The Craftsman - 1904 - 08 - August

www.historicalworks.
com
www.historicalworks.com
wterways
tfie
Southern
Elegant New Passenger
Pacific.
Steamers JViekZy, Between
NEWYORK
FWEDAYS
Connecting
NEWORLEANS
ON THE DEEP
with at New Orleans
FAST
For All
EXPRESS
Points in LOUISIANA,
TRAINS
TEXAS, NEW and CALIFORNIA
MEXICO,
ARIZONA
IHiNCE
F GOLDEN GATE% ORIENT.

Steamers of the Pacific.Mail
S. S. C-o:, Occidental
Leaving Days
and
San -~
Oriental
Francisco
S. S. Co,, Toyo Kisen Kaisha,

about Every Ten
for HONOLULU,
YOKOHAMA,
All Poznts
NAGASAKI,
ziz
HONG
KONG,
and
CHINA
FREE AND
and
JAPAN
PAMPHLETS, RESERVAas follows: PACIFIC
FOR MAPS,
ALL TIME
INFORMATION, TABLES, ANY
ILLUSTRATED STEAMSHIP
RAILROAD AGENT
TIONS,ADDRESS
OF SOUTHERN
rye Washington 349 Broadway, I I-
Street,
BOSTON
NEWYORK CITY
rag South Third Sreet, PHILADELPHIA 210 North Charles Street, BALTIMORE rzg South Franklin Street, SYRACUSE
Kindly mention The Craftsman
Worlds
Will
Coast, profit br touring
Fair Visitors 1,
to
ROCRY
adding a trip the delightful
Colorado, Utah Mountain
or the region
Pacific via the
Denver
RL Rio
Grande
R. R.h
\
which has more scenic attractions, mountain resorts, mineral springs and fishing grounds than any other line in the world. As health resorts, Manitou, Colorado Springs, are Glenwood Springs and Salt Lake City world-famed.
The Inoigorating Climate of Colorado makes it especially inviting for a Summer Uacation
rare and
Low rates to Colorado and Utah on sale via all lines allowinl( star west of Colorado points. Through car service from St. Louia and Chicago to Colorado, Utah and California points. Superb Dining Cars, service L la
day for free iliustrated booklets.
excursion
k
'
S.
X.
HOOPER
c*n. P-*~mg~LlraTiskr*Ag1. Dlw3VER. coI.0.
Ki IIdl y mention The Craftsman
rom Chicago daily, Aug. 15 to Sept. 10, inclusive.
SPECIAL
Correspondingly
low rates from other points.
TRAINS \,,,,
Kindly
mention
The Craftsman
:.
!
(
.
THE
Vol. VI
ARCHITECTURE,-AMERICAN ASPECT. BY JULIIJS
CRAFTSMAN
AUGUST
of, F. HARDER
1904
No.
convention,
pedantry Inherent
and
dogmatism.
He is also the possessor of his qualities. there are undermining agents.
of all the demerits in their strength and defor tradition influences
T
These trines tional foreign
HE
American
comprehension as distinguished
of from
Architecture, the foreign differences generally political
structive ignorance,
Contempt
point
of view, reveals similar to American idea. head and in docthe nafrom the political a national cooperaThe of and
and disregard
for precedent,
when born of
of conception
cannot be said to make for prog-
those which, as a rule, distinguish institutions in opposite hereditary differences
from the foreign establishments American formed have
have their fountain
predisposition. and The given
and conditions character manner. has for
operate
as a cause
which differentiates institution genius tion through American enterprise
the American American birth to and for
organization disciplined brings
association. a spirit
to his work
as to scale and scope, for execution,-a of relating judgment learning means an intuitive,
and fearsimplicity to ends.
lessness as to obstacles,-an aggressiveness and directness He relies upon
enthusiasm
unprejudiced of merit and his business

Plate I. The late Bruce Prim, an American sianer of individuality and inventiveness de-
and discriminating values. while engaged its beginning. adaptability, capacity going even at .for his
He is usually
in it, and always understands He details. play or has He rest. self-reliance likes He to is and and keep free
his task when it is finished, if he did not at ress. The sacrifice of ideals, the abuse of and trust and of places of an insatialike a ptopolitical
419
the habit of, thoroughness is found
positions
of honor
of power for the gratification ble acquisitiveness main poison ment ; while financial
and usually
hard working, innocent
can never achieve refinecorruption, through
from, or more accurately
speaking,
extending
THE
and business-life The typical tion of his Republic. environment American and tendency positive. character. of
CRAFTSMAN
evidence politics, the as in the domain of statecraft and methods and of in the fields of business machinery organiza-
threatens the very founda-
tion, inventions, construction; fession and useful
are, therefore, his qualities
not entirely Such have given It, is rein
in the drama, in the new proand in its beautiful and in adjunct-illustration, of education. therefore, illustrate peowhether
meritorious to his effort clear that
nor wholly a national
of journalism,
they are, however, from
the profession
them his performance individuality from that of men grown
These considerations, ple view the subject
ceives a collective and is distinct
which differs
at once the light in which the American of architecture,
Plate II.
other soil. lowing ural
Well
locatedupon
its site
It is the normal American, whose achievements Wherever followed
folhave
as laymen builders. can They
and critics, They
or as designers
and
undeviatingly inclination,
the course of his natand admirahis effort of the and in the bent
are, and ought can and should
to be, the develop.
only dominating architecture
forces under which Ameri-
commanded has fully
the astonishment and freely
tion of the old world. his impulses, result This

420
present at once the soil from which it and the light and air by which it To tcndcourse, every natural It could hardly be otherwise.
springs, thrives.
unhampered been generally most
by the restriction distinctive conspicuously
of old world traditions has consequential. is perhaps
and aspirations,
them may be ascribed ency and espression shown. Wherever the result
which the art has ever it has had free sometimes
has been distinctive:
ARCHITECTURE,-AMERICAN
bad, mostly good, but always progressive. The American country house, well located upon its site, designed from the inside to the outside, truthfully economical and unconventional, employing its has achieved a of its and originally
ASPECT
Nor is it alone in these larger works that individuality struggling is betrayed. There is a marked local differentiation which has been forward, despite many obstacles. Thus the colonial architecture of New England was distinct from that of New York, while that of Virginia fered from both. cotta architecture and Maryland difSo the brick and terra of the middle west ex-
materials of construction, ing reflective of
distinctive national character, while remainthe individuality occupants. In the great cities, the many-
Plate III.
Designed from the inside to the outside
storied building, a natural result of concentration and economy of modern business methods, is typical and all but wholly solved. The ponderous warehouse is distinctive of Americanism, as the pyramid is distinctive of Egypt. The great hotel, a product of modern facilities of transportation, is American, as the Colosseum was Roman.
hibits tendencies quite distinct stone forms of the east.
from
the
Many of the cities of the second class, too,show localism : largely in secondary matters, or forms of detail it is true, but still su3lcient to reflect local preference of manner. It is true also that readiness of transport and interchangeability of materials coupled with the democratizing
Ilatr
IV.
I~:r,,ll~urllr~:ll
ill,,1
,,,,(0,1\,
ntl~~ll:ll
influcncc of modern structural hut destroy local tcndcncics. f:lct, l~o\ycver, is contained
steel cannot In this wry an ddi-
lb0 tccturc.
o\mtaclcs, however, stand in the wav of American for archiFirst : disregard tradition ;
of the normal progress
qx.in
tional force for unity in national csprcssion.
second : lack of cclucntion. A failure to read the lessons of archaeology aright and inispciwstenre 111 it stupid
,lppro~)riiLtion of thr fornmlns of tllc iUdlitH+~lrill stitiitc a tliswspcct, ewe of bdition. which fact, tenth not conclusions opinion, Tnstitutions erroneous tlrxwn upon not front p:LSt connot rcvcr-
hut based
do
indivitld ctlucdc,
1,ut w:L.ste the ~ncl youth of the
tlw vitdity stllclcnt.
ARCHJTECTIJRE,-AMERICAN
No ,one could be considered with patience who would commit the folly of discrediting But the misor discouraging education. information and opinionated sentiment diaseminated by the schools is reasonably and justifiably open to criticism. enterprise in failing educational process. They longer The difficulty with the schools is that they have lacked to discover just what In effect they admit constitutes education and to apprehend the this by the constant changes in curriculum. teach too much what is either no true, or what has lost force and The schools and the teachers
ASPECT
themselves,
fallen into error by patterning
not upon the realities of American life, but upon the conventional models of foreign art schools. In Paris there is an art-school said to be the greatest in the world. There can be no doubt of this, if there can be such things and an art-school as an art-world admitted after to our understanding. history, This the and school, and all American schools patterned it, teach architectural cunning of mechanical draftsmanship,
application.
have been too much restricted by tradition and, themselves, require and pedantry, emancipation. Only in the sciences and in physical culture are the American schools American. In art education they have
varying fashions of applied ornament as the art of architecture. The result is not This proFrench, it is not even Parisian. duct of pedagogy, a mere mask, untruthful so and unreal, has swept over America:
numerous have been its American disciples, so strong is the desire to accomplish even
Plate VI.
The untroubled artistic Southern.temperament
THE
CRAFTSMAN
the only educator, son learns quires last for only all himself. and a perwhat he acIn the is in of a
analysis
learning
self-taught. the broad personal memory. faculties
Education sense consists process When of reasoning
observaand
tion, analytical
any of these nothing the school of student table fact, the Now may of a red is
are lacking,
is ever learned by experience. In art education to the instruction to of the must confine itself exclusively leaving formation be taken matter struction and, of
opinion.
the multiplication fact; that
as illustrative the colors
while the in-
and green are complementary, therefore, harmonize, of opinion, entirely a matter
short cut to a greatness and a sham.
that is a mockery of many w-ritfails to
It has been the complaint ers that in art-work is the fault accepted of theoretic a German, architecture
the American
express the spirit of his nationality. from tradition,
This not so much of the restrictions as it is the effect scholasticism. It is this which an English, to music sculpture and cast.
has given to literature a French
and to painting,
This represents but an unsubstantial froth. The actual art of a people is that Khich they spontaneously into their daily ited imitation
424
and life. of
unconsciously The school
u-eave is a limis
real life.
Experience
ARCHITECTUR.E,-AMERICAN
fancy and sentiment. Modern art education appears to proceed upon the theory that art is something which is applied upon something else, and that this something and vulgar else is too prosaic to interest the The fact
ASPECT
In the course of the lecturer, a
this and nothing more? exhibition of drawings,
a public lecture in connection with a great learned professor of architecture, pointed
out the many rows of beautiful
imitations
lofty mind of the polite student. is, that art begins hod carrier, with the and the lowest
of Greek and Roman columns with which
workman in the scale.
There can be no art without craftsmanship, and its spirit rises majestically from the sweat of hard labor. Art remains
subservient to common sense, and cannot rise superior to it. Architectural art is not an abstract quality like music, but a concrete one like oratory. Eloquence rises to the height of oratory, only when its cause, argued with force and grace, carries conviction irresistibly with it. Thus architecture is married to utility ; not doubt, but unquestioning conviction must be carried on the wing of power and beauty. Design does not, like rain, fall from the clouds. The architectural designer must stand upon the firm \ ground of utilitarian propriety, functional application of materials, the individual equation and the national tendency. Is it not enough to work a combination of these? Is not this better than taking directions from those who are themselves unable of imitating the art of extinct peoples which we now call glorious, because in its day it was the product of just many prospective buildings were to be adorned. His comment was that while these were inappropriate and impractical as of to fitness and function in the buildings, yet they served the very laudable purpose decorating our streets. This imbecile is
445
ARCHITECTURE,-AMERICAN
still engaged in educating itecture. youth in archUnion Must it necessarily follow when Is it incona sane, logiin buildings a beautiful street archi-
ASPECT
is destined to become the modern with reformed institutions, shall accomplish
vehicle which, in conjunction educational
buildings are fitly designed that the streets are unsightly? ceivable should tecture? that produce cal architecture and appropriate
Is it not possible to
Ldecorate the streets, except at the expense of the buildings? As a fitting corollary may be mentioned the recent issue of a work by a learned critic on How to Judge Architecture. It is not surprising that the existing confusion should require a key in order to understand it, but why should anyone wish to understand it? Why not a book on H~w to Judge Whiskey and Tobacco ? We are good judges of quality as to these without knowing why, but we do not feel the need of a key to explain the mystery. A vital art begins at the bottom and works upward. An era of devotion to beautiful surroundings,when fathers refinement quality a desire for
rather than for quantity, begins with its expression in the ordinary necessaries of daily use, with utensils and with artisanship furniture, and the workshop. The art
Plate XI. Parisian gedlagogism has wept OveP America
school must begin at the bench and forge; the motive forces being hands, tools, steam and electricity. It may be that the Labor
for modern industrial art what the trade guilds did for it in the Middle Ages-who. knows T Monumental architecture repre4.97
THE
CRAFTSMAS
strong exert a and narrowminded Puritan The stock dedominating influence.
scendants of the oppressed of all nationnlities improved, intermarriage, of the twntieth strengthened and refined by The beginning finds it supreme con&itute the new nation of century
the present and the future.
sents the climax of an art era, not its inception. The American enc_v before the Indians, to posterity.
4%
nation has a long nscendThe left original Americans, heritage of the no artistic
it. hart
Sor
do the children
T-
-v/w
Plate XV.
G?-.&.J
-.-I
.*-*.
-
-
l . s*iY&
,--_4
_,_Y--_
LA
The many storied building
THE
commercially nation and the American
CRAFTSMAN
a
people
of money-getters. Lacking of power
Its people their
have full But They
vices, as well as virtues, weakness as well as strength. growth distinct, perfection, lies in the future. unalterable.
DO
not believe
that ever any building unless it had mighty and deep, of shadow And among architect in shadow, the not liny him of let as the the fall, His should
was truly
great,
masses, vigorous that of
mingled with its surface. first habits learn, looking at a young thinking is that
such as they are, they have characteristics, unmistakable,
a design skeleton. design cold men him cut dig
in a miserable
. . . . . Let
with out the sense him,
and heat upon wells
the shadows lead let him along keep
in unwatered does his
plains ; and lights, hot metal;
as a founder
full command and paper where lines
of both, and see they and fade.
that he knows how they
proportions
are of no value: all that he has to do must be done by spaces of light first and darkness. is shade may that or be, the light, shall No at all, And, that this may be, the necessity of they into quantities whatever be thrown design will have, an art, interference, their institutions, in rendering has a right architecture t.unitv. with or without their ideals. ,judge declared that a man .Amcrican Let it alone ! outside truly inspired by their nature, that
masses.
is divided
and yet not divided into masses, can ever be of the smallest value ; this great law rcspecting breadth, examination majestic precisely of the same in architecthat the applicaof ture and painting, tions will include insist. -John Ruskin:
Chapter
In a recent court case an :%ncrican decision is entitled to be let alone.
is so important
its two principal
most of the condit,ions
to the same oppor-
design on which I nould at present

T?M &wm I_mmp.v of Architmtwr; Thzce; The Lamp of POUW.
All is well with it.
430
APPLIED
ARTS
Jeweled clasp
Ren6 Lalique
[EDITORS
NOTE-The
subjoined article,
THE PARIS THE
APPLIED SALONS FRENCH
ARTS OF 1904, BY IRENE
IN BY
THE M. P.FROM
written by one of the best known Parisian art-critics, who is also a designer of reputation, is valuable, not only as a specific criticism of the French Salon, of the current year, but also as a summary of the tendencies observable in those famous tions. Intended as a warning and most generous exhibirival to France,
VERNEUIL.
TRANSLATED
SARGENT
to the work of
B
tested.
EFORE studying in detail the works shown the present year in the sections devoted to of the two art, Salons it is decorative
nations, it is adapted to the instruction of a yet wider public than the one to which it was addressed by its author. izations preceding The generalthe criticism of the obprevailing at
well to seek a lesson from the total of the For the question of objects exhibited. modern decorative art is more than ever a pressing issue, and the crisis through which artistic evolution is now passing is of the It highest interest. It is undeniable that a crisis exists. must be acknowledged Whence rather
jects illustrated might be applied with perfect truth to the conditions the St. Louis Exposition. It is for Amer-
icans as well as for Frenchmen, to accept and profit by the lessons offered by Germany in her recent displays of decorative art, which may bc characterized as logical, synthetic, well-coiirdinated and economical It is of energy to a degree as yet unequaled by the similar efforts of other nations. for Americans also to take to themselves
than conWhy is it
comes this crisis?
that the public
does not respond, as the
artists desire, and as it should, to the advances made by the former. The artists reply without due reflection: The fault is wholly with the public, whose neglect of our efforts causes them to remain sterile. As a body we are only marking time ; we are making no advance. Let us be frank enough to confess it: this last sentence alone is true. We are 4%
the ippeal made by M. Verneuil to his own * countrymen: that is, to resist foreign influence and to hold firmly to racial and national traditions.]
THE
making artists artisans beside, from practical is false no advance. at own But least is this in part, solely the fault of the public? themselves, of their
CRAFTSMAN
result. the their turn, allow the public to follow the in it, movement What, and to become interested
Are not the
otherwise than in a purely Platonic
manner.
disappointments? it not result of in
on the other hand, do we now see, Certainly, nothing paral-
Furthermore,
this kind of disfavor-which, temporary-does premises and from the lack
and have we seen up to the present moment in our country ? lel or comparable. We efforts have witnessed, indeed, significant But we to supof their into
sense, which we have evidenced abroad,
this instance? If we cast our glance through Germany and especially surely Austria,~ we shall
on the part of our artists. who ought the product upon the
hare seen these artists port labor, themselves nullify
find that the New Art is progressing
same by
entering
and
for
several
reasons.
In
the
first
of
controversy An of ple, necessity, should
with the manufacturers. thus of directed, for the artist must, examwho to the as material also of his What be sterile. be the aim What,
these two countries, a national from foreign
the desire of
creating nothing in the of
art-movement,
style which shall borrow influence, aids strongly
styles and, above all, he free in the propagation and principally, relations permit between the foralthough in
from French diffusion, perhaps, practical. artists modern art.
creates a piece of furniture? to product purposes used to bc fulfilled The
It should he
or rather
a forrn which corresponds of the
Furthermore The friendly
by the object, artist must
the spirit of this art is thoroughly and manufacturers work
well as to the exigencies in execution. remember demand the practical from the final
presentation purchaser. exception?
mer to establish the sale of remunerative

43
t.hcmselves, and also allow at reasonable, These conditions,
work to the public: then occurs almost
the price which he must without
prices.
APPLIED
The designer rejects a cordial understanding with a manufacturer. factures himself. workshops, nor capital. He manu-
ARTS
any model must undergo in order to reach perfection. Therefore, the artist whom we have decondiscribed, presents to the public a model executed under the most unfavorable tions, whether these conditions be regarded from the artistic, or yet from the commerl cial point of view. But, if, in spite of all these disadvantages, the piece attains reputation, the sell-
He has neither workmen, He can employ
only those who botch and bungle. He can exert but ineffectual supervision over their work, and he is defrauded, as well in the quality, as in .the quantity of their labor. There results an increase in the selling price. Furthermore, lacking capital, the
. ___.
-..A.,
._._.__.A..-~--.-~-
-..
_.
._-._
.__ .._ -.
Pendant
_. ..~
.1
Pendant
Ben6 hlique
Ren& Lslique
artist does not execute a series of the same model: six, eight, ten, or twelve objects, which he produces at the same time. He creates only an isolated piece. The production by series can alone permit him to compete successfully wholesale l&oduction with the bedof Louis XVI.
ing price is so high that, even bu suppressing all profit for himself, the artist is forced to demand a price so prohibitive that he drives away the intelligent buyer without hope of seeing him return. The artist maintains truthfully has made heavy sacrifices. that he
But this fact
rooms, or of Henry II. dining rooms. Again, the lack.of capital compels him to neglect the successive corrections which
does not prevent the buyer from purchasing from the manufacturer for a reasonable sum, reputable cabinet-work, which can
THE
CRAFT%VA=\T
members-is Meanwhile, associations established, and carried deep shall have to are resist founded the manufacturer. studios are in Austria and in German;-, and
in which new models are created to perfection: facts which have before of who much remain time at to will travel them and which several in these These haye the French
significance
; for
elapsed, in which
instead those -4nd
supremacy foreign
home still believe, invasion. it. have invited
WC shall be subjected we ourselves blind, Let Berlin from
Let those who are wilfully and learn through visit expositions They Yicnna ! observation. at will Will Dresden, find
examples
they may examine with profit, points of view.

csa~nples
they discover have
that with with
the artists proper
abandoned
their just artista, united
rights?
Far from that! understanding, profit thcrchy.
tllc manufacturers
; they pro-
duce and xl1 , gaining In France, exceptions, glc piece,
modern art, with only too rare the art of the sinThe potter picccs obstinate. to the same to produce them at reamuseum
has remained to
the art of the toy. produce is equally
is dcterrnined
only Reading IlOt, glass Gaillard :
the goldsmith Would
X11 the applied error. practical
arts are subject it not be better
indeed, so perfectly degree, by
satisfy
his artistic him, to posacss
aspirations, some complctc Who, public ? Tbc sucli-a hy those have whose
but. which compcnsatcs allowing him to
nlodels and to offer
furnishings tlicn,
at the price he would the artist or the is
have paid for a single piece. is right,
scntirncnt spirit who created
prerailing it-that
in France
of independence, barbor an cstcnsive indeed,
it is called the artists one of not the of its
sockty, it be of
imny
objects-if,
principal 434
ono in the opinion
APPLIED
sonable prices ? ,decorative If this were done, then much decried, art, at present
ARTS
Then, the would begin to make progress. public, or rather the purchaser, would necessarily direct the body of manufacturers, now refractory, but who would quickly join it, if the movement, instead of obstructing interest.
they were compelled to do so by their real The want, it can not be too often repeated, does not lie in the absence of artists, but in the lack of practical sense. Therefore, let us consider what our exoffer in other countries, positions of decorative art really are, what such expositions and, above all, what they should be. Eet us take, as an example,,the Secessionists of Vienna, who not only organize expositions of decorative art, but also offer many examples of action worthy of imitation. two expositions are there ever alike. decoration stantly and the arrangements modified. No The
are con-
The directors understand that the manner of exhibiting the works presented must be the object of their most sedulous care; that the public, which includes occasional buyers, will come more eagerly, in proportion that it finds the cxhibition each time more varied. stance, practice confirms theory. Rut the impression must not be gained that these exhibitions arc very costly. Such is not the case. harmonious assured. What difference exists between such expositions and the sections devoted to decorative art in the salons of both .the So&L Nationale Fraya&! and the So&t6 de8 Artistes In these we witness a sorry conBronze vase
Gaillard
In this in-
Rather, with simple means and are most successfully
and great artistic instinct, charming effects
stand side by side ; no effort being made to present them adequately: that is, to establish and to accentuate their artistic values. This signal failure, it is evident, is not due 435
fusion in which the most dissimilar works
THE
CRAFTSMAN
inations Certain to produce are idle. Action seek It is alone will be useful. of our artists rationally.
to be hoped that their example will be fruitful. pily, serve. But, unhaphere but to obwe shall have
few of these examples
to
the
want from
of
artists.
It
results
once sense.
,MONG the decorative
arts, that of the recomplete
again
the absence of practical
It can not be urged and such salons attract sculptors to the who fear
that the unhappy competition. would But close If the
A
results.
jeweler vival
is the one whose recent has given its I_ the most new
result it caused by the action of the painters were the case, applied they
Each year ,I... ,~ ,,2
productions
arts.
having that themartists who of are high
admitted
them, is it not to their interest to the greatest to do? two, number of visitors Will three, not they or four
it is possible Each tion With honor tion. peated, difference year,
selves profit by the large attendance? should be appointed halls. Those sufficiently standing to decorate can be found manufacturers through the exhibi-
disinterested
to assume the task. for the each should
these artists to be gained And against year,
would associate themselves this background, to be exhibited What
such connecnever rea striking
successive
in combinations grouped.
the objects
be artistically
would be shown between an exhiand our present bazaars ! an assured of these a better aesthetic presentation effort-are if any expense,
bition so organized A minimum, artistic exhibits, things interest, a truly
such as to deter artists from action? Recrim-
At the present time, it is of first importance to interest and attract the public.
436
Pendant FeuillPtre
APPLIED
afford Salons. great pleasure to visitors at the Over all these exhibitors, his incontestable M. Laby
ARTS
whose the beauty. greens. There large Other grasping the piece is another clasp formed each of tFo and insects stones confronting of a milky which other head forms the principal which is one
motif
of
of of
composition Beautiful
great
lique maintains the elegance a successful nine toilet. collars, broidery,
superiority. as well as by or rather emand is or-
also is the substance
This year, as always, he is distinguished of his collection, application
the stone with its violet tones and lustrous
of his art to femiwork resembling
He shows necklaces, which
in goldsmiths
a red stone in their sinewy claws. rose tint harmonizes add to finely a bloom
are at once charming One of these collars forming these designed a
novel in effect. ing vigor. spread gree, each other,
nnmented with two heads of cocks confrontclasp, and modeled with great From feathers broadly The rich The of heads filiand of the distincin silver
with the silver of the insect.s.
Still another
constituting collarette. whole tion, is of novel,
the body extreme
effect of the and, withal, composition the happy the are but are which which
restrained. medium works never of adequately unobtrusive Another peacock
is an example
characterizing Lalique, ornamented, without collarette The
overloaded,
poverty. shows a princiof

Combs
motif.
ple employed aigrettes
in the clasp
in
horn and jewels
De Waroquier
the first necklace which might feathers position style. Following clasp showing
is here repeated.
Silver
clasp
is formed a topaz,
by
a large
yellow
stone,
crown the heads of the two birds be censured as liable to wound The comin an open-work
probably
from which extend stems plant. are of gold, The white discs mother-of-pearl, which is enammay be
of the money-wort of the papal surrounded distinguished, slightly The Lalique charming of a dark coin
the neck by their hardness and weight. are treated lighter
by yellow although
than that of the first neck-
eled brown in spots. criticised
The effect is fine and the piece contains
lace, which, as a whole, has more accent and the necklaces in combat there is a fine a design
for its stiffness. also two three In one of these a pearl is associated with
collection
ornamented knights
with cut gems:
pendants. shade
with a dragon,
THE
insects, gold. the bodies of which with graceful design. claws mother-of-pearl, ular, is light, A pearl ond pendant sitely of
CRAFTSMAS
worthy astonish of the great artist who continues us by the constant renewal if powers. to the
are of carrcd enameled reg-
The composition, also forms
while perfectly the focus From
resources of his admirable
and full of harmony. of the secesquiof the gem as a bearing and delicate flowers
center five branches enamclcd mother-of-pearl.
extend, The
foliage
LUCIES also
l
GAILLARD it is one which
makes eshibit, alis much and conweak-
an interesting
though
harmony
less cohesive and unified. His cabinet his Hc jewels and are ceived ornaments happily finely
executed.
shows but a single
ness, vihich lies in his concessions to the taste of a certain portion example, of the public. For certain posiinhe ornaments
of his pieces with small clusters of diamonds tively terest Touches as they hold happy tator.
Xtllollg 31.
which
detract of the
from
the
composition. side with un-
like tllcsc, occurring do side by which arc often the specSIICa fine from of
strokes,
as well, somewhat surprise
pleasantly
GaillardS
ccsscs may bc mentioned series of combs wrought horn, cnhinet of gray and green is enchanting, enamel. further two fine and is treated. heightened gold by the clear yellow notes of the left without exhibit contains and formed from ornamented less happy position fourth, end is two and another ornaments carnations. of
series
admirably comb is Another, is comA arc
One simple and beautiful with flowers in *&sign and
at points
the freesia,
The Lalique in tify both
; while a third,
in apple csecution. blossoms, in
low combs of ivory and mother-of-pearl, composition also, two enameled (Jonsidcrcd
438
posed of thistles
and hces, is good
in com-
color-harmony
faultless showing clever.
bonhonni&es
which j us-
ornamented
with chrysanthemums, Others, which
the same judgment. as a whole, the collection
a fifth
a 150 extremely
Al?PLIED
violet, motifs I prefer lilv-of-the-\,Rllcv
RlT
ARTS
last is a bCillItifu1 tion. Other hibits happy hoppers. tation, smooth, than thcsc jewelii, uses, superb ;\I. Gaillard in milterial csand screral and distinctive composi-
and
forget-me-not with small criticised. surrounding in composition horn, mndc
trcxtetl
in connection I have dreidy
knots of diamonds, to comment It is composed a sapphire. and exquisitely very thin, kut The
upon one whose design
of two dragon-flies is curiocs wrought. The
in composition, Another
such as the one here with grassornamenfiner. It from color with
illustril.tetl,
which is ornanientcd vase, without still
is successfully
used in the wings. to he worn ? and with
is in my ajudgment, satin-like effects,
is the jewel same question
one proper
is characterized
by an admir:~ble
may he asked,
passing
Pewter goblets
Brateau regarding with arc a dintlem-comb, two cahinct in metal dragon-flies, ornaments, adornment. shown two by belt warm sepia to lake-reds and in spots of to
it
stronger also since
reason, pieces the
ornamented both
hurnt-orange reding-glilSS, insect The and lacking eshihit
tones. may tw mentioned

in which
X final esamplc
rilt.her thnn objects Among JI. fort, the X Gailld buckles, must
of personal he mentioned in treatment thim of
the nntcnnne of an effect. extensive is Gaillard, very
objects
arc cn~ployed wtih singular of JI. in some respects
Japanese
rind, there-
interesting, very successful,
less charming other with more
if more originfd. with fir-cones ; the arrow-head. of This Stone. is composed
in unity,
and certain although
pieces includ-
One of these third,
is ormuuented flowers important,
ed in the display,
can only C:UISCregret pose.
to the critic who seeks pur439
in artistic work a cle>Lr, firm individual
two serpents
biting
>L yellow
THE
CRAFTSMAN
the
N the Salon of the National jewelers art most important de Monvcl. progress. exhibit
Society
is less prominent being
; the
that of in
JI. Boutet making
This artist is surely
Hc is more successful
his starch for form and line, and his jewels are less barbarous M. de Monvel well as toward lichens though in effect than formerly. harmony direct of line that as for alhis efforts, His design But it is still toward should
simplicity.
a necklace composed is ingenious
of motifs
derived from
and even pleasing,
it is too complicated. to the Society of French artCopper vase RI. Bonrsllet
Returning
ists, I must mention composed, harmonious
in passing,
M. Waro-
quier, who shows a series of horn combs well in line and color.
FeuillCtre, a comb two A
this y ear, makes a specialWe find among horn are comb, and enamel belching decorated his in of
ty of jewels in enamel.
exhibits which smoke. serpents second
forth with
chrysanthemums, a pendant green and being To Salons enamel Not craft formed
is perhaps of gem; effect
a trifle heavy. head in a
Rut the best example engraved the whole by
of his work is seen in a female the of hair the absence gone who out changing
into butterfly
wings
of firm, rich coloring, composition from the of and successful. year, the masters exercise
most agreeable judge of the present seem to have enamelers at leisure
their
on strike. their we
so the
moments.
So that, if
regret the absence of Grandhomme, and of Tourrette, beautiful art of enameling
of Hirtz
we also regret to see the delivered up into and profane. or
the hands of the vulgar
The near relative of enamel-painted stained glass-shows, this year,
little that
APPLIED
is truly fine. But praise must be given to a window by M. Socard, park colors. appears There treated are Boutet , metals, as preThis series after the cartoons in low by
ARTS
The waves, the fir-cone well and seriously copper pieces, and the woman are The open-work with colored treated. incrusted
of M. Charles Gukrin, in which a charming with restraint also two windows
M. Bernard
de Monvel,
which, exepleas-
cut.cd in soft tones, are, furthermore, ing in esecution.
The Salons are richer in wrought and the public viously, welcomes this year, Bonvallet. the vases of M. Among
artist now exhibits of thcsc objects. simple swelling ful. curves
a fine, interesting
them a vase with with eucalyptus effect. The and from with with latter, of Mlle. Hoffmann exhibits metal work and and Mlle. treated by the repoussk process. certain example, robust of her pieces are charming a small silver teapot, together serving in form, The techcements, have less merit; seeming too ins&nificant. the materials used with fir-cones adapted treated
is decorated
flowers silvered with exquisite vase ornamented with a needles, here illustrated, Another the teasel is very elegant in conception iheat-ears, portant an oak upright than
is also very succcss-
motif
in form and happy The most imwhich
; while a fourth,
is less pleasing. and a serpent, But
of the series is a vase decorated
motif
and ready for attack,
shocks rather and rich.
attracts.
the ornamentation beautiful
nical skill of this lady is incontestable, simple
the piece is nevertheless M. Scheidecker jects in open-work the Sign of Hope,
; as, for
shows a new series of obcopper. A plaque, At is good and interesting.
with several covvegetables.
ered dishes for Hoffmann
exhibits,
beside, a series of vases
L.:rhallr 441
iron,
reveals is
excellent
ability al-
in composition. departure though criticised quirements which He exhibits, certain of
His point of well-taken, details may be in the remetal in a is executed. the
as failing
the work
furthermore, interesting of these, good,
series of electric lamps, among which iron, with supple her craft, ornament, rank among JI. Bateau two pewter A Dance composit.ions decorated a bronze forms and warm-toned stains. of an umbelliferous She shows herself to be in full possession in order to attain are certain One ornamentally flower, is very examples. in in
treating
spite of the base, in which the plant appears in a too complicated Other forms growths.
and she has now but to refine her the highest her competitors. this year present.s four erases : gobelets, The both Seasons, charming and as
and too realistic show purely of
state. linear
similar with
pieces no
suggestions
natural
In paper work. AI.
u-all-hangings Cauvp which exhibits
and fabrics, examples three
the of
of Cherubs, with
Salons ofYer certain wall-friezes, and highly
creditable
; a Vase in copper a dandelion motif;
repaid,
finally, is used skill
nursery amusing
are ingenious,
vase in which the fir-cone the versatile
decorative.
In two of the three that the flowers and are deof the comslight
as the theme of ornament. these pieces of the artist appears
In each one of and delicate advantage.
designs, it is to be regretted of the foreground position;
arc drily treated aside this
to cscellent
not unified with the remainder but sclting jects fect, the friezes arc good,
Al. Ma,jorelle, in his balustrade of wrought-
while their subThe same praise
ar, well chosen and well
developed.
may also be given to a similar work by AI. Lahalle. In book bindings, ment sent an important characterized ty of coloring. the Native Sky, MM. Cl& presubtlethem of collection,
MPre et Waldraff by great Among
may be noted The
Mirror
by Roden-
APPI,IED
bnch, which appez~rs in dclicnte grey calfskin, with three on water the u-hole example5 are spestrewn with white swans floating of :I darker gray, effect among color, being a few yellow 1ea\q monious. Other
ARTS
subtile and har-
these book-covers concentrating at
flecked with simple touches of cial points, and thus forming n decoration as singular as it is uncspcctcd. Rut ncccssilrp one might indcfinit,ely estend the TCt limits of this special criticism. It is now Sationd works
v:rluc!,
Society, of it relative,
until now has been able rather than at~solute ap and
to exclude;
for while it has admitted nlttnv has rejected

But
to sum up And to gencrirlize.
thohc
which
first, allusion must be made to two htrqqe, unauthorized exhibits of a nature which the
proachcd
ihilOlWld.
the limits of the ridiculous this year,frccing
itself from
ii ..-~..1-_____2
_--
,_-.-_I_
Hook
k)inding
Mlrr
et Wdtlraff
443
APPLIED
Frenchmen sensitive production superiority, properly For ing who, it would seem, are not fully situation. logical Long point nations began to study such study results their to the existing
ARTS
design. pcrf ume. Silence But beyond these qualities they of possess a charm like the aroma of a subtile The one entitled The is plainly a corner that community Reign of the B&&zof women
since, certain foreign of view, and from speaking. the present, neighbors the influence
from a reasonable,
age at Bruges,
much more than from their art, France and of must anxiety valiantly regardWe reart
set within a larger ce and prayer. a picture reminiscent, sense. densed city, North of
city of almost death-like to work, self-sacrino less pictorial the old of the to word in the and is quite as strongly limits is conof to extreme perfectly
silence, and consecrated B ruges, although
The second design, in a purely melancholy season,
exert effort, without feeling her Frenchmen sisting which, must continue countries,
competitors. to be French, that modern although
Within pervaded, by Sea. It
its miniature at that the gray Mirror
the autumn
in other
easily in
responsive possessing our own
to racial genius, aesthetic
is yet far from required that is to
heaviness
atmosphere of the Native of
the essential qualities expressions: and elegance.
corresponds
the title : The of comment.
Skies.
say, harmony
One other design plaster by Mlle.
deserves a passing Williams.
But in one or two instances designs which * curved lines. It has a firm, sculpturesque would seem clear and simple to one familiar quality which ingtantly commands attcnwith certain and B,elgium, significance Such, covers for distinctive from instance, localities of France their bookexaminer. has praised . tion. artists Brittany of that region But still further, and it suggests the with hide, in great measure, acquaintance remote, sympathy
It is that
the frieze It pleases
T is scarcely necessary to add to the very full notes and comments of M. Verneuil.
eye by its harmonious
union of straight
the untraveled critic
and all that is implied by the name picturesque and romantic I. s. of old France which is still subject
are the exquisite of color
which the French
for their harmony
and decorative
to the reign of the primitive.
THE
THE THE SOME FRASCISCAK SOCTHWEST, AR(HITECTURAL WHARTON broader JIISSIOXS KUMBER JAMES
CRAFTSMAN
OF VII. consequent interested knowledge girt of similar upon their use. to allow one Purely without upon as a laytechnical which man, addressing himself to those sufficiently details
DETAILS.
BY GEORGE
to comment
T
holdncss,
marked individuality structures,
to these gcncrally a series
HE
knowledge Mission
WC gain
I shall present
the Franciscan their architects originality us.
structures, Their at once
of photographs
which I have made within survey, one cannot fail in facades, arches, pcdietc., Some is diridmost (bell-towers), window architecture. Opinion which pleasing correct columns,
the greater becomes our respect for and builders. and diversity
the past few months. Even in a cursory to observe buttresses, presented ments, campanarios door by and the diffcrcnces
please and instruct forms of the Mission cuss technically
It is not my puror to dis-
pose, in this article, to analyze all the varied architecture, the succcsscs or the failnres
Mission
of these we shall now consider. FnGndes. cd AS to striking, tccturally sion man, 322) is the
and archiof the Misthat page the (see Crafts1904, were
fapdcs. .January, of
Perhaps
of Santa Rarbara
would receive the largest votes, to bc dccidcd Those styles, the two whose would San by such tastes choose Carlos
nurnbcr question a test. Spanish bctmcen buildings famous
incline toward the more ornate
at Monterey and historic
: that
one of
of the town, and the yet more Carmelo Vallc_y, both of which are pictured for 330 January, and of 332. design leads in the Craftsman 1903, It pages will be
easily conccdcd ateness erey Rut facade
that in elaborthe Montall others. is not alqual-
claboratcness
ways the most pleasing
ity, nor yet is it always united
FRASCISCAS
with tral gable, perfection. star window, The with simple dignity of plain sweep the Carmelo broken faqade, the doorway, the cen-
3IISSIOs~
space between the two highest wvdl is pierced by a rectangular being occur, thus afforded for columns, void; the
room
In
the severely
a small bell.
only by the impressive which is worthy of study.
the two next outer spaces, similar piercings the tops of which arc arched, bells. Each carriage to which and in bell has an these hang two larger a wooden with rawhide ability thongs,
of the semi-circular combination That of for January, San Luis 1904,
arch, make a pleasing Rey of (see Craftsman is, perhaps, all. It con-
it is fastened giving and dur-
page 3!24), them
the latter
the most distinctive tains all those features AS typically and stepped tower, crown. The fac;ade of Mission: pediment,
excellent example
of the toughness
which arc recognized such as the curved the lantern crowning pierced bcllcorners and lantern de Asis in Fig-
of this material.
the same, and the two-storied, with chamfered San
Francisco
(Dolores),
which is here presented
ure I., differs widely from any of the others. It has two stories, resting upon a solid, pro,ject,ing which double foundation, The the lower front story of conis cemented. columns, right-angled a half-round upon
sists of four the doorway, by simple crowned with
two on either side of stone plinth doorposts, ThC and a narlxing com-
the arch of which is supported cornice.
base consists of a double row fillet or cushion, shaft divided a b acus. rests. posed of two enlarged
which the plain
Its cap is simple,
sections of the shaft, with a plain now stretches the of the fa+c: yet retired somcare six cw ones bei_ng from The Diego 1904, central although northern &liaining faqade page 41), ycstiges arc similar of the for San April, (see 324 ),
by a fillet, and topped
A double membered cornice across thus the whole building the upper portion forming a kind of base for Resting gaged
and becomes
(SW (draftsman
in style to the page
rude cntablaturc.
part of that of San Luis Key for January, 1904, it is less elaborate is peculiar and than
upon t,his cornice, columns; higher,
(raftsman
what behind
the lower colmnns, the two outer
its near
and later built neighbor. in construction, stairway into tl:e

447
but three or four feet high, somewhat six to eight feet in height.
the second pair In the central
San Gabrifl with
and the inner pair
as it has no fayade; its buttresses
the side of the church,
THE
choir gallery tached page turc detail forming the main front. for January, to this, at the left, 323), would without
CRAFTSMAN
At1904, Of a in (see attached dignity to the and church wall, to the which gives at character facades
stands the cam-
prcnnrio (see Craftsman
San Gabriel page page 46), 207),
and Santa In&. San Juan Bautista make no pretense facades. is at the church posing buttress facade of The end building. (Figure II),
which the entire struc-
San Luis Obispo (see Craftsman for April, and San Miguel (set Craftsman chief of for May, entrance the main Somewhat and made im-
be dull and ineffective. facade of Santa In&
similar character, is the
and yet quite different
to imposing
more elaborate, at the right, at
with its massive tower and large hipped the III). left, is the San Buenavcntura Here, too, door-
(See Figure
the arched and corniced and the triangular
way, with the simple pilasters, entablature pierced by a square window aperture niche for monotony previously San glance May, show, tresses; angular projecting Craftsman .for January, 1094. page 326). Here the end of the church, tion of the campanario, bells, is a solitary an examination 3%
448
and a bracketed break the the three structures. as 203, it will a for will be in
a statue, felt named
Santa Cruz much resembled Buenaventura, at the Craftsman 1904, page although that there entablature along
noted that there are two butis no tri-
; and that
instead the of right at one
the tower recedes, wall as at San Bucnaventura. San Rafael for May, windows, 1904,
with the addicontaining the
had a side entrance building 408), page
serves as the facade ;
end of t.he church
(set Craftsman with twin star perhaps, in im-
since the wall at the right
wall, as can be seen from of the engraving on page case in each
one above the other. and unique, is San Antonio de Padua,
Most interesting this respect,
It is the ca~mpanario,
FRANCISCAN
MISSIONS cornice stretches unbrokenly across from
the bases of the two, side bell towers, followed by a third, which extends from the bases of the arches of the side towers, forming a base for the central bell piercing. cornlce above this by simple cornices. There is still a fourth are likewise divided $2. Pediments.
upper bell wch, and all the three bell spaces The result is a most pleasing whole. At first one might believe that little or no diversity could occur in, the Mission pediments, yet important variations may be observed. If we take that of San Luis Rey as the typical curved and stepped pediment, we shall find that it stands absolutely alone. Let us analyze it! Beginning at the lantern, we find that this detail rests upon a flat top, making a sharp downward curve to the perpendicular and restFigure IV. Tiled pyramidal roof of bell-tower at San Carlos,Monterey
ing. on a narrow horizontal platform ; then,
perfectly shown in the Craftsman for April, page 4% Here the facade is built some ten or twelve feet in advance of the front end of the church. Then, the intervening space is arched over to form a closed entrance. This facade is of burnt brick, although the church is of adobe, and, while the latter is in sad ruins, the former is almost as perfect as when built. At the bottom are three arched entrances : all being semi-circular, and the largest in the center. The pediment is of the Mission order, and will be later described. Above the entrances are three piercinga for bells; the lateral ones contained in tower-like extensions, which were formerly surmounted by crosses. The monotony of the plain brick work is cornices,
Figure V. Campanario. Pala Mission
destroyed by a series of dividing
one of which reaches across from the bases of the entrance arches. The next higber
Figure 450
VI.
Mortuary
chapel at San Luis Reg.
Copyright by G
P. Tbrcrhsr
Figure
VII.
Ruined
entranceIto
garden at San Luis
Rey
Copyright by Gmrge Ublrrton Jomrr
451
THE
CRAFTSMAN
panario.
vex down curves; from Here we find a succession three in the series the central of conthe for The a douNext is dropping The pedi-
arch on which (see Craftsman different. follows of
cross rests, make the pediment. ment of April, eight being ing San Antonio 42) page is again Then
bricks of the crown arc stepped, there being or nine layers. cornice, molded on a flat then, ble brick a concave the edges the brick step, restby two that of length.
to the half platform,
round. followed
curve, a perpendicular curves of unequal pediments diversity.
more concave Here, six Mission almost Missions
we have the proof The
no two are alike. bell-towers There the quaint and Santa distinct show bellare eleven one at the In& have
3. Ca~mpan4wios. equal
which had (or have) The points indicated, Obispo
towers, not including

Cn~,rrght b, G. P. Thrcrhcr
Pnla As&en&.
between been already San pierced church Luis above for
of similarity
San Gabriel
concave and convex curve reaches another platform, followed by a final and convex curve to the supporting this with the five other exThat of San Gabriel has It is the pediment for JanThat of a long, 323-327). shows
and the uniqueness has been discussed. formerly had three in the 46; but up
horizontal concave cornice.
of that of San Antonio apertures
in the main wall of the shown page 1904,
Now compare already uary, San nation scarcely
the doorway, April,
isting pediments ! of the campanario 1904, Carlos pages at
Craftsman esting
been described.
when the restoration feature the apertures monious,
took place,
this interinhar-
(see Craftsman
Monterey curve, a
was abolished by blocking and building an ugly, wooden tower. characterizing Francisco). has a unique with
detached
The same San Luis,
sweeping, connecting
convex with
with a flat terrniarch. It can
style of aperture at. Dolores San Juan (San
at the bottom, be placed
and scrolls at the top slight
it will be remembered, Capistrano
is that which obtains camfour for the
in the same class. of San Diego (see Craftsis in ruined (conof that page curve; Craftsman 41)
The pediment man for April, condition, cave Santa and Inks
panario,
ing May, apertures,
since it is composed as shown in The page being 200. proper,
of a wall joinCraftsman
1904,
two buildings, 1904,
and pierced
showing convex) (see
merely the double while for
January,
Of bell-towers best known
there are six: Santa
1904,page 326)
is a pediment
to the cam-
those of
Barbara
FRANCISCAR
and San Luis Rey. Between article. that these two
MISSIORS
there are only slight differences, indicated tower III.) of in the January San Bucnaventura except of
which were The bell(see Figure it shows Cruz has to
is very similar The tower
no chamf,ers, and that the corner finials are different. disappeared, Entirely from Missins Santa but it belonged dissimilar, and practically also
the same class. different in the dome, in each other, are the towers of the two at Monterey. The Mission with the egg-shaped at Monterey
Carmelo Valley, and the Mission amidal picture The unique, t.he January
with the pyrthe new the charm V.) is

Figure X. Entranrr to chapel Curlon, Carmrlo Valley.
Copyright
red tiled roof, Craftsman, IV.) (Figure Pala
are well pictured although accentuates
of the latter structure.
campam_zrio (Figure
in California,
not only
but in the
of Sacred
by George
Heart, San
Jama
Wharton
world. alone.
Built upon a pyramidal pedimental structure high, It is two stories
base, it is standing each story There It
a peculiar
being pierced
with a bell aperture.
are two pediment was undoubtedly that fashioned 4. Columns. often condemned in recent in every Mission
curves, and three cornices of its face. Rcy. observers that have they the pubthat built by the same hands
which break the monotony San Luis
Superficial
the use of certain columns contending columns. of But here, as A care-
buildings, other branch builders
were not Mission
architecture, already
en*joyed variety.
ful survey of the illustrations kind of column. its rigidly

Jams
lished in this series will show more than one It will be observed sense. in imitation of the
463
I shall use the word in its broad,

Figure IX. Side entrance. San Hnenaventura.
C09yridu by George Whowm
and not in
technical
Of engaged
columns
THE
classical found: style, at Santa two 1904, marked examples Barbara VI).
CRAFTSMAN
are This is most Oct.agonal church; the figure, mortuary beautiful in form, the doorway chapel even at San Luis in Rey its desolation. one side of side.
(see Craftsman In this illus-
for January, Luis Rcy tration
page 3RR), and at San
it was entered from the occupying
(see Figure
it will be observed that the entabla-
and the altar the opposite
Figure
XL
Arch
of main
entrance.
San
I)iecro.
Cwjrirhr
by Geormr Wharton
Jamrr
ture of the reredos of the mortuary has four itals, engaged columns at Santa with Ionic Barbara, like those
chapel capwhich
At each angle of brick, ed. The
is an engaged
column
built,
the front rear part
of which only is roundis rectangular and fits
have been already. described. &!A
into the ordinary
brick of the wall, allowing
FRANCISCAN
the rounded seen from capped of brick column, Figure surface to project. these from AS will be columns cornice, column arches are also to which the picture, and, there VII. springing
JIISSIOSS
quicklv Hcrc ratio. than those which are in cherished. increasing of the piers is rapidly crumble destruction The exposed proceeds
with a three-men~bercd is a series of
brickwork
of the colonnade eroding, the decay, and fall. 5. Pilasters. illustrations
at San Antonio
and if nothing the masonry T:nder must
be done to arrest will soon
serve to ornament the San Luis yet lost Columns, engaged, faTadc de (Figure The Missions pictured January, Figure number, and I., colonnades of Asis all Itey
the sides of the octagon. garden, columns in which there which have not
shows the ruined entrance to
this head two new Figure YIII.
occur two engaged their charm and beauty.
s&ice.
original and dison the
engaged arc seen
the San Francisco (Dolores) I.). Mission for the
square of
piers nearly
all the to those for 322, These Santa as
are similar 1904, page
in the Craftsman page 44. At
and in the April
square piers are built of brick plastered. and Barbara, corners, they have chamfered occasionally, de of the patio Padua, but were Conwith brick, sorne of tooth much of that more
Fianre XII. I)ist~ribut,ing arc-h of adobe, at San Anbnio de Padua Coppri& by Cmrgr Wharton Jomcr 455
in the colonnade
at
San
Antonio of burnt
they are built generally used. cepcibn, ing some adobe, The are chamfered of some of
adobe; bricks
At La Purisima the nineteen are them stone, gnawing pillars square, being and
remain-
and fluted corners ;
and all plastered.
time wears away objects neglected
THE
shows t.he side entrance Here column entrance Much molded worthy of it will of of San Luis above brick be seen that
CRAFTSMAN
Rey. San Ruenaventura, ter (except general This Mission plain a pcrfcctly plain pilasIX.) by the for the corn&s) method is used, and the
the supporting the side was t.hus a point and fluted brick.
the entablature the Missioners
effect is good.
(See Figure
is of chamfered
was employed etc.,
builders in many places, frames, is most interesting, Fathers
for arches, The effect as shonwith
at San Luis and elsewhere: of note.
door and window of this archway
As it is difficult to make order to obtain an
plaster adhere to adobe,in anchorage,
ing how the Mission
brought
the adobe walls,here and in other
thern and utilized memories of the old world.
Figure
XIII.
Squw(~
brirk
~loorw~y
at San
Juan
Capi\trmo.
Co$yrt&
6, C. C. Ywrrc
% C,,mpnny
Mission ges, placed. the foot they
buildings, These
were divided small pieces
into lozenwere and por-
The
arch
is Moorish-Gothic, is a modern
with
renasto recolto
into which
of brick
cence motifs m the entablature. as is evident, Figure the chapel place a lost, or stolen statue.
The cross,
lozenges
can be seen near in the picture exposed
intrusion,
of the stairway
are observable
in many
X. shows an ornate clustered It is the entrance Heart of of the Sacred
tions of the walls throughout of the Missions. At

456
the whole line church at
umn at San Carlos. Here is a distinct
cJesus.
the side entrance
to the
reminiscence
of the Arch
FRAXCISCAN
of the Two arch is renascence entablature. most found ornate Sisters in the Alhambra. with features It piece in the columns of architectural The and the the detail Moorish-Gothic, distinctive
hfISSIONS
principal lished, arch of the first Alission The austere estabis the main entrance XI). at San Diego simplicity the more it upon should the be It is struct-
(see Figure
is, without
question,
of this arch is most pleasing. ural and therefore is exarnincd observer. which observed. The The satisfying; it grows out, which the more
on the long line of the Missions. To treat the various Mission deserves would require in the than are contained
6. Arches.
simplicity to stand of bricks
of the device by it is built
arches as the subject many more pages
it is made
Figure
XIV.
Entrance
to chapel, San Joan
Capistrano.
Coppghr
by C. C. Ptrrrc t9 Caapnny
present variety, included
number although within
of
the
Magazine. all of them of simplicity,
The are is such
are brought vance or two, being forward beneath. of the
forward rnain
a few wall.
inches Then,
in adat the
nearly the limits
arch, the wall itself is recessed another inch and arch plain and recess and are crowned each row set with a five-rnernbered cornice ; the members flat brick, an inch or two beyond the row
far greater
than one might suppose. been considered, IX. in Figures
Some
of these have already as those presented
and X. case, the
Of prime interest, because it was probably the first arch built, and in any
THE
CRAFTSMAN
that this ?Ilission was the object of more This survey care and work than any of the others. fact is evident from the most cursory of the engraving man for and May, 1904. of Here hands; work
on page 201 of the Craftsis cut stoneall the piers that the best sandseveral cighta wide, the of Above
work done by master arches being of to-day craftsmen stone; pointed jambs
would be proud to own. projecting from either whicll
The doorway the
here shown is of gray
key-stone, design, extends
inches, being carved in a conventional floral deep fluting
side down
and shows vase-like carving. half-rounded
there is an entablature, which is a two-inch nating cornice
the main feature
fillet termiA heavy
in cross lines on each side. crowns the whole.
In a number of instances, window-arches Figure distributing XII. is interesting is of brick, arch. adobe bricks as showing a
both door and
are made square on one side
arch of adobe at San Antonio. as is also the with above a Between the two are
The arch proper first distributing laid horizontal second distributing bricks. In Figure XIII.
arch, the latter of adobe is seen the square, plain of the buildings Here, except for too, it is of the
arch in one of the doorways at San Juan Capistrano. the central decoration frame corridor At most found (Figure is simple. seats. interesting
of the lintel, the whole bases
In this picture,
to note the brick
the same Mission, ornate in the XIV). of the
and now used as is one of work the the doorways _ Southwest of suggest
the entrance
to the chapel, stone of Missions Indeed,
the stonework
the arches as a whole at San Juan,

4.58
FRANCISCAN
an d, owing as in Figure to the thickness XV., of the walls,
MISSIONS
to see workmen tearing of this chapel, building Here, <,Yub. Another and window XVIII., effect, which often found in the door in Figure entrance arches, is pictured the square and indeed, down the inside walls to roofing it into for the a barn.
they arc recessed and rounded to the church at San Antonio
on the other, de Padua. arch of (see
preparatory converting is work
which shows the doorway arches in front
a Landmarks
Here, the two semi-circular the inner side.
of the outer side, and the elliptical in stone at the Santa Margarita
Thr same effect is produced chapel
shows
Figure
XVII.
Main doorwuy.
Smta
Bhrearita
Ctltrpc*t
Figure
XVI.),
in which the arches of both beautiful Here, and structthe curve
on the church and the pointed recess curve played arches. on the
side at San Juan sacristy side.
Bautista, With this
doors and windows arc deeply recessed. But more striking, ural is another shown of the ellipse in Figure doorway XVII. at the same chapel, side is greater It made me sad
and curved effect within the there arc many somewhat leading similar changes to the
as a motif, An arch
upon it in 3lission
door and window
of the outer the inside.
than that of
one here presented above the doorway
is seen in the window into the gravc459
ahnost to tears, at the time of my last visit,
FRANCISCAN
MISSIONS
building, priestly cations What the lavish builder care and love of the are evident. By reason of such indipathetic. sons
the short lives of these buildings, of affection are intensely visions of centuries Church
of power and inthe strucinto ruin people. ever be
fluence must have cheered the faithful of Holy through bestowed comfort, eloquent IV. melo. since as they planned of Only tures destined so soon to crumble a ruthless
the neglect in vain?
But is love ever lost?
Can affection
in the assurance
that love is never really wasted, can we find as we stand in the presence of these ruins. fourth o? these especially San Carlos of favCarhis is that of The
ored buildings
Here Serras power and love are felt, this building While was the object the whole California his heart
adoration.
at San CRrlos Carmelo.
Copyright by George Whnrton Jams
field, in the wider sense, occupied
vealed itself in a building sider the king, structures. exquisite dedicated onstrate. its pristine quently builders. more of It quality love and almost indeed, also of feminine of
which many conall the Mission the builders in the chapel demin eloit.s tenderness
revealed
the octagonal
to the Third II. San
Order of St. Francis, Juan Capist.rano, speak of
as the stigimata
over the altar clearly surpassed, the ruins and devotion
grandeur, Even love the
perhaps,
all the others.
The stone work is more substanand the ornamentation pleasing than we find although has been the and Antonio
tial and structural, artistic
them in an? other building. TIT. San built de Padua, The and faqade of brick and adobe, was a structure throughout
reared by affection. already discussed,
THE
and energy, expended This was it his his
CRAFTSMA.X
that he clad hills lead up to the deep blue California sky. We may here picture a monk of the rneditation to a similar and land-
was
most
upon his
Carmelo special
immediate
affection. abiding arches, came
home,
olden
days,
sitting in thought
in
place ; therefore, columns Santa Barbara
tower, star-window, and favored Santa belong Ids
transported
and walls evidence his influence. to this same
scape in faraway became kills. saturated Little by
Spain. with little
We can imagine the nostalgia his reason that gave
him thus meditating
until his whole nature
later, and they rightly class of specially
builders.
Photonraph by C. C. P~errr tf Compnn~
But Antonio, window
to return there
to the details. are a number frame of being
At
San
way, martyr stake
and or
he died pierced
while by
alive,
as true
recessed square, One of plain
as if
he had
been burned a thousand alas!
at the arrows. of
arches ; the
while the arch within is elliptical. these occurs and affords beyond, a view of the wooded
Such a picture may seem a mere phantom the imagination, proofs the last century. Figure XXII. but, of truthfulness
in the wall of the monastery away as far as the eye
it had several
in the early days of
stretching
can reach;
while, to the right,
the live-oak-
shows the use at San Juan
FRANCISCAN
Capistrano fering corridor. singularity, of two elliptical It is not easy to arches of difthis in axes placed side by side, in the front explain unless by assuming that as the
XISSIONS
any other of the Mission corridors. There XXIII. are will simple
labor
Thirty-eight none remaining Another reveal chimney in placing ing feature abandoned the
arches still remain on three at San Juan. at Figure on the western side. although A few hours too
sides of the pntio glance
wider elliptical so constructed, was taste needed, alone or variation
arch is the later one, it was either because a wider space the builder regarded the one. such Individual a question. is rcThe arch
picturesque,
at San Juan. out of
as a pleasing could decide Figure
the brick tiles produced a necessity to extreme ugliness.
a pleasoften It is sug-
Two other arches at San Juan Capistrano demand markable attention. XXIII. in that six arches are superposed in the perspective. is an elliptical follows Next
one upon another in the corridor. doorway. leading dor-arch,
one in the foreground
the arch in
the wall of the pteroma,* is a semi-circular arch
R square bricked
over the doorway corrian d
On the other side of the building into the patio. behind which, Across on the other elliptical diwly to be seen,
side of the court is another are another elliptical
arched-doorway
a square arched gateway. The quadrangle nally esque surrounded semi-circular angle, at San Juan by corridors and corner,
was origi-
with picturarches. arch was effect (see

Fiwre
elliptical
At the northeast made a right introduced Figure ly XXIV).
where the pteroma
an auxiliary
with most picturesque as a support to
Such an arch is strongthe corThe the arch into lines of arches, and the pteroma.
structural,
SSIII. (apihtrano.
hiu
:IWIIW
in r)erslj(vtirv at San .IU~UI

Co~,nghr by Gmrpr Wharton lrrmrr
ners of the two meeting also to the roof covering corner resting the resting the wall. pier place upon
gestive ings.
in its possibilities
for modern buildand in Figure of the corridor The corners obliquely
of the series thus becomes spandrel of the auxiliary briangularly
In the same illustration XXIV. arches mentation of the cornice presented.
of the bases of three arches, a pier built
the simple device used for the ornais clearly
other
I do not know of a similar arch
of thin flat brick
tiles are placed
*Pteroma: The side or flank, hence, in modern usage, the space covered by the roof of a portico, and therefore including the cnlumns and intercolumniations, although in general usage it applies only to the passage between the columns and the wall behind.-Russell Sturgis.
463
THE
CRAFTSJIAN
severely from the dhocks of earthquakes in the early part of the last century, for these tremendous ent. They as a precaution Many chosen They Mission I more the motive
on the top of the wall, then a heavier brick is set over these, square with the wall beneath. Before refer found They graph, allotted concluding this article, I must buttresses buildings. III. my on their to phototo the heavy in nearly arc but and massive
masses becomes apparfuture might disaster. be presented but the ones important. the were domior although
were tnade extra large and heavy against details
a11 the Mission enought already all
Two of these are clearly seen in Figure interesting I have them, But Bautista Juan Nearly when and exceeded observers, of
with both interest regard at least
and profit, as the that style,
most
space.
suggest
first seeing massiveness. that San San Juan
ask the reason La others
architects
and builders
it is remembered Purisima, suffered
nated by one common copyists of one another.
they were, by of originals,
Capistrano,
no means, servile imitators
464
A JAPANESE
A JAPANESE COLLECTION IN AMERICA. MAYNARD BY DANIEL HOWLAND
COLLECTION
selves, and in the charm of its setting, this collection tant is absolutely feature,-that unsurpassed of in America to-day, and in, at least one imporspecial cloisonmt
W
Springfield,
HILE
everybody
is asking
enamel-it
outranks the combined collecMuseum in New
questions about Japan, probably few realize that a most varied and interesting collec-
tions of the Metropolitan
York, and the Boston Museum of Fine Arts. The George Walter Vincent Smith Collection-for Art such is its name-occupies it is not a beauty and nearly all the upper floor of the Springfield Museum, and, although Japanese collection wholly, this department is of the most extraordinary value. forms of art expression, Those who are interested in other will find here
tion of the art works of that country is to be found in the art museum of the city of Massachusetts. Those who believe that the great cities contain all the really excellent public and private collections, will be surprised to learn that in the beauty and diversity of the exhibits them-
A JAPANESE
COLLECTION
The lection and enamel.
George contains
Walter of
Vincent beautiful
Smith
Col-
would koro most pearl, artist
escape
notice. of
One such is a tiny an elephant; enamel, at by this is in mother-ofthe great 1740. about
in all about
one hundred cloisonnk
in the form charmingly lacquer, Ritsuo of
thirty
pieces
decorated and Japan,
There are two large cases in room of museum), arranged and one case of in various and beautiful. to the in of a this
A (see plan separate attractive large, but
smaller size in room H, with a dozen or more specimens settings. all are None are exceptionally exceedingly and valuable
This exquisite much larger
little koro rests on a wooden Another eighteenth of the upper koro, in the same case, is of of the
stand of more than treble its size. Chinese surface workmanship
One feature
interesting
century ; the top and a portion which are wrought In the second pitcher century with writhing case,
student, particularly, metal method stages of surface base, of in which enameling
is the arrangement the process is shown from of
of the cover are of metal work, in dragons. water shape eighteenth piece in this an enameled support, largest is of unusual
the first case of several small squares
in various
tripod The
of completion,
the attachment
Chinese work,
the fine metal Among
cloisons to the polished

it
and decoration. with a beautiful Several subjects, which There
of the finished ware. so many pieces, all so excellent, difficult any of to select for special ones. detailed Several, A careful the first case they a number
case stands near the center, and is decorated landscape design with deer ; century. mythological on on Foo a green are his
467
is somewhat description however, a hasty study of
it is Chinese of the early nineteenth pieces the represent dog Foo trays and among shows
are surely deserving glance admiration, of the specimens interesting
of more than
these is a water heater
ground ; the mark is Siouen-te ; date 1426. are two fruit of which with representations the dog
reveals many
pieces,
of which are so small that ordinarily
THE
string of eternity ; they are Japanese, 1700, after the Chinese interesting this belongs style, peculiarly burner; period. One of Japanese Kobayashi, Japan. and intricate to the famous
CRAFTSMAN
about design. Ming little doves, the delicate coloring his place to know Namikawa of that of
drawing Tokyo, and harmonious distinguished is another of Kyoto by of which are marvellous. residence, Namikawa famous is not the
and are of
Also, of an early period, is a Chinese incense There are, beside, a charming the most pleasing is two a of
maker of cloisonnt. only the most famous, active part
It may be of interest but is probably
koro, a vase and a teapot of the same school. the modern koro of by the artist of specimens There are silver examples
only one of these noted men, who takes an in the production He clings of these art treasures. customs to the time-honored when the most beau-
a noted contemporary
of the period
Jspmese work, bhwving Chinrseinflwnce nnrl dating from tthut 1700:ecntd piece c%ception&lly valuable
work Japan. of Namikawa worker in of Kyoto, the most to-day in tiful pieces were produced. of On the other considered workmen, He has expert himself. talented cloisonnL hand, his namesake is generally more as an employer than as a great introduced surface, artist
One is a lovely
little locket a few beautiful side of of two

The
inches in diameter, design ; the other tray which upper

*See Ponting. 468
with a chrysanthemum an exquisitely in cloisonnk, a painting the under
some innovations,
such as a ware While some
of
pearly surface
enamel, shows
in which the cloisons
do not show upon the beautiful, and, as
is decorated
while the
as in the older pieces.
of these are undeniably
Worlds Work for February, 1903;
Work of a Japanese Craftsman. by Herbert G.
A JAPANESE
a novelty, are likely to prove very salable, the real art lover will almost certainly prefer the other product. The champlevk method of enameling is well illustrated by a tiny koro, the design on the cover of which represents the crest of the Daimio of Arima. ably attractive piece of century. There is a specimen of cloisonnk from Cashmere, which resembles the champlevk piece in execution. ety, from beautiful Examples of this varithe Barbedienne foundry are interesting, as --. It is a remarkthe eighteenth
COLLECTION
formed by an incrustation of vitreous pastes upon a metal ground accepted as signifying or base ; but in the those in which the a species of nomenclature of art, incrusted enamels are vitreous colored pastes form
mosaic work, divided by strips of metal, which are either formed by hollowing out, or cutting away, the greater portion of the ground, or are applied in the shape of thin and narrow ribbons of metal, set on edge. Those works which are formed by hollowing out the ground are appropriately designated by French antiquaries ch.amplevd: while those fabricated -_--with the metal rib.: .-1
and particularly
CloinownP ennmels: at left. Cbinrse incense burner cloisonne decoration; at right, modern .Japanese
of Rfinp period hTwo in silver.
(1426 A. I).): in crntw, executed by Kobtayashi
tnodern
silver
piece
with
they afford an opportunity
for comparison enamel,
bons are, in like manner, called cloisowze, or b cloisons mobiles, that is, with movable partitions. In Japanese Enamels, Mr. James I.. Bowes says : The most precious and fascinating of all the art works of Japan are unquestionably those known to Western nations as cloisowd enamels. The Japanese themselves designate them as Shippo ware, meaning thereby that they represent
of the workmanship of Eastern and Western races, in pieces of this beautiful former. The best authorities agree that enamels may be properly 2. divided into three classes: with results much to the advantage of the
1. The Incrusted.
The Translucent. all enamels may be 3. The Painted. Strictly speaking, * Umanwntal of
the seven precious things, -namely: silver, emerald, coral, agate, crystal
gold, and
designated incrusted, inasmuch as they are

Arts *Japan, by G. A. Audsley.
469
THE
tunity of studying
CkAFTSMAN
and Japan, concerned. The valuable historical works of the general library, and particularly the splendid art library, on the same floor with these collections, offer the resident of Springfield an unusual opportunity Before passing for studying, with actual specimens of his subject at hand, from room A, in which are exhibited, * the main cases of cloimnm in which Korea is so vitally
pearl ; and those who have had an opporthe choicest works of the Japanese artists, will acknowledge that this description does not appear overstrained or inappropriate.* quotes Mr. following R. Brudenell statement : Yn Mr. the Bowes the Carter for
Japanese patterns it
enamels the cloisons are of the most exquisite fineness and finish, producing of extraordinary elaboration and delicacy.
As a singular example of this delicacy,
one would surely notice the beautiful Jap-
may be memioned that leaves, not exceeding half the size of a barley-corn, invariably have their edges notched or serrated, and that many of the leaves, which are evidently intended to be seen in profile, when folded and closed like those of a sensitive plant, are thus notched on one side only. Professor Fenollosa believes that the Korean art forms an intermediate link between the Chinese and the Japanese. This is of peculiar interest at present, in view of the troubles in the Far East between Russia +In .Japaness Enamel8
470
anese swords and the guns of the Moors, Arabians and other nations. It is not too much to say that to one familiar with the most beautiful examples of this work, either through actual collections, or through the splendid Spitzer Collection reproductions, the display before him will seem remarkable in. quality. At least, it will not suffer by the comparison. One sword alone cost $l,R50. In the adjoining room B, are several claim attention, objects which particularly
A JAPANESE
The first of these stands near the center of the gallery. Eagle It is the beautiful by Suzuki bronze on Stump Chokichi. ren-
COILECTIOPi
finished by Ippu, work of base. gold who did the, tine inlaid Two splendid and silver.
peacocks, made of three metals, stand at the This beautiful treasure, which cost $5,000, is enclosed in a large bell of glass,
This is one of the most striking pieces in the room, and an exceedingly dering of the subject. faithful The stump is prob-
ably one hundred and fifty years old, and that has found its way out of Japan. it is claimed to be the only piece of the sort This graceful bird with outstretched wings seems to have just alighted on a huge tree trunk. .Every line is indicative of grace and strength, as he poises himself on his wings, with his talons buried in the wood. The cost of this charming work of art was $3,000. Another piece of Japanese workmanship is a large screen with figures in relief by Yukimune, the subject of which is: Japan Gazing on the World. Here, Japan is represented by an eagle of exceptionally delicate modeling, with beak and talons of Apparently resting on a burnished gold. rocky island, about which great waves dash, with an air of dignity and conscious pride in his strength, he looks out upon. the world which is shown as a globe revolving in space ; the continent of North America, also of gold, being prominently in view. It is quite possible that the artist intended by this to indicate Japans friendliness for America, or, perhaps, Americas greatness. In this room is the bronze Incense Rurner, the base of which is by Suzuki Chokichi, the artist of the Eagle on Stump, just The urn has a tripod support, described. and contains a silver dish for holding the incense. The feet of the tripod rest upon a bronze stump. The under side of the urn shows a row of butterflies, which is repeated The koro was forged by a pupil of Miochin; it was
A remarkable piece of cloisond enamel
and this, in turn, rests upon an iron stand. Near the center of the room G, a glass It is perhaps the finest pie& of needlework in America. It was designed by Nishimura of Kyoto, and purchased for $1,800 at the 471 case contains an embroidered screen.
just above the band of the neck.
THE
Chicago Exposition of 1893. Four
CRAFTSMAN
pertumn, summer, spring, in pleasing but less elaborate designs ; the last season being with plum blossoms and made beautiful the Japanese. This case is surmounted by a large Satsuma vase, a beautiful specimen of the potters art of 1750. In this piece the Ho-o bird and chrysanthemums in waves, representing purity, form the subject farthest to of the decoration. The large prove very
sons worked several years on this charming embroidery. The whole is divided into four leaves, each representing a season of the year, and beautiful designs are wrought on both sides. The front from left to right . shows, In order, winter, autumn, summer, .,___.._ ._.. _... ,... . __. ._ .-__-_,
mandarin duck, another favorite subject of
gallery interesting
south will
most visitors.
Beside the extensive and valuable collection of jade carvings, three pieces of which cost $5,000, there are here displayed illuminated manuscripts and exquisite rugs, the latter hung upon the walls. This room contains the largest and, doubtless, the most noteworthy paintings in oil in the building. A Knight of Malta, by the great Spanish master, Velasquez, is indeed a treasure. This once occupied a prominent place in the collection of paintings owned by William H. Aspinwall of New York, then conIt is one of sidered the finest in America. the best examples of Velasquez in this country. The canvas was purchased by Mr. Aspinwall, in 1848, at Palermo, and after passing through several hands, it was finally presented by Colonel William Renwick to Mr. Smith. Woods copy of RemCZoisonwC mmnel collection vase,
tlrr largestpiwe
in the Smith
brandts Shipbuilder
and His Wife,
the
original of which is in Buckingham Palace, London ; Henry Moslers Village Tinker ; and R. M. Shurtleffs Scene in the Adirondacks are all deserving of careful study. In other rooms there are also objects of great importance, which in this brief sketch must be either omitted, or mentioned in a general way.
spring, in which the different seasons are represented at famous places: summer at Hakone Lake, Sagami, with a view of Fujayami from the lake. Japanese pictorial art abounds in representations of this unique mountain. The other side of the screen shows from left to right: winter, au-
A JAPANESE
These rooms contain many cases about which visitors may be frequently gering with every indication of pleasure. seen linunusual
COLLECTIOK
to describe more at length those pieces in the collection which are of unusual merit, or which are likely especially to interest the visitor, many deserving description scheme. have The tinted, One necessarily been omitted. A word about the color walls of each gallery are beautifully ish blue, with cream white trimmings. is the method of connecting
Such a one is the case of ivories Here is a two-handed sword, native and mythological sub-
in Room E. representing jects.
very large, with ivory handle and scabbard, The steel blade is of sixteenth centGerman ivory
some in delicate blue ; others in deep greenof the most pleasing features of the interior several of the
ury Japanese workmanship.
carving is represented by a large tankard of elaborate design, the subject of which is
Diana
at the Bath.
This case contains proves attractive to
adjoining
rooms by means of arches sup-
many interesting
small pieces, and, as a
whole, it invariably
ported by beautiful Ionic columns painted white, which blend with the tinting of the walls. These columns were designed after those of the Erechtheion, at Athens. Furthermore, the colors of the objects themselves harmonize with the surroundings, until, at times, the whole appears as carefully mosaic planned as a beautiful in which each particle piece of has been
visitors. Room D contains a case of beautiful blue and white Chinese porcelain, Among deserving of notice. are two exquisite Hawthorn particularly these pieces jars, one of
medium size, the other small, of the Khanghe period, 1661-1722, which are very rare. While it has been the object of this paper
chosen with the utmost care and skill.
THE
It is hardly galleries. America The possible to overestimate charm of the color effects produced In fact, that there exists another public
CRAFTSMAN
the The Horace Greek stalled though such and Smith Collection of Casts of is inalit is any Renascence little Sculpture
in these in
the writer is not aware gallery results of
on the lower floor it exemplifies as would be
of the building. here, for stand-
It calls for
description Museum found
in which. such fascinating value of certain so often of
the same high as a whole, in almost
in color have been obtained. these works What art has been mentioned kee question, to answer that Yanheard: did it
ard of the Art
museum of art in the country. which is pleasing, unusual, relative is the arrangement to art in general represented,
One f eaturc somewhat to of sets of books
and, doubtless,
and especially contained photograph
the periods -convenient There
in cases . cases
for the use of student or visitor. frames for photographs.
are also excellent
and swinging arranged Memorial Mr. Fine Arts, stallation iginally number tated.
The fact that the casts were selected and by Mr. H. W. Kent of the Slater Museum, Robinson Roston, in consultation of the Museum with of
Edward
is evidence of excellence The architects for inwas ora Pyne and Gardner another changes purpose,
in this department. of Springfield,
were Gardner, intended for
and, as the gallery
of important
were necessiand examwere
It should be said that the projectors designers intended it to be a worthy Renascence The architects ple of the Italian honest construction. Renwick, Aspinwall
and of good and Wal-
and Renwick,
ter T. Owen of New York.
The beautiful Palace, VenThe VinThe
cost ?
It must be kept in mind, however, even at value of those pieces, at the little interest Consequently, lower price
terra cotta frieze was modeled by Domingo Mora, ice, method after of that of the Ducal changes lighting the upper with slight in details. Walter
that the figures given do not represent the commercial a period was they felt
present time ; since many were purchased when comparatively in such matters. at a much
galleries-
those occupied
by the George
cent Smith Collection-is Art Library loggia.
by means of skyover the
were secured
lights with flat ceiling lights below. is on this floor directly
than they would to-day
command.
A JAPANESE
Beside the Horace Smith .Collection of Sculpture, which has been mentioned, there are, on the ground floor, two beautiful lecture rooms, the larger of which has a seating capacity five people, of two hundred and seventythe other being considerably
COLLECTION
and those societies united with the City Library Association. Considerable money and other donations of books were secured by the committee appointed to solicit subscriptions from citizens, and the library was soon installed in the room at the City Hall. The Association was reorganized in 1864,
smaller and connected with the larger by folding doors, so that the two may be thrown into one when desirable. Such an account of the Art Museum as here given, would not be complete without some reference Library Association. to. the Springfield City In fact, even a brief
history of the Museum, must be preceded by some information regarding the institution of which it forms a part. The following facts have been gleaned from the brief history of the Association given in its annual report for 1901. . When the desirableness of a public
library began to attract attention and discussion, the result was a petition of twelve hundred citizens to the City Government in 1855, asking for the establishment of a city library. Although in the plans adopted for a City Hall erected the next year, provision was made for a room to be used for a library, very little encouragement was given the cause and, otherwise, no definite aid was However, the friends offered by the city. of the project were not willing to abandon
Bronze Koro, or incense burner, with base by Suzuki Chokichi
their plans, and on November !27,1857, the City Library Association was formed: a voluntary association by which a library was to be maintained through private sub scriptions. The libraries of the Springfield Institute and the Young Mens Literary Association, previously collected for the use of their members, were turned over to the new cause,
and,
in
1871, a new building,
costing
$100,000, was erected and the collection removed to its new quarters, the present library building, now known as the William Rice Building. This great expense was met by the persistent efforts of the Associa475
THE
appropriations To-day, the Art for a long future. and Natural
CRAFTSMAN
same, on condition that a suitable building were provided for its display, in which it might be kept intact and apart from the gifts of others, the direct occasion, indeed, the necessity, for the new structure arose. Mr. Smiths offer, supplemented by that of Mrs. Smith, of her valuable collection of laces, was promptly of the new building, accepted, and the cost nearly $100,000, de-
tion, and the City of Springfield has madethe buildings Museum, the collections History
include those of the William Rice Building, Museum, and a Heating design. A few words should be said in regard to the history of the Art Museum. The unPlant of artistic
derlying
cause of the erection of this reproper. The impera-
markable building was the cramped condition of the Library tive demand for relief had been emphasized several times prior to 1889, by Dr. Rice, the librarian, but when, in that year, Mr. George Walter Vincent Smith formally offered to bequeath to the Association his splendid art collection, and to endow the
476
signed for the proper display of these rare art treasures, was met entirely by private subscriptions. The land was purchased for $35,00 from a bequest of $50,000, made by Mr. Horace Smith. This charming Art Museum stands as a memorialto the public spirit of a few earnest citizens having at heart the good of the community.
A JAPANESE
COLLECTION
Among those deserving of special mention are the publications of the Arundel Society, with excellent chrome-lithographs in large swinging frames. be consulted that most Oriental sections, Japan Ceramic Art, with text by mounted work, Of Here also may exquisite Dr. Bushell. published in ten
Japanese, Edition,
Described and Illustrated by the edited by Captain Brinkley, which is limited to two hundred Museum the
this library owns Number one of the Mikado fifty numbered copies. Although the Natural History The art library, situated on the upper
has already attracted more than local interest, it is not likely ever to approach floor of the Art Museum, is equipped with numerous modern devices, such as cabinets with roller shelves for the larger works, and adjustable racks for handling books withThere are out injury to their bindings. also excellent cabinets for photographs. This library is particularly rich in elegant and costly editions of works relative to art. value and attractiveness of the George Walter Vincent Smith Collection in the opinion of the greater community outside Springfield, the country at large, or more especially New England. It now has well arranged departments of the various sciences, and it is constantly making valuable accessions, among which should be mentioned the
Sprin&ld
Art Museum:
three
pieces
of jade;
value
8,000
THE
Connecticut Valley. The building fifty is fifty
CRAFTSMAN
May
finest existing collection of the birds of the by one hundred
6, 1889, the librarian, basing his conPublic Library, says: Thus in the
clusions upon the figures given by Mr. Foster, of the Providence his report Springfield for 1888,
feet, and has one floor in the main has also an upper There basement used for for special study
part ; while the front is a large, well-lighted storage work. purposes and
City Library,
among the free
floor divided into two apartments.
public libraries of the United States which contain over thirty thousand volumes, and are free for both circulation and reference, ranks thirteenth in total annual income, seventh in the number of volumes, fifth in
The cost was about $30,000, raised is located the splendid
by subscription. In this building
Catherine L. Howard Memorial Library of
the amount expended for books annually; while in the percentage of book expenditure,
Science,
which
includes
departments
of
as compared with other expenses, it is first of all. Library, A creditable showing for our City and especially in view of the fact exist in cities
geology, botany, zoology and general reference works in science. The Library, housed in the William Rice Building, country is one of the strongest in the in works upon history, theology, In 1895, it ranked eighth
that almost all the libraries which were included in this competition thousand. In May, 1902, there were in this library one hundred United twenty-eight thousand, one hundred seventy-eight books, including the States public documents. At the whose population is more than two hundred
and economics.
among the free public libraries in the whole country, and first of all in the number of books in proportion to the population. In the annual report for the year ending
478
. THE
arated sections of the country,
CRAFTSMAN
with or work beside ; the quality that makes a man a good citizen of the state, careful to wrong no one ; we need that first as the foundation, and if we have not got that, no amount of strength or courage or ability can take its place. No matter how able a man is; how good a soldier naturally, if the man were a traitor, then the ,abler he was the more dangerous he was to the regiment, to the army, to the nation. It is so in business, in politics, in every -relation of life. The abler a man is, if he is a corrupt politician, an unscrupulous agitator business man, a the other, demagogic who seeks to set one
words of praise of visitors from widely sepappear to have inspired the City Library Association to redoubled efforts, until it seems safe to predict that before many years shall have elapsed, a magnificent new library building will arise, on the site of the old, worthy of the splendid library that it will house, and of the beautiful buildings and collections of its allied departments, and a fit companion for that other splendid institution of learning, so near at hand, the imposing structure of, the Springfield .
BRIEF BIBLIOGRAPHY
High
School.
portion of his fellow men aga+st
General Works-The W. E. Griffis ; Things
Mikados Empire, Japanese, Basil H.

1.2 vols.,
his ability makes him but by so much more a curse to the community .at large. In character we must have virtue, morality, decency, square dealing as the foundation ;
Chamberlain ; Japan and China,
and it is not enough. It is the only, the ramic Art, S. W. Bushel1 ; Ceramic Art In war you needed to have foundation. of Japan, G. A. Audsley and J. .L. Bowes ; the man decent, patriotic, but no matter how Histoire de lart du Japon, Imperial Japanpatriotic he was, if he ran away he was no ese Commission, at Paris Exposition. : Special Works 07~ CloisoltltbLJapanese Enamels, J. ,L. Bowes; Notes on Shippo, J. .L. Bowes ; Ornamental Arts of Japan, G. A. Audsley. good. So it is in citizenship ;. the virtue that stays at home in its own parlor and -is of scant use to the community. bemoans the wickedness of the outside world We are a vigorous, masterful people, and the man who is ,to do good work in our country must not only E need strong bodies. than that More phatically we need strong more than be a good a man. man, but also emWe must have the
1903, Captain F. Brinkley. Morwme~t~l Art ~Works-Oriental
Ce-
W
.
minds, and finally we need what counts for
qualities of courage, of hardihood, of power to hold ones own in the hurly-burly. of actual life. We must have the manhood that shows on fought fields and that shows in the work of the business world and in the struggles of civic life. We must have >manliness, courage, strength, resolution, joined to decency and morality, or we shall make but poor work of it. --LStr~-nuo2cs Epigrams of Theodore Riosevelt.
body, f or more than mind-character-character, into which many elements enter, but three above all. In the first place, morality, decency, clean living, the faculty of treating fairly those around about, the qualities that make ,,a man a decent husband; a decent, father, a good neighbor, a good man to deal
480
JAPANESE
wares began to include almost everything sonal gigantic relating to perbeside for the such adornment, figures
BRONZES
statues for temple decoration, gables of buildings, etc., and a host of lesser objects, as mirrors, tobacco-pouches, for writing even hair-pins, medicine-boxes, pipes, cases beside many implements, and
other things designed for the use of a cultured people. Japanese history abounds in the most curious and fascinating fanciful myths, legends and conceits, and many
of these have been excellently portrayed and preserved through the medium of bronzes. Thus the figure of a cock standing on a drum, typified good government and a peaceful state of society. Therefore, it became customerrand of mercy ary to station a drum on a stand in front of the magistrates office. started out one day to rob an old man named Figure III. One of the seven patrons of husbandry. proceeding on an
Anyone who had been maltreated could, by beating on the drum, secure attention and receive proper redress. A long interval of peace has caused the drum, as seen in Figure I., to .be neglected and overgrown with vines, rust has corroded it, and a large piece has fallen away, affording an entrance to a mother hen, who is seen quietly reposing inside with her little brood. The conversion of a desperate bandit into a useful citizen is typified in bronze through the story of Jiariya, or Young Thunder, who, in his youth, became chief of a band of robbers. He and his men
Senso Dojin,
who had lived in the moun-
tains for many centuries, and whose real body was in th e form of a frog. When Jiariya met the old man, the latter undertook to teach him the secrets of the spirits of the mountain-how to control the elements, how to govern frogs and other animals. Jiariya, having learned his lesson, repented of his evil life, and left the old man, determined never again to rob the poor; He was later appointed Daimio of Idzu and thus became an important public official. (See Figure 11.) Among the mythical animals of Japan
483
THE -.
CRAFTSMAN _r-._
ing example of this idea consists of three cranes artistically grouped on a rock, the wings of the tallest forming the cover of the Koro, which, being hollow, affords an exit for the smoke of the incense through the birds mouth. The myths of the Japanese abound in illustrations of the prowess of their deities. Many of these have been perpetuated in bronze, and such tributes to their majesty were believed by the faithful to *be efficacious in attracting their divine favor. For example, Shoki, a god endowed with enormous strength, is represented in bronze as engaged in the act of destroying two of. the horde of demons who brought sickness and all kinds of ills upon the people. It is easy to imagine that castings of
Figure IV.
Incense-burner or Roro. the cover of which is formed by the wings of the tallest bird, while the smoke esoapes through its mouth
this character found no lack of admirers. Inseparably associated with
was a creature resembling a reindeer, and a famous bronze-caster of husbandry, conceived the idea of out on an errand depicting in bronze one of the seven patrons starting of mercy, mounted on an animal of this legendary species. The casting was the more remarkable in that it was executed in pure gold. The Japanese artists lavished their greatest skill on the ornamentation of the incenseburner, or Koro, and fancy led one or more of them to cast such objects, in connection with their favorite bird, the crane. A srik484
this work of the sixteenth and seventeenth centuries is the name of Jiyemon Yasuteru, a member of the celebrated Nakaya family. He is commonly credited with being among the first of these artists who conceived the idea of decorating high relief; for bronzes with designs in flowers, birds, etc., artistic expression. selecting
their medium of
One of the casts belonging to this class represents two Ho-hos-the Japanese phoenix-birds brilliant of surpassing beauty, with very tail-feathers. These birds were
closely connected with the destiny of Japan,
which was forced foreigners lhis

i1
to supply
the wants
of
and dried, the object wax of the proper model layers until is then of the crust in fire-clay coated
is modeled with
upon
it in thin allow
who, for the most part of affairs worknicn, soon gave who
were as work. rise to

the
composition. applied with
The wax a brush, to
well satisfied con&ion
with a lower grad12 of
successive
Class of infwior with clicap
flooded
is thick order to
enough give The the mold
mwlwt
imitations,
such as can Oriental
coarser clay-layers
11cc63s:try
to be applied ; this being desired is then fire.
be seen in an_v of 511ops.
the so-called
strength
to the mold.
:lried very slowly, the core removed, and the
I
wax,
WAS melted out by means of a charcoal N couclusion offer a brief of casting it may be of description bronzes interest to of the nietllod at, the of ricetion of casting, from ing bran
The mold now being ready for the operathe molten bronze is poured This rice ladles into the mold-openings. its continuance, finely-powdered
cniploycd
present time in Japan. The

lll:Ltel3iLls used
is kept up until the mold is filled, and durin tllc preparation chopped substnnccs : beesis sprinkled on the metal as it flows The mold is then allowed breaking
tlicb molds inin,
:Ir( vcgctablc
clay. 7 river-sand,
from the ladles. to stand for
straw and rice husks. lhc core, or piccc around which the metal is to bc poured, cases, latter. hollow.
011~' or
several hours before large castings
it off from the casting. In making cupola-furnaces, with fire-clay, aperture ladles are not lined an used; the bronze bring and allowed to run from this, through
is generally The hollow
solid, core
when
small pieces arc to bc made ; and, in other is open, at the either at, both ends, generally
first into a receptacle from into the mold.
Wlicn
tlic core has been completed
in the bottom,
I
that wllich
P we could but rid ourselves of the false ideas, which, taken M ~MSM, are called cducat.ion, is nothing which work we should know that there ugly under the sun,
SEl\'C
mountain lizard; other bad,
lion,
the
mocking-bird
to
the
but to say that, one is good that, one is beautiful is to accuse for Nature which
and the and the of the
other ugly,
kllW.
herself she of
conies all of
from
himian it good,
distortion. all of all of things our preof the the it it
~efcrcnce-somctllillfi She designs desert as skilfully suitecl to its place, its unique more truly beauty perhaps
never as for
Natures purposeful, l)c:rutiful. jutlicc human rose
is all of
the cactus Each
it wonderful, certain of cspressiiig its kind
and as faithfully
\Vc like or tlislikc
t,lie lily of the garden. of
in its way is And so, him-
IlliLy lw a way
and each in its way has chara.cter. than Shakespeare
or our limitation of appreciation. bisuage,
; but the work is

irrespective
:~lways pcrfoct
WC may prefer the evening antelope tlic to
self knew, the toad called ugly ous, still holds a precious
and venom-
sunlight, to the starlight, to tlic
prim-
jewel in its head.
407
G-
Figure I. Louisiana Purchase Exposition, Varied Industries German Empire section; Architect, Bruno Miihring, Berlin 488
Building:
Entrance
Hall
to
North
dealers chosen with progress ERELY hibits overt,as to glance made at St. man. at all the esLouis The would of is fair Wrrc important appear, another fair? and and the not made far
SUCll
show room, frorn stock, for honor.
in which merely individual Into
merchandise to sell, or national a worlds
is and fair,
no regard and have so far
M
the largest of many such This shoul~l similar What Is it not collective crafts peoples The
imitations they have
no right improved
of entrance, upon of first and the their
unless origi-
the time and energies
nals as to be epoch-making. There interest person RIoral the two consunles tal energy facts hibitors ises, similar require shall,in are which are two points of the exhibitor to attend importance the of the that arise It costs physical a fair. their very to bc considered solicited obligations opposing time, to visit that in all such enterprises:
the ordinary ever organized.
In the opinion
persons question be fully exposition chiefly progress made name
it is too extensive. a necessity? leads to a most before of a worlds individual sciences period although consent, a high which, considered, shall to it would
proportions
exhibition. between money, menThese and expromname and
immediately parties. exhausts and study fait,h,keep by
subj cct of thought
be attempted.
is t.he purpose
the management the
exhibit a given in it?
good
in the arts,
implied
within
by
exposition, awakened ments pyramid to can suc~cpcrs some ing this In tion was a which If, and made There
by tl ie achievements through preliminary
of earlier announce-
participating
enterprises,
and by the expectations
itself-which, a dignity,
the formal surli-implies removed dignity level such merce, worlds dav It of
titl(b, is, by general from mere
to the public.
vduc
aim,
is no educative of tins corn, nor reaching canning yet
in an immense Iowas ability carpet But if and then in a cookof
commercialism.
rcprcsenting in to the corn
should
not be ovcrlookcd show room. and
; otherwise
to the it is for conline of the While desirable defined
a pile ceiling.
the exposition tllc mere ncccssiq, a fair there
is at once dcgradcd and most be a sharply
improved
method
of harvesting, has been to occupy the its mode its ample devised, space can be made,
legitimate, to promote should between
stirnulnte
a display display worlds was
of the processes is entitled So with days, in it had to its when claiming fair.
of separation progress
an exposition
carpet-sweeper. of opcrainventor space in
and a market, that one
of the evcrgshould to be to the and
its early Cjustificd
money-getter. is apparent, from csposition original. is granted are essential :tdmittcd is, it should if ob,jccts rnost a11 work
generally
unknown,
be required univrrsnl distinctively which tant object they space
to show
the workings progressed present value
of his machine. through perfection, vnrithere the in
: that
For,
further,
011s stages would progressive the perfected lherc4ore,
in thcsc mere
impor-
be LISL' and
in representing which the resulted Exposition
expositions of these are instantly
imit,ations, is defeated,
attainments article. if so judged,
ent,erpriscs lowered
to the Itvc~l of the
489
490
491
THE
CRAFTSMAN
influences, and what, in imitating, they have but half comprehended ; 1thus corrupting and debasing the work of their. own hands, sterilizing their imagination, and mortgaging their-own intellectual future, as well as, to ,a certain degree, that of their whole na:.*_ +d tion, _ &* Many other instances of the same kind are observable in the Varied Industries of Building ; as for example, in a majority
at St. Louis, in spite of the advancement * which it shows over any previous worlds fair, in spite of its absolute, as well as its comparative attainments, failsto ,attain its chief purpose ; that is : it does not adequately represent the nations participating in it, or mark a definite point in the worlds prog; ress in the arts and sciences, in inventions and manufactures. This statement is not. made in the spirit \ of one who would, depreciate and censure the efforts of others, nor even definitely attach blame. For the officials, the directors of the exposition can scarcely be held responsible for the exhibits of questionable value sent from abroad, pr for those of a like nature which certain of our own people It is only when the parelect to display. ticipating nations as a body shall possess a high ideal and shall collectively seek its realization, that results will be attained corresponding in value to the expenditure of time, money and energy necessary to the creation and maintenance of such greatand complicated schemes. But a crifi$sm is best pointed and apTo afford plied by a specific illustration. such it will suffice to make reference to Japanese art, so exquisite and so varied in its manifestations, ranging from the fragile to the strong, from fictile wares to metal work, from the adornment, of the person to the enhancement of the charms of Nature,: Pos-
the displays of American cabinet-making. Among these, one exhibit, important as to extent, costliness and expenditure of effort, is composed entirely of imitations of objects in the French historic styles. Like the Japanese wares copied from Western models, they are without spirit or meaning. They have no reason- for existence, since they were not, like their originals, created to serve some-definite end, such as to adorn some special palace or apartment, with whosearchitecture they. harmonized. They have no place in an assemblage of the products .of American arts and crafts, since they represent nothing but the imperfect realization of ideas alien to our democratic life and &&,oms. _Their display in this place, &say%t&thing of their existence, is to be deeply regretted. Their presence can serve but one useful end, and that is to show the necessity for each nation desirous of development, to keep within it own tradi-
tions. sessing such excellence and range, what% Such imitation, it must be confessed, as magnificent, land instructive display :might evidenced in the present worlds fair, is only to be imputed to the younger nations : to the not this art Ihave agorded to the Western world, now so eager to learn from a success-, Japanese who lie subject to their first the Jpanscourge of commercialism, and to the Amerful and rising people ! In&ad, _~ ese exhibitors at St. Louis:have Fhosen to icans, many. of whom find it easier and more .. profitable.to copy the work of older civilizapresent what their artists_,&and craftsmen .L_ have derived from European and American -tions, thhanto cre~~~-~~~~r,~~o~s~ve to the
492 j .-. ., ,
Figure IV.
Studio;
Architect,
BrunoPaul,
Munich
493
494
TIIE
needs, mannc1rs and customs strongly The indicate tain individual two people. cit,ed will instances exhibits,
GIUmIAN
EXHIRIT
crnmcnt, awakened competing writers, the Germans to life. From knowledge bV
SCllOOlS
of a new and suffice to
auspices
and
by
institutions and crafts, of the of critics
dehave of
voted to the various character of cernationswho have
arts
the admiration
the disappointing
especially repeatedly
French
uation:J
which
are in nowise them, and in lowerproduction, may of
rcpresentrd of art the
csprcssions ing t!lc
of those who present gcncral st,rtndard of
which will have a definite influence since bad c~~niplc From ;I n.orlds nation original, t ions and is contagious.
:LS advancing
to the first rank
in all t,li:tt (*onccrns Uiese lesser
the adaptation displays
these instances fair in which
also deductions possibilities exhibits of racial the whole economically the should
; from
1~ drawn as to the csccllcnt puticipating plainly tcndcncics,
tliffusc4
throughout
the Empire into the and too, his of
of each trndicnter(if
:lIl(I societies ; :LS tllC Outcome of iL infused Will~clrn old Kaiser
be distinctive,
strong people great stages,
sense of nationality hy the associates
in(licativc and
; as the outcome,
magnific(,nt
priS( should
bc planned
p:~tcrni~lisnl in its earl& the present into being. It is thcrcforc opposite th;tt csprcssion pirc points of worthy of view. the stage
:~id more beneficial effort came
tllat word bc used in it,s strongest itive sense) : that Such an csposition purposes stitutc, thinktm But IcillitS, xctually cntcrprisc necessarily lhc sloop and unircrsal :I congress and now, is, brought like tt l~ousel~old and unified of n~uscum, technical mark+ and
and prim-
under one law like a family. school, workfor the for as it lesson by the in
of study First, prepared, of
from two esternallv complete Enand
would fulfil the manifold and would concschange of the world.
is, as a carefully
advancement
rc:xchcd by the people in the arts quite as earnestly, tection. It. is not, difficult first of these phases,
il
of the German
the workers
and crafts
; secondly,
if WC set aside speculations the Exposition find the we shall
as a result to gain
of state proan idea of the
if we accept esists,
wlrich wc could
ilS a
wish to see given whole, offered, proportions, German of this
even from so imperfect For, the to quote foot matter one to
although
mxliuni
as the small coltcc*tion of illustrasaying: From
limited
by the disis not a
tions which are hcrc offcrcd. the old Latin Illay nieasurc the giitnt. it. is a complicated judge upon
play of the North escellt~ce
Empire. display
On the Other hand, control cvcn if there so
surprise, to those who have followed the progr~hs III:L~Cin rcccnt, years c*:mstituting Iiibitions, ful same taste. at this F&ration arts. tl~TOrilti\c and industrial I)resden, the and otlicxr ccntcrS, prcp:iration, by the peoples in the fine, esBerlin and the Smallrr
:tnd delicate
of the effect. of gorcrnnicntal art, and m:~ni~fnctures. be finnlly gr:ltefully upon a period respond lavished in which But prejudicial,
such influcnccs is alwavs fostered intelligence
Darmstadt, same unity refine
the things
have shown the same cnreand public
to the care and them : a period when all seems
c\fforts to cducatc lhesc cxhibit,ions,
like the first bloom of spring hope and promise.
made under gov-
And such arc the con495
496
Figure
VII.
Study;
Architect,
Professor
Albin Miiller, Magdeburg
497
THE
ditions which ,have produced Exhibit at St. Louis. History
CRAFTSMAN
a crisis, while Germany h appy and hopeful ganic period. is enjoying the conditions of an or-
the German
does but repeat itself, and the is comparable, in a modern
She is giving lessons to the
movement felt throughout the newly organized Empire sense, with that which, sweeping through England after the destruction of the Armada, produced, Elizabethan literature.. Or, again, the conditions now prevailing in Germany might be likened to those of industrial France under the ministry of Colbert; somewhat also to those of the same country, considered in all respects, both material and immaterial, under the rule of The effect of a judithe first Napoleon: cious and learned control exerted over a people so recently unified as not to have lost the enthusiasms which led to unification, can not be otherwise than formative and vitalizing. But control, too long continued, too strongly exerted, may approach tyranny, crush individuality, sterilize energy and defeat the very purposes which it w?s intended to foster. In a justified fear of such results, young France is now in revolt against a too strongly centralized, bureaucratic control of the arts and art-industries of the nation, The School of Fine Arts and the Skvres Manufactory, two enterprises which have contributed largely to the external honor of France, have been made the object of severe censure by .those whose cry is for freedom and new life. But these two aspects of a single case are not contradictory to each other. Development, intellectual, as well as physical, proceeds by stages, and Between such pershows definite periods. iods crises must intervene which are -the points of departure for new seasons of growth. France, as the older, more experienced people, is now passing through such
491
world in all that concerns the arts, manufactures and technical education, and, nowhere more valuable ones than she offers through her exhibit at St. Louis. are given As these lessons it is for us at our invitation,
especially to profit by them. , If, then, we enter the German Exhibit, as we should, in the attitude of willing students, we shall, first of all, note the fine utilization of space which is largely responsible for the effect of cohesiveness and unity there prevailing. The ground-plan is a rectangle having.a major axis with two or three minor axes parallel to the greater, and three or more others running at right angles to it. The entrance to the exhibit proper is made through a large, imposing hall, a section of which is shown in our illustration numbered I. This vestibule, as it may be called, like the apartments which follow it, is astudy in LArt Nogveau, which can not be neglected by any one who wishes to inform himself regarding this much discussed and somewhat elusive style or system. It is excellent as an example, because, unlike much of the work to which the name of new art is given, it has not rejected sound principles of structure and decoration. It preserves what is worthy and vital in tradition, while making, at the same time, an original and modern use of what may be called the inherited capital of art. 2 It is not ashamed to show a deep study of the historic styles, beginning with the Egyptian, yet it has no savor of the encyclopaedia or the, students drawinglbook. It proves that art must be regarded as a great tree with its roots firmly
439
500
tixcYl ccwivc ;ul(l
itr
il!lti(lLlit~, t)c:rioti of
ttWl11 gro\vtll,
wlticlr,
it
at t!ncll
its
SIlC-
(Icsriv(5
grc~cll
livittg
foliag~~.
\\c
fittcl iii this
:trcltipriti-
tc~c~ttttxl wtttl~o~itioti
tltc tittir,-ltottorc~d jOittC(l \Yk wlriclt lines.
ciplw of tltc* :~rdt,tltc tY)Of

ctladc,
colot~ti:~d~~,tlic ittclittcd
tOgVtll<~r
iLll(l
tllcs OpC~Il lXttc*lY
In tllc, tttrtsir r00tli l)y Irofcshor

Hll t ttrg of rihrtr
th
I-I~~rttt:tttti
iLlthOlt~11
iii a hrttiottv siw

to
wlticlt scrvw
sings. no otltc,r Aliiltring,
filltl
;\lSO
il.
I<:trlsrrtlt~, tllcs
tll0tllttll~llt:L1
wc lt:trc~ a jrtstificd
Stylcb,
cliptificd
iii itself,
nccvtlt tllc
tlWOriktiOI1,
uttohtrutllilll
to
pttrpos( Tltis
wltolc~ effwt d~bigtt, tlte
is otw of vstrettw like that of the posscsscs say pints rtttlitncttt:~ry
sitttplicity. tcttipl~, of principlw a syttttwtry
strtictttr;~l
hall
is it
lltis titiilwr frottt
Gtwk
tltc dcsigtt lenclw of Yrof~~ssor Hcrliti, Paul, Jlutticlt, of gart,
of 13runo
of Ikrlitt, Kiirittg Ihttto Ikrtsclt M:ts of
t)ilW(l tipott which
iii tlw new art of Gcrtttany, Leo Naclttlicltt Irofcssor hnk Billing Professor Ilct-titxti Ilietttcrschttiid, and and G.
as arc also
construction, proceeds ;hiost lo arc few the the a
attd Arno
a scttsc of rvst, orderof qitict--:~l~solutel_v this and cli:uxcter. to so i \ llin which again, of again lty the tttay ;wxtttu,ztiott
otic tttight of ttcwss:wl; Ihcrc whicli that otliw tltr
Gdhirdt
pl:Lct~ of
SSngcr Stuttof
K:~rlsrtiltc, and
Patikok
eye rctitrns introspection is invited touch slight
\1. Ihwltler
of Lcipsig, in:& Of itnpothnt
11. Krics of Dartrtst~dt, contritntat St. TAotiis.
dctiiatidcd architect.
1)~ tlw
Ihestlen, this ;\n work tration room sign

IliitCtl,
I,. AI. Olhiclt E:sltil)it Professor is shown II. It
ntwici:itt, very
all of wl~otn Itarc cs:LtttplC in the for ill1

as
sitl)til(~
1~ recognized quality and the disposition two slight
to the Gwttiiu~ ticw art priwte
ccclcsi;~stic;ll
SiLClttliClltS in our a In
:LlY
is :~fYordcd by tltc form of the large cisms tifiil with ttatttr:~l htrtcrns trwtal tliectittg serve appwtxttce l~ollowitig tl~~sigttctl t;iittittg hut offers of th seats. It is to ltc rqpttccl can 1~ tit:& and satisfying pigtrtcnt itpott
illusdcarcltwhich to the the it by trtodCOll-
nutttl~ered
iL
is
reception this
that
critilwattto the
twid~ttc~.
f~XtUlY%
this otlicrwisc which destructiw
lll0tllllll~~tlti~l tllcy
elittli-
rootti : one rcliltire of
hlt0111(1 ltc, in tlomc~stic constructiott :wtl in the historic :intl flcsiltility styles and
the trwttttcnt iL wltitc haritv
of the wood, of the testnrc the
is o:tli filled
itectitrc ~ritlcttcitig
: htll
orttimient
:L ftwdottt nsctl
;tlie otltcsr rclnthe clcctric
iir( wuiting latter, ittto world. z;cltctttc wit firht the fOrtttiL1 life, In loses
: since tltc
adapted of to tltc the
tivc to the tti;ttitwr :ho\.e trusses, it0 ot!tcr
of siisprnditig from thin room of the
in pnlaccs of put ttiodcrti
itttcrcolrtttitii:~tiotis sitlcs and which the ctttplo~cd, device. is a studio con3Iuniclt,
low tlicir tlic the
ttt~atiitrg
wltctt c:trriv(l citizens given,
cstettding purpose tlic music Bran0 charming wltolc. arc
liomcs
:it :ut :~tigle, lteitig
illtistmtion fact of the remain wlticlt work.
here wliic rewals But
to xw~licti
lcwt
of tltc real hanging 1)~ laul the most
color : iUlOtll~r CllillXCter lines the strrictirc while
as a trilmtc
offered
details The sepxte
of work, it parts dirided 601
by the new art to the principle ornament of th tytrtl~nriuttt
of simplicity in the in th
pro\okitig a unified
the qwstioti
ns to whether so sharply
in wood-tnos:lics, rltitrttic,v-l,iccc,
cotrtpositiott
cbciling>
his iisd
:llld iii
1lOt gas
t0
be
llliStiLhCl1
for
;lpp:llX-
scrricc.
lTroni the A rbcitcimrrwr

iiito which. offers Ixtsiii of an interior ;~ltliough ii0 fwtwe lift. corirt, :rdaptcd foreign Tllc the
glass froiii
doors
le;rd of
:mxngeincnt
iin old idcil, or gitrforis

;1re
to tlic possibilities use of lli(s cistern since but original prescwt its tlie roofs
of wiglit
of iiioclcrn
ll;is lN3xi co1~inion in tllc enclosed civilization, of the in the the design
tlciis t,o all w:win coiintrics, (;reco-ltoninn cKacet1 ilic i~iill cli;ir;Lc:ter sliiltrrlly For
stlollgly
the period
trcatnlcmt. features plnii, tlie
. wllilc
arcliitcctural
cl:wsic:Ll-sdli(*li tlic :wcliesm-tlle

suggestion their
wrniws,
of tlie cloisIwiidiiig of red irtilc5,
tcsr offvr :L Filillt,

rc~~iiI;irlv Ix~iiwth
Iilw tlw 1iiii~il~Ic~ dwllings

arc
lwl
of Europe. 0~ statues
pl:Kx the
Xor to Instead, the only pillars
tlrclr
el~~lmxtt and potted
fountains
to
~~tc~lltio~~sncss
lmy trees (I~w)riLtioii, orimnrnt supporting
plants the roof. court Olhricli. room,
&Ford wooden is a
\\-itli tlic rsccption traced upoii this tlic cloister ro~mis, scrrixl
of the slight
Siirroiintliiig lwxutiful sigiicd lnttcr tr;ltion \vliicli fouri:~l must the cIirvc ture ing 1)~ Rofessor is tli<s music iiunitmwl of \vv !urc tlcsi,gn note
series were
of dethese
of which shown which iuid use.
Among fulfills
in our illusthe rcsymnictry more we the feaIIcrc
VI., :ilr(wlv for
(~uircnic7its
siniplicity a siiriilar existing l)i:ulo
not et1 in the tlrc i&tion,
iii passing
or rather twtwccn
rcsponsivcness, of tlic grmicl of the mom scat
;is tlrc chief teittlllc
mid tlic CIIIVCof tlic swep-
as tllc second:wv tlcvicr plc:~sin~ ion
: since by
the in a room :rO3
tllis :trtistic
hY~ll~ 0111. mtl
tllc relations nuinncr. YII.
between
~IILVC~I. ant1 tlrc listcwcrs illnstmt
are suggested sl~ows n
),
.,..
,,
.-
-,
i ,
1 igure XI.
Childs Bedroom:
Architect,
Arno Kiking.
Berlin
(I~3ig:.li~~(l I)y ill;~g:l(4Iurg,

tllc .\rt
lrof~xsor uliiclr
1.Ccilllill~
AllIiIi
c~~rt:Gn
,\Iiillcr
Of
lKYY)Il1(S t IlC tloiiicstic COC'k. :lIl(l tllk ~'lill)O~~ltC lt~n;tsc~~icc~c:wvinCg
is hllggY5f i\-cxof tlic, IJest

c~S:ll1l}~l~~S Of it iS I<i1rg, :LIt Iio11gli
is wdiic~(l to :I iinioIi of
i111 :llll])lC ilnd
FIYbnclI \VOrl<:
tllrcc fiuIlili;lr
tiiic*ly
l(:t\.Cs torniing cliair-l):ick.
SOIIT.(YLU
prolx~rtio11etl
siinplc~r and 1~5s pr0nou1icc~1 tliiin t II(sy. ,j utlgc

of to tile
10
Anotlic~r l)lcasilkg II- Professor

lllllnlNTed IS.
tl(5igII is ii 1iviIIg room Singer of lkrlin, is a lxobIIv the IIW

proporin the nf-
from
1lcW
this siIIg1~~ csprcssion, \VOul(l SecIIl to faTOr tlI;lt ;i(.lIoOl which prcfcrs of pure
line.
lrofwII~ilIlch
3I;~siiiiili;in
ll
501 Jfiillcr
tletails Of which arc givt~n in Our illustr:~tioII lib. coniposition diversified

in tlifferciit as ii~staiicctl
l~lilllt~fOr1llS
comlIin:ttions lIc:iuty
llw treat-
ICIII iII strai,glIt of

rW2t;~nglllitr
lines,
fornis
ment
Of tlld Wood is highly in 3 ni~tIlra1 direction in a soft gray
tlecori~tiVe, the 1win.g delI_v elwniical

of tiut.
Call
iIiliercIIt \-clopcd
Of the suhstnnco
tions furtlwr
and
positions,
hutFc+, the \~intlo\\-0pcninR an(l tlic clock ; gratification

suI1kcn
processes resulting
722oiri c+Fccts
in it surface-tcsture criticism
to tlie eye Iwing
A sole, Iv2 made,
forded 1)~
pnels
wliiclI occur in tlw
although
secondury
and this relates to the electric fixtures, which arc soinewht not discordant singularly l~oods. Appropriih2ly Professor JIiiller, placed is moth near the room of l,y Carl Spindwliicli is still more suglalmred and in design, heavy, although with tlic bulbs of metal
waiIIscoting of surface;
iIlld thus prcrcnt tllc IIIonotony l)y the silver-gray tone of the of pewter plaques
Oak ; by the introduction
placed
at the nnglcs
and of certain 0rIiiuIIcnts chosen largely for their color-l)roI)crtics. Here again :I Ininor criticism garding
deCOriIti011
can 1112 Iii:&: the to manner the

wliicli,
in this instance,
re-
of using the pewter instend of 1wiIIg inlaid, is or

Such
CilSC!,
ler of St. Leonhard,
applied
SlWiLkiIlg, quite
surface,
011.
more and
of
simply
gestive of Xature, although the suggestions offered are ;~lway3 subtile and obscure, reIiiaining strictly within the 1iInits Of art, wlIose office is to rcprcsent, rather than to irnitnte.
employxl
%CkCd
use, :dtllollgll
effective
sl1oiiltl
in this
is yet not
rclntively
principle
llllilllpOrtilIlt, nliich
a viohtion
1x2 cOiiIItennnced
The natural
in tl1e
heantics
of the wood
:IW preserved
thus
contir~~icd by liigh
:tutlIority,
; since, it mar_
\vr-;LiIIS;coting
aIid enhancctl. scribctl,

Tmulmr~l fitted slwcics. nting tlic
as in the rooni prcvioiisly

new iise occurs series of
deor
serve as a prcccdcnt for cheap and vulgar metal 0rn:im~IIt. produc~tl in quantity and applic~tl iiidiscriIIiinatc1~. To suIn up the effect of Professor Siingers liring room, it may he said, that swn c~lscwlicre with no German name attached to tlIc& design, it would he at,trilmtcd to some Nnglisli tlccorative artist of tllc new school.
IllustratiOIi X.
while a
in the frieze,
NetllcrliIIld in a clcwrly of various sepxrw-ortliy of
wliich consists
IIiosnic, Il1e panels as
of
of
il
l:indscnpes,
wrought woods
undyed
siniplified Of the also
plilIlt-fOrIllS frieze, the table are
:ItteIItioII,
iire
and
s1IIaller
slIoas
the work
Of Proin the
chair,
toric ration
which hare been dereloped

Praise is especially
from his-
fessor
l~icmcrsclnnid
Of MuniclI,
~noclels into fresh and most pleasing
objects.
due the decogryphon
Hoard Room of the Nurcmberg Industrial sc11001. The general effect of the room is quite in keeping with tlie purpose for wlIich
in which the time-lronorcd
THE
it is destined. well-proportioned
CRiFTSMAN
one or two other preceding examples, has an, English air, and would seem a fitting resting-place for Kate Greenaway children. As a composition adapted to the intended
The side walls, with their divisions of wainscoting
and frieze, their book cases and plainly paneled doors, are diversified and pleasing, but the ceiling notched offends the eye with its ugly, The beams, which are so apparently
purpose, it is, although one of the simplest of the problems treated, one of the most successful. At the conclusion of these illustrations and comments, necessarily fragmentary and doing scant justice to the important subject, the reader and examiner must yet receive a clear impression that the German Exhibit at St. Louis will prove of great value to all persons in the United States who are interested in the industrial and decorative arts, whether as producers or consumers. The lesson of the well-coordinated and dignified display is one of simplicity and symmetry, which are complementary forces-so much more difficult to employ than a superfluity which has no reason for existence and quickly wearisome. becomes
applied without constructive purpose.
most successful point of the room is the treatment of the heater, which is hidden behind a metal screen, a device employed , under differing forms in several other rooms of the German Exhibit: can architects one which Amerishould be quick to adopt,
since it would remove from obtrusiveness in our dwellings appliances which we have until now regarded as inevitable blemishes. Our last illustration numbered XI. is that of a childs bedroom by Arno Horing of It is arranged in an alcove of the Berlin. mothers apartment, and is especially wellThe movables here lighted and ventilated. are of ash stained to a delicate gray and the toilet service is in pewter. This room, like
.50G
MODERN
THOUGHTS TRIAL PUDOR ART. UPON BY MODERN DR.
INDUSTRIAL
INDUS-
ART
to a great measure of art, is the scroll. design, It but it adopts of paper
tial Art and, in fact; all modern certain industrial has no characteristic combinations in the wind.
HEINRICH
F
after tion. progress,
of line which present or of pieces preferred Many years ago, the in industrial In the find this crescent, from linear period.
OR an
a number effectual
of
years
there of
has art
the idea of ribbons, fluttering scroll was the form Eckmann scroll, industrial
existed a growing
tendency
toward
penetration that
into life, which, on the one hand, living: of is, strives life mode conducting
aims at the art of an artistic
art; that was in the Rococo only
art we again
and, on the other hand, laws of art applied, to exterior This architecture tendency
desires to see the customs, decora-
instead of the simple the Rococo, of
to our daily and interior shows
which dominated interlaced this forms, Thus of special
we have several Apart
crescent silhouettes. method industrial
remarkable as something near our life, say, to If would train-
combining
if it can be regarded Art no longer modern
modern
art is, to a great
more than fashion, and humor.
or as not due to chance one might education
extent, confined to lines, and not to models. the Eckmann style makes a specialty of industrial art which wall decApart juxtaone or of the rather than with models: stuffs, carpets, ornamentation. but the parallel Whether those branches
but our very life itself, use a well-known be more thorough, Good beginnings to naught.
expression.
deal with planes, such as ornamented oration, and book from the Eckmann
such were our aim, average
and the aesthetic
ing of the human race generally
improved.
style, the scroll does not especially
are not easy to be brought beyond the and and passes as
always predominate, position in ornamental
But in spite of this, it is cerand experiment; understand
of lines is much sought, furniture.
tain that we are not yet advanced the first steps of seeking that we do not definitely difference antique English through through craftsman knowledge, uality
speaks of Van der Velde at Brussels, Duboisson lish or main object regard branches treat especially the latter diffusion find parallel linear or Verneuil German definite at Paris, decorated form. We furniture, nearly
or of Eng-
between style and Nature, between between Japanese new German style possible ideas, between Every
and modern,
is to produce lines governing forms, but
lines, and to disalways not only those all others, to
old German.
the mind of the art industrialist, that of the architect. believes but we find very that he possesses
of industrial
art which necessarily almost of furniture:
The modern much little individ-
the decoration we may
attribute
the introducand the the Emart. We as to
and very little which bears the imof modern ifi atIndusprinciples.
tion of the new style into Germany, of the same throughout our modern open industrial pire. ed for might, It is to England perhaps,
press of our nationality. First of all, it is characteristic industrial tached to linear than to plastic art that more importance
that we are indebtthe question
The essential point of the Eckmann
the source whence it was derived,
and as to
607
THE
CRAFTSMAN
aelites sought stimulation in Italian painting, so the English art industrialists turned to account the miniature Japanese art; not only borrowing English, general, from it ideas, but gaining From this point of view and studied. therefrom models.
the manner in which it has developed in the country mentioned. Above all, it must be remembered that the new art has grown naturally in England, The and is not to be assigned to culture. source from which it sprang exists in England. For this modern English style of industrial art is just what in other branches we Tennyson, Rossetti call pre-Raphaelitism. and Swinburne are not only the godfathers of Burne-Jones and Watts, but also of the The sennew English interior decoration. timent which found expression in English poetry of the middle nineteenth century, demanded not only the representation of delicacy_ and sensitiveness in painting-and this demand satisfied the English preRaphaelites,-but also required from architecture dwellings adapted to foster templation. conThus arose the modern Eng-
and modern art industrialists in are to be regarded
.Later, other nations, the Germans, the Belgians andthe French drew on the one hand from the same source-that Japanese miniature art-and, is, from the on the other
hand, from a second source, in that they derived from the English enthusiasm, and even the models themselves, after they had adopted the Japanese style. Wherever, in the whole world, one sees a modern arrangement of a room, it has its origin in England and Japan. We must not, however, overlook the fact that England set to work more radically ; that she possessed exactly.- the right source; that she was able to nourish all branches of artistic creation and homelife from the same world of feeling. Even the climate was in her favor. Truly, there are, especially on the east coast of England rough storms, but the climate in general is mild and equable, while frequent fog makes everything appear in soft, indistinct forms. England is a land of meadows, pastures, and gardens. The English woman is characterized by her white complexion, her slender figure, and her luxuriant hair. To complete the artistic whole the modern English house was needed. Further, let one add the modern arrangement of rooms, the corresponding industrial art, on the walls pictures after Burne-Jones style, the poems of Swinburne or Browning, the playing of familiar chamber music, and one has a harmony from which we deduce that industrial art is something not due to chance, or
lish style of home which we, in Germany, have. excellently imitated during recent years. rior, Suitable arrangement however, of the interefined was still wanting,
decorative art, intimate or homely inside architecture, and homely industrial art. But from where could we obtain suitable models? The feeling which existed was not such. We had, at sufficient to originate
least, to obtain a hold on something, to produce something lasting. Fortunately, international communication brought about our acquaintance with Chinese and Japanese industrial art. things sought. Here we found the Namely, the small, refined
and. very delicate Japanese, whose objects of daily use appeared like dolls playthings, whose dwellings harmonized with their feelings, and their natural surroundings, with their country quate model.
508
and soil, supplied the adeJust as English pre-Raph-
JIODE:RN
fashion; which. part that it is not cvcn horrowcd. this tidal wave of touching other whole. countries, Belgium was precisely
INDUSTRIM,
It a feeling, is technical trouble
ART
whose only occupation csecution, from the artist, whose and who does not has occasioned art can alone not only work all, scrolls For little These
id
tion of the artisan, only occupation about thcsc conditions. be helped the mold bons, art face, opment form, material, produce but is for or composition, and not and to feel only
caused
is design, the material,
sin~il~~rii~ovciiieiit~liich is simply an integral of a great had also its Browning, France Joseph namely Maurice and, just into Riaetcrlinck. a i\lallarm6, a as English csistence preunder it
Industrial but, also more than plastically, lines, as well. very
when the artists
trace the to to rib-
had a Paul Verlaine, P&ladin,

CAlllC
into learn and
Haphaclitism symbolism sprang
in order
in France,
so, in Germany,
up under tbeosophy
and occultism. style of
bodies
industrial bodily surdcvelplane
Just in this way, too, the English home was transmitted lands, ored in Germany and Burne-Jones
the most, part, line-form. But
plastic, already
to most other cultured was not less honthat the leaders the linear to the the Eckmann crescents models. style; nor inpoint is it, rather suited is and scroll, the paralSuch is
possessing
than in England.
is beginning. industrial
beginnings, has to assign
It is easy to understand of this movement preferred plastic dustrial principle. Also, art, the Eckmann and Japanese the German suggests art. for instance, cane with
which modern to the influcncc as ceramic develop
of ceramics,
arc very imporend. Just industrial this techand has
tant, and will lead to the right achievement pottery. preceded From art, so the future from industrial
lel lines, and the interlaced to English not truly This strictly
art. style will
nique, scnsc of form articles so far of left use.
can be developed, this feeling
speaking, character
naturalistic,
or beautiful.
wc can learn to feel plastically, To-day,
cvcn in our
Eastern, is exactly ridges suit2
than Western ern furniture, to the bound small
The style of our modmaterial, narrow oak, which
us, that we do not understand fear and trembling. arc bound, is not suitable
The E&St
even how to make a chair, on which one may sit without Asiatic fetters. German of studying nttcntion forms hare so filled our minds, that as it wcrc in for a Japfor a Sorth oursclrcs to our The That which is suitable
Japanese together laths. of But
it is not
to the
our own feelings ancse tea-house S&ire,
substance
our German perfect violated
our linden of style we ribbons and in
and nut trees, inasmuch laws of art-the to material-is in wrought-iron needle-work is given thcrc
as one of the first

adiLptati0~1
sitting-roonl.
Even in our studies
by it. work,
To-day,
wc llitvc limited to the form of
find this scroll and thcsc fluttering tcchnicnl Too in book orn:11Hcl~ti~tion, in furniture, designs. little to the
IlXLtWiirl,
the lines, instead of directing the plant.
as well as attention
latter should bc the first, and the former the second sut)*ject of study. to be commended ing from gall It WiLScertainly of Paris, bcthat WC, instead of drawSature
too much is deout in lines, and or working of
signed, too nlucl~ work4 is too little modeling, tlic ni:xtcri;xl itself.
models, and plaster
to dlXW from
; but,
unfortu-
The disastrous sepra-
nately, only the lines of the lcavcs and blos-
soms interested whole dustrial of form, tioned ceramics, markable structure art; undoubtedly,
us, not the form of the plant.
and There
the is,
occasion purpose the material,
for
industrial of this
art is the nerd or From the origexists, within look of it at art: and of occasion with
which an article must serve. by means of the instinct received from Nature, art. The cupboard Only works pretty, cupboards, things. but not
a richness from
of line in our inof richness menby remade
connection
but little is found beginnings
apart
the previously
the impressions trial work of of
remarkable especially
inates the work of art, especially that we may be able to preserve certain all they our
lVZiCR,
the indus-
in Denmark-more delicate
to be sure for
coloring in our stress Nature, farand
than for the invention It would, therefore, industrial not only art
of really new forms. if special of
our belongings. industrial original, and costly,
be commendable
our are
modern
education,
elegant as of It is an industrial the
were laid upon developing through but also through Eckmnnn, ther and occupied lisieren agination. article. principle pays pose; article isticallv cation. Many and artist aim elegance persons, of and farther himself modeling
the sense of form, and molding. departed study
and everything. modern our glasses, csperiment, play, clcs of
One can say the same of looking-glasses,
observation years,
chairs
knife-handles, similar
in later from
and other luxury: use.
Nature
a game with ideas, it is childs fashion, We of which is to create artiare not yet beyond that is to be opened for curiosities. art, as the A
more and more with Sti-
(conventionalization). He also endeavored And of here, wc touch modern regard
One canstrongly another art, to
art,, the purpose
not deny t,h:Lt he had fine taste and rich imrespect the destined use and purpose industrial of the false which while
t isle of the best room,
only once a year, and of the glass cupboard which scrvcs as a rcccptaclc ,\rt as occasional ;Lrt of objects knife, for nothing. art, industrial
too much
to the artist,
of IISC,can alone help us.
really the article owed its origin if it be not so consitlered, of luxury, called and luxury in original
to the purit is only an is cliarncterdislothe end to be an when
with which one cannot Induitrial for the best
cut, is worth room, and the But it beat the
art \vhicli works only
museums,
German:
glass cupboard, should ginnings Vienna, interest much active. have
is also worth little. occurred,
be remcmbcred Darmstadt, in industrial
tl~at important particularly
however, consider industrial so that art
modern
and Brussels; art to-day
that
richness, to form beyond
is a real and Much
undertakes and far
a vase, or somcthe reach art. of the The
and warm one ; that much talent and power. fancy and industrv are abroad The morement is initiated.
thing similar. he sl~ould make it as costly as possible, people. But all art is occasional
remains to be done.
5 10
E:SCUSES
THE BP ICS(USES ERNI?ST AST month liberately While FOR CROSBY ITGLINESS.
FOR
of of
UGLINESS
the distinctions society. charitable poverty between the different gap between has indeed wealth The ranks and amount increased after all, The
L
proving cation ugliness,
was never so great. gifts
I tried to show that for we have been dethe world ugly. in making
the past century
enormously, chasm.
but these constitute
only a feeble effort
to fill up the widening alone for
I merely touched the subject I think that I succeeded can deny The the
on the surface, fair-minded for
It is then on the plane of comfort that we must seek our indemnification the ugliness of of our times. As First must note the so-called machinery. that ample work of many posed give labor-saving
my point, alid I do not see how any person general must be of only justifito the hu-
of all. we effects does the

sup-
truth of the indictment. such deliberate resulting from in it. some compensating man race, or involved perhaps
action
the machine introduction
advantages
men, it was naturally to the workman.
the increase
Its general leisure
would But Never and we the harder. of of
Surely the sacloss to mankind, if there such, it And
rifice of beauty but it might
is a great
tile results have been quite otherwise. was child-labor tion proof Hours of see to-dav that so cruel as after in Lancashire, makes life machinery
be warranted, gain.
the adop-
were counterbalancing
is claimed, we have to show. The first thing which strikes me in csamining these alleged gains is that they are all on a comparatively of beauty thetics, higher century planes. any spects very morality, is not region the low plane. highest. The plane of aesis a There and ugliness, of religion the plane
in the Southern machinery
cotton-mill
of labor are indeed shorter, but this has not been the consequence of machinery, but rather of the workmen
shortening
the invention the combination unions, a trifling condition
into tradeof steam.
and morality-of
and their insistence
upon obtninitig
spirit and ethics-but
all that t,llc nineteenth
5harc in the benefits of the worker instance: for he learned
has to offer lies below any of these No one claims that there has been notable advance in religion or and, if our standards in some rethere is and the The new
The best way to judge
of tlrc comparative at the beginning century is that of a jour4 hunhis trade as an
and at the (2nd of the nineteenth to take a typical neyman dred vcars apprentice, ago, boottnaker, becoming instance.
are growing development
more humane,
no connection material ugliness of This justice sion,
between this growth
which has caused the
a member of the famHe made a whole pair the man for whom interest and he their and up came back to
of which we complain. and decrease by of
ily of his employer.
ndrnntages comforts matter
are all in the nature of increase hardships. can be enthe spirit of of human comfort
of boots himself, knowing in their life. They
he made them and taking a personal probably him to be half-soled perfection, and repaired, pass
nobled,
if it is informed and fraternity;
but there is no preespanto accentuate
could watch their progress down the street.
and enjoy
tense of this spirit which
in our material
as he saw them
has served only
His work-bench
was, more 511
THE
CRAFTSMAN
of the machine. The telegraph, railway, Many of our inventions space. wired and wireless, teleelectric-car, automobile, are in the direction of annihilating phone,
or less, a social centre, and, as he worked, he could look out on the daily life of the town. Sooner or later, he set up for himself, and if he worked long hours, he was paid for them and lengthened them voluntarily. He became a necessary part of his to give and This was more is not neighborhood, with full opportunity play to his individuality. or less true of Longfellows Village
steamboat, etc. I these are our chief boast, and, to sum them all up, what do they all amount to? of the earth. Is that such you They sim,ply reduce the size The world is a hundredfold a desirable achievement?
all manual callings, Blacksmith
smaller than it was a hundred years ago. Would rather live in a six-by-four When
an exaggerated picture of the workman of old times. Put over against him the bootmaker of to-day, incarcerated for so many hours a day in a hideous building totally separated from neighborhood life, with the deafening noise of machinery forbidding conversation ; performing the same mechanical act upon some small part of a shoe with lightning swiftness, hour after hour, in a dusty atmosphere redolent with the sickening smell of glue, an8 with the dreariness and monotony relieved by nothing but the pleasure of waiting for the end of the day. What if the hours are a little shorter and the pay a little higher, there still lies between the two men all the difference between the freeman and the slave !, From the point of view of the consumer it is true. we find many new comforts But have they brought greater satisfaction? Should we not be better off, if we made bonfires of three-quarters of the things in our houses ? Is not one engraving, prized, studied, and given the place of honor on the wall, worth a drawer full of photographs? The more knick-knacks we acquire, the more we want, and as we get a taste for cheap, machine-made articles, we .cease to produce artistic hand made ones. Shoddy, adulteration, falsehood of all kinds, lie at the door
asteroid, or in a great immeasurable planet? The larger the better, I should say. we may see and hear the whole world at once and travel round it in two minutes, I shall be ready to remove to some globe having elbow-room to spare. so close together And this shrinking of the .size of the world has brought people that they are growing _ alike, in dress, manners and speech, and their towns begin to look one like the other ; so that a century ago, you could find more variety in the next county than you can find to-day across the-sea. I confess that I like variety, and a world big enough to give it opportunity, and I should be willing to make a long journey in order to, discover a village not exactly like my village, and a man not exactly like myself. So I look upon the nineteenth century, with its great material development, largely as a cheat. It has taken away much of the beauty of Nature and of art, and it has given us instead falsehoods which will not for a moment bear examination. The truth is that we have been shamefully defrauded. We have bought a gold brick ; our good money has gone, and the brick is not worth its weight in pig-iron.
512
producing the ordinary The house the in The present too Oraftsman year in any is decity in to hlstration, tions thcr latch, Of and, of
fOUl.tWll
with entrance
it a color-cflect or forest shown the by door,
familiar landscapr. in detailed propor-
in il-
country pleases of
TV
Scrics sign4 which permit
1110
ll~illdnd, IlOUSO twiity
IIli: eighth for space
relative panels. resides
of its solid and glazed element decoration the lanterns, a11 of which a beautiful into
A fnrin the and hav-
to be crcctcd is not residences.

ill1
valuable
hanging ing
knocker,
hinges
of dct:lchcd
COVCIS
are in wrought-iron surface-texture. the IIOIISC, and beneath

irig with
arca feet, a lot the and
squaw
for at
proIcast at a line. the by
IiLssing cellar and means upon Of the room the solution The jected
darker
beginning we find the entire at the ouside opens the of steps. living Here, with a soft texture. suba Shows
Ixr sixty
position,
it requires distance from
our csnmination building grade
at the foundations,
cOnl~1lllrliCilt
fcet frontage, sought simple esccpt
and to be set back street devoid results is for a low,sqnarc in line, that of which
cstending of space is of a rear
considcr;~blc The effect sition, tlie very ornament, careful tivc or useful roof-line, roof,
be
compoof all from
door
which floor treated
the landing more gum and
of 8 flight than wood, a third.
of the first
trcatmcnt fcaturcs the the chimneys
certain
constrricthe
TO
occupies finish of iron,
: such as the frowning

perforating balconies. arc plnccd to economize picturesqueness is covcrcd partly by for would effect
iLlld
by which
it is given h:~s been

iIIld
and exterior and
wrought-iron
green-brown floor to the shade walls with plaster has
color
SRllle
a satin-like which
more
explicit
: the chimneys
principally for story, favcs drcply second
in
is of maple,
the
walls porch,
solution, with
space, partly
.sccondarily
of the brown WC hung tint, beairi~, iIII(l shows built hearth,
seen in the finish. canvas of partisand-fina the ceiling, rough, of spaces. hard-burned limestone, a copper romdesign and
the front the widely balconics comfort, result in the
recessed, and
illX!
The tioned ished

ThC
by the which, prevent fiu$c.
golden-ochrc
pro.jcct,ing what,
of the roof : the proridrd them,
first of all,
in the intcrvcning an arch red-tiled with light the of rock-faced a trefoil units. fixtures
without
filT-plilW,
in :L monotonous
and too smooth arc simple covered being The or tiles.
brick, a hood, posed The copper, oak. The motif, The wood,
square,
Ihc strurturid procurable Tl~c fraiiic in illlv work
IlliXtCri:LlS
wrought electric and leadctl with
locality is slicathcd,
of tllc
country. with added rough

itlY2
of gingko-plant furniture window
arc of iron and of brown fumed gingko and the in gum is the stained are 515 walls
Iiltll and rougli to the ccmcnt, colt1 grav cast alSo roof of aurnlounted The 1~:)n.n to :I dark of
cast ; ii pigment in order tlic tll? to rcmovc chimneys, pots, with substance.
the natural which
repcats in soft in clear instanre, Here,
the green,
Covers
the leaves room in green.
bv red clay is covcrctl all the gr,(n,
remainder stained tlccp and
of the design dining this
glass.
shin&s, with wood-work,
is also
finished
harmonizing cstcrior
the
which,
to :I dct~p, rich
1 7
Craftsman 51(i
House,
Series of 19(!4, ?uumber VIII.
Side elevation
Craftsman House, Series of 1904, Number VIII. Plan of first floor
Craftsman Howe, Series of 1~4, Number VIII. Plan of second floor
hung tops of
with Golwlin of the doors. straw-colored design sliows Tlic are of field of wood. second
011es
l)lric canras pltv3d Above canvas, this, and are
to the height runs tlie a frieze with ceiling open of oak, light it
of
(arolina may
pine, he either grass room.
stained tinted,
brown,
and
the with of
of a flat molding,
on n level wit11 the stenciled between here electric by
walls
or hung exposure story
Japanese or fahic, the special The of wooden Above to living storage

~nc:~s~lrcS
cloth;
the color
of the tint,
to be ncl:~l~ted to the fire-place with shelf tlic space, of the second an sections wliicll arched of the there completes cnsiirccl
gingko again
b@llllS.
in rough
green, plaster honn
is built and n
movalh of
copper ;
brick,
opening house
fumed fixtures built shelf The fire large, finisltcd ilurtching trim
s111:tllcr
to a dark
; the
supported
on brick is a large
corbels. dcwtcd attic or
and the
fire-place a lic:~vy contains and wItI two n arc doors the nre
stones, floor
is topped of being floor, cualncl, wllicll

story.
purposes, for comfort (r:~ftsman It end
tllo sufficient in other VIII. parts will
tlic
liousc in size, pro~itlcd tlic with The
Mrooms
: tlirec ; each
this white the hall,
first the
ample
of tlic hiilding. The not,

HOLIW ~umlwr
convenient, in of
closet. rooms tlic floors
it is h2licvcc1, fall below is siniple

would not
its predecessors refir;cd tlic in npeffect of its
Tliror~glmut
in merit. pcariuice, nn cost
and mar street,
continues
il~l~~Ol+i~llt
residential
dtlloug11
is sm:~ll, hing
approximately
$3,800. with is the The of the
T
at,tractions the roof, compose ngrecublc. The shingles a moss left tone. into the painted
EIE Iiouse
shown iii the nccompany has been
sitvatctl
are of 1oc:d field stones, tlccply cscawtccl l~msc, interior living, and %Lkcd-out, hncntli contains
hit1 in mortar, The area furnace. tllosc being the
joints. the entire
cellar of
ing
illustrations lllodcst
OT
designed
n hot-air plastered: l~ctlrooms those
as
:\ ire,
110111c,
IYlriLl
iii
SW11
w-rills are dining alid
Slll)ll~l)illl
districts. than suggesting
tinted kitchen. stiplast inthe tlir
in persped
it II:L~ more end dwellings. chimney, pict~:resque which
ortlinar~ that ceiling of and with to are and
in water-colors, pantry pled. nientioncd rcwnaining terior liung room Yrim and
:md l~:~tlwoom,
of
: its gable
painted thee maple, pine.
nncl rooms
of old I:nglisli Tlic exterior tlw
T11c floors are ones to of
of the white
tlic c~rposed the slinrp dormw
wit11 tlic The

in
txw!~3 of the first-story, a whole frame
incline niiidons,
of Georgia :I light
is of cllestnut, green. ii cli~rkcr slxdc
Stililld
is distinctive
IIere,
floor sliows of tlrc 1Ioiisc is covered of tlw roof while remaining and the white. tlmw in wcidcnts window The being of tlic st:linetl sitlvs
of the same color, in goldcri the and of how-n in ceiling decoration simplicity to our esti-
nnd the side wr-nlls :iw liiung Japanese light arc In this in order mate grass interior, to limit cloth, and to tlic with tawcolor restricted of $1,800.
: those
green, The
tlv.2 mov&les the finish cstrcmc
in brown.
to weather doors a crcnmy
of color casings
woodwork
entering is foundations
tlic espenditure
,511
Bco ROOM
10-9
x 12-o
I _~ .THE
CHIPS FROM THE WORKSHOP
CR,AFTSMAN
he does, not in the cold, critical humor .of the artist who seeks the principle of such or such a phenomenon, but rather after the
CRAFTSMAN
HE CRAFTSMAN
still sits in his
manner of a true lover who always adores but never questions. The garden has become the Craftsmans paradise. He remembers To him For 1 it as he lies down at night, and his eyes-seek it as he awakens in the morning. it is a substitute for human companionship, since his life is of necessity solitary. him it expands into a great, field of the imagination, offering the pleasures and surprises of travel, the beauties of pure thought, the marvels of science, through the sight of some familiar but suggestive product of Nature. And such suggestiveness is necessary not only to the happiness of the toiler, but also to the successful exercise and application of his manual skill. It represents to him leisure, rest, beauty-everything effort for. which men long with a degree of conscious proportionate to their sensitiveness Poor and pledged to unreand culture. mitting labor, he finds in the garden an element of pleasure whichmakes him superior to the hard conditions of his life. But, as he himself realizes, his pleasure is dependent upon his manner of posses_sion. Had he the deed of the garden, did he bear the expenses and cares of its material ownership, selfishness would enter into his heart to cast out the fine sense of participation which makes the burden of his work light. The Craftsman recognizes that individual possession is all too liable to create poverty in the mind and heart of the owner. He feels that the beauty of his garden, like the Love Divine of which Dante wrote, is multiplied in the proportion in which it is shared on _equal terms.
narrow workshop, toiling through the summer heat as he did through the dark, trying days of winter.
But now, he can look abroad upon humanity, as he sees it represented in the square He really upon which his own door opens. sees moving before him society in small, with its elements of honor and fraud, its forces that make or mar, its types which constitute the kaleidoscopic whole. Yet oftentimes, the people weary him, since he sees in their actions only the development and expression of what exists latently within himself. At such moments he turns for solace and enjoym.ent to Nature, who smiles graciously- from the midst of the dust and the asphalt of the populous square. There, a little public garden, or rather, plat of turf, is starred with flower-beds which are now alight with the brilliant colors of midsummer. From this beauty, the Craftsman refreshes himself, at the various .periods of the day. He is as familiar with the different the aspects of the garden, of as with characteristic moods his dearest in its morn-
human friend.
He rejoices
ing freshness, which inspires him daily with a new desire to create and to accomplish. At noon, he takes a more tranquil pleasure f in watching the white light, which, descending through the burning air, weakens the colors and obscures the outlines, touching everything with grayness. At evening, he delights to note the changes in values of the reds, yellows and greens of his favorite flowers, caused by the gradual And all this
withdrawal of the suns light. :-
J&nes
McCreery
Upholstery Dept
61 Co.
simple or
Orisntal RI&S, fine mattin&, and elaborate drapery stuffs, for Country Houses Craftsman Furniture, in its latest plain or inlaid with metal.
A suddestion of the meetind of Nouveau of the Craftsman School.
modals,pure outline.
Art and the true.
Twenty-third Street New York
REALIZING TEN-CENT
THE INCREASING POPULARITY OF THE MAGAZINE, AND DESIRING TO PLACE
CAMERA
ONE
CAMERA
114 GEARY
CRAFT
WHO WISH TO FRIENDS, THE CAMERA CRAFT TO :: :: :: :: ::
WITHIN REACH OF ALL THOSE REMEMBER THEIR PHOTOGRAPHIC YEARLY SUBSCRIPTION RATE TO :: :: :: :: :: HAS BEEN REDUCED
DOLLAR
CRAFT
STREET,
PUBLISHING
SAN FRANCISCO,
COMPANY
CALIFORNIA
Kindly
mention
The
Craftsman
ouis Fair by Water

\
TSIT$qiigp
/I i> ,,,-.
The Northern Steamship Company will give worlds fair visitors option of two routes-steamer Buffalo to Chicago and rail to St. Louis, or steamer Buffalo to Duluth, rail to St. Paul, and Mississippi River steamer to St. Louis. Steamship North-Land, in commission between Buffalo and Chicago, leaving Buffalo Wednesdays and Chicago Saturdavs. Steamship North-West: Buffalo 2nd Duluth, leaving Duluth Tuesdays.
*-NY)
,
mp-
/
: :
in commission between Buffalo Saturdays and
Write for full particulars reg great Great Lakes tours during Season r904.
Address W. M. LO WRIE. JAMES, President.
HOWARD
Genl Passenger Agent, Buffalo, N. Y
Kindly mention The Craftsman
CRAFTSMAN
MADE AT THE
LET US SHOW
WHAT
WE CAN
DO
An Exchangeable Book
and
AN AND ING
ENTIRELY AN TO
NEW
IDEA SAV-
IMMENSE BOOK
BUYERS
Our
August Offer
The Craftsman for $3.00

See
For $3.00 we will mail you The Craftsman for one year and in addition you can haae any book issued by ihe Tabard Inn Library, which includes ali the latest fiction, and in fact all books which haoe any standing with the reading ublic. The price of The Craftsman aP one is $3.00 a year and the book you choose will be a copy of the oery latest publication in jEne cloth binding. This will be delivered to you in a Tabard Inn Library case.
What
Yoti Save
YOU GET A MAGAZINE for one year which gives a knowledge of how to build, furnish and decorate your home, and which keeps you in touch with the ,Handicraft Movement the world over. In addition, YOU HAVE YOUR CHOICE OF ONE BOOK from a list made up of the latest and best fiction, the possession of which carries with it a permanent exchange privilege. The saving to you will be beyond computation, for it will extend as long as you continue to be a reader of books. After you are through reading this volume put it back in its Tabard Inn case, take it to any Tabard Inn station in the world-there are many thousands of them-and by the payment of an exchange fee of five cents (SC.) you can turn in your book and receive any book on the library shelves. If you prefer, keep the book always-it is exchangeable at any time.
The Service
The Tabard Inn carries books may make exchanges. and 500 books, are placed in thebooks at the sub-stations YOUR up-to-date hooks. its books to convenient centrally located sub-stations where those hav;ng The book-cases (of a quaint Tabard Inn design) holding 75, 125, 250, attractive shops, covering practically the entire United States. Some of are removed at regular intervals and others substituted, thus providing BOOK CAN BE CARRIED ANYWHERE AND EXCHAL~GED
ANYWHERE-TWICE A DAY, BVERY DAY, EVERY WEEK, R ONLY ONCE A MONTH. The volume in its cloth case is the only identification necessary anywhere and the privilege
is yours for all time to come, at no extra cost.
Send Us Yaw
Choose what book issue of The Craftsman
Check
Today
current
you want, and you will receive without delay the and the book you select in a Tabard Inn case.
THE
CRAFTSMAN,
c raft sman%ailding, Syracuse,
/v. Y.
Send your Check for $3 and receive any Book and The Craftsman for One Year
A FEW SUGGESTIONS OF NEW PUBLICATIONS
Em.,~on Dwrphr The Lay Char/e, Ala,~ Gors to Town Frnnrrr Aymn, Oln,c If,,mnn Julian M. Hough Ttlron Xolpb Thurrron 2.. Murray Cbolmondrlry Matthew, Hullond K. Yirlc Long Moore S,o,r Brink, G,rcn Nnrtc
The
Forest
Hearth
Chnrlcr Christmas F. ~ophinson
Major Smith
Circumstance Claybornes, Confessions Conqueror, Courageof Desert Dri The of a Wife, The Conviction.The The
Weir Mary Ge,t,udr
Mirrhrll Sop Adorn, Athrrron
Mississippi Miss Millmnaircss. Mistress Mile. Moth and
Bubble.
The
Colonel The The
Carters
Ifilliam
Petticoats Brent Rst Peggy
Little
Shepherd
of Kingdom Come John Fox. Jr. H. Spearman
Dauehter
of a Magnate Frank Henry
T. R. Sullivan Ballark Faotc
Fouchette
Barlasch Herper The The The The The The The The The Sally John The The When The Rebecca Heart
of the Guard &ton rfr,~-,~~u= Hom,in Gnrlnnd Crawford Dorothy DovIe Donovzn Eternal Every Fortunes Four Vorothy
and the Sown, The Mary and I Vernon South Pasha C!y. Inch The a King Horn, of Haddan
My Lady
Irutng
~,zrhrlle, My Japanese Mojo, Parke, Caine Myra Naughty Nan Needles None Oldfirld On the Great Openings Paul Kelvrr Pasteboard Pit. The Irince Puppet R~SOIIS Remedy Reien Richard Right K. F-i,lc Sapr Kipling Zolo Hnrlnnd Morrha,, Morrir Maron Habbrr Crawford Brolun Part,, Those Ruling Sarita, Speckled Spenders. Strollrrs. Tarry Thra,, of Good Crown, Folly of the Pints
of Rome
F. Marion
Hal Chorlcr Gilbm Ho/l
Wife
Adventures
of Gerard Sir A. conan Sronlry
George Gory Egglrrton
John Luther A F. F,..kfo,t Hnmb/,n Annry Highway llurron Jam,, a9nnn Kvthorinc Brrr Jcrom uorn Frank Frllows. The Ruhard A Jomrr Clara The The The Harold
Eye. The
Flu,rnrcMo,,r Kingrlry
Long . Night Maids of Paradise One Woman Sherrods Call Web Duke Decides Hesitates of the Wild
3. pivmon
Nest of Linnets.
Rohrrt pi. Chambers ~homnr Dixon J,. i3z.r ,IlrCurrhron Jock Frrdrrirh WI/l Headon LTnrrir London Hill Pnyne Hz/l Dirhrun
Jorcphinr
C. Sourer Smith Moron
But the Brare
of Oliver The
~co,~r
Thr F. Hopkinron A. E. w.
Feathers.
Crrrlmnn
T,,uo,
Francezka Graustark Hearts Helmet Hope Hound House In Spite Courageous of Navarre. Loring of the Baskervillrs. With the Green The
Molly Elliot Suwrll George Ba,, XrCurrhmn H. E. R,,,., Brrtbn The Sir sl. Conon Runblc Bell ayyl. Ltlinn
One of hly Sons
in the Old Trail Crown, The
Mr. Salt She That Burt Relentless Silver Boss of Sunnybrook Prosper Prince the l&n limmies Mauri<, Poppy City
K. Jwoms
nforrtr
norrir
of hlissouri
R. E. Young F. U. Adam Frank Arthur Alfred Henry Danby Strin?,, Lewir Wirgin Harland MrCorrhy Lilinn B./I Tbumpron Atbrrran Juhnrron Glargaw Douir Dgkc Cob/c Van Arnim E. F. Benron A. R-. Afnrrhmanr Farm Kate Dow/m H,n,y Ifunrly
Rob<,, Barr MorCmth El/r Lnnc Kirk Allrn Blnrk Van D,kc Mnlrt I&ilran S. Irhom Hn.dm~Z)nvir
Pigs in Clover
Shutters. The Grurgr Douglorr Edno I.pzll Chnrlrr F,~lnrrr
for Love, of Law. Gordon Princess.Thr Passion, the Carlist
of All God Forgot Moon,
I was Czar
In thr Country
Al,xondr, Hmry
Inn of the Silver Jack Just Kate Ki, Labor Lady Licerte Little Lift White Bird, A Paramount. Raymond
The Human Rirhnrd Frank Rudynrd
LouireBurnbnn
E. I.. Yoynirh The R. Storkron Emilr The Mary The Hm,y Edward
My Friend The Alice Alien, Proud Abroad
A. M. Mo,rhmonl Lurar Auswrn Evnnx
and the Uoiust, Bonnet
Sir Richard
Calmady Bird, The The The A
With The
of Old Vincennes The
Nz,,Y I.03 w,,ron F,rdr,i<k Dolf ?Zy//ordr cm&-e Cm/y xnric Corrlli
F. F. Monrrrra, Gmrudr Mn,~ E. Al. Harnun~
Aristocrats. At Large Audrey Barbara Belsharzar Benefactress Blue Flower. Bylow Castle Captain. Captain Cardinals Cavalier. Calumet Cecilia Hill
Story of Eden. Temporal
LZUa,,e
II. Cnrbrrwood J. .I,. Barri, Clara
Thou Till f Come Iowrr
Ladd The
Chorlrr Rillinm The
G. D. Robrrtr El,, Sfrornr
on the Stage
of Leif the Lucky. The Otrilic A. LiljLnr,.nrz; Delightful of Blent The The Henry Amrricans Mrr. Ewmrd dnfhuny Sidnq &ton Cotrr a0,c MrCall Me,,imon Wirr,, G,p
Baxleground.
Lily of France,
CnralincRtwn~r, Olin,,
Love and the Soul Hunters John Lord Alingham, Bankrupt Mask, The Frrd Marietta Man in the Iron Margaret Mary Many Grrrin Waters of Lady warrencr
Tristram Truth Two Vrlvet Victors. When Wooing
Hmq
Van
MorirMann~n~ TigbcHopkinr Alire Laoi, Robsrt
Dexter Vanrevels. Glove, The The The Blades
George W. Churrhill Rirhnrd The Henry G,a,pr F. Mnrion
F. Marion
Booth l-rznrkin~ton Own
Craneycrow The Macklin The K
GLorgeBnr,,~frCut~hron Uilliomr Douir Hnrland IZ. Cob/r Crowford HardinK
Virginian,
Robert Barr Elinar Are Out and Loves Afield Cgru, Townrrnd Brady The G.ore R hp
Snuff Box,
Shnrklrmn
Visits of Elirahcth,
Methods
Mmwin-rY,b*re, Misdemeanors
Walderhurst. The Frnnrcr Hodpon Burnett The El~nno, Hoyt
of Nancy,
of Wisteria,
The Craftsman,
Craftsman Building, Syracuse, N. Y.
Your Spare Time

We will pay Cash for it
WE
WANT
SUBSCRIPTION A.ND cash HAVE
AGENTS A MOST
EVERYWHERE ATTRACTIVE SEND
PROPOSITION CIRCULAk SUBSCRIBERS
FOR.OUR NEW
REGARDING
IS TH;
OLDEST
AND
MOST
BEAUOF ALL
TIFULLY THE
ILLUSTRATED
PHOTOGRAPHIC
COPY SENT
JOURNALS
ON REQUEST
A SAMPLE
Address THE
PHOTOGRAPHIC
TIMES - BULLETIN
75-77 EIGHTH AVENUE, NEW YORK
Kindly
mention
The
Craftsman
have much
pleasure
in announcing that they have been for the sale of an important volume
appointed entitled
American Agents
WILLIAM
An Old English
WITH AN ACCOUNT PRODUCTIONS
ADAMS
Potter
AND THEIR
OF HIS FAMILY
Edited by
WILLIAM
Author of The
TURNER,
of Swansea
F. S. S.
and Nantgarw
Ceramics
THE
BOOK
CONTAINS
ABOUT
THIRTY-THREE TONE PLATE
COLLOTYPE
PLATES,
THIRTY AND WARE
PAGES VASE
OF HALF-
ENGRAVING
ILLUSTRATIONS, JASPER
A COLORED
OF AN ADAMS
Royal
!3vo., cloth,
gilt top, Price $9.50 delivered
KERAMIC
STUDIO
PUBLISHING
Publishers of
CO..
OLD
A rmgazine
SYRACUSE,
N.
Y.
KERAMIC
STUDIO
and Potter
CHINA
A magazine
for the China Painter
fur the Collector
A l$AIQZ OPPOI$TUNITY
TO SECURE THE FEW REMAINING VOLUMES OF THE EARLY NUMBERS OF
THE
CRAFTSMAN
WHICH CONTAIN VALUABLE INFORMATION ON THE HANDICRAFT MOVEMENT NOT TO BE FOUND ELSEWHERE
THESE MAY BE HAD IN CRAFTSMAN IN HALF BINDING OF CRAFTSMAN FULL LEATHER LEATHER OR AND LINEN
Volumes I, II, III and IV Limp Binding, each $3.50 VoIumes I, II, III and IV Half Binding, each $3.00
Table of Contents furnished upon application
Address : GUSTAV STICKLEY, Craftsman Bldg., Syracuse, N. Y.

Requests for Volumes I and Nwill be filled in the order in which they are recezked

The Craftsman - 1904 - 08 - August

Diunggah oleh

Informasi Dokumen

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

The Craftsman - 1904 - 08 - August

Diunggah oleh

Hak Cipta:

Format Tersedia

www.historicalworks.

F GOLDEN GATE% ORIENT.

S. S. Co,, Toyo Kisen Kaisha,

INFORMATION, TABLES, ANY

rye Washington 349 Broadway, I I-

Kindly mention The Craftsman

adding a trip the delightful

Colorado, Utah Mountain

Pacific via the

c*n. P-*~mg~LlraTiskr*Ag1. Dlw3VER. coI.0.

Ki IIdl y mention The Craftsman

rom Chicago daily, Aug. 15 to Sept. 10, inclusive.

low rates from other points.

He is also the possessor of his qualities. there are undermining agents.

of all the demerits in their strength and defor tradition influences

Architecture, the foreign differences generally political

cannot be said to make for prog-

those which, as a rule, distinguish institutions in opposite hereditary differences

from the foreign establishments American formed have

have their fountain

predisposition. and The given

and conditions character manner. has for

which differentiates institution genius tion through American enterprise

the American American birth to and for

organization disciplined brings

and fearsimplicity to ends.

lessness as to obstacles,-an aggressiveness and directness He relies upon

unprejudiced of merit and his business

the habit of, thoroughness is found

hard working, innocent

can never achieve refinecorruption, through

from, or more accurately

threatens the very founda-

tion, inventions, construction; fession and useful

are, therefore, his qualities

not entirely Such have given It, is rein

meritorious to his effort clear that

nor wholly a national

they are, however, from

them his performance individuality from that of men grown

These considerations, ple view the subject

ceives a collective and is distinct

at once the light in which the American of architecture,

It is the normal American, whose achievements Wherever followed

as laymen builders. can They

and critics, They

are, and ought can and should

to be, the develop.

only dominating architecture

forces under which Ameri-

commanded has fully

the astonishment and freely

tion of the old world. his impulses, result This

unhampered been generally most

by the restriction distinctive conspicuously

of old world traditions has consequential. is perhaps

which the art has ever it has had free sometimes

has been distinctive:

materials of construction, ing reflective of

Designed from the inside to the outside

hibits tendencies quite distinct stone forms of the east.

steel cannot In this wry an ddi-

of the normal progress

tional force for unity in national csprcssion.

cn. P-~mg~LlraTiskr*Ag1. Dlw3VER. coI.0.