The Craftsman - 1909 - 09 - September PDF

TIFFANY & Co.
The Establishment & Co. as a Place of Tiffany of Interest
Visitors to New York on the occasion of the Hudson-Fulton celebration will find Tiffany & Co.s establishment a place of especial interest. The various departments of rich diamond and precious stone jewelry, silverware, watches, clocks, bronzes, glass, china and leather goods, contain many unique and beautiful objects which the public are invited to view without obligation to purchase At this season of the year, Tiffany & Co.? manufactures and importations, for the approaching autumn and holiday trade, are finding a place in their respective departments. The Paris and London branches are gathering and shipping, from time to time, artistic merchandise to the New York house The Tiffany Blue Book is prepared with especial reference to those who find it inconvenient to visit New York City and who desire a compact catalogue of Tiffany & Co.s stock, with the price of each article. The Blue Book will be sent free upon request
Fifth Avenue &37th Street New York

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www.historicalworks.com
BATH TUB INSURANCE FREE

A Five Year Guarantee CertificateBacked by a Capital of Seuen and one
half Million Dollars and a life-time

of experience-Furnished Free with Green and Gold Label &&& Baths. A Two Year Guarantee with Red and It has come to our attention that there is a general impression that all Porcelain Enameled Plumbing Fixtures are of genuine *tidar~ make and that, because of this, a practice is made of substituting inferior goods where the genuine *Otis guaranteed equipment is ordered.
To correct this impression and protect our friends and customers against the tendency on the part of the unscrupulous to trade upon the name and reputation of genuine *hti Guaranteed goods, we caution all buyers of plumbing fixtures that every guaranteed SW fixture is plainly labeled as such. If you are to secure full value for your money, if you are to get what you actually pay for, accept only guaranteed y;Jtamdar~ fixtures. And to make doubly sure, insist that every bath tub installed in your home bear either the sM Green and Gold Guarantee Label, or the timlard Red and Black Guarantee Label, according to your choice.
Black Label Baths.
*SMdatd* Green and Cold Label baths are triple enameled, and are guaranteed for five years from date of installation. ?%*~a@ Red and Black Guarantee Label baths are double enameled and are guaranteed for two years.
The %awdars Green and Gold Label bath is the best and most durable made regardless of kind or price. The *SMM Red and Black Label bath tub, selling at a lower price, in serviceability, and sanitary efficiency is second only to the Green and Cold Label bath. We will issue free of charge to each purchaser of a bath tub bearing the ~tardars Green and Gold Label, an official written guarantee, insuring the fixture against defects in material and workmanship for f;oe years, and on Red and Black Label baths the same guarantee for two years. Full information sent upon request. Do not specify or place your order for bath room equipment without investigating the value and importance of our guarantee. -
Dept.
e ,...S..
39,
Pittsburgh,
Pa.
I
8 r.
_I V ..li
* .T
O&es and Showrooms: New York: 35-37 Building. Chicago: 415 Ashland Block. St. Philadelphia : I I28 Walnut Street. New Huron Road, S. E. Toronto. Canada: Kindly
W. 3lat Street. Pittsburgh> 949 Penn Avenue. Boston: 712 Paddock Louis: 100-102 N. Fourth Street. L ouisville: 325-329 W. Main Street. O&am: Comer Baronne and St. Joseph Streets. Cleveland: 640-652 59 Richmond Street. E. Montreal. Canada: 39 St. Sacrament Street The Craftsman
mention
ii
THECRAFTSMAN
VOLUME XVI
SEPTEMBER,
1909
NUMBER 6
The Auk Mother The Evils of American

Archaic Methods Condemned
. School
Systems
Suggested
LOUIS POLGT, SCU~$OT Frontispiece BJ~ Parker H. Sercomhe 603 By Strra Teusdale By .Yutidie C~tis 611
612
and Remedies
The The
Prayer: A Poem People of the Totem-Pbles

Legends
Their Art and Illustrated
By Murie Louise Goctchius And These, Too, Are Mothers: A Story . California Landscapes in which the Vigor and Wild Beauty By Ifnmta .4strzrt, Larsen of the Golden State Are Manifest . . .
Illustrated
622 630 638 644
London
Municipal
Arts and Crafts
Schools
to Become
By E1-ucst 24
R~~Ic~UV,
Where the Unskilled Laborer Is Trained to Supplement His Work in the Shops
a Craftsman,
Excellent Things . . . . . The Work of Finnish Artists Who Paint Their Country and People with Insight and Force
Illustrated
O&n .
645 650 656 663 664 669 670
The The
Need Quiet
of Manual Philosopher
Training
in the Development . . . . .
Illustrated
of the Wabash
of Our Nation By Joseph F. Dawiels By George Bicklfell . Ry Aileen Cleveland Higgins By Mary Ralzkirz Cranston By Edward Wilbur Mason By A udre TPido$t
and Soberness
The Opened Bud: A Poem _ . Gardening for Pleasure and Profit The Kings Highway: A Poem . The Architectural Reconstruction of Berlin
The Old Prussian Illustrated Military Village : A Return
to Simplicity
Among
the Craftsmen
Widely Different . . .
. . .
The Adaption of Craftsman Ideas to Two Types of Country Architecture . Illustrated The Realization of a Home Ideal . Illustrated
.
.
.
,
.
.
.
.
.
.
678
687
The
Peruvian Craftsmanship Showing to What Degree of Civilization the Inca Race Had Attained at the Time of the Spanish Conquest . . . . . . . . . . . Illustrated Tied and Dyed Work By Charles E. Pc1le-w . . . . . . Illustrated Antique Needlework of Permar.,rlt Beauty Copied from a Fifteenth-Century Italian Painting . . . . 17~1 Kuthrirzc Super Brinlcy Illustrated
Craftsmens
Guild
688 695 702 707 709
Als ik Kan
Books Not Essential Notes: Reviews
All manuscript Stamped addrcs~e~l
.
to Healthy . .
.
Mental .
.
Development . .
.
.
.
.
must
s
*
be
.
.
By The Editor
.
by
.
return PostWe.
sent to envelope
THE CRAFTSMAN is the most sztsfactory
for consideratmn plan.
accomaanied
PUBLISHED
MONTHLY
a Copy:
BY
GUSTAV
STICKLEY,
41
WEST 34~~
$3.50
25 Cents
CW~fht.
By the
Year,
$3.00
in United
States;
ST., in Canada;
NEW YORK
$4.20 Foreign
1909. bv Gustin ~t,ckley
Entered June 6. 1906. at New York City. 8~ second-classmmer
DEVOE STENCIL OUTFITS

Containing stenciling Cushions,
all material
your own
necessary
for
Curtains, Rugs,
Portieres, Etc.
Centerpieces,
Stencil Outfit A-Polished Wood Box, size 10 inches long, 6 inches wide, 2 inches deep, containing 10 single tubes F. W. Devoe & Co.s Oil Colors, 1 bottle Stencil Varnish, 1 hottle H. P. Mixture, Palette,, Palette Cup, Stencil Knife, 2 Stencil Brushes, Compass, 6 Sheets Stencil Paper, 2 Art Stencils, . . . . . . . . . Each, $2.50 To get Best Results in Stenciling, Devoe & Co.s Oil Colors, thinned always with H. use F. W. P. Mixture.
DEVOE
ART STENCILS-Ready
Catalogue
of
for Use.
72 designs
sent
on request.
F. W.
DEVOE
New York
and C. T. RAYNOLDS
Chicago Kansas City
CO.
Stylesof Ornament
By ALEX. SPELTZ
from
Translated
Artists Oil and Watt-r Colors ale the worlds Standard Best. Winron.British. Kensington and School of Art Canvas
the Germax
0~ David OConor
Exhibiting the entire system of ornament in all its different fityles and illustrating the various uses to which it is applied. designers, sculptors, A Handbook for architects, modelers, etc., aa well wood carvers, cabinet makers, as also for technical schools, libraries and private study. 400 plates of illustrations, wit11 descriptive illustrated text. One volume (6.56 pages).
8~0.
A hew Self-Fixmg Paper for Charcoal. and Pastel Drawinns Chalk. Crayon
Cloth.
$5.00.
Postpaid
Bruno Hessling Co., Ltd.

64 East 12th Street, New York, N. Y.
Descriptive circular will be sent upon request
Wha the draxvinz is completed it is held in front of a straminr kettle. or preferably the steaming kttle hrld in front of the drawirlp. 31 Handbooks on the Finr Arts by Mail 30 cents each The Double Tubes. Winton Half-pound Whoorb White for Oil Color Painting tubes. Boards Two pound
tubes. One pound tubes illustration
Newtons
For Water Color and Cmeral Black reproductions. If is also recommended Work. Write for samples.
and White Work for fur Pencil and Crayon
0. W. DRAWING PAPER
A hand-made Paper. Manufactured of Linen Rae. direction of the Koyal Sociery of Painters in Water under the Culours.
~cc~itectural Qhft~men!
Have your blue prints made by, and get your drawing materials from.
%@in$or dE*ebton, Ximiteb

298 Broadway, NEW YORK
Cataloeuc Send 3 Cent Stamp for Compktr
*ationaI jIBhe#rint Co.

33 East
Strafhmore
17th St.
Artists: Papers
NEW
and
YORK
Boards.
Kindly
mention iv
Irhe
Craftsman
23d
Street
Interior Decoration.
34fh
Street
Rich Draperies, Hangings, Wall and Furniture CoverWall Paper and Furniture. Fabrics suitable for Draperies and Wall Hangings, including Imported Damask, Brocade and Velvet, Scotch Linen Art Stuffs and Cretonne. Lace Draperies, Curtains and Panels made to meet any requirement. Fine Furniture-Gold Framed Aulmsson Parlor Suites, Sheraton Dining Room and Library Suites, Colonial Reproductions in Suites and Odd Pieces. Craftsman Furniture in models suitable for single rooms or entire house. Customers furniture re-upholstered, ready for Autumn delivery. Sketches, Estimates and Samples submitted. ings,
23d
Street
34th
Street
TO WORKERS IN ARTS AND CRAFTS r~---TDo You Need
Imitation
Stones ?
Most Arts and Crafts Work requires stones. We mnnufactwr and import the moit complete lines e*pecially adapted for this class of work. All Colors . * Amethyst, Topaz, Sapphire, Ruby, Almandine, Oliriue, (lowl, Lapis, Malachite, Turquoise ?tlatris, Jade, Agate, Bloodstone, (hinese .Jadr, various gyades OF Onyx and reproductions of the Antique Stones. All Shapes and Sizes : Ilound, Oral, Sq.oxre, (:ushion and Diamond. We also have an excellent assortment of antique and odd-shaped stones similar t.o those used by the ancient workers in Arts and Crafts Jewelry. We are also able to supply settings for all stones which we carry. Samples sent, upon request to manufacturers and jobbers only.
From Cutter
to Craftsman
Semi-Precious the Lapidary
Buy Your Gems and Stones Direct from
MARTIN
Addre88 all New York 56 Maiden Lane
LOW & TAUSSIC

to +h~ Irori~tcnce onirr Providence. R. I. 139 Mathewson St. Paris, Fnnce 197 Rue du Trmp4e
~mmnunicationa
Teachers and students of? and workers in handicraft jewelry, and individuals, makmg themselves favorably known to us, will be sent, on 10 days approval, selections of CarefUllY chosen and beautifully cut stones: for Rare Blsok Opals and ChrysocoIIs. so Popular Arts and Crafts Jewelry: Pearls Amazonite Jasper Peridots Amethysts Lnpls Lazuli Rose Quartz AquamarInes Malachite Sapphires Malachite. Azur Hloodstones Tourmaline Moonstones Carnellan~ Turquoise Mossagates Turquoise Matrix Olivines Opals, Australian z;;$& Garnets Opals, Mexican Jade, Chinese Z&l Jade, New Zealand
Afentzorr rhe stones in which you arc particularly interested.

