The Craftsman - 1904 - 09 - September

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TH,E C
Published Monthly by THE UNITED CRAPTS,
NEW YOKK OFFICE, Woam BUILDING 207 South State Street, SYRACUSE, CHICAGOOFFICE, 183 NEW YORK
DEAILUORN
S&ET
Contents for *September 1904

The Foreign Aspect of Mural Painting-1llustra:ed
.
WILLIAM LAUREL HARRIS
The Spanish Missions of the Southwest, Number ture and other Wood Work--Illustiated The Mission The Architect The Work A Labor Suggestions Diabolus
In
IX.
The
FurniJAMES
GEORGE
WHARTON IRENE
of San Francisco
Xavier--Illustrated
SARGENT PALOMAR
Should b,e an Artist H. Euwer--Illustrated
J. TORRES
Translated from the Spanish by IRENE SARGENT
of Anthony
WILL
LARRYMORE
SMEDLEY
Museum-Illustrated from the South ex Machina Time

-Illustrated
MARION
FOSTER WASHBURNE
Kensington
Museum
ISABELLE AIKEN SINCLAIR CROSBY ERNEST ALICE
M arigold
M. RATHBOtiE I.GEARE I. GEARE
Japanese Chinese
Porcelains --Illustrated Porcelains

-Illustrated
RANDOLPH RANDOLPH
A Craftsman A Craftsman Chips Notes Rook Reviews
House, House,
Number
IX,
Series of 1904-Illustrated
Iv umber I X/f
-1llustratkd
f.
525 CENTS
SINGLE
COYY
::
BY
THE
YEAR,
$3.00
Copyright,1904,by GUSTAV STICKLEP.Entered November 18.1902, at Syrwuse, N. Y., as second-class matter
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GUSTAV
STICKLEY,
CRAFTSMAN
BLDG.,
SYRACUSE,
N.
Y.
Death
of Sate
Genevibve,
patron
of Paris (Panthkm):
Jean-Paul
Laurens
THE
Vol.
THE
CXAFT.NiL4N -<
SEPTEM
ASPECT OF MURAL LAUREL
VI
BER
standards honorarium meagre few great
1904
No.
FOREIGN BY
of success less mercenary. for mural of painters this is and precarious. examples
The both a the at a the
PAINTING. HARRIS
WILLIAM
I will mention among Hilppolyte
notable
A
among All Minor,
LTHOUGH painting upon the
the conditions abroad are
of mural bad, that it yet is
artists of Europe. loss. Paul
Flan-
drin produced financial strictest
all his great decorations Baudry practised
mural painting ourselves. So
is not the novelty we can profitably tracing In this
Continent
economy,
and yet he did not make his masterpieces his decorations, Puvis de Chavannes from
his expenses, while painting in the Opera at Paris. said that the returns
study the general pal decoration conditions back
aspect of modern municicountries, causes. to their
in foreign
up to the last years of his life, had never equaled the unavoidable with doing goddwdrk. stances of self-sacrifice. great artists of Europe although they are often of lack of money. In speaking the career of emp&che tout. Living tion in Paris, or in any other great art distincand for emMen food mean art. little economies proper these artists poverty. center, one sees many men of great making sometimes going without When embraced the difficulties decorator, besetting G&&me qui a young expenses connected . ,?
way we can arrive at conclusions aid municipal Egypt art in America. buildings of the great both Ionic And
,which will India, Asia
It is well to call attention,
to these in-
and Greece were covered with on the interior and the Corinthian, Etruscan and upon were all monuments Rome was The classic #buildings, known
It shows how the are not mercenary, hampered by the
paintings, the exterior. as Doric, painted. It appears ed. used The western modern be But, in
were splendid
in the richness of their color. were first erectwhen plaster it was always and to and in is,
once said to me: Cest
le sac& argent
to have been in Imperial even in Rome, the construction, living of always Yet
that white marble buildings
painted. nations portions times, in the northern Europe have, up employed mural gold
the sake of braced
art, they from
who are not firmly wedded to their art can of course, time to time, sell their talconcerns and make money. like these Evil to exclaim: reflections our great ents to business I suppose which art.
color with a magnificence surpassed.
which will never painting, history, state. all art-
spite of its long and interesting at present, in a very unfortunate Many at modern conditions.
it was upon
once made Whistler She wanders
modern artists rail at the times and Certainly, less sordid and
days have fallen be chucked
mistress,
in the market places
ists would welcome conditions
under the chin by the passing
FOREIGN
MTJRAI,
PAISTTSG
wc must that
the present state of mural painting, study the history of municipal The In the words of Solomon: has been is that which
Old thC.
decoration. thing
which shall be, and that already been of of dccoour when people talk of a new
seems new, it bath

So,
movcmcnt
t.oward the recognition
rntive art, and talk of a more intimate relation between architecture thoughts turn naturally Ages, and painting, toward through that antiquity. tile sobe-
Ille furtller we penetrate called Dark SW t.he intimate tween architecture relation
the more cleirrly do WC existed and the allied arts ; be-
t.ween ilrt and the people.
The Mu% Euterpe:
Paul Baudry
gallant Of
and to be enticed into the home of coursic), there are artists amount in Europe but accidental
the h011hel1oldCr. who make a certain the money

iLIld
of money,
thus made is almost
has little to do with their artistic talent. picture many of conditions in Europe, that The be-
I have drawn this dismal and discouraging cause often people wonder ugly. modern answer is to the buildings
buildings
arc often so lacking reward
in charm and
arc downright
tbnt no adequate men who might beautiful. the builders Many cliitccts. tions and
1llltlerSti~nd
is offered
make our public politicians talk
They
ilKld
often live in penury while grow wcalthg. social But condito and
Preliminary sketch for mural painting: Paul Bandry
people Others
place the blame on the nrabout ideals. really
popular
what is going
on in Eiiropc,
THE
CRAFTSMAN
War (Museum
of -4miens):
Puvis
de Charmnes
During and Gothic, from
the periods paintings
called
Romanesque as pic-
which are unsurpassed and in solemn of splendor these achievements landmarks
in richness of mural
of color ThC! arc
were never separated The case1 picture, The were parts
design. painters
architect.ure.
we know it, did not then exist. tures and ornamentation building itself.
in the history
of art. art show hurnan-
of the began of the In were and of time, build-
Past achievements us the impulses ity, and indicate ideals. JT7hen heroism noble painted zeal, upon then
in municipal
which have guided
At the time when our civilization to establish Roman Giottos chiefly great itself upon the ruins Empire, time most of the public religious
the rise and fall of artistic has fired the people artists have arisen with who The of the
ings had a somewhat and employed
aspect. artists
even later,
the walls of public the very
buildings,
in church From
decoration, time civic to
the glories
and ideals of their time. supports thoughts. painting is bound
the best craftsmen monasteries.
lived in the shadow
walls, the piers, roof blossomed, The reaching, subject
as it were, with the inspiraof mural is far up with
these same men decorated artisans,
buildings. art,ists and
tion of noble and patriotic and its history
And the long line of craftsmen, teries of Europe,

530
who lived and died in the monashave left us decorations
the rise and fall of empires.
For while there
FOR3XGN
3lURAL
ccnce.
PAINTIXG
dating If space include only fromthe account late Rcnasof mural permitted in this mc to do so, I
have been periods when mural painters have recorded depicted Xural as a gauge periods. These rians great deeds and lofty aspirations, there have been other times when they have quite the reverse. painting has unconsciously standards acted the bad by which wc are able to judge There have been periods of
windows should painting
a few words at least on the stained
For in and Germanv. gl ass of France Gothic architccturc, the chief decorative features spaces. The noble paintings done in the public Orcagna, Sifind countcrby Cldment of and other tlie
Ilk-
moral and intellectual art, as we all know. same periods
of diflercnt
are
necessarily
in
the
window
arc known to histoand rumors of
buildings monc parts,
of Italy
by Giotto, and others,
as times
when riots
d Martini
wars afflicted the state ; when thrrc were rebellions and when, even in To peace, the cities were filled with tumults. these periods of bad art arc was rife known as periods among poor exact
WilvS
as far as artist.ic merit is conccrncd, Robert of Chartrcs,
on every hand,
in the stained glass windows (hartres, The
the sociologist
artists of ITrance and Germany. more carefully we examine tory of art, the better are we able to comprchend the present aspect of painting in EII-
when discontent
a miserable people. of the moral stimulus of art, the were filled with
lllc!
Ijrprivcd people spirit
envy of the vulgar rich. rcflcctcd
of the time is alby the craftsin paintwhen there of purpose also a real too great times, also
manship ing. During
displayed periods
1\as a real nobility there was apparent devotion X0 to exertion waq
craftsmanship.
when it was made for a worthy object. the corrupt.

pitd,
Rut in corrupt was And for
craftsmanship
the most
pictures painted with unof workmanship. glass; A win-
worthy ob,jects pcriqh through defects good found century example of this is to bc the twelfth in a betthan
St. Francis of Assisi before the Sultan: Giotto di Bondone (1276-1337)
in stained
dows made during
are, to-day,,
ter state of preservation
THE
CRAFTSMAN
tial. When people were overand asrose
they
much given were inspired pirations, heavenward of gravity. Then fall into
to mysticism by religious until finally the buildings
seemed to defy
the very laws began to safe mothat, had lofty
mysticism disrepute,
its devo-
tees having sibility. in their At
overstepped the same found they
and trustworthy ment, the builders
limits of pos-
buildings,
overstepped construction, structures down upon populace.
the limits of safe and many came the tumbling bewildered with shame of rc-
These disasters covthe that decline great
ered the builders am 1 marked Gothic Then v&ion Saints Clara

rope. For
art. came of feeling fell back of the when cveryon the forms pagan classic for anrethe apmeanwas This It peo-
and Elizabeth:
the
Shone
Martini
body
1283-1344,
and traditions tiquity. And th us began vival of the Renascence.
decoration matter,
of public and
buildthe
ings
is a public
the builders
But pure classic Then
have always ambitions, public.
responded
to the desires,
art was too cold and uninteresting opulent days of the late Renascence. it was that a sort of peared, ingless created gular daubed and classic plastered In called
yes, even the whims, of the great
building with this way,
It is this response to the wish of the people which has created what we call style. that one age is distinguished pay for: from So another ap-
ornamentation. a new style vulgarity
Rococo. sham.
by the forms of art the people are willing to in this way the Romanesque styles and variations people were chiefly and solidity, of style. interested in provided peared in art, also, the Gothic ceeding When strength and all suc-
new style was chiefly remarkable and barefaced of the corrupt was all a part ple found and
for its sincivilization tricked tumults
that flourished gaily, deceived. Then
until the common revolts and
out that they were being of Europe
the builders
that their buildings
were solid and substan-
racked the nations
to their very
FOREIGN
foundations. parted for But some These time two before arts
MURAL
this
PAINTING
for one of the older punose just because with the \vonartist ,just
modern art school, he did not like him.
final catastrophe, company. centuries,
painting
and architecture which, as one art, the arso to Art
pils broke ~~ichclangclos
had been almost
All, of course, are familiar derful paintings mentioned, man also mural this
became discordant. Up to the time of the Renascence, chitect speak, schools trained under painter. craftsman. I)uring and Gothic, apparent. It is well exemplified ists like Pietro turicchio practical of and As long and Correggio. as the artists could were educated in work, it is evident that the matter not be overlooked, of mural bemore This students
UP
hy the great
which exist in the Sistine Chapel. great artist For was. of the But the we can end in of of
and and
painter worked
were brothers, hand upon in hand. Each of
And we see very well what a splendid craftsdetect- the beginning painting.
did not then exist. by painting the direct supervision
man was a master all a
real decorations
successors
Jlichrlangelo Carracci. the Carracci ?
were reckless painters
like the
So each man was first of the periods called
And who were the successors ahnost
Romanesque Rcnaswas very
In two generations traditions of municipal
all the good wcrc lost. of time-hontheatrical of the late of view of conpaintings
and even in the early
decoration
cence, this spirit of craftsmanship
All thnt was left in the place ored traditions ish. The hulking giants
was a certain academic flourand left us by painters From they the point form cxccuted
in the work of artBernardino Pin-
Perugino,
compositions Renascence tered daubs.
are now for the most part blisa singular
craftsmanship,
craftsmanship
trast to the beautifully by pre-Raphaelite of Raphael, the painters
all the traditions observed. art of when to form
painting
artists.
Since the time
were carefully But gan practical decoratire was the
and builders have,
schools the
replace
education,
art decayed. tirne when statues, dug
began to draw from Greek and Roman conditions those angelo, statues Medici. This must Florentine been art school quite like a
Allegory of strength and moderation: II Pemgino (14461544)
by
antiquarians for
and placed which designed. they
arnid were
quite different from Michcldrew from of the
originally
we learn,
in the gardens
have
T&l
CRAFTSMAN
Now and then in Europe, painter disposal, obtained. they Paris. painters, balanced positions In fact, have has had a building very beautiful I3ut in done There, gcnrral, of when a single entirely have artists at his been do as in
results
in the Hotel instead
de Villc
the thoughtful of the early of unto anthe these comforms. collection
and realronable craftsmanship we see a bizarre compositions. continue from Often,
one panel
other regardless
of architectural
the painters
have considered
walls as canvases spread out for their pleas-
The betrothal of Fredwick ricchio (164-1513)
III.:
Bermrdino
linta-
each
in his own
way,
cndcarorcd
to
dig
deeper and deeper tlw gulf the architect it chance longer that the builder
whic11 separates And now, if and the painter
from the artist.
try to work together, understand
they find that they no of how
each other. design what they call an It is sufficient to say left for mural paintblame the archigood places for picon their side, believe whenever they
The law: A. I. Aaache
1. cannot here give a long account modern architects architectonic that thcrf ing. tures. entity.
is no place
The painters
to-day
tects for not arranging Ihc architects, that painters paint them.
532
ruin buildings
ure.
lhey
have murmured
a little at the than And so,
thing
else.
But, in France, training, there
that center of is often found I refer to in the Acadin academic of success that or to has been
lighting,
etc., as being less satisfactory in their own studios. painters.
acadcnlic
the lighting
quite another sort of craftsman. men who have not only stud&l cmy, but who have esccllcd work. And
while painting While applied effort
on walls, they have still rew-hen out of
mained easel-picture to walls to conquer
many of these easel pictures look garish and Such
then, in the height power, At the side of age of art
and artistic the most neglected. forty, craftsmanship Raphaelite
they have derided thirty-five
place, there are others which show a serious difficulties. paintings often qualities ing. have very solid picture-making superb academic trainof academic prinexpounder
important
they have turned painters.
their attention
and display
and to the formulas
of prc-
A good
ciples is that very eminent instructor and picture painter, thing and the in Jean Jaul Laurcns. But the unfortunate is that the academic ways has than trained gains that
niuid
artist al-
more medals rare person, painter
rnore public
recognition France
painter.
had ~11~11 a mural 1. V. Galland, nition ent. lhc prevailing he received
but the rccogwas in no tal-
way equal to hii; artistic
conditions as they men to

Saints suffering martyrdom (Parma gallery):
arc to bc rcgrctted, tend to discourage from devoting tllc decorative decorate gained This own day. the
young
themselves side of art.
Correacrio (1494-1534) proas-
And the knowlproperly cannot to be
Ilie uncspcctctl ductions artists, tonished the artistic
and often eccentric world. Many
edge and experience municipal truth
necessary buildings,
of thcsc artists hare frequently like Rcsnard, arc Prix
of these
in a short time. is being emphasized in our In England, which In for instance, artists they have given to
de Rome academic
men, although art.
thcp have now become leadrevolt against
crs of this modern All over I:urope,

011.
like Rurnc-Jones attention craftsmanship. the type
have marked an epoch by Rurne-Jones we have a re-
this same revolt is going of scccsalthough is. 535 for sornething,
F:acli art center has it,s group trying
of man who is, by nature,
sionists,
former in art, and Hho never tried to be any-
manv hardly
know what that sorncthing
The Prophet Isaiah (Sistine Chapel): Michelangelo (1475-1564)
.i36
Delphic Sibyl (Sistine Chapel):
Michelangelo (1475-1564)
THE
CRAFTSR4AS
the greatest prevailing new ideas. All their Such is the scarlet work own which they is unlike condenm. they and say, the This and used decontempt tendency of the toward
painting, small-pox fever
in art. a common expression artists to
ih as near :LJ I can come to translating rcry forcible by the older
scribe the work of the youngCr gCIlCrat ion. But

