The Craftsman - 1904 - 06 - June

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W. R. KWISKCRN. CWICACO.
Kindly mentionThe Craftsman
THE
ART. RX- AIILO
CRAFTSMAN
beautify these public places of asscinbI~. R. Jl~ALlRII~: It has been remarked that while Americans turn their backs upon the street and devote a11 their care to the embellishment of their residences, foreigners often seem to neglect to the Perhaps their homes, and to bend their energies tile decoration contrast This of the streets.
E
cation, sons of
VlttlY sclici~~ for

beautifying titstreets must recognize the purposes for wlkh streets are created; whatcvcr runs counter to their greatest streets are means of communiperupon, or under the purpose This ideas, above,
uscfuhlcss must be removcd.
is not so marked as thus stated; brings us to note that the fourth is less true of the purely in crowded for which commercial treatwhere are and
but still there is truth in the statement. of the street is one of ornament.
Primarily,
for the transmission of goods,
statement
business streets than of avenues in resident ial quarters ; for, districts, ment do not opportunities exist, artistic obtain
street level; through tunnels, pipes or wires. Secondarily, air, and streets afford access, light and these open spaces prowithout
vided by the public authorities, the indiridual ~vould be compelled able. The to resort to other habitdevices in order to make his property in the landlord the right and air.
traffic is less, where pleasure vehicles predominate, and where the thoroughfares broader. In sonic cities, great has been paid to the decorative in attempting not forget If these to understand factor, attention
laws of many States recognize to unrestricted The elevated damages to
the purposes which is often served by
access and to light roads in Sew York paying property Thirdly, especially of partially
for which public ways arc created, one must the art purpose, are the very important. purposes thoroughfares, affords ready paper the street which contributes communication, social in all. facilities In this
have paid and are still
immense amounts for along their lines. streets are often
social centers, This of
where the climate makes life out and enjoyable. csplains why so much attention character cities. The people that
most to the citys welfare is that one which e\ery aid to.,rapid access to pioperty,
doors attractire
, )
has been given
to the artistic
when desired, and beauty fixtures:
streets in many foreign often taking every
we are alone concerned
with street The spe-
pass so much of their lives upon then-meal in the cafk line the boulerartls, and chatting friends during the evening,-that :rnd propcrlr with their naturally
but the purposes for which streets
exist must be kept well in mind.
cific problem is : How should street fixtures so be treated as to further the cause of civic art i
219
the city spends large sums to
ART
IX- THE
STREET
boscs Indeed, spare, could be affixed to buildings, them to stand upon the number is surprisingly of by the such street of fixtures large, instead the curb. less of allowing be removed
which might as it appears That or the apbe greatly alteration,
or so altered
as to occupy
when one stops to consider. pearancc improved removal
would
goes wit.liout saying.
If one may be permitted ner and sandwich include streets, tidwrtiscments or posted upon in the streets: construction for inconsistent for a vigorous
to regard hung ncross
banand to the
men as fixtures, property materials, sermon. cities that
temporaetc., It he is
rilv located sewer pipe, hah a test strangely dcrisc
such as ash cans,
_.
Paris: Isle of Refuer and Elertrolier
should
schemes
beautifying
the streets
Ih~Llt,tlcss 2~ tour
tt1c f-irst
:111swf21 suggcted
by
through
any
city
is, that which
the
end not
desired i4 to be :Lcconq~lishcd by ~limiwrtio7/. Thcrc and lamps, They zlntl

wl1crc
lllOlY!
TALlllJ)
are n~any fixtures at all; pole4, of trafic,

:1re
should
bc in the strccth teleptlonc and impede

lll:LtCI+dl~ the
rattler
pO\tS
such as tclcgraph advertising clocL<, descriptions. the sidewalh,

width, usually 111& :Ls to
posts
various obstruct
its so gre:Lt
lYdllcc
cl-on-cls
tllnn :1lY?
lehs space,
fwqucntlv
imperatiw. standing H_&:unt% method for by in

Cologne: Elrctrolier in the Jiilichs-Plats
left and the
after
ttq
hart
cearcd to be used. space,
occupy in vogue rcmoTing ought croa.ded
valuable
in some cities a small plate sections. Fire
of providing
how connections
,j ust below the surface, imitated, and pnrticularlv police
flush with tllc wJk,

:lI:lrlll
to be widclr
ART
every
clay,
IS THE
STREET
recently greatest to the character cities progress iu of street fixtures, have art, made the we have designs. even in those nlrcady mmy which civic
and,
therefore, character artistic
have a greater
StJWCtLllTS
effect upon him tllan many
Of :L
purely
ornamental
which he visits
seldom and at long intervals. Yet to provide paratively cost fixtures is a conof but when the thousand easy task. among Tlie preparation so many
instances
of artistic
The
:LccolllpanviJlg taken
photographs of electric
~OhlCJll.
illustrations by the writer
(from in 1903) show

solved one in other estent in the elecnotice. for and
the model may be expensive, is divided copies, the extra espense
lamps in Cologne
These cities The designs and plan to of
and Paris,
bow two cities have successfully

reproduced, European America. upon with some variations, some placing
becomes insignifi-
have been widely
lhe cost of manufacture need not cant. be greater for an artistic, than for an inartistic
SCeJl SO
fixture,
COnStaUtly
for when an object

it JllLlSt have
is to be
Sinlpk,
trolicr in the center of the street, instead of
graceful which this
lines and harmonious properties add nothing
proportions to the cost. than in-
the curb,
is worthy
of special
It divides less Jehus.
traffic and affords
a refuge
It must be substantially feature crease the final espense. Apparently cials public certain wisely the only
built, of course, but
the pedestrian
who is hard pressed by rcckThe street is better lighted
will cl~enpc~~ rather
at less espe11sc; reason why streets fixtures, is that offithat they In have suitable In have as the their Esfor their In still to secure
circular when
for each lamp illumines a area, as compared with a semi-circle IanJp is placed upon tbe curb.
do not have beautiful demand cities, gone for
the
are not made to feel that there is a them, and good designs. organizations
are not aided in securing private so far
as to preparc
designs and to present them to the city. others, where it seemed impossible official erected esamples contracting practical perience attention, fixtures at their own these organizations espense,
of what should be done. companies, suggestions, shows that
other towns they have worked through and great altered of art. need exists
pliXC
who have welcorncd
plans to meet the requirements an active public
sentiment and a willingness of the city.

TREATMIZT
upon the part of art workers to abilities at the disposal

SCGGESTIOSS
FOR
Although
attention
has been paid
0~11~
THE
CRAFTSMAN
Vienna:
Tramway
Station
Occasionallg, as w?ll. Trolleg propulsion
the electrolier
includes a clock a street
sufficient care to endure the strain. practically the only must be trolley tistic form. To sour& speak of an object, artistic trolley poles, is to provide
rlYlus,
resource, wliere there an arpole
poles and wires disfigure
mow or less, and any system of electrical which aroids their use is greatly But the overhead trolley only electrical system As to be the to be preferred. present, profitable many it
chimerical, but this is a both possible as is seen by a deLightsecured by construction. Painted seeu,
is cheaper than the other devices, and, at is the in sparseI>- settled districts. it, the question streets arc narrow,
and practicable
sign now employed in Copenhagen. ness and strength the use of are therein steel open-work
towns prefer Wllcre
considered is how to make it the least objectionable. wireh may be strung from building ing, and the we especially it tclcgraph be allowed generally to build-
The liues taper grndu:~ll~ to the top, which is capped with a modest ornament. an olive green, least although creditable. thaw ugly these trolley of any objectionable I poles are the have
of poles bc thus avoided. cities. electric Soinetiines light or are should not
But this device is not of general application, in Anierican to utilize is powiblc
there are other designs which are Tisitors to Hamburg poles along the will regal1
Jmgfrmsticg
poles, but the latter in cities, too far apart,
which are so loaded with nvxningless ments a~ to be distasteful. the other extreme.
orllil-
and the former
These represent
and >ot set with
ART
If the streets threaded
IX THE
lines
STREET
and the line recently Transit of the Bronx, constructed by Commission in the Ror-
by trolley
vatcd ough
are bordered so to place foliage. partially expedients, the electrical The affliction, mon one. careful features. and
with trees, it is often
possible
the Rapid
the tracks that the poles, wires By this means, a ride in summer refreshing, Yet and the noise is these are but smothered.
that it seems ahnost a of the shelters in New Berlin, KnickCan it to the Subway
and cars are hidden to some degree by the is made doubly
work of art.
A comparison
over the entrances Paris, or Boston, erbocker ugly Why
I-ork with those of Vienna, Budapest, should put Father and shame. to confusion
and the time will be welcomed shall have been made in as to cause the trolis a still greater industry
when such progress
be tllat it does not matter to New York what structures should stud and mar the streets? municipal to civic the city, while other no attention instances comfort signs, we create a special to beautify pay
lev pole to be abandoned. elevated railroad although However, to The study fortunately reduce
commission art ?
a less COI~I- city departments One might designs, letter boxes, way transfer hoses,
much can be done by its objection;d~le
multiply street-name stations,
of artistic stations, call and street rail-
stat,ions need not be ugly; The
including
public
the lines of the st.ructure need not be abrupt diverse.
Hochbahn
in
Berlin Ele-
fire and police fountains,
leaves much to bc desired, but yet it is such an improvement over the Manhatt.an
hydrants,
telephone drinking
and telegraph
offices, gas lamps,
Blldapest.Hunears: Entranceto
subway
station
THE
even telegraph
CRAFTSMAN
are especially well adapted to ornament. Witness the arch of triumph in Paris, from which radiate twelve avenues, the monumental fountain in the Place de Brouckere, Brussels, the Nelson Column in Trafalgar Square, London, the William I. Monument facing the City Hall in Hamburg, or the Campanile in Florence. But however important may be the question of location in relation. to its effect upon a work of art, there are other reasons why art works should be placed in, or near to a street. often Every citizen uses the streets and Thousands many times each day.
poles, but such multiplica-
tion is not necessary. Enough has been said in order to indicate that no necessary Each one can street fixture need be ugly. be made more or less artistic, and when this result has been accomplished, improved at a slight expense.
ART IN THE STREET
the appear-
ance of our cities will have been materially
Plans for street embellishment should not stop here; they should also provide works of art: such as monuments, fountains, I statuary, columns, arches and the like.
do not mean that these should be so placed in crowded quarters as to increase congestion by reducing street area, but upon land, Small if need be, allotted for this purpose. open spaces, the forks of diverging avenues, street intersections and termini of bridges
pass a given point in a public thoroughfare, where a score visit a spot in a park. Therefore, the pleasure, the inspiration, the educative influence produced by a work of art in a busy center, is many, many times that of a statue, for example, in a sequestered spot. Parks, it is true, should have art works; but we must not forget that if the vast mass of our citizens are to be benefited and influenced by art, works of art must be placed where they may be seen constantly. It is not the isolated, infrequent glimpse which will effect results, but rather repeated, The masses cannot be taken daily contact. to art; art must be brought to them, just as small parks have been brought to the people in the tenement districts.
TREE PLANTING
Probably
no ,one thing
contributes
so
much to the beauty of a street as the planting of trees. The foliage adds color,meeting a need which is so generally unsatisfied. The green is also restful and refreshing.
Ramburg Docks: Public clock
The
shade tempers the heat
and glare of the sun upon hot, summer days. Even in the winter, the street which has
ART
trees appears the contribution the beauty narrow electric made be overestimated. wires, lofty less bleak and bare.
IS THE
Indeed, to
STREET
parkways ornamental. The difference in the purpose A plan for would for in which and charmay be enor one to and boulevards is principally
of these natural growths Modern city conditions
and health of a city can scarcely
acter of streets determines the whole method of treatment. tirely appropriate one locality,
streets, asphalt it difllcult
paving, trees,
gas pipes, etc.-have but they
buildings,
to grow
street system, another. ban district, district, and if or
be wholly
unsuited
The fixtures adapted example, a
to a suburprobably business center. the
would
be out of harmony Civic art is worthless, it does not utilitarian discuss
in a crowded, nianufact,uring take into
if it is not practical, account
side of every situation. the province of this paper to buildto this will and to the be street to
It is beyond
Cologne: Kaiser Wilhelm King
the means by which private t,lie artistic indirectly example treatment contribute of
ings might be beautified, have also made the need of them greater, and it is most cities have portant feature. unfortunate A great that portion so many this imof the of practically of Paris, eliminated note that fixtures
result.
but it is proper
will The
set by the city facades,
induce private to conduct of
owners to erect better buildso as to contribute from representing the reasonably
reputation trees which
as the most beautiful and the care
ings, to present more beautiful business rather than detract the street. people, the entire Then, expected
city in the world, is due to the thousands line her avenues,
tht attractivcncss. set standard.
with which they are tended and preserved. It is quite impossible all city streets. where traffic foot is needed to have trees upon available purBut in and ciragain is of almost In busy business districts, for purely utilitarian
The city, should
individual
may
is dense and every
to do his part.
poses, there is no room for them. the residential if only slight cumstanccs, and wide, again. districts,
there is room
care be used, they will grow,
even under the present disadvantageous as has been demonstrated Where of the since trees would thoroughfare the purpose
the omission to a crime,
amount
Pm-ix:
Approach
to the Am de Triomphe
de 1Etoile
927
THE
THE AND RELATION CRAFTS TO SPENCER reflection OF THE
CRAFTSMAN
ARTS BY imitation of the beautiful forms evolved, sometimes deliberately, in the practice of the craft. Thus, of often unconsciously, the fine arts are not, an utterly arts, the different but are derelationship arts it is the outset sought real that in Move-
PROGRESS.
ARTHUR
of men learned in the secrets
A
origin practice evolved requisite Then,
MOMENTS that go
w-ill shop between the of their purhad that
as
YOlllc!
suppose, from
the distinction back The into to the
lineage
the useful perceiving to
fine and the useful earliest esistcncc type of
arts does not beginnings had
scended from them. Without between hardlv meaning ment, beauty the fine and the useful possible of and the which comprehend and at are to Crafts bc the Arts
civilization. pose sprang of
arts only skill
in necessity,
and the aesthetic generations than
when the
successive
assumes utility origin beauty,
a higher to satisfy after
the demands
of utility. not as
combination ed a common and may those
and not in singleness. to the arts of the question, of
Grantutility then, now
this higher beauty this
degree of skill had was sought
been attained, something to utility. birth after In to
apart by itself, but as an adjunct manner architecture, at first and somebegan esist to
be raised
in what relations enthusiasm,
they
stand to each other. Animated lightened, sprang. definite by a lofty than Their object the filie more enwhich they as the might iu arts have become more spiritual, the arts from adoption of their
which has been called the mother of the arts, gave served only thing without sculpture, to adorn period in itself. and for which grew sirnply complete utility, the building, into Painting cannot applied
a long
of beauty endeavor
in ornament, useless things
oruamcnt ornament
seem, at first thought, the separation and, toward of attention practical consequently, the useful. been upon in
to have resulted their
of that from
other objects, indifference it has,
would be a self-contradiction. and painting the puresuborit be-
Just as in sculpture and beauty dinate,
In architect,ure impossible aesthetical, apparently by
ly aesthetic aim did not at first predominate, was sought as something before effort, something incidental,
course,
to concentrate ignoring and sculppurpose of all of art,
aims, but in painting
came a goal of conscious development be striven purpose. beauty
so in archistage of grew to
ture there would son in saying others. absolute though going of Yet
be much rea-
tecture it was only at an advanced that beautiful for, as of no forms
that the aesthetical to the exclusion it is difficult going To
has come to prevail artistic perfection utility
less importance to its be conseries to its and
to conceive the greatest
than the adaptability which they
of the building represent may
hand in hand with it is scarcely quality Bv this comhut
In all the fine arts, the ideals of of a long something selection
uselessness.
is not requisite,
sidered as the culmination of traditions of which predecessor extending through each has added
too far to say that a certain is indispensable.
back into the past, skilled
practicalism
is not meant the sort of practical&l monl_v associated with monev-making,
ARTS,
rather the
SiXilC,
CRAFTS
habit of
AND
great.
YROGRESS
to be called Yet its greatness potential only virtues is not to be inbut must depend which may be of it in perhaps to It acts men their that, no analysis would of
matter-of-fact
haps deserved uot infrequently ferred from its perfection, on certain understood Further show this rest upon is axiomatic
RffWtillg
mind found live, tions. an tical and
in men who are in close contact in which they extravagant espectato say that exist in the are or not to given to
with the age and the society judgments exquisite temper,
over-sanguine reasonable may
through
It is entirely
its human and vital aspect.s. consideration requirement a form practicalism
sensibility nor
same person necessarily illustration ing of the greatest (ommand picture, beautiful. only must but through subject degree cacy good, painter. of must of
whose mind is of marked pracwill such a combination in artistic sterility. qualities

All
of social obligation. of his fellow for be asserted of art is of
result
that no man can perform responsibility work
of the necessity of such a blendand idealistic in art may be found of technique, might in painting. taste and in a
the happiness assuming or morbid It cannot
practical
without an ugly concern
consequences.
exquisite
skill in composition, make it great, To
be present
to any one but its owner. exclusively of society. appropriated Art can
Art has to a
yet those qualities though be great,
alone could not make it not its the picture and through design could
ceased to be what it was among the ancients, something solitary property class, and has become the collective no longer but and itself to private demands to society. of much of our modern not due so much to mediocrity We are too in the an art of vital, and of this is the is are but in archiFrench inferiversatile, too learned of caprices, opinion,
they might
possess evoke
refinement sensations of
and beauty, such as no or deliproduce. of a latter idcalby or great the
its expression exquisiteness
merely adapt public The opinion
must meet the test of public responsibility art is perhaps eclectic, traditions the present nowhere tecture, florid working ority of properly a medium academicism the end, thing too of
it a sense of
coloring, those
unaided, of
It is easier to define the requirements than a powerful however, Perhaps,
weakness
of talent as to excess of talent. the past to create The truth
should have what for lack of a better phrase may be called a quality ism. A quality of common necessary of practical idealism tempered
that shall be sim$e, in evidence of and the Italian than
sense may certainly to the highest
be said to he in each escel-
straightforward. more
excellence
one of the fine arts. which the world ing fame accorded readily though only ture, conceive capable might perfection, judged
By the highest
where preference forms a sterile about
is shown for and academicism traditions for beauty,
lence are meant the power and the vitality acknowledges by the lastOne can classic which, of culgreat masters. of an art of truly aesthetically, fully circle of people of being
Renascence
to bring design. of
a mincing
Academic
not a substitute expression is to confuse
appreciated
; but the vice of

the means with technique rather somethan
by a limited
be said to exert an uplifting Such art has per-
and to make of
influence
in the world.
vulgarly
conspicuous,
THE
subtly modern elusive. art It is this vice from and which is suffering, when workers anything
CRAFTSMAN
which will proportion to the amount of artificial satisfy of energy which they have consumed. vast multitude have needs. absurd, failed To to They have created a wants, and and
tlley
cease only free from ism.
in the arts shall of esotcricof useful in-
perceive that their work to be great must be suggestive the history possessed
natural
noble ll>\ve
say that the world would machinery
been better without with that of they have one would the fine arts, we find less in common In the or The
is, of course,
If we compare dustry that than
but it is hy no means unreasonable may some time beand that it may without has quanIt has has than now the servant
to hope that machinery come more definitely of mans higher come to minister hd e ging artificial economized tity, and multiplied nature,
wish to discover.
useful arts there has not only been room for beauty, but there has been in a greater demand for it. of ostentation, less degree a popular love of fashion, many substitutes always from known
to his happiness, For effort
him about with a great rumiber of limitations. human machinery quality. as regards
and of lus-
ury has made people willing forts of civilization, how its counterfeits,
to put up with
but not in so far
as regards
sometimes known as combut if people have not to distinguish they have it. beauty at least Unforin detheir
the output
of labor
indefinitely, in bulk be perbenefit of and the has
as production
been work of the sort which could formed without more effectually On the other rather than it, it has been of unmixed the volume, makeshift, rule which
with its aid than hand, where the
desired to choose the beautiful of their capacity tunately, sires modern such a manner without gratification. eotyped was once originality Moreover, novel for enjoying trade has as to quicken affording Modern
to the extent developed aesthetic for.
to society. excellence, product it has exercised habits, tended
has been the thing to be considered, been an with of a crude arbitrary of the greatest over mens For
means machinery
has ster-
the forms
of beauty
so that what commonplace, and by the cheapand imitation. of labor of the designer has not only drawing, but or
the evasion
has been at-
has become
difficulty.
and so that the worth ness of incessant has separated deteriorated the craftsman a mechanic.
of creativeness
the result naturally pensive machinery.
machinery costly
has been to make skill, though of be. nor rare, seem eswith the output as it should
has been displaced reiteration
the finer products neither This
of human
the modern distribution the functions into mechanical and design
in comparison
is not
and the workman,
Man does not require complicated ficial habits piness to rnake him happy; rather upon the depends
and artihis hapquestion In
has become
an operative
whether his natural invenstimin supplying lence. If instrument of activity, of civilizayet they are less effective more
wants are satisfied.
We are apt to think of mechanical tions as a powerful ulated certain forms tion, and they have, beyond have not rewarded
230
the latter, variety and mediocrity than simplicity energy making and excelhad been lavished modern life sweetit more elaborate,
question,
upon the task of making er and less upon
man with happiness
ARTS,
escellencc
CRAFTS
more cllcapl~-, banished from let
d;?;D
PROGRESS
its use-
might not
be bought be
nnn~ tllose allured into purchasing less products. From utility, the foregoing though not of
and only Let
the superfluous machinery
would seem dear.
it may be seen that concerned with to necessity discovered hostile
lllodern life-that of a master. of
would be absurd-but This is necessary the
the arts which arc primarily
it be made to play the part of a menial, not in the inof adby the minisrace. terest civilization, degree
beauty, have come to deal solely with utility, while it was previously fine arts had grown extent all practical trate their attention tradition. farther the two forms common origin, that the to a large forms of to disregard upon special
yancement tering to
of which may be gauged of the agencies wants of the the higher the character in an industrial
refinement or crudity Moreover, is of great son that possess formation others. evolving advanced placed In
needs and to concentherefore,
of these agencies for the reathey in the any are civilization influence beliefs than they
In their development, of activity apart, and farther
ethical significance, powerful and own
have been drawn in spite of their
a more of our
and in spite of the fact that of values would bring It has been ,point-
ideals
a just interpretation
generation
them into close affinity.
types of character civilization
which may not In an be of escelselecwould
cd out that work in the fine arts of to-day needs to possess what has been called practical social idealism, that it requires before of dignity not it can in life a sense of attain to obligation,
be altogether upon
fit to serve as models. a premium qualities the highest
lence, and the men possessing tion into the positions greatest An reward practical progress. to nourish, gling industrial system
such qualities influence, as to of perupon merit.
power or vitality. to fill a place humanized, be recognized though
In a word, the fine arts must be any vulgarized-must not of It has also
would be drawn by a kind of natural of greatest wealth, and greatest somewhat and
responsibility. types might
as the property
so organized
one class, but of all mankind. formerly cases handicrafts vast
commonplace efficiency conditions
been shown that the useful arts, which were but have now in many mechanical industries, attento perout this interbut their purbecome
business ability
more liberally moral
than superior a penalty
haps be said to be imposing Economic not to stultify,
need to be made to minister more effectually to civilization, mit artistic of the This Arts by bestowing greater t,ion upon beauty, market by and by refusing mechanical
should tend
individual
1Phen practical succeed to call
men see that only by strugthey can hope to enterprises, civilized. would then, a
workmanship
to be driven
to attain excellence in their business itself for highly excellence
inventions.
regeneration and Crafts
of the handicrafts, Morement, broadly
and only then, will the world have the right Such imply struggle machinery of a skilful had ceased that and for tyr-
humanization
of the fine arts, are what the It does not have
preted, may be said to signify. aim to play realizes special that special arts may
had become a tool in the hands and noble master workman, to be a mere instrument subjecting to economic
the part of an iconoclast, its animating
problems : yet
money-making,
pose, as the writer conceires
it, is the recon231
THE
ciliation of beauty and utility, that the higher happiness of mankind to regard
CRAFTSMAIS
any cult or school isfied them. in municipal rich style materials that nearest examples could possibly have sattrue that of the style-the native analogous and power The recent may of and is to can aestheir It is unfortunately architecture, of to a the Georgian few
in the belief
best be served by refusing thetic wants as more exclusive than other own peculiar Movement ceiving
in spite distinctive
and less vital
needs and as demanding mode of treatment.
approach
we have-very
The real meaning cannot
of the Arts and (rafts without conmore than a revival the enthusiasm a conviction prefer of
S11c11
of similar universality of landscape
be grasped
have thus far been produced. achievement well serve to stimulate ers in related treatment which, perhaps, which, architects
it as something
architecture
of handicraft. that the world ugliness society, painting, dress itself,
IJnderlying
and worka mode tradi
of its devotees is undoubtedly to beauty,
arts to develop
does not necessarily
while not defying creating
and that art should adsmall fraction in general.
tion, does not yield it servile obedience, without a new school, as adhering not to be classed
not to any
but to humanity and poetry,
a belief, of course, implies that architecture, are to be regarded as useful handicrafts, close conmoreover, faith of equality of in much the same light and that the former, are t,o be considered tact in rith life. presupposes opportunity, sistent with equality The Arts
any esisti tig school.
Such art will perhaps

llli~ster,
possess, in th e 1 lands of a individuality. consistently skilfully tutions, those The Good cultivate
the Charart cannot, instiof
act,eristics not so much of a st.yle, as of an municipal methods which are not with democratic
not less than the latter, as requiring a belief,
Such
harmonized
as its foundation as signifying and, so far the moral and Crafts of welfare
strong
and for this reason the purposes underlying animating perhaps the spirit Arts and
democracy,
such art at its best can be none other than (rafts Movement. of this movement idealism which to serious The ncmovecravmight be defined not inaccurately of pract5cal essential
as may
be consociety, cannot and art best of
of condition
for all men. Movement
but tend to make art more democratic, of the characteristics we may work find an in the municipal too little. a democratic in public the art and illustration
as that quality has been complishment of practical
declared
in the fine arts. wants of
ment must aim at once at the satisfaction

it1ld
this country, ly, however, notable case of
of which there is, unfortunatePossibly Law the most in the was Olmsted, parks of it is to be found Frederick formal of public
aesthetic
ings, and demands of craftsmen tion of artistic escellencc sagacity, would

lstellcc!
a combinaof with
instance the late
enthusiasm
with knowledge With-
of men as necessary
to their attainment of enthusiasm Crafts
whose work in designing so emancipated traditions the beauty that from
in their several vocations. the Arts without to carry and
and academic reproducing nature it was as
out such a combination
in faithfully
Riovetncnt into CSthe same
and freedom
never have been summoned

;
able to suit the needs of his countrymen no art possessing the distinctive
men possessing
marks of
qualities
on its work, it can never
ARTS,
hope to fulfil life. broader often tion Its its noble function certainly either than
CRAFTS
in modern demands the artist a or to the civ-
AND
This difficult might
PROGRESS
statement to combat; be better is undoubtedly if to develop slowly true and it and to
success
it were possible,
outlook
the artisan be sought of Titanic ilization? et! of
of the past can be said to have But is not the object of engrossing talents prospect diffused, evolved of by worthy the atten-
let our municipal nately,
improvements
be the reprecedent part, and study too liter-
possessed. the finest forces The
sult of local demands. has always to prevent ally played
But such, unfortu-
has never been the case; an important from being precedent a full
of our modern
complex
happiness
followed,
and exhaustive
more generally att,aimnent of
of a state of sociof the love of and the
has always been necessary. Knowledge a full part of our is power, authorities and it is only by on the is being of what and complete understanding
in which vice is rendered more difficult than virtue, among may men, rultivated all sorts
excellence conditions imagination, earnest civilizing
well quicken spur
done abroad, a position So
that we can place ourselves in in the fullest unclone in the be effective of plays of the imin this with-
and should every
on to more than now, a
to secure the best for our country. a thorough
endeavor
one who desires to
city plan can be complete of what No a full part city that is being plan transit can
WC art become,
more definitely
sense of the word without derstanding of cities.
force in the world.
great citiesof the world for the enlargement without comprehension
RIITSI(IIAL AJIERI(A
IUIKOIE?rIESTS
IS
portant expansion.
No plan can be effective understanding necessity. now
I
-that be of
out a full has been recently stated follow on good closely will be authority ments upon that if municipal precedent, it improvetoo for future culties of
the economy of the confuof the diffius, would be and
that is to be obtained by a present provision JIuch many confront of both sion that now prevails, which eliminated foreign underground
in America foreign
indicative
of an unfortunate development
state of affairs
by an intelligent methods transportation.
understanding surface
improvements local
to bc of value, should and an answer to
lOCil.1tl~l~lfuldS.
833
THE
THE COLORADO B5DESERT GI_3TA\i
COLORADO
AND CAL-
DESERT
by our own or our friends the Filipinos or the among
arc surfeited esperiences Zulus;
IFORRIA.
STICKLEY
I
to
while the scenic effects of the entire are as familiar in which of to our minds w-c picnicked eye as last those if they only
N the old days, when transit munication sketches upon to by

Tl1e11,
and COI~I- globe and seized
were those
SlOW, books vere whom eagerly of
the grove summer. By
of trawl
circumstances the earths necessary country or was espectcd
reason
the new conditions, simply something describe,
bound surface. his
a certain
point
who treat of travel with either pen or pencil, can no longer wish to produce
VdllC.
description of
by the reader and wan absolutely understanding treated, the region
of interest and
They
must content things
be impressionists to as The record they public facts, see
and
but them, phy-
since his SOLITCCS of knowlthe principal separated than railway. far. are one residing from us bg station i, to no the descrip-
critics ; not cager representing through sical
edge were few: But to our upon more tions now,
to attempt
the more difficult task of of vision,
in the encyclopaedia. things seas or continents, imagination our near and local nor pictures seem little more distant the nest J?liere multiplied
their own medium
or intellectual. or pleasure, personal,
now deand ideas, that the with
niand5 of those who use their powers for its instruction something things sympathy concepts tells which
Trawlers,
described
have been approached
point of becoming e\~ry day depart visit to strange
wwrisomc.
Our nciglibors From some 1Yc
and studied with intelligence. tenability, or if the mental
for: or return
It matters not if the point of view be one of questionable
countries
and peoples.
THE
lens distort, to some degree, the submitted in the reside to its power: some partial there
CRAFTSMAN
objects truth and, will to dream of which the most fanciful can the The sity very be seen, touched before and spontaneity human fullness for of Nature heart pervading seem easy, is largely abundance faery feast and inspires all life products The in it. to feelings, tasted.
will be present
in such transmission, so offered, which
suggestions a real value,
unknown although removed. of the
can be put
makes acnecesThe fruits in
profit by the receiver. In accordance many many through with such principles, personal experience rathto and to er than as a narrative more through of travel familiar the medium
complishment effort names
are idyllic, exceeded
the number in the
of them not being described
of books,
Kan of the Y nma interpreter,
iMap.gie
Srott
desert Keatss found tarines, Eve of St. Agnes. Here apricots, and are necthe
certain
impressions
of the Colorado
and California
are here recorded.
in perfection quinces, loquat trees.
oranges, peaches,
lemons, limes,
figs, pomegranates,
S
136
guavas, vine, The the
with the product ahnond everywhere The sight at this sensuous
OIJTHERN by only one
California paralleled other
in region
springin beauty of the
of
the
time is perhaps similarly
walnut
eucalyptus
makes its healing is
presence
felt and the air
world, Riviera,
situated,
and when visited that is the of the poets a realized coast of the Italian Age country
is laden with delicate perfumes.

no
at the same period peninsula. then becomes The
of the year:
less flattered than the other senses, and seem that season, is attainable. in this region, climax of the
or northwestern Golden in either
it would exquisite pleasure
THE
But the idyl changes history, ligious like
COLORADO
of rebeauty
DESERT
insisted, the of of this charming the interest afforded region is thus en-. Desert. save by of the
to a vital book of and economic in And
as it can not be too strongly I~nccd, and
a lesson of stern endeavor, zeal, of bold political of ones
singularity
enterprise,
if one is able to resist the Edensurroundings, the memorials of the Span-
impression
by the Colorado be paralleled
loveliness
can not, presumably, the experiences First the awful among American
order to study once again, account,
of travelers in the Far East. the striking Sahara phenomena must be placed
iards in the Missions ter, if the motley
and Haciendas.
the scene assumes a new characpopulation be taken into feature of
sandstorms
which, when encountered, of man with the Arch
since this pronounced
seem like the struggles
An
msernbly
of Tumlt
Indians
the great of found
gold-bearing
State of
present,s one races to be of humanity
Fiend,
since
alrnost force
superhuman are required
strength from It was one

my
the most varied in the world: differing be accurately pleasure beauty to of
studies divisions
and nervous who grapples although carriage degree
a place in which several
with their fury. the shelter of of
radically quently son. The romantic precede
lot to experience from
one of these whirlwinds, the railway no unusual
live and labor
side by side, and can conse,judged be by comparifrom the
; the storm being

of violence. the phenomenon conception effects, not be
But even in its attcndefies descripin order that of its and by

237
derived
uated form, tion. any adequate character. physical,
the coast
is enhanced wastes which ...But. while,
It must be witnessed Its can
by the contrast the Southern
of the barren Railway.
he formed spectacular communicated
it for the traveler who arrives upon Pacific
THE
speech. ous words terms But speaking childhood, various darker actions, fail of whether one who qualification facts Nature of man shrink or
CRAFTSMAN
a party to
1~
As in the presence of a11 stupendXature, and they would use them, until
of friends back that knowledge from right,
whom I had persuaded they might rapid gain than passage of a can of the region
turn
closer
obtained Vpon our
a single like
seem too poor such right
and mean to be pronounced. will not has deter me from in a on, as one to whom, from appealed fitted to hours of gladwith equal power to the of the mind. Conscious as
across it. a succession majestic towers, rose the San Jacinto peak capped a height moun-
tains : their loftiest and attaining
with clouds
language, musings
of eleven thousand On our left by the saint showing convex gigantwo one of a
ness, or yet again
feet, while its base lay nearly three hundred feet below the level of the sea. stood the no less imposing range, superb named Clairvaus San. long, ,. San Bernardino
also that the Desert has been described,
distinguished mountains: from Gorgonio, smoothly the
; the other,
called
tic oval of granite tains a height sand feet. Titanic
which at-
of twelve thoubarriers,
Between these two natural
which seemed to lock us within a prison area, the train wound its way, fury of advanced, gradually color, by a picture, ural in certain Studies of Natby b IoWn. NC hit of Appearances, recently published delivered the external assumed a up t.o the As we Nature single of storm.
becoming
a chaos
The atmosphere showed a light cnfk shade, transmitting Spirals, formless from no blue of sky, no green fantastic of earth sand, to a whorls, masses the of mountain,
one of the most distinguished art critics, nicalities my own impressions. meet with that of profound The curred Thus
of American leaving techto
no azure or purple vegetation. and

shapes
I shall not hesitate to note here to the students, sympathy I shall hope which
reached
apparently
is evoked
sky piled with denser sand-clouds; side the tracks, of sand, more rapid eddies, currents subjected although
while beand ridges
in many hearts by the plain, feeling. which I sandstorm
honest record witnessed oc-
to a motion of the train, like the Phy-
than the passage
near the limits of the great
waste,
made the surface
of the soil appear
whither I had returned

838
from the coast with
drained bed of some vast river or sea.
THE
The men and women appeared parts, they while the background were projected, of I paper recognized against
CRAFTSMAX
afford a viStiL into the pa& life of the minof the Pacific Slope. this peculiar
ht
to be playing which to fall Hut surcsists Puma,
ing districts
seemed ready and lathing. I
Rut yet, after studying one must recognize that, cation, swept through applied
life, long ; as
at any moment, falsehoods gradually owing
and to disclose that
its shabby was
that it can not of
the operation color
science
to means of transit the local away,
and communiwill he a mirage,
rounded by true pioneer conditions. to its comparative isolation,
of Yuma
as a wind scatters
as a survival. floating often literature. Basque although widely tions

240
The
character-types arc almost in tradition of and classes
of
its so and
leaving dominate At gain4
the commonplace the town. t.he first present,
to pervade impression openness. Crime.
and there
population Like
classic:
have they appeared people
the gypsies
in Granada, the Spanish of Yuma, and condiand representing whole,
is the sense of apparent
Vice
is
like the persistent country, little differing of
crerywherc seven mortal it. would
and seemingly
waiting The rapidly of the
the inhabitants cohesive races,
for the coming
of its brother
sins can be committed
and wit.hout effort by him who so wills, and seem that. the atmosphere
men, form
a distinct
TNl3 COIiORADO
place miglit casil_v gencratc even
tllilll
DESERT
&on5 in for order
one
scvcn others are no
blagek are object moralizing.

For,
the traveler, to prevent pano-
more unclean At nigllt,

other the
those which
iLJ)&W21
be he never so little given to reflection and overpowc-ring inust turn
known to tile Churcl~. the StrWts

tt1at of t0 ttw SClTC 11SC t11a11 ptt1s t,o sILlool1,
d~spOn&ilcy,
to the strceth which hhow a moving rama quite ah picturesque, varied

IIlitIl~
dancehouse and the gambling quite C0lllptW;l~~le with is manifest is

no : Wht
hell, and
I Illi1
if not so imposworld. Indeed, this re-
in my experiences of travel I can rcmembcr nothing

be
ing, as any offered at the meeting places of races in the

Illv old JIilS%l,@?
permitted
to call tlic enthusifwm in

Illma.
for ezqil
of
time5 in
through boulevard
which tator
There,
town of the Far West, I,a garding
I \vas reminded of
course, the element of danger greater more

SCRp0rt.S
for the spcchumanity those imthe
Cannebikrc, the famous
than in AIeditcrrancan depraved quarters tlran Simply,
which the inhabitants of Marseilles
nor ilre the t.ypcs of
encountered found portant
in the vicious
of any
focus of population. carnival business
type of town represented by Puma is abandoned to a perpetual tional of movement which or of passion ; enterprise.
rllp
there being no opposing
current of educa-
The memor_v of one among the many places resort I visited, remains in mind, fixed there by the sonorous voice of a ncgro If I Fortune who sang but Knew; if melodiously while the the ballad, wheel
Citlld,
of
turned, and the strident voice of such lie could be your bets, or articulated Make @on, gents, other cspress their civic pride, by saying boast of equaling with the splendid, their own city. that if But lest the sordid Paris possessed such a promenade, it might I may be accused of contrasting
the croupier, commanded : Name your
more technical In
such
phrases, such as variegate and his imitators. at slang is felt as these, found in Yuma,
the pages of Brct Harte assemblages every street-turning to be the proper
I hasten to say that. I
standard mode of speech, to the same dcevening dress would
make the comparison only between the racctypes encountered in the two places ; setting aside the brilliancv of the French seaport, lights, its with its lavish display of free space, it.s fine trees and shrubbery, its dazzling gance of the mqjority shops stocked with costly wares, and the eleof its promenaders. are concerned, But as far as the race-types
suited to the surroundings grcc that conventional bc unsuited. than dives, to the very :stincts? what designation
And to the places themselves could be more appropriate since in them descent is made slime and mire of hul\lan inthe places and the asscn-
Alike
THE
the comparison the throng
hurnousCs :
CRAFTSMAN
irrigable lands ; gold are found miners, prospectors men who, an occasional bearing gambler disguised. and than also Still and promoters csperts priest, those garments of mingling
remains their
valid. white
It is true
tO nCCCllt
tllitt in TUma tllClY2 RlT 110 JlOOlY

with
but,
; scholarlylooking ; finally,
~~IIOSC face,
turbans
iLIltl upon inquiry,
to be Government
in their place, shoes ; and Indians other
we find the blouses in of banswathed
in geology or parson,
Chinese with their pcndent and danas, their wooden blankets and flaunting
pl~l~l~
qucucs,
arc no more in the motley
unmistakable throng,
tile gayest black hair
t.he professional to be perfectly
head-ornan~ents beneath,
and bclirv-
long,
straight
ing himself
beaten marked suhtlc
by by eyes,
the wind their
and
adding
to their and with in a of
other tyes those
there are and in profusion enumerated will give
; hut
some
weird appearance
; also, slender Mexicans,

sinuous their movements sombreros cowboys forming farndressed
already
slight idea of a street scene in a town whose singularity overtaxes the descriptive faculty of all saw those who have genius in the use of pen or pencil. As one might population of infer Tuma froni the scene, the is an indeterminate
wearing Spanish
the airs of the full sharp ers from
grandees;
costume
of their kind, with soberly States
contrast
the Middle
in search
quantity. by
The
curious
qlliLlitJJ,
types,
fils&iLtillg
r:rnccd to plzult tllc stilndard or States The

~lpon tl1e
of the United as
in
their pictnrcsquencss,
gone
their ugliness,
lacific stages
coast. of devclopmcnt, arc rccordcd Adobe houses point,
cvcn their sinister

a11 d
nrc there to-day is an old one. of the Fran-
hcparatc
to-morrow.
But the iIssclllblv is ago, it was the site of monks two Jlissions
is usual in all settlements, the buildings of Puma.
ercr
renewed of
and the town ccrtnin
structures and just an
More than a century the labors ciscan order,
.stand side by side with frame with the most modern as, sometinics, at an unsuspected
brick buildings,
who cst&liAcd
there.
ing place
Gradually by
it hccame a definite for from crossing their
hillt-
old formation lying
of rock pierces
the stratum Rut the
for travclcrs, the Mcsicans on their
and it was the point the older
nearest the earths
surface.
chosen (olorado, country,
way
sterility0 reigning in the great, circumscribthe ing desert, seems to hare stricken brain of the men of Turna. of shelter and and trade public alone habitations town, rigidly Rare necessities produced of the the buildings therefrom
to their later established ~11~11it WRS visited

,111d Keibrrle~,
province
of Sucv:~ or Alta California. cll;lrilctcr Slo:Lt,
Such was its hg Generals

iLS tllC~
FWlllOllt
iId_
cscluding
all pro243
244
visions Yumi~
for is
tllc silnply
griLtifiCILti0ll il Iidting
of
the
CyC.
c~Lll?~~tlJ iLS
eduCitti0n. (crtaiil JGilrillg :tllti t0
ObSttLClCS
k)itlTillg
I_O%lYSS
illl(J
I)lilCT
in
iLllt1
tllc
tllc Of
tlcscrt,
wlic~rc routc~s ilwc+, Iiostelrics cntcrprisc

lilW5 iLl)olllldSg
thrive,
fWltlllTS llle
qf
Such
radicalism clestructive CarneSt plea
ap-
traffic is active,
\-iCc3 evil. 011 visitctl StiLtCS tile the tlil_V School of tll:lll~
:LS revolutionary, 111;LdC :Ln
unite
in
iL
llliLClStlVl~l
d~~)lOIXbl~, I
for
the prcserration folloning

l~l:~i1ltiAillCtl for tllC ill?; by lOc:ll iLlriT.Al, tlle ITnitetl tribe Of I
and fostering atlloug if left ot)jccts
of the arts aluong tlw tribes the of
of hketrg the
and pottery-making 410,
Indit~ns,-cs~)et~i~~ll~ Sortliwest, produce fulness bolisul exquisite with beauty, aud possess
<~O\CrlllllC1lt
to thuselves, <join usesyuto claims
Intlians.
OfkYl~S
Tlic
qll:lrtCrs,
sclmd
and
is
tllc Fort
howd
hiLrracks \TulnN, of the
in
of
the
t11c
which
eiubody a delicate illdiSputi~ble
Oltl
on
alld the
110W disilimltled (:tliforilia huk
SitUiltCd ~~olori~do
he regarded reply tlicw

tllilt
as works of art,.
110
rircr. sisting
Tlic
incidents
of of
this
visit-contlw
To this plea I received the equall_v earnest SUCll fAVOr SllOUld bC shown wliic~li Ought to be swept
savnrforest such and bar-
of tlw inspwtion of
bi~md~ swing
dorniitorics,
h-0
Crafts,
cSillllillati0ll
scllo01
work,
by meal
listening
iIn in Indiilll progrC~~
to
i/\ViLy, togdlicr of blanket,ing yet iilorc life. art, Jfr. prinlitiw
wit11 tile otllcr eiuployincnts Illat- all<1 hd-weaving,

of tlw The lllilll prod&s of tile of
the
ldC1.,
SC11001 and
WlldllCtCd a pupils
-WOllld
IlOt 1lilTC
lllildc
htl friclidly it
il
(lN!p iinprc:siori not Fccn for which a
upon
spirited,
iiiv
mind,
hllY)llS
Spear from
lirgcd,
were inuseum point like of as the of study
altl1Ougll
discussion
ol),jccts,
beautiful of Of
a certain
arow
lwtwecii
tlicb sul)c~riiitclltlcnt
illl(l lll_YSClf,
in cli:qy, tllc of
view, hut most of all, worthy CSitlllplCS I~gyptian

idc0glXplls
31~. ,J. S. Sl)cilr, polic_v the to
rcgarcliiig cducthoii
racial
limitations, in which
Who,
Iw pursued
iii tlic
liieroglvlhs
il pOpIt
we see the an my
rcprtwiit:itivcs inferior the to
of it priiriitivc
YilCV_!.
and pw-
liowevcr hard concluded kind them and

to the
SLll~l;LblV
thy his strong their in the

thilt
liihrcd,
wcrc not ilt)lC to produce WC to Wc do not, their thir large,

possible
'11~
s~ll)ci-intcndt,iIt that shortest lily Hv Intli:ins
csprcssctl road in ttw+iiig
illpllitl)C?t. oppollcllt, own race qucstioii. scientific g00~1 of hriug

st;LlltlillYl.
Iwlief for tlrtw

IlliLllS hll0llltl
to civilizntioii cliilwliitc
tllCrC no
l<aye the fccblc-ulindrd multiply study at

as
of our without by the to cinI for swk he
tile
how
way. hC
(10 cwrytliiiig
lllilillt:LillCd
infirmities
iiic~tliods;, restrain llllllli~nit~

IlCiLI
no
coiiipron~isc, Of ihs, \vorltl
110 iLl~sO~ptiOll, SllCll :lS
illlli\l~Llll:ltiOll wllc~ll the p:Lgll
0CCIl1I.cd, IKwLlIIC
tllc~111 as
IlOlYlliLl
gr:td11n11v
llic
smic
inems strong
must
(hristianizd. riulid social

llil.tiOllS frStiLtlOllS th ol(1,
Hc~ ;Idroc;it<d in tlic arts

: tiL+tC
~rlfo~~~(l i~ntl
food, :111 tllcsc giuucs, of tilt
lbliLllitics t0
l)lO~CYl with In :qaiii origiiial ing

lily
tile lntliil~~S. to tltosc

for
chngw customs,
\VilrdS Of free,
dress,
illnd
reply
statciiicnts
mligion
~)lciltlC(l
tllC prCsCrriLti0n Of tlici Intlians

the
Of the
rcgartling
itlIt
Ililndicrr~ftS
StlCllgtll
: tlirectdircctlp 245
fcclirlg
iLS
to\\-:llYl
lThllttiL1 of tllC
irrcymnsiblc
life,
and conSc-
policy
outliiwd
in tlicsc
sentriiccs
THE
quoted from mv adversary: arts. their only them hitherto Indian their relinquish The have
I would
CRAFTSNAN
~abolmust be and to this to of it, is always fashioned commands revealed by the in the things given of service urging alwavs world: mars a savage of Persian inscription tional
cup ;
ish all their barbarous made to accept end which North ours. they
They own life
any
people; of the of a
that the display
of that sentiment attention war-club side with wrought tea-
way to reach of everything been
is to deprive
as we see the decorated tribe occupying Ornament, book-cover, from flower-pattern all these ob,jects the people for side by
attached. that the of art between
a place in Gram-
On the contrary, American of are excellent
I maintained expressions kind ; that
a carefully from
the Koran, serving
or a convena Chinese the special are in-
classes of types
comparisons
are idle;
that
such objects
must be judged
by their ad-
herence to certain fixed laws, or their dcpart-
uses of
whom they
A semi-tropic-al
paradise
ure from is capable are perfect to argue,
the same;
but that no one critic standards which
tended
and
differing
radically
in
them-
or body of critics chosen from a single race of establishing and permanent. In my efforts Oriental
selves, while remaining principles languages single and customs If,
obedient to the same races of varied unite in a it is obebecomes a it of might
of art, as many
rather than to assert, I instanced the fact that. between them of connoisseurs and llnity. I
religion.
therefore,
the tvvo great systems of art,-the and the Western ; emphasizing while the csternal differences are wide, the-investigations laws of beauty, symmetry
dient to these laws of form, of design, work of art. It matters or yet
color and unity not by whom the graduate
the basket or blanket
is woven or fashioned: Nava,jo woman, \VeIIesIey,-the
the Hawaiian
or the
have proven them to be built upon the same reasoned that artistic sentiment, or the lack
preference, expert,
if any, bclongbecause of her
ing to the barbarocs
THE
disposition toward originality
COLORADO
and inventook
DESERT
of the very life of the native people, and hostile
The object itself being accepted, M-E it could have but a superficial tion. should, 1 continued, le:LVe all fUrtllCr COIl- effect.
si&r:iti(>ns to
ethnologists : to tllOW Who It is for them to of the races, to of plantrank
If,
perhaps,
such things
be true in the Why not
study the races of men. decide declare the relatirc that
more important
case, I argued, why shol~ld
t,hcy not extend to the lesser? of derelopmcnt, f ercnce : allowing parison, torical policy rather
the prcdominancc of animal
pursue toward our nations wards a course than one of intcrthem to exist side by side and to test, by comsince histhe the A-in the success of crime-of them. regretted be
forms in design shows the higher possibilities, while tllat here concerned shapes denotes We arc of low powers and early racial decay. solely
with our own people, esamples prove
with a question
the value of our ways;
what is good or ill in art, and it were a pity to deprive these Indians of their traditional skill, in order to impose upon them some of our civilization for which they which thcg and against fragment will r&I,
of assimilating policy
conquered peoples or
tribes, and the folly-even contrary rog,znce is as much to
of suppressing
are illy-prepared with sullen apathy. In pursuance my sincere primitive the policy handicrafts
or which, at best, t,lrey will accept, of this point in the over I expressed of features of the,
nations as in individuals, thresh&l
and all those who
are in power would do well to stop upon the of action that they may ask thcmwe contcmppersonal, by *justice, or are they inbv the desire of advantages certain life; a people selves : Are the changes v&i& late suggested stigated solely
belief
simplicity of
of our own too
artificial depriving
condemning develborn of
selfish domination?
which they have slowly and keen intelligence I concluded against
oped from their necessities, and still pursue with the fervor of gesting that such conditions. by sugraise, at scprace; and a of
the suppression might
A
these of our people
1 this point my reflections were interrupted by the arrival of the wagon sent to convey us to various points
their handicrafts used learnedly Washington, arating pointing religious Western directed test of
the Indians
of the reservation, and during this extended drive I observed much to confirm the beliefs which I had already expressed. ernment for the health and I recognized germ if lcad properly I saw how happiness also fostered of people in the and and much is necessary to be done by our Gorrepresentatives continent. themselves which, might of the primitive of intelligence to the most
in a crude way, the same argument that was by the Chinese 3linister at the time from of the Boxers
war, when he described the differences the Yellow the White
out that cnch had arts, manners faith of suited to it ; and that the proselyting agents
and customs, systems of philosophy, interference
goodness, devclopcd, fruitnge. At first, ings.
desirable
ideas \rtls useless, because, being toward ccnturics ideas which had stood the upon ccnturics and par-
I was depressed
hy mu surround-
Hcrc
wcrc 1iWp areas of land sus247
(*pptik)le
for ]JCrc tltC
to c~~lltiviltiOl1,
Sig;ht
lyittg
ficltls
WiLStC
; ltl:t~JWl ; dOttCd
by grwlt
bg
Of
1JtllT~
aJld
tllcrC
sad-looking a patch
IllC to ltOItscs,
willow of tilled
Or
and soil l,l_v prcsct1ce. ltcr ; tlw lotig tltc idcal :t,rid slonl~ upon \vork. i 3 prb rcl-c:~letl of tltcir frottt tltc thcrc f:~ror:hlc csisted for otltcr mciitl affcctiott for of
StiLtC fro111
tttcqttitc & rare

]ltttS,
trees, intervals.
~Orresp~ndcd
with
She sat, witlt lacing
ltcr clay into
lwforc into it slmp~,
mthCP
ttt:~kriitl of wlticlt rcxlizctl, oiw
altwtdp
rollctl
their
cnritwiitncnt. and wcw wlticlt Ihcrc twglcctcd of wtitl row iii wit.s no it to to
th!
strips.
Iltcse slit coilrd sltc carried
Jltcy w-crc poor, to tltc poittt ftym cIouds

ilttCtll[Jt
dihpitl:ttcd tlirir floors
in ltcr mind, caclt coil or the
of filthiness, that and
as trt:~?_ t)c itifctwd
as sltc prcswd :uttl
tlic fact
tltc
prccctlittg stttootltiitg
it,, cspiidittg modcling
long-uwd
cortt:ttiiiri;ltctl, upon.
cotr~prc~sst~ig,
\\.1tcn trod&xl
ilt
brick-tttakittg, forty1 cotttlitions
:Lll(l 110 115C Of in that iL cOncretc susccptihlc appw~t-cd t,lle hlhlGC

But life.
ittdicatiotts of tltc evidenws progress. for tltcir prosociety, in tttitiiakm to
tttttd,
far
prcfcr;hle clcauly lltcw

to tltc
to tltc sand, itttd at, which

s:ivagc
in tltc work c;~p:hilitics and tlwir
iltttl rccrcatiotts
\VOtlltl ltiLtYl~~t1 :\tl(l cottip:wittivcl~ wasliing. ttlc

t0
lll:LSS,
~~itttt;t Tntlians, lltcsc fatriilirs
:Lpp~iLWd iii tlwir
rCtwll tllc lintits of
vcticr:btion ncccss:uily th is hut htildcrs tltc
old age ;
rctrop:dCs
two
sctttitticttts
atttot~g
strongly
oltscrv:Ltlcc possibilities twirkcd

tltcir
ot11cr facts
soon
iLftcrB.:lrd of tltc I rcof
~touticctl
1Cd lllc t0 t:lkt it 11101~ ltOpL!fltl view of tltcsc iu Cwt:iin dcsirc to

llUlliL Itidi:tns. itttlivitluitls SIlIJIilLiS tltcir
SttlW tllc fiLtltily

t1tw. h-an, It1tlcct1, as
p:1ssed SC~>illYLtX?
evidcttccs
visiting the
tltc sitigulitr
fantilics
itilt& of rcwrthe
o~T1
frllows tlesirc
in I rc-
iting tttorc
sltclters,
T tliougltt affection,
pcr:onal tttcmhw2d
the first
:~dorttttt~~tt t, attd CWl?_lC t0 spiritual I reitt:~rked strong efforts llopcful tllc the ititplsc interest,
this
titan for
0ttCc tltilt, in the tttattcr :~gc :~tid domestic

tllig~t~ \71111JilS tC:tCh
IliLVC deCliLlY(dt0 1X2 ~102
of tltc hhrotts it gcttcr:ll gxtii~s, itt atltlctic
b:LthuOlt~ yoittli ft
0111
ittan. and aiid the
fitrtltertttorc
wlto1em1nc if wc would institutions visiting upon this
Icwon, not fall
which see our into of the
must most kans, I also which thy
1~2 itttor atis
wry
cnforccd portant Ihide slwltcrs, tetttlcd ltelongittg cotnpwscd iii large who, yet ion, order
11s ?
tnatlc: by all the

intlicntions were
itt:dcs to
cort~~lw of CilCll of l)f;~rof of of
dccatlence.
c~scel in them.
Iltcsc rated fwc iitg, by and tnarked inwrii~ltlc otltcr lay in tltc in their I indiriduulity crcctncss ittvcntivc pnstirncs, iii their watched, wlw with was stt:w2.
several
rcsrrvation, hostile upon fit&on,
:L POZWOZO 01 cotlcl:~~c to the of tltosc nutrtlwrs making customs nssiime of this

us to
of the It>di;ltls exist arc rcligin raw. trortt~lc
Wltilc
notice:hlc
witlcnccs power tncthods
n:tthcs---and no opn
intelligeticc~ dcstcrity crude int crest, iL .sitttplc
a11 rcservationsrcsistancc, tttcir of is: the own white
the met1 as sllown craft-work.
and tltc much cntcltof Hut
while unwilling social to
of tltc wotttcn
to rcnoitncc tliosc fwtion ourselves
ant 1 occupations,
Wl~v
:I It:~ttdsomc\ brave
but itigenioits
ittg fish in the (olor:~tlo river, willow
bv means
llic cry
Lcarc
we ask not1ta49
it1.g bttt
to tact;lill
0111 (]I(1 lltCtllOdS
Of
life.
ilV:lil
th.
JIvtt
:iw
cverywltcrc~
iltlcl
ttic
kiutic. hi
lltcit red, ot
()n
wit11
t]tc
tltc
tllc fill]
~(jtttr;try, sclto0l
tltc
frictttllics privilqys,
mid
Itiltt(l~ Itlwk
h:ltllc. . Olil
iLtl(1 f<Yt
Itodics yt.
put
lllil~
t]tctttsc]res of
ilSSOCi:Ltc c;~g~rlv
:1llC]
or wltitc.
WV
I%tlt it]Sitlc tllcy likr so

of
ilrC all tllc IV< say

tny I&y
to
]);t,lC: filCCSy
fliL~tIICtttS t0 Of fWtl1
s&c
fiSltCS
arc
]I pm
w]liC]l tiLltIC. ITpon
IOilVCS tllC
It*csitlcttt tltis
owt1.
: llris
tlt~~tlt
GO~Crtltlt~tlt~
(itl(liCiLtillg
tll<b IOWer IliLlf) (p(~itttittg Iltis I girt to tltc tllcsc Itcwic
I _yiclcl to go,~.
rippc~r pilrt) is
Ilut
tllct OCC*ilSiOll
of
the
collcl;l\~c, 0111
ttty
to no tit:~tt. words tltc old tttittl

011c
itltcrprctcr
1V;l.S:Ltt iI.$(l
]liLlllC Of
S(]!!IlW,
pssittg \VllO n-l]0

tllcl
It] pr(m(tttncittg tool\

011
t~]t&r ittg
tltc
]torsott;tl
AIitg~qil
SCOtt,
sotttctltin~
iLIt, ppttd.
Sl)~!iLkS1Stiglislt ~t~t~~tS]ittCtl ittto

]cpIttls
rcxtlil~
:ltltl
IliLS :ltl
intcrcst-
Itistoty. sitttplc, l>?_ tltc
Sltc podic
Oltl
it, was
WOtYlS
tolcl
rllit]M)(lr,
01
1Sltlcr, Ovid, wit]]

\Vilr
\1.110, ilS
Iw disc(~ttrw(l, ltis Itihtoty

(~tt(ld it
CiLrlic~(I(tttc ttttiwtw
itfit
:1\v;Lv t0 _VOl.!tll iltltl SCllOOl-ItOOliS,fO1, lilies Itc hgi~tt

CIlilOS :1tl(l
of tltc
wit11
t IIC
of
sr~fi-
mid
strife
for
~vliiclt
IIO tt:int(~
chttly
Ixiw
c(~tl(l he coittd.
Cll~ltlt~
It] il kittd
Of
lllOtlOtOttO1tS
IlC lYIilt(tl tll:lt its OWII

RYCi1t
M.llCIt
tllc pu)Il~~ of tl!cl (:ll.tll \V(Ic C1C;LtC(l, Cil,Cll filtltil~~

illl, 1 ill1 W:l.S
giwti
Ill,*
110111~, liltl~l]~tI$( Illitd1
color.
koPKo-Allt/l
t1tc~tt, Jc>t
IW (lit1 IlOt
\rislt
tltcttt
to lives fro]]]
t(kgctltt7-.
OllV :LtlOtllVY
SO, I10 SClt:ltYl~C(l tllo triltcs

1,y
rtwrs, its
tltOtttltilitls,
CiLtlV()IIS,
tlcscrts
iltltl fOtY5ts.
1:ilCll filtllilV
livctl f0t
t11~111~ ilgSCS ~l~il~ltlilll~

fOtl~llt fortgltt
witltitt
tllWc
o\vtt
littiits.
Ihtt I]t(]i;Lt]S
]lt(]]
IVCIl
~)itSS((l.
iltlCl
illllOtt~ tlicttt
tlt1~ltlS~~lV~!S,
nltito
:qpin
tttrnctl
in
tlt(~tt~ltt arow of of
to
0ncs
sc1~~0lto tlw
XII togetltcxr. FiLtltw WC

to
llt(w, tltc wltitcs ~\T:tsltitt~Stott fcx\r.

\Vc
(lil?.Sy iltl,]
tile vision tlw

;\itcl
tllose Ol(l (GiLlliC
Scizctl tlt:tt Iv.2 our
tlw
Tttcli:~tt I:ttt~ls, :ttt(l \v( j~cr( to]:1

ilt
an(1 G(*rttt:ltt Itittct II OllliltlS. tltc tmtkcrs to

tltis
110
cltic~ftaitts power
with tl
wlio wsistcvl tltc
tltC Isix (Itivf.

tlw
\~itS t(t wcrc
ctt(1
i nv:i(litig tlicrc
Cillllc
\vctY
(10
ilS
Tott
(()I]](].
IC
VISIOtl
iii its
t11iLtl_Y, iLIlt
I-Iorv
\V( Ilild
iLlSOtllC>fVClit]g tl1il.t
:ttl(l,
n-C i~lllc~riCi1ttS !Vilv,
ill< iLlSO
old
1112111 ctt,Ic,I
:L stt-opllc~,
of a Itisitory, twwdcd
trw, tOWiLrt1 Owt we tlic sllortld
sccottd
tltiLt,
tt!rtti]t~ tittry
slt:~rply
to ttt~,
iLSkct1
itt tttorc
hlTL
ordi-
0th
cltroiiiclcs
strive we:da-,
:
less
itIlt
tonrs:
IT] Id at \1.0]11,1 . VOII ttty answcr, Itc cotttintted
(1,,111?
hcing
to
:LVOid
TTp(tn rccvivirtg rcSign:ttion,
a_ltic]t c(ttttts&d
itlj rtsticc
Civilizctl like
: \Trc (lit1 sI]rrcn-
rilCCS, lest, our
tiictnorics
lx! StilittCd,
THE
those crimes ~holy, ing from of former dominant from their peoples, glory. and mcrcly the
CRAFTSMAN
whose mclanBut on a strikall parts say, plows, which, Nights, tutc through of the country,-one work from gathrrcd might bcttcr
so detract preoccupied
of the world,--to or to engage arc almost the products the great only
at the prcparathe soil by stctull of melons Arabian constitrnvclcrs The and of Asia.
Jhc old the following figure Puma
rhapsodc,
dignified me for upon hours.
tion of salt,
in the culture from of oases, solncc of desert the
day he bccamc projectctl by train, of travel.
as WC remember
background I returned Coachilla,
of my rcminisccnccs
through
India which
and
Salton, Desert. into
to Pahn at waste, the The
Springs upper country end
Station, of the t,ravcrscd, being lands, wells. of thcrc five from
American passed just with cluster My found name
fruits own
can only
not,
it is said, bears river. Palm which
be sur-
is situated
; lacking
as our about point from the Rhine
the flavor
of romance, comparison which I it.s
(Colorado converted by means Within thousand
Hudson
once a complctc
is now rapidly and from profitable Artesian
in all save the legends the German of destination,
fertile years,
of irrigation three persons
Valley, receives
a population
to bc an ideal oasis, the Blue Palm
has assembled
(Washingtonin
THE
~&/fern) fornin. hving At Ialni here
COLORADO
home, five
DESERT
against for
its original Station,
tions of capital managers successfully ination, approval. the region, might cles intended should
lihr.
A board of
after being cxam-
;lnd now scattcrcd
from end to end of CiJiSprings but as
be clioi;cn to examine artisale, which to n thorough
milts away, the wind was still high; we neared the valley-oasis, of the mountain walls mcnts. to offer Orflnge, protection lemon, rttngc stretched against fig,
subject4
great but,tresses out their the cleand the air, of with minwith
be stamped
with the comwith the excepin could own n
munity seal, as a final and absolute mark of All foodstuffs, and each tion of a few luxuries could be produced family
almond
apricot
trees wcrc in full bloom; softness, was laden
a caressing glcd perfumes tllc beauty That belonging ~~nrray, fill Naples,
Quisistmtr-
; the eye was intoxicated
of sky, foliage resting
and flowers, and dream. in a tent cottage of Dr. Wellwood
tllc outside world seemed n troubled evening, to the hotel
I rcmembcrcd which (Hcrc Then, my so
those other delightalong bear is the ISay of the name to t,o but
was
crlhrglli, scat.tcred one
often
restored reverted
hc;rlth.)
tho?:gllt.s
a schc~llc long
cherishctl
in my fancy, My work
schcl~lc
for which I had vainly tried to find :L suit-
ahlc
the
~)lilCC of esccution.
cst:~bli4nnent could should
of a community out modcratcly
in which together laborproproducing wants.

th
men and women the, problem ioiis life, :md afford vide against which
of a useful, the corroding
assure health, action
of arc, area large enough to supply its
sufficient leisure for it ScCllled to of
the pursuall
ance of means of culture At Pi11111 V:llley, preliminary were f ulfillcd. rcquircmcnts Intrusion
and rccrcation.
lrle,
TALKS, that cvcniug, of my scheme which I had cqglit
I fitted tllc outlines region of gljmpscs on my way morning, me. On I saw
my
scheme
to the beautiful The following surprise awaited
and interfcrencc
out
were remote evils little to be feared.
from the station. a disappointing visiting cverywhcrc
of door labor was not only practicable,

even alluring. A central,
but
cotiperutivc
the immcdiatc
neighborhood,
dhpcit could be established

sistent whntcvcr workshop, prices. Eiicll
for t,hc purchnsc

could make or qua-
marks of neglect in Italy,
and indolcncc. it seemed hcrc Ilad proven All 853
of supplies and materials at the lowest conworker he desired in his own home
As in many places as if the generosity build fortune,
of Nature
a curse, rather than a capital upon which to comfort and happiuc~s.
thus precluding
all vexing
THE t!ic
propcrtics, with xxv utterly
:I
CRAFTSMAN
grows Imrs wliicli ruining
;
tllcir
onw
fine
and lie
to did tllcir
bring wit11
tlmn the
to
his
own
terms, of of
r~ncl orchrds, plw33 tlculcnt were

Wi1S
ncglcctccl,
i~billltlOl~Ctl.
wliilc
ThC
nlmy
SCt0llC
disastrous intliistrics
result and
proiilising
prm.4 ical ly
for the sihsrqucntly
:h:UldOllCd
rcduring
of 17pon iiiorC
a with
hrning
arc21 of hloonl
thcsc ronrincccl iuncl cvcry facts, of
to a sccnc yet
as
l)uk tllc
:1pparCnt. rcgrcttihlc tlric to
rwson
I
dCSOliltio11 lc:wnCtl wCw spirit,
W:lS tht
IrOt
tlCsol:rtion.
tlic
I bccaine
the fcasitdity ILS well
contlitioil5 a IiLCk of
existing
l:wply imd to
strongly schinc,
coi$xktivc
of
ilip
tlctail,
tlic
~clfi~linC~~ years
iLll
of
:I
sin&
individud, Id firlcly g~~iiicd
who, con-
tllc
principal
fC;ltlllTS
of
tllc or
region,
coninspiraCOIII-
SCTCrill trol cd of from
previously,
firid
tion.
iriy
first
ji:dgnwnt,
ratlicr
i~rig:~tion-c:Ln:~l stone xntl cCinCnt,
construct:L dk-
I SiLIV
in iiicntd :mtl
rision i&w
111-j idcd
ICiLdillg
inunity
lllcll ~1illlW IlOt.
rcdizctl living
:lt the
: iiicn
iIRCp
mtl
:LS
wofirst
tiLllCC
Of fift(Vn water
onw Inan sought,
nIiIcs, to
to
;Lntl G1~XJ)lC
Of
the lliS
SllJ)-
ill :L golden siirrountling

working fields, or in at
iI
plriiig
I-I;Lring this
the
give
cntirc control
coniniuiiit~. of ccln:LI, ncigll-
XTtLtUlT niig-lrt
grows, \~incyitrds, follmdicr:~fts
olk;lincd
suggwt, orchrds
but iLll(l
liL\VS to
lowed itlyllic
11101'c st:mcul
in their csistcncc,
dcprcssing far
own
bllt
dw(~llings
frW, ansict
; lcatlillg
frOil1
no
tllC!
wit11 tlw hour.

cait
In pr(wnce I rcw3idwwd Of
N:ltllrill
of this
iIi:~gn~fi-
ilt IWtSt,
picture, Studies wllich

iii tllc
Irofcsaor phciioliicna
was n-ritws artistic Id to
\:LII of
pro-
its, thn
:111< 1
circiini-
I)ykrs in liglit
AppCiL1:lIlCCs,
1110rc
Ilappily
Of l~cwi tllc
if tllc_v Id 01 1IlWll tllV

will to
Ilc :m;il~zc~s
Ihwrt, of 1IiS _vct ilnd
tllc
I
rclll;Lill(Xl in tllc ClY)\Vdc(l citiw, ,rnpro(ludirc

It w-oIIld in f:lrllIS II;LVC tlI;lt Tvitll KilSt. my
folllltl liiqol
scllclllc~.
1Iikrt.I tllc forof hilitr.
iltlllIiriltiOll :intl
tll:Lt, kccncr
sc*icIitific scnsi-
;lCCllIqilC\
](jnpr
f:lytller
I)liLCCy
III?
in OlYlPY t0 il(l~illlC( of tiilw

:I (I:l~
loiifi-cllcrisllctl witll
Iwcolrw
T.cxriIIg Ihivc~rhidcl
lillltl tlw gwiit
\illlC?_,
Ilest
visited tit-,
I{tlt
tllcb csigvncics
1 IlCSt Iilllll illl(l sl)cYIt
Il;~stenc~tl 111(
Ill?
or:iIIR(~-IIrolIIcinR
oll\v:ll.d. ill tllc I~j(p of
i\ll(ll~ilS
(i\ll?_OIlS, to
wllicll
is tlvstiiictl
ollr
t]lc> iiotctl
sccllic
plww
of tllc worlcl. I coultl illl:qinc as tll(> :lssc~l+(Yl coimrunit.v, tlvrotcYl to
rhis
v:~llc_v, also,
s(i:Lt of :I flourislling (]iLtC.-~~!ltllr~~ siilcr

t]IiLt tlIc
it is pocitivcly
COIIlIllClY(
fruit
Of
will gsI()\V t IICW. of tllc spot consist gipl~tic

of
At present, ii) :lg(l swrrc~tl

illltl
tllc xttractions
plllrl-trees :
tlwir
trl.:nks
gr;Lccful,
1)~ tlw fcstiwl f:u-like givilrg lc:Lr(5
fires of tlw Ilidiilns,

c10\\11s iLl1
their
l)luish tll?
0111~
Oricnt;kl
c+YcTt to 21s tllct

tlIP?_ IIIilkC 1lWtl tlICll1
IillldSCiL~K.
trlll~
IlTCS Of
as Intrrcstillg
(i~lifO~llii1, t0
f:ll~l(~lls Big
tiiw
:llld
il~~~~Ili~illti~ll~~~~
ccp:~11~
rcnowlK!~l.
llwir Of tllc itself

iL
fruit,
Slllilll, i1r:Il)iilll
11:ingiiig
IlilS (l:ltC, vet :l
iii
tlIc
IOllg pCll~1:LII1S,
prcciw wliich flilVOr
fil)rO~lS :Ultl
fiLCt
WoUltl in of
c:lIIyon,
:lrplc Crlltllrc.
for
tllC
c5tal~lisl~iilc11t Froiii upon rou~l~ supd on either

ilrWlS r:LIlgC,
scientific thy,
i~llOtll~~
tlrc (lriiio, ant1 rc;lcllctl \vo
visitctl l)y :I
tllc> ;I~)l)rOilVlICS Slll)llll)S Of of wliidi rw:dlcd to Ine thC
the
following of tlw
:Lntl difficult vim
rO:Ul, Ihscrt,
Ol)tiLillCtl :1 ;I
\ViXllS o\cr
2~s tlnwigll
thrk s\r-cpt
(;CllOil,
l)c'CiLlISC g~ww
Of tllf? tl&A, wlricll, hntcrn-like :Lnd glistlw wr! towns. t,llr 5.5 for
fr:LIIlC l~l:ltlc l)v tlW Iligll,

lI~~nt1. llw CJT
rising
vast
fiwly-licpt inilrs
:~n(l c~stc~lisirc~ tlispl:iyctl aillid Witllin ant1
:il)oilt,
their
of snntl, ;\Ioll:Lrt~
Iding Ikwrt
to a (listant
iiiorriltain frolll (liffcrillg
wl~icl~ scptxtw one nnothr
tllv (0lor:do
wlol)c5 of gol(l .Y tciiiilg foliqr. stlYY>t arc suggwtiw
IICilY?_,
(lark
fowign
tlw city,
of
tllc from
: tllv
~IIxsscs
IliLIIIC'Sylil;v tl 1oqs ,'
ii1 color-tone
:lncl v:ir_ying
inspiring
: while
THE streets
palms, abnndon rcation
tlK!ll~sclvcs,
CRAFTSMAN
But yet this title is a too restrictive by whicll to dcsignth lhc a building Glenwood tensely suggestive. one so inis first ndaptAnd
slM&!d
by
gr:lcful
acacixi
and peppers
arc so dcliglittime aud to
ful as to cause one to forget all desire of sliclter. is provided
of all, (alifornian cd to climatic
: that is, perfectly
And yet, a unique place of rci;t and rccfor visitors in the Glen-
and loc,zl conditious.
this result ~vould sccni to have been accom-
wood Hotel, tcrcsting special Frank study. Miller,
which,
hcc:~~~sc
of its most, inof
plishcd isting The wood, in the
througll Spanish but
the
study
of lmildings situated. Style of
es-
2~rcliitccture, I made an ol)ject Its builder sensitive romance planned Mission
in plt~ces similarly $1 ission
and owner, ;\Ir. tlic region, to cntcr of which may esamplc
certainly the Glenfrom 1~11
to the iLtmospl1CrC elcmcnt
prcdominntes
in the fqadc traveled visitors features
of historical his carefully 1x2 dcsignatcd the Spanish
investing structure, Style.
will recognize borrowed but
has allow-cd no vitiating
structure
more distant assimihted, fully
sources : borrowed,
~1%a successful
and united naturally
and gracewhole.
int,o a pleasing
and consistent
The
original
inn built of ndobc, has hccn effect : being ~-all pierced now below
so to use tlw crude and humble adobe co?struction which, in itself, is ix reminder of ownership of California. it wcrc brought from while the canzp&le, The one of
it is
utilized joined
with picturesque to R scrccwlikc carriage
tllc JIcxican tilts roofing unncccssary ingenious
with a great rccciving
gzzteway, and nborc although which were
with niches for
bells, and for this reason,
the old Jlissions,
the name of cmnpunile,
to hay, is n successful repro-
it does not in the least resemble the cylindrical or square towers in Italy,
duction of the Franciscan
style. By this USC of a relic which most archi-
isolated forllled
from
the churches of
which they
tccts would linve destroyed visitor, at his wry pathy

For one
ruthlessly,
given await R
the forehim
a part, in order t,llnt the vibrations and conncctcd camthe space enor aclv:LnCCtl
cntr:uwr, is put in symand

which
of t.hc bells sl~ould not sllilke ttlc masonry. lhc adobe building pani1.e +nding itig, suggest thus tzross tl le
with the the
region
taste of
esprricnces
would be indeed dead to all scntinot imagine what possi-
c~loscdupon tlircc sides by the modern buil&

h:LhLCitnS,
mcnt who could
bilities of en~joyment, incident to Southern life, lie conccalcd within the

Ilw WidlS.
~iLt~\V~l~S SC011 oftcn
in tlw Moorish
struc-
tures in Spain.
It was a happy
tt10ug11t
cstcrior
features
of
the Glenwood
857
THE tlt+e sinlplc,

plcs usunlly tccturc might tcred tlrc in Ronic, ~.:dls, terrace, of in accordance ol~~vcd wi~i-m countries. for Seville. of the with its or with the Vie
The
CRAFTSMAN
princiarchfaCadc
plas-
the
marks
arc
of the
the all which
brush
clelncnts
with windowof
which and
it was doorof an good

Si11110
in the domestic
:lpplicd, f r:Llll~h, cniotionlcss rcscrving humor :~rchitccturc
simple
$1 system
CiLSilv 1x2 mistaken
iL street-front windows, Mustradc
prcscnts, interior
so to speak, courts its

tllC
lj Iorcncc,
or
countcn:~ncc for the smiles.
to the street,
nhilc
tlw disposition pcrsco,
and
It So ricquircs
supporting twcausc special hew p1iwcs ; all olwxved,
potted twfore arc locnlit_v. limit without
palms-all seen perfectly The in
arc many
idlPtCd
familiar, different
to
interest. son. Who, lwforc windows hcnutics

~lllc
that It is grilled to they evident
is t~wakencd tantalizing towns, and wlint and of in other gates wonder shcltercd
by
illld
n silent
pcr-
mysterious. stopp4 blinking am 1 also the
this is and The shows
in continental
has not smell, dcliglits
simplicity for its own could not
which sake,
partlv
I_)iWtly to stroycd very
espensc, disastrous
1x2 dc-
concealed?
iLW
result. which
WlVilllt:l~CS
simplicity portions
roughness
of the plnstcr,
plainly
of
THE
csterior, illrlstmtion. tllc classic t:iincd, the of the gray tlic ant1 two of whicli I have
(01,ORADO
chosen for iiiaim to green wood, tlrltl in tile plnntctl
1)ESERT
t,o the in which, out, In wlidcst in return, (:lliforni;r, form, the and most the it work :I gospel of nialnrinl evil &out of life
PildrC2
In the long scrcrity tlic of lint, color
wall of the Wing, pcrfcctl_v confined of curves
rcgioiis, mtl under

SCrril.
&sorbing
it, it gives Ilc:Lltll.
sclicinc, story
coiitinues,
of t,lw plaster projecting with of points, the foliage
mcl t,lw dark mtriral trees. the
a modern tllc point
second
COIltlYlSt firlcl~ lusurimicc lint At ccrtaiil opposite
From
illSOy
of view tllilll
of ;ucliitecture It c1e1no11lessons
tlispl:~~ctl
tllc
pwgola
is clO(~llcl~t.
of tropical haking
strates :~rcliitccturc curws, seen ilS thove fronts witll(alicould into
niorc phinly do th to
1rliHly dry construct.ion Iv00d WYc:lls, tllosc lniilders, in It
also,
groincd-arch tllc tllc effect. origin
; tlw
dling like which SilliSat il
rcl:~scs its scwrity, in tlic tnwhr1-tech tllP 1)iLlCOlliCS. out making tlic And
f)SClltiO-C:L~)itiLlS of grw~tlqflilSl1 light, Cllllllilliltl~~l buy mid \Ychtminstw.
p:d1n-trc~~ of Gotllic
pediiiicnts
licrc tlic mrrow long
woritlcrf~:l
of tllcb \PllC~tiiLIl p:ll:lCCS iIrC SUggWtCd spcrtator

tllc
\illlltS Of tllc I:nglisli iti tllc iri I-lcnry
to be in :I
rliaptcr-llouse Scventlis
~011~101iL~ 11pl
fOl?liiL
Grand which of tlic
(iLIl2ll--fOr
Cliapel
1ltLs cli:~rnIs
IWiW cot1lpilrisOn
with f:wing
SllOIVS
those the
of tlv2 &+lc view interior
of the Sea. wing-this time squarcP With saiilt, 115 Oltl in step Jilllc f:lilS intrrior and
to
Anotlwr
of tlic ldow
me in whicll Iwilding, :\S it of wliirli tlrcrcforc, tlic httw For arch,
to trC:lt so simple, merely
of
tile
;111 ikllllOSt COll~~~lt1liLl CffcCt. lionorcd it trmslatcs pugoh, csistcncc only IlOt<? of tllrollgll tlic pergola
of tliis iw, I sldl, room,

iI
strong :illudc to to
ith well, lliLlI1c(I fr01u :I nlurll aud worltl \vlricll Imlt,

Zcrter
suggest
do.
WOllltl
k)C lr1.V plCilSllW
its CllCill~[)tllS of
fro01 011r work-:i-thy silcncc
into tllilt
iLlltl cl?! ict,
my cd I
illustr:Ltions refectory. round
~7,rccxnine
ant1 the this room rafters, \VoUld ilnd which sun,
l)c:LCc, cloistcrccl \viLS lwokcn niusid rising Hut yet
dining St rippd
1 sl~o~~ltl prcfcr wcrc
l)g tllr
Of tll( Sil_ntl~Ll~(l 1llOllk iLlld tllc

Sostcrs
ll~)<lll tllc StOTl? J):L\CL 117PS :IIltl iLir

us
Of its lllO~lC~~1~ t:hlc lllikx)nry :llld phstcr
iI~)})(ifltlrlcrltS, work (ll:lstitJ from :L new like
the plaiii tllc crude
tlic csposcd
tllc r:dm tells
to I leaven. tllilt of tlw

IlilS
fonii,
in all rcspwts wwc of out St.
, SUCll tL I)liWC ilS tllat

ant1
:l IlCW missionary old Yr:uicisr:ni. to tllc :lp srircccclctl
11ilStilkCl1 tllc
pl:irc
e11(':1-
in xhirli Olxdicncc the light Stremd
tllc Yaws Of Jowrty, :~ssuincd, Ihncis,
,111 ilaC of sricncc of faith. I%~ 1liLS l)ecn trans-
l_vptnS, nilti\c
to AllStl:Lliil,
l.!pon
tlie world.
THE
PREHISTORIC PHIS, A. BROWN EKNI3SSII:E, kansas various valley to the arc prehistoric of Mississippi particularly relics; the POTTERY BY IN TENNESSEE. ANNA
CRAFTSMAX
MEM13.
T
over yielding one of 3Iound of Jlrs.
and Arrich in of
the mounds
Mississippi
shapes
and sizes scattered river archaeologist and a rich designs. In in Memphis, of this year, collections to the city of of
the
enthusiastic in singular Museum, in March complete Alason
thousands the Cossitt
of stone implements, Library most
Imrvcst of pottery there was installed, the Builders Car&i&n While
pottery
ever seen : the gift of Mrs.

Figure II. Swastika and inverted pyramid
Rlemphis.
in the possession
Xlason, it bccamf known as the finest private collection tery There fully The from from in arc of its kind in the world, favorably the nearly Smithsonian one thousand varied being and it has been compared with the potInstitution. pieces in and wondcrthe limit4
all, the designs striking,
if one considers collection
resources of the potters Memphis the fact
of that remote age. is interesting in it came This place
that every piece
one mound in Arkansas. about forty
is situated personal
miles from the city, halfin ThC
and each piece was dug, under lLIrs. Masons supervision, the by a half-Indian, unbroken. ncgro workman, recovering occupying ation, Fiaure I. Greek scroll pattern
860
who soon became expert treasures
mound rises in a rectangle, an d covers a piece
in a wooded flat, of ground village, quite if it
a remote corner of a large plantfor a good-sized built.
large enough were compactly
Indeed, it may have
PREHISTORIC
been the place of a village, ilar to this. The mound as investigations now stands two show many to have been built on sites sim-
POTTERY
ashes, The which pottery seemed to have been made placed of the to over each interred clay peculiar Memphis, body. contiguous
is generally to the country
but many pieces of diflcrent maspirit existed
terial show that a commercial probably the result of trading
even among t.hcse primitive craftsmen to the cast and to the west. wcrc fashioned The
; being
vess&
with nations
for many diffcrent uses, and
have often the shape of birds, beasts, fishes, human beings ; while some are idealized ohSects. scroll the The Certain pat&a Greeks design pieces have peculiar swastika, I.), ancient (Figure from the is intri&c marks. by One bears the famous or Greek Egyptians.
borrowed
and the specimens
it arc csceedinglv I rare. This is one of the best known. Others like it have been found terranean
Figure III. Eayptian type
bearing
in a few instances on the Medisea floor, of older the possible flotsam than the civilizations
and jetsam world country, it has deposits
remcmb,ers.
ol-thrcc feet above the surrounding and possibly, cr ; since, the low land surrounding been filled in with the rich alluvial brought others refuges the drive The planters by the overflows. that this in the valley were it is believed mound
when built, stood much higli-
From this fact, and many up as

AS
thrown just
for the villagers to-day
and farmers,
nhcn thr
Mississippi their cattle,
overflowed, build mounds, during
on which to
the high-water in graves just of
season, when the river has left its banks. pottery was all found which had been made side by side, on the outer edge of the rectangle,-possibly beyond the village walls. each grave was recognized by a little The presence heap of
Figure IV. Peruvim type of farr
at the time of wood
Another mid (Figure
design II.),
shows the inverted pyraused by potters and dccOGI
the excavations
orators
BIany Egyptian
of
the in tppc
IIZetlitcrranean rcprcscntccl
countries.
ill72 distillctlg
Illcsc from
represent the stern
RCCIlriltCly tllc figure-head tllC OIY~~l~I~ClltiIl piccc (Figure VIII.). of the boat
of tlic faces
fIYIll1 tlIC l)rOW, illld
(Figure I\. ). in
III.),
many
arc
leruvinn ohserrcr im3ning frogs, resent tile of which
(F igurc finds of
fisllCs
Ilie nniiuirl
tlould
forms tllc iWC

lllOdC1
itre IlSl~tIll~ KOOd, il_ltlIOI~~lrlr OCCiLSiOOiLll~~ tllc liimsclf certain iltltl trirtlcs. il turtle
>Lltd
as to ThWC
&signs. to clctcrminc, or a c:uncl in order to
011c, the
is tlificiilt
may with
rcpcclui~l tllc
either
:1CCllriLC_~, for t,llc l~cad is cruddy

legs hO\vCd,
firsl~ioned, Illitke or Wider, tlic origiV.).
vcsscl
nal
IlsCfI~l i1S a lioldcr

is lost
of foot1 until
tlic Iwdy lms hcen tlistortcd

outline i1i ohclirity
(Figure
SOlIlC Of tlI(! jars

:IrL' jiW
ilIT So CiLrCfL~llyIllOddCd rcprescntecl, \-I.), vessel, tllC 1CgS

iL
tllilty if :Ln ilIlilIliL1 h is mndc VII.).

Illost
IIlild~~ 1lOllOW(Iigure to l)C

it
iLlld wlicn CiLch hvl,

(Fig-
triple
neck,
ILS well ns tllc slender

ure
is 1~110~
Ille
~rl0dclrd
nOt:hlC jiLr in this

of
collection
iltl
is
in cx:u.+ ilnitation
Old Norse more This piccc of

WiLlY
WHS
rowing
thl
vessel,
of
the years
design
iLg0.
in use In
il tllOllSiUld
jilr,
securing the iriicldl~~ evitlcntly iI11 CXilCt \vils It was

vcsscl
tllc
tllc old digger part, leaving
shttcrcd intact
or bowl
tllc cm1 pieces.
C:IlIp of tllC \iking Wilt iK!rOSS tllC open will h

t:rken
: th
lIo:Lt, which in (lliCiL#I.
Wit from this from

tllc
NOrWiLy to
tllC (~Oll~~lIlIiiLllKsposition, rcmcmbcrcd fIY)llI tlIC

it
that
Yiking
:I11 old COilSt. of
rcprodiicM Way,
tllilll
ilCCllriltClJ
SillltlS on
Normore
iLftCr IIilVing tlmusancl
l~uxl
il.
hricd
pX!l~liill
for
yC!ilrS.
SCVC!lXljars
scciiiing
llil.vC
pttcrn,
to he 0vcrl:licl
wit11
cords imhrtion
of twisted iii of day the tlic tile in
grass.
Clily,
This
arId
cfFert water-jars of the
was
ilIl
produced to this and
is cvidcntly
net-inched tllc possession

Figure V. Camel or turtle design
found Aztecs
Pcrn-
ViiLn Indians.
PRF,HISTORIC
Tllesc
hilS tICcI1
POTT-ERT
this pottery the rol)y is csccptionally vtlluiLble. In of the Norse vcsscl lies the long-
pieces Of
ilssCrtCd hy
WiUT
clear Oile Or two

112_LndiClXft. It
tlebated points in primitive scverd
good
authori-
t,ies that the art, of gl:LCtlg \viLs unknown in lmhistoric

shows
iL
t~iincs. The Jlcmphis collcction

fish-SlliLld jar or h)\Vl, Of :L red
color csqriisitcly ability jar Greek is

dS0
gl;uxd
(Figure
1hC
IX.).
SRiLSt ik:l,
The
Or
to use tliKercnt, colors in the smnc

pWvCI1.
scroll
pattern
:drcady
ment~ioncd,
sor7ght proof turous shores.

tllc
that at one time the advent0uCllctl

1Ilust~
SCil-killgS
tllc
ihwricrLn
SCCll t,y
los they thing
ll:lw!
l,ccn
ilborigincs,
:tncl this little clay vessel is binding the history of It

Phst,
the t;mgiblc
the Ncn- with that of the Old World. J3uildcrs country,

SiLW
niay be tllat son10 trader from tllc -1Ioundtr:lvCling to the
this strange
COiISt,
lit,tlc craft
over
on the
Atlantic
ant1 1llodclcd for his pcoplc Or can it bc that., arm through
its uIlfimlili:Lr outlines.

vc~~~l WLS
at sonic time, in those dini iL~C!$ the strange pulled bg sturdy
being
wrought
on
one
of
tlic
vases
in red,
yellow, Ihc
One
gray
itnd brown clays. contains

iLI1
collection
innulllerid~lc
;\nd lliLtCllCt3.
hpcar- iIn< :Lrrow-JlcildS, &SW

Of tllesc itsCs refutes
old theory that

Jliis CsmIilS
pudding-stone to bc
plC is
or COIlglOIllWilt~ i5 too hard

implcmcnts. SllilpCd, :IIld polish1
hlliLJWd into bCiLUtiflllly
highl_y :*s a mirror csccllcnt

t11c cpoCll.
(Figure the
S. ).
Other of
Figwe IX. .Jar in fish mttertr, fine glaze the showing scnlex am1
celts in this assculblage of irnplclnents ilrC csa~nplcs of stone-work point of
Grllf
and up the Mississippi,

hospitable nat,ivcs
and
thilt
l+oln
an arch:wological
view,
won&ring,
rcproduccd
THE
it in c]iLv, title? as it swung at anchor in
CRAFTSMAN
th rlot
impress
itself peoples.
on
tllc
ilniLginat.ion
of
yellow ~1~
backward of the pottery old it is, cannot nom 1x2 Ct~n

t0
antiq7lity ,Just
Another
1llC by
CXpt~L~liLtiOll
l)r. is ClOltey based
IlilS
t)cwl
Sllgg&,ett IlC!&t of
questioned. sa J* _ tivc
11luctl hog.
how
JIiLKll. 011 to tllat
IllC
Professor
Schlicmnnn,
in his
CStlilllSspent
Or11iLlIlLllt CyC WrtiLin is SO
Cspectancy. something Wllell a this scnw of is
The in not toss. EL
i~rchLtCOtOgiC:~t time He iii the study
investigations, of tllc site of
~LCcuStOrrlcd
mcicnt
i~ss0cinti0n, the is S>IV;LgC
found distinct
tile
there
evidences
of lying
six one
won iItllOllg to
csperienccd pCOplC ttlC
pcrfcct under
to *is, Of 1000 lw the
mid ttlc
B. found
civilizations
IiLteSt Of
CyC
is iL(~~*~lStOltlC(t iUC
other;
(. a
ttWU1
diltillg
dwell
011 vegctal It is only
forms when
which they
always to bc
lhcattl civitimtion
t11c oldest
SillliliLr
of
to
the
ttltit
prcscd. present,
Of tlcscrt
ccascl
as in ttic
~liM32S~ loss Cilll
csrcptiOlliL1
circumstnllccS tOWllS, ttl:Lt the
Allll2lGCiLll
Jloulld-l)uildcrs.
Tlicrcancient
t0 ttlC
or WiLllCtl arise.
forc, (iLt15
liiug
this
IllLISt Of
liidiwork
dtLtC itself. of is t)iLCk
of
the
Arlicritwgin-
Sellsf
of is
:lllllOSt
It
paucity
very
of
prOt)iLt)lC
ttliLt
the
rcputcd frotrl ttw folk
tinic
orli;~ltic~nt:ltioll wortcl iitllOt>gSt
tterivcct primitive
14:viclcnccs relics. Ttlcre great ; red
triLYV1 il.lT
pottery 1ll:dc Pipe-stolic arc slwlt~ flolll Rocky
lllillly of
in
tllCSC
vegetable lllily bc
CliLy f
of tlw
rolrl
the
pilrtly
dllc
to
0111 1lOt
rccogniziiig are not ttic
ttlc
QlliLl.l.iCh from
it as
SiLllle
xucli.
8S
Ihcir illld
convc1iCions tllcy
to ilW
Norttwcst
ttwrci WCILpOWi
Pa-
ours,
0ftCtl
siitisticd
cific,
Iilllp,
stollc alltt
tllL!
At)[)iLIiLCtli;Lll iIIorllltilins. alld proofs iiitcrcsting t)y to kindly rULd. of
with feet
what rmtistn.
iLppLl3
us to hc a \-cry imper-
fro111
:Llld ttlc raw,
ttlc
Tllcse SlKYlr a
jiU3 llcnds,
pots, Sole
arrow-points
B:~ck\v>d set hcullty if ttic

ill
~CO~)~CS ll>Lve to iiutrrrc, of t0

dt, iLIlt
t)c tilltgllt
to
relliihilig 1110St
it is Very tt0~lbtful form

lhigtit
vanislicd in for
f01111 i1
etegan~e 2l_J)JK!&
I)lCiLSC
ttic
of
flower
colors
01
wc
tmssagc N:Ltllrc
history, twr
prcscrvccl ctiilthcti
t(!iLf
kllO\v
ttlcltl. alltl it is
yOllllgcst
ttlC
color CilllSCS
or SCellt
tllCtl1 t0
of
flO\VClY
Uld
I~i~~CS which
I
So
bc
worn Wticrc
or
usctl
in decoration. arcI represcntctl prot):d)ly find by

ttliLt
turs
1x3211 frequently fornis arc rnrcly
retnarkctl represented cspliuiation

that plinlt, actively
tllilt,
pIids
ShiLlI
Savage
ilS il
plant
by
1lliLy life iS or
~WOpl(S IV{
rutc
s;lvagcs.
be
A poSsible
in it US ttlc ttocs fact
their
ctiiptoymcnt the
is primarily sclcction curv(3 for
due
to
found
other forms
SilkCS.
C:LIIHCSthan and gr;iccfiil
of beautiful their own
passivq
llothing
ilggressid~
COlllpillY!tt
with Thus
the
irrcit does
pressiblc
vitality
of
aniinals.
-hi//l
< l:rYl/l&I/ &%rirs
ill iId
Srir,,/iJir
964
INSECT
FORMS
IN DECORATION
Adaptation
of the dragon-fly,to
a lace pattern.
Mile. Olga Slam:
Arst prize
FORMS. FRENCH
DECORATIVE STUDIES TRANSLATED BY IRENE
OF INSECT FROM THE
sion: that is, of different materials. cially ence. favored by the designer,
But it
is usual that one of these materials is speand that the others suffer by reason of his prefer-
SARGENT
T
petitors. The were :
HE
prize contest, opened in Febwas an important
ruary, 1904, by the editors of Art

et D&oration,
As to the study from Nature, it reveals above all, the sense of precision, which is not, as must be conceded, the only quality indispensable to a true artist. Indeed, one may conjecture that the contrary is sometimes the case, and that a given drawing, most successful as a scientific study, does not imply that the use to be made of it kill be adequate artistically. On the other
one, considered from several points
of view. If the dimensions of the required designs were small, the variety of motifs demanded was great, and the nature-study necessitated was purposely widely extended, in order to attract a large number of comsubjects proposed in the contest adaptations life of the
Three different decorative an d a complete study from
dragon-fly : the three adaptations demanding strongly defined separate treatments in passing from a belt-buckle in metal and enamels to lace, and from lace to a sketchy interpretation. Nothing can be better adapted than such exercises to display the decorative sense of an artist and his understanding of different mediums of expres-
Dragon-fly designs for silver belt-buckle. Horn: 5rst prize
Mile. Olga
INSECT
FORMS
IN
DECORATION
Calopterix ViW3 (dl%gOn-fly): mamilled t& dismetera; wing; proflle with flight: leg; articulations of the wings. M. Andre Herpin: second prize
wings
raised;
position
of body in
hand, there exist admirable from simple, well-executed gives greater doubtedly, ural object use of restricts
works resulting sketches. assurance In Unin the it jusof the nat-
critic of glass,
may
plead
against by
the employment the and magnifying which are what one
details
discovered
an exact knowledge
or the
microscope,
invisible popular since suspects
to the naked eye. interest of scientific
In truth, circles, For no
its form,
but at the same time, treatment.
can be possessed
by such,
imaginative
outside
tice to this necessary
element of success, the
their existence?
this reason, in works that than in no The only repul-
their use in magnified of decorative sive monsters. tions are usually
proportions,
art, can engender
It is to be regretted too prolific, details. could requirements. flat drawings rather
the designs submitted too sterile, in enlarged Furthermore,

I)raaon-fls design for silver belt-buckle. third grim &I. M&euc:
in our prize competi-
wise answer decorative
relief of masses must be carefully
indicated.
867
INSECT
FORMS
influenced the contest here the first prize Olga Her Slom, of
IN DECORIATION
clear, nothing pleasing and rich. It would leave
T
to be
HE
above
considerations governing to award Mademoiselle complete.
the jury described, of
to be desired, if the edge of metal either by cutting form. It has, which Beside a or by details slightly the continuous of lightness
were made thinner in appearance, perforations, and, so modifying,
to the work the
whose treatment most studies from
of the whole was judged sheet was, perhaps, too well
The lace design is also interesting. furthermore, this, the quality should characterize it emphasizes a lace-pattern.
Nature
filled with specimens, true proportions,
but it shows, in their
very exact studies of the
the theme proposed:
male and the female rical diagram, this instance, from The Her the to the understanding work of
insect.
The
geometand
result lady
which
all the contestants Finally, as being prize which although was
were not they might to M. and 269
so necessary
to analysis
able to obtain. be criticised The Andre
the sketches of this
of the whole, and, in is absent Slom are the other contestants. notes.
are creditable, second Herpin,
so well presented, made by Mile. a belt-buckle
too simple. awarded for his three strong
adaptations design for
principally
in no way
inferior
to her scientific
compositions expressive.
are frank,
is unified,
In this instance,
the sheet of
THE
studies is the weaker. portion since mass and relief portant parts. The sesses much character, whose bodies form to be executed white enamels, duce a linear confusion. in gold, is admirable sketch, here play although The blue, for
CRAFTSMAN
though good, upon a somewhat large scale. also, is his design noticeable much, Very for a belt-buckle, of the into
of the work ; but unimposproand the insects belt-buckle, green its simple however, triangles,
which is slightly principally insect. would metal. is faulty But gain
marred by a heavy touch, in the wings that the drawing
spherical
it is plain
were it translated
The lace pattern in presenting units
of this contestant a series of isolated means work Skzillc of of conthe
without the
P!l ::,5* &,ft
winners that of
of M.
the three
prizes, deserves
mention. His drawings in$;i .Y:!zr elude a lace pattern which is 1 most of
M. f%zille: honorable mention
pleasing,
although
the
six radii formed too apparent.
by the bodies are quite
the dragon-flies
and striking excellent fault, The
design.
The lace pattern and would be
has
As a whole, it may be noted that the competition many France revealed earnest, who the fact sympathetic to designers that there are in long students the path
qualities
without
if the ornaments winner of the
in the background third prize, his sheet M. of al-
had been reduced Mbheut, obtained contestants studies executed
in scale. his rank among through in a faultless the many
are following
since indicated upon The
by that great whose book a world-
lover of divine Nature, Michelet, Insect wide currency.
largely
has attained
manner,
970
ORIENTAL
ORIENTAL AND KINGSLEY RUGS CURTIS has, in all ages, The the very rug, a
RUGS
an d carried, the far since designs, invaders Spanish The East the with her sword and the still blanket by the conquests, farther is made early to West: from the come various from simple Every through Spanish
: THEIR
BY
DESIGNS JESSIE
SYMBOLISM.
Navajo furnished
c
the women carvings arc come
I VIT,I%ATTON
kind fashion The of
and borrowed, Moors. oriental from rugs and The
by .them, from of commerce region, arc and
kinship. is often
ncwcst oldest,.
hand-made
with which of Egypt,, On arc like the the that Egypt, very Icast, about those
Iilrgely
towns parts stitch
the Caucasus
wc, to-day,
adorn our homes, has an anccsand Babylon. on looms from, at
of of
Turkey India.
Persia, looms
try as ancient as the monuments or the ruins of Nincvch tombs of weaving must rugs date Bcn-Hassan,
stretchers, the warp. bc identified make for
held together A band-made
by pegs. rug
is knotted,
as it is drawn
can always which all can Formerbut, and
those of the Orient. in our time ; yet thcsc twenty-fifth found Euphratus, met mans arts century in the closely in. approval fossil before (%rist. excavations resembling These forms, beauty in all ages, fixed name of Arius Others
by this knot, seen by bending It is a proof with no more danger
the pile apart. of deception in modern occupation. crowded
themselves,
than in the axioms. times, boys Owing to
ly, the weavers were women and girls; their dark
wc now delight
figures,
having have beby arc
have made this an
forever rugs,
homes, much of this work must be either in the intense cold of a Sometimes relieves may the come to dye the winter. talk Death or )n the bitter in and
their own intrinsic Carpets, mcntioncd ancient nasius, pets; went, probably,
and value.
done in the open ak; llcat of summer, warm friend tedium work. of The country joins friend the task. men tend
the ancient in Scripture Even
and in many of the and Athain carIt creeds of
classics. occasionally
forgot
but Egypt, perhaps,
the home of letters, was, the rug. to with Cadmus, Greece. filled The
the original
weaver, and another finishes the the flocks, the looms. cleansed to-day. The wools used in running The water, or an
the birthplace
wools, prepare all thoroughly Italian village
The rare beauty with sentiments, Mohammedan, with a religion of living forms
which color can assume in forms of attracted with that Byzantium.
are the sheep, Angora
goat and camels hair,
the finest WOOIS, the symbolic his love forbade
as clothes are washed in a Tyrolese, good rugs, ing about,
splendor, way, has
dyes used in next animal,
the copying with the But she
and none others are worth writare first vegetable, The madder produces : indigo gives blue, tumeric, shades; from
in any realistic art, along
seized on this symbolic it seem his own special Mohammedanism years younger has so unceasingly itself
but never chemical.
church and city of Justinian,
and has made thousand forms the world,
two reds aild a yellow ; certain berries : brilliant greens and yellows; and combined saffron kertnes an d and sumac cochineal with yellow, give are green; other derived
inheritance. is many for
than the artistic woven
ORIENTAL
insects. might Color also has a symbolic become significance : red symbolizes something represents cult Mohammed reasons oriental the prayer upon. found Nature, their the derstood. first stitch All zeal, faith-whatever
RUGS
beauty, as in Greece, where truth was the where and conscience mythology both truth of all expression, symbolism was the supreme and beauty or it has sunk of India, thought,
a soul passion ; blue, truth, High, why it is diffiwas sacred to in to are only unFor these
into the absurd
eternal as the sky above ; green the Most
were lost
forever. to worits letadoptbut
to tell, and this color
The Jew, forbidden ship idols, followed living thing.
by his religion the law beyond
and his descendants. It belongs and
we seldom see green used freely rugs. especially color
ter, and dared not create the image of any This law Mohammed ed, but, with the art-instinct he chose what could was a suggestion wisely ages created which Egypt, of such. Assyria, again of the Orient, He selected, had
rug, which was not to be trodden shades every in .a harmony have ever quite any true art. for
not be an image,
in these rugs, the Orientals, near neighbors, creed of
and the Venetians,
and well, that decorative solely as ornament. has combined
art of the Greece, the Mo-
These rugs mean love of labor: Every time like the love-knot, while the flowers,
This
hammedan
and again, by strict combinaof sentiof
is tied,
but failed to exhaust, because, like the notes in music, its figures laws and are capable tions. are governed of countless
to strengthen significance; the shrubs, sacrificed fabrics. puny
; form and color have a sacred

the fruits, and even the insects have been of these beautiful will outlast our antiques
As music is the expression in color and form. pencil and paper, line. in the far-off
to the service The
ment in sound, this art is the expression sentiment Give a child
lives, and, what is not always true of they gain in value each year Beauty Economy is not their sole also makes its
and his Thus did forests line color
human beings,
first attempt his savage is found
is the straight ancestors,
of their existence. excuse for being. claims.
of Asia, begin their art.
The straight
in every rug of the Orient: rugs, especially
lends it a charm, it divides part from part.

.FIGURES IN ANTIQUE RUGS
Some exquisite the Caucasus in-adaptations have cross-bars, parallels times rugs, been pole, to
those from line. or These or somesole many has meeting the In
T
all its tiful. pagan unholy
region,
have their chief charm as diagonals,
HE figures, in an antique rug, are an evolution all peoples limitations, The human of of forms having which belong an artistic is an of sense. inborn one is the in of
of the straight either Often lengthwise, figures, is crowded named It suggested
running simple
For the human race, in all its wanderings, religion instinct: mythology,
.at acute angles. very additions
color alone, are line.
so, likewise, is a love of the beauexpression art. the other, these two With
to the straight
the diagonal unfortunately
into a very This barbers at its
small space between black lines. the
nations, wedlock,
were joined form
until art became
idolatry.
but it had no such significance
Art has either risen to the highest
first formation.
rather earth,
913
ORIENTAL
short-lived, eternity. but sure, is not the our life always found encompassed human, breaks beginning, and being. by the It ever and The tells part unrest, earth of of many ever in the and
RUGS
pyramids, Sumaks figures as in the Khilims and in Bokharas, different the and Sehnas. of the rhomboid is a characteristic display all
But exactness
zigzag earthly means ending, These Africa cially Then, ping, like
Afghanistan geometric while fabrics:
Beloochistan their
eternal constant
squares and diamonds in Oriental of and found among color latch in products,
arc found everywhere usually set at right and harmony The hook frequently. particularly of the square It is and both art these of of the have is in the
motifs are
used
to change.
in both pottery They borders
angles to the rug ; simplicity giving the them beauty. a pattern,
tcxt,iles among
all the early races of Asia, arc cspcof rugs.
and the Americas. in the outer
border rug,
Oriental
there arc the irregular then beginning those which Bokhnra. break
lines, stopdirection, of
the simple figures of the Caucasian,
in another
is used to break the formality the relief drama, of color clement: what
the monotony
and to shade one color into another. comedy the gargoyle and line. in architecture, contrasts, As Mohammedan
the ro& ty,-that
These show unccrtainhimself, if decorative of For fava of art. era. they These line ornaof thousands
man must seek beyond species
the soul is to bc satisfied. ments are the oldest art, and they years twenty orite Only, back of the
rests in music.
It softens
may be traced
is never literal, but always suggestive, the plane. changing been given But all the transitions and sentiments
Christian
solid forms arc always the simple surface centuries
centuries ornament, WC regard of
they were the worlds and, to-day, them solely that spoken in
form
large part of the vast sum of decorative as objects the beauty ; thoughts before thoughts existence. The Mohammedan substantial formed various glory rhomboids themselves (Figures geometric forgetting man,
to them, until, drawing, the beauty mans and his life, head
as Michelangelo and variety of
has exhausted has exhausted these figures. Early his hands carrying be made. both in
the Mohammedan
earliest
decoration, in spite of
books were born, meant the grandest life has yet furnished: of earth is the endlessness of
something was
beside for and, to
needed
the instability
objects
from
place to place,
.
loves the solid and the into I. triangles, and squares, II.), and beneath his hand, and lines soon
in the reedy Nile region, by these plaitings in pottery binations its look of color of
baskets began
Soon the beauty of form created was transferred to art, comloses III.). and weaving. Here
have their opportunity, (Figure
figures, until we have the All these forms
and a vacant spot, filled with basketry, loneliness.
diaper patterns
spread out in their greatest
in the Alhambra.
Often the reeds, at the bottom of the basket, assumed the appearance had its own suggestion before often it was glorified of the cross, which of on suffering Calvary. long We
assume many varieties of color, until mathematics is translated from a science triangles into beauty and changes We find these to an art.
piled into one, or into squares or
find this in the Sumak rugs, where -it

275
THE
breaks the line of the large rhomboids.
CRAFTSMAN
By moon into a star. This form is in constant use. Some prayer rugs have simply stars to indicate the place for the head and knees. Vacant places in rugs are often starred, with sometimes a goodly constellation, possibly to indicate the conjunctions planets at the time of weaving. as well as the basket forms. as we walk. of the These de-
some strange absurdity, the Mohammedan has mutilated Santa Sophia, by scratching out the crosses throughout rugs. the building ; yet he has woven it again and again in his These basketry forms have not the of suggestion which belongs to They mean less of heaven, grandeur
the line motifs.
signs lend themselves to ornamentation quite The stars indicate heaven, even when we tread on them They come from those early superstitions which show how that religion permeated with her sentiments even savage man. All these lines, solids, basketry, ment. knots, stars, are the earliest Mohammedan ornaAll, as we see, are forms from lifeless matter; but to them have been given thoughts, feelings, sentiments,-a higher life. To-day, they have the vitality of many long theirs.
DEVELOPMENT OF ORNAMENT LIVING FORMS FROM
but more of earth: that man has become a creator, that he is making a home for himself, and that all which pertains thereto of convenience claims his interest. Beads and baskets have always been the factory of the On them he has expended his insavage. ventive skill and his delight in color combinations. These basket forms of the rug They are the first records of civilization. forestall and foretell the multitude of modern inventions which make life comfortable for us of the twentieth century. The flexible birch came early into use for tying purposes (Figures IV. and V.), for gates to fences, and oars to the thole pin. The peculiar knot thus used has been called the reefer knot. This is an especial characteristic of the Kasak rugs. It is a much It shows traveled form and is found in Britain, on altars, and often in the Orient. us Nature serving man, as she is ever ready to do. Early man was content with this material world. Heaven lay about the infancy of our race. The next step was upward to The sky, with wonobjects made by God.
centuries in the past and of which shall be
many more in the future
L
object of
IFE is ever making its claims on living beings, and art is never quite content until she has made every earthly her special possession, particularly But the MoNaturlife.
the objects which have life.
hammedan, with his dread of idolatry, long hesitated to treat such in his art. mere animate existence,-plant ally the first to occupy him were the forms But savage and simple peoples regard examples of vegetable life as too passive for repetition. Only as they catch a higher Therefore, the plants to the soul meaning from them do they care to repeat them as ornaments. which they use must appeal
drous forms marshaled in majestic order, This sciengrossed man as astrology. ence soon entered the field of art, and a disc or crescent came to mean the moon: a form which is found in pottery much oftener than in the rug, for the weaver selects straight lines, and soon turns curves into angles, the
ORIENTAL
rather than to the senses. The vine, because of its grace, but chiefly because from it is made the wine which brings tion to their dulled But its many curves int,crfcrc that it can scarcely the Greek particularly (Figures symbolic bed of tion : The leaves open VI. fret. Eastern
and
It t-TM
bistans. serrated
mtl X.).
First, outlines;
flower and leaf arc simple then plain; (Figures finally, VIII., we IX.
eshilnraused.
reach the Greek fret. Sometimes ornaments
senses, is often
the blossom in many
loses its kinds of
with t,lie wcafrom
Icavcs and is a mere rosette, which is one of the

rugs.
vcr, and very soon it is so convcntionalizcd be distinguished
border
Finally
WC have the Swastika
(Fig-
ure XI.) nothing art, as At the lotus.
and the half Swastika,
which are mostly of dark of and colors, of
No flower has been so much used in art,, VII.). first, it was
else than the Greek fret interlaced.

up
One large Sutllak rug is made t.hcsc figures, light, with spaces baskctry elaborate changes None, motifs, mations emigrant. in 3500, the mounted temple might lotus. 13 cgs. combined exquisite being large and
small, the form.
of the sun. the lotus.
We find this inscripWhen the doors of it,s At com-
in a multitude harmony,
sun rises, like a hawk, from the in sapphire-colored brilliancy,
intervening This is a No
filled with a combination
in a rectangular
it has divided the night from the day. sunrise, these blue and white blossoms, pletely covering iature of the heavens. then rest calmly, hiding tality. was not this as an emblem The this thought; of Later,
rare and very beautiful species of ornament unless of
rug and shows how so many linear so
a sirnplc figure may become. has undergone the
the waters, look like a minas the bloswaters, muddy
at the hands of ancient draftsmen. we except mere which arc as universal speech, as the excla-
som was seen to rise from
like a safe soul upon them, resurrection sure of and immorwit.h it of the faith. eternity;
all their filth, it came to be regarded Egyptian he felt was animated it was firmest was buried
has every wandered home as this Egyptian along
far from its original B. C. the
It is first found it entered Northern it. The sword it.
the Nile along and the soon but and
It then journeyed Greece, Europe bravely, Our column hardy
mere hope, It
Euphratus, pediment. to resist
For ages, the lotus was used as a proof thought. with mummy toward form in the dark the in art, sky. It tomb; is ever again
Corinthian
it was its it
surrendered
Belgae
raised aloft in the monuments which pointed varying according to the purpose it undcrgocs WC find it, in Rabistan, blossom ahnost (Figure
Caesars claimed
they were conquered Ireland Thus, forefathers carved
by the conventionalized Puritan and table to and it on columns
serves, and from in the process very old rugs, a portrait of XV.), except
the changes
of evolution. especially Natures
the gospel of
of mans resurrecall tongues
tion and redemption countless tribes, thousands
has been preached
that the artist used whatcvcr Then we find the leaf This is a common variety of in the Bain a great
in all climes and times.
Since the
color suited his rug. and flower pattern, rugs. interlaced. occurring
lotus first entered the reahn of art, nations have risen and fallen, its ideal of life, frorn faith to fact, the world has altered has changed resurrecbion
Both forms are frequent
yet, for almost fifty-five
ORIENTAL
centuries, this tropical blossom has been sculptured in wood and stone, woven by hand and factory looms, until, as one writer Says, It has multiplied and replenished the iaarth. Beauty alone could not give any Only as a talisman of form such length of days, such mastery over men and nations. realm of art. eternity could it thus hold its own in the An oriental rug that has no which has form of the lotus within its borders lacks something of the one thought engrossed the ages. appeals only occasionally its adaptability
RUGS
is easily recognized, which is a proof that changes. it has suffered few evolutionary
Sometimes the central figure expands into an immense rose, as in the rose of Kirman. In the Ispahan rug, an ancient. relative of the modern Kirman, a conventional rose joins with other shapes, mostly mathcmatical, to form a medallion which may be repeated length. A bursting blossom, quite changed to a conventional form, is frequently found in rugs, dotting the central surface, running down parallel cross-bars, or entering into borders. Thus other flowers are not forgotten, even though their symbolism is not sufficient to give them the world wide currency lotus. The few vegetable creations thus used, endless variety in which these shapes appear, show how the Eastern mind, with its child-like imagination, can multiply a figure or a thought, into infinity itself and give a soul to every substance. One whose birthplace is Asia, although that has always characterized the several times throughout its
The tree, grandest of vegetable forms, to the artist of the Orient; and then not for its beauty, or to ornamental decoration, but chiefly since it entered into sacred literature in the Eden story, and from thence Sometimes tiny trees form themselves into large ones, as in the Princess Bokhara ; but these are stark and stiff, as if run in a metal mold, or borrowed from some childs Noahs ark. Some critics have suggested that Again, these we smaller ones are candelabra. sifted into other literatures.
find the tree filling the whole body of the rug, more stiff and solemn than the cypresses which shade the dead throughout the Orient. The sheep feeding at their roots, the birds in their branches, both with figures as formal as the trees, may suggest the tree of life. Leaves, especially the maple, or plane-tree, a native of Asia, are often found. AS we go farther to the east in Persia, we find less of the conventional, conseThe quently a closer approach to nature,
it is extensively used in the East and copied everywhere, has been called the palm leaf (Figure XIII.), or the pear pattern. It rather resembles a gourd with its bent neck ; but this would take all poetry from one of the most beautiful ornaments of the East. Sir George Birdwood has suggested from that it is a flame just bursting forth from a cone, and that it was copied shippers. the crown jewels of Persia, that country of fire-worThis explains its coloring in the rugs, where it appears like a mass of rubies, emeralds, sapphires, diamonds. But no reason of state can quite justify the extensive use of this figure, for even beauty suc879
rose (Figure XII.) is the special flower which delights this land. It surrenders enough of its natural grace to the weavers art t.o become a conventional figure ; but it
THE
cumbs to the changing use for centuries.
CRAFTSMAN
there is the same unity in art as we are forever finding in nature. The sheep that furnish the wool for the rugs are often copied, as if for a sort of testimonial of their services. They are We always stiff and angular, like toys.
fashions of time. it as a flame, a
Religion alone has ever held any pattern in Taking child of the sun, we have Eastern reverence for Natures grandest object translated into beauty and holding the centuries. As we rise to animal life, we find fewer forms in art: the dread of that one word living seeming to have passed from the art of the East. But Jewish command as an influence over the entire conventional the serpent-story imagination, took strong hold of the symfreits even course along
sometimes see the fear of Natures forms or the carelessness of the weaver in these. I know a rug in which the central figure is surrounded by four provided sheep, one of which Anatomy need has left his tail behind him, but has been with five legs. never trouble the purchaser of an Oriental rug, as it certainly never entered into the thoughts of the weaver. There are Mosul rugs displaying a regu(Figure XX.) lar menagerie of animals. One has to study hard, in order to distinguish the sheep from the camel, the goat from the cow, in this herd. Often these are in pairs; it may be a preparation for the ark, or the work of some person who had accepted the Indian belief of the transmigration of souls. from Nature, is often found. a relative of the alligator, suggestions. The salamander, almost exactly copied This, being offers its sacred
and snakes swallowing them-
selves or bound in a hopeless coil,-a bol of evil undoing its own deeds,-is
quent in pottery and is sometimes found in the rug, though it does not serve the weaver so readily as the painter. The Egyptian and far Eastern nations (Figures claimed, not the monkey, but the alligator, as their most ancient ancestor. XIV., XV., XVI. and XVII., signs on pottery.) alligator de-
The teeth of the crea-
ture were a talisman, and they prayed before the dead alligator which had once the power to prey upon them. (Figures of XVIII. and XIX.: as the lotus. signs in rugs) convention This animal alligator deIt is quite
Sometimes, a face, rather of the man in the moon style, or the childs attempt at picturing rug. the human face, is woven in a This may be a prayer rug, the face
has almost as many stages
as far from the original object in appearance, and it commands a territory almost as extensive. The last stages of both designs are difficult to distinguish. Sometimes the crab is used, although this is so much like the square with the hook and latch border, and likewise the extended palm of man, that one is often mistaken for another. Thus, symbolic figures are forever running into one another, showing us that
280
for the worshiper to touch with his own, or it may mean humanity in a generic way. a type of Chinese art. Sometimes this has additions which give it These are the. far
Eastern limit of rugs and show the influence of locality on the Mohammedan. We have now examined the chief figures of the oriental rug. All have a growth, just as surely as the flower in the field, the
ORIENTAL
tree. of forms. tion of the forest. They follow from natures natures laws even in their deviation about them. They and of
RUGS
In color, tories, softer, bloom natures nothing these richer in all the worlds rugs. with face. surpasses They time, until facgrow the equals purer,
There is no sense of a sudden creabear the insignia many and varied art in conventional the long
thus gained
the best of In color also,
the centuries
silks in its shimmering for the high shadows ; always of lights, the
nations. is utterly promise
A new form meaningless. from
laws are followed: while
red and yellow in the are colors
It has no ancestry past, no One future.
blue and green primary
to make its appeal
of life in the longer
preferred.
All the shades employed which is like the faith the other to says, I to manage Balzac
writer says of such, Like pine away and die. is the happiest All growth, man from sought His conventional whether for to and
alien plants, they
unite in a harmony friends: a higher dont beauty
We would add, This forms that Gothic have had of art, who forms they
one ever helping of life.
event in their short lives. Oriental, or Gre-
know how these Orientals are drunk with light.
put the sun into their stuffs. peoples
The Eastern
cian, belong which, pagan
to that universal convenience, savage truth.
language we call
We use these rugs, sacred among the people who wrought things of life. great religious inheritances of eternity them, as we do the common To their makers they spoke truths. We themes They to of are family the the the of of surrendered and us under deity and
but which is one of our noblest inheritances ancestors, As these blindly and bravely to find God in to Nature,
beauty
have lost their resemblance have gained tradition, sentiments fulness ures,-the of
stress of poverty. soul, and forget, a people
tread on thoughts
a soul breathed the ages. of
into them by of sacred The very restin these figin races living
which is the exchange along the Orient contentment speaks
in our reckless living, and the conscience the beatitudes itself.
ideals, the constancy their religion
who translated into beauty
the sunshine,
and satisfied with simplicity.
881
THE
ABOUT OLIVE THE JAPANESE PERCIVAL, LONDON NE of JAPAN our BOXES. MEMBER SOCIETY
CRAFTSMAN
BY OF pictorial artists of that country did not disdain to become occasional craftsmen, and many of them have left their gold-lacquer signatures on little boxes. One could, if one chose, learn much of the art, the history, the religion customs of beautiful the sole study of Japanese boxes. Very little is known regarding the majority mired and of their foreign since the them by admirers; days of and the Old Japan through
racial
prerogatives conven-
seems to be the easy acceptance of all things beautiful, ient and desirable, as if they were Rather too often we and quite careless of the
created solely for us. remain ignorant intent of the designer.
. When, for example, we are told that the
although they have been very generally adcollected Madame de Pompadour and Marie Antoinette. Few of the best boxes of Old Japan have come to us, and the few arc in the museums of our greater cities; yet among these there are some which fully convince us of the superiority of the as Japanese artist in his ideas of construction - and design, adapted to innumerable purposes and materials. The commoner boxes, finding their way to our shops, are those designed to contain the sacred books in the temple; to carry the family picnic luncheon, or medicine, or perfume, or a mans seal ; to hold incense, or tobacco, or ink, or a mirror, or a fan, or poems (one of the everyday refinements of Japan is writing poetry !) ; and in which to send gifts or letters. The material most commonly employed is wood and it is lacquered, or carved, or else entirely dependent for its artistic value upon the beautiful, the natural bronze, wood. used. brass, copper satin-like surface Tortoise-shell, and porcelain of are ivory,
Japanese boxes we have so long used as convenient receptacles for our gloves and handkerchiefs, were really designed as cov-
Three work-boxes
at left;
four letter-boxes
at right
crings in which to send ceremonial gifts, or to hold the sacred books of a temple, we smile (but not at ourselves) at the absurdity of the Japanese idea. our opinions,-inherited pictorial, It has been one of to be sure,-that and
art has little to do with aught except the and that any real feeling power is not to be expected in mere design or craftsmanship. Yet, ages ago, the farwere suffiart in the to the away, quite isolated Japanese ciently advanced to recognize humblest object neither apology masses. 282 nor
and material, and offered explanation
The greatest and most successful
also frequently
JAPANESE
One of the most satisfactory photograph bako work or boxes imaginable is the Bmto-
BOXES
pierced at the ends and strung with a silken cord. This box was worn by the gentleman of Old Japan suspended from his girdle, and in it he carried medicines, perfumes and his seal. An imposing array of objets dart was the chhtelaine ese gentleman ! of a conservative JapanFirst of all, he wore at his together
of the Japanese, which is in reality to one another, with a lid for the When the Japanese family-
a pile of boxes of a uniform size, fitting perfectly uppermost. cherry-trees maple-trees), a bento-bako
man takes a holiday to see the blossoming (or, perhaps, the wisterias, or or the he has a luncheon packed in (of porcelain or lacquered the iris-fields, or the lotus-ponds,
girdle an ornamental button, called a Netsuke, to which were attached by silken cords the many little articles indispensable to his comfort. Usually, the netsuke was of ivory or wood, exquisitely carved and sufficiently large to stay above the sash, and not be pulled through by the weight of the attach-
wood), and tied up in an immense square of print, or silk. He then thrusts a stout bamboo stick under the knot, and, followed by his litt.lc wife and children in their best
workmanship, proached.
especially
of ments,-which included a medicine-box, a arc of tobacco-box, a pipe, a pipe-case, a purse and a writing-case, with paper, ink and writingbrush. When one considers that each of these articles was the work of a skilled artisan and artist, and that the materials chosen wcrc ivory, metal, brocade, leather and rare woods, it is possible to get an adequate idea of the splendid total. Many famous signatures were once seen on old inros:-such names as Yosei, Zeshin, Korin and Hokusai, and some of the best lacquer work was done on these little boxes. We cannot all know much about good lacquer, as the export of
the tiny inner boxes, is exquisite and unapSome of the old kogos ivory, with an all-over, inlaid decoration in gold, and silver ; the crest of the family bcing the
motif.
The common, modern ones of porcelain, arid arc
are most frequently
found even in our department stores, where they are sold to hold pins, collar-buttons, or cold-cream ! Perhaps the most fascinating of all the many boxes offered by the Japanese is the Znro, or medicine-box, which is an original little contrivance bento-bako, on the principle of the but in the form of deep trays,
JAPANESE
choosing occasions, ones of the fukusa gave to be used on such to show as the occaand the social of
BOXES
roundings, parents, that eight all its owner possessed, once upon a time, two good parents, on; had, likely, brothers ant 1 aunts, eminently four grandand so and time
a fine opportunity of breeding, the gift,
perfection of
great-grandparents,
sion, the recipient, position portant ese bride the family symbols, consideration.
and sisters, uncles respectable
the giver
were all subjects
Fukusas
family:
were once an imsome were plain but others showed long-life forship of good gods.
endeared to him ; that bicnskance and family order have flourished irnlllelrlorial--there heritcd heirlooms, in his line from that were no black plate, portraits, sheep to minia-
part in the outfit of every Japanof high crest,
squares of silk, or tripe, the New Years
make him ashamed-and tures, pictures, in historical
he has in-
the regulation
rare volumes, diaries, letters to link him up properly and progression. in history. of our niche succession
tune, or the seven household
and state archives FVc are covetous
C
Aboclt
IVILIZEL) loving
man, and especially
one
We want to belong as stray atoms
somewhere and to somespace either
of Anglo-Saxon creature.
descent, is a homeTo him the dwellin-
thing, not to be entirely cut off by ourselves in boundless thing gcographi&l ness. not. our before or chronological. The human
ing-place stitution.
stands for his most important mainly
The arts, sciences and traditions as they are to minister is the goal of life. then, there must in life parents, hours of
mind is a dependent
and so is happi-
he pursues,
WC may not, indeed, have inherited We may not remember that either of parents or any of our grandparents us, ever gloried in the quiet posses-
unto it, and its fruition his dwelling-place,
the house we live in ; the chances are we have
he a very great deal to be said, indissohlbly

i~ssOCiatCY1
as
it is with everything childhood, comfort-ones
worth children,
having-ones personal
sion of an ideal homestead; of goodness-for world appear
but for the sake

the
wife, sweetheart, and next to these
the sake of making
a more decent place to live in that they did, and that it

~1s pretend
one's own
leisure and recreation. The thing home one builds must mean someskill. beside artistic both and engineering and
-let
us pretend
Let
is now ours. worthy
that God has
l~cn so good to
LIS L , and
that we have proved
It must presuppose, expression,
by subtle architectonic in its sur-
of His trust.
in itself
THE
THE PLAY PRINCIPLE. LOVELL TRIGGS. the end of art,
CRAFTSMAN
These halls are not made for practical use, but serve as festal structures, or avenues of assembly, in which their owners may plume in its is and display themselves. and taste are lavished Foundations The greatest care upon the work.
BY OSCAR
EAUTY,
essence is Pleasure. the accompaniment functioning
Pleasure
of the active This I denom-
are laid in the ground, and a The courts at
of personality.
bower of grass and bushes, several feet in length, is arched overhead. the end of the bower are paved with small round pebbles, and bright stones, shells and feathers are so displayed that a color adorn ment is secured. ing intended for used during Such structures, not benests, but simply to be period, are
creative activity
of personality
I purpose in this paper to exinate Play. amine the principle, the phenomena of play, and having found their meaning, to apply the principle to the solution of some problems in industrialism and in education. The properties of play may be determined by a study of its modes among animals, and of its processes, when it becomes artistic. humanized and consciously What, in fine, are the conditions under which necessity becomes freedom The function that beauty and the serves in
a special festal
wholly ideal in their nature, and evidence the presence of the spirit of play. The aesthetic display in man began with the same reference to his mate, but the feeling was gradually extended to comprise outside persons, and having assumed sociological import, it became in time a most efficient instrument in the struggle for existence. The savage adorned his body, decorated his utensils and weapons, shaped and colored his dwelling place. To the adornment of his home he further employed sculpture and painting. Under excitement, he sang-a simple musical chant, and to its rhythms he danced, and out of the dance poetry and the drama arose. Everything in primitive life of the points to the immense importance aesthetic activity. mately. When
useful is idealized and transfigured? evolution is an important one. Not infre-
quently the law of the survival of the fittest means the survival of the most beautiful. The graceful feathers of the lyre-bird, the gorgeous coloring of the peacock and humming-bird, the calls of monkeys, birds and insects, the brilliancy resent evolutionary beauty. of flowers:-all selection repin lines of
Fair form and colors are the sumImpressionability to beauty
mons sent from objects to objects for fusion and union. implies a conscious aesthetic sense on the part of those creatures thus affected. That there is aesthetical feeling among the lower forms doubt. of life is proven beyond a The famous bower-birds of AusFor use grass.
The quality of the art and the stage of culture correspond intimen ceased to hunt, and the richness of
settled as agriculturists,
their art compared with the former poverty, is a sign of social advance. But this very improvement is in part due to the order and unity introduced particularly into the fluctuating life of hunting tribes by various forms of art, the dance, in which activity
tralia furnish the most notable instance of aesthetic display among animals. during the time of courtship construct bowers of twigs and these birds
THE
whole greater What impulse associated? pcnded Among for family groups engaging, of social union. now is the source and with Among what the life
PLAY
furthered the artistic
PRINCIPLE
activities istic ! running conscious form and note the common dance, the The complex song, and leaping, rhythm. characterform of by The
is distinguished
process forms
is it, of life.
the higher by a conthe artistic by a decoration, sense for by percepbuilding, is done What the is is and first?
lowest
of the cry, is characterized Carving, Color a simple Finally, construction, series there of to of cutting, of form
life all the energy
of being
seems to bc es-
scious sense of time. outcome knowledge the complex bright objects, design. of
in sustaining
and preserving
is differentiated
the higher orders, where the conflict is afforded The energy in some by Play in the effort directed into ideal action. not fully free exhausted as
of life is less fierce, opportunity escape of being, form implies of
is distinguished of
tion of color harmony. the higher under added Plainly design. The in form the knowledge
to s~lpply physical
needs, engages ideal desire.
cspression,
of proportion.
more or less conscious freedom cess of life functioning, determination, and a certain To justify
second
from physical some conscious
need, an essatisfaction, let me pass in from
in the first series the activity is order The presence dances in color, order
some degree of sclf-
aimless ; in the second the introduction savage time, paints engage
evidences sings in to
power of abstraction. this statement
of mind into the process. in rhythm, builds in proportion, exercise. purand the acThe in order,
review a series of activities ; advancing the simple to the complex to men. The simple aimless running mals and men in play complex a cry song. of more forms advanced into
and from animals about of aniin to
because it is pleasing
to him psychically
in an ideal self-determined is carried freedom, purpose
Here, then, play-activity his play pose, pleasure. Where tivity but
becomes aesthetic ;
rises into the more passing
on with conscious self-determination, does not enter, denominated play.
of the leap and gesture, civilization successive and
forms of the dance. develops as of The notes, a bird,
The simple shout and and pleasing and such color cutas issues in human clawing
is not truly the order
deer in running controlled. notes, The
strikes his hoofs is mechanical bird sings builds
purposeless
and not selfin successive ants build
ting of animals and men became some form pleasure-giving carving in form. construction, and The for objects simple pleasure The proceeds purposeful delight adornment, with sense of
the beaver
dams,
hills, bees construct are not intentional. scious, tionary gence, merely
cells; but these results The animal is unconof evoluintelliof the result
leads to decoration a sense of struction, for harmony. nests with bright men, to building proportion. Now examine
and with to confeeling of these
under the control
adornment
forces ; the excellence dependent
not being
upon conscious
with a sense of form,
and, among
but upon fixedness of habit and the of the line of improvement. its color, but it has no in a field. Birds sing
887
with a conscious the later modes
very narrowness
The flower displays sense of its harmony
THE
CRAFTSMAN
He looks out oer yon sea which sunbeams cross And recross, till they weave a spider-webMeshes of fire some great fish breaks at times, And talks with his own self.
pleasing notes, but not, as in a choir, with a knowledge of a general harmony. Mentality is perhaps most readily perceived in music. The cries of animals and the notes of birds can hardly be designated The indefinite shouts and irregas song. ular cries of primitive man were expressions which had not yet arrived at aesthetic value. Sounds become musical when mind controls the succession and coordination. Music ascends from simple concord of two notes to ever more complex phrases, strains, songs and above choruses :-ever the plane of higher and higher until in sensation,
In
one
of
these sensory
experiences:
namely, when he looks out over the sea and watches the play of sunbeams, Caliban is receiving an aesthetic effect which has no relation to his bodily pleasures; it is not.a sensuous pleasure only, but, also, an intellectual enjoyment. Furthermore, he is a creative artist. Thus he compares himself with Setebos : Tastethhimself no finer good in the world
When all goes right, in this safe summer time, And he wants little, hungers, aches, not much, Than trying what to do with wit and strength, Falls to make something; piled yon pile of turfs And squared and stuck their squares of soft white chalk, And with a fish-tooth, scratched a moon on each, And set up endwise certain spikes of tree, And crowned the whole with a sloths scull a-top Pound dead in the woods, too hard for one to kill. No use at all in the work, for works sole sake.
orchestral and symphonic is almost wholly mental.
music the effect Into the work of
art reflection, intention and invention enter. A convenient savage for our scrutiny in these respects to exhibit is Brownings Caliban: He a is primitive man, yet one sufficiently evolved racial characteristics. undeveloped, yet old enough to be taught of deity by his dam, and to think somewhat for himself. His sensory experiences are of a low order. Within the range of his interests, his senses are keen, but only now and then does he see or hear aesthetically. He bas learned the look of things in relation to his physical safety. He would examine The clouds and sunsets as tokens of storm.
The conditions of his artistic activity are t,hus his physical safety, satisfaction, consequent excess of energy. and He is freed from external objects and permitted to give his ideal faculties full play. does, thus conditioned, harmonized and well All that he is characterized by ordered. He was
the presence of design; all is proportioned, under no compulsion to make these objects ; he was purely self-conditioned and manifestly pleasure. Evolutionary aesthetics, then, establishes several important facts about art and the artistic impulse. The essential characteristic of artistic expression is freedom. Art is not a product of necessity or related to use. It affords gratification to instincts in doing so, he works to the end of
range of his interests is shown in his first reflection :

Will sprawl now that the heat of day is best, Flat on his belly in the pits much mire, With elbows wide, fists clenched to prop his chin, And white he kicks both feet in the cool slush, And feels about his spine small eft-things course, Run in and out each arm, and make him laugh; And while above his head a pompion-plant, Coating the cave-top as a brow its eye, Creeps down to touch and tickle hair and beard, And now a tlower drops with a bee inside, And now a fruit to snap at; catch and crunch288
THE
and feelings tical activity
PLAY
only
PRINCIPLE
of art, therefore, is the history of a freely developing personality. As the soul expands and contains more, it expresses more. Mediaeval art is, in a sense, greater than Grecian art, since it contains more of life and experience. Gothic art may be inferior in point of skill and manipulation, but its soul is greater, its feeling more intense, its grasp of ideality more complete. The ancient world has no counterpart Michelangelo, face and his turbulent, is wall strenuous to with his fierce, vital, electric soul.
which find their exercise
when necessity and use are satisfied. activity is an end in itself. tribes engage practical.
Prac-
serves as means, aesthetic When savage in warfare, their energy is
When victory is celebrated with
dancing, the aesthetic is brought into play to the degree of the pleasure experienced by the dancers in their own rhythmic movements. In art, man is not the creature of fate, but the arbiter in the ideal realm, at least, of his own destinies, the maker of his own
w0rld.
The artist is absolutely
the
The difference between the classic and the mediaeval expressed in Gilders poems of the Two Worlds :. one the world of the Venus of Milo: Grace, majesty, and, the calm bliss of life, No conscious war twixt human will and duty.
Here breathes, forever free from pain and strife, The old, untroubled pagan world of beauty. The other is the world of Michelangelos Slave : Of life, of death the mystery and woe, Witness in this mute, carven stone the whole! That suffering smile were never fashioned so Before the world had wakened to a soul. To the same effect is a passage in Low-
only free man. And connected with this attribute is that of self-determination. He When moved conscious by of the impulse to create, the artist proves his individuality.
realize, plation. Freedom artist
becomes
for
possessing ideal faculties which, in order to

he must objectify Thought must is not lawlessness. his contemexpressed. When the himself be
But inner con-
trol is exchanged
for outer law.
creates a form
and embodies
therein, he is made aware that he is a free, self-determining, The third law-abiding personality. implied by the characteristic
other two is what I shall call, for want of
ells Cathedral : The Grecian gluts me with its perfectness. But ah! this other, this Gothic that never ends, Still climbing, luring fancy still to climb, As full of morals half-divined as life, Graceful, grotesque, with ever new surprise Of hazardous caprices sure to please, Heavy as night-mare, airy-light as fern,
a better term, ideality.

tion the of art to reproduce skill for
It is not the functhe real world. we
We have senses of our own and can take

artists granted. What want displayed and defined is personality.
What is the mans mystery?
As we have
seen, simple play becomes aesthetic, when it is conscious and conducted in freedom to the end of self-realization. Order, proportion, harmony are laws of art, not from any enactment on the part of critics, but from the very nature of mind. Mind is itself an The history order, a rhythm, a harmony.
Imaginationsvery self in stone! Your blood is mine,ye architectsof dreams, Builders of aspirationincomplete. To illustrate the growth in ideality one might bring a Greek of the age of Pericles into the Western world. How much of the mediaeval and the modern would he comprehend ! He would stand before a Gothic
989
THE
Cathedral transept with amazement. the sign and nave, everywhere of the yearning far higher than The of the structure, of aspiration, ual ing. would nor truth
CRAFTSMAN
ured by the vast arches space tivals, for of the manufactory shows, pomps, exercises, that spanned building. the Fes-
meaning
of the Cross in the symbols of the soul Olympian Concert, he
may be as important for which trade and
as the realities of the streets, opportunities ideal commerce are the preparation ground. Worlds When the complaint Fairs represent and the backis heard that waste, of
to reach through heights:
material forms to a spiritpass his understandthe sensory How experience could of he, calm
these would have neither
If taken to a Symphony the ideality necessary
economic
it is well to be reminded meaning When
of that saying
to comprehend
Schiller : Man only plays, only completely determined. ideality :-these aesthetic An stated. play. truth important It
when in the full
the different who thought tenanted Heroic lery of What and What vast the tumultuous
movements.
of the term, he is man, and he is man, when he plays. he is free, he is selfof self-determination, man plays
to enter the region struggles of
by Zeus, feel the mighty Symphony
passion,
Beethovens
Freedom,
Take
him into a galhe not be bewilof modern life? faces ? on the not the
are the characteristics remains
painting-would the complexity would in Millets reading
dered by
now to be a man esof freedom
he make of the pain peasant
is this:
whenever
power
presses himself and self-control, his occupation the he receives artist:
under conditions or field of of and
conception laborious
could he have of the tragearth? So would
he is an artist-whatever activity-and gains the of an gain
edy and depth of the life conducted more recent psychic he beyond While Chicago the the Worlds I watched experiences Fair
the rewards reward force. are by These personality,
of the race at folk beside I
pleasure,
his comprehension? was building Java Wheel. They their fold fences the simple Ferris any The utterly
of an enlarged ing personal Fine Arts aesthetic an instinct a privilege that of the work; field.
and an increasare called The the only limited It means
What no
erect their complex
huts and wattled gigantic with was
have to-day
which is common through
to all, usurped changes
could not see that the Javians the wheel were hardly ical grasp. ciples greater of mystery even curious.
looked upon
that should be shared by all. historical artist, in these more
wonder. beyond were many
has come about spheres, under extend enjoys We may
whole mechan-
specialized live probis to alone
is the only all others, compulsion. that into freedom every
free man in the world in some degree, Therefore, that field the world
The ideality
of the wheel, the prin-
its construction,
than that of their simple dw-ellings. Titanic sport of a summer, prophetic meas-
lem of freedom
in the modern of
The whole Fair, by the way, was a colossal play :-the a buoyant hibit for intentions lyric endeavor a moment just meant to exthe scope of
the artist
industrialism. thus far We
summarize
our freedom
the hidden
in these terms : Man is free politically. have struggled and have won with thrones the victory. If
of an ideal people,
and tyrannies we suffer
whose ideality
290
was but inadequately
THE
misgovernment to blame. ters. to-day, we have
PLAY
ourselves matand If own ourto
PRINCIPLE
problem. satisfactory personality. slaves. desire. his To It is simply compromise and leaves the situation unchanged. The only
So man is free in religious and have gained
We have battled with priesthood to our conscience. is at our
solution lies in the consecration Toil is a curse a freeman must so to none but and be He changed must be
ecclesiastic&m we remain doors. free, selves. them
the right
of labor to the ends of life, to the ends of it is pleasure
of worship according evil,
the fault
In these realms we are practically shapers of laws and creeds for and special retarded These matters have already receded interest, a devotion bespeaks development.
Conditions
that the laborer genuine granted of Art labor, ciation
can find in his very work now enjoyed of ideal by the creation. that as
satisfaction.
in special
the privilege
artist only : the privilege self-determination, and labor
of free expression,
But, in the way of work, in what is for most of us most intimate, we are little better than slaves political living liberty but under necessity, to masters. the right liberty obeying Nc,w, as to be a does not but and machines, lawlessness, mean rather service, freedom attending
must so be associated
the one be extended delightful as art.
and made universal
and the other be redeemed and made It was some such assowas making, when he It was that Thoreau
does not mean license and rather as religious to have
law to oneself
said, at work in his field of beans:
the right
no religion, in worship
not I that hoed beans, or beans that I hoed. He had in mind a celestial kind of agriculture and was raising of virtues, thought a transcendental manliness, crop clearcrops. of patience,
to be self-directive so industrial from labor, liberty
does not mean in labor. of I% Various Thus, setlabor, or, in the right
but freedom for
For this right of self-directive the terms of this paper, play, world by ting the modern world of guise the situation compromises a partial we distinguish drudge, hoping dulge yielding our higher
and high-mindedness.
It is better as applied at the
t,o produce in modern mirth,-when spectacle. fleeman the
great men than abundant industrialism I submit that
is battling. warfare. is enjoyed. our activities;
The reversal of this proposition
as we may, the industrial
is provocative
is in a state
one is not too angry
have been agreed upon, wheref reedom between
how to make a the problem of
at play of
out of a slave at work is history, of to-day. in a democracy Shall a product, is
problem
aside a portion
of the day to toil and when we can inMeanas by and of an of the
democracy,
the problem
this much to submission, desires and live a moment and instinctively. play. this
The problem education
of education
to escape at night,
is the same as that.of be motived special culture, life?
industrialism.
by the desire for
spontaneously and a longer labor clamor freedom, eight-hour so
a sort of objective
while, we clamor for shorter hours of labor time for bonds, will long So long division is under continue. day untransformed
or for a special character, even yet too formal concerned prevailing and not enough
a form of interior too much The ideal education is
It seems to me that our education and objective, with knowledge in our centers
and machinery, of
But the granting is no real solution
with character.
THE
that of the cultured gentleman:-a
CRAFTSMAN
culture and for freedom, self-control, tive character. It was not without reason that Lincoln was called by Lowell The can. ment of the democratic as love. forgot Frederick First AmeriHe had a said of him: For this man was the very embodiidea. ideal action, crea-
special, possible to the few, a culture dependent upon refinement, intelligence knowledge of books in a library, a culture that tends to separate men, that erects barriers between the wise and the not-wise, that is selfish and unsocial. tries and from class. a This is an ideal which we have inherited from feudal counthe theory of the leisure and not in are unis without The cultured man, in fine, is preHis sympathies
culture that was broad as life, as generous Douglas He was the first man in whose presence I I was a negro. That is a sublime testimony, and signifies what I mean by an inclusive character. cated in our schools. stroyed him. life processes, Lincoln was not eduThe college might contemplates the the
pared to live in an aristocracy democracy. His touched. vitality. imagination
His fellows have no interest to However attractive meanings of
have instructed him, but it would have deDemocracy possibility of education through the simple or at least, through expert selection of those especially fitted for education. Lincolns associate in democa man who escaped for the culture of the ratism was Whitman, who, in secret striving the intellectual personality he
him, save as they are comprehended in the same exclusive circle. the ideal may be, it is destined to fade away before the slowly unfolding democracy,-fade as the ideals of kings and Democracy demands
knights and priests have faded and become lost in the distance. a man of generous sympathies, with imaginative, if not actual community, in every experience, a genuine social being, a fluid and attaching living, coterie, not but in in character : one capable of an an exclusive inclusive aristocratic democratic
the traditional discipline of the schools, but life, achieved a character that so combined and the sympathetic, comprehended individual and the social, that in his own humanity. If Lincoln was the only man, Leaves of Grass is the only book to which Douglas might come and find himself sympathetically comprehended. One of the greatest lines in modern literature is Whitmans address to the poor outcast: Not till the sun excludes you do I exclude you. In one of his poems, he proclaims the ideal of life in a democracy: I announcenaturalpersonsto arise. I announceuncompromising liberty and equality. I announcesplendors and majesties to make all previouspolitics of the earth insignificant. I announce adhesiveness, I say it shall be limitless, unloosened.
society, and one able to live at large, not with condescension, but with full sympathy. Now, personality is the one common possession of all men-this and unifying is the comprehensive It is of no acprinciple.
count to hold men together by a written constitution. A nation is compacted by love and sympathy. Extend the essence of each until he comes to include the multitude ; until his right becomes the right of all, and his law the law of all. great men ; the rest follows. Produce Educate the
interior men; avoid the ceremonial; educate
THE
I announce chaste, armed. I announce spiritual, I announce meet its
PLAY
PRINCIPLE
In the kindergarten the principle of play is frankly adopted. The application of th e prmclple * in the upper grades, where traditional ideas are intrenched, has yet to be accomplished. By the introduction of Manual Training, which is only a name for the educational older pupils. principle In the of self-activity, is afforded the progressive more a means of self-expression
the great individual, fluid as nature, fully affectionate, compassionate, life that shall be copious, vehement, bold. an end that shall lightly and joyfully translation.
The
educational
problem
presented by
the lives of these two men, the first practical democrats the world has known, is profound and not easily solved. agination sonality history ideal ? dividual activity? play ? They represent the gather. ages of this selfour of ideal around which the sympathies and. imof men must henceforth and to their making They exhibit a special development of perhave gone. through Might Dare we face of for
schools there is taking place a reconstruction of the school program with the various art studies as the coordinating center. Vacation schools in the larger cities are experimenting with the new ideas, and it is not unlikely that the success of their freer methods will bring about extensive modification of the traditional curricula. All these are signs of the evolution of play; of
Might not education assist the insome method we not adopt
whole educational system the principle
the effort made by modern man to adopt social forms to current idea. That this adjustment of man to his immediate environment the slightest doubt. will continue in all The evolutionary Nature creates and the fields of human endeavor, there is not forces are always at work. Mans creative power
Man has something to learn, someThe educational watchword The watchword of of knowledge,
thing to receive, but also something to give and achieve. of a former generation, the generation of culture, was discipline. is observation. the watchword, by modes of the present, the generation
Might not the future, the play? The need of the
to-day, as in the early ages of the world. is deepening widening. There are many evidences of
generation of personality, take for its sign hour is education by execution, by creation, self-realization-controlled By such modes alone the personality is extended and the individual rounded full-circle. The beginnings of such education have this being been made in the kindergarten; always by the motive of helpfulness.
increase in personality, most notably, perhaps, in the arts which still afford the field of purest play. I refer particularly to the instance of music, the art at present in most rapid process of development, the one most capable of bearing the high emotionalism and the complex idealism of the modern world. The history of music shows that an enormous distance has been passed. from Mozart to Brahms. of composition. Then Once the former came Beethoven 993 was thought to have reached the perfection with newer modes. Then followed Wagner
the latest, the most modern in spirit and most democratic section of our educational system. This is the childrens age, and a little child is leading us away from our formalism and traditionalism, and compelling a more sincere study of the actual field.
THE
and Brohams To-day, and Richard Strauss, adding music. Wagner tion. the But something to the expressiveness Mozart is simple, to a
CRAFTSMAN
each of hardly child.
interesting,
apprehensible
T
Europe should dwelt point :
HERE which
is a question one can of opinion.
in regard
to
scarcely
tlnd any It is wellbut all over that
diffcrencc
nigh universally and America
agreed by men of
is now at the point of the
of full recepto follow composers. to the in
all parties, not only in England, it is deeply over-crowded to be deplored
But few have the capacity complexities latest will not Brahms ear, as Mozart What signify, farther
and our colonies,
that the people
be as simple
continue
to stream into the already districts. speaking special some years ago County emphasis Council, on this
ordinary
is now to the critdoes this growth if not that the race
cities, and should thus further
ical musician? apprehension is advancing interior region, In conclusion, up by saying being, man determined rial needs. has life, The
deplete the country Lord Roscbery, as chairman with very
and farther
into the
of the London
where harmonies are realized the matter may be summed at every stage an of his selfpossessed existing origin ideal
and ideals formed? that,
There always don: millions hazard, working each other
is no thought
of pride associated I am of Lonof these by
in my mind with the idea of London. haunted by the awfulness appalling fact as it would by the great cast down,
side by side, but by matcis the of this freedom regions;
apart from his life, as conditioned lost in the dim evolutionary
appear
on the banks of this noble stream, each in their own groove regard without heeding and their of other, of unor knowledge each
poets and some scientists postulate Certainly, engage life, higher the higher animals
a certain a of and by and
own cell, without other, without numbered a wen. now? blood having lives-the
degree of sentient life in the material atom. experience grades degree of freedom. in play. activity grades, this In such moments, they In the lower is merely it takes golden play; in t&c
the slightest heedless of men.
idea how the Sixt,y years called it into the what is it and
casualty Cobbett,
thousands If
ago a great
Englishmen,
the rational creation. age, foretold
it -was a wen then, system half the life
significant
form of artistic
A tumor, an clcphantis
sucking
In some future poets and prophets, will be play, joy
its gorged
it tnay be that all work will be song,
and the bone of the rural districts.
all speech
will be universal.
994
EARNING
ON THE EARNING WORK ONES OF ONES LIVING HANDS. RIPLEY BY BY
A LIVING
and strength f ar superior the individual
in every
as ones
business
must, how
must be its general effect upon to that of work uncongenial when, during exercising
ANNAH
CHURCHILL
To the glory of Christ, I, Johannes Bosscaert, honestly bound this book. (l+om an old book-binding.)
particular, of one rather
working
hours, powers, days
instead
ones highest
reserves them until the in a peculmediaeval
T
portance they as well enough -or
work is over. lies principally between the incongruity of
HE
so-called
arts and crafts
moveiar course imput
The difficulty nature Where
ment in America
has accumulated of timely
sufficient power in its brief to make it a matter that craftsmen somewhat Are
the work, conditions
and the surrounding of life and thought. century patiently, his craft, workman absorbed sat in laboriously,
present-day
here should
the fifteenth following
one or two
searching we doing
questions our work just well
over his work-bench devotedly doing
to themselves as to what they mean by what arc doing. as it can be done-or
his work as well as it could be done, his recompense his satnot only life at social conto support that living,
his life simple to a degree, just enough isfaction craftsman
to find a market?
Have we chosen
llandicraft opportunity economic
solely because of the commercial it seems to offer for the moment of its as deeper well? artistic Is our and work claims
lying in the work itself, the modern finds himself confronted of how to support complex
because
by the problem ditions erally of to-day, prevailing
all, under the extremely of how far it is possible
honest in the sense that Johanncs honest.ly bound his book hundreds ago? And
Bosscaert of years
but also by the question to accept the genstandards of mercenary
if not,, why handicraft? of handicraft above variis mainly that a necessary end the reactionary
The advantage
success, and at the same time to be true, or, at least, not to be untrue, his individual Which question work. us directly a commercial to the vital It Most age. brings to the claims of
ous other means of livelihood thereby one may accomplish by an ennobling means,
effect of the work upon the worker tending to develop the mind as well as the hand and cyc, to bring action. upon As the faculties Handicraft which live generally is a form into of reacts new imdecay if some to united again pulse. confined, form the mind. no action work, in life, then,
of what WC mean by success. about us would uncompromis-
is undoubtedly of the people ingly judge to mercenary be judged.
our success or failure according standards, I have heard of living The and expect
SO
self -expression, any
expression producing thing will
to
the mind,
it said of those or, I might Charles Life, a virtue which seems to Simple
who are cultivating better say, spirit have found Wagners a fitting
a manner,
so a vital The
impulse
without which
of expression
is worse than useless in thought leads If this kind of business time ones
name in M.
little book,
is no thought. occupying
that they are in most cases making of necessity-so unlikely, such choice can be sincere.
can be used as ones the best of
it seems, that any
295
THE
If any craftsman purely for
CRAFTSMAN
their fine public spirit, their perfect. citizenship; the mehtersinger of old Nurnberg, the leather-workers of Spain, or the enamel and metal workers in their little booths along the streets of Ispahan, we find alike among them all, stronger than aught else, this note of sincerity. In making our modern application of these mediaeval arts we cannot revive the past altogether, but in our effort to apply what has been good in the past, let us, first of all, emulate Johannes Bosscaerts honesty of purpose. There are deeper principles involved than the mere binding of a book. First, make your work, whatever it is, an expression of your individual self. doing Secit. ond, let each single piece of work be done is as well as you are capable of Third, remember the lines : Who works for glory, misses oft the goalWho works for money, coins his very soul. Work for the works sake then, and it may be All these things will be added unto thee, -and
is using the opporcommercial advan-
tunity created by the revival of interest in
handicraft
tage, at. the sacrifice of the quality of his work, let him consider Johannes Bosscaerts quaint honesty, and pause ! Handicraft We need Better the is primarily an art., rather than a business, and must be considered as such. the best in art now, or no art. hand-work. other-both as vital rich
clean, machine-made product than shiftless Neither can substitute for the are necessary. Happily, we believe there are other elements in success as the accumulation intellectual, of money. spiritual, life-it The successful life is the life of full and development, physical ; and in choosing our work in lifeour work by which to support of the utmost importance that we remember that the value of money is a means to this development, not an end in itself. The modern craftsman should realize all the historic tradition of the past as well as his personal responsibility to the present, and at least so far honor the achievements of the workmen of the Middle Ages as not to treat lightly the crafts which they enand seriousness. dowed with such dignity exceedingly fascinating
be patient
! is a very safe aim. The
Excellence
craftsman who excels, who has attained at last, may find his craft even a considerable financial success, but it has been gained by artistic fidelity, and it is through artistic fidelity alone that he has won his place among the little group of the master-craftsmen of to-day. Whether he works individually in a small Paris ntelier, spending his six or eight hours a day of many months on some one object; the heart of or whether he works in training many New York,
Space will not allow a digression into the subject of mediaeval craftsmanship, though the mere mention of early European Guilds and Leagues, to say nothing of the genius of the Orient as proven for all time in weavings and manuscripts, marvellous tiles and hand-wrought metals, pottery, inlay, carvings, jewelry, enamels, is endlessly suggestive. Whether we picture the rug weaver of the Orient, or in the monasterys scriptorium the
craftsmen under him to express themselves, to do each smallest, part of their work with their whole might--the It is wonderfully spirit is the same. worth while to have made
the Italian monk laboring over his illumination

996
burger-craftsmen
of Bruges or Ghent, with
STORY
lating to feel that thereby-by
OF THE
den of
RUG
Eden-an enclosed pleasance or
something beautiful, and it is vastly stimuthe full expression of ones best-one life. Thoreau says: may conquer
park, full of choice trees and rare flowers, animals of the chase, and birds. very scheme of the typical This idea The field, recurs constantly in Persian design. derived from it-a rich, varicolored
the practical bread and butter problems of It is truly actually as it is true really, it is true materially as it is true spiritually, that they who seek honestly and sincerely with all their hearts and lives and strength to earn their bread, do earn it, and it is sure to be very sweet to them. A very little bread-a very few crumbs are enough if it be of the right quality, for it is infinitely nutritious. The living earned by such effort is the smallest part of its reward.
carpet seems The field
hedged about with its borders. of
is frequently obviously intended. for a field flowers, and sometimes a wood or au According
be
orchard of fruit-trees.. to design, Oriental rugs may or floral Persian and East Indian and Caucasian carclassed as of purely Aryan,
type, including embracing
rugs ; of Turanian, or geometrical, patterns Turkoman pets; and of a combination of the two, as represented in Turkish, Kurdish, and Chinese weaves. The literally, Oriental has imitated Nature or translated her into textiles, sometimes very and again with great freedom. In the sumptuous old Persian carpets, intended for regal homes, full hunting scenes with a great deal of action are wonderfully pictured; hunters on horseback, with their dogs, among the forest-trees, are in pursuit of animals of the chase ; and in others, more .quiet landscapes, with trees, flowers, and birds, are imitated. One which Mr. Stebbing describes in his book on the Holy Carpet is of this nature: Various trees of the forest, planted in horizontal lines, are connected on each line by the serpentine course of a stream, forming growth shallow pools, with a of wild flowers on the bank-the
THE
STORY
OF THE
RUG
T
Later, Walter
HE origin of design is surrounded by mystery, but it is generally conceded that the first designs were geometrical, copying, doubtless, of rush mats, which preceded instincts of these a-;
the plaiting
carpets in the evolution of floor coverings. as the artistic early weavers were developed, into their fabrics they wove
the beauty in form
well as color which they saw about them. Crane, in his Basis of Design, would make the floral Persian carpet the imitation of the Persian garden, for he says: The love of the sheltered, walled-in, and natural garden is very evident in their literature, and the influence of their flora upon their designs of all kinds is evident enough. The idea of the Eastern paradise is a garden. We have it in the Bible in the Gar-
mud-flats left by the receding water very carefully indicated in the weaving. --Mary Beach JAgton in "How
to Know Oriental Rugs.
A CRAFTSXlAN
HOUSE
CRAFTSMAN NUMBER House
HOUSE: VI. Number Series equally VI. for
SERIES
No traces of a style the attempt having
have been allowed of the exterior :
OF 1904,
to enter into the composition of 1904, The as duction of a mod&,
T
ings.
been limited to the prorefined dwelling. to the sills of the first brick, rakedtreatand and story. wide, This the roof
HE
Craftsman is adapted intended
The walls reaching set with black
may be judged
from the elevation, well to suburrural surroundhome, it feet, prove
story windows arc laid in Harvard mortar second out joints,
ban districts, If
and to purely
as arc also the piers supporting with that of separating
as a suburban
the projecting ment, together dormer-windows, to the front;
will require a frontage
of at least fifty
in order to render it effective, a distinct advantage.
while an addiwould
give accent and distinction it from the multi-
tion of ten feet to this estimate
tudes of its own class, if ranked according
THE
CRAFTSMAN
.-
to its building front, effect, is found
costs.
Another much to
detail of the the general device of band
made of a special impervious a darker like the window tone.
cement-like
composition, green, showing
contributing
to moisture trim,
and stained although
in the structural
the mortise spanning at right are
and tenon
used at the corners
It may bc noted also that with warmth from the heat the house: parlor, so becoming, during if the cold
of the building angles with white
to unite the wooden to it.
the veranda is fitted with winter sashes, and can be supplied ing system of desired, months signed The shingled applied a sun
the piers, with the timbers running above, the walls of laid Washington wide to the
From the point indicated faced or shingles pine, cedar, weather,
of the year, for a southern picturesque same
since the house is dcexposure. of green the house is as the side stain being roof
and stained brick.
to a rich nut brown, with the deep red deserving openof the limeis
which chords of the Harvard mention, ings shaped stone ; veranda, are: bricks, the
admirably
with the same stock moss (brushed
walls ; the window
Smaller details of the exterior, the basement which arc spanned low steps
on) to the wood, as to the The chimby similar to those of the chimney-pots
doors, windows, and all casings. ney is faced the basement a white again showing with brick, wall, cap;
by flat arches ascending floor, to which
and have slip sills of local
and is surmounted
concrete
which are of bush-hammered the veranda
the deep, warm red.
stone ; finally,
300
From the veranda the entrance door leads
A CRAFTSMAN into the living-room, which occupies the full depth of the house and has windows upon three sides, one of which (the western) projects into a shallow bay; thus affording space for an ample window-seat. chimney-piece In the of this room Harvard brick
HOUSE
the house, and situated at the left of the entrance, is of sufficient size to meet the needs of a family of four or five persons. A bay springing the entrance pierced by from from the side opposite the living-room, and at a high
a window placed
are again used, being here laid in mortar colored with o&e. The fireplace, as may be read from the floor-plan, is situated well toward the rear end of the east wall of the living room, and is flanked on the left by a book-case, and on the right by a corner-seat. Reyond the book-case, and toward the front of the house, the stair-case rises, screened to the first landing by a continuation of the paneled oak wainscot, which is carried around the room to a height of six and one-half feet. The wainscot is stained to a rich nut brown, above which a canvas frieze, with a design stenciled upon a tan-colored background, shows to excellent advantage ; the applied colors ceiling plaster, being is left of brown, grayThe green and indigo blue.
DINING
level, is designed to contain the sideboard, which exactly fits the space. Around the entire room a paneled wooden dado is carried on a line with the window sills, above which the walls are covered with
Kma-m-i
hVING KCn,M ___-______________ __________________ 4.3.0 x 3.44-e
KCOM
-----_--_ --__---_ ..---_--..____________
cream-tin ted rough, under
the float, and is divided into panels by oaken beams. In this room the Scotch rugs of brown and green are well relieved against the floor, which is of matched boards of medium width, stained to a very dark green. The dining-room, occupying about half the depth of
THE
Japanese
CRAFTSMAN
to the landing on the main staircase. This room is isolated in situation and closed from the main portion of the house in every direction by at least two doors.
grass cloth, to a height of six
feet, six inches; at the latter level, a mold-
On the second floor a roomy hall gives access to four sleeping rooms : three of which are of good size and all having The remainand a in ample closets.
ing space of this floor is occupied by a bath-room large linen closet. The bedroom,
shown
illustration, contains a pleasing effect in the sharp-angled ceiling and the long window seat running beneath it. Here the walls are covered with Japanese grass cloth to the height of the rail, above which the walls and ceilings are colored to a warm tint, in order to insure a pleasing play of lights and shadows. The movables are of the beautiful maple wood which is obtainable in a soft, satin finish, ing covers the joint between the grass cloth and the frieze. The color-effect of this room is yellow : the various tones of this color being supported by the dark green of the floor and the deep brown of the oak movables. The kitchen and its dependencies are finished in cypress and are most conveuiently planned ; the kitchen being provided with stairs leading to the cellar, and also and the textiles are chosen in accordance with the exposure of the room. Throughout the house simplicity has
been the first essential sought, in order that no one portion might be prominent to the detriment of all others. The estimates have been made with great care, and it is believed by the architects that if their instructions be followed, the building costs will not exteed three thousand, eight hundred dollars.
303
SOS
SOP
A FOREST A FOREST BUNGALOW OHDS tllougllts the wing4 ify their to mouth. thisclves, of which nic:~ning, like tlicy the arc modthe
BUNGALOW L:~WrclK!c. advanced iI structure of the later, illustrations, period. in elevainches more is
W
pus
1lillllC
type,
ils may be learned
by rcferin response
once to the accompanying to the The

dc~il:~~ls
uon- 0fYcrcd I)y The (raftsman, of the vacation here presented Bungalow
messengers, Formerly,
as they rcflectit pic-
from
mouth
tion, is designed abolee the
to be set low, with the first eight grade. building piers pillars is supported of masonry upholding still cm-
Bungalow,
wllen pronounced, of those who heard
floor at a level not exceeding surrounding The cstcnding while the k)y rough
cd in the minds
below the fl\ost line :
the roof are tree trunks, covered with their bark. The ploped rough frame matched tcrcs of the East Indies.
And
structural
timber
is hemlock or spruce, from the mill ; the being covered with boards, surfaced on
to those represent
who were unable to to themselves the or Caloffered : or with house story, roof. is no longer idea of the habitation its single or story has passage and developed to new thatch, of the passing obSide elr~ation
suburbs of Bombay cutta, the dictionaries the following Bungalow,-a cottage of a single a tiled. or thatched Such definition adequate. The convenient and countries. Bungalow. under type scured, rondack native little The extended definition
the inner side. laid on the outer in order the walls shingles,
This boarding additional covered
may be overpaper, and split warmth, with
during
side with building lastly
to assure are
or tiles, are no longer Camps to British
the essentials cottages India
this name, and in which the primitive is wholly coast, accent forests, the Atlantic the Adi-
laid wide to the weather and left The large area to acquire a natural stain. of the roof wi-ith its dormers, by shingles ; in this instance kind ; br~!sll-coated is also covered of the ordinary 305
and the shores of the Saint
to a deep moss-green.
306
A FOREST
BUNGALOW is left exposed with the intervening panels either stained to

brown, a warrn
or hung with burlap, as desired. The ceiling is not covered: the exposed floor-joists of the second story beamed effect. building thus giving it a
A cross-section at the rear of the

IVlNG RODII
contains, at the right:
bedroom, ten by fifteen feet in size, with dependent closet; next, an ample space is devoted to the staircase which opens into the living room ; while the large square rcmaining at the left of the rear cross-section, forms a well-ventilated, convenient kitchen, provided with a built-in cupboard, a sink with drain-board, and a second cupboard or closet made by utilizing the space beneath
The batten doors can easily be made upon the site; the flooring of the veranda is of two-inch plank ; the chimney is built of boulders gathered from stones the locality, used as with field binders to
tllc stairs. ____..-- _-.-..... -- ...___ r. _____. --______...____.___.___..---___ _.__ .___ ___.___,
r ..-. -. . .._-.. .._-..-...--.. -...__ __.--...-.-... -..---..._.._.___. _______.~
strengthen the masonry. The space of the first floor is apportioned into a living room, kitchen. The first of these rooms has dimensions of fourteen feet, six feet; inches by twenty-four
BED RQDM
bed
room
and
one end being occupied
by a fire-place large enough to contain a four foot log. The hearth is formed of large flat stones set in a bed of earth, and the floor of the room is laid in matched pine boards, six inches in width. The studding of the side walls
L.
Second floor
_._____ _..______--._--_._-__ _.____ ___. ----_._.__. ___._._ __..,____.._ _..____ plan

307
308
A DINING
The second floor contains three bedrooms, with storage being room under the eaves at the rear of the building
ROOM
insure a proper surfaces The play of shadows upon the
of the woods and textiles. walls above the wainscot in a soft by an to the top or tan
: this extension of space

that the Bungalow, is a habitation much than cristed
in itself a proof
of the window casings are covered with Japanesc grass cloth, shade. point This mentioned leather, covering is met at the up~xqoaken plate-rail,
in its later development, more convenient in its primitive form.
and agreeable
four inches in breadth, which runs about, the entire room, forming THE LAR DINING FRIEZE HE dining room shown in the opposite illustration by a simplicity can not but charm which is marred Its of the the capacomapcrudeness. from ROOM OF THE POP1andsr:~pe frieze browns , greens able being poplars, foreground scene suggestive a base-line to a paper shades of of Italy design with and in old tapestry and heliotrope of Northern of the unit
; the agrec-
T
beauty, Low judicious bility parative tating ration.
composing
a background
mountains,
curves which might be the wind-
by no element of results
ings of t,lie Po. The frieze is headed by a cornice of rather bold band, The adding oaken executed projection, consisting of a wide dcntils, rugs, and a simple edge, the curtains and greens and pillows already
like that of the old interiors largely employment of color.
Countries,
Its scheme
d&
repeat
has, furthermore,
the very
valuable at a slight
in oak, like the plate-rail. mentioned,
of easy production,
cost, and of being successfully important previous changes
t.hc browns
plied to any ordinary
room without necessior deco-
to the basis of the scheme high notes movables sounds a low continuous
of yellow ; while the rich, deep color of the bass to the decoration of a violoncello theme, like the part
The only requirement it shall bc well-lighted
of the room is that by day, in order to
in a string orchestra.
309
MANUAL
MANUAL JOHNSON, TRAINING, TLE, TRAINING. INSTRUCTOR CITY SCHOOLS, BY B. W.
TRAIJVING
of living Manual for themselves and for others.
MANUAL SEAT-
training
is proving
of great ser-
N A
boy mere training. pass daily
vice in education.
tiox+nc! m&a!
The process of acquisidiaciphe
WASHISGTON educator Animals of prominence once said: but The the boy a deor
are both greatly motor-activity and mental
helped of can be trained, then, of
by
the self-directed The gained,
the shop.
knowledge
development translate
serve the boy and girl, but as means to into results. what one He nor man opand balgiving and purposes
can be educated. something acquisition
not as ends in themselves, well-defined
velopment, The
girl must comprehend
more than of knowl-
A noted Bishop was asked : To other, is due the majority replied : Thinking without doing. thinking,
great cause, do you think, more than to any of failures? without doing ; doing
rdge and mental discipline they are but the half scheme of education: to do, developed into
are essential ; yet
of any well balanced the means to an end. atid girls who business
and neither thinking the learning; enjoying for sought its proper To-day, by for little the
The test of our schools is the power to act, in the boys the very serious
The education to work, portunity studying. ance in is doing. thinking doing
of the past empha-
sized the thinking, had to do
thinking
expression
Thinking
in our schools are made only when real condidealt with: ahead. and a strong this is
possible, things come to
tions are to be met, and real motive behind and a real outWhen how true, how the whole boy work deep potent The graphs endeavor The is the interest accompanying are to evidences carry out goes and develphotoof an these of of
oped by this stimulus to wokk!
ideas in the schools of Seattle. desk, made by a boy in his third different year eighteen
the high school,
is one of sevin deis making
.L-.L-..-_
. .._..
.LI
.__
_ _.
i
Presented green. Superintendent of
eral examples, sign. Cabinet
Chair: 310
Flemish oak: cushion of horsehide in mottled by the High School st,ndents to Mr. F. B. Cooper. City Schools, Seattle, Washington
MRSUAL
TRAINING
ties may induce discouragement, but the boy finally feels the divine satisfcction of seeing his conceptions realized and his own work completed before his eyes. Definite knowledge, good judgment, and efficiency are evident. To incarnate a noble thought is to live. perience and the forming the thing made. It is with pleasure that the Editors of The Craftsman note such encouraging signs of the times as those indicated in the article contributed by Mr. Johnson. Cities of the Eastern section of our country arc a11too prone to disregard the great impetus toward culture which is stirring the West, and even now producing admirable results. It is this exof right habits
that will outlast the knowledge gained and
taught in the third year when sufficient skill and knowledge have been acquired in the two years previous work logues to permit any constructive Catafurniture problem to be easily solved. are studied and
shops are visited by the class, and the elements of design and construction there found, are explained by the instructor. Each pupil then prepares his sketches of the object he desires to make, and from them hc makes his own working drawings and details; adapting them to his own ideas of form, proportion, and design. He then draws up his specifications and stock list, pays for the material required, and proceeds to work out his idea from the drawing into concrete form. Many difficulDesk (open): finish inner compartments of white spruce, natural
THE
FLOFTER AND MOTIFS FOR PILLOWS
CRAFTSMAS
CI;RTAINS
T
zinc.
HE designs
here prcsent.cd for curpillows arc all to canvas tains and bc csccutcd fabric, upon an imported in the pages the use of which has been of this ?rIagain all colors Finally, materials are linens, also and now obtainable range of shades. is to be done with linen flosses, generally employed based upon or, it are toor, at
often advocated imported,
The applied
and an estcnsive t.he couching
which arc at once more durable and effective than the silken thread for the same purpose. The designs floral forms, were better to of these articles, say, are rather more realistic, of motifs the whole which plant,
less conventionalized with new art. instead until the
than the majority day composed principles
in accordance
; since
least, the entire flower here appears, re-drawn originals scarcely in a series of are obscured studies,
of floral details which have been drawn and to the point of being
more than linear fancies.
ROWmotif
T
being Motif,
HE the of
pillow
showing
the Rose the with
Motif canvas ; flowers all the
is covered with russet-green applique' forming linen, pomegranate
outlining
done in sea-green. wrought also with the Roseas the covdescribed is
The curtain
is of the same material scheme already
ering of the pillow seen in the first illustration ; the color repeated, wit11 the addition that the bands
FLOWER
MOTIFS
This design as yet produced and the drawing color-scheme, old IIutch is one of the most successful in the present is further long series, enhanced by the
which recalls the fine effects of pictures. affording less opporof line than composiwell held
and Flemish Motif,
The Poppy tunity tion: the tulip, grateful
for grace
and freedom
is yet a most pleasing to the eye, and the motif
the arrangement
of the leaves being
forming
the base of the design are of grass with dull red floss, and stems are ivorked in shows effectively upon quality a which straight
green linen, applied that the long a pale against The greenish familiar applied green, dull green. sea-green Tulip blue
the russet of the canvas. Motif canvas is executed of a color
in old tapestries. and the design
The flowers are
in warm yellow, the leaves are bluerises from a band of being done in seaPoppy motif
red ; all outlines
THE
together by the bands placed above below the floral units. The design appears background, in grass-green in gray-green, and all outlines
CRAFTSMAN
and
upon a pomegranate
with the lower band of leaves
appliqub, and the top-band

the flowers in pomegranate, in sea-green.
Poppy motif
A variant upon flowers anthers strong The realistic
of the Poppy the design
Motif
occurs i with linen, th th i
a second pillow;
being wrough
a green-blue in gray-green in tan-color, blue.
background, bloom and
the outlines
Trumpet-flower of the designs, background from
Motif, is wrought
the
mos
upon in
gray-green
: the flowers obtain
ing bold relief
their application
Puppy motif
The curtain is of greenish in gray-green band of
displaying blue canvas, bloom
the Poppy
Motif
with the flowers to the fabric

Trumpet tloww motif
linen, and the lower applied
blue-green
by floss of a strong,
314
deep blue shade.
C.HIPS
pomegranate shade. In this instance, the outlining of the calyx and corolla is done in floss of a warm yellow-green, and the stamens in tan-color. It may be added that these designs gain much in execution: the substance and texture of the materials forming and the color employed. an integral part of the harmony based upon the line with the reversed throat of the flower in brick red, were temporarily so acute, his sense of A few moas a bolt ownership was strengthened. ments later, his mood changed, strikes from the blue.
A feeling of pain, upon the conHe
as intense as his former happiness, a sense of suffering wrong verging sciousness of servitude, seized him.
grasped his design, as if to save it from a hostile hand, and, while feeding his eyes upon what he regarded as its perfections, his frame contracted with anger. A thought destructive of calm, swept through his mind,
CHIPS FROM THE
CRAFTSMAN
as a sudden violent storm blackens and de+ troys the beauty of a summer day. In imagination he saw the object which he had already conceived by the effort of his knowledge and experience, finished and complete, going out from his workshop to be forever lost to his parentage. He was denied the privilege of the artist who signs the work which he produces. manual, the mark of His own sign his tool which he
WORKSHOP
T
body;
HE Craftsman sat in his workshop, unmindful of everything about him. The fresh beauty of the of youthful year, the discomfort
the first heats he passed unnoticed, living for the moment only in his work. rapid execution. in solid form. Before him lay a design showing few lines and It was his first conception He was aglow, mind and of an object which, later, he was to realize his pulses beating, his brain quickIn this special labor he had as
wielded with absolute conscientiousness and The accuracy, counted him for nothing. line dividing found abyss the fine from the industrial into which precious values arts, appeared to him as expanded to a prowere dropped from the weak grasp of the hopeless. He saw the artist craftsman ignored. protected and the
ened by the joy and pride of having created something. yet experienced nothing to cool his ardor. The always unforeseen, inevitable disappointment coming from the impossibility to adjust the ideal to the real, had not occurred. The thing upon which all his mental powers were concentrated, appeared to him adorable and perfect. silently apologizing He was not its to the world for
He saw his own creation
ill-treated at the hands of other workmen less skilful and less honest than himself; its excellences half-understood by them and debased by servile copying : that euphuism for At length, his fertile fancy robbery. showed him the factories of the country yielding imitations of his cherished object, multiplied to infinity and deformed to the point of positive ugliness and vulgarity, like those malformations, those structural
315
faults, as he would be later, when he should see it developed from the design which was its embryo, and standing in three dimensions before him. And because his pride, his joy, his love
THE
vagaries journeys. Together with the spreading of
CRAFTSMAN
longer continuing not falsify, to produce. He would in order to earn easily that he He could not create enthusiasm, nor yet
nature which caused him to
shudder as he met them in his walks and develop-
might idle afterward. without the spur of
result of the evil. unclean, and grace. through
ment, the Craftsman also saw clearly the The caricatures of his cherished creation, palpable Like eries, brought original. things common and falsehoods unworthy and mockchildren,
could he suffer his creations to meet with indignities offered them by his unworthy colleagues. Overcome thus by depression, his The susemotions slackened, even as his thoughts had previously ceased to direct him. pension of, his powers became almost complete. The avenues of his senses closed. He perceived nothing but the heaviness of his own heart. spection became But gradually less absolute. his introHis eye
discredit upon their model
they involved their parent in their own disThe persons of moral and aesthetic his creation-for what earnest, rectitude to whom he had sought to appeal noble work is accomplished without hope of meeting the reward of sympathy and appreciation-those very persons, despising the caricatures, came also to slight and to suscruelly misrepresented. to good pect the type which the falsified objects so Thus, the incentive craftsmanship was removed, the intelligent worker dissuaded from devoting his powers to the further development of the fmer industries, and art separated from the life of the people to be made the exclusive possession of the few: a condition always hostile to social progress-indeed plainly indicative of social decay. Arrived at this point of his revery, the Craftsman lost momentarily the steps of his argument in the maze of his emotions. centrated effort, through the His nature had become intensified through conisolation necessary to the pursuance of thought and work, through, also, the attainments of certain successes productive And now of legitimate self-confidence. he abandoned Since he saw de-
caught involuntarily surroundings.
certain details of his
He began minutely to note
the tools upon his working bench, as another, plunged in equal despair, but differently circumstanced, might have traced out the interlacing lines of a Moorish pattern on wall or rug. The sight of external objects brought The distraction and then developed a thought in the mind of the despairing workman. design of his new object which he had The pres-
raised his hand to destroy, he smoothed into place upon his drawing board. ence of the traditional tools upon his bench brought to him pictures of other times and memories of happier conditions. He turned in thought to the period when art was still religion and craftsmanship was the lay sister of art; when there was little question of lower or higher, provided that the thing wrought by the tool for the daily domestic service of man, like the cup or the chair, received the impress of the genius of the workman to the same degree as did the things wrought by the brush, or the chisel, solely to gratify Following the aesthetic sense. in substance, this argument
himself to discouragement. feated, he approached

316
the use and end of honest production
the decision of no
BOOK
sion that, to judge functions The of his
REVIEWS
himself, to advocate for his colleagues, a representative sign to be impressed upon each one of the objects formed by his hands, as a token of his own responsibility, as a right to which he was entitled by reason of
the Craftsman could not avoid the conclufrom historical precedent, which is another name for fact, his and destiny were equal, parallel this great strong truth and united to those of the artist. : consciousness of legitimate obstacles and suggested to him the advantage to be taken position. he saw Amid and difficulties,
his attainments, as a public safeguard, and finally as an incentive and spur to generous, honest action, thrown out like an exhortation or battle-cry, to influence and encourage whomever it might. The Craft.sman series of articles upon
clearly the way to relieve his own despair, to force the respect of the people and tbereby to regain his historical position, to improve economic conditions in the republic of which he could not but recognize himself as one of the most useful citizens, finally to contribute to the spread of the gospel of beauty, which is also the gospel of content and of temporal happiness. In pursuance of his new resolutions, the Craftsman grasped with eagerness a sheet of paper upon which he traced a signature, symbolic and characteristic, which he would impress upon each one of his subsequent creations, Similar signatures, he reasoned, had been the deep-lying causes of the economic prosperity and political importance of a government such as Florence, and of municipalities such as those of Flanders. The devices of the old guilds and of their master-workmen were responsible in their time for the map of Europe. Why then, reasoned the Craftsman, could not the modern representatives honesty and good agents in maintaining of the newer America? of these oaths of become strong the internal peace The good accomfaith
the Spanish Missions in California, which is suspended in the current number, owing to the late arrival of Mr. James manuscript, will be resumed in the July issue. The succeeding article will ,treat of the interior architectural effects and the mural decorations of the most interesting chapels established by the Franciscans in the locality under consideration. BOOK REVIEWS. BY J. C. CITIESOF TO-MORROW, It has
ARDEN
by Ebenezer Howard, is a new book on an old theme. sufficient improvement over all
that has preceded it to make it an original work. The theme is the ideal city. It gives
plans, methods, costs, all possible details for planting cities, instead of having them grow, as London has, like an immense tumor, to have plenty of parks, wide streets, school houses, play grounds, museums and all else that pertains to city life, without tearing down expensive property, to make them. Also, it shows how to avoid the smoke nuisance, stale vegetables, garbage and the other unpleasant nuisances of
plished by the Clothdressers Company for Florence might certainly be repeated in a modern sense for a broader fatherland. Again hopeful to the point of inspiration, the Craftsman resolved to assume for
THE
our present city life. farming
CRAFTSMAN
I am disappointed in Boston. it was a beautiful it beautiful? city. But I thought why isnt It
It also settles the
question, which, by its loneliness,
has come to be one of the serious questions of the present time. Most of the former schemes have carried communism to excess, even to the breaking up of family life. Looking Backward, the best, probably, of The Garden Cities predecessors, took away too much individualism from life, and no mere physical comforts can ever compensate for the loss of character which complete communism must cause. The Garden City shows how to create ideal cities, ideal farms, ideal factories. No one city is to go much beyond thirty thousand inhabitants, but other cities are to be planted in the same manner near by, thus creating a circle of circular cities in groups which might, in time, depopulate London and Birmingham. The book is English English and written, of course, from standpoint, to America an but the theme is far where cities
asked the Boston lover.
has no yards around the houses, replied the child, fresh from a Syracuse home. The first part of Little Gardens is for the South End, Boston, Upper New York, and the slums, and tells each what to do with limited spaces, ranging from a square yard to 25x60 feet. A veritable oasis can be realthe inized from city deserts by following
genious plans of Charles M. Skinner. Mr. Skinner tells what to avoid and why, how to care for the soil, fertilizers and tools. He even adds a water garden with its water blooms, and shows how to keep out mosquitoes without kerosene. Next, garden country gardens are considered. The to the Color There is more space, a wider range. may be made to conform when there is any. architecture,
should be scientifically considered in order to be aesthetic, and the rainbow followed, as We can paint the earth Natures law. with flowers that gleam like jewels. Next the author treats of the seasons of flowers. frost. In the choice the blossom the beautiful place. added. A of of flowers, the vase, and a foremost flowers is can so the blessed Virgin, ten best One can have bloom from frost to
more applicable
grow in an hours time to great size, and the rush for new homes moves with the rapidity of lightning. We suggest that some syndicates attempt Garden City, for manufacturing plan of The a scheme on the in the new We commend by
west or the deserted east. living.
the book to all interested in better ideals of [Garden Cities of To-morrow, Ebenezer Howard London: $1.25.] Swan, Sonnen-
Venus is given
list of
As an experienced
physician
schein & Co. ; illustrated ; pages 151 ; price
do all his doctoring the gardener are duly considered.
with ten drugs, Vines
with ten plants.
Creepers are human
bent on rising, no matter what the means. LITTLE GARDENS." A little girl often, taken to Boston to visit her new mothers old friend 318 on Newbury street, shocked a caller, an old time Bostonian, by saying: Many flowers are wisely characterized: the iris fragile as a form in tinted ice ; nasturtiums soak in sunshine, then give it back in generous measure ; shrubs, trees, exter-
BOOK
nal decorations is rather are well on treated. Mary author heart. hard
REVIEWS
lines are given precedence in form-especially the mission furniture, that in to form and workmanship leaves nothing be desired. duced. Among pictures, photographs and carbons of the old masters should be given the first place. They educate one to buy The Spirit of the modern works aright.
The Ann,
who often mothers the flowers with her great Any one with a hit of flower space [Little Garwill find the book helpful.. D. Appleton & Company ;
Old mahogany may be intro-
dens, by Charles M. Skinner; New York: illustrated ; pages 250 ; price $1.25 net.]
THE SIMPLE HOME, by Charles Keeler@,
The last chapter,
was written primarily for Californians, but as home is a universal institution, and much of the book is on general principles, it must apply to the entire world. The Home, first chapter, The Spirit of the traces the subject back to pre-
Home, may be condensed in one sentence: All art is a form of service inspired by love. [The Simple Home, by Charles Keeler. Illustrated with ten photographic reproductions. 55 pages. Size, 7x5. Canvas, paper label. Paul Elder and Com-
historic man. hospitality, The
It is a plea for simplicity, truth. is a chapter largely out
pany, San Francisco : 75 cents net.] In these days, when every family is ransacking the attic for ancestral belongings, books that may identify things thus found, are quite essential to the family library; especially when the discoveries thus made lead one to purchase additions and thus become an amateur collector. For this reason The Illustrated Handbook of Inforby mation on Pewter and Sheffield Plate, Wm. Redman, is worth owning. We learn from this book that pewter was the first table luxury of European royal palaces ; that the early Edwards and Henrys and both the weak and the cruel Richards dined on pewter; that the silver age came in with the Georges, although the Charleses and Queen Anne possessed a small number of silver spoons : two or three, perhaps. The plates are very helpful, giving shapes and signs with full explanations. Prices are also given, though they are much more moderate than in the junk shops of our own city.
319
Garden
of our sphere, as plants that blossom the entire year, and tropical their mingled fragrance, in our own section. lives by Mother, contact shade trees with are all impossible
But gardens that will bring nature to our homes and chasten our with the great Earthbelong to us all.
The furnishings of the home, in these days of rented houses, should interest every reader. quence. A color scheme is of first conseWhite is excluded as out of har-
mony, a blaze that refuses to be toned down, though where cleanliness is a feature, white may be used, as on the evening dinner table, and in the bedroom. Warm colors are preferred to cold, a neutral tint to one too aggressively paper pronounced. carpets Figured wall and figured are tabooed.
They are too suggestive of the machine that made them. All possible furniture, as sideboards, window seats, book-shelves, should be a part of the house architecture, straight
This
:utlior csccss
ohjocts
to the I)sc~i,lo-gotliic., carving. lh

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wit II their int locluctioii tllilt

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:LrcllitWtilrc~.
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; price

The Craftsman - 1904 - 06 - June

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www.historicalworks.

Will profit by Coast, touring

adding a trip the delightful

Colorado, Utah Rocky Mountain

Pacific via the

The Inoigorating Climate of Colorado inaitinp fnr # makes it emeciailv

Kindly mention The Craftsman

Kindly mentionThe Craftsman

VlttlY sclici~~ for

uscfuhlcss must be removcd.

for the transmission of goods,

laws of many States recognize to unrestricted The elevated damages to

the purposes which is often served by

have paid and are still

immense amounts for along their lines. streets are often

social centers, This of

has been given

when desired, and beauty fixtures:

streets in many foreign often taking every

we are alone concerned

with street The spe-

but the purposes for which streets

exist must be kept well in mind.

the city spends large sums to

which might as it appears That or the apbe greatly alteration,

when one stops to consider. pearancc improved removal

goes wit.liout saying.

to regard hung ncross

men as fixtures, property materials, sermon. cities that

rilv located sewer pipe, hah a test strangely dcrisc

such as ash cans,

is, that which

desired i4 to be :Lcconq~lishcd by ~limiwrtio7/. Thcrc and lamps, They zlntl

are n~any fixtures at all; pole4, of trafic,

bc in the strccth teleptlonc and impede

such as tclcgraph advertising clocL<, descriptions. the sidewalh,

imperatiw. standing H_&:unt% method for by in

left and the

cearcd to be used. space,

occupy in vogue rcmoTing ought croa.ded

in some cities a small plate sections. Fire

,j ust below the surface, imitated, and pnrticularlv police

flush with tllc wJk,

therefore, character artistic

effect upon him tllan many

illustrations by the writer

(from in 1903) show

the model may be expensive, is divided copies, the extra espense

bow two cities have successfully

have been widely

for when an object

trolicr in the center of the street, instead of

graceful which this

lines and harmonious properties add nothing

proportions to the cost. than in-

It divides less Jehus.

traffic and affords

built, of course, but

who is hard pressed by rcckThe street is better lighted

will cl~enpc~~ rather

do not have beautiful demand cities, gone for

are not aided in securing private so far

of what should be done. companies, suggestions, shows that

who have welcorncd