make it a danger-ous book for the young mind, andhandicaps its helpfulness to the ma-ture. The real need of greater frank-ness and understanding between parentand child is what “Gordon Hart” aimsat obtaining, and in this all right-minded people should agree with her.It is the value of this object that makesthe little book deserve some attention,in spite of its perverted and morbidpoint of view.

(“Woman and the Race,” by GordonHart. 264 pages. Price, @.oo. Pub-lished at the Ariel Press, Westwood,Mass.)

6‘

E FICIENT Democracy” is thetitle of a book that is full of

clear, strong thinking on a universallyinteresting topic. The author, Mr.William H. Allen, has been active insocial work for many years, and is atpresent General Agent for the NewYork Association for Improving theCondition of the Poor. This kind ofwork has given him an exhaustiveknowledge of the administration notonly of charity organizations but alsoof churches, hospitals and schools, anda distinctly valuable point of view withregard to the efficient administration ofgovernment. Under the chapter title of“The Goodness Fallacy” Mr. Allenarraigns the prevalent point of viewthat regards the “goodness” of a manas evidence of his ability to performpublic service. “To be efficient is moredifficult than to be good,” says Mr.Allen. “The average citizen honestly infavor of what he calls good governmentdoes not yet understand that there arean intelligence and an efficiency as far

beyond the reach of mere goodness asis business efficiency beyond the reach

of good intention.” This insistence onefficiency in public service is the basicprinciple underlying the viewpoint ofthe whole book. (“Eflicient Democ-racy.” By William H. Allen. Illus-trated. 346 pages. Price, $1.50 net.Published by Dodd, Mead & Company,New York.)

A BOOK of real atmosphere andgeneral spontaneity of expression

is “Poland: The Knight Among Na-tions,” by Louis E. Van Norman. Ithardly pretends to be an historicaltreatise or a biographical account, noryet a judgment of the Polish people,still in its fresh, buoyant manner it con-tains some of the qualities of all three.It has a certain leisurely way of talkingwith the reader, interspersing into theconversation little stories and anecdotes,amusing or of historical interest, thatmakes the book a delightful companionBy being himself so full of apprecia-tion of the Polish character, compre-hending not only their brilliance, theirbravery and the poetry of, their nature,but also realizing where they are weakin individual character and public sys-tem, Mr. Van Norman delicately sug-gests the idea that the reader, too, has apersonal knowledge of the Poles. Theatmosphere of Poland is shown in thesame intimate way-its present position,with its German, Russian and Austrianphases, is vividly pictured by storiesabout all classes of the people and de-scriptious of their picturesque customs.(“Poland : The Knight Among Na-tions.” By Louis E. Van Norman. Il-lustrated. 359 pages. Price, $1.50 net.Published by Fleming H. Revel1 Com-pany, London and New York.)

T 0 write of artists as men is the aimof ‘Mr. McSpadden’s fascinating

book, “Famous Painters of America.”

123




NOTES AND REVIEWS

There is no talk of lights, or values, ofchiaroscuro, or any one of the art termsthat appall the ordinary reader. Theeleven great painters whom the authorhas selected seem chosen rather arbi-trarily, but the book does not pretend tobe a study of art ; it merely sketches thepersonality of the men-and does somost delightfully: Gilbert Stuart ap-pears as the young, impudent pupil ofthe magnificent Benjamin West; Cop-ley as a tobacco dealer’s son; thestrange, vivid personality of Inness issketched, and the mystic Vedder isshown to be a well-fed American. Thebreadth and force of Homer, La Farge

and Abbey, the brilliant Chase and theinimitably witty Whistler - all areshown, and even Sargent is taken for amoment out of his d&k corner of dif-fidence and shown as the man he is.(“Famous Painters of America.” ByJ. Walker McSpadden. Illustrated. 362pages. Price. $2.50. Published byThomas Y. Crowell & Co., New York.)

I hardly seems necessary to provephotography an art when the Seces-

sionist photographers are today givingus such excellent ocular demonstration

of the fact. And vet Mr. AntonyGuest’s explanation is clear and un-answerable, and forms a starting-pointfor a book which is rich in the suggest-ing of artistic principles to be carriedout in photography. “Art and theCamera” could be read to advantage bya .student of any kind of art, since itdeals, not with the technicalities of pho-tography, but with the great principlesgoverning light, line, mass, composi-tion, ‘anandhe imaginative qualities whichenter into a work of art.

The arrangement of “Art and the

Camera” is such as to make it impos-sible as a reference bmk. Its style,while easy and conversational, is ex-ceedingly rambling. Even the sectionheadings are misleading and inadequate.

I24

But in giving the photographer “prin-ciples that may guard him from error,by showing him examples that shouldstimulate his emulation, and by offeringhim suggestions” that are valuable, MrGuest’s book may be considered suc-cessful. (“Art and the Camera.” BvAntcmy Guest. Illustrated. 159 pages.Price, $2.00. Published by GeorgeBell & Sons, London; The MacmillanCompany, New York.)

S ME idea of the scope of Mr. Car-negie’s library work may be gained

from the “Portfolio of Carnegie Li-braries,” which is a separate issue ofthe illustrations from “A Book of Car-negie Libraries,” by Theodore Koch,still in preparation. These illustra-tions are published in loose leaf form,and gathered in a portfolio for the con-venience of those who would wish tomake a comparative study of librarydesigns. Since Mr. Carnegie’s giftshave been distributed in every part ofthe United States, this collection ofplans gives a general idea of the Amer-ican architectural standard for publicbuildings #today. From this standpointthe portfolio is of general interest, whileto the architect it furnishes excellentsubject for technical study. (“A Port-folio of Carnegie Libraries.” By Theo-dore Wesley Koch, Librarian, Univer-sity of Michigan. Published by GeorgeWahr, Ann Arbor, Michigan.)

“T HE Better City,” an account of

the work that has been accom-plished for civic improvement in LosAngeles, is a book which, in spite of itsrather flowery style, is of real interestand practical value. It is written by a

man who is himself active in the socialwork of Los Angeles. (“The BetterCity.” By Dana W. Bartlett. Illus-trated. 248 pages. Published by TheNeuner Company Press, Los Angeles.)




The outcome of your paint in-involving gallons of

mi xed fr esh as needed.To test the paint, take a small bit of the White Lead, b

the oil or coloring matter, and blow a flame upon i t with aglobules of metallic lead form, the White Lead is pure, andpainters to go ahead. If the mass is stubborn and refuses toutlook is bad. The White Lead has beenadulterated and you will rue the day youallow the imitation Daint to be used on_.____.~...your house.

We Will Send a Blowpipe FreeThe connection between this test and the durability (and

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aint is told instructively in one ofour booklets. This boo together with a blowpipe to testWhite Lead. will be sent ‘free to any houseowner who intendsAsk for Test Equipment L. Address

NATIONAL LEAD COMPANY

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ix




ma*

:/;{

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In choosing wall coveringsdue considerati on should be

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“CRAFTSMAS BROWN” WINDOWSHADES

EERY decorator acknowledges thedifficulty experienced in getting win-dow shades in. colors to harmonizewith the wood tones now so much

used. The use of the wrong color oftencauses a jarring note in the color scheme ofthe exterior of a house as well as in theinterior, for the shade as seen from the out-side is a square of solid color that eitheradds to or detracts from the general effectof the house. Considered from the view-point of the interior, the shade should bein harmonv with the colors of the wallsand wood\\:ork. It does not matter so muchabout its admitting the light, for the pri-mary use of a close shade is to excludelight. The most satisfactorv thing we havefound so far in connection with the Crafts-man schemes of interior decoration is thenew shade made by Jay C. Wemple‘& Com-pany in a color they have named “Crafts-man brown.” This shade is made of linenin a warm tone of russet brown that blendswith the nut-brown color of oak and leatherand exactly matches the “Craftsmanbrown” wall canvas carried by the samefirm. All particulars concerning the “Crafts-man brown” shade, including prices, will befurnished to readers of THE CRAFTSMAN-. .upon application.

TECO CRYSTAL WARE

THIS new ware of the Gates Pot-

teries is utterly unlike the familiarTeco Pottery, with its moss greencolor and soft dull texture, and its

surface can best be described by com-paring it with frost on the window panes.The most beautiful colors are produced,and the fact that the crystallized clay isprotected by a transparent glaze makes

1 them very durable. This ware is more, delicate and more expensive than the reg-

ular Teco ware, but it is well worth thecost, as great care is taken in shaping the

’ pieces so that the form is as beautiful andindividual as the color. No two pieces arealike, for the reason that the frosting isproduced during the process of firing, andvaries in every case, so that the potter

I himself cannot tell just what shapes andmarkings will appear.


X




I Every home-builder should make the selection of hard-ware trimmings a personal matter. If the choice is left to

I of the hardware ourself.

]I Write for Saraent’s Dook of Designs-Sent FREE.

A Posfal requesf will brin ; ;opy 6 &turn ail. If infer-esied in fhe Colonial, as R 7S to enc ose our Colonial Book.

SARGENT & CO., 158 Leonard Street. New York.

CO~MPETITIONS FOR CRAFTSMEN:

No. I

TIIE RIGHT USE OF ORNAMENT ONFURNITURE.

T E CRAFTSMAN offers four prizesfor the four best essays on theabove subject. The object of thecompetition is to foster and en-

courage sound thinking upon matters offundamental importance to all who are in-terested in the application of art to labor,and not merely to those interested in themaking of furniture. It is of equal im-portance to the makers of other things

than furniture and of as much interest tothe users of furniture as to the makers.While the competition is open to all THECRAFTSMAN hopes especially to interestthose who are concerned in a practicalway.

Essays must not exceed three thousandfive hundred words in length. They maybe illustrated by means of photographs orsimple sketches.

The prizes offered are, First: CRAFTS-MAN hexagonal table, top covered withhard leather. Value, seventy-five dollars ;Second: CRAFTSMAN bookcase, with doubleglass doors. Value, forty-five dollars ;Third: Copy of “The Artist’s Way ofWorking,” by Russell Sturgis. Two vol-umes. Value, fifteen dollars; Fourth: THECRAFTSMAN or one year. The two furni-ture pieces will be especially inscribed andsigned by Gustav Stickley.

RULES GOVERNING THE COMPETITION

(I) All manuscripts must be legibly writ-ten, or typewritten, upon sheets of uni-form size and upon one side of the paperonly.

(2) Manuscripts must not bear the au-thors’ names or addresses, nor any marksenabling their identification except as here-in described. Each essay must be signedby a nom de plum e and have fastened to ita sealed envelope containing the m dsplume and the author’s correct name andaddress.

(3) Sketches or photographs used as il-(Conii nued 01z pags xi?.)

Kindly ention The Craftsman




nd distinctive a note

TECO Pottery as Wagne‘r furnishedin the “new music”, Chippendale in new

ldws struck,in the creation of

furniture designs or Tiffany in Glassware

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Here is classical simplicity expressing itselfin the loveliest of lines and the purest of

If William Morris had turned his

:entire genius to ceramics, he would have beenthe logxal producer of

II

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Interior decorations of all kinds, informs of vases. candle-sticks, lamps.jardinieres. etc.

Ask your local dealer or write usfor booklet. Our trade-mark is onbottom of each piece.

\The Gates Potteries

NO.633 Chamber of CommerceChicago.

Exclusive rt ealers ho

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lustrations should be sent flat, if possible,not folded.

(4) All essays intended for the competi-tion must be in the hands of the Editor ofTHE CRAFTSMAN not later than April I,1908.

(5) THE CRAFTSMAN reserves the rightto increase the number of prizes or towithhold any prize should the papers sub-mitted prove to be unworthy in the opin-ion of the judges, whose decisions are to befinal. It is the purpose of THE CRAFTSMANin this to maintain a certain standard ofexcellence.

(6) THE CRAFTSMAN reserves the rightto publish any prize winning essay inwhole or in part.

(7) Manuscripts should be addressed toTHE CRAFTSMAN, 29 West Thirty-fourthStreet, New York City, and marked “Es-say Competition” on the envelope or wrap-per.

NOTE.-The competition is open freelyto all who may desire to compete, withoutcharge or consideration of any kind, andis not confined to subscribers to THECRAFTSMAN.

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COMPETITIONS FOR CRAFTSMEN

No. IITHE ARTS AND CRAFTS MOVEMENT IN

AMERICA

TE CRAFTSMAN offers four prizesfor the four best essays on theabove subject. The aim of thiscompetition is to secure the most

serious discussion possible of a subject ofgreat and growing importance. There arenow so many individual craftsmen andcraftswomen, and so many little groups ofassociated workers, that an “Arts andCrafts Movement” may fairly be spoken of.Now, what is the significance of this move-ment? What are its possibilities? Why isso much of the work done quite unpracti-cal and suited only to an artificial market?Can handicrafts and petty agriculture besuccessfully allied?

For this competition the prizes offeredare: First, a complete set of THE CRAFTS-MAN, twelve large volumes, volumes boundCRAFTSMAN style in our own leather. Sec-

(Confinued cn page iv.)

Kindly ention he Craftsman

xii




A Small Kitchen Seems Roomy

when furnished with a Plain Cabinet Glenwood, still there is nothing crowded in the make

up of this range. The advantage comes from careful planning in the arrangements of parts.Everything is get-at-able at the front -Ash-Pan, Broiler Door, Grate, and Cleanoutdoor-all are handy. Kitchen doors do not interfere in setting this range, for either endas well as the back may be placed squarely against the wall.

A Gas Range Attachment consisting of Oven, Broiler and Three Burner Top is madeto bolt neatly to the end of this range when a combination coal and gas range is desired.

The Cabinet GlenwoodWrite for handsome booklet of the PI ain Cabinet Clenwood Range to Weir Stove Co.. Taunton. Mass..


. . .Xl,,




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ond, large CRAFTSMAN rocking chair with

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RULES GOVERNING THE COMPETITION(I) All manuscripts must be legibly writ-

ten, or typewritten, upon sheets of uniformsize and upon one side of the paper only.

(2) Manuscripts must not bear the au-thors’ names or addresses, nor any marksenabling their identificarion except as here-in described. Each essay must be signedby a nom de flluw, and have fastened to ita sealed envelope containing the nom de

plzmze and the author’s correct name andaddress with the title of the essay.

(3) Essays must not exceed three thou-sand words in length.

(4) All essays intended for the competi-tion must be in the hands of the Editor ofTHE CRAFTSMAN not later than April I,Igo8.

(5) THE CRAFTSMAN reserves the right toincrease the number of prizes, or to with-hold any prize should the papers submittedprove to be unworthy in the opinion of the

judges, whose decisions are to be final.It is the purpose of THE C~FTSMAN in

this to maintain q certain standard of ex-cellence and seiious purpose.(6) THE CRAFTSMAN reserves the right to

publish any prize-winning essay in wholeor in part.

(7) No manuscripts will be received uponwhich insufficient postage has been paid.

(8) THE CRAETSMAN will not be respon-sible for the return of rejected manu-scripts. Where postage is sent for thepurpose within fourteen days from the an-nouncement of the result of the competi-tion, every effort will be made to returnthem. THE CRAFTSMAN would, however,

advise intending competitors to keep dupli-cate copies of their papers.

(9) Manuscripts should be addressed toTHE CRAFTSMAN, 29 West Thirty-fourthStreet, New York City, and marked “ES-say Competition” on the envelope or wrap-per.

NOTE.-The competition is open freelyto all who may desire to compete, withoutcharge or consideration of any kind, and isnot confined to subscribers to THE CRAFTS-MAN.

Kindly ention he Craftsmrn

xiv




A Book Tell-ing How to Make F~OOIS eautiful oSneE!ELI

Y UR home is made more beautiful and more 1 jsanitary with properly waxed floors-the cost- 1 ” ”

liest carpets cannot compare with h.” $8

For Floors, Furniture and Interior WoodworkOld English is made a litt le better than other wax, and that is why it is the

“Quality” wax. I t gives a richer subdued lustre, is transparent, and accentu-ates the grain of either natural or stained woods, and is equally suitable forthe finest inlaid hardwood floors or plain pine floors.

Furthermore, it is the most attractive, cheapest, most easily applied, and, bar-ring none, most satisfactory fini sh for furniture, wainscot, and all inside woodwork.

Because of the extra “Quality” of Old Englienever peels or shows heel-marks or scratches or becomes sticky. I t preserves thefloor, and is more sanitary because dust and dirt do not adhere.

which contains expert advice on the finish ard care of fioors. woodwork and furniture.A book to read and keep for future reference. Write for the book now and

Ask for F ee Sampleand mention your dealer’s name when YOU write.Sold by dealers in paint, everywhere.

Wegmwanfcc Old English to give entire satisfaction when used as directed, or money refunded.

and Most Economical.

I lb. covers 300 sq. ft

In I, 2.4 and 8 lb. cansyc. a lb.

A. S. BOYLE & COMPANY, Department V, Cincinnati, OhioLargest Exclusive Manufacturers of Floor Wax in the World.

Write for Our Free Book, ““E~Ao”~~~~ YD CARING,OORS *’ IIi~hrst ~lilllty Wax

dKindly mention The Craftsman

xv




AI NNOTI NG

Something Entirely NewAT

HALF HE SUAL OSTThis wainscoting may be purchased by the running foot or yard, just as you would buy car-

pet or wall-covering. It is made in paneled sections and in heights running from two to six feet.It is of quartered white oak of choice quality of grail,, and is so made as to adapt itself to anysort of room, and can be put up by your own carpenter. It is shipped “ knocked down ” and is

easily put together and in p!sce. The baseboard is in two parts, the lower conforming to in-equalities in floor and the upper forming the base proper. Base and cap rails are grooved toengage edges of panels and styles, so that any size panel, as well as adjustment to any variation

of wall space, is possible.

INTERIOR HARDWOOD COMPANY, Johnson City, TennesseeSend for Illustrated Catalogue of Wainscoting and Doors, Giving Sizes, Prices, Full Instructions for Putting in

Place, and a Number of Illustrations Showing Uses of Wainscoting in Different Schemes of Interior Decoration .


xvi




,1nc rnings IIIvaL L1l GVI-dence, inside your home,

1” 1111111 UG pzasr rzuc7yeczrs 1ra

are the woodwork, furni-has cost us over $50,000 to find

ture and floors. ;+;;t$+ V@:l$;;;z-p:;;

of J ohnson Means to theInside of Your Home

your wooowork, L‘“ll.7L_G CL ” ciuIl-wt2have paid $50,000 to correct-:^C” ,.,- Cl.,.‘ ^,%... ----.I--floors, depend almost wholly

‘IIIJLukxGa LlldL V‘l‘t7 ,11a1,,11ac-

upon the finish.turers are still making to&y.

This is where the name ofIf you finish your woodwork,

T-1, -,.,.- ^^_^^ znfurniture and floors with the

J “LlUJ”ll G”lllCS I-.Wedonotn--ben~int ~1d.., IIu”‘L, Liin-

product of other manufactnr-

I- -I-:..- ~~~sit: b~iunb, enamels, nor putty.ers youmay become the victim

Simply b e -11 .

DOD F,NISHES “.,.* n..a ..t.

vv ooa nmshuli; sPec~~hrcs

are our business-not one ofmany side lines.And the wooclwork of your

home is important enough torequire the benefit of specialstudy on the subject.,T -1 wo generations we have

L- --rfection in this= thnt in .vh.r

use any orners.

Don’t finish or refinish yourk;rke before you read our.

It will surely give you somehelpful suggestions and saveyou some money.

It mayP

revent you frommaking cost y mistakes.

..,;I, rrl,,ll.. ^,-.A -*-.. ^yJt’.‘J,W”” Kll”\r II_“_ auucu

rm name-“The Woodcut,\ ) L”Lupu‘“‘ULa,

for your name and address on

I

rm~smng Authorities.” a postal.S. C. JOIINSON & SON, Station F-4 Racine, Wis.

"UL ~ U'oodFinzshingAatdorr 2i~s."If you wish to see them. we will send you a prt of wood panels finished with

Johnson’s Artistic Wood Finishes.

Kindly mmtion The Craftsman

xvii




To Out of Town People

IN a country no more thickly settled than the Pacific Coast many people find it incon-venient to go to a city that is perhaps a good distance away to do their shopping,especially for such an important thing as a set of furniture.

The illustration shown above is a reproduction of one of the plates showing CRAFTS-MAN furniture so grouped that the relation of the pieces to each other is made clear.We are prepared to send to out of town customers upon application a full set of theseplates, or such selections as may meet their special requirements, together with aDescriptive Price List and samples of wood, fabrics and leather showing finish, color, etc.

Also, acting in collaboration with THE CRAFTSMAN WORKSHOPS, we areprepared to furnish suggestions as to entire schemes of interior decoration, includingfurniture, metal fixtures, rugs, fabrics and the like, assuring a carefully planned andharmonious CRAFTSMAN interior.

Send to us for the free booklet, CHIPS FROM THE CRAFTSMAN WORKHOPS.

ADDRESSEASE BROS. FURNITURE CO.LOS ANGELES : : : : CALIFORNIA

Kmdly mention The Craftsman

. . .xv111




ECONOMY dPLEASURE

Would you build your ownFURNITURE if you couldget the very finest W HITEOAK, have it thoroughlyKiln Dried and cut to justthe size you want it ?

Our quartered W H IT EOAK is of choice quality ofgrain ; selected for figureand can be fumed and fin-ished in all of the latest tints.

Send us your inquiries andspecifications

The Home-Workers DimensionStock Company

Fourth and K Streets LOUISVILLE, KY.

lOFam&sRoses$1

T,here’s twice the pleasure inthe journey, and twice thepleasure afterward-if you

KODAKAnd anybody can make good pic-

tures. It’s simple from start tofinish by the Kodak system. Press

the button-do the rest-or leaveit to another-just as you please.Kodak means photography with thebother left out.

Kodaks, $5 to $100

c a t a 1 og f r e e EASTMAN KODAK CO.a t t h e d e a l e r s Rochester. N. Y.o r b y m a i l T h e K o d a k C i t y

Kind11 mention The Craftsman

xix




BOUND VOLUMES OF THECRAFTSMAN

If you will send us your copies of THECRAFTSMAN, we will bind them for you either infull limp leather or in half-leather, making a setof beautiful volumes to add to your library.Six numbers of THE CRAFTSMAN make up thevolume, and we will bind them for you in halfleather and leaf-green linen crash for $2.00, orin full limp leather for $3.00 a volume. Wherewe furnish the copies of the magazine as wellas the binding, the price of each volume is$4.00 for limp leather and $3.00 for half leather.If you wish to preserve your files of THEC'ILWTSMAN, which are daily increasing in valueas works of reference, send us your back num-bers with instructions as to binding. AddressGUSTAV STICKLEY, 29 West 34th St., New York.

~--__----

THE INTERIOR HARDWOOD COMPANY MANUPACTURERS. INDIANAPOLIS, PIta.

For all Kinds of BtiIdhgs

Iwhere shingles, unplanrd bo4rds or

any other rough sldmg is used

Cabot’s Shingle Stainswill give more appropriate and beautiful coloringeffects, wear better, cost less to buy or applythan any other colormgs. They RTB the only stamsmade of creosote, and “wood treated with creo-sote is not subject to dry-rot or other decay.”

s a m j h 0 f s t n i n e a w o o a , a n dC h t u t o g u e , s en t f r e e o n r c q z & ? st .

SAMUEL CABOT, Sole Manufacturer141 Milk Street, Boston, Mass.

ApmtfPI all cmrrd ednnb


xx




At Easter Tidewhen cuntom decreen that men. and e~pwixlly women,should look their best. the mw spring nmds cause muchdilm~(re to tender skmaaud complexloos.

Mennen’s Borated TalcumToilet Powder

is then doubly necessary.prevents Chapni”

It soothrs and hrnls the skin.

-7Chafln~, Prickly Heat. Sunburn

and all skin troub e8 of 8”mrner. After hnthing andshavlneit is deliuhtfrl.and iu the numerv indisoonsable.

GERHARD MENNEN CO., Newark, N. J.Try Mennen’s ,d.ef Rorated) alcum oilet owder-it as

the ‘ellf of fresh-cut arIm m1ets.

MOTHERSHAVE BEEN WAITINGFORThe rtxl solution of R veun~ problem -mil,mp chllrl-cdre C!a\, and plcasnnt. The onlv s:rt,rt<,c( OTV mednsever dcwsed for regulating, properly and n;~turallv, thebowel-hnblts of chllrlren from earllest infancy. and fixinnsuch habits for hfe-the most Important essenttal ofperfect health.

PURE WHITE SANITARY ENAI\IRL SURFACESCLEAN. ATTRACTIVE AND HYGIEraC

Used in bed room or nursery as shown. for toilet PUT-poses or as regular child’s char, with cushion scat added.Or, legs fold instantly into half-inch space at sides andchair clamps securely to toilet seat anywhere-home, rail-way car. hotel. etc. Entire chair folds flat for hangmgagainst wall or pnckinlr for travel. Simple, scientific, prac-

tical-a tnne-savmg, health-Insuring modern necessity.THE PICTURES TELL THE STORY

Ask for SANA-CHAIR :,t bts~ stores. If you cannot getthe genume we will ship direct. prepaid in U. S., on re-celpt of price $3.00. Ask your dealer first.

cut DownYowr Ice BiMs

You buy a refrigerator once in a lifetime-you buy ice every day. The walls ofM&ray Refrigerators are scientificallybuilt so that they will keep the cold air inand the hot air out. They therefore usemuch less ice than others, and soon pay forthemselves, besides keeping all provisionspure and in fresh condition.

IM%CW!

*jdiigeratorsare thoroughly insulated with mineral weal. the bestinsulating material known. and have the McCray Pat-ent System of Refrigeration which insures a perfectcirculation of pure. dry. cold air. They are lined withWhite Opal Glass. Porcelain Tile. White Enamel orOdorless White Wood. and we the cleanest, sweetest.dryest. most sanitary refrigerators made. No zinc isever used in their construction, as zinc forms oxidesthat poison milk and other foo d and is very d angerous.

Let us tell you how easy it is to have a McCrav or-ranged to be iced from the outside. thus keeping theiceman out of the house.

McCrav Refrigerators are made in all sizes. readyfor immediate Shipment? and are Built-to-Order forall purposes. Every refrwerator is positively guaran-anteed to nive lastina satisfaction.

Send Us This Caupbn

McCray Refrigerator Co.693 Mill Street,IIeodallsille, Iod.

VCi*y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


xxi




WE ARE IN THE FLAX THREAD BUSINESSWe have Introduced as a Stimulus for the useof our Threads, Yarns and Flosses, The

BARBOUR LINEN LOOMPRICE, EIGHT DOLLARS A Good Loom at a Low Price

THE BARBOUR LINEN LOOM

T HE art of weaving by hand has had an extensive revival during the past few years.This has sprung from many sources, and has grown up together with the arts

and crafts clubs and the home industries associations. The call to a simpler life,a renewal of respect for labor, the potent individuality of hand work, the simple forms ofweaving done in the elementary schools, and especially the universal interest in manualand technical education, have been the contributing causes.

WRITE FOR DESCRIPTIVE CIRCULARS

THE LINEN THREAD CO.96 FRANKLIN STREET, NEW YORK, U. S. A.


xxii




-

PARKFIR, SMITH & CO., Rug Merchants, announce a new floor covering

The Bungalow RugAn artistic fabric of great durability, in solid colors, with band borders inharmonizing shades. Th ’ ’great variety of color combinations allows aselection to suit every possible scheme of interior decoration, and the dyesare of the best obtainable and are, therefore, practically fadeless.

9x12Prices

i7%x10% - -

- fwg*g

6x9 - - 1s:ooSpecial sizes to order at same price per yard

We believe CRAFTSMAN readers will be particularly interested in theserugs, for they are exactly suitable for Craftsman homes.

We would also direct attention to our less expensive Pasco and Mourzoukrugs for summer use.

Rugs sent on approval. Selling rugs exclusively, both Oriental andAmerican, and having nearly thirty years’ experience, we are in a position togive helpful advice to intending buyers.

Parker, Smith & CO., udMerchantsBetween Broadway and Fifth Ave.&j*,esroo”l “II Ser0ud lloor -TWO Elevators 22, 24, 26 West 34th Street

HUNT, WILKINSON1615 Chestnut St., Philadelphia.

Some Furniture from THE CRAFTSMAN WORK SHOPS 1 1615 Chestnut St., Philadelphia, Pa.’

&APa.

People Livina inPhiladelphia

will find in our show rooms an ex-cellent assortment of the famous

roducts of The CRAFTSM ANtv orkshops. We not only carry anextensive line of furniture, but alsoThe CRAF TSMAN Hand - WroughtMetal Work, Fabrics and Needle’Work ; in fact, all things suitable for :til e furnishing of a room in theCRAFTSMAN style.

I f you want to know all about thetorigin of this furni ture, how it ismade, and why the style endures,,write to us for coThe CRAFTSMA

ies of “Chips fromK Workshops,” a

little booklet written by GustavStickley in answer to the many re-quests from people who wish to know,all about his work.

Address

Hunt, Wilkinson 4% Co.’


. . .XXIII




h’E?WN - w/LL/AMSPAINTS AND VARNISHES

! the exact color or finish to produce any desired

j effect, but also the quality to make that effect lasting.

1

i :,I/ Help in appropriately painting and varnishing a ; _ i, home and the things in it can be had from our ’ /1 free booklet,

Home,”“Paints and Varnishes for the ;

which tells all about all the Sherwin- .!

’ . ’f

Williams paints, varnishes, stains and enamels : 7i I

for household use. 1I / THE SHERWN-WLLIAMS-C& I

!i1

Kindly ment i on The Craftsman

xxiv


The Craftsman - 1908 - 04 - April.pdf

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