The shutters in Ilir. Whistlers feaoock Room (House of Mr. F. R.
Modern from
mural painthas little its to cncmics, schools,
ing fear though
in Europe
Great, literary is or should be. or that pro&d&, hIany of
men, like Tolstoi, In the meantime,
try
to
strengthened ernment by elaborate Emperor.
they may be t,I go\by subsidized
help matters on by defining
what art really there is
patronage,
systems of medals and rewards, even, by the hand of tile to true art lies It On affiliations of the artist. The real danger
a great deal of talk as to the merits of this and there is an increasing arts. violent party of the craftsin, art impressionand others of in art, are interest in the applied the most
and, in Germany in the commercial
is impossible to serve art and commerce. the one hand, the excellence is the only consideration. On
ists, such men as Auquentain the extreme revolutionary now strong ancient manship. Of course, all innovation or dcflrction lished from, in methods the the estabadvocates of traditions
of the painting the other,
schools is met with a storm of abiisc from profc5sional ers. And each year, Salons, these teachers teachin the gather pu-
in a sordid t;and and vote for the work of their faithful pils, to the exclusion work as they consider thodox. They speak of such less orwith
The Park (cartoon for tapestry): E. Amm-Joan
FQREIGN
cheapness The of execution of is the main solution this problem
MURAL
idea. is in the there is -blame
PAINTING
to produce great works of art.
own wag distinction. If space
Frown time to time, these men arrive at great permitted me, I should like to
hands of the public. are content great
As long as the people
with a cheap imitation, decorations. The
little hope for real art, and there will be few municipal
give an account
of the beautiful
works of in our own like to
art which have been produced time.
11nd I should
tell of the perhonal characteristics of each artist, in order to show more clearly the unselfish struggle
111ade. But
which
I
they
have
will close this of the foreign with one of the danger affiliations.
short aspect
account of
painting
notable esamplc of commercial tllat Gothic
I will take for my example revival of which was, in began interHuskin wrote. There
the time when Ruskin to teach, an aaabcning est in craftsmanship vidual functory talents. art vulsion of feeling
and indi-
It was a reagainst permanufac7R7ith and
turcd articles in general. came an intrrcst htforc Gothic dcrfull~ different ful. that Decorativepanel.Sjoience: cannot
Urbain Bourgeois
tliis interest in craftsmanship in the period when tllc K~~~MYwx,
artists worked so wonwell, and when their gui Ids were powerit seemed and movement things. of of of
539
Por a while, the Gothic to
revival great
the prc-Raphaclitc llligllt Hut matter in vain his doing unfortunately, and interior up. things; They paintings lead
be fixed upon the politician,
because
manufacturers decorations cheap found ways
the politician
is but a creature of the popu-
took the
lar vote and represents his constituents. Rut there are many noble painters rious parts of Europe each trying
and, goaded
by competition, in a profusion
these men became confused
THE
Gothic paintings business They detail. from Gathering here and fragments there,
CRAFTSMAN
of magazines, these publications mercial firms. THE TIME THEME AND PRIME
,
because, through advertisements, by comare all subsidized
energetic
men applied
them to architecture. haphazard: to go was put designed surface,
appli,ed
all these details
that which was designed reduced Finally,
was originally for a round
IN ITS PLACE consideration
RELATION
TO
down low was put up high, on a plane, and so on. rates for large the cry the quality
and that which
All this was done at orders. Of course, the public was fell perthe the literary which This that
of the work began to deteriorate. went up from Then appeared table. public
A
it,-is ment
in estimating This applies of
work of art is that of appropriateness to occasion. force created with to a work solely decorative to
particular character. sculpture, itself,-that to
that the effect of this sort of painting not beautiful. hack from son who lived demonstrated on the crumbs to the
An easel picture is, simply be judged be removed
or a piece of the idea itself.
with reference to express solely by
the manuf acturcrs
that the artist had in mind when he wrought Should it not be in keeping it may that agree with it. must take shape vironment. with its environto surroundings work to its en-
manufacturer
had consulted
all the authori-
ties on Gothic art. The public then relapsed into its original belief that the masters This Gothic of any of antiquity were of barbarians. our modern culmination vival, was the culmination revival. new movement
But a decorative
with reference
By its very nature it is a part Its function as foliage is not and is
It will be the or rea shall accept
of that which lies about it and into which it enters as an element. and therewith son decorative unification its own only to adorn, but to interpret, to complete a tree. efflorescence complete the great,est form alone the individual attributes. to elucidate, For this reaaspects, art. By its by is
as long
as the public artists
cheap imitation Whenever profit sound traditions the idea for happened
for the real thing. seek to return aroused, gain. to the of antiquity, business men and exploit Noble This ideas has and
art, in its higher of depictive character Its own
by the interest pecuniary
with its environment
it has not character
are thus thrown again
into disrepute. and again
conferred
in Europe,
will continue to happen The ability tation foreign licity lethargy of
as long as the public to continue. and its inseen in the And by pubcan be and
amplified and enriched by the nature of that to which it belongs ingly belongs to it. tive in lending something exaltative greater and which correspondWhile it is subordinaof it is likewise of the of the latter informing
shall allow present conditions the public to distinguish aspect of
between real and imimenace mural painting.
itself to the embellishment than itself, quality itself. the quality work,
art, is the chief
greater
in enhancing! work. The
this lethargy publications expected
can only be overcome can give. Very little
such as The Craftsman from the regular
and other art newspaper
enters into the decorative it with attributes beyond
--Sylvestar Baxter in the Legend of the Holy Grail.
SPANISH
THE SPANISH MISSIONS NUMBER AND OTHER GEORGE OF IX. THE THE WOODSOUTHWEST, FURNITURE WORK. JAMES BY
MISSIONS
burned in the cathedral dle Ages, although builders of th,e Midlived still in For of the with Beit degenerate,
the breast of Serra and his successors. had been supremely thirteenth century. to the architects It was charged
WHARTON
them, to some degree, the church was what it
W
vestigation. lished the have already original. tures, from the region
ITHIN become
the past few years, the Furniture But too freely, to proper has and incurrent. it has
both religious confession, ilization. ing
and aesthetic impression. and personal prayer,
term Mission been accepted The
side being a place devoted to the sacraments, penance was also a school, a museum, a center of civBy right and necessity therefore, of communal and and and New. it was adorned to the highest degree, becomthus the repository wealth. private Traditions so long impulse
without having been subjected fied, since the Spanish California Fathers
name is clearly Missions, The
unjustifailed to as
who estab-
create a style of furniture their architecture. Brought,
as distinctive
alike tended toward the conditions World The Franciscans the Mission the double Spaniards. were easily Style capacity They
its embellishment, existent extended to the
latter even, as we rather than fea-
in the Old in creating acted in and,
seen, was adapted, a country
as to its structural
of California, of
whose conformation from those of by from
of architecture, wrought
and climate are not dissimilar the Missionaries, fies the material natural
religionists
into which it was introduced necessities resulting
better than they
it pleases the eye and satisIt is an architecture of serrated mountains The to. be part eloquent who disnot alone crude, view, were of best Spanish of suffused with light. thus appear
themselves realized, in fidelity to the memory of the Mother Church and the Mother Country. curred, But churches ciscans Their impulse and their capacity and the result, by natural with the building its limit. of This the conlaw, was Mission
conditions.
fitted to a background and an atmosphere Mission centuate. covers from they buildings They and parcel
successful. the artistic reached capacity of the Franresult was were centto Houses
of the landscape
which they ac-
are, furthermore, elements also drawn from the
to the student in them Spain,
of art and history, but
also inevitable. the property hoods founded
The Mission
of one of the two great brotherearly in the thirteenth to preserve Everything the religious tending the power of without were rein the As a conse-
Netherlands. important erected God. thought periods faith They
Simple and oftentimes several points and interesting. founders They
ury in the effort unity of the world. the fraternity
are yet from by their
assure the life, to strengthen fear and executed duced to nothing, general scheme. involved personal at all risks.
to the glory the
was to be undertaken
therefore
displayed
and work of those who designed and and countries where For the Catholic which
quence, the claims of the individual
built them, as has always been the case in all has prevailed. th,e spirit
or rather absorbed poverty, chastity
The vow of the Franciscan and obe541
Figure I.
Mission Bench, Los Angeles, California
512
SYASISH
MISSIONS
tlicnw.
1)aily lie was rcmindcd of his TOW of tllc t,lwcc knots of his
COIlStiLrltl~
forinthtions
of
their
lm~tlitrliood,
to
have
l)g the scourging r0pC girdle, and suits of
providctl tify.
might tppch
for
tlic comfort
of
their hodies
WiAS
1lC fOllnd tllc rc-
which tlicv wcrc taught It

on their ~~liatsocver wcrc part of for
to abase and moras it

art.
his solemn promises
in the most
wad as impossible
tlicni douieitic by
unany
f rllgiLl of fare, ll:Lld l:ll)or, and t11c&0111tc harcnt~~sof his cdl. FlWlll tllCSC fiLCt*;,which Ill~lSt hf2:LCCcptcd hp all who will girt son, it is clwr cl:hc or IIlxllry, tlic life tliemselws time to renwhich af)that cvorything
Wil:,
to create
Their
1110~:hlCh
COllWtd
CllilllCC, or, dien t&lcs

their such illld possesuphave
ma& by tlwm, wtw constructccl upon primitiyc nwd~~ls.

ucro elw
Tlicir
hllcli
rliairs,
into
proacllctl tllc idC:l of intlivicluiL1 helongings, drictly dimin:Ltc(l flonl AIissionnries,

rffcctories,
h1lclich him, right hen or
a5 fell fasliiod
wore
froni
of the (alifornia
cells, tlicir
as
alid
11orizont:~l tlic first
tinihrs c&net
as iiiigllt 1llikkW.
fatal to the interests of tlicir Order. proviclcd tlicir

cliapcls with
Tliey
their
uhetl bv
ll~us, rcligiws racial of tlic
ohlieiit life
to tl icir
conception not
of
tlic 8
such morables only as served necessities. To linvc done
furthmore, like certain these
possessiiig divisions nionks
tlicir
strictest
art-instinct LiLtill
0th Spanish
othcrniw
WOUI~ llilr-e heel> to :ltt:LCk tile
peoples,
54.3
THE
accepted aloof whatever their material objects most easily from obtainable
CRAFTSMAN
were
and held themselves It can not be life as tests that, regarding upon
influence.
too much emphasized, a mere pasSage, and proofs, they from
as a series of painful rc,jected
principle
whatever might attach them to it. Therefore, argument and equally themfrom evidence existing selves, it is apparent in the objects
that there is no Blis-
Figure IV. or
Chair in relic rcmm, San Juan. Bmtista
else
such
as
wcrc
brought lecterns
from
thr
Mother pulpits,
Country.
These especially
arc the
confessionals,
and candel-
Figure III. Chair, preserved in relic room, Santa

Clara
sion Style, architecture. illustrated notable for
except And
that, which
pertains
to
as the latter
has been obare two from

Figure V. Chair preserved at Santa Barbara
in the present
series by its most by the Missionaries purposes into collection. such things
examples,
so now the movable
jects used or construckd domestic objects here shown Thcsc
or ecclesiastical may be
in a representative divided
classes, one of which comprises as were copied typical

5 I*4
more or less accurately
originals,
as they were remembered,
SPANISH
MISSIONS
the chair now seen in the old Florentine possesses a magnet-like who willingly table to the form interest belonging attraction endure the discomfort and construction to it. More cell, ineviof the for many
chair for the sake of the somewhat fictional attractive of furniture still, because connected with the history
our own continent, is chosen by many would be distasteful,
the Mission
to whom its simplicity were it not adorned by and romantic cause. to a single piece, has unsuspected by the made very three The as an who is responsible among large the Misand
the name of a generous This name first given gained for it. a prominence cabinet-maker This California thoughtful slons, heavy,
Figure VI. Chair at San Buenaventura
wor~kman, undouhtcdlp a chair, four
by observation
produced having
straight
posts,
inches square, and a plain rush scat. piece, sent to the East, was exhibited them as obThe other in the a
abra.
jects
It is proper
found
to designate Missions. They since prove
in the use.
class consists, for domestic Missions, distinctive cessities. Style among
for the most part, of objects originated they that however constituting show nothing no Mission and place that is, for and acccpt-
without style, They
but the simplest provisions of furniture
to meet bare ne-
ever existed, belongs:
the term where it rightly commercial purposes,
those names which, first applied arc generally to that love of mystery Furniture
cd, in obedience lives. chair-a inasmuch Mission
romance which invades even the most prosaic is then a name to bc classed with that of the Savonarola type which it would be better to century, or Renascence, connection as it had no peculiar call fifteenth
with the Dominican ally used by him.
monk, and was incidentBut his name attached to
THE
original, religious tioned. known and, ns prior to t,hat time, regarding the Southwest, was known authenticity to the trade of the object
CRAFTSMAN
little the the old
foundntiorxof Following manufacturer
could not be quesa wellappredesigned of am 1 adrertiscd name, quickly
this introduction, who of the stplc,
ciated the possibilities in accordnncc furniture under tllc new which
with it a complct~c series hc cstcnsirclp and captivating A basis
with a success immcdiatc ment bctnecn the objects been entire selected
and durable. of judgtheir have of offer the the with indis-. ,r-_.__ __. ._.__ _-..# Obispo ,
In order then to afford from
the types of the new stvlc and which they those chain received illustrations Jlissions which
name, the accompanying from southwestern
best esanlplcs. the direct purpose ings of these criminately
And as already
it has been
said, the collcct.ion
JIBS been arranged houses being can present
to show that the furnishno thor-
Figure IX. Entrance door. San Lnis ough principles of construrtivc is included, important chairs cliair plainly brought suprelll:W~. Tllc direct Style. prcscrred tllis scrics models Eigurc a piccc of illustrations which serving may at
religious
upon which to base a system art. In this collection csccpting Alontcrcy, Diego: wcrc the there altar
gathered,
it is believed, R specimen of every \-aricty, San (arloh, iit San Rll(I one probably with
formerly
all of which, trading
of Oriental in the
origin,
Cilrly
bg one of the ships
tllc lhilippincs
days of Spanish ~~11 begin tllc most
wit11 the bencllcs
are among
for the new Mission We observe crudely con in of put
I. is R scat of this character form, constructed
nt Los Angeles. of good
rough uprights together
and horieontals joiner; board sitting
by an unskilled
tlw backsuggcst-
rest and the scat front Figure VIII. Kitchen dresser. made by Mission Indians. at Santa Barbara, before 1620;from drawing by A. F. Harmer to note that the priest
ing the work of Indians.
It is interesting on this bench
SPANISH
MISSIONS
tions, that all attempts made by the Mission Fathers at elaboration or ornament were signal failures, construction and pleasing. Figure Spain. as judged proccedcd Figure Barbara, ish type: IV., a dilapidated is of a tppc chair at San often seen in Juan Bautista, while their were almost efforts in simple good invariahlp
Although from
quite simple, the chair,
b_v its structure and lathe-work, the hand of a well-skilled at Santa in
cabinet Illakcr. Y., from the relic-room an ocrurrencc mingles the Dutch with the Spannot infrequent work, owing to the close
art and handicraft
political and social connections once existing tx+w-Ecnthe peoples of these two widely different
F lXCCS.
Igure VI., a chair at San Buenavcntnra, alin a crude fashion. It is mortised
Figure X.
Entrance door. San Miguel
is built upon sound structural principles, though for
is the Reverend and great,ly in (alifornia,
Fatllcr Adam, nidcly known
esteemed, whose departure
Spain, a few gears since, was much rcgret,tcd where he had been one of the most, zc:~lous workers of the Catholic C.*hurch. Father Adam is hcrc seen holding in his hand one of the old registers (apistrano riod. Figure carvings II. is a simple and well-constrllctcd on the front- sent-hoard It csand I,udwig x-hi& arc not nngraccful. it is Father piccc, tlispla-ying of the San Juan Jlission, bound in the soft leather
peculiar to the convcntnal books of the pe-
ists in the relic-room at SantnBarhara, tl!c priesit sion. Figure da& III. shows a chair preserved which, according
SCiltCd upon
Glauhcr, the present guardian
of the l\Iisat
Santa (lara, a proof,
to t.radition,
Figure XI. Confessional, San Ruenaventura
from the early days.
It is valuable as
cvidcnccd also in the mural decora-
THE
CRAFTSMAN
Figure XII. Pulpit, Sun Uuensrentura and tenoned, namentation rounding Figure early of the posts. VII. is a cupboard forge, at San Juan with the the work to that pieces. I3autista, still bearing Mission the rude hinges of the and carved much superior seen on similar and in there the is an attempt front stretcher, at 0~ the of the Indians at Santa Barbara, from 1824. present Harmer, crepancy this case, The drawing by the article art& and dating Mr. A. F. dis-
was made for the
of the arms, and the terminations
who is now the owner of the piece. examples, will bc noted would between carvings the plain which, in to
Here, as in several preceding outlines and the childish paper than to wood.
utmost skill of the early Fathers; on this piece being which fulfilled for is generally The ornament
be more
appropriate
is here significant vessels. The
of the USC monstrance by a deof Italian, while the
by the cabinet, which is a receptacle surmounted seen in old wood-carvings; or Santiago,
ecclesiastical
EAVING found that
now the furniture in the Missions.
proper, let The first
us pass on to examine other woodwork chosen and it may . be in producing work of this Fathers kept within no delicate door at is a door,
and the chalice appear Life, so frequently
apecunen observed character handling satisfactory numbered
sign which may be a variant of the Tree s panis h and Flemish the cockle-shell traveler among of Spain. Figure 548 VIII.
the hIission h&g
the limits of their capabilities: required results. IX.
of the cornice the Apostles
is the symbol and the patron
in order to attain
of Saint James the Elder,
The entrance
San Luis Obispo is shown in the illustration At this Mission the entire church has been restored out of all rescm-
is a kitchen dresser, the work
SPANISH
MISSIONS days of
the early
Ei~thcrh.
It has sustained
the attack original
of time and \tecather better than It is ornaeach of
most modern work will do, and some of its hinges arc still in use. edges, fastened mented by two rosette-like race-beveled the two divisions; like bosses, tlispo4 of the door. strengthen constructive Eigure being
Fipure X111. Pulpit. S;sn Luis Rey
panels with terupon
these being impaled with

other similar bosses are both
heavy spikes, the heads of which form starwhile ~_vmmetrically throughout Regarded the body
as ornament,
panels and bosses tLre trivial, but, serving to the door, the?; are admissible as a feature. S. is chosen This, from San Miguel. elsewhere, is new, the door only as occurs
Here, also, the frame original.
is a device of a door within a door, the construction But fortunatcseen in this picthe of which may be better understood than through hinges are still in words. It may be aoted by reference to the illustration an explanation tllat here some of the original
blaiirc to its original ly, although
state.
the framework
ture, is new, the door itself dates from
Figure XIV.
Interior of San Antonio de Padua
549
THE
in use, being attached. fully smaller doors. The following which Mexico, illustration, from Number Spain a foot pairs Of $hesc there in Icngth, for the are three the
CRAFTSMAN
pairs
as firmly riveted as when first together use of with three, smaller XI.,
shows a confessional was brought
at San Bucnaventura, through
or e!sc was made in the IilttCr counworkman. Unfortunatcwhich has XII.), bc-
try by a superior hccn subjected greatly A pulpit San Juan tinctive, Catholic
ly, like the church in which it stands, it has to a restoration (Figure marred its original now follows Rautista. just construction character. still in use at in any Roman
ing the original
It is in no wise disas the reredos or the for aught that is rc-
and might be found country,
sldc altars might as well lx located in France or in Lower Canada, vcalcd in their structure. The pulpit., hoaFigure XVI. Wooden candlesticks and crucifix, Santa In&3 cvcr, attains importance from it, seventy-five Father missionary, tive dialects. A second pulpit type cscept commonly churches (Figure f Old -XIII.) in shows a continental sides from the fact that since, a devoted prcachcd the
years Arroyo,
gospel to the Indians
in thirteen of their na-
iInd calls for no special comment,

with the panels and basc-moldby familiarity,
that the corbel with its conical
harmonixcs clucntly
ing of the bos proper. and is alw~~.y5grateful of its symmetrical Pigiirc being twenty Figure XV. Paschal candlestick, Santa Barbara 550 XIY. of the old Missions
This model, so frcto the cyc by reason which no lover without It represents as it stood some
hccn, 10~s nothing
proportions. is a picture can look upon
sensible of its pathos. year5 ago,
the interior of San Antonio,
and when it is compared
with the present state of the place, it awak-
THE
or lectern, at San Juan Bautista, held the pondcrou~ psalter-book, brothers st,ood ahout it chanting small wooden of fine, braided altar, shown pegs inserted
CRAFTSMAN
which once while the the service.
The pages of t,he book wcrc kept in place by into holes and the pegs were hung upon the desk by means catgut. for use on the high S\III.,
ilt
In the missal-stand
in Figure tained in the relic-case have an ingeniously
and conClara, piece we of
Santa
constructed
Figure XXI.
Morablc wooden belfry, Santa Barbara
then the curves of the shoulder itself, on both upper and lower sidrs, were cut with a sharp instrument. ventive
fiLClllty,
The
rcrult
displays
much inof the proves that
and the repetition
device at several of the nlissions its merit was appreciated. At among Santa Barbara, there
is preserved wooden dating
the relics an old procc&onal of the Holy Symbol
cross, having the floriated terminals familiar in esan~ples
Figure XX.
Holy water font, San Miguel
woodwork.
It is formed hinges.
of what appears which open The two pieces in the shoulor It from
to be two pieces of inch-board and shut without of board arc themselves hinged can be opened to the der from upper below. at the angle part of the
der, so that the piece closes up tightly, permitted. sllouldcr was made from a two-inch
board sawed down
above, and up to the lower part of the shoulFive vertical cuts or slits
Figure XXTI. &fc~fmaa or clapper, Santa Bwbarn
were made in the shoulder for the hinges and
SPANISH
the Missions. Mission century strong position. There remain many other uses of wood which might bells once pulpit at acand many other wooden objects be described, hanging at San Santa cording quary tically made which enough Juniper0 as dummies Buenaventura; Clara (which to the original Serra; the Dolores, of and tough The photograph, made nearly seems by a as
MISSIONS
brings us the day and who brings us the
Mr. H. C. Tibbitts service
of San Francisco, shows that after the rawhide
at the
light ; fair is hc and shines with a very great splendor : 0 Lord, he signifies to us thee ! Praised moon, be my Lord for our sister the and for the stars, the which he has for our brother the
as when first put
into
set clear and lovely in heaven. Praised be my Lord wind, and for all creatures. Praised be my Lord who is very serviceable and precious Praised through and clean. for our brother fire, in the be my Lord for our sister water, unto us and humble air and cloud, calms and all life in
such as the wooden the old
in the campanario
weather by the which thou upholdest
has been restored
scheme) ; the reliby Father
case used in processions new Mission from spanned Church original
the altar rail in the pracat Santa Clara, redwood beams and the comrelistructures.
whom thou givest us light and strong. be my Lord forth for
darkness ; and he is bright very mighty Praised
and pleasant and our mother the
the old Mission
But lack of space forbids beli,ef that the Mission ables used or produced gious foundations
this extension furniture of
has been said to make doubtful
earth, the which doth sustain us and keep us, and bringeth divers fruits and flowers of many colors, and grass.. Praised be my Lord for all those who pardon one another for his loves sake, and who endure weakness and tribulation they who peaceably 0 most Highest,
merce bears close relationship
with the mov-
at the Spanish
in California.
; blessed are
shall endure, for thou, for our sister, the which no man walk-
shalt give them a crown. body, from
CANTICLE BY THE WHEN MIAN MOST SAINT HE
OF THE FRANCIS AND LAY
SUN COMPOSED OF GLORY ASSISI ST. TO DAOF GOD,
Praised death sin ! of escapeth.
be my Lord the
HONOR
Woe to him who dieth in mortal will, for the second and give
SICK
AT
Blessed are they who are found
ing by thy most holy high, almighty, good Lord glory, God, to thee belong praise, Praise thanks humility.
death shall have no power to do them harm. ye and bless the Lord, unto him and serve him with great
-l+orn the Life of St. Francis of Awisi, By Paul iSahatier
honor, and all blessing ! Praised be my Lord God with all his creatures, and specially our brother the sun, who
555
THE
THE MISSION AT OF SAN XAVIER, TUCSON, ARIZOBA
CRAFTSMAN
FRANCISCO
A
near
S an example differing mens church of
of Mission
architecture, the
somewhat from the spcciin California, is hcrc San Francisco Xavier, presented. that
existing Arizona,
Tucson,
The photographs by a traveler, int,crcsting principal
were made some time since t.o show the many Rut the with suffithe faqadc, is clearly SW the wall which prois furnished of the Moorish with a recalling the barbacans, strucacof and nament, and justifying Palladian; the elaboration pedior-
and it is to bc regretted
they arc too small fully features
details of the building. arc rendered
cient clearness to make easy the study which t.hey merit, the t.wo. In this we plainly tects the faqade gateway dccorativc or advanced The portal centuating, and as offering in perspective such features, is the better of the illustration of that compartment. The arched doorway while the high of
ment, with its broken arch and elaborate is a near relative shell of r latest Spanish buildings Ihc pilgrim
those of the the Elder from the
of the Netherlands. St. James
entrances proper
tures in Spain. is also interesting, third as it does, the central
adds also a detail seldom omitted older architecture commemorate Way ever it is possible, The lateral their favorite
of a people who delight to apostle whenand see cvcn in the Milky poverty of
the tail of his white charger. walls have that of buildings further sug-
windows which is characteristic in hot countries, wide balconies and open-work, origin,
and the towers, with their at the same time twisted of
gest tlicir soutllcrn into &nascence Gothic Finally
that their flying tmttrcsscs, although con+uction. tllc dome and domical
scrolls, show a principle
roof af the features at ,
tower wit11 its lantern arc essential
of the style which, rising with St. Peters

Mission of San Francisco Facade Xavier. Tucson. Arizona,
Rome, was carried by the Jesuit, missionaries I. s. to the two Americas.
THE
THE ARCHITECT SHOULD BE ARTIST. BY IRENE BY J. TORRES FROM THE SARGENT.
ARCHITECT
AN from the human mind, some day a philosopher, on seeing arise in the solitudes of Memphis three great pyramids guarded by a sphinx, would divine the existence of a religious and servile people, ruled by mysticism, fixed in their ideas and full of faith in the immortality of thesoul. Through the meaning of these symbolic monuments, he might, perhaps, succeed in reconstructing ancient Egypt, in discovering its customs and even its thoughts. If Greece vere an unknown or forgotten country, some day an artist, coming upon a column from the Propykea, a fragment of a Phidian marble, a coin or vase of the period of Alexander the Great, would understand that in those places there had existed a great nation possessing delicate sensibilities, pure taste and exquisite grace, point of making who had elevated the cult of the beautiful to the mortals divine and of bringing the gods down to earth. All civilized nations have felt that their glory would be acquired through the works of the poet and the architect, through those Therefore, of the sculptor and the painter.
PALOMAR. SPANISH
TRANSLATED
EDITORS NOTE : As following a somewhat
unusual line of argument, interesting to the thoughtful
the reflections reader. The
upon the building art here printed, will prove author of the article is a Mexican civil engineer and architect, who, beyond his tetihnical training, possesses a knowledge, not only of the history of Greek philosophy, but also of the forms of thought and expression peculiar to that system. It is further to be noted as worthy of comment that Sefior Palomar, although surrounded, as a Mexican, by the traditions of the Spanish art of the Renascence, has turned from that florid style to admire and advocate simplicity. He thus adds one more to the manifold proofs against the narrow belief that the Latin races can not be freed from a voluntary slavery to their own past.
Tafter nothing
0 form an idea of the importance of the arts, it will suffice to imagine what the great nations of the world would become, if they should
no nations have existed who have not honored their artists ; as if they had recognized in them the future witnesses of their grandeur. In the primitive East, in the valley of the Nile, art accompanied the highest religious functions : the sculptor was venerated equally with the chief priest. In Greece, the fable of Prometheus stealing the Divine So, it Fire with which to animate clay, symbolizes clearly the divine origin of the arts. of philosophers-the Among is not a subject of surprise that the wisest was a sculptor Graces. master of Platoand modeled the Three the Greeks, a profound
557
suppress from their history the monuments which they have raised to their faiths, and the works upon which they have left the stamp of their genius. People are like men : them their death there remains of
save the things which have ema-
nated from their spirit.
That is to say: science, literature arid art: poems in verse, If Egypt were unknown, if the memory of .that country were completely effaced
poems in stone, or in color.
THE
CRAFTSI\/IAN
The work of art is a creation, because by penetrating through into the essence of things the _ to the their outward appearances,
sentiment of respect was mingled with the *memory of Phidias, and the descendants of that great man held the hereditary office of showing foreigners the workshop in which he had carved his Jupiter Olympus. The city of Pergamos, in Mysia, bought with the public funds a ruined palace, in order to preserve certain of its walls which had been decorated by Apelles. The inhabitants of the same city caused the remains of the illustrious painter to be suspended for public veneration in a net woven from gold. Less refined than the Greeks, the Romans, without doubt, inherited from great respect for artists. them their relates Cicero
artist produces beings conformable sides in them. Therefore,
vital essence, to the creative idea which reif the artist creWhy should ates, he should be free, he should follow the flight of his own inspiration. spirit of another? inspiration, not his hand be cold, if obliged to obeythe With what, if not with shall he replace the close har-
mony which Nature has established between the soul and the body: in other words, the _ life of his works? Thus, art is free, absolute, and it should not be confounded with the agreeable, because it will then lose its liberty and will be no more than an obedient slave. It is true that art pleases us, that it constitutes the charm and grace of life ;-but its object, its destiny, isnot merely to please us. It would be folly to demand that art, of beauty, that is to say, the revelation
that Selius Fabius, who counted among his relatives so many consuls, and so many generals who had received the honor of a triumph, desired to sign his name to the pictures which he himself painted in the Temple of Health, and called himself Fabius Pictor. Finally, in modern times, the haughtiest of the emperors of Germany,
Charles V., who united in himself Teutonic pride with Castilian dignity, pronounced the famous sentence: Titian deserves to be served by Caesar.
should be subject to all the changes of the day and hour; for that beauty which contains the divine, which makes manifest the immortal idea, would then be simply the toy of our changeful sensations. He who might admire it to-day, might despise it tomorrow, and every one being able to judge it through his personal impressions, it would become more changeful than fancy, and less durable than fashion itself. A single man would have the right to proclaim t.o be beautiful that which the entire human race might regard as ugly, and then the old adage would appear just : Concerning tastes there can be no dispute,-a saying which
S art a mere pastime, a relaxation of the spirit, a manner of embellishing life? No, its aim is a higher one ; it is more It is the duty of the artist to bring beauty
noble.
the ideal within our reach; that is to say: to reveal to us the primitive, original of life and of things. The concepts which
Nature presents to us under a confused and obscured form, art defines and illumines. The beauties of Nature are subject to the action of time and to the law of universal destruction: art raises them and frees them from time and death. 568 ..
is altogether false when applied to the arts of design, and which expresses a fatal error productive of anarchy in the dominion of mind. Would genius cease to bc free, if it
THE
should obey its own laws?
ARCiIITECT
himself and measured them. space, he invented geometry; time, he invented numbers. By measuring by measuring And these two
But what is genius if not the rapid intuition of the higher laws? These laws the philosopher is Such is his right. permitted to understand. adapted to the idea.
great accomplishments of his intellect, from the moment when sentiment came to animate them, were converted into the two greatest arts : architecture and music. These two primary and universal arts are the parents of all the others. Born at the same time, they hold toward each other the intimate relations which always exist between twin .beings. One is more spiritual, Architecture has the other more material.
It is for him to decide whether .the form is Beside, whatever may and in order to be the variety of forms, there is always one which is the most perfect, son as its assistant. The beautiful is not merely that which-is pleasing. Many things are agreeable without possessing beauty. The pleasures of the table, for example, as Socrates observed to Hippias : Can they be called beautiful? All nations find tea and coffee pleasant, but for that reason do these substances possess any element of beauty? The sentiment of the beautiful is innate in man, but- it is present within him in the state of an .obscure reminiscence, as if. he had brought it from a pre-existent world in which he lived under other conditions. This feeling must have been awakened in the human being by the contemplation universe, when he, more powerful of the indeed know it, the perception of genius takes rea-
been called. the music of symmetrically ordered space ; music, with equal justice; may be named the architecture of sound. The fable of Amphion building the walls of Thebes to the chords of his lyre, typifies the sisterhood of these arts. So also, that legend from the life of Pythagoras, which relates that the philosopher, having heard,successively the sounds produced by three hammers upon ,an anvil, was delighted by the different notes and caused the hammers to be weighed. He thus found in the proportions of their weights the proportions of the sounds which they produced: thence he deduced from the laws of gravity the secrets of a universal harmony. In the beginnings of society, architecture was regarded as a creation which should enter into competition with Nature and reproduce aspects. condition her most imposing Mystery of architectural and terrible So was then the essential eloquence.
than Nature, could contemplate her and discover her charms. Without doubt, art had its beginnings analogy. in a certain impulse to imitate, but the imitation was remote, a pure Man seeking to reproduce or to represent in his own manner the universe which awakened his wonder and admiration, sought at once to create for himself an artificial world. It is true indeed that every phenomenon of creation is compassed about by space, and is prolonged through time. But man, not being able ,to embrace either space, which is without limit, or time, which is without end, set boun.daries to these ideas, fitted them to
considered, architecture aims at no final obj ect, reveals no precise intention. It merely symbolizes the obscure thought of an entire people and not the clear will of an individual of a certain class. If a man lived isolated in the desert and
559
THE
CRAFTSMAN
other beauties in exchange? What would be our fate, if to the right of construction and of limiting, there should be added the power of afflicting our eyes with the image of ugliness? The caprice of a single man could then condemn ourselves and our children to suffer a continuous torment through the forced .contemplation of deformities in carved stone. But no ! organized humanity can not permit it : the respect which is owed to society, forces the builder to be an architect, an artist; thus erecting the cult of the beautiful into a distinct and imperative duty. In ancient times, the care. of providing for the beauty of edifices was a much-envied magistracy. In the same way that the police force of our modern cities protects us from the annoyance of excessive noise in the public thoroughfares, tiquity protected so the aedile of anthe eyes of the citizens
had the power in himself to erect buildings, he would be free to make them singular, ugly, even grotesque, since they would please the eyes of the constructor only and would not offend those of others. But from the moment when man, understanding his weakness in isolation, founds society, from the moment when society occupies a certain extent of the earths surface bounded by mountains, rivers, or seas, the right to erect buildings can not be separated from the duty of erecting Every those tihich shall be beautiful. edifice intercepts the air which we of the globe
breathe, the light by which we see and are warmed ; it covers a fraction upon which our existence is passed. It is, therefore, just that we should at least compensate ourselves by beauty for the benefits Should we obstruct the circulation of air, compress it, rob ourselves of the sunlight, without any compensation? Should we cut off the sight of the sky, of the beauties of the landscape, of the horizon of the sea, of all the beauties of Nature, without gaining for ourselves of which we deprive ourselves.
against the ugliness of architecture, and in this way invested the cause of beauty with the majesty of the law.
.,
560
~C70RI< OF ANTHONY
THE WILL WORK OF ANTHONY SMEDLEY H. BY
H. EUWER
EUWER-AN
APPRECIATION.
LARRYMORE
T is not my intention in treating my present subject to be analytical, but rather to bring more prominently before the public, work of merit which
deserves much praise : the work of one whose
are not actuated by any artistic impulseas all good work must be, whether conventional or otherwise-but who are straining every nerve and muscle to reach the limits of the unusual. This is not true of Mr.
sincere and indefatigable
energy has won
for him an enviable success. To assemble numerous lines and surfaces in a mass that resembles a picture puzzle, is one thing; to make a real bookplate is another. An indiscriminate mixture of freehand geometry, conforming more or less to prescribed conventional forms cannot necesIt might more sarily be termed a design. properly be called a carefully planned accident. The truth of this statement is easily proven by the fact that much is done in the way of so-called design by many who
561
THE
Euwcrs own idea has had fret been compr&nsive itself. Simplicit_v fof play,
CRAFTSMAN
work, for in every case in which his the result has and effectual ; the aris a rare careful quality, thought, and and
tistic in each case, being able to take care of only a skilful siasm only) hqnd, a capacity color, (not enthuarc capable
an intuitive sense of the artistic,
arms, that
this could
be used incidentally Rut here two difficul-
with excellent effect. desire so much ness advertisement of
ties present themselves : some persons would their occupation to be shown that the plate would be a purely busi-
; while others would insist

thus making the
on the coat of arms only;
ok creating Turning plate should, so fortunate
from
a chaos of material
a dein
sign that,shall
show beaut=y and proportion. bookthe nacoat of
more dircct.ly to the subject in some way, indicate as to possess a genuine
hand, one would think that the id&l ture of the owners occupation
and, if he be
WORK
OF AWIHOXY
object.
H. IXUTVER
The personal taste of the prospart
pective owner should play the principal Although armorial modern contains the bookplate
in the matter of the material to be used. was, originally, subSect to a and in character, designer, have a coat of arms itself tempting
is not an especially
since the devices which it significance
a definite
family
virtue appear However,
vulgar
by its constant is not our
rccurrencc.
dictation
must be used unaltered, its intrinsic value; strictly
in order to preserve the artist must forms in working that arms may place in the genplate, in being too enter harmo-
thus
adhere to certain However,
out his design.
be made to take a fitting which niously evident. sixteenth the armorial The fact
eral schcmc is proven in the Abbott bearings into the design, century, without
that there was, in the an eminent divine of this

563
THE
name, who was an ancestor owner, gives rise to a slight border plate, formed play
CRAFTSMAN
on the
of the present
word, and the whole idea is well bound with an appropriate arch. In the Heinz very effective obtrude ing. ment Titian plate but involved also itself, very agreeable Margaret of of there seems to have which resulted the of interior in a The border does not has the and the In the there cranes is of been an understanding design. while by a Gothic
effect of an old wood engravJohn Fremont Steel, we have an ornadignity Crane of surrounding Woods the St. Christopher.
In the plate Magee quiet
masterpiece, Lawrence not only the
the name of the owner,
legend
Ibycus, motto
as recalled lend itself
by
the
Greek to
motto: pictorial
ITOL 77 d~;VWp treatment.
Not often does a name or so happily
In the Dana plate I am sure that is an engineer, and,
the artist did not have entirely his own way. The owner apparently as science deals with things art with relative appearances, ficient occasion for trouble. involved the several convince artistic and ,a bulls objects as they are, and there was sufA glance is enough of at to
that a railroad possibilities
bridge,
a transit, great cle-
head are not things
; still,
the several
ments have grown expect; jarring variety

664
into their places, and the head remaining the one by a
result is much better than one could, at first, the bulls note which is not overcome
of good pen work on the rest of the
WORK
OF ANTHONY
beth They ment,
H. XUWER
Bergcr and Daniel Putnam a very Brinley. pleasing is no part are similar subjects, and yet possessing similar in treat-
difference : a proof of Mr. Euwcrs of
that monotony
work, and also of the conis an essential element Bangs, style. n-e The
verse that spontaneity

sLlccess. In the
plate of John Rendrick of delightful the Benascence in
have a design
SOlllCW~lliLt
bookish
flavor,
whole idea is agreeably
balanced
and sug-
gests a place in which to spend a comfortable time with ones own books. sition is strong quality The lettered, is good, other The compoin value and the decorative without being overdone. which have not been latest and and eseplates,
are a few of the artists
best works ; being so well composed plate. The plates of Philo Nelson French and the latter of Mary will bear more Chatessary. The originals
cuted as to make comment upon them unnecof the Sunlit Tower are done and Clara FTinters are good studies in relative values, than a second glance. In the plate scheme, Effingham field, an unhampered a pleasant and somewhat pictorial relation exists between The and of and the Maiden with the Mandolin
the body of the plate and the border. little princess the wonderful tance. later This ones, book to dream of a gallant plate, including The with knight,
of the wood has laid aside her castle, as suggested The in the disand The and
as well as some of the Princess border, Stork Maiden,
Peacocks,? the Girl
Sunlit Tower
with its dragon the Mandolin,
are truly in the Car-
chateaux
en Espagne.
A note of humor is introduced
ter plate, in which the old man unconsciously grips the stein as he reads, with a thought perhaps of the jug behind the chair. Of quite another type are the plates of Eliza565
THE
CRXkTS31AN
an ade-
in O~XL~UC
water color, and to convey
quatc idea of the color schcmc would be quite impossit)le. These newer designs hear evidence of entire originality:
that is, they do ; the
not appear to be linmperccl by suggestions, or dictations from a possible purcl~uscr conception limitations. In all the
WZCOlllpilll~illg
being
free
to dcvclop
without the
illustrations
decorative treatment is prominent the harmony of Icttering.
in combi-
nation with actual facts, as will be seen by Good lett&ig is at a premium and hundreds of otherwise good drawings, in every brancll of the art, arc ruinetl by letters which llaw been simply
applied,
iustcad of having grown, ns a part
of t11e \v1101e. A rkxiiii6 of Mr. Euwers work would not 1~2complete by half without mention of his wrsatility as it writer. Numerous periodstyle he icals have been much the richer by contributions from his pen, :wd, in whatewr cliooses to write, lie is equally b*tiickct,y Rimes and Rigmaro over his signature I~x~unc so popular ;host lady. page reads : last scar, successful. is the title of and at once on the title
a book of nonsense verse which appeared that a second edition is
The inscription
WORK
OF
ANTHONY
The from
H.
EUWER
of to the book cover. In no better are fascinating nonsense work, verse and the
contents cover
there is certainly drawings
are admirably
suited to the text.
To write verse that shall be pure nonsense, requires a gift Euwers of rare ability ; mere foolishshows its color. The ness in rhyme is not nonsense, and here Mr. originality little volume is full of new words coined for the purpose, first glance. !The Genius,. and through the whole work invisible at runs a tiny vein of philosophy
This is felt by,a bit of prose: a satire not altogether The Jorikey curiosity. genGirasare of certain form of art prevaNebulous Nocturne Several
tle, c0nccrning.a
lent. in this country.
ticutus
titles
and A which
arouse
these drawings The charming Ballad
are herewith-appended. of Purple Land, a phanpoem,
tasy in two parts, is a more ambitious throughout with
characteristic
Rick-e-ty
Rimes
BY
and Rig-ma-ro -H. E@WER
A,VTHONY
Fools, Philosophers and Free Thinkers being a Ihan-tas-ma-gor-i-cal Bi-car-bon-at-ed PICTORIAL Con-glom-er-at-ion Som-nam-bu-lisms PERPETRATIONS
BY THE
of
ACTHOR
E8 pwhy
stuf, this jwinted guff, We grlltlgingly concedeit ; The meter leaka, the rythenz rake, Its crippled feet impede it. Ant1 yrt for thore whod tlrom their mc Ilinmy prove n etoeel narcotic, Jltho tie plain, that in thk nl&, Ilhe wholo things idiotic.
667
THE
CRAFTSMAK
The Jorikey
Girmticntus
from Rickety
Rimes
The IX&rim
from Rickety
Rims
and show a fine conformity the work. cshibited in Washington,
with the text of have been PittsBrooklyn, screen.
Many of the originals
burg and New York, As a last word, sire opportunity drawings wishes and most vigor, of
and three of them have it may be said that the studying that conventional he in for freshness or
been utilized in an effective
writer of this paper has had long and estenof all kinds, nhcthcr and, in passing, in illustration with any design working results
to acknowledge
bookplate, ductions
Mr. E:uwers work will stand the comparison Every proof his it out is not are a of its class.
favorable
has its r&on decoration. healthy types personal which
ddtre, andin
Therefore, fulfil all his
he has held to the idea that vivisection sign of individual
effort to produce without
conditions,
sacrifice of artistic inspiration.
A Nebulous
from Ricirety Rimes Nocturne, leaves It one to meditate will bear on
imagery present
which
other things
than the fleeting
show of our reading with tinged
existence.
more than once, and, although an echo of regret, The accompanying it contains drawings
no pessimism. are exquisite,

Dawn by +nthony H. Enwer
569
THE
A LABOR MUSEUM. WASHBURNE BY FOSTER
CRAFTSMAX
us, and, crossing and meta the alley, we opened the door upon the humming appearance, for the lumber, heavy much activity than of the wood a museum. one wall, tables, the
MARION
S
Babel, cago, almost
shops ; for a shop this room is in more the swinging.rack work
TEADFAST dustrial genius lish tongue
amidst the clash of inwarfare, true to the Engbetter midst of a modern and Chia of and and the English
The big beams overhead, benches and
the tool cases lining
in the
clean and wholesome serene among Hull-House. mansion in the very stands
on the edge of sweat-shops Originally,
vises, the mallets, the enameling furnaces,
and glazing
the Ghetto, saloons,
the sheets of cut and bent copper,
center of toiling in the environs
the big jar for the acid bath, with a heap of sawdust beside it on which to wipe stained fingers, the battered table with a blow-pipe blue and yellow flames: in a cergeneral where the candleA The jars, at one end, spitting tain grim
fine old family the young a city,
it is now surrounded related
well nigh buried out of sight by a group-clutter-of buildings, In the Labor a long tunnelone the springing Museum, out of it like wings and tail. the fan-tail-is which I am going leading to tell about.
all make up an interior not lacking picturesqueness. jugs, tone is brown, sticksnnd with a little relief
one of these-in
cases of made articles: eled metal shine against few pictures running persist around
lanterns, vases and boxes of enamthe brown walls. high up on the shelf
We came upon it through like passage wall of engine ness-like colored opened except Across labor It was evening, room, place,
under the main housh. looked down Even into
and the windows lining filled with apparatus. WC noticed, dynamos
the room, as an earnest of
the passage
and the this busitwo
steam heating
contained
lithographs at the far by
in cheerful end upon from there a in.
gilt frames. unlit house. of the
The passage-way,
with its walls staiged red, an alley the windows
reflections and
it, shone the lighted museum, pushing backs clad were looking each and shoulders
half-dozen Swearing, using each vanthey alley workand
street urchins twisting, others
other,
to obtain
tage-ground, looked shops peace. They

NO
in nondescript from the
clothes, cold
rough in manner, and of many nations, in longingly which where they lived, upon thcsc glorified promised pleasantness
slunk out of sight
when they saw
A pupil at the Hull-Howe
Labor Museum
A LABOR
good intention. play, undoubtedly, Some day, pictures will as important a part in
MU-SEUM
and is now in a fair way to master a paying and progressive trade. He and his companions at the Museum sell the product of : their labor, and it is for, this purpose that it is on exhibition in the cases. A small percentage of the selling price is returned to
the decoration of this room as they do in the other rooms presently to be described. In deed, th e pamtmg classes of Hull-House have already planned to place a frieze here, illustrating the history of wood, from the, primeval forest to .its use in manufacture. The place is filled with .clamorous noise : the beating of copper, the gasping of blowpipes, the pounding.of hammers, the rough
( the House,. although it is not as yet nearly; enough to pay for the cost of the ~mat,erial i and the use of the machinery. The sale of : the work is encouraged more to, hold the in- i terest of the boys and to stimulate them to i better craftsmanship reason.. : ( than for any other i
rasp of saws, the swish of planes; and the calls of the workers. The teaihers _alone , j and. the bewildered .I visitors are silent,. moving. from group to, igroup ; some _directing
When we first saw them, these boys were I making sleds to be, ready for the ,earliest i*
tries to explain to us what he, is doing and still more what he hopes to do. ; The work in, the shops- saves-some boys from clerkships, he s,ays. It is lt small at-
mans He is .;: blouse, seems tobe .in charge. young. Col.oross~i+.welearn, nephew of the famous _. head .,., of -the art school of the same Paris, .name ,. At the top of his lungs he ,;* . in
from , the way 1 and others trying to. comprehend this mani- j snow-fall. -It was. evident 1. -. A young man withs long,: they handled the tools thatthey were,newi fold activity: workers ; nevertheless the I,sleds, made of : dark, Italian face; and dressed in a work,. rather heavy lumb_er, looked serviceable and i _,. j notat all amateurish. j .:. I , .I_ The dire& object, of such training may I
not be obvious to the casual observer; for it 1 is plain that the boys have not time in these.; few hours of work a week to master even the; What does! beginnings of good carpentry. take place,is what the visitor cannot-s&?, al-l though himself. he may afterwards experience it an It is a change of mental attitude.
tempt to stem the current steadily setting toward the cities and the work of the middlemen, and away from the industries and constructive hand-work. Numbers of his office-boys, and depupils are errand-boys,
The Museum stands for just this-for
attempt to change the common desire to make money into a desire to make useful things and to make them well. Moreover, because it is not immediately calculable, one must not underrate the practical advantage to the world at large of boys trained even to a slight understanding of mechanical possibilities. We may well remember that in the earliest steam engines a boy had to be at hand to open the steam valve at each stroke of the piston, and that it was one of them who, becoming tired of this monotoI 671 ,
livery-boys, who are earning a precarious living and learning very little which can permanently benefit them. They come here Saturday evenings and work ; they learn to design a little; they gain some idea of a genuine beauty not based upon display ; and they acquire a respect for good workmanshjp and good workmen. One of them recently gave up his place as office-boy, became apprenticed to a skilled metal worker, \
THECRAFTSMAN
Cooking room, Hull-Howe.
Labor Museum
nous task and wishing to run away to play, finally managed to connect the valve with Who could have the rest of the machinery. foretold what this touch of mechanical genius was to mean to the world? But still, we do not see what it is that makes this a Museum. What is it more , than a series of manual training shops? True, the groups of onlookers mark a characteristic difference. It is true also that ladies and gentlemen work here side by side with these neighborhood boys ; but this may mean only that the manual training school has here been extended to embrace pupils of all ages and of all stages of ignorance-
conventional,
slum ignorance.
polite- ignorance, as well as And indeed, we shall find
little in this room to declare to us the general object of the museum, which is to throw the light of history and of art upon modern industries. The historical object it has in common with all museums; the artistic object it possesses in common with all arts and crafts workshops ; but the combination of the two ideals, and the concrete expression of them in the midst of a foreign population largely wrenched away from its hereditary occupations, is peculiar to Hull-House. As the curator, Miss Luther, explains, the word museum was purposely used in prefer-
A LABOR
ence to the word school, both because the latter is distasteful to grown-up people from its association with childish tasks, and because the word museum still retains some fascination of the show. It may be easily observed that the spot which attracts_ most people at any exhibition, or fair, is the one where something is being done. polishing So trivial a thing as a girl cleaning gloves, or a man metal, will almost inevitably attract a crowd, who look on with absorbed intreerest. It was believed fhat the actual carrying forward of industrial processes, and the fact that the explanation of each process, or period, is complete in itself; would tend to make the teaching dramatic, and to overcome in a measure the disadvantage of irregular attendance. It was further believed, although perhaps it is difficult to demonstrate, that when the materials of daily life and contact remind the student of the subject of his lesson and its connections, it would hold his interest and feed his thought as abstract and unconnected study utterly fails to do. A constant effort, therefore, was made to keep the museum a labor museum in contradistinction to a commercial museum. . Miss Addams, the founder and Head Resident of Hull-House, in trying to give an idea of how the thought of such a museum originated, reminds us that, in the better type of progressive schools, representations of these activities are put before the children in more or less adequate forms, and that they are encouraged to do a little weaving, a little wood-working, a little cooking, a little sewing as a means of grasping in miniature the great industrial world. But here, among her own neighbors, she finds the skilled craftsmen of the old world, who do
MUSEUM
not need to be taught to do any. of these things, but who have been thrown out of their environment and who are too often despised by their own children because they cannot speak good English, or quickly adapt themselves to our alien civilization. She proposed to set them in an artificiallycreated industrial environment, which would make plain to themselves, to their children, and to the casual sight-seer, the truesimportance and dignity of their labor. This she ,has been able to compass, of course, only in a few instances, but these are concrete instances and they speak with the tongues of men and angels. Standing here, we recognize that the commercial custom of rating a laborer at what you can buy or rent him for, is as low, as inadequate a measure of a human being as could well be devised. Before it the inventiveness of the worker, his joy in his work, and consequently his best capacity for work, disappear. As Ruskin and Morris have shrieked in our ears, he who tends a machine all his life and is treated like a machine, being made to work when profits are high, and allowed to rust in creaking desuetude when profits are low, tends to become himself a machine, grows less and less human. Perhaps it is true, as some of the modern reformers tell us, that the tendency of our present civilization is to emphasize moneymaking devices and to neglect humanity. Here, at any rate, in these few rooms, is an . attempt to substitute Renascence and mediaeval ideals of industry, or the better .part of them, for that Puritan utilitarianism which crushed them out, and which we seem to have retained, without holding on to its compensating religiousness. I But to return to the actual thing : here in *
673
THE
the alcove rooms is a big vat of clay, a couple ters wheels, and a case of admirably eled, glazed, and decorated pottery.
CRAFTSMAN
such as Watt, was a jewelers who made instruments, Fulton, apprentice, and hundreds Stewho of of p.otmodStandphenson, who was a brakesman,
of the wood and metal working
others, whose names are unhonored, fruit of their labors not unknown, real makers of modern civilization. The old potter has clapped go into the next little room, shop. type here beyond for the hand-press, setting,
but the were the
ing at the table is a clean old German kneading clay, his squat, bowed legs far apart, his body rods. breaks leaning forward, his long and powercylinder into and ful arms beating it off upon the clay like piston exactitude a half
another lump the printingthe cases of the
of clay upon the wheel, but we pass him, and There is not so very much to be seen hand the examples block printing, and the Icelmscott Library, upon framed Chaurephangs the
He rolls it into a long with
dozen little lumps. the room, walking trade, conformed
As he carries it across with a side-wise straddle, to his wheel. Upon this
one sees that he is bent and twisted by his he slaps his clay, and thrusting leg, sets it whirling. E,e folds rounded, His hands almost his hands, smoothed, open, that prayerful out a short from
the wall of old-fashioned illuminated pages cer. from manuscripts, the beautiful
Above the rough lump and, in a minute, the clay work and slightly through emerges hollowed. in; one his skilful
A good copy <of John W. Alexanders the evolution Nordfeldts through which of the book, Wave, showing
frieze from the Congressional resenting upon.one prints, stages
seclusion,
wall, and below it is a series of four a colored wood-cut of in-
his thumbs
sees him think
thumbs and forefingers close together Like some mystery
: the other fingers lie

nature, Look the at
must pass in order to reach completion. This room brings to us no such feeling surprise strument libraries upon as do the others; of progress. for granted, perhaps the book is, in fact, a fairly expect socialized because
and he moves the four as one. af organic
clay rises, bends, becomes a vase. that thing forgetting the crowd of onlookers.
grow ! an excited ,boy exclaims, See it, strad-
We take our public to find books table, and our legislatof the State: we reflect upon a prethese who lit by brooms by
see it ! The old potter rises, lifts the vase in his mitten-like dling sideways, hands and, bending, his face unmoved, I wonder. at home carries it My heart They
every cottage
ors even go so far as to buy them wholesale for the school-children posterous little things, the procedure, As surprise. Individualist but one which excites story of
tenderly to its place. Looking aches. My at him, flower-pots made by
we are reminded of Webbs Town
such as he, gain a new significance. are no longer The rough, mere receptacles theroots earth and guarding
Counsellor, pavement,
for holding of my plants.
walked along the municipal municipal and with municipal the town-clock his children school coming water, from
gas, cleaned by municipal
red surface
of them is written nature, human
and, seeing the
all over with the records of human patience, human says cooperation with hopes and fears. I remember us that what Smiles craftsmen,
that he was too early to meet municipal asylum lunatic
hard by the county hospital,
when he reminds
and the municipal
used a national
574
A LABOR
telegraph through municipal art gallery,
intclldd
MUSEUM
lose in beans, eggs. In turn danger with of regarding our stomachs pictures and marin the colwith an uncomfortable relief which show the planting, keting of food-stuffs, butter degree of awe, we and the mineral matter in
system
to tell them not to walk park, but to come by to meet him in a by the municipal where he his nest townof canals the national
the municipal reading-room, to consult
the municipal
tram-way,
museum and library, some of in order to prepare
to the series of reaping, and rejoice
publications,
speech to be given
in the municipal
ored panel in which a Dutch woman is taking and milk to market in a row-boat, past a big windmill mills in the distance, yellow glow. board -modern with many other windand all in a generous,
hall in favor of the nationalization and the increase of government the railway ?3ocialism, a practical ities !z socialists, fetched system. Sir ! exclaimed
control over this unobabsurd-
Here is a fine old carved sidc-
servant gcnt.lcman,
dont
waste the time of
with more blue and white china on it blue and white, alas ! and not half
man by your fantastical
We are not at all sure that we are any more than he was, but here, in it does not seem such a farthrough to the cookingpossibility. is rather empty, just now, for no on, but the room itself is inandirons and crane. a copper tea-kcttlc, copper kcttles it., In one corner is a big brick firc-
this book-room,
WC must hurry
100111. It
work is going teresting. Prom
I)lace with old-fashioned this latter hangs Rrass
and below it is set an old-fashioned fire-pot. porringcrs and stand on the shelf above. scat to the right, covered with a blue and
A low windoww1lit.e homespun days, and make cider in this piclittle painted set out
and a big table before
cloth, make one wish that one could go back at, once. to the old colonial apple dowdy and mulled place. A ture-hooky
dear
dresser stands nest the window-scat, with old blue and white china; rupt Here modern laboratory samples which hangs
bpt an abbeside it.
not,e is struck by the case of scaled, show-
arc bottles hermetically
ing the amount of water in a pound of potatoes, the fat in a pound of butter, the proMrs. Sweeney,the scrub woman 575 t&l in cheese, the starch in wheat, the cellu-
THE
so pretty as the old kind.
CRAFTSMAN
ment being niade. It is spun and woven But, even at this here and sold at prices varying at from two to five dollars the yard.. price, so heavy is the cost of the raw material, of the labor, and of the cleaning and dyeing, cially that the industry is not commersuccessful. Perhaps it might be
And here, shel-
tered from dust, behind glass, are sheaves of corn, wheat, sugar-cane, oats, all manner of grains ; farther on, we see stones used by the Indians for grinding a picture, them. corn, and above them squaw using the middle of the showing a young
Down through
room stretch long, ugly, but useful, modern demonstration tables with their gas-jets for cooking, their central rack for utensils, and behind them rows of yellow bowls and We sigh as we look and kitchen crockery. consider how little we know even of these foods upon which we live. We civilized men and women, complains Kropotkinand suddenly his complaint seems not at all unreasonable-know everything, we have settled opinions upon everything, we take an interest in everything. We only know nothing about whence the bread comes which we eat, even though we pretend to know something about that subject as well; we do not know how it is grown, what pains it costs to those who grow it, what is being done to reduce their pains, what sort of feeders of our grand selves these men are. . . . We are more ignorant than savages in .&is respect, and we prevent our children from obtaining this sort of knowledge, even those of our children who would prefer it to the heaps of useless stuff with which they are crammed at school. But the next room, whirring with industry, induces usto yet another state of humility. It is a big room facing north, filled with a rich exhibit of textiles, largely loaned from the Field Columbian Museum. Great looms fill much of its floor space : a Jacquard loom with a piece of ingrain carpet on it; electric and fly-shuttle looms; a colonial loom on which homespun cloth is this mo576
made so, but this is not the concern of the Museum. It sells things, but its motive for b,eing is not the desire to sell profitably. Nevertheless, there is a case full of work done here and for sale to the public. It contains hand-weaves baskets. of all sorts: rugs, towels, laces, embroideries, open-work, and The curator assures us that already the demand for pottery, metal work, wood-work and textiles far exceeds the capacity of the various workers to fill the or ders. Above this show-case hangs a large engraving of Millets Spinner, trates, among other things, which illusthe earliest There is a method of spinning in France. smaller picture of another Spinner, in the painters later and better manner, and a group of other pictures, representing spinning and weaving in all stages of development, under all skies, and with the workers costumed after all manner of national fashions. Mrs. Sweeney, a neighborhood woman, employed in keeping the museum clean, rolls her bare arms in her little red shoulder shawl and examines the pictures with me. This is an Irish lady spinnin, annyhow, she explains, pointing with a soaked Shure, Id know her, big or forefinger. little, in all the worrld. Perhaps she overlooks a little the Kentucky spinners, whose picture hangs next, and disregards their blue and white quilt,
A LABOR
which n1akes a background for the pictures ;
MUSEUM
11ideous basket nose, which bulks darkling an eastern placed window, We a monunicnt to act.ivity. in mis-
but, at least, she has seen the work of her

own people under a new aspect : that is, with some hist,orical perspect,ive. Here is a large wall case containing West stands check next by jowl. A stocking Navloom and :~jo and Hindu handlooms : the East and the and bits of rare brocade
arc relieved to learn friend cos-
that it is here because a Scandinavian of the House crouches himiped against ingenious. Equally hand-loom, brings to ingenious, wrought tunic for his son. beside and the
made it as a masquerade window, a an
At any rate, the figure anomaly warning plain
hideous,
embroidery Germany tiful Nuremberg Venetian
cover all available of the seventeenth embroideries Italian and
wall spaces. beauall
things which arc nlerely curious and but not merely so, is model of a Japanese cosThis
There are embroideries Norwegian
in gold and silk from century, and fringes, serapes, century, and even is an of
this carefully
embroideries,
with the worker in national mind an unworked-out
manner of modern weaves, Mexican velvets from the fifteenth in gold, fragment spinning background, of resplendent a framed old Syrian
tume seat.ed upon his bencl1 before it.
idea of
red, green and yellow, mummy-wrapping. of collision, A woman
Miss L4ddams ; : she hopes sometime to have the living workers in the Nuseun1 dressed in and historic ear-rings costunle, as they woman, against twirlswinging This Italian neck, patiently hanging tl1eir national with big gold
upon a cloth-of-gold
On a slielf, out of danger the neigl1borhood, would appreciate for two it. hundred finding
go about their work. her dark and scrawny ing the hand spindle and skilfully out the idea. drawing But with her long fingers,
wheel.
that the IIouse and is and to fortyon hear-
such a wheel, sent to Syria old. The duties
at her side, carries Irish bc-
It was her grandmothers years amounted
out the woolen thread unconsciously the sweet-faced foot
cost of transportation five dollars. ing about it, you worth ten cents ! Why, if I had it. of carving o payin bring shure
Ah ! she exclaimed paid that ! not ! heartily
woman near her, rocking spinning-wheel, hands g&her deftly 11cath a decent black
the treadle of her
And it is not agreed an
with an invisible twisting the thread,
skirt, her white Irish is altobroadof and modern to look
IrisE neighbor
: Id burn it up for kindling

Two bones it had for spindles,
too respectable
tier part.
Her father was a famous
do ye see, two plain meat bones without a bit and smoothing, charges, except by hunInstid to The gry teeth, and one lost on the way. against the express-company.
linen weaver, and she tierself knows the process of linen-making the ground through weaving, fabric. the But, in order reaping, shure, from the breaking binding, dear, to sow the flax-seed, spinning, to the finished she exclaims, at all, but We made and
its a suit wed ought
and even dyeing,
idea of thim sendin it up here maimed and wounded, Lacking awkward, brown one of its bones clean gone ! in both bones and wood is this monstrous creature, made of with a basket hat and a
it is not your the home-dyeing, the dyes
chen1ical dyeing that I know. from
ourselves
log-wood,
basketry,
barks, and stuff we took out of the bogs of
A worker,
victim and survivor
A LABOR
old Ireland. do. Presently she tells her story. Yes, we It is all spun and wove in the old country. cept perhaps an old granny But one thing I will say for dyes it: it never faded as your high-toned
MUSEUM
broken thread, mended it; and set it right touch or two. for No, I aint lady, in she told the young voice, a pupil. Youll practice. with a skilful discouraged, her soft, itll take wont dofor
smooth
discouraging spin, dear, but A minute like shuffle can I
not many of them that keeps it up now, exin a tuckedaway corner that does it for the love of it; but when I was young, we dressed in flannel all and linen from the skin out, and grew-it and made it all ourselves. And I asked. Her serene face darkens. forgive claims. making There a dollar Never will I we had the day, them that misled us to it ! she exin the old country and a quarter our own bit of land, my man a blissid union of ten children to the foot of one how did you happen to come here?
a deal o
more and she and Mrs. Sweeney are speaking the Gaelic two children. her under dance? You together, She decent and laughing a quiet And dances skirts. It
she asks.
is a good
old Irish days.
breakdown should
dancer I was in my young
see me do a reel and a jig. shuflle and whisper eyes But in a moquietly thread, at home, linen her clean-washed
Her hidden feet nimbly on the wooden floor;
dance behind her spectacles. twirling working jury We and for twisting the sodden the
our comforts, Irish money; of them. pled---- Crippled? She pled. passed
ment she sits at her wheel again, husband
and never a shoe wanting
the little crippled mind gone. feel that
girl who came by her in-and the boy with his living woman-this the most of dethere, momencatch a
0, wirra the day that we left !-I
so mysteriously, this
landed here with a baby in my arms-criphow? the I cried. question. Yes, tripThe dear, eleven by
worker and victim and survivor-is precious us. liberate tary derlie glimpse thing
that the museum has shown in placing her
She is a hump-back,
Indeed, we suspect the founders intention
now, and none higher than my waist.
next to the baby had the spinal meningeetis soon after we landed and his reason fled ; he has no mind since. clinging And No, now. And The other eight Is h,e dead? were to my skirts. your husband? worse luck ! It is many a time Ive drink. Oh, I can else in my pupil,
where she is not measured by petty, standards, human evolution. order; We
but by the laws which unof her function and while our
of the importance industrial
in a historic
minds leap to the new truth, our hearts thrill with a new sympathy. Upstairs, these in the auditorium become more of the House, definite and thoughts
wished he was.
It is many a night I wish it
He took to the strong what did you do ?
I begged on the streets, dear. work here, but theres something heart. whom she was teaching
these emotions strengthen fill not only
to resolution ; for fifty seats,
smile and laugh with the best when I am at She turned to a young-lady
there, crowded between ea.ger listeners, who the three hundred but the stairway and the entire stage back
to spin, unreeled the
of the speaker, we listen to one*of a series of

579
THE
lectures on economic problems,
CRAFTSMAN
a lecture
pretative of an experience not remote from their own, but stirring and powerful in its moral appeal. Stirred we are ourselves, as we squeeze slowly down the iron-stairs, elbowed by Hebrew, Greek, Finn, and Scot, feel the rush of+,the outside air upon our faces, and are thrust forth into the riotous city night. mass of veThe crowded cable-cars clang their insistent way through the obstructing hicles; the dingy throng ebbs in and out of saloons and pawn-shops ; a 10-20-30 theatre hangs a glittering reminder of The Span the of Life down the broken vista of the street, and we turn for a last look through broad windows of the Museum. We, too, wistful children of a half civilized state, look back through these windows into a warmed and lighted world of happy industry ; and even while we shove and .push for the best places, wish in our hearts that we were working within. The light and heat, even the joy of doing good work under right conditions, may be artificial and evanescent, but without, around us, all is struggle and clamor.
which makes clear to us the connection between past and present. view of labor conditions upon the mass of workers. We get a broad and their effect Here is a sig-
nificant list of the subjects that we find on the program : Slave labor in the Roman Empire ; From slavery to serfdom $ The Guilds of the Middle Ages ; Xonditions of labor under the domestic system and under the factory; History of trades unions ; Labor in competitive industries and in monopolistic ones. W,e listen .also to a program of labor songs, rendered by ithe pupils of the Hull-House Music School, who sing to us an old Irish weaving song, a spinning song by Rheinberger, and finally a son g composed for this purpose by Eleanor Smith. The words were written by a sweat-shop worker, Morris Rosenfeld, and the whole composition effects that difficult result: the interpretation by art of an existent condition. We are not surprised to learn that the Consumers Leagues and other similar associations have urged the Music School to sing it before them, and have found it, so they say : Not only inter-
580
SUGGESTIONS
StiGGESTIONS KENSINGTON FROM THE SOUTH MU$EUM. BY ISASINCLAIR sess of my grandmothers work, and like a modern collar which I have just France. seen in
. ,T
uries. able, for
BELLE ; AIKEN
Quite beautiful bed-coverings were made of white cotton with an all-over pattern-a flower-scroll-in wools of many colors. There was another large piece worked in wool in red shades only, the washing having softened the colors without destroying their beauty. I was especially interested inlarge covers wrought on white linen, with outlining in a! black silk hardly thicker than orclinary sewing silk. Perhaps, in our time, we should hesitate at the amount of work required, but the effect was very interesting. It was like a wood-cut, like the title-pages of old German books: a tracery of vines, flowers and foliage, which was not lessened in beauty when the silk had turned brown, or even where parts of the design had been worn away. I noticed a cushion cover embroidered on white with quaint little bunches of flowers in many colors, the background strewn with a set pattern in gola outlining, as I supp0Sd at first, but upon looking more closely I saw that it was yellow sewing+lk in fine backstitching which gave this effect of gold. There was also the eyelet-hole work again in fashion, now known in France as broderie anglaise. It is seen among these English pieces, and also in beautiful Venetian cloths of the fifteenth and sixteenth centuries, in e which squares of linen ,embroidered with simple rosette designs in cut-work, are set with squares of fine netting showing darned patterns. In the Italian pieces combined with the beautiful needle-made lace, there is linen work in many simple and artistic patterns which the needlewoman of to-day might well
681
HE other day, at South Kensington, I was especially interested in the English embroideries bf the seventeenth and eighteenth cent-
I was surprised to find how closely Yet have
they are related to the recently revived New England needlework of colonial times. our grandmothers must I soon saw that my surprise was unreasonbrought their Sashions of handiwork from England, and looked to their English cousins to send them the patterns of that day, as they successively>came into use. The embroideries which I examined were of the home kind in which our grandmothers delighted. There were bed-coverings, garments for infants, work-bags, collars-d1 the little things made at home and for intimate home use. This English work was, much of it, clone upon very serviceable materials, such as cotton or linen, and some of it h&clplainly held its beauty through many washings, There was embroidery all in white ; the design being made with little bunches of cotton-wool quilted in between two thicknesses of the stuff, the pattern thick with cotton and the background quite flat. So our grandmothers made bed-quilts. Other smaller pieces in white had cords _quilted in between two thicknesses of cotton cloth, usually in a scroll pattern, and the backgrou&l further ornamented with dots of the eyelet-hole work now again popular. There were white pieces in which t.he design was made entirely in thick, bunches of French knots standing auk against a flat background, like a little piece which I pos-
THE
imitate. museums.
CRAFTSMAN
by women of all times and countries, Helen, Penelope, and other skilful even earlier periods from ladies of
It can be seen at any of t.he art The Mu&e de Cluny in Paris is, In America, Muexamples exist in the Boston
of course, rich in such things. too, beautiful Art Museum,
down to our own times,
in spite of all pessimists may like to say of the ugliness of modern life. I have spoken of only one direction in which a great art museum, like that at South Kensington, In pottery is useful and suggestive and porcelain, to us. in carved wood, in there are treasuse to such workof the Among of artistic
or in the Metropolitan
seum, New York. I was interested, patterns sometimes in Spanish teenth and combined also, in red and white and similar stitches, seen in cloths of the sixdone with drawn-work, centuries, in cross-stitch and Italian seventeenth
stained glass, in illustration, workers in each department. great variety of examples manship in all materials,
ures which must be of the greatest
red cotton or silk, upon white linen, and evidently holding ings. garian Italian good through repeated washpieces Greek givThe patterns on modern Greek, Bulembroidered in the ancient from some of this old there are beauti-
and illustrative
and Boumanian work. Even
all schools,
one feels how independent
are not very different and Egyptian
artist really is of his materials, matters what means he employs, pelled beauty falling to adopt, as long
how little it what man-
fragments,
ner he pleases to adopt, or even may be cornas he appreciates to express it sinis labor and without which and sets himself into
ful, and yet often very simple, designs ing useful suggestions iwork of to-day. It is very pleasant ing impulse for destined daily
for the artistic handto observe this endurthe things shared
cerely, without grudging affectation.
the over-elaboration
to make beautiful
use, so evidently
589
DIABOLUS
DIABOLUS ERNEST EX CROSBY years ago I saw in an English a picture of a horse treadin threshing, still in Use MACHINA. BY
EX
MACHINA
by steam. black, was left A little bit of smut makes the air in the field. In a short time the their eyes turn senand you begin to wonder if any soil
S
Method Stilly
OME
men look like coal-heavers, red, their throats less coughing. sible animals. tory Horses
journal
raw, and there is more or are sometimes out the refrac-.
mill engaged of Threshing
and bein the
neath it was the device,
Primitive
We brought
ones and led them up as near as we with it; but they absolutely friendly relations, and against
Islands.
As it was the same method I was filled Was my with the It exist-
could to the engine, in order that they might get acquainted refused to cultivate the transformation factory. For this was really what it was. unwittingly lightful taken the factory We had and system
which we had always practised, with mixed shame and resentment. own home at Haypoole rare inhabitants was therefore
to be coupled
every nerve in their bodies protested
the Stilly Z&es, where, as is well known, eke out a miserable ence by taking in each others &ashing? with feelings that I received the suggestion we thresh our oats by steam. ons, like a circus installed. oats into Two run the engine procession,
of a barn into a steam-
of complacency that this year The machinwagand was duly the a
planted it in the very midst of that most deof rural centers, a barn. thing We may is a city be deluded into thinking respectable back-alleys, and ploughs that a factory
ery arrived in two or three ponderous
in the midst of ugly
men came with it, one to and the other to feed but it required
but if you drop it down among and harrows, the monstrosity And we Our men
cows and fowls and horses and hay and rye of it can no longer had a little taste-of tory are a strong, be concealed. too.
the machine,
small army of local talent to bring
the oats
down from the bays of the barn and to carry away the baskets of oats and the heaps of straw and of chaff, which piled up with miraculous filthy you rapidity. what One of a hideous, noisy, of the pleasures Br-r-r-r-r-rrrr! machine ! farm-work conversation headache.
the bad results of faclot, but they had to
work on the workers, strapping
work much too fast to feed the black brute, and the pace that kills, of which we are all so proud, was too much for them, and so was the horrid noise and dust. thrashed, fourth We threshed (or as the native diaiect has it) for
is that you can talk as much as made you of a our impossible We are and gave proud
like, but. the din of this engine rather
three days ; but when it was all over, on the day, the men looked as if they had instead of the oats, and three invalided, again for and the full duty for force two or and been thrashed were actually did not report three days. ways made
barn and consider it a substantial fifty ery
edifice, for machinlike an clean,
it is built of stone and measures one hundred feet by fifty, but this infernal shook it from top to bottom Farm work is generally
1,believe that in foundries ill at first. I made
aspen leaf.
certain other factories
the new hands are alsome inmen

583
but you never know how much dirt there is in a ton of oat straw until you thresh it out
quiries about the steam-threshers,-the
THE
bushel of oats threshed,-and
CRAFTSMAN
IN MARIGOLD RATHBONE TIME. BY ALICE M.
who own and run the machines at so much a I discovered that while they make more money than the ordinary farmer, they all die off in a few years, unless they are wise enough to sell out before it is too late. But apart from these highly practical results of steam farming, it was the ugliness of it which impressed me. Ugh! The memory of it has half spoiled It is as if we had called the devil the barn.
ARYS vest.
plant,
with its golden harvalues it is
bloom, yields a glorious In garden
worth its weight in the most
precious of metals, when, in the days of early autumn, we begin to house a shining crop, carrying it in by the armful. All the largest flower-holders are pressed into servThen, ice to receive its wealth of bloom. our simple rooms take on a look of opulence.
from Sheol to do our work, and had somehow sold our souls in the bargain. From the bottom of my soul I hate machinery ! Think of the crimes of machinery ! It has made the world ugly, and it has robbed work of all pleasure. Is that not indictment enough? I was coming into Schenectady on the train the other day at sundown, and the hideousness of it all burst upon me like a revelation,-whole acres of railway blackened tracks,-
ashes and soot and smoke,grimy engine houses,-and forbidding groups of factories alongside. How can hell surpass such a background? In the niche on the staircase landing a tall Jokonabi vase holds the brilliant yellow flowers in rich abundance, and, at the foot of the stairs, there are more of them in a Rookwood bowl. In big stoneware crocks for the fireplaces, in ginger-jars, blue-and-white treasured heirriches. A jugs, dark green and rich brown pots, and in a copper-lustre pitcher-a loom-we store our marigold
And then the joylessness of the work. Here again it is hell. Can anyone enjoy factory The factory is simply a penal instilife? tution ; it means so many hours a day of hard labor, and it means also the atrophy of mens brains and the loss of all interest in a mans life-work. voluntarily Men may indeed work for the sake of than in factories
gain, but it is perhaps sadder that they should do it of their own volition against their wills. 684 To learn to love hell
golden bowl would be none too fine for our use, yet a homely brown jar sets off admirably the splendor of the flowers.
would be the last surrender to eternal death.
IN MARIGOLD
Something in the nature of an aesthetic miracle was wrought last year in our livingroom, when that unsightly contrivance for comfort, a steam radiator, was redeemed lasted. of filled from ugliness while the marigolds necessity might become an
TIME
of a crushing incident which On the occasion of a
occurrence
happened long ago.
harvest festival, the villagers were asked to bring tributes of fruit and flowers to ,adorn the church, and for my personal offering I chose a mass of marigolds, which, as I believed, caused one window to glow with something of the richness. of stained glass. Beneath it, when adorned, a most estimable soul and I happened to meet. golds ? said she. Who could I have brought such smelling things as mariBy this exclamation was pained, much as one who hears a wellloved friend criticised. I was impressed by the strength of flower prejudices, as well as by the particular need of discretion in dispensing marigolds. The unusual splendor of our last years display must be partly attributed to the coal strike, of which one beneficent result may be thus chronicled: namely, a supply of wood ashes sufficient to cover the entire garden. Probably it never occurred to one of the old alchemists that ashes could be transmuted into gold. But in Natures crucible this is in these easily done, as she now proves
That by any means whatever this unsightly adjunct beauty seemed impossible, until, one day, debating where to place a jardhidre with velvet-browns and orange, lemon, pure and tawny yellows, we tried it on the radiator, when it was at once transformed into a dull gold support for the mass of harmonizing color above it. More than a thousand seedlings went to the making of our plantation, which is hedged about ,with that excellent dwarf marigold, called the Legion -of Honor,. This variety is desirable not only in the garden, but in the arrangement of cut marigolds, branches of its dark green. foliage are indispensable for screening the long while stems of the large-flowered Africans;
its own pretty blossoms add to the display of gold. Our discriminating neighbors receive sheaves of marigolds, from time to time, during the golden harvest, although we have made such gifts cautiously since the
golden blooms, which, once mere pot-herbs in the kitchen garden, now hold a favored place among the flowers.
THE
JAPANESE DOLPH SEUM, PORCELAINS. I. GEARE, WASHINGTON, HE first importation Japanese about century, ceramic through years the middle D. C. NATIONAL
CRAFTSMAN
mcnt of the industry that date, is largely vanced condition in Japan subsequent to traceable it had to the adpreviously MU-
BY RAN-
which
T
plying porcelain
attained in Korea. into Europeof wares trading earlier, occurred vessels For however, and there was BudNor would of arts the of the sixteenth A detailed discussion numerous would manifestly of the merits of the made in Japan in a magato ones and characterkinds of porcelain
be impossible
zine article, but it may prove interesting name a few of the most typical briefly to describe their principal -. istics. The province preeminent lain, perhaps materials supply being Arita. tain of in the manufacture for were found of the coveted obtained The from Springs), there;
between Japan
and Portugal.
at least a thousand are authorities coincident dhism from with
had been made in Japan,
who believe that the date of in that country of the introduction
of Hizen seems to have been of porcethe reason that the best the principal rock of (Mounwares at petro-siliceous
its earliest manufacture
China, by way of Korea.
does this seem unreasonable,,since naturally men of temples beginning tend toward culture,
the estab-
lishment of a new and ornate religion familiar with
Idsumi-Yama of Hizen
the introduction those By
in the neighborhood
decoration
which contributed
to the adornment ceremonies.
of their
that early period was confined to designs in blue under the glaze, for the method of ap..plying vitrifiable not from harbor discovered when Higashidori of enamels over the glaze was until half a century later, in the adTokuzayemon An learned it
and religious
of the seventh century,
Buddhism and one of Tenmonk, Koreans,
had become firmly rooted in Japan, writer states that during tsi (662-672 A. D.) Gyoguy, whose the reign a Buddhist were
the master of a Chinese junk Hagasaki. important
ancestors
made known to the inhabitants translucent pottery.
of the prov-
vance was made in the manufacture wares by one of Tokuzayemons who, after much experimenting, gave out a rich, bell-like of decoration, cluding the dragon, sheaves of of old Hizen floral medallions, phoenix, corn, etc. sound.
of Hizen workmen, produced a
ince of Idsoumi the secret of manufacturing It is also known that Kotoku delent From be paid in porcelain doubtless as early as 649 A. D., Emperor creed that taxes might articles, a fresh century, vance Japan. brought tive hardly impetus which announcement
paste so fine and pure that, when struck, it His style inof about too, was very beautiful, representations Speaking birds fluttering
to its production.
that time until near the close of the sixteenth little is definitely in the from of that But, in 1598, known of the adindustry of Hideyoshi, returnof Korea, and it can developmade porcelain
generally and of were while
ware, it may be said that the texture, decorations The
paste. was hard, of uniform a pure white color. almost always chrysanthemums
ing victorious potters
his invasion country,
back with him some of the best nabe doubted that the rapid
in red, blue and gold,
and peonies were constant-
ly entwined, so as to cover the entire surface
JAPANESE
with a scroll-like mous authority, ornamentation. writing One faof old blue Hizen in a bold and
-PORCELAINS
imagine there carvings the demand which must have arisen lacquered and delicate boxes, cabinets, ivory porcelains. The law for
ware, describes it as decorated designs, executed
artistic manner, with floral and conventional in an int;ense blue, almost in the shadows, produced and a many approaching The varieties black
which forbade been responsible considerable any They
the Mikado for
to eat or drink of a was
twice from the same vessels, must also have the manufacture of pottery; nor amount
cold purple in the lights. factories of Owari of porcelain and also certain kinds
one else allowed were therefore Kioto
to use these vessels. broken up as soon as for which they in the prov-
of f aience. occasionally the quality
The blue and white specimens, seen, are of great beauty, while of the paste, which is softer than is fine and very transparent.
they had served the purpose were made. ince of Yamashiro,
is situated
and is one of the five lowas made perhaps
that of Hizen,
calities in which pottery
Kioto
Satsuma
Imari (Hizen) as
Kutani
It may b,e of interest to note that, although not the leading the distinction porcelain of having district, Owari has furnished the genand earth-
early as the fifth century. in Kioto about
Porcelain sixty himself He
was years there
manufactured Nonomura and genius hands for Kioto
after its introduction Ninsei constructed
into Hizen. kilns. pottery, became
In 1650, had a of
eral name by which all porcelain enware are known in Japan, mono, * Seto signifying the Kioto and of
established several
namely : Seto-
being a place in Owari where or things. of antiquity, notice, festivals easy to deserve special religious
decorating faience
and in his an object
most of the wares are made, and Mono articles potteries Viewed from the standpoint for this province
rare beauty.
Not only was his paste close crackle of glaze was nearly The commona hard, closeIn
and hard, but the almost circular the buff, or cream-colored, as regular est pieces grained as a spiders web. he made were of verging
was the center of the arts It is therefore
all the principal
for many centuries.
clay,
upon brick-red.
THE
CRAFTSMAN
tea-drinking tinted faknce (Chanoyu). The creamof Awata is the most general-
others the color was a yellowish gray, while the texture was nearly as fine as that of pipe-clay. Among his monochrome glazes was a metallic black, run over a griss-green, m such a way that the latter showed just enough to prevent the effect from being too sombre. Owing to Ninseis remarkable pro: ductions, decorated faience became the rage, and in some parts of Kioto nearly every house had its own workshop and kiln. Ninsei also originated the manufacture of fdence in Awata, a district of the eastern The only examples now expart of Kioto.
ly known of the wares produced in Kioto, but a great variety of other kinds were also made, including vases, water-pots, hibatchis, perfume-boxes, and leaf work. To Satsuma ware is commonly accorded the first place among all Japanese faknces, i. e., the genuine ware, which must not be confounded with the mass of showy objects bearing that name, which have been exported etc., decorated with some simple ornamentation, such as delicate scroll
KeIMan
Awata (Kioto)
KeIlLZaXl
Hivado
Nabestima
tant of his wares appear to be a few small tea-bowls, boxes, and certain ceremonial objects. Ogata Sansei was another noted He was a painter of conpotter of Kioto. siderable promise, but his preference lay in the ornamentation of pottery. were principally blue, colored enamels and gold. His designs His best in black, russet-brown and
to this country and Europe during the last twenty years or so, and which differ in many essential points from the beautiful products so highly prized by all Japanese connoisseurs. Satsuma ware dates back to 1598, when Shimazu Yoshihiro, chieftain of Satsuma, on his return from the invasion of Korea, brought with him a large number of Subsequently some of skilful workmen. these men settled at ChGsa, in the province of Osumi, and here the world-renowned ware was made. Sometimes Korean models were copied, covered with glaze of green, yellow
pieces were marked with the name KenAmeya, who came from Korea and zan. settled in Kioto in 1550, was also celebrated. He originated the Raku ware, which is especially interesting from its association with 585
JAPANESE
or black. Its chief beauty lay in the glaze, In the latter part .of the sevin the grounds of his of which two, three and sometimes four coats were applied. enteenth century, the Prince of Sasshiu established a factory own castle, and a number of pieces intended only for private use or as presents, were made. The celebrated Tangen was engaged to this day as Satsumato decorate these pieces, and certain specimens, known Tangen, are amongst the first treasures of It is said that a genJapanese collectors. uine Satsuma tea-jar can be readily identified by a mark known-as ito-giri, left on the bottom by the thread with which the potter severed the piece from the clay out of which it had been modeled. It has also been counterstated that such a mark is found on all well made Japanese. tea jars ; but it- should . .be carefully noted that, as the Korean potters who settled in Satsuma turned ters at other factories the throwing-wheel with the left foot, while potturned it with the right foot, the spiral of the Satsuma threadmark is from left to right, while the others are from right toleft. Speaking generally, it may be said that the ware now commonly known as Satsuma faience is of a light tint, ranging between greyish-white and vellum. The paste is very hard and close in texture. then dipped into the glazing After being composition, dried, it is burnt at a moderate heat and is being finally fired at a high temperature. On cooling, the surface becomes covered with a network of minute cracks, a condition in * which the Japanese delight, as it presents excellent opportunities tion. signifying porcelain. for colored decoraThis faience is called Tsuchi-Yaki, clay-ware, to distinguish it from
PORCELAINS
The town of Kuwana, in the province of Ise, is said to have been the seat of manufacture of the Banko ware, although several varieties of porcelain, faielzce, and stoneware were, and are still, produced in this province. probably The Banko ware is, however, and highly the most important
prized of them all. great heat.
This is a hard stone-
ware, usually potted by hand, and fired at a The specimens most commonly The paste, which conseen are of small size, and generally in the form of tea-pots. sists of various low-toned colors, such as drabs, browns, and dull reds, is manipulated very thin by the fingers and is finished without glazing ; being so perfectly nish unnecessary. vitrified in the kiln as to render the protection of a varThe principal feature of by Banko ware consists in its decoration
means of numerous stamped seals or marks. It is also occasionally decorated with flowers, birds, and figures in highly.raised, opaque enamels. None of the Ise faience; however; is equal-to that of Satsuma, either in point of material, or of artistic treatment. A special kind of the ware is called Yedo Banko, soft. The province of .Kaga appears to have been the seat of important potteries from very early times, and the factories of more than one district are still in operation. Almost every known piece of Kaga ware is marked with the Kutani inscription, signif ying nine valleys, and so-called from the fact that it is situated among a group of hills. The manufacture of Kaga pottery, however, is not confined to Kutani, for, according to a recently published report, it is now also made in the towns of Terai and Yamashiro. In the older Kaga wares the
589
which is light-colored
and rather
THE
pastes
CRAFTSMAN
artistic excellence is concerned, although there appears to be a greater perfection in the potting,, and a better quality of porcelain. Red and gold decorations continue to be used, but apparently the results are not so refined on the highly finished surface of the pure white paste, as on the early ivorytinted materials. ors-browns, This fact probably accounts for the introduction of warmer colctc.,-into the Kaga ware of
are hard, apparently between faience
and porcelain : the tone in very choice examples is of an ivory tint, while the glaze is soft both to the eye and touch. refinement, and are slightly gold. The decorations are done in a red of great depth and hatched with The latter is not the pure metal, but
probably one of the copper alloys, or yellow bronzes, for which the Japanese metallurIt becomes gists have always been famous. very long time. so well fixed by firing that the color lasts a The paste used for this
the later period. Masses of minute dotwork are also present for the purpose of softening the appearance of the white
ware in a later, or middle, period, was of a
Iv;btsnshiro
(Kerlznrl)
hard and close-graincd
material:
in fact,
grounds.
Another
class of decoration of
very nearly a perfect porcelain, although not translucent. Among the styles of decorations usually seen on basins and cups of this period are overlapping different shapes and medallions of figures, containing
this period consists of grounds of red covered with scroll-work, etc., somewhat similar in style to the celebrated works of Yei-raku, of Kioto. There are several other provinces in Japan in which potteries of more or less importance exist, such as Bizen, noted for its white porcelain. But the most characteristic ware of this district is a brown stoneware, from which a great variety of grotesque figures, including images of Japanese saints and household gods, as well as of animals, is made. In the province of Omi,
landscapes and floral designs, dragons, fishes and sea-weed. Solid grounds of red, decorated with gold commonly introduced while leaf-borders scroll-work, are also on the medallions,
are found almost inva-
riably around the stands of basins and cups. In the latest period of Kaga ware there is noticeable a decided deterioration, as far as
590
CHINESE
articles of common stoneware, or earthennumbers. ware, are produced In Iwashiro A porcelain the province Owari. in considerable
PORCELAINS
still less importance provinces Idsumo, etc. The of Nagato, Totomi, are to be found Higo, in the Souma, this Suwo, Buzen, Owsumi, accompanying
both porcelain of good
and earthenware is produced in in
Chikuzen,
are made, principally of Mino.
for the home market. quality It is decorated of Tamba work.
illustrations
article are from photographs choicest specimens tional Museum, Institution.
of some of the States Naby per-
in the United
blue and in a general
way resembles that of a porceregard as of
and arc reproduced
In the province European
mission of the Secretary
of the Smithsonian
lain is made, which the Japanese resembling
Potteries
CHINESE DOLPH
PORCELAINS. I. GEARE ITH there cided the
BY
RAN-
Kanghsi lung
(1662-1722)
and his two successand Chienthe ceramic between notable produced, 1698 the and advanced
ors, Yungcheng (1736-1795), attained; being of present of dynasty in a deactivity in art to a higher been and 1773 excellence During noticeable namentation
(1723-1735)
W
established
degree than ever before had the interval especially the porcelain reign, for
was ushered renewal
the production
of porcelains. which
The great factories as the Manchu on
at Chingte-then,
for the artistic character Chienlungs quite a radical of porcelain,
of the decorations. there became in the orto change
had long been closed, were reopened as soon emperors the became firmly csthrone. Emperors
due probably
Kanghsi
bowls
THE
the influence cially copied of foreign designs, from of those imported in China. Persia
CRAFTSMAN
spite of many ble attention The porcelain use compared tured during worthy scurs. internal was given favorably the reign troubles, consideraart. own to hc to the ceramic
and espe-
made for this emperors
It was about pean nobles the idea of from Thus, China,
that time, too, that Eurowealth of conceived porcelain arms. the arms services their
with that manufacof some of his more
and men of ordering bearing
predecessors,
and is at the present
family
day much sought
aft,cr by Chinese connois-
WC find that plates bearing
Teapot
and CUPI, Chienlung
of England, and still
France
and the Netherlands, at the Hague, reign, date al-
The latest period tion included Tungchih marked industry was renewal
of not,c in this connccto 1874, There when was a to also in
preserved
the years 1862 emperor. of vigor The attention
from the first half though the great was
of Ranghsis majority
of such producby his son lanin
in the porcelain was paid remark began same
t ions was of somewhat later origin.

Chienlung Chiaching guished second 399 son, succeeded (7796-1820), Taokuang and all art (18!21-1850),
and much
its improvement. applies 1875. Some of
to the next reign,
which
under his feeble rule; but under his
the decorations
in sepia
are of a high
order of merit,
and another
CHINESE
PORCELAINS
Pencil holder and two wine CUI)Y:white Kii Yueh-hsiian
vitreous
ware
style much in favor consisted of flowers and l~utterflics in black and white, on a pale turquoise ground. In still more rcccnt advance of the fandle years a conspicuous and of plum has been made in the reproduction aerte decoration,
to real porcelain. YZU, ferent times, being it
Its Chinese defined signified as
equivalent, at difcarthcnfinc-
also had various
meanings
ware about the year 100 A. I)., while nine centuries grained thou, later pottery. dynasty high hard In the district of Tzuwas made during which enIt was a (960-X259), reputation. known of
blossom on black grounds. The pieces of porcelain ticle rcprcscnt belong shown in this arThey Museum forms during and the the highest types of develoI)Hippisley collection,
a kind of porcelain a very
the Sung joyed plain As
ment in both shape and decoration. to the famous now on exhibition at Washington, typical styles principal ury, of in the National
white product, to the
as Tzu-ware, high prices. true porcelain its and
which brought
exceedingly antiquity
and have been selected as in vogue
there are many opinions, earliest production probably
some assigning
of some of the favorite decoration periods
to the Han dynasty,
between the y-cars 185 R. C. and of
of the present dynasty. was applied fuience, to
87 A. D., while others assert that porcelain earth came into use for the manufacture pottery tieen during 536 the Tang basing period A. D. A. D. and 650 and bcAgain, prob593
Until the latter half of the sixteenth centthe word porcelain certain shells, mother-of-pearl, tery, and even to Italian oriental potas well as
other authorities,
their belief
THE
lain was manufactured have reigned 2697 B. C. for
CRAl?TSMAN
er antiquity can be claimed for the manufacture of true porcelain than the reign of the Han dynasty, as already suggested. Early in the nineteenth century, some small porcelain bottles were found in Egyptian tombs, dating from at least 1800 B. C. and this gave instant rise to the theory that the manufacture date. of true porcelain must have existed in China anteriorly to that
ably on legendary records, hold that porceas far back as the who is said to from another with his days of Emperor Huang-ti,
a hundred years
Emperor Yu-ti-shun, made porcelain
monarch of the legendary ited with having 2255 B. C. In connection nasty (Chou), own hands, before going
period, is credto the throne in
with the succeeding dy-
It is said, however, that the inscrip-
mention appears in the rec-
tions on these bottles were written in a style
Two plates Chienlung
DOrCe$in;
pencil-holder of pure white Dorcelain, an f?xoeptionally 5ne specimen
ords of an official
director
of pottery.
which was not introduced until the year 48 B. C., while later they were identified, if report be true, as quotations from poems written as late as the seventh century of the Christian era ! All this is very confusing although entertaining, and the reader is left to choose for himself as to the actual date of the origin of porcelain. Probably the oldest pieces of Chinese porcelain now extant were made during the
Th e process of f ashloning on the wheel and molding were clearly distinguished, and sacrificial wine-jars, altar-dishes, .coffins, cooking produced. utensils, Another and measuring implements are recorded among the articles then group of writers, including not a few Chinese critics, have protested that the productions of those ancient days could have been nothing but earthenware-possibly
594
glazed-and
that no great-
CHINESE
Sung or and these,
thou,
PORCELAINS
rock, paste and it is almost contains infusible. products The soft or alkaso limestone
dynasty
(960-1259 Kuan-yao,
A. D. ), and the Ting-yao, LungSome of plates under of Juand the
principal chuan,
kinds hhen made were the Ju-yao Ko-yao of or Chang-yao, less prominence. very delicate Chiin-yao,
Juchou, others
lies, which lower its degree of fusibility, that it becomes fusible, temperature ber of which or minor of 800 divisions to its centigrade. grew
or at least soft, at a A numthese and is anout of
such as t,hc finest specimens inch&d with the
tvvo, determined according
by the kind of glaze used, composition glaze (uemzis) is termed vernis, tmd, thin of the Etruscans, In enamel) the
bowls, with either plain or crackled surface, and paste. ornamentation The Kuan-yao was the official porand was
mode of application couvette. The found on the pottery of
cclain, some pieces of which were pale white, like the moon; others dark sometimes During 1260 some, pale bluish-green, green. This porcelain
cient Arabians, habitants century and tin. couzferte proper. In China,
Persians, America.
and the early infifteenth was discovof salt, icad The
crackled the next
so finely as to resemble dynasty (Yiian, from
.&mail (white Under glaze
crabs claws. to 1349) the manufacture produced of porceescepting for the spcprogboth
ered in Italy. icas and faiences,
It is a mixture
this head come the majolancient and modern. is confined to porcelain cast, but
lain seems to have fallen behind, in the case of objects dynasty (136%1649), cial use of the Emperor; ress wasmade
while in the Ming considerable
porcelains
are not
shaped by hand, showing
marvelous
dextcr-
in the ceramic industry,
as to the fineness of the ware and the esccllence of the decorations. part of this dynasty of landscapes, Porcelain former body which historical wares with arabesques It is to the early and scroll-work, etc., is comthat the ornamentation scenes,
monly ascribed. consists of two essential parts : the other infusible. The which forms the and prevents of heat. is the one fusible,
is the paste (pate), of the object; gives transparency, or the possibility under the
the latter is the glaze, of the object
porousness contracting The paste,
influence
which may be hard or soft, degree of plasticity
made up of clays. cording fusibility. by to their
These are classified acand
The best of them all is kaolin, silicate produced certain kinds of of
which is a white aluminum the decomposition
TIE
ity, lain.
m
CRAFTSMAN
liquid glaze. Enough of the glaze is then The outside is porccthrown on the outside to cover the surface. lhi:, is called aspersion. dcstcrou4y foot having with glaze, foot tion, ay kwping then immersed in the liquid, the workman the vcsscl in cquiliblhc statr, rium with tllr ll:uld iLlnd a snlall stick. rcmaincd in its original the vessel is then carried, bc hollowed is then
cspeciall~ European
l~~wboti7lf.
in the manufac*t,ure of thin porcelain, on tlic contrary,

mouluge
jars and cups, known as egg-shell is ca.st, and the process is known as (hincw
porcclaiiis,
like
those made in rTapan, arc covcrcd n&Ii conpound glazes, obtained by a mixture of sub stances, of which the proportions cording being fusible. In an escellcnt of the Imperial of applying lowing slanting paper Maritime on the sul)Sjcct of (:ust,oms Scrvicc (hincsc porcelains by Mr. A. E. Hippislcy, of China, the author tlic glaw the words : It, over describes t,he method to a cup in the folcontaining the added to render vary aclime more to the nature of the articlc; the product
covcrcd as it is
to the wheel, in order that the out and finished ; a covcrcd with glaze. by into in the
mark in color is nddetl in the hotlowed porwhich When the ware is too dclicatc to be treated in this manner, the glaze is applied sufllation. colored glaze h piccc of gauze, (red or blue), a hollow tube, having brcn plunged attached
is held by the outside, basin
or uncolored
glaze, the workman scatters the liquid from
Vases of pure kite
Pungch6ng porcelain
CHINESE
PORCIXLAINS
kaolin refuse, to prevent adhesion. The gravel, seggars The are piled on a layer of
with which the bottom The piles of seggars gether, up. At
of the kiln is filled. in the middle. are then bound to-
finest pieces are placed
and the door of the oven is bricked
A low fire is kept for the first tFent,ythe top of the kiln are several pots. small One is bcof
four hours, after which the heat is increased. holes covered over with broken baked. this two classes of feu and de as as much heat is necof the colors
of them is opened when the porcelain lieved to be sufficiently After colors nzoufe. essary for in baking. the baking the object,
comes the decorating
and in doing In the former,
are used, i. e., de grand the vitrification
In the latter, a much lower tem-
perature is sufficient, and the colors used arc
Vase of pure white Kanghsi poree!ain. A child, holding a lotus flower, is being, presented to a It&hi. dressed in embroidered robw of pipk and holding in his hand the peach of the genii
the four,
gauze
upon
the
vessel
by
blowing
t,hrough the opposite Nest pieces
end of the tube three, process. Large
or even as many as eighteen times. comet the baking of porcelain a contrivance material injury, are placed one by one, vessel made a seg-
by means of of refractory from
made of cords
and sticks, inside of a separate gar. celain contact tion. togct.her, This vessel protects
and called
the delicate porinto. direct several

Vase of white porcelain, decorated with storks, on and around rocks. near which are growing peonies and a large shade tree
by coming
with the heat or gases of combusSmall porcelains are placed, in one seggar, the floor under
each being covered with a layer of sand and
$97
THE
CRAFTSMAN
Vases of phre white Kanghsi porcelain. The clharacters on the smaller specimen denote long life and happiness, the center medallion contnining mythological personages therefore
called de m.ou~e, or of reproduction
the cnamof old oil-
than of design.
Other shades arc obtained
clers furnace. mits the faithful paintings.
It is this class which per-
by the use of oxide of iron, e. g., fond laque, the tone of which depends upon the amount of oxide Black used, and the nature grounds are produced of the gas either by surrounding the vessel in the kiln.
In the colors de grand variety of grounds. oration under the glaze brush on the unbaked ing matter being manganese. by many
fcu there is a large Thus, the blue decthe color-
is made with the of cobaltiferous are regarded rather accident
the thickness of the colored glaze, by laying several shades of different other; laque, or by laying or vice versa. colors one on the on a brown some colors, yellow and blue glaze Again, blue,
porcelain;
peroxide of
The red grounds as the result
such as violet,
turquoise
THE
CRAFTSMAN
In This
HOUSE,
green, are applied on the porcelain after it has been fired at a high temperature. dissolved ; not mixed, as in Europe. these various coloring matters the oxides are it is which. so closely connects the Chinese colors with enamels; while the thickness of their application gives the relief eqect, * which could not otherwise be obtained.
masonry, spaced at regular intervals along the outer edge, and so constructed that they support the ends of wooden flower-boxes set between them and raised high enough above the concrete of the t,errace to permit it being flooded by the hose. exterior woodwork, The flowerboxes are stained similarly to all the other and, when filled with growing plants, they form an effective and beautiful screen, protecting the occupants of the terrace from the street, and also interesting the passer-by. At the side, the piers of the dies become the supporting
mm
CRAFTSMAN
HOUSE,
BER_;.fX,
SERIES OF 1904 Craftsman House,
i-
NuMNumber
.T
.
[HE * IX.
is here presented in the be-
covered portico. The exterior walls of the second story, as well as the gable ends, are covered with plaster containing a proportion of cement which insures-a prevailing tone of gray. The roof is covered with shingles laid in narrow courses and left to acquire accidents of color and surface throngh the action of the weather. A further element of picturesqueness is secured by curving the shingles of- the gable ends over and downward, in such a way as to imitate somewhat closely the effect of thatch. The windows are carefully placed, wide and low, and are glazed with small rectangular panes. Those of the second story are fitted with solid, batten shutters, they
-,* lief that its plan shows an excellent disposition of space, while its
exterior stands well within the limits of the simplicity which is advocated by the magazine ; offering, at the same time, a sufficiency of pleasing It is a house designed for location in any city permitting detached residences, and it requires a lot having a frontage seventy feet. The house is approached from the street by an ascent of wide, slowly-rising stone steps ,mounting to the level of a broad terrace, which extends across the front, and which, being roofed and carried around the of at least and picturesque detail.
side, forms a covered porch leading to the are hung on wrought hinges, and secured by catches of quaint design. entrance. The masonry of this terrace, . The entrance at the side gives into a together with the exterior walls of the first well-lighted vestibule having a coat-closet story and the chimneys, are of gray limestone, roughly faced, laid in lime mortar, and showing wide joints; thus producing by means of the faces of the fractured stone and the white of the mortar a color effect to which the eye returns again and again with increasing pleasure. The terrace is accented by dies built of adjoining, ,and an arch-way leading to the stair-hall. From the latter, which affords the key to the entire plan, there open the living room, the-dining room and the den ; while the passage beneath the landing of the main stair-way leads to the kitchen and to the basement stairs.
599
GO0
T
chording color froiii wa1Is plmtcr Ihc strips ing iilg, four Iialf
fhilxd
HE
woodwork woni tlic gray
of and cold
the hall
:Ind
living lively of which tlw
roon~, The pcnded

tllrougll
dining stained with struck tlw s:mc ant1
is chestnut,
g:'liL\-,
t0 :L W:llYll
fittings from
tlicir
of
tlic iron
rooni
arc
coinplctcd allicli, a soft swlight glass.
note
wnie
l)y hand-wrought
1:intcrns diffmsc licrc, to n wry floor soft smill a bard tlirough
by tlic firca-place, limcstonc In clriiiincys. and space wood

r?lld,
is l)IIilt tllc,
tlic lmiiiis, ~ll:ldw tjlat
as the cstcriol this rooiii, tlecp panc~ls tlic
of stril\\-WlOrcd rooni
It inay ing floor which tmtnrc rooiii,
lx :ltldctl the dining
:Ls iii tlic liv-
of tlic side walls is left with a rorigli stained running iLt

tllc
:uid the hall, dark the tone for and and
t lit
the of-
s:ui(l finish, wall of
to :L rich, into. from
red. I)?
is of oak, in shadow
st:lincd The
gray,
is diridcd
suggests
~~:w to
fOl?ll-
of chony.
so treated
tllcx wiling, tinted wide hcniii

with of
I)lWpC~r pl:LWS.
fc,rs a11 atliiiiral~lc l)on~~gsiil rug out lhrrc at limit llicsc opening these tlie cithrr red arc points otherwise skilful for with touches lmdy, cntl running upon the too thr
h:~c~l~ground of dull two with reds
:L large pickctl y~lloas. rugs of of lwilgrwn ccntcr.
tlic window
c:lsings.
ClcLiLlll
cci I-
showing
grtwis, I-& tllrCidS the
Color, is h(xnlcd
having lwtwecn
TllC :inrl occupying
witll a side
Wilt
sliallow at the tlic
strips, angle
kwsitlr the
arc also
dull yellow
of dark
~~11 mid
cd
ceiling.
lmok~iuxs,
window
alid
a few
oiic
the room, the
rcpcats crwni window ceiling. panes
tlie red of tlw side colored

ilh\'C
pl:wctl hforc
high lie:lvy the
tlic glazed
affording neccssnry of sclicinc lights
doors
at to color. of (iO1
walls ; while the tint cases, tlirce-fold of the
curtains
it
fol
tcrrncr,
CC110 tilt*
Anotlicr of which
plcasing of the lmokcorrcspond
repetition
occurs
in t,lw doors
ES? this
means
n proper movnblc
background furniture
the many
is prcparcd
THE
CRAFTSMAN
Craftsman
House. Number IX.,
Seriesof
1904.
Side
elevation
dark
gray
fumed
oak, provided
with
fixture has a brass frame bound by a deep fringe of straw-colored beads and holding an opalescent shade, which displays tones
leather cushions of a red matching that of the side walls.
T
cap.
HE
V-jointed
dining
gum
room
WOOd,
is wainscoted
stained gray,
varying from lemon yellow to olive green. In the Den, the walls are covered with in , moss-green Craftsman canvas, and the woodwork is of nut-brown The seat occupying fumed oak. one entire side is cushwith the
reaching to a height of fifty-four in a very simple Above this point, the side walls are shows a pale
inches and terminating
ioned in dark red, harmonizing
tinted to an olive tone ; while the ceiling, between the shallow beams, lemon-green. The doors with their large
bricks of the fire-place, which run a scale of color from reds which are almost black to those which are practically yellow. brick are, furthermore, as irregular The and
square, slightly beveled panels, have an oldtime attractiveness, and the general effect of comfort is further enhanced by the semicircular bay which occupies the greater portion of one side of the room and, in fine weather, floods it with sunlight. Here the rugs are of solid colors with olive-green centers, and with yellow borders introducing fillets of dull red. The movables are once more of gray fumed oak ; the chairs with rush seats adding to the scheme a note of yellowish green, which is again struck higher and sharper by the This clectrolier suspended above the table.
609
diverse in shape as in color, and they are set in black mortar, with wide, open joints.
and this, again repeated in the second story hall, gives to the more open portion of the house an inviting, appearance. hospitable
HE hall and vestibule show the same color scheme as the living room,
The kitchen with its accessories is quite complete, the pantry having ample refrigerator space and an opening from the rear
IIII
PORCH
pi_ , \
r-----,
____
_i=..,
____:
L_______ I
I
I-___-------___I, ~__---------__
,- -
I__
-----
--___
---
-I
I\ ,I
--_
TERRACE
Craftsman House, Number IX.,
Series of 1904.
Plan of first floor
I
.
i lln
C .-* I
IL-
I
,_ .-.
,;
I\\
c 04 : .
1111
T---t
~T~!?fi7&k:zft~
Scale
---a
Craftsman
House,
Number
IX.,
Series of 1904.
Plan of second flom
:/ i .:
,:\ i
605
606
THE
renewed.
CRAFTSMAN
HOUSE
porch, through whi?h the ice supply can be There is also a butlers pantry, In this portion of the furnished with all conveniences, and lighted by large windows. house, the oak woodwork is filled, left in its natural color, and varnished, while the floors are oiled. On the second floor, the rooms are arranged about a rectangular hall, and by this means are made very accessible and convenient. provided Of these four rooms, three are the two at the with fire-places;
rug is in greens and blues, and the curtains are of cream linen, printed with a poppy design in old rose, green and blue. Against the background thus formed the simplefurniture of gray oak defines its pleasing contours. The second front bedroom is treated, as to the walls and tiling, in greens epproaching gray, while the contrast of corresponding reds is introduced in rugs, draperies and pillows. One bedroom at the rear shows a decorative scheme of turquoise blue and pale green, while the adjacent bath; tiled in white to the height of five feet, has its walls tinted in the soft, light, old rose shade which accords so well with delicate greens and blues. In reviewing the plans and schemes for the House Number IX. domestic architecture those interested in and decoration can
front having the mantel and hearth faced with Grueby tiles; the one at the rear having a simple brick chimney-piece. Throughout these rooms the woodworkof the hall-is finished exclusive of the doors, which are of chestnut like the trim in old ivory; while the floors are maple,
treated with a solution of iron which assures a soft gray tone. The furniture is of fumed oak, and the textiles show rich browns, blues, and dull yellows. One of the two front bedrooms is decorated with a stenciled frieze in yellow, harmonizing with the deep cream ceiling above it. Here, the tiling is also yellow, the floor
not do otherwise than acknowledge them to be among the most successful of the Craftsman series of 1904. Nor is the cost prohibitive, since, in any locality of the United States this should not pass the limit of $7,200.
GO7
THE
CRAFTSMAN HOUSE Craftsman NUMBER House, for
CRAFTSMAN
IXA if only a portion of the area were excavated. The exterior shows interesting proportions and placing of side wall and roof; the main roof being a hip small counter-gables. shingle-covered: the having sharply sloping sides, and pierced by dormers and Walls and roof are walls stained to a
T
the
HE
Number of
IXA,
is designed as a city or suba family
urban dwelling
four or five persons. As planned, this house should not exceed cost of $1,400, if it be built with
Craftsman House, Number IXa , Series of 1904. Plan of first
floor
care as to details and as to the use of material. The ground area covered by it is approximately thirty-three by thirty-five feet, and the cellar extending under the entire building contains the furnace, and thus prevents the dampness which might ensue,
61U
light shade of brown, and the roof left to weather. The foundation and chimneys are of boulders and of cobbles gathered from the fields and laid in cement, which lends its color effectively to that of the stone. A roomy porch is provided by the
THE
the wide window of the bay opposite staircase. The ground-floor a man occupant,
CRAFTSMAN
the treated with white shellac, and the walls having a wide baseboard, with above paper hangings in designs of f-lower motifs. The furnishings word of comment. and unconventional, gay stripes and
bedroom, intended for
is finish,ed like the living
room, as is also the dining room, except that in the latter instance the walls are stained to a rich, warm brown. Throughout the first story, the floors are of white maple, laid in strips from six to eight inches wide and left without finish. It may be added that the woodwork of the kitchen and the pantry differs from that of the remainder of the ground being finished with shellac. floor in
of the house demand a They must be simple in order to concur in
the general scheme of the house. flowered-linen cushions, and
They should include willow chairs and settl,es with even rustic, home-made pieces. bottom applied The curtains for the first floor may be of linen showing at the bands of dull red ; while
those for the second story should be restricted to the most inexpensive of muslin fabrics. For artificial lighting lamps and candles the rooms, as are alone used ; long candles set in tall candlesticks, serving singly or in groups, and one large lamp with a spreading Japanese By this means shade for the living room. as well 8,s by other accents of individuality, by this dwelling, better characterized as a cottage, can be made so distinctive and a&stic that the luxury of cost will be forgotten in the harmony created by structural lines, concordant colors and a strict observance of proportion in all things.
N the second story
may be read from the plan, are arranged about a central hall, which
is well and pleasantly lighted from a window placed above the staircase. The sleeping rooms are attractive
reason of their irregularity of shape, caused by the bays of the dormers, the angles of the side walls, and the pitch of the low, sweeping roof. They are finished in lath and plaster; the woodwork being of pine
618
CHIPS
CHIPS FROM THE CRAFTSMAN WORKSHOP moment, by reason of labor troubles, the approaching presidential contest and the war in steamship rates. These foreigners have come from the places of their birth seeking happier conditions, but, all unconsciously, they have brought with them, or are preparing for themselves in their new homes the very evils from which they have fled. In a minor American city they suffer from crowded tenements and dirt, from superstition and ignorance, almost to the same degree that they did in Sicily, Russia, Poland, or East Hungary. They fall a prey to the malicious and astute of their own nationahties, who have acquired the rights of citizenship simply to pervert them ; who mediate between the American employer and the newly arrived laborer with no interest but to enrich themselves by idleness and easy fraud. Such have been the thoughts of the Craftsman as he has latterly and often threaded his way through quarters where jargon or dialects have met his ears, pitiable or vicious faces his eyes, and reeking odors his nostrils: wretched quarters which yet constitute the riches actual and prospective of the political boss the landlord and the brewer, a triumvirite united in a hellish war against collective and individual life. This misery has become an obsession with the Craftsman. Humble as he is, he does not hesitate to lift his voice, or to stretch out his hand in an effort to arrest its progress, since he realizes that the sailor in the crows nest may save a great vessel from wreck, or a child sound the alarm that shall preserve a rich warehouse, or a splendid mansion from burning. The thought has been borne in upon the solitary thinker
613
HE Craftsman, in view of the fast shortening days and the coming storms of autumn, takes advantage of all spare hours of brightHe
ness to walk abroad among his fellows. of pleasantness.
rarely chooses what would be termed paths Indeed, he avoids the imBooks, periodiposing residentia1 avenues, and the streets lined with brilliant shops. cals and his own imp&e have Iong directed his thought toward questions of civic and For that reason, he seeks the poorer quarters, that he may observe those who have Americans in process. been well-named, In such localities, he believes, lies the real missionary field of the new century and he interests himself in trying ture. to discover its possibilities of culHis opportunities for observation social improvement.
and judgment are far more ample than they might be supposed, for his city, as a small focus of commerce and industry, draws its working population from the emigrants and the children of emigrants of widely differing nationalities and classes. These thousands of individuals on the one hand, the municipality on the other, combine in a problem of the most serious and vital nature. It is a struggle ence involving both corporate for existand indi-
viduaI life. As at present constituted, these colonies of Hebrews, Italians and Slavs, sharply defined as to habitat, all figures of speech aside-extensive areareas
of foreign and diseased tissue invading and infecting with great rapidity the body municipal. Always dangerous, these elements are particuiary so at the present
that
the city
must
save its coporate of each just and of
life, its
now promcminof
word She, leader, Dont children
and
tryiug at repeat
to the tlleir
embrace question, after wish,
the
visitor. made the the clean her who, were in spite a fine passion alas, with Thus that these and inseparof corcry of the reasoned the conand of
so narrowly gressive bers, his each The to the cially elders dividual one however physique of great to the
threatened, development insignificant,
by the healthy, as the exercise
astonished in a bur4 you visitor white, attracted wear
which
of disappointment, perfl:me, like other
cried:
maintains bp his
his health the natural constant work, since
improves
ladies ? The thin, had quickly fresllly these hands, understood laundered mites faces with and dirt. they ideas, soon rcfincment stifle, and that shirt-waist frocks, But showed the which, together
instruments. as it appears espetheir of their given their vivifyit fylrhave to with alone deand tolicli through ways
sanifying children, the
Craftsman,
is to be addressed hardened life
of humanity
as to their literally of for the their clearly the children Able from porate out alike slum. The (itp with and their of slurrls other sense
persuasiveness to their ing ther from only ly, demand Kature render mands honesty. vigorous
encrusted associated and would
will be modified, with like that to our children vehemently, cleanliness,
and the impulse will react upon and rays.
wretchedness,
surroundings power How best the seems
a cleansing of t,he suns observer, themselves. and they although and tolerable. be heard Many of llinlself day, The feeding the progress the friend obstacle. brilliant latter, both of with besought way which
cleanliness
to accomplish
the work, They
heaven-derived the vital
instincts. interests classes and the that
is to be learned will be found unconsciouscontact can Their
it was proven of the
to the Craftsman
necessities,
to be studied beauty,
dangerous
the municipalit_v the
are the same, unspoiled for are but ideal
one another; bitterly children the for
body
; three
material have Tlley
privileges life may ear.
individual
the effacement powerless, must
all the pathos
of simplicit,y of them and was was
on all sitlcs
by the attentive the Craftsman a recent friend ming tall tors, down The phasis smaller smell
614
the Craftsman, panionsllip victim? On another Craftsman work4Iop. which *Jewish the girl, sat At
it be said that
to the heart,
as, for example, n woma11 his
of civilization it stands, and beautiful in a park end and a of the he remarked
experience ~110, on that companion. pavement, impeded suddenly by and a new two the and into of
which recent resting the seated, anaemic term
is a willing day, near bench the his on what of her brother, in the the last centrips. ven-
~IUIIInarrow. and
An uneven weeds when
chickens, felt She the other Italian the blond with
of the visiherself looked dark. emand baby

1IlC
11e was specialists S11c was
a little subject,
hindered infant-faces, owner
evidently children baby from outward and at interested
child--almost
neurotic her
the one fair, dominated utterance the
like too many race. but ter She electric of was she seemed cars, the city
of the young tending much as t,hey upon more passed their
and gesture, child, of you,
indistinctiveness
:
action
Let to
suiting
the
restless,
excited,
CHIPS
tured to speak, when she saw that her neighbor was not unfriendly. gan to comment upon Are her there own picnics to-day. 2 she questioned, Yesterday, cursion. try, baby but and then bequery: exwithout ruralize meaning saying, which thickly shall that life is intolerable, from and to the and populated be removed God areas, until
Cowpers
made the country
there was a vacation-school All the children my mother I dont from
man the town.
my street let me go. the it NOTES
took lunches, and went away into the counwouldnt She is away to-day, here. makes to her. and so I brought see what difference
Anyway,
111 go back before
its time _for her to come. Here again was a healthy natural impulse manifested to rity, stir in wonted in the child, the adult. which would The mother Its sordid cease was the obscu-
W
ternal. dangerous and artistic of paper,
ITH 1904,
the
issue
for
October, will with has year of
The
Craftsman In common
enter upon its fourth existence.
all enterprises, of its kind, its infancy been threatened
by ills both internal and expassed through youth. will appear such unall mechanical as those will rethe
to the Ghetto. spaced
But it is now believed by its sponperiod, and that it is now passing and vigorous number in which
its tenements
one behind
sors that it has safely into a healthy
other with no apology filled all the requirements she had known and persecution. Sabbath rious ritual candles bread of unleavened eyes under could
for street lines, fulof the home which European be lighted far from tyranny and the the cuthe
Its anniversary der a new form printing
It was a place where the eaten,
considerations, attention
and illustrations
Christians.
Provided
ceive- even greater fore been given Its contents
than has bea
was fulfilled
and the companionship But the child, narrow, with as
them. will be made to embrace for which terms
of her kind assured, all other considerations mere to her as nothing. yet unfixed in these limits, demanded contact devitalized Nature,
wider field, while the principles It will continue, thinking
it has always stood will remain unchanged. in the same strong plain living education as ever, to advocate the simultaneous movement domestic and high involving and in As a
which she obta.ined by stealth when liberty of action was denied her. Here body of again, as in the first case, was the of wants between through the and the individual. .of the poor-that be the object Each is, the of the same correspondence corp0rat.e American class municipality, should
; the integral
training
of the brain art; simplicity
the hand ; civic improvement in municipal architecture feature
and the new
the mouths
and decoration. it will present of our
the children which
a new and special graphical-of that is implied life.?
series of sketches-critical certain times who have typified
rather than biomen own or now represent all simple

615
greatest
solicitude-demands a Shaftesbury, by space-plan
the services of or an Olmsted the possibilities
a Haussmann, to minimize
in the title of the
for crime and disease, to create that beauty
This series will begin with a tribute
THE
CRAFTSMAN
made by them. In pursuance of this policy ample illustrations will soon be presented of the new Flower Library at ,Watertown, N. Y., and successively of other mural decorations in public buildings situated at various points of the country.
to the late Rt. Reverend Frederick D. Huntington, bishop of Central New York, and will be continued in the November number by original notes upon Charles Wagner, of the Protestant pastor of Paris. At the present moment the Editors The Craftsman feel amply repaid for the of their
honest and continued effort which they have made to further the propagation Mr. Charles Mulford his excellent work Robinson, Modern 1904), favorMuan arsincere beliefs, and they begin the new period of their labor with gratitude for public recognition and with the certain hope of real success, which lies in purity of purpose and unflinching devotion to important issues. ably known to both critics and public for upon (July, nicipal Art, has more recently written for the Atlantic Monthly ticle deserving wide reading, upon the Artistic Possibilities of .Advertising. To this subject he has given careful, intelligent attention, and among the notes for his studies is found the appended description of a series of posters designed for the Th&tre Sarah Bernhardt, by the Parisian artist, M. Mucha, whose work has been illustrated several times in The neuil. Regarding these very striking Mr. Robinson says : The artist, appropriately posters Craftsman, in articles translated from the French of M. P.-Ver-
Among the subjects with which the new Craftsman will treat at length and as ably as may be, is the active American movement toward the mural decoration of public This subject, in its various buildings. phases, is important from several distinct It is not of artistic interpoints of view. est alone, and educative to that degree But it involves other considerations only. and those of the highest moment, since it may be made the incentive toward good citizenship and patriotism. Lessons drawn from foreign city-republics to the readers tion drawn to towns, like the practically of Belgium, will be presented of the Magazine, and attenthe eloquent fact that these
for a star
announcement, adopts for each design a single full length figure: the actress in the costume of her part, with the play named at the top and the theatre at the bottom of the poster. Hamlet shows the melancholy Dane in dark robes, against a background which is golden from the waist down and above is of green in gusty swirls, with storm-blues behind it; so putting in relief the bare head and yellow hair. The panel is rounded at the top by a band of highly colored twists of red, green, or yellow, and where the golden background changes to the green, there is, in bracket fashion, a
municipal governments ,are now peopling the walls of the restored town- and guildhalls with the portraits of the personages who are responsible for the fame and wealth of their descendants. To further a similar movement in the United States, strictly in accordance with American. traditions, is the earnest desire of the Editors of the Crafts-man and to that end every effort will be
616
BOOK
delightful decoration in bronze.
REVIEWS
ivory paper; but now she wears a narrow of black, trailing gown, and a picture-hat while flowers fill her arms. When poster art is thus developed-and note, 0 advertisers, that the directness of the message is even enhanced by the beauty of the expression-billboards will have fewer enemies.
But the
eye, whatever details observed, never forgets the Figure: the fine head turned half far, the lips comaway, the eyes gazing
pressed, the hands clasped at the level of the throat on the hilt of a naked sword which gleams white against the robes. tween the Figure there is a band, like a narrow frieze. BeHere, and the lettering below,
all in steely blue, as if a half-indefinite vision of the memory, lies the dead queen, her arms crossed upon her bosom, which is heaped with flowers. The character of the play, its very mystery, is depicted. Lack of space forbids me to describe the other posters. monda. The most beautiful is GisThis one word, across the top, is
BOOK REVIEWS HE LEGEND OF THE HOLY
the Boston Public Library. With description and interpretation by Sylvester Baxter. This small volume is a reIt of fined, spiritual appreciation of Mr. Abbeys frieze of the Quest of the Holy Grail. will meet the needs and the approbation the majority
GRAIL, as set forth in the frieze painted by Edwin A. Abbey for
in blue on a background of small mosaic, in letters that would glorify a church window. The whole design is well fitted for stained glass, and the pose of the figure is preRaphaelite. Stoles hang from the shoulders to the feet, and the right hand holds a branch of palm, the base of which is on the ground. The face is very beautiful and the hair full of flowers. The name of the theatre, in blue below, balances the word Gismonda above, and the only other lettering puts Bernhardt in a band of gold above the figures head. La Dame aux Cam&has shows the actress in more familiar guise, even to the tawny hair, and dresses her in whit,e. In Lorenzaccio, the figure-dark again, as in Hamlet,-is in a swirl ; Mkdke shows her dagger and grewsome, with blood-tipped prostrate at her feet.
of the visitors to the Boston
Public Library, because, while dealing with artistic problems of space and composition, it is not written in strictly technical terms. It is addressed to those who require instruction, rather than to those who are capable of forming opinions for themselves. In beginning, Mr. Baxter satisfactorily answers a question often asked as to why the legend of the Holy Grail was chosen as the subject for the decoration of that particular part of the great Library. He thus writes : The artist, it seems, first had another subject in contemplation, and the idea of the Holy Grail grew into his mind and passessed itself of him in consequence of his researches in relation to the theme .first suggested. His original purpose was to depict in a series of symbolistic panels The Sources of Modern Literature, just as Mr.
frightened eyes, and the body of her victim Here, the name of Again, the actress is at the side, in letters of solid gilt upon the white of the paper. in La Tosca, there is gold decoration on the
617
THE
Sargent had chosen The Christian Religion investigating for his theme.
CRAFTSMAN
THE WOOD-CARVEROF LYMPUS. The scene of this story is laid in the Green Mountains of Vermont, and is pictured as only the inhabitant and lover of a special region can do. Nature, occupations peculiar to the place, the thousand and one little details which, being skilfully combined, compose a rich palette of local color, are here offered with an art that conceals art. The narrative has the quality of a real record of life. It is humorous, pathetic, and without.exaggeration. The characters are all interesting, but especially so are those who represent strong New England types : such as we have all seen fighting against hard conditions and quite unconscious of their own heroism. Uncle Shim and Aunt Lize hold the interest of the reader quite as effectually as David Harum could do on first acquaintance, although they are of far sterner stuff than the rural New Yorker; comparing with him much New as the, cold, landscape, of the sharply-defined England While
Sources of the
the subject and searching for of the Woly peculiarly
material, Mr. Abbey became more and more impressed with the legend Grail, as offering adapted to his ends. a motive
This legend appears
to have inspired the oldest aspects of literary expression in the period of European literary classic. development that succeeded the It impressed itself deeply upon
the literature of France, of Germany, and of England, and in English literature its associations went back to the Celtic period. Not only does it take a high place among the sources of modern letters, but it is so rich in imaginative English material that its motives have inspired much of the best of poetry in the nineteenth century. of the legend was the virgin ground Another advantage for the artist. trator-at forded.
fact that it was practically
No other painter or illus-
least in any work of no&--had Mr. Abbey was therefore the first
made use of the rich material which it afto choose the story of the Grail as the inspiration for an important decorative work. From this quotation it will be seen that literary explanation is made a pronounced feature of the work, and that the small book will be a useful companion for the multitudes who approach the frieze wit,h confused ideas of its theme, and lacking knowledge of decorative art, archaeology symbolism. and Christian It will also prove of much as-
compares with the smiling fertility
scene of the earlier story. It must be acknowledged, too, that the humble couple who suffer and make sacrifices without murmuring, who will not compromise with evil, or wrong their own consciences, are far more noble and better to study than the clever, homely philosopher whose perversion of the golden rule has passed through so many editions and is often yet quoted alike in print and in speech. In this exceptionally wellwritten view of and well-constructed Aunt Lize book, three scenes are especially remarkable: the interwith the Methodist evangelist ; the arraignment of Twiddie for idleness and falsehood, after her reading of Miss Alcotts Little Women ; and the is quarrel-scene in which acknowledgment
sistance to those who, unable to see the original, yet wish to gain acquaintance with one of the most dignified works yet produced by an American mural painter. 618 [Boston, published by Curtis & Cameron; price $1.50.1
ROOK
made of Twiddies of artistic writing, dialogue, description, parentage. whether or drama, considered
REVIEWS
paper work best known in America-SteinCaran dAche-are full of inas len, Forain, Parisian
As a piece the book fiction, that pura
terest to students, and the book has a subtile flavor which is at once recognized This is indeed a rare and writer, the but the his quality in an English by the initiate. unexpected
has few equals i-n recent American and it is further manual sued, produces sure foundation which introduces a legend quoted valuable if employment, for intelligently
as teaching
mental health and affords integral education.
who, in this case, while acknowledging deep channel fixed, not only by Nature, also by racial separation, between ,French and the English, for those looks beyond who know
A word must be given to the cover, design, the larch bearing from the Eclogues misapplied. its fruits with of VirThe senand the classic head of a Fate, together gil, and here slightly tence, as originally toration returning East.
own island with appreciation Montmartre,
and sympathy. Za Vi& with, and that the of a acthe
Lum&re, is a name to be conjured

the quarter. text careless printed imported $1.00.1 It is to be regretted whose
used, referred to the res-
this little book evokes the choicest spirits of of the work fell into the hands incorrect of mar the beauty Illustrators
of the farm from which the young from Mark A Antonys war in the plainly who had it
poet had been evicted by the lawless soldiery It stands: god has given us this Augustus
proof-reader, page. [The
cents and genders
ease (or life of leisure) ; the god indicating become would purely the young supreme pastoral in Rome. and pagan
of MontSons; price
martre, by Frank L. Emmanuel by Charles Scribners
; New York :
Therefore,
seem inappropriate although
to read into this verse a Christian
meaning,
this has been done bescratched it on
THE
HISTORY
OF THE
NINE:TEEP\TTH
Tab,er book Cooper. to all
fore, as when Sir John Eliot expressing leisure [The Wailer in
CENTURYIN
lett Maurice This
CARICATURE," by Arthur Bartand Frederic a fascinating
the walls of his cell in the Tower of London in this way his thankfulness which to study and of Lympus, price $1.50.1 for meditate. by M. E.
will prove
who are interested in the meaning It presents the very of who
of history.
Wood-Carver lRm0;
essence of events exIt holds the atsarcasm its pages, the overthe mingled examines
; Boston, Little, Brown & Company
pressed by master hands. tention causing charged and tears. tabulated historical evolution by means which one the and pathos
311 pages;
run through
THE
Langham dealing
ILLUSTRATORS OF MONTMARTRE,"
This. is one of the of interest not comwho series of small art monographs,
by Frank L. Emmanuel. with subjects
drawings
to hesitate between smiles
The text of the book is enlightstatements, as is too often the case compiled Instead, giving according it traces Lafontaine to the the methods.
ening and agreeable ; off,ering no dry, crude, with art handbooks
monly treated.
The present volume should illustrator,
be possessed by every young not to be found the three French elsewhere.
can gain from it ideas of style and technique The notes upon artists in poster and news-
of caricature
by pertinent
refer-
ences and examples,
619
THE
nizing Hogarth caricature,
CRAFTSMAN
neath the drawing comment : Our little Gulliver appears Thackerays fathers chose to set up Napoleon.
high place which belongs to him, and recogas the father of English acknowledging that although
George as the type of a great king, and the was the great [New York : Dodd, Mead & Company ; profusely illustrated; price $2.50.1 THE MASQUE OF MAY MORNING, by W. Graham Robertson, constructed dramatic Elizabethan form. is a slight, loosely composition in the
the best work of this artist was done on the The contents of the work are extensive: beginning with the Napoleonic era, and treating the great international contests of the nineteenth century: such as the Crimean, American Civil, France-Prussian, Spanish-American and Boer Wars and the Dreyfus case. The drawings, beside their grim humor, present many times, as in a mirror, the real meaning of an event as totally different from its accepted one. They show also that historical perspective is needed for the proper judgment of persons and things, that posterity is the final and most equitable court of appeal ; a notable instance of contemporary shortsightedness being shown in a caricature of George Third, as a giant in the Windsor uniform, examining through opera-glass a pygmy Napoleon whom he holds on his outstretched left hand. Besocial, rather than the political side.
Spring flowers serve as the personages of the play, and the verses attributed to them are musical and refined. The illustrations are lighted with the purple and green of impressionism, and although quite English, nozlveau. line. are not wanting in the art The book, as to both literature and drawings, is well adapted for a gift to a child which may serve as a means [A Masque of May Mornof education. ing, by W. Graham Robertson, with twelve designs by the author. Bodley Head, London, Price $1.50.1 John Lane, The and New York.
6&O
Keeping
Up to a
High Standard
That our work is high-class is evidenced by the di s p 1 a y in this magazine, every plate having been made at our shop. Magazine plate work is an art by itself-requiring the best of results, promptly executed. Would it not be well when in need of cuts of any description to have a word with us?
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Craftsman
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SUBSCRIBERS
SEND US LOOSE NUMBERS OF THE CRAFTSMAN, Volumes I, II, III, IV, V, and we will put them into an attractive binding for you, having them ready for delivery on or before October lst, as you may dish. If you return your magazines to us, we will make them up in binding of Craftsman leather and linen for $2.00 a full limp volume; or, in Craftsman Each book leather for $2.50 a volume. will bear The Craftsman device, our guarantee of good workmanship, which is stamped upon all the products of our Workshops. Requests for binding will be taken up in the order in which they are reIf you wish to possess a handceived. some book, or series of books, and at the same time preserve your back files of The Craftsman, which are daily increasing in value as books of reference, send us your back numbers with instructions as to binding. THE CRAFTSMAN, Craftsman Building, Syracuse, N. Y.
International StudioSummer
Uniform lvith &rot The and hIillet, Genius ~Masters of English R.A., of J. %I. W. Turner,
Supplement
Landscape etc. Painting,
The
THE
From
Royal
RECORD
Reynolds
OF
Academy
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Contents for *September 1904

Should b,e an Artist H. Euwer--Illustrated

Translated from the Spanish by IRENE SARGENT

Museum-Illustrated from the South ex Machina Time

M. RATHBOtiE I.GEARE I. GEARE

Porcelains --Illustrated Porcelains

A Craftsman A Craftsman Chips Notes Rook Reviews

Copyright,1904,by GUSTAV STICKLEP.Entered November 18.1902, at Syrwuse, N. Y., as second-class matter

-Desks; Wine-Cabinets Work-Tables,

Send for catalogue

arvin Safe Company

Enlarged Table of Literary, SocioZogica I and Artistic Contents

Craftsman Home BuiZders CZub

Obtainable of all booksellers

The both a the at a the

I will mention among Hilppolyte

LTHOUGH painting upon the

the conditions abroad are

of mural bad, that it yet is

artists of Europe. loss. Paul

drin produced financial strictest

all his great decorations Baudry practised

mural painting ourselves. So

is not the novelty we can profitably tracing In this

study the general pal decoration conditions back

aspect of modern municicountries, causes. to their

,which will India, Asia

It is well to call attention,

It shows how the are not mercenary, hampered by the

once said to me: Cest

that white marble buildings

the sake of braced

art, they from

color with a magnificence surpassed.

which will never painting, history, state. all art-

once made Whistler She wanders

days have fallen be chucked

in the market places

ists would welcome conditions

under the chin by the passing

seems new, it bath

t.oward the recognition

the more cleirrly do WC existed and the allied arts ; be-

t.ween ilrt and the people.

The Mu% Euterpe:

the h011hel1oldCr. who make a certain the money

thus made is almost

arc often so lacking reward

make our public politicians talk

place the blame on the nrabout ideals. really

During and Gothic, from

the periods paintings

which are unsurpassed and in solemn of splendor these achievements landmarks

of color ThC! arc

were never separated The case1 picture, The were parts

of art. art show hurnan-

of the began of the In were and of time, build-

which have guided

ings had a somewhat and employed

the walls of public the very

decoration, time civic to

and ideals of their time. supports thoughts. painting is bound

the best craftsmen monasteries.