Genuine Stones Only. St.,NewYork
A.&S.ESPOSITERCO.,.+M~JO~~
Kindly mention V The Craftsman
ART
ACADEMY
cbe uon Rydingsvdrd School of flrt uood

carving
9 Eaet Seventeenth St., Flew IPock Uftp
Opens for the twcntinh wagon on January Firat. Tbconly school I,, rbe <ounfry dcvotcd rxclus~relv to tbm an. Thoroueh. practlca, ,ra~!rl~ for teachers. as well as 1bos.z follorlnr it far thrir own plcasurc. Classes limited in ax. insurine careful personal supervision. Tools supplied in large or amall quantitia. correctly sharpened and of beat En&h make; alao 8et8 of tools. For circular address.. selected for bceinners. KARL POYI RYDINGSVARD
OF CINCINNATI C:omplete Training in KIltlowed. Art. Scholarships. Drawing, Painting, Modeling, Composition, AnatoWood (:arving, Ihxorativc my, &sign applied to porcelain, enamels, metals and leather.
FRANK Dvv~h-ECU L. H. MEARlN C. J. Baasttoa~ 15-M. Il. FRY and others
42nd Year, September 27, 1909, to Years tuition, $25 May 27, 1910.
J. H. GEST, Director Cincinnati, Ohio.
Washington
University
Ceacbers College
(cJoIumbfa IRnfvereftp)
ST. OF --- FINE ARTS -- LOUIS SCHOOL

36th Year Opens September 20th Frrlly equifiped to gzw znsfr~ctzorrin
IRew Eork
Offers 225 courses of instruction, including the Theory and Practice of Teaching Art-Principles of DesignDrawing, Painting and Illustration-Clay ModelingDesign in Construction and Decoration-Interior Decoration-the History and Appreciation of Art. JAMES E. RUSSELL, LL.D., Dean
ARTHUR W. DOW. Director. Deoanmcnt of Fine ARs
pottery, Drawing, Ceramic - Decoration, Painting, Applied Arts, Composition, Modeling, Book Binding, Crafts For full information and frw zlluwated handbook,
apply IO
19th
E. H. WUERPEL, and Locust Sts.
Director St. Louis,
MO.
PRATT INSTITUTE ART SCHOOL

BROOKLYN, NEW YORK
Classes in Applinl Drsign. Stained Glass. fntrrior Decoration. Textile and Furniture Drsien. Jrwrlry. Silrersmirhin~. Life, Portrait. Illustrafion. Composition. Modrline. Oil and Water Color Paintine. Taoand three year courws in Architecture. Two-year courses in Normal Art and Manual Traininz.
I
I
Henri
School
of Art
Classes in Drawing, Painting, and Composition, under the instruction of Robert Henri. Portrnit Classes tar Men and Women. Day and Evening Life Classes for Women. Day and Evening Life Classes for Men. Composition Class. Season of 1909-10 Commences September 6 For terms and other oatticulars. address.
30
Studios; WALTER
35 Instructors; SCOTT PERRY.
23rd Year Director. ~. ___
1 Henri School
of Art,
1947
Bro;dway.N.
Y. 1
I
SCHOOL ofINDUSTRIAL ART

OF THE BROAD AND PENNSYLVANIA STREETS, ,MUSEUM PHILADELPHIA PINE
ADELPHI
LafayatteAve,Clifton
andSt.
JamesPlace.Brooklyn,N.Y.
COLLEGE
Thorough work under trained specielists in all branches of Fine and Industrial Art
ART
DEPARTMENT
Six of the best equipped class-rooms in Greater NewYork. Work in all Antique. Still Life, Portrait and Figure Classes. Mediums. Individual Instruction. Terms: $25.00 for 20 weeks-all day-mmmeacing at aa~ time in the scasou.
Emma Willard School of Art

TROY, NEW YORK
September
lnsrruction C Drawinc. in Oil. Water Colors. Design. History of Carving.
Prof. J. B. WHITTAKER.
Dlrootor
to June
also Art.
DESIGN, MoI)I:I,~N(;, WOODCARVING. LIFE DRAWING, WATER COLOR, RROIDERY. Evening CIRSS in COSTUME DRAWING.
CAST and ART EM-
Arts and Crafts Department

Wood
Minianxe and Mineral Paintinr. Art. Theory and Practice of Teaching
Wewine. Metal Work. Bwkbindine and Pottcry. MISS EDITH VERY, B.S., Director For circular address EYMA WILLARD SCHOOI. OP ART
YOUNG
WOMENS
CHRISTIAN
AS!MClATlON
1
7 Eest 15th St., New York
New Fine
An Art
York School of and Applied Art

School That Is Praotioal
I
ERNEST A. BATCHELDER, An ideal Enviranmrnt Pasadena, California. for Ideal Work.
Paintin!& Ihwinp. 1IIuStrRti. Costume Iki~. ,ntcrior Drroration, Design. hlrtal. Clay, I.eathrr. and othrr t-r:,% Issrholo~y and Art H,stor,. I-eCtUrCL. l?iintina Llnder Irving K. WIICS. LifP all<, I,lstratin-Kcneth 1kYeS Miller. Norlnal lhii~ O&g. and AR I.ecttrrer--Frank Ah,, Parruns. Metal--C;race Harm. Send for circu,.r. Susan F. Blssell, Seoretary
-. 1
- .---
2237
Broadway.
New
York
HOME-MAKING
THE
ROCK
RIDGE
SCHOOL
FOB ROYS. I.catin h&l and dry. I.aboratories. Shop for mechanic art\. STRONG TtIACHEKS. hAKhB5 L HO\ 5. ver, wlnll Cld55eL.,,Illnas,,,m wrth new wimmmg pod. Fits or colleye, scientdic school and busmecr. Well regulated daily hfe. YOUNG boys no separate buildmy. Pleaseaddress
DR. If. K. WHITE. ROCKRIUGL HALL. WELLESLEYHILLS. MASS.

Kindly mention
L *m. 6dtoOl of Rome Economics, 604

The Craftsman
IS a IO-page hand-book: its free. Home-study Domestic science courses~ Health. Food, Cookery, Diet, House Planning. Management. Children, Nursing, Dressmaking. Etc. For home-makers. teachers, institutionttl managers. matrons, etc. Bulletin. The Up-to-date Home; Labor and Money Sating Appliances. 48 pages, 54 illustrations, 10 cats.
NEW
PROFESSION
W. 69tb St. Chicago, I%
vi
THE
UNIVERSITY
EARLY LATER DUTCH
PRINTS 1
each each
GREEK and ROMAN SCULPTURE SOOsub]ects, (Van Mach) one cent each ITALIAN PAINTING 500 subjects, one cent ITALIAN PAINTING 500 subjects, one cent and FLEMISH 500 subjects,
PAINTING one cent each
Four series with Handbooks separate reproductions, cent each.
2.000 for the student. 80 cents for 100 or on8
Send two-cent stamp for complete catalogue and sample prints
BUREAU
64 Ttinltv
OF UNIVERSITY
Place
TRAVEL Boston, Mass.
ZHAIN
NOVELTIES
H.
0.
WATSON
WORKS
&
Co.
Beads,Ba&
Workind Desians in Water Colors. all Materials for makind Bags and Purses
Send for for Booklet giving Price, instructions 10~. per copy.
OF ART IN
Furniture Porcelain Bronzes d Tapestries

A Unique Exhibit of AKCIENT PERSIAN POTTERY
Beadwork.
Emma A. Sylvester
Winter Street, Room 32-A BOSTON
16 West 20th Street
NEW
YORK
Stencils
designed and made to order to suit any scheme of decoration. Stenciling done or stencils sold for home use.
CUT ANY SIZE UP TO A WHOLE a Sample SKIN Card A Stamp will bring
W. A. HALL,
119 Beach
St.
BOSTON
ROBERT
Bindinp of Large
BURLEN
Enmavinsa. etc.. a specialty.
BOWDOIN
CZL MANLEY
BOOKBINDER
lllurtrated Works.
MAGAZINES S4bFifth Avenue. NewYork 156 PEARL
AND
OLD
BOOKS
Edge
rebound and folios of every de&p&n and Slamping. Pawr Ruling. Telephone 865
made to order.
Gilding
ST.. BOSTON.
Main
MASS.
THE
PERFECT
WITH LEAD
PENCIL
WHICH IS
ABSOLUTELY GRITLESS; OF FIRM, EVEN TEXTLJ;EtiJ$EXTREMELY

BEARS HEXAOOA RtAPE YELLOW POI.,SU wrlw RUBBEK THE IMPRINT
EBERHARD
FABER
::
New
York
Li%Rxxl@OL
SOLD BY ALL DEALERS
Kindly
mention
The
Craftsman
vii
Feeds Coal in at the Chimnev

----
For every shovel of coal you put in the fire-box of a RICHMOND boiler, a Lzlfshovel is fed back from the chimney. It is automatic. It costs vou nothinp D either for the feeding, or for >L?e coal. It is accomplished by our exclusive device known as the diving flue. The diving flue takes the\unburned smoke and gases and holds them back to burn. For every shovel you ut in the firebox, it saves half a shoveP which would otherwise be wasted.
Boilers
RICHMONDRadiators
The "RICHMOND" system of heating embraces both hot water and steam-direct or indirect. It is a sectional system, applicable to any building from a three-room bungalow to a plant that measures its floor space by the acre.
Write Us
Please write us for full details of the ~C~O~~ system, which, whether the builtling be large or small, will save its own cost and pay its own maintenance. Ask for catalog 202.
Address in the West
Cameron $chrothCameron ($.

Western Distributors for RICHMOND~Boilers and Radiators 202 Michiaan Street Chicago
We spend from three to seven times as much as other makers do for a smoke box. got our divitlg flue does three to seven times the work of other flues. It catches the rich .unbumed gases as they are about to escape--and holds them back to make more heat. The economy of the exclusive diving flue is,only one of many 6R~C~~OlrD economies. You will find that common heaters are wrched on separate bases, and that the cold water enters them at the fire level. The RICHMOND has no separate base. It is solid from the floor UP. Stronger construction-less weightgreater durability, And the water intake of the R&HXOND illstead of being at the bottom of the fire-box is at the bottom of the ash-fizl. The benefit is greater than appears at first sight. Heat from the Ash-Pit The incoming waterabsorbs the heat of the ash-pit-&e heat, which would otherwise be wasted. And more: It reaches the fire-box level, already warm-so that it does not chill the fire. Look in your present boiler and you will appreciate the value of this. In a rim around the edge, you will see two inches or more of dead coal or ashes -where the cold incoming waler chilled the /~PP. With the RICHMOND there is 110 deadened rim of fuel-nothing to cloa the fire-box and decrease its capacity and the warmth of the ash-Dit is utili7edfwP. The *LKICHMOND svstem represents the climax of inventive Ingenuity-bracli ial ingenuities that prove their worth in fuel ecmomy-flexible service-heating satisfaction.
*RICHMOND Bath Tubs-Lavatories-Sinks

If you are about to build, investigate, too, the ~&XXMO~~ line of enameletl ware. Everything in enameled ware, from kitchen sinks to bath
THE
tubs, which bears the name, RICHMOND is the best that can be made, less expensive in the beginning and in the end.
MXRUM-HOWELL
Two factories Kindly
Co. %~?E%$ 4Fiidz New

Pa.-One at Norwich, Corm. mention The ... Vlll Craftsman
York
at Uniontown,
THE
AUK
MOTHER-:
LOUIS
POTTER,
SCULPTOR.
GUSTAV VOLUME
STICKLEY. EDITOR AND PUBLISHER XVI SEPTEMBER,1909 NUMBER 6
THE EVILS OF AMERICAN SCHOOL SYSTEMS: ARCHAIC METHODS OF EDUCATION CON. DEMNED AND PRACTICAL REMEDIES SUGGESTED: BY PARKER H. SERCOMBE
( IDERN civilization is confronted with the alternative of saving the child or preservin the traditional ideals of education still insisted upon %y professional educators. While it is.freely admitted on every hand that all reforms focus in education, that future diminution in crime, graft, debauchery, divorce, cost of courts and of police, must depend upon implanting wholesome habits and tendencies in the child while of impressionable age, that vital period of life is still sacrificed to the fetish of class-room decorum, theory culture, examinations, etc. The thought of the professional educator is not based upon cause and effect, u on the development of efficiency in the line of life the pupil will fol fow, but, as a]1 examinations clearly indicate, the aim 1s to perpetuate the old institution of learning in its own image and preserve its traditional ideals intact. Only a few even of our practical psychologists are fully cognizant of the invariable presence of theoy perversion in all those mentalities whose training from eight to sixteen has been unrelated to practice and object lessons-a training that results in the loss of the faculty which would enable them to make use of the knowledge acquiredthe training that is responsible for all irrational, impractical, dreamy, mystical and confused thinking that is representative of the inefficient, superstitious and criminal portion of our population. The so-called reforms that are occupying the minds of so many well-intentioned and philanthropic persons are merely the doctoring of symptoms-merely pulling up weeds implanted by our own wrong procedure; the only cure being education, but essentially the education that places character culture first, commercial qualifications second and book culture third, with the greatest stress where the need is greatest, less where it is less and least where it is least. With the object of ascertaining the caliber of the Chicago Board of Education (appointed through politics without regard to prepara-
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
tion or fitness) and with a faint hope that perhaps one or two out of the twenty-one members might be sufficiently grounded in the art of educating to profit by my sug estion or at least show some interest in the matter presented, I recent fy addressed them the following communication, sending individual copies to each member:
To the Chicago Board of Education, Gentlemen:With no other desire than to assist in a general way in bringing education to a higher state of efficiency, I ask the privilege of addressing the Board for fifteen minutes at an early meeting, and will confine myself to the two following subjects : First-the lack of adjustment of the school system and curriculum to the changing exigencies of city life, with special reference to children who are brought up in apartment houses and flats, with 1~) &VU, no means being supplied in the schools to develop industry, initiative and a willingness to do-faculties that cannot be developed from books or in class rooms. ,Second-the grave danger and disorganizing effects which must result from teaching theory in class rooms, separated from or made precedent to, practice and object lessons. The effect produced under the present system is to start the pupil out with a wrong viewpoint toward all the affairs of life. Minds so trained are incapable of bringing the knowledge they obtain into use either for purposes of thought or action. Such minds are marked for confusion of thought and under the suggestion or influence of wrong conditions easily drift into criminality, mysticism, graft or other forms of perversion. It is only through the inductive method whereby the child is enabled to develop theory out of practice and object lessons, the same as Lincoln, McCormick, Grant and Armour did in their childhood, that theory perversion can be avoided and the leisure class regime of life be prevented from fastening itself upon the victim as a persistent, all-pervading microbe. The allotment of fifteen minutes of the valuable time of your Board will enable me to make a demonstration of these two points so self-evident and convincing that if incorporated in your future deliberations will eventually lead to a reconstruction of what is now called education. Yours respectfully, PARKER H. SERCOMBE.
OULD a more fundamental appeal in the interest of a higher civilization possibly be made to an educational body ? Yet not the slightest attention was paid to it by a single member, at least, not an echo came to m ears. Is this not significant of the lack of vision of those who from c Bildhood have been so drilled and hedged about with the prevailing regime of the schools as to blind them completely to the importance of the vital facts presented ? But is not this the history of every advanced idea that has ever been presented to unprepared minds ? No matter how vital or self-evident a new truth may be, it is not grasped by the average sage in power until it becomes the fashion to accept it or until its announcement comes from one
604
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
why ? Because the membershi of acknowled ed authority -and of legislative B odies and school boards is made up of those wit1 theory-perverted minds, a result of wren training in childhood. % e old adage, all new ideas It is not sufficient to fall back on t The reason why ideas advance slowly is because advance slowly, etc. for centuries our method of education has been along the line of theory eople do not have harmonized minds and bodies, and erversionf ence lack t e initiative to put thought into action for its own sake, Ii but permit the fashion of thinking (public opinion) to gradually drive them into new mental positions. Theory perversion impels sluggish minds and bodies into unwillingness to either think or do beyond what is actually forced upon them, hence the criminal as well as the dogmatist. Before proceeding further to trace out the evils lurking in our present educational s stem, let us briefly review its growth as an mstitution and there i! y discover the underlying reasons why an institution of such vast importance should have come down to us from the ages in a form so lackin in efficiency, and so entirely separated from the methods that mig% t insure good character, strong bodies and high social and civic efficiency in place of the utterly artificial, unbalanced and perverted mental viewpoint toward life that the schools continue to impart. Independent of whether institutions are good or evil (there are none that are wholly good or wholly evil, not even the church, materia medica, marriage, slavery) in their struggle for existence they invariably show the same determination as man, animals and all other life forms, to perpetuate themselves in their own image. Once an institution is established, whether creed, cult or educational system, the individuals having its destiny in charge invariably struggle, plan, and often plot to the death, in order to see to it that those who take charge during each generation shall cling to the original ideals, motives and methods. EALIZING the importance of this principle, I sent the following communication to our Chicago School Board on the eve of their election of a superintendent; not that it was expected to influence them, but as a matter of record for future purposes, to know that they were not lacking in information on the subject, even though it should not be made use of:
July To the Chicago Board of Educatio?, Gentlemen:The public-school system havmg continued to follow adapting itself to the changing exigencies of city life, brings
14, 1909.
tradition instead of us face to face with 605
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
a condition which on analysis proves that the prevailing curriculum is artificial, lacks utility, fails to develop efficiency in the pupil; in fact, implants tendencies of mind which lead toward confusion of thought and criminality. No greater error could be made at this time than to appoint a superintendent of schools from the ranks of professional educators, for all such have been so drilled and hedged around from their earliest childhood training with the prevailing educational ideals as to inhibit their vision in relation to the needs of the hour-they are unable to see the present discrepancies or devise plans for overcoming them. -My communication to your Board is purely with the object of laying this most important fact before each member, and the more it is thought upon the stronger will be the realization that what Chicago now needs is an open-minded superintendent, unhampered by the prevailing ideals which invariably hold the mentalities of professional educators in a vise-like grasp and permit them to do no more than to merely help perpetuate in its own image the ancient educational regime we are now using. Yours respectfully, PARKER H. SERCOMBE.
It is unnecessary to go into the reasons why the educational regime now being o erated in America has conformed to tradition rather than been su Ejetted to the principle of cause and effect; though it is by the latter plan (profiting by experience) that every materral improvement in the world has been obtained. Unhappily, moral culture and education have respectively been institutionalized in church and school. Entirely independent of the practical trend in human thou ht in every other field, these two mstitutions have persisted in fo7 lowing the ideals and regimes of hundreds and even thousands of years a o, long before modern knowledge and devices were dreamed of, % efore the day of railway, telegraph and telescope, when the averawe mans daily and often yearly range of observation did not extendBeyond a fifteen-mile radius. ONFINING ourselves to the institution of education, we 6nd that like dress, it originated more for ornament than use. Even after the classics were translated into all the Continental languages, those fortunate mortals selected for education continued to be taught Greek, Latin and ancient lore; for in the early days of book learnin only those who were expected to become members of the leisure c 9 ass received an education. The one dominant fact stands out that the original scheme of education implied nothing more than a culture given to a small ruling class, made u of the official, military and ecclesiastical satellites of the ruler, an l on the other hand there was the very large and always uneducated class, whose function was to remain in ignorance and to obey.
606
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
It is in a degree anticipating what will be stated farther on, to say that down to this very hour in every avenue of human thought and activity, but especially manifest in the field of education, this same association of wealth, church and state with their leisure-class ideals of education are still fanatically strug ling to maintain control through the old traditional regimes, an cf the colossal joke on this country of ours is that we are now preparing our entire population to become members of the leisure class by imparting only a leisureclass scheme of education. Breaking away from the condition of tyrannical control that has held Russia, Italy and Spain to an average of ninety per cent. illiteracy among their plodding, toilin , subservient masses, we here in America, and to a large extent in 53 ngland and Germany, have suddenly become a reading and writing race, a scheme never contemplated in the original regime, as is clearly shown where despotism still reigns. Durm the Middle Ages education was entirely in the hands of the priest fl ood, and as a sign that they themselves were immune from work, they initiated the custom of wearing white collars and cuffs, and as all of their pupils were educated to become members of the riesthood or the rulin class, in order to be known by the same sign, tR ey adopted white coPlars and cuffs also. The learned educaters of the Renaissance took up the problem of education where the riests left off, enlarged, differentiated, s ecialized, but in no instance Kave the ideals of democracy forged su f#ciently to the front to check the impulse that has stimulated the educational idea in every land and in every clime-the idea of gaining the kind of knowledge that would enable the possessor to live without work, the kind of accomlishments that prepares for membership in a ruling class, and thus to P ive upon the labor of others. N THE early history of America, before the modern flat building was invented, when boys and girls were expected to do their part of the chores and general work, both before and after school, the studyin of common branches in small schools with large playgrounds di cf not have an such utterly annihilating effect on human character as our latter- Bay variation of immense school buildings with small playgrounds; the pupils who attend these institutions living in congested cities with no chores, no garden work, no duties to perform, and the school providing no substitutes to meet the changed conditions. Education is still involved with the elements of mystery and reverence. Even as the alchemists and astrologers of yore, our
b7
EVILS
priests,
OF AMERICAN
SCHOOL
SYSTEMS
dru gists, physicians and lawyers em loy Latin and Greek terms in or%er to astound and overshadow t1 e common people by the depth and vastness of their learning-so the building of places and the employment of gaudy trappings have served to inspire awe in the masses by means of glitter, pomp and grandeur. Our present scheme of education is merely a plan to prepare children to live upon the labor of others without any attempt to implant habits that would insure health, efficient and long life; whereas a rational regime, through object lessons in s ii op and garden to implant the elements of industry, calculation and initiative in the pupils character, would eliminate four-fifths of the present crime, graft, debauchery, divorce and costs of courts and police, which are all under oing an alarming percentage of increase. 15 n epen dtf en o creeds and codes, the infant absorbs the morality of its environment and associations in the same way that it absorbs the language or dialect of the family in which it is reared, and this is the true process of all education. External control, through the medium of commandments, force, punishment, banishment, has proven a failure for thousands of years. Compulsion has invariably succeeded in merely creatin a demand y eliminate for more compulsion; hence the only way to effective P friction in human society and establish an enduring equilibrium is through development from within, through a system of education that will mold internal character to a voluntary acquiescence to the rational needs of society.
HERE are in Chicago alone thousands of arents who declare that their children are being taught not Eing of value; that through their impressionable years, from er ht to sixteen, ass rooms; that they are bemg kept five hours a day in close stuffy c P no means are supplied for developmg the qualities of initiative and industry during this period; that theory and book culture are taught to the exclusion of practice and object lessons, thus developing theoryperverted minds and unbalancing the reasoning powers forever after; that leisure-class ideas are taught exclusively, even to children of foreign peasants, thus adding them to our already large army of incompetents. Th ese thinking parents have come to the conclusion that the system which implants the idea of getting something for nothing in the minds of the children and the desire to live upon the labor of others, is the worst form of race suicide. More than fifty per cent. of all intelligent parents of the middle class are fully aware that there is something fundamentally wrong 608
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
with our school system; they know that their children are not being made efficient; they know, too, that they themselves are helpless in the hands of rofessional educators and that their children under present schoo P treatment grow lazy, anaemic, near-sighted, and naturally drift toward cigarettes, rowdyism and criminality. Business men are well aware that the graduates from our pubhc schools who work in offices and stores are lacking in alertness and often hopelessly inefficient. But most of our business men are too much engrossed to insist that our Medieval methods of education should be displaced by a rational system which aims *fat efficiency and results in the life work for which every boy and gu-1 should undergo pre aration. f t requires no great depth of intellect or scholastic training to indicate the reason why even in this age of wonderful achievements in science, mechanics and the arts, we still retain the artificial educational ideals initiated in the Middle Ages. Briefly, education, like dress, originated as an ornament and not for use. In America the ublic school has become sanctified as an institution, and instead of E asing our methods upon experience and results, we have blindly followed tradition until we find in operation from the Atlantic to the Pacific, a school system that is especially adapted to the overthrowing of intelligence, the blighting of initiative, the crushing out of all tendencies to industry, to undermining the natural growth of such habits as would insure health and long life. The remedy is sim le and can be inferred by pointing out three important elements wl.i ich traditional education entirely overlooks : First, that such a false motive for obtaining education as at present exists in the public schools, continuin as it does throu h the rmpressionable years of life, cannot but resu s t in a correspon ffing perversity of motive in maturity. Thus if our present scheme is, as it seems, to prepare children to live upon the labor of other people, this will remain their chief stimulus to action in later life. Second, that there is and must be a reason for the doing of every task. When this fact has been made clear by frequent roof not only would a much needed link between thought and action i e established, but reasons will become not mere theories, tinding sufficient expression by their verbal statement, but will be definite stimuli to action. The reasons and theories should be made subsequent and subordinate to object lessons and practice; in fact, all theor culture should be worked out by practice in arden and sho , for t Eis is the only manner by which a mind can % e drilled to Kave the ri ht perspective, the right viewpoint toward the facts of life. All c%ildren trained exclusively in class rooms are likely to have theory-perverted 609
EVILS
OF AMERICAN
SCHOOL
SYSTEMS
minds, incapable of making use of the knowledge they have acquired. Third, even as morality cannot be taught as a class study, but is bound to be an incidental absorption from environment and association, so all education, including the three Rs, should be the outgrowth of practice and object lessons, in the same way that an infant learns to speak the language of the family without order, decorum or examinations. Let a chrld work until he craves the help of books, instead of studying until he forgets the need of work. UCH an education can best be accomplished in buildings designed for forty or fifty pupils. A one- or two-story building should be in the center of a fair-sized garden or small farm, the main structure to be suitably divided into shops for wood-workin , metal-working, weaving and sewing, printing and binding, art wora , paintin and finishing, cooking, etc. At t !l e front entrance should be the office of the school and a general showroom wherein the products of the shops, garden or farm could be properly displayed for the benefit of visitors and customers, and part of the education of each pupil should be how to approach customers, how to interest them, how to explain the quality of the products, the system employed, the workmanship, etc., and everything produced should as far as ossible be salable and have a useful, practical or artistic urpose. T K e cultivation of flowers, bees, vegetables, berries and P ruits should be recognized as a regular part of education. The class room (no examinations) should be a se arate building connected by a passageway, and for class urposes tKere should be a relief globe and other apparatus designe B to give a correct idea of the world we live upon, its formation, its power of production, etc., and with this knowledge as a nucleus the problems of transportation, distribution, together with the economic, social, intellectual and political growth of the various races of the world, should become matters of constant repetition and thorough understandin . Pupils should not spend more than one hour a day in class room, tfle balance of their time to be employed in objective work in the shops or arden ; everythin done to be for a useful urpose, either in the fi 7 lin of orders an% contracts taken in the neig Iiborhood, the making of tab!?es, chairs, desks, bookcases, or in making such repairs as the facilities of the shops permit. Of course, such schools would require from three to five teachers each to supervise the various departments ; they should be specially instructed in that most important feature of all in teachin , viz., to assume constantly the right attitude toward the pupil, an f every
610
THE
PRAYER
school should be brought as near a self-supporting basis as possible. arapherAlthough the extra expense for sup lying materials, nalia and instruction for such schools wouf d be larger than tl! e resent s stem of education, the general cost might be much reduced trlrough t Ee sale of products; besides, as the present expenditure in America for liquors, tobacco and prostitution is ten times greater than what is spent on the entire cost of education, but a small degree of abstemiousness would be needed to divert a few millions from debauchery toward enlightenment. Se arated from the demands of professional educators and from the wFll ms of incompetent parents imbued with the false ambitions and impotent longings of an artificial age, education should be nothing more than the childs preparation during its impressionable years for such duties of life and citizenship as it will be called upon to perform after reaching maturity.
THE PRAYER
Y ANSWERED prayer came u to me, And in the silence thus spake Re: Oh, you who prayed for me to come, Your greeting is but cold and dumb. M heart made answer You are fair, B ut I have prayed too lon to care. 7 1 was new, Wh came you not when a An i I had died for joy of you ?
SARATEASDALE.
611
THE PEOPLE OF THE TOTEM-POLES: THEIR ART AND LEGENDS: BY NATALIE CURTIS
much indebtedness to the works of Dr. Franz Boas, Dr. The legends given are from the collection of Dr. Boas, Indianische Sagen von der Nord-Pacifischen Kiiste Amerikas.
J&n R. Swanton, Dr. G. T. Emmons and other authorities.
The writer acknowledges
LONG the Northwest coast, from Pu et Sound to where the continent ends in Alaska, Pive a peo le little known to most Americans,-a people wKo, thou h only fishers and hunters, have develo ed a pecu7iar type of art and culture. These are the ndian tribes known as the Tlingit, Haida, Tsimshian, Bella Coola, Kwakiutl, Nootka and Salish. Euro ean influence everywhere is pressing upon the native life, and the f ndian is dying out or assimilating the customs of the white oet who gives endurThe American sculptor, painter or man. ing form to the memory of this passing eop fe carries into the field of art the noble work of our museums, wYlose studies and collections form a monumental testimony to the life of aboriginal America. The accompanying reproductions of sculpture by Louis Potter represent the Tlingit Indians of Alaska, whose culture and general characteristics are similar to those of the other Northwest coast tribes. Though I have not been to Alaska I have seen Indian houses like those of the Tlin its, and I can well imagine the old-time native villages on the Alas a an shores,-the rows of low, broad wooden houses with pointed slanting roofs, the carved totem-poles risin before them, the wooden canoes on runways, ready to be launche 2 in quest of salmon and halibut. The houses are well built, and the totem-poles and the paintings of animals across the house front give to these dwellings an individual and barbaric appearance. In the center of the house burns a fire whose flickering light throws into relief the carvings on the stout posts that support the roof-beams. There are no windows, and the interior decorations are mellowed and blackened by the fires smoke, which escapes imperfectly through an o ening in the roof. -Phe tribes of the Northwest coast have permanent towns and villages, and each clan may have a right to its own fishing grounds. Also, clans or families may claim their articular berrying patches whither the women go to fill their beauti Pul baskets of woven spruce and cedar. Winter is the sacred season when religious ceremonies are performed, and when the young men are initiated into the secret societies. With most Indians it is the time when myths and fables are
612
STUDY HIS
OF THE DOGS:
TLINGIT LOUIS
INDIAN POTTER,
HUNTER SCULPTOR.
AND
THE
SHAMAN
INDIANS:
(MEDICINE-MAN) LOUIS POTTRR,
0~
THE
TLINGIT
SCXJLPTOR.
THE
SPIRIT
OF THE TLINGIT
NIGHT, INDIANS
FROM
LEGEND OF THE POTTER,
: LOUIS
SCULPTOR.
THE IN
SLAVES
SHOWING LIFE:
THE
LOWEST
CASTE
THE
TLINGIT
LOUIS
POTTJZR, SCULPTOR.
THE
PEOPLE
OF THE
TOTEM-POLES
recounted around the fires, the time when real winters tales may be heard. Then might be told the adventures and deeds of a mythological bein named the Raven, the culture-hero of the Northwest. Or one mig % t hear how the dead are born again into human form,a native American doctrine of reincarnation. If the stories relate events in the life of the tribe, a stirring account might be given of some war exploit when the warriors went forth in their painted canoes to avenge some wrong and came back chanting son s of victory, with seal s swinging from the sides of the canoes. % r a great feast or pot P atch might be described,-a feast iven by a rich man at the erection of a carved grave-post, to hold ta e bones of hrs dead. These potlatches are a dlstinctrve feature of the life of the Northwest coast, when the giver of the feast sometimes distributes his entire property among hrs guests. The host is safe in his generosity, for he knows that at future potktchas held by the uests, he or his descendants will receive the equivalent for all that he %as given. Proud was the man of whom it was said, He is open-handed as the waters that flow with salmon.
ISTORY teaches us that natural environment determines to a great extent the industries, manner of life and culture of a people. So we see the Northwestern Indians fishing from their carved canoes and buildin their houses of the cedar which abounds alon the coast. Dr. Bran, Boas, who has made such exhaustive an 8 valuable studies among the Indians, tells us of the important place that the red and yellow cedar occu y in the industries of these tribes-how planks are made from tR e wood of the red cedar; matting, baskets and even parts of clothing from the bark; ropes from twisted bark and from the twigs; even blankets are woven from the shredded inner bark of the yellow cedar. According to Dr. Boas, the salmon and cedar are the foundation of Northwest coast culture. As with all Indians, so too with the Tlinuits, the medicine-man or Shaman is an important fi ure in the li& of the people. His duties are religious as well as %ysical, and he wields a far-reaching influence over the thoughts an x activities of the tribe. The Shaman is gifted with supernatural powers, with what we would call clairvoyance and the ability to foretell the future. Invisible spirits help and counsel him, and the Fair-Maiden-Spirits of the glaciers come to the medicine-man of the Tlin its. Among these Indians there is a strong belief in witchcraft, an 3 the Shaman it is who detects the hidden evil from which the bewitched man suffers, and callin it forth, thus heals his patient. It is certain that the Indians imp f icit 617
THE
PEOPLE
OF THE
TOTEM-POLES
belief in the Shaman is a large factor in the cure of disease. I believe it to be equally certain that the Indian Shamans have developed some powers of concentration and of insight not altogether unworthy of a rimitive eoples confidence. In any stu f y of the K orthwest coast tribes it is the curious art of the people, shown in innumerable carvings and paintings, that first strikes the European. This art is a vigorous, and one might say in view of its abundance, an overflowin form of racial selfexpression. The sociologv and mythology, t%. e life and beliefs of the people are embodied in emblematic decorations on houses, canoes, garments, dishes, cradles and graves. To our surprise we find that art has here an heraldic purpose, for many of the carvings or paintin s represent totems or crests, with which an individual decorates %is possessions. The carved figures on the totem-poles before the houses form a series of crests, and the totem-pole Itself can perhaps be best explained as the emblematic family-tree of the house owner. A glance at the art of the Northwest coast shows us that rank lays an important part in the social organization of these Indians. !iJ he tribes are divided into four classes,-chiefs, nobles, commons and slaves, the latter being urchased slaves, or captives, taken in war. The dignity of the chic P is such that he may not himself address those of low rank, but gives his words to a slave who makes known his wishes. Amon the endless number of stories about the Raven is an amusing fa %le that tells how the slave purpose1 says just the opposite of what the Raven, his. master, comman CT s. Say that I wish to eat fish, declares the Raven, in answer to an invitation from a village chief. The reat Chief wishes no food, announces the slave. And since the ii aven may not break his silence to his inferiors, the slave devours the feast prepared for his master ! *4s has been said, totemic crests are often connected with the mythology of the tribe, and frequently depict some being,-animal or spirit,-whom the crest owner claims as ancestor or protector. The crests consist mostly of animal figures which are variously represented and are usually so highly conventionalized that the uninitiated white man can hardly tell what animal is meant; yet for each creature there are distinct symbols. R. BOAS tells us that without a knowledge of the social organization and mythology of the tribes, the art of the people cannot be understood. This is certainly true ; yet the white man must pause in wonder before the wealth of fantastic imagination displayed in the strange animal forms on totem-pole or
618
THE
PEOPLE
OF THE
TOTEM-POLES
grave-post,-gigantic rotesques which sug est to the European mind the gar oyles of Medueval Europe. %vith the exce tion of some beautifu7 basketry, it must be admitted, however, tfl at this Northern art has not the race and beauty of Indian art further south. The beadwork an 8 quill embroidery of the Plains, the basketry, pottery and weaving of the Southwest show more poetic and attractive designs and figures. Yet though the Northwestern art may not charm us, we must admire its strange, savage power, its originality and its hi hly developed execution. %ese tribes we see the raven carved or Everywhere among t ainted. To us it is only a bird; to the Indian it is the emblem of s mythological hero. It must always be remembered that the El animal of Indian mythology is a supernatural bein , not an animal according to our conceptions. It was the Raven w%o won the Daylight, the Sun and the Moon from a mighty chief who kept them ludden in a chest that hung from the beams of his house. Then the Raven flew to the people who were fishing in the darkness, and cried, Take pity on me ; and give me of your fish! In return I will give you the Daylight. But the people only lau hed at him and mocked him. They would not believe him till at P ast he lifted his wing a little and let the moon peep out. Then the people believed and gave him some herring, which was then without bones. The Raven was angry because the people had not believed him and so he filled the fish with pine needles. Since that time the herring is full of bones. Then the Raven placed the Sun and the Daylight in the heavens ; he cut the moon in two halves, and set one half in the sky to wax and wane, and made stars from the other half. The story concludes rather humorously, Now that it was dayli ht and the people could see one another, they ran away from eat% other and became fish, bears, wolves and birds. Thus all animals came to be. To understand Indian mythology we must put ourselves in the Indians place,-for the elements, the animals and the natural world are so close to the Indian that all are endowed with personality. An underlying spiritual princi le which manifests itself throughout nature is recognized in all trll rigs. To the Indians imagination rocks are sometimes people turned to stone; animals are human beings with animal characteristics added, the sea and the wind have spirits, to be addressed and propitiated, and the spirit of the storm is a fabulous flying creature called the Thunder-Eird. Whoever has been with Indians and heard them tell of the Thunder-Bird must always thereafter see in the storm cloud a winged and awful presence, hovering, ready to sweep downward. Terrible is the sound of 619
THE
PEOPLE
OF THE
TOTEM-POLES
the Thunder-Birds wings as they beat the air, and terrible the flashing of his eyes. When the northern lights flame blood-red in the sky, the Tlingi: sees the spirits of dead warriors making ready for battle, and when a shooting star falls, it is an ember from the hearthfires of the dead who have their towns and villages in the stars. And now let us hear how the Tlingits came to be. The Raven wanted to make men, so he made human forms of stone and blew upon them. The stones became alive but quickly died. Then he made forms of earth and blew upon them, and these became alive and died. Next he cut men from wood and blew upon them, but these, too, uickly died. At last the Raven made human forms of 9 ew upon them, and these lived on and became the angrass and b cestors of the human race. And so, the story ends, men live and die like grass. N MY mantel stand two pieces of curious wood carving which I value not only for their association with a primitive people, but also for their silent testimony to the artistic skill of the North American Indians. The carvings are miniature totem-poles exactly like the great ones which lift their sculptured figures high above the Indian houses of the Northwest coast. As on the ori nals, so, too, u on these tiny poles are carved heraldic animal symf! 01s. I speak oH the personal association with the Indians represented to me by these little totem-poles. The carvings were made before my e es. I saw the Indian take a piece of cedar, cut and sha e it; and tfl en beneath his knife I watched the symbols grow. c! ne by one the animals emerged from the wood. Here was the beaver, above it a human form, then followed a frog, and at the top of the pole a killer-whale with tail in t3e air. While the Indian whittled and smoothed the wood and dug deep grooves that made the grotesque sha es stand clear and sharp, he patiently sang for me a wild and bar 1 arically beautiful song, whose harsh unusual intervals and stranger rhythms I tried to embody in musical notation. Over and over again the carver sang while another Indian beat a rhythmic accompaniment upon a wooden box-drum. Bar by bar I followed with my pencil, interru ting to have a phrase repeated, tryin m self to sing what I ha B written. Now and then the Indian 81ro e off to offer explanations of his song. This is the song of the fraternity to which I belong, he said. Every fraternity has its songs. Every bird, animal, man has son s. There is a song for everythin . fk his statement was naive, but I Enew that among Indians generally, songs and chants embody much of the unwritten literature
THE
PEOPLE
OF THE
TOTEM-POLES
of the race. I knew also that certain songs are individual or family property, or the property of fraternities and secret societies, to be transmitted like a legacy to the next generation or those newly initiated into the society. As I worked over my note-book I fell to musing on the important place of song in the life of the Indian. There is a sonq for everything, awakened many a The words, cd thought. Why must this song-impulse, this gift of instinctive melody and rhythm be lost in the process of civilization? Dr. John R. Swanton in his study of the Tlin ts quotes an Indian as saying that when a mans near relative f ies and he is filled with grief, a song makes itself up inside of him. I watched the deft fingers plying the knife. Anyone familiar with the painting and carving of this peo le knows how sure is the touch, how perfect the intricate lines an 0 curves in the art of the Northwest coast. I thought of my own difficulties in learning the complicated rhythm of the song which to the native American was so easy, and I knew that the piece of wood, which in the Indians fingers was becoming eloquent of the myths of his people, in my hands would have been forever dumb. And the thought that was always in my mind in my studies among Indians came keenly to the fore,--- Why not, in civilizing these crude and natural artists, wood-carvers and singers,-why not train a few of them to occupations, crafts and industries in which use could be made of the native gifts? The Indian industrial schools at Hampton, Virginia and Carlisle, Pennsylvania, have wisely adopted work along these lines. Other Government Indian schools are following. Yet it is not too much to say that the development of native industries should form a larger and more serious part of the curriculum of all Indian schools in the United States and Canada. For only by infusing into the new life of practical progress some of the old Indian ideals can we hope to brighten for the man of yesterday his outlook for the morrow.
HAIDA
SILVER BRACELET
OF HAWK
DESIGN.
621
AND THESE, TOO, ARE MOTHERS: A STORY: BY MARIE LOUISE GOETCHIUS

HE dressed herself almost painfully, bending close to her chea mirror to bow her tired lips with red, and shadow Ker tired eyes with black; she poised the enormous cheap straw hat with its vertiginous flower garden, at a hard, sharp an le on her crimped hair; she drew over it a wide veif , torn in spots, with its great black dots that drooped and swayed in front of her eyes. Th en she turned to the child, who, curled on the narrow bed, was nearly asleep, shook it Bently, and said: dllons, ma petite, it is time. The child protested whinin ly. It looked tired, too, and very light and frail. It was dresse !s in a soiled white muslin, with a floppy hat, and tarnished blue streamers tied under its pointed chin. Once up, however, it went docilely enough, and followed the woman out on the streets. The sky was dee blue that night and there were many stars. They looked like a sif ent flock of glittering birdsthose stars-sailing on with outstretched wings, in a vast migrating army to a land beyond the city. Paris shone with the unhealthy pallor of street lights; the night world rustled warmly up and down the narrow hilly pavements of Montmartre. Thin strains of music drifted out from the dance halls and restaurants. Tall, imposing men in dark livery stood at the ma ic entrances of these restaurants, scanning impertinently the faces w%ich passed or paused before the doors-shrugging their shoulders and smiling knowingly, as the little women streamed and poured by them to the gay caf6 inside. There were sightseers, too. These last glided around in motors, with much conscious cranin of necks, and laughter at imagined life. The woman and the chi7 d stopped at the entrance of one of the cheapest of the restaurants. The man at the door bent and tweaked the childs attenuated chin. How goes it, the little one? he inquired in his hoarse goodnatured voice. Not bad1 answered the woman. She always came to this restaurant. Sh e could not go to the smarter ones-she had not the clothes, and the child would erhaps not be allowed in. Here they knew her-they had known Rer mother before her. She managed at least to get coffee for herself and milk for the child every night. Tonight it was crowded. The bar, with its high stools at the entrance of the garish room, was swarming with women, all dressed in shabby ostentatious imitation of their betters-the same style of hats, the same ruffles of lace at the neck-but with the difference of 622
AND
THESE,
TOO,
ARE
MOTHERS
cheapness. They greeted the woman and her child kindly, and the woman smiled eagerly back at them, answering their crude questions with unmincing frankness, warmed and at her ease in their presence. She looked at some of them with env . They were better a earing than she and much oun er. Still s i e was not conscious 0 FK er fading potentialities, alt rloug % a glance in the big white mirror over the mercilessly lighted bar, showed her a face without the charm of youth and a figure grown stout and bour eois. But the erfume and paint and drinks and music seemed to b7end in a warm Friendly river from which she drank gratefully, leaning far over the brink to do so. She felt the occasional tug of pointed little fingers at her skirts, but it did not occur to her that it was wrong to bring the child with her. There was indeed no alternative. The child was perched on a high stool now, playin contentedly % e tables sat with a paper fan, and drinking its milk. Beyond at t was a mreat deal of men and women. They seemed restless-there moving about and changing places-like an enormous Eox of water colors being shuffled around and toppled in different positions to daub a caricaturists palette. The strong lights chemically sucked much of this color out. They seemed to gain their strength by preying on the wine and people. There was dancing going on between the tables--couples swung in small steps, sawing their bodies up and down to the rhythm of the red-coated music. The woman could not dance. It made her bones creak and ache, but she liked to watch the others. As she stood near the bar, a Lady entered with two men. This Lady was clearly of another class, but her presence there was not so This extraordinary, as many ladies came to see this restaurant. She did particular lady, however, differed vaguely from the others. She was not look contemptuous or disgusted with what she saw. quietly dressed in a short ray tailor suit, with a snugly fitting hat and a plain undotted veil. 8 he had a delicate white face and thoughtful dark eyes which glanced clear1 around the room, touching its glare, with a momentary shadow. fi he two men seemed rather selfconscious. They avoided the eyes of the women near the bar. There was a slight wait at the door while a table was being found for them. Meanwhile the Lady in Gray had caught si ht of the child. A sharp little gasp of shocked amazement escape f from her lips. Before her corn anions realized what she was going to do, she had moved swiftly Porward and was bending over it. The mother watchin first with curiosity, then with surprise, followed this stranger almost f efiantly and placed herself directly behind her child. Severa1 women clustered m a silent observing group near by.
623
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What is this child doing here ? asked the Lady in Gray. She spoke French with a sli ht accent. It is m child, ma fiame, answered the woman. The La By in Gray looked u with an expression which changed as she saw the mother. Then sIie asked very gently: Why is she here, madame ? Because I am here, answered the mother simply. She was not accustomed to speaking to ladies. The Lady in Gray hesitated a moment, whispered to one of the men at her side and then spoke in a still more entle voice: cd Wont you and your chil f come and sit with us a while at our table ? The woman stared incredulously. Such a thing had never hapened to her before. She felt suddenly ver pleased and excited. Pt was an event. She looked around to see iP her friends had heard the invitation. Yes, they had-they were whispering together. cd Willingly, madame, she answered. The child slid down from its stool at a word from its mother, and they followed the Lady in Gray and the gentlemen over to a table in a corner. The child was not afraid or embarrassed, but the woman became awkward and conscious. The sat down. The Lady in Gray and the gentlemen treated her as iB she were of themselves. They asked her politely what she would have to drink. She began to feel that she was in that vague society of which she had read indifferently in the papers. She sat u straighter and smiled small stir? smiles; she held her hands in er la and every once in a while she leaned over and twitched at the Bow on the childs hat. She talked carefully, choosing the proper words. A great pride was surging through her poor worn body-the pride of being treated as an equal b her supenors. They were talking to her about man thinas-but t e conversation always drifted back to the child. dew opd was iA Had it ever been to school ? Wasnt its mother proud of it? ?his was a new idea. She had never consciously separated the child from herself. They were a totality-a habit which had not stopped to analyze itself. No-now that she was called upon to express it-the child had not been to school, she had not even been especially roud of it. It was an existent fact, just as everything else she coul B see and touch or which was obliged to be in her life, was an existent fact. She had not tan led herself in realizations or questions. But your c %ild, the Lady in Gray was saying. Does she not get ve tired being up so late at night ? J answered the woman with a shrug in her voice, she doe; nozeem to. She sleeps in the day, voiZa tout!
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ARE MOTHERS
The Lady in Gray shuddered a little. Then your baby never sees the sun, she remarked sadly. But the mother looked at her uncomprehendingly. cd We others, madame, she said, we do what we can. Our children must live as we do-or without that we cannot kee them. And your friends? asked the La cr y in Gray, with a delicate wave of her hand. cd Have they all children too ? Most of them, madame. But I do not see them. Man Dieu, madame; they have fortune. Some of them can find care for their children while they go out-some leave their children the night alone. I have no one, and my child cannot stay alone. She was enjoyin herself now in almost an intoxication of selfres ect. She bent 9 orward slightly as she spoke, addressing the chi rd in between times, cd Tiens toi dmite, Nini. The child drank its milk noisily, and watched the dancing with expressionless eyes. cd T&m, continued the woman, if it could interest you, there are some ladies who have also children. She used the word lady slow1 , with savor. It sounded well. She beckoned to three of her frien CT s who had been staring at her from a distance. They sidled over eager1 -pressing one against the other. They were younger and better P ooking than she and their eyes slid smilingly to the men at the table. ati done, Rosa, how goes the little Jean? asked the woman importantly. He goes well, answered Rosa, in quick response. Her face lighted up until it looked prettier than ever. You all have children ? asked the Lady in Gray. But yes, madame, they answered, starin at her. Sit down, she said impulsively, and teli me about them. Madame has perha s one of her own ? hazarded the woman. The Lady in Gray shoo R her head sadly. 66No, she said, and her eyes sought the eyes of one of the men-but the woman did not notice that. The men were making the best of the strange party and had ordered a bottle of champagne. Then they withdrew from the conversation and let the Lady in Gray talk as she would. She acted the gracious hostess in her own house. The women had never known anything like it. Little by little she drew them out. Soon the were all talking volubly about their children. Their manner ha cr changed-they seemed absorbed-vying with one another in their descriptions of the little ones who belonged to them. The
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mother whose child was beside her sat quietly listening-she had never heard her friends talk so. She almost felt ashamed. Yet unconsciously she kept fussin with her own child, touching it here and there, admonishing it, loo1 ing at it. The life of the night flowed on unheeding past the little table. The music played, women danced together, men leered and reeled to and fro, the entrance door banged shut and open, as the painted world streamed in and out of it. The women still talked of their Jean was an intelligent boy; he should go to school soon. children. Marie a eared weakly-she cried a great deal, and did not eat child would make a dead much. !? herese was a little devil-that man laugh with her cunnin tricks. The absent children seemed to be standing each at its mot !t ers side, their small faces peering wonderingly or knowingly at the lights and wine. The simple words of their mothers brought their presences around the table. The child who was there seemed to spread and multi ly and become an attentive group of children, the quick prattle of trleir little tongues slipping through the noise of clinking glasses-the patter of their little feet drowning the sliding scrape of the dancers. They appealed, they challen ed, they lived. At kast the Lady in Gray rose to leave. It was late. As she stood up, the shades of the children seemed to scatter and disap ear. There remained only the crude noise of the restaurant, an cr the bri ht blotches of the womens dresses. The child, who was there, ha a fallen asleep. The Lady in Gray was whispering again to one of the men. He hesitated visibly, at an ap arent request. But her eyes were not eves to be refused. Finally I: e nodded and shrugged his shoulders. Th en s he t urned impulsively to the four women. Do you know what would ive me great pleasure ? she said. You will forgive me perhaps if it seems a little unusual, since I have not known you for long, but I want you to bring your children to tea with me in my apartment, One Hundred and Fourteen Avenue des Champs ElysCes, tomorrow at five. Promise me that you will come. I-I should like to know them. The women drew back instinctively. They did not know how to answer such an unheard of invitation. One of them glanced slyly toward the men, but these last were gazing impassively off into the room. After the little talk we have had, I feel I must see them, continued the Lady in Gray. You will come, wont you? She turned. almost wistfully to the first woman. We will come, madame, answered the latter with sudden warmth. And as an afterthought, she added, thank you, madame.
AND THESE,
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The others assented a trifle awkwardly. Then the Lady in Gray moved quietly away, with the two men on either side of her. The women left standing at the table looked at one another but exchan ed It was almost as if they were afraid to admit t%at no comment. what had just ha pened was bizarre. Finally the mother athered her child up in Ker arms. Im going home. Good nigfl t, she said. When she had left, the three others stood uneasily for a time. Suddenly one of the women spoke: If we all went-
HE Lady in Gray sat waiting. She seemed a little impatient. Every once in a while she would glance quickly toward the door. Beside her stood a tea-table heavily laden with cakes and candy in small silver dishes. The hot water purred in its kettle-there were flowers in bowls around the room. Suddenly the door bell tinkled and the Lady in Gray half rose from her chair. Then the white door of the salon opened and four women and four children came through it awkwardly, hesitating, ill at ease-the children all about the same age, hanging back, apparently miserable in their best clothes. They were overdressed. One little girl wore a creased, shiny pink satin, cut down at the throat, and a row of hollow, thin imitation pearls. Her hat was a hu e affair with magenta roses. The one little boy had evidently foug a t at being dressed up-a button had been wrenched from his coat, and his red tie was twisted. The child who had been at the restaurant the ni ht before, was still in the same costume and hat. It seemed possib f e that she had not taken them off between times. The last child trailed far behind. She was more simply dressed in green muslin and white ribbons. The Lady in Gray came forward swiftly and cordially. The women held themselves consciously. In a dumb sort of way they felt this different background, in which their small shifts and contrivances for a good ap earance stood out pitilessly exposed. The room seemed to retire Belicately in a soft pastel haze, leaving them alone, harshly dis layed, vividly artificial. But this feelin passed quickly as the La a y m Gray bent over their respective chil ii ren and kissed them. The children stared at her silently. The child whom she already knew did not recognize her. Then they all sat down. The childrens eyes became glued to the plates of cakes-and they moved restlessly in their chairs. No one seemed to know quite how to begin. However, gradually under the influence of the Lady in Gra , they all felt more at ease. The mothers be an to talk again of t i; eir children. The cakes and tea were passe !I. The Lady in Gray herself helped the children to the cakes and the five women sat 627
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wah;ng as if fascinated the little ones gluttonous attack upon the sweets. When everything was finished to the,last flaky crumb, the ~adr in Gray sighed as rf qmte happy over then unmannerly hun r. It is good to see the young find so much pleasure for so litt re, she said. The four mothers a reed. The felt content, too, just as if they had done something oB which to i e proud. The children, gorged with cakes, retired heavily to a corner, where they sat, playing among themselves. Then the women talked more freely. Gradually the miserable stories of their lives found expression in the excitement of conversationally being treated as an equal by this lady. Her gentle intereet loosened their already emboldened tongues. They exposed their sordid tragedies almost with pride at having stories to tell. Also the showed a itiful knowledge of human nature, good and bad. T Ke Lady in 6 ray was the magnet for all their observations, unconsciously philosophical or bitter-they did not once address each other. At intervals, the children in their corner, by a shuffle or a restless flo in of their little bodies centered the attention in their direction. Rl e !Lady in Gray seemed relieved when such interruptions occurred. Although no one realized it, she mana ed to keep the children in the foreground. It was as if she constant f y reminded the women that they were mothers, until they plumed themselves like birds over their young. But the women were growing very much at ease in the soft room. The telling of their stories seemed to have simplified the atmos here and rendered it more breathable for them. Finally the Lady in gi ray rang the bell near her chair and four dainty packages were brought in on a tray by a white-aproned maid. Then the Lady in Gray called the children over to her and gave each one a package. A lrttle remembrance of me, she said. The children o ned There lay four shiny medallions of the r irgin them delightedly. Mary and four thin silver chains to hang them on. The Lady in Gray fastened them in place around the eager stretched little necks. The child who wore the imitation pearls was especially noisy in her pleasure. She liked bright glittering things. It was evidently time to go, but the women did not quite know how to take their leave. They began to look at each other meaningly-but no one seemed to wish to be the first to go. At last the Lady in Gray rose. I want to show you something, she said, walking swiftly over to a small desk from which she took a picture in a silver frame. It The was the picture of a child sitting in a big chair, holding a doll. women gathered close around her peering over her shoulder. 628
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My child, said the Lady in Gray softly. She died when she was eleven years old. One of the women sniffled-they all felt very, very sorry and they could easily have cried at that moment. I envy you-you see, went on the Lady in Gray with her quiet voice. I lost my baby because, I suppose, I did not deserve such happiness. The women about her did not look at one another-they looked . Their children were laying noisily in their corner. The EEr boy was fighting with t % e three little girls. But the mothers did not mterfere. Yes, continued the Lady in Gray in a far-away voice. I did not deserve such happiness. Then she a peared to forget that there was anyone in the room with her, for s Ee stared off into space and her eyes were wide and dark and clear. So the women instinctively said good-b e somehow and walked out of the door followed by their children. Pt was growing dark. The streets were flaming gradually with the night fevercarriages rolled by in the shadows of the chestnut trees-the moon white and sad trailed its path over the Arc de Triomphe. The women and children stood in a little knot on the wide avenue. Then they started moving slowly down toward the boulevards. The faces of the women were strangely quiet, but the same expression was on all of them-a timid thin softness shone through therr paint. The chea lace over their hearts stirred as they breathed-they held their hea cr s higher and they did not stare at the passing myn. The shadows from the trees of the lower Cham s ElysCes fell u on them and painted out the tawdry colors of t!I eir costumes. &l ey became merely a group of silhouettes detached against the dark spring green of the chestnut leaves. At last the woman who had brought rt all about, spoke as if to herself: If one could merit it! she said. One of them answered in a The others looked at her, startled. PuS~~~~~~;~~~~,,:,, The first woman spoke a ain: % he lady who envied us, she had reason. Let it be, she said. SC If we could merit it. One of the children came running back. It was the boy. Mere! Merel he cried. Therese did lose her medallion. His mother caught him in her arms. Why should we not merit them ? she said passionately-- We, too, have suffered for them. 629
CALIFORNIA LANDSCAPES IN WHICH THE VIGOR AND WILD BEAUTY OF THE GOLDEN STATE ARE MANIFEST: BY HANNA ASTRUP LARSEN
q WHATEVER city or country a Californian may ursue the business of living, at heart he always befongs to his State in a way that is true of few other people from other parts of the United States. This is the reasonable outgrowth of the natural and political situation of California. The area of uninhabited country that, for so long, lay between this State and the well-settled East gave to it the isolation and independence of an individual civilization, and the golden luxuriance of the land, contrasting with the diminished fertility of the East and the deserts and uncultivated plains of the Middle West, went further to set it apart, and make it a sort of region of the blessed. The vitality and vigor that marks the climate and vegetation of the country is in the blood of the native Californian, and he feels himself a human manifestation of its natural forces ; wherever he is, there also is California in his person. Not only the native, but men and women coming from other sections of the country fall swiftly under the spell and become as fiercely devoted as if they had known no other home. But in spite of this attitude of deep and passionate love, almost adoration, that the Californian feels for his birthplace, he has also an uneasy consciousness that it is after all provincial. There is at the bottom nothing contradictory in this. In spite of its immense distances, Califorma is like a little town where everybody knows everybody else, and, realizing this perhaps more keenly than anyone else, the Californian artist feels that he must be reco ized by an outside public that has no personal interest in him, be$ore his compatriots, however much they may admire him, are sure of their own judgment of him. They want him to make good in Europe or in the East, and have the fact properly hailed in the press of San Francisco and Los Angeles. He himself feels the need of the stimulus of older art centers and of the work of other men, although he knows that what he has to say will always be drawn from the deep sources of life in the community of which he is a part; for California has wonderful resources of artistic nourishment. Here are tradition, poetry, romance, and a landscape that in spite of the immensity of its scale and dazzling vividness of color, is yet paintable. Added to this are other characteristics which convince the artists of California that it is fitted to become a center and inspiration of American art. The State is new and vigorous with the hot energy
630
LAKE
MAJELLA
EUGEN
NEUHAUS.
PAINTER.
;LIAM
JOAN
TEE ELMER
SHADOW WACHTEL,
OF THE
CANON:
PAINTER
THE
QUALITY
OF CALIFORNIA
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of youth, and yet it has the mellow atmosphere of the past. Close by a modern building freshly painted and practical, there may be a crumblin adobe house with mossy tiles,-a memory of the time before t %e Gringos came. Perhaps it hides a leather trunk with hand-wrought brass nails full of dresses of the stately ladies who, clad in billowy ruffles of lace and gay silks, rode horseback on pillions behind their lords. Their great-great-granddaughters are robably riding astride over the same country, wearing boys caps an cp divided skirts. Yet here and there in the flash of a black eye or the turn of a delicate profile we see traces of a warmer, intenser strain than that of The Spanish influence lingers in the the matter-of-fact Northerner. melodious names of places and in the hot, eppery dishes served on Californian tables. Stories of love and Bghting and of reli ous devotion cluster around the old Missions. The later history of the !?tate in the time of gold minin and Vigilantes is even more stirring, and The In f ian is close at hand with his interesting as picturesque. customs; the nearness to the Orient adds still another element to the cosmopolitan character of the cities, and carved teakwood, ivory and rich-hued embroideries train the eye in the perception of beauty. In some of the landsca es, especially those inspired by the cypresscircled blue waters of K onterey Bay, one is conscious of Japanese influence in the composition. A thousand miles of seacoast stretch from the ray breakers of the north to the sparkling blue of San Diego or 8 atalina, and the landscape holds both the rich fertility of the tropics and the bleak, snow-covered mountains of the polar regions. All these elements have contributed to the creative power of the Californian artists, and the most casual glance at a list of men and women who have distinguished themselves in the arts will show a fair proportion of names from the State of the Golden Gate. T IS charccteristic that most of the Californian artists have painted landscapes, and that most of them prefer toseek Nature in her wilder haunts where man has not yet left any mark of his presence. It is scarcely accurate to say that these landscape painters constitute a distinct Western school, since the only group that might be designated by such a name is Californian geographically and not intrinsically. Arthur AMathews, at one time instructor in the Art Institute in San Francisco, may be called the head of this group, as he more than any of the others has influenced the younger artists. Amon his disciples are Xavier Martinez, who is of Aztec lineage, Gottar f o Piazzoni, a San Franciscan of Italian extraction, and Maurice Del Mue, who came from France not many years ago. All show the influence of their European training. They use a palette held in a very low key,
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borrowing something from the brown tones of the Californian summers and from the simple masses of the trees, but avoiding the more orgeous aspects of Nature. Their work has often a delicate, poetic %eauty, but it would have been as exquisite in any other clime. On the other hand, the men who have reduced work essentially Californian stand isolated and cannot be c P assified in any one roup. Those who have chosen to work in California, to interpret her %eaUtY to the world, need some of the qualities of real greatness. They must know how to stand alone and must have faith in themselves and in their neighbors. Without pretending to exhaust the subject, a few may be mentioned who have caught and mirrored various phases of that prodigal, many-sided Nature. They have been chosen not for similarity, but for difference. William Keith has gone up into the heart of the Sierras, where the dark, cold streams gush eternally from the edrres of the glaciers. He seems to have caught there some of the spirit 07 everlasting youth for himself and his work. He has put on his canvas the play of light over snow-covered peaks almost as ephemeral as the clouds above them, the gray hills tufted with moss, the deep black forests, and at their feet the fine, pale grass springin among boulders, all blending to form what seems a world m itsel B. The distances suggest the illimitable. Keith is a believer in the theory that art is nature passing throu h Paint cannot compete with the sunlig!I t the artists imagination. of the Almighty, he would say, and the only way in which the painter can come near to the eternal creative force is through his He interprets, but does not describe nature. own spirit. Elmer Wachtel is the painter of southern California. On the border of the desert there is a land that has appealed to few. It seems to be nature created for its own ends and not for the uses of men. Wachtel has discovered vast strange beauty in this wild, weird, melancholy country. Sad it must always be, tragic even in its rim loneliness and hopelessness; yet it has majesty and a stu ns of flous strength. The hills stretch out endlessly. For thousan 8 ears they have gathered the gray vegetation that makes them oary. Sometimes they roll to the edge of the ocean which boryh rows from them its leaden hue. To aint them under a bright blue sky would be like letting the sunlig flt in on a dead face. They need the kindly pall of gray clouds, with sometimes a ray of light hovering over the edge of the canyons. For uncounted ages the elemental forces have been at rest here. There is no touch of human life. There is not even the murmur of fresh water or the soughing of the wind in trees.
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THE QUALITY OF CALIFORNIA ART

IKE Wachtel, in that he has found a base of nature suited to his temperament, is John M. Gamb P e. In every other wa the personalities of the two men are as different as the lan Bsea es that ap eal to them. The flowering meadows in the centra P valleys of E alifornia have caught Gambles fancy. He paints the deep-orange poppies flaming over the hillside or running mto lakes of cadmium surrounded by luscious green grass and everywhere the delicate shimmer of the buttercups. Sometimes he adds a touch of blue with the lupines massed in the clefts. Recently he has begun to paint similar subjects under the mists of late afternoon or in the has low of sunset or even under the white light of the moon. His wor%% as gained much in atmosphere and depth without losing its pun ent freshness. f n his latest work Gamble has given us more elaborate compositions in the trees and mountains and beach of Santa Barbara, where he lives. His treatment of the background is original and modern. He sweeps away the underbrush and shows us a clear space with a curve of the beach enclosing a bit of the ba , where most of the painters of the oak and eucalyptus trees, P ollowing Keiths example, have striven for mysterious and poetic de ths. Eugen Neuhaus is a young German artist who sees 8 alifornia with the keen eyes of the newcomer. He has painted a variety of subjects, but . in general it is the bright, sunny aspects of nature that He brin s to his work a virile art and a spirit bub%?r$$h~~husiasm. %here is spontaneity in everything he does. is somber without being dreary. He has His Lake Majella avoided the wild, eerie feeling of a solitary mountain lake and thereby perhaps lost something of its deepest significance. Yet there IS much charm in the bit of water, like a cheerful eye of the earth opening to catch the light of heaven, the tall black pines closing around it, guardians of its peace. In summin up the work of the California landscape painters, one feels that t%e mdividuality of each artist is so definite, so vividly expressed, that the possibility of develo ing a school of paintin PI 1 painting California wit fJI among them is most remote. They are a love and devotion, that is clear, and also that they are all American artists and radiantly Western; and yet, the work of no one suggests the achievement of the other beyond the temporary influence occaAs one recalls this art sionally felt of the older men as instructors. collectively and individually, it seems more typical of a single bit of country than the art of an one other State, and yet more diversified than the temperament of tE e Coast people themselves.
637
LONDON MUNICIPAL ARTS AND CRAFTS SCHOOLS, WHERE THE UNSKILLED LABORER IS TRAINED TO BECOME A CRAFTSMAN TO SUPPLEMENT HIS WORK IN THE : BY ERNEST A. BATCHELDER
E WERE somewhat critical in America concerning some of the work projected recently by the London County Council and similar bodies in other English municipalities. It may be that errors of jud ment occasionally have been made in these municipa T ventures; but on investigation one feels that on the whole the substantial benefits outweigh the mistakes and, what is more to the purpose, indicate an intelligent and conscientious effort on the part of those who hold office to spend the peo les money for the welfare of the people. The illustration which I %ave in mind at the moment is the establishment of municipal schools and museums of art in the large cities and in many of the smaller towns for the purpose of furnishing an art education to the citizens at a nominal expense. It matters not to which corner of the land one Birmingham, London,-one turns! Glasgow, Leeds, Liverpool, invariably finds a municipal school of arts and crafts and a museum of fine and industrial art, both generally strengthened through material aid from the central government and through generous loans from the inexhaustible collections at South Kensington by the circuIt may be hoped that in Amerrca we shall some lation department. day awaken to the fact that Enrland and other European countries are years ahead of us in the deve \opment of educational work in connection with their artistic industries. The English schools, following those already established in Germany, entered upon the arts and crafts phase of their work at eriods varying from ten to twenty years ago. The movement for in Bustrial art training was influenced in a large measure by the strenuous crusade carried on by Ruskin, Morris and others against the low artistic standards prevailing at the time and the deplorable conditions that had invaded the skilled crafts throu h the introduction of machine processes and the subdivision of la% or. It was clear that with another generation there would not be in all England a single practical goldsmith, silversmith, or bookbinder,-in fact, a thoroughly competent craftsman in any of the similar skilled industries. And with ample evidence at hand of the noble part which the art craftsmen played in the civilization of centuries past, it seemed worth while to checkmate some of the degrading tendencies of mod-
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SCHOOLS
ern commercialism. The acute specialization of work in the sho s e for pur oses of speed and cheapness of execution, together with t % rapid cfecline of the apprenticeship system, left only a few exceptional opportunities whereby a lad might hope to ac uire all the details of a trade. Under these circumstances it was s, eld to be a lo ical step for the state and munici al governments to enter u on led e Bucational work that would rovi x e those engaged in the ski P trades with a chance to learn t\ at which their daily practice in the shops denied them. To this end schools were organized to supplement the shops, to preserve and foster all the best traditions of the artistic crafts ; museums were established, or broadened in scope, for the collection and exhibition of the best industrial art work of the ast, in order that the highest ossible standards might always be at %and for reference. Time is cfemonstrating the value of these steps, and the work now meets with the approval, often with the active assistance, of the em loyers, and frequently with the intelli ent cooperation of the tra cfes unions. I say frequently because a ere, as elsewhere, the unions make little effort to supervise the trainin that a lad may receive ; their ideals are all trimmed to the limite 8 dimensions of the pay envelope, and any real interest in educational work is worthy of note. As an instance of the part these schools are beginning to play in actual production, one m.~ ht cite Birmingham. A short time ago the term Brumagen Ma f e implied all that was cheap and awful in metal work. But with the complete and effective or anization of its school of arts and crafts, and with the practical use t%at has been made of its museum, there are now in Birmingham hundreds of real craftsmen capable of designing and executing work of the highest merit. HE organizations of the schools vary in different cities; but in two oints at least they coincide: Each endeavors to meet lems resented by the artistic crafts carried on in its the pro % city; each picks its Pacuity of teachers from men who have had long experience at the bench and who are looked upon by the trade as authorities in their chosen lines of work. Without such teachers it is doubtful if any degree of confidence can be inspired among men enga ed in the trades. Is it singular, or not, that workshop people shouP d mistrust the value of the theory and practice of the school cha when applied to their problems ? E ondon now has its own schools of arts and crafts located in different sections of the city, aside from schools of purely technical training, and also contributes through a series of grants to the work 639
MUNICIPAL
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AND CRAFTS
SCHOOLS
of other schools such as the Northampton Polytechnic and the Sir John Cass Institute, which provide work of a similar nature for the trades. The organization of the schools differs from that in Birmin ham, which I outlined in THE CRAFTSMAN for October, nineteen hun %red and eight. The schools in London are quite independent of each other, though subject, of course, to certain eneral rules, and are unrelated to the elementary art training in t f e public schools. There is even an element of competition among the different schools here. A boy may cross the city to get to his work, preferring for some reason or other the more distant school to that in his immediate neighborhood. It may be that this acts as an incentive to a teacher to give thought and careful attention to his work. If a class dro s to an average attendance of six the Council discontinues it; an 2 six applicants for the instruction along some particular line of work are sufficient for starting a class. However, I think one must seek deeper than this for the genuine interest and persistent effort of teachers and pupils alike, and for the commendable technical and artistic standards that revail. The Central SchooJ; of Arts and Crafts started last year in its new building, seven stories in height, with lar e newly equi ped sho s and studios, a faculty of over seventy hig 9 y trained teat ii em, an B with about nine hundred and fifty pupils for a modest house warmer. This school was first started in temporar quarters in Regent Street in ei hteen hundred and ninety-six. 1y0 quote from the catalogue : A Fi mission to the school is, within certain limits, The school only extended to those actually en aged in handicraft. is intended to su plement, rather t%an supersede, apprenticeship, by affording to stu cfents enga ed in the typical London art industries 0 portunities f or design an % practice in those branches of their craft w Tll ch, owing to subdivision of er~~~~e~~~~~~u~t~~~is~~~~~~ unable to learn in the workshops. trade school ; there are other schools in sufficient number to cater to the needs of the amateur craftsworker. The most active work of the school is done at night, and the students represent nearly all the important shops of the city. In Germany, by the way, such schools run through six days and nights of the week and Sunday momings! It would seem as if they attached some importance to this sort of training! The work of the Central School is roughly divided into the following departments, and in so far as possible each department occupies a floor of the building: Architecture and the building crafts ; silversmithing and allied crafts ; book trades ; cabinet work640
MUNICIPAL drawin ing;
ARTS
AND CRAFTS
SCHOOLS
, design and modeling; needlework; stained glass, mosaic and 8 ecorative painting. While the work of the whole school is of exceptional interest, it will serve our purpose to visit two typical floors,-that of the silversmiths and the book trades. By silversmithin must be understood many allied crafts, such as enameling, die sin% ing, engravin , gem cutting, casting, etc. The heads of this department have ha f many ears of experience at the bench and the teachers divide their time L tween the shop and school. Nearly all of them came to the school ori nally as pupils, were in the course of time chosen as assistants, an f after demonstrating their fitness in this capacity were selected On the background of such an experience they are as teachers. thoroughly familiar with the needs of the trade, are in touch with the spirit and work of the school, and have given ample proof that they possess that peculiar combination of tact, patience and foreTheir pedagogy has been sight which counts for effective teaching. acquired from practice rather than from books. HE pupils in these and the other shops vary considerably as to age. Some are young boys who have just gone to work; others have had several years of shop experience. There are no courses of work; each pupil is advised in the selection of problems that seem best suited to his needs. Many start by copying fine originals ; and all of them are encouraged to undertake projects requiring long concentration of thought and effort instead of producing things of minor importance for immediate effect. In the day school, drawing, designing and modeling are compulsory ; in the night school, these subjects create opportunities for a Many pu ils say that nice diplomacy on the part of the teachers. there is a man in the shop who does all the drawin an a designing. If these subects were compulsory it is probable t % at many would not appear th e second time. So a few snares are carefully laid and as soon as pupils see the value of such work they take it up with the interest that is essential for proper results. The work in drawing is from models chosen from the craft the pupils are following, with studies from nature, birds and insects particularly, as these have ever played an important part in jewelry and silver work. The equipment of these shops, and of the school as a whole, offers material for discussion. The shops possess every possible facility that one might wish for hand work; but in the entire school there is no power-driven machinery. At first thought one might feel that such a school could not ossibly keep in touch with modern methods of working. But on tT-l e other hand it must not always be 641
MUNICIPAL
ARTS
AND CRAFTS
SCHOOLS
assumed that modern methods are necessarily the best. There can be no doubt that the finest traditions of all the artistic crafts are to be found in hand work. And if a person can design a piece of silversmithing, or what not, and execute it through hand recesses, thoughtfully, thoroughly, with all the patience and ski1f that hand work demands, it is quite likely that he will be in position to use machinery or not as he may choose. It does not take an ingenious person long to learn how to o erate the machines that do parts of his work in the shops. It is t Re purpose of the school to supplement, not duplicate, the shops, to furnish o portunities for the acquisition of processes of recognized value wf:ich the shops are using less and less, not because other processes are better, but because they are so much chea er. onsider for a moment what the training of such a school means cp to a young man who, perhaps, is tied down to some trivial mechanical process in a shop with the little prospect of learning anything more of his trade. There are many historic cases in the schools of boys who were duly a prenticed to an emplover and who then found themselves attache B to some petty work &th slight hope of advancing beyond it. I have in mind a youn man who spent one year sweeping shop and running errands, folPowed by three years soldering nozzles to teapots ! A valuable trade indeed in that! But not an~unusua1case. On the next floor are the book trades, typo raphy, en raving on wood and metal, printing and presswork, book %inding. 1 separate school of photo-engraving and process work is conducted elsewhere in the city. In the bindery each pupil acquires the corn lete process from beginning to end, and in its many variations. Tge designing here is eminently practical. The design is stamped on paper with the aid of a carbon sheet, the same tools bein used that are employed later to transfer the design to leather. 5 he work here is of particular value, for bookbinding as now carried on commercially is so completely subdivided that hundreds are binding books, but very few can bind a book. In the department of the book trades it is the purpose to have the pupils cooperate in the production of a fine edition of some volume worthy of the time and effort involved,-compose it, print it, illustrate it, make the decorations and all of the engravings,-and finally bind it, each upil in the binde carrying out his own idea of what l-ce. a finely boun B book should be Ii There are well-equipped shops and studios for work in lithography, wood engraving, etching and mezzotint, decorative writing and illuminating.
642
MUNICIPAL
ARTS
AND CRAFTS
SCHOOLS
HERE are many pupils in the bookbinding shop who illustrate the depth to which the time-honored a prenticeship system has fallen in modern practice. Here is a P ad who spent two years asting labels to the backs of photograph frames until relieved of f urther service by the courts ; another was indentured for seven years, which were spent in a process of extreme value to one who might be called upon to sup ort a family,-cutting cardboard! Strange, is it not, that the pro Buct of the artistic crafts in modern practice lacks soul stuff? But I wish it were possible to recite many instances of the effective service that is rendered these young men through the work they are doing here. There are boys who have egged away steadily in the night school during periods ranging Prom four to ten years, winnin a small scholarship, gradually winnin larger ones of material va B ue, and in the meantime stepping up gra 2 e by grade in their daily work as their services became more valuable to their employers; and in this is the real test of such an education as the school offers. In the bindery, as elsewhere, the teachers have been drafted from those who started as pupils and who now hold responsible positions in the shops where they are regularly employed. Most of the employers ap reciate the service rendered b the school; many insist upon their Boys attending it. Space CT oes not permit a record of the many shops and studios of the school. These two are typical and may well represent the general character of the others. A brief summary of some of the other activities, as for instance under the heading of architecture and building crafts, may serve to indicate the vanety of the work Here are classes in archiincluded in the different departments. tectural desi n based on present requirements and materials, with lectures on t!l e history of architecture, building construction, structural mechanics, chemistry of materials. Work is done in stone carving, wood carving, lead casting, decorative plaster-work and ironwork. Under the head of needlework come dressmaking and costume designing, embroidery, lace making, tapestry and other weaving. There is a day School of Art for Women and a Technical Day The School for Boys. The latter is an interesting experiment. work is intended to provide technical and artistic trainin for boys who propose to enter some branch of the silversmithing tra Ei e. Their work is planned in connection with regular school subjects, English composition, geography, history, etc. One year in the school is recognized as the e uivalent of one year of ap renticeship in the trade; but on campYeting his work in the schoof the pupil has. acquired a knowledge of h.rs trade without abandoning those subjects
643
EXCELLENT
THINGS
that count for so much in general culture. The fees here, as in the rest of the school, are nominal in order to reach those who most need the assistance that is given. Withal, the institution is admirably arranged and equi ped,one of the best that I have seen in Europe. Its compreph ensive schedule of work meets the needs of practically all the arts from painting to forging. It has thoroughly competent teachers and enthusiastic pupils, with nominal fees and material aid for those who need it. It IS setting hi h artistic and technical standards for the trade, and with freedom f rom olitical influences is bound to make And above all it is its work count in the industria r life of London. working for manhood, for strength of character and independence of thought; it gives exercise for mind and heart as well as eye and hand among those who must perforce win their daily wage under the cheapening influence of modern production. Would that our own municipal authorities might find something in such a venture worthy of emulation.
HERE are many excellent things in life for a girl or a boy,for a man or a woman,And those who have not known them should demand them, And those who have known them should share them. They are exceedingly simple thin s, but they keep us strong and young; Perhaps they are small things, %ut they make life great. It is good to throw a ball very far and very high and to catch it easily; To run rapidly and endure long ; To be sure-footed, to climb with perfect self-reliance when the spring is new upon the hills; To plunge to cool waters and find refreshment when summer is sultry, Swimmin easily and naturally until the flesh is satisfied; To pick f aisies, to go haying, or berrying, or nutting; To walk buoyantly and serenely among the breeze-buffeted leaves of autumn ; To rise early in the mornin and meet the frost undaunted, To speed the blood from c%eek to ankle ; To go the length of the blue ice on keen, swift skates; To rush from the heights, down to the whirling snow on the ample toboggan ; Waking, to eat sim le food and live heartily, Sleeping, to sleep a eeply, with the earth and the trees close at hand. These are all excellent things for they make the sane laborer, the good comrade.
MARGUERITE 644 OGDEN BIGELOW.
EXCELLENT
THINGS
THE WORK OF FINNISH ARTISTS WHO PAINT THEIR OWN COUNTRY AND PEOPLE WITH INSIGHT AND FORCE
ROM time to time the art of the North comes down to Paris, fresh, cool, vigorous, born in the heart of sturdy, energetic, courageous men, builders of small, strong nations on the margins of wide seas. Such art flows into the French Salon a clean, stimulating stream, undiluted with the scintillating degeneracy of the New Art which has grown to be but little more than a mass of embroidery on a twisted, rotten warp. The French Autumn Salon opens its hospitable doors from season to season to these Northern ainters of fresh vision. In the fall of nineteen hundred and seven t Ke Belgian artists exhibited there, showin both sculpture and painting of rare insight and vigor, and last fal s the work of the Finnish artists was shown for the third time in Paris. The space allotted this exhibit was small, but the import of the work was tremendous; distinctly modern, and not Parisian, although in isolated cases showing the influence in technique or tone of some dominating French master. For that matter, for years to come we shall recall Puvis de Chavannes in much of the mural decorations of many nations, just as the famous Puvis in turn recalls the mural work of that wonderful seventeenth-century Italian, Tiepolo. But as a whole, the work of this Finnish school of painters is far removed from anything one knows of modern French painting, both in the force of feeling and in definiteness of technique. It is, indeed, much more in harmony with the work of the modern S anish painters; particularly does one recall Zuloaga in the face of tii e fine realistic canvases of Rissanen and Gall&. It would seem from this that the general tendency of all sincere art of this century is to express the life aint real things, actual of the nation from which it springs. To existence, is to develo vigor, simplicity an s sincerity of technique; hence a general resem Blance in most definite modern art is noticeable and springs from a relation of pur ose, not from dominance or imitation. The work of one nation 8 oes not affect the intrinsic quality of another, but all are a art of an evolution in modern art conditions, which because universa f cannot escape resemblances. But the most significant of the modern Finnish artists are painting Finland, her people, her ways of living, down to the humblest type of peasant people. In Gall6ns work one sees most the mechanic, his life, family, progress, joys, sorrows; with Rissanen it is the peasant, shown with Zuloagas insight, love of color and appreciation of the artistic opportunities to be found in most primitive conditions.
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SINCERITY
OF FINLANDS
PAINTERS
One perceives readily that these Finnish pictures are tiled always with people doing things. There are no idle landscapes, no dream pictures of mists and cloudland and ornamental fi ures born in symbolism. In other words, nothing of Corot, or J! wachtman or Davies ; always there is the overwhelming suggestion of energy and tremendous activity of a people to whom days and hours have been vital in the upbuilding of nation, home and personal opportunity. The modern Spaniards paint as vividly just as humble subjects as do the Finnish painters, but in the South there is more unused out of doors in the pictures, more sunlight, a more hi hly developed philoso hy of life, also a greater cynicism and a wiifer range of thought an l purpose. The Finnish men have seen a different type of civilization growing ; they have watched a nation progress and individuals achieve through great hazard. They have battled hard for small returns of comfort or beauty ; they have seen Nature always in the grip of those needing to subdue her for progress or livelihood. The men of such a land must, if they survive, rove powerful, and the women essentially brave. What is achieve 1 of pros erity or peace is won throu h battle. And so, regardless of Frenc lfi influences or German tra f itions, the great Finnish paintings are palpitating with the energy, the force, the power of accomplishment which is the very cornerstone of the nations success. In all these canvases men, women and children are working, and the color scheme is almost inevitably keyed low; not in honor of any French school, but because there is a somber tone existent in the nation, where sorrow is not more prevalent, but joy less so. In Spain the peasant and the humble folk pervade all modern art worthy of mention, but the canvases which portray them are yellow or green, not brown or gray, and there is always the amused smile instead of the furrow, for the tasks past, present and to come. And there you have the difference in the nations ; on one hand consciousness of responsibility and determination to face it; on the other a gay insouciance and always a sense of the possibility of pleasure. In any presentation of Finnish art, however brief, it is Edelfelt whom one first of all recalls ; Edelfelt who demanded of his pupils that they should take their place in the great art movement of modern days. And he proved himself worthy of leading them there by his sincerity, his convincing mastery of his art, his knowledge of values finely sustained, his rare color scheme so discreet as to be almost humble, his sympathies profound for the simple lives about him, and his power great to discover in these simple lives the most touching realities. He saw the life of the humble people in fine perspective, but he knew it by heart.
646
TELLING PAINTER: THE PARIS
GOOD STORY: THE AUTUMN
JULIO
RISSANEN, EXHIBIT AT
FROM
FINNISH SALON.
From Art
et Dbcorntion.
BUILDING PAINTER: PARIS BOYS FROM AUTUMN
THE FROM
NEW THE SALON. EERO
HOME:
bf. EXHIBIT
GALL&N, AT THE
F7NNISA
AUTUMN FISHING: THE
JiiRNEFELT, AT
PAINTER: THE PARIS
FINNISH
EXHIBIT
SALON.
THE
SINCERITY
OF
FINLANDS
PAINTERS
Next, one remembers his great pupil Enckell and later the great realists, Gall&r, Jarnefelt and Rissanen. It is the great mural painting of Enckell at the church at Tammerfors that one first recalls, the corn-position at once so clean and dramatically simple and the nude figures treated with such rare fine audacity. In all Enckells pictures the color is somber, a true Finnish palette, and well suited, too, to the Protestant church which his frescoes adorn, with its walls plain and sober, its interior naked and white. Jarnefelt is more of a colorist than most of these contemporary artists in Finland, for with the brown on his palette there is usually AS a pororange and with the violet, yellow, with the gray, green. trait painter his art is most searching; it is also faintly malicious, delicately subtle, and yet never failing in the final presentation of character. He is more introspective than most Finnish artists, yet Rissanen, closely related to them in technique and point of view. on the other hand, is more definitely violent and brutal; he paints Finnish scenes and eople of the humbler sort with force which is R e describes on his canvases what he knows, positively baffling. He sees conditions clearly, without tenderness or effort at idealism. In his later work his without sentiment, and perhaps without hope. color is less somber, though his subjects remain a most marvelous presentation of peasant life, bare, suffering. Gall&n, also a mural painter of note, is at once the most personal He is bot.h understanding and most national of the Finnish men. of Finlands hardships and tenderly sympathetic to her struggling people. Although as a whole this art as yet lacks the kind of imagination which is stimulating and uplifting to the nation, it is nevertheless so sincere, so true, so close to the life it depicts, that it must take its place, as Edelfelt hoped, in the great artistic movement of modern days.
649
THE NEED OF MANUAL TRAINING IN THE DEVELOPMENT OF OUR NATION: BY JOSEPH F. DANIELS
HE most valuable asset of a nation is its genius-the sum of those spiritual, mental and artistic qualities which make for growth in its people. The educational foundations of a nation lie in the genius of its eo le, and the most im ortant function of education PR t e development of tR e child as an item in that 1s national asset. As an educational subject manual training has to do with the national genius. There is no doubt among us that manual training and vocational training are inevitable in any scheme of education for citizenship, for national freedom and the sublime idea of national dignity. The significance of manual training in any system of education is not measured only in terms of arts and crafts, commerce, labor, society, and other manifestations of service and power, but is specifically ethical and moral throughout. Right-mindedness is inherent in it, and without it genius itself is perverted. Educators may bring great he1 from Germany or Sweden or elsewhere, but, sooner or later, loca P and intense survevs of the subject must be made in order that genius and right-mindedness may be working together. It involves an examination of things within ourselves and not in other people. Thus manual training in our national educational programme should not be merely progressive bench work, but a solution of the problems of native gemus and its moral worth-a demonstration with tools and materials of who we are and what we are-a testing of genius and its genuineness. Does it reflect every phase of its develo ment in our national life? For that, after all, is the great aim of a f1 education. In the finer talents of any people there seems so little difference between the divine afflatus of the .artist and the inspiration of the artisan that one may be allowed to talk of art in the presence of manual training and to rest easy in the surety that beauty and dignity, to ether, are the test of all good workmanship in any calling. If that %e granted, we have a range from the weaver to the painter, from iron-worker to sculptor, that gives sufficient background for a sym athetic discussion of manual trainin as a part of education. J he forces of national genius-art an f ethics and morals-are the forces we apply to the materials available, and, in education, this application gives rise to method, without which no pedago ue can imagine a school. In our search for methods we have exIi austed
650
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OF MANUAL
TRAINING
every foreign source, and native ingenuity has adapted, modified and digested a mass of information. This spectacle of native genius touched by forejgn impulse is interestin , and it illustrates how slowly even an eager, impetuous people ma Bnd itself after vain endeavor to reflect foreign social conditions an 1 varying art achievements. VIEW of arts and crafts and the thing we call national art during the nineteenth century reveals an array of facts which indicate correctly our relation to the mother continent. In sculpture, painting, architecture, etc., Europe was the museum and school. Our youn men went there to learn the arts, and an illustrious company ma Ife its home there. Those who returned and those who remained, alike complained of America as hostile or indifferent to art impulse, and we, at home, hardly understanding what it was all about, felt the rebuke keenly, failing to recognize the real thingthe beginnings of a native genius here at home. It never occurred to the average American that the little worksho s about Haverhill, Lynn, Wakefield and other towns-shops bui ft in backyards and on the farms-would be the foundation of a reat trade in shoes, baskets and commodities upon which have been f uilt great American fortunes. These little workrooms were used by the rural Yankees as a means of added income from hand labor of the primitive sort. They awaited the Yankee genius that invented the machines and established the factory. There is no better example of one phase of American genius-the Yankee phase-than a shoe factory. If you can find a man who is making shoes by hand, watch the process of lasting, building a heel, pegging, sewing or nailing, and finishing; then go to the factory and see the lasting machine, the heel compressor, the wire machine, the &Kay machine, the treeing room and the many processes. Amerieans were conscious of this Yankee genius, but thought it a laudable smartness natural to the instincts of a commercial people. It involved a certain knack or trick like the working of a puzzle or the swa ping of jack-knives, and that was about all the people saw in this cr isplay of native genius. Their ap reciation was akin to that of the boy who admires the ground and loB ty tumbling in the circus; in a word it was cuteness recognized by a cute people. In eighteen hundred and seventy-six occurred the great Centennial Exposition, a worlds circus in which the performers astonished the American people, a hundred years after the Declaration of Indethe wonderful feats performed by the pendence. Notmthstandin American exhibitors, the t ii oughtful people of the nation went to their homes with the first salutary lesson ever given this self-suffi651
THE
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VALUE
OF MANUAL
TRAINING
cient province. They recognized the American genius in all its barbarity and nakedness, a real thing with mighty promise, but It was borne in upon the American mind uncouth and untrained. that we lacked direction and finish in our work, and that technique could be learned from the European. The transatlantic exodus mcreased and we began to learn how things were done. Nearly all the learners were very young and tried to make things European. They were easily surpassed by the Europeans. A few, like William Morris Hunt, a man independent of the new vogue but caught in it, taught Americans the truth about art as he thought that it should be applied to the individual and the state, but, for the most part, the artist scoffed at American pretensions and, in dress and manner, alienated himself. Only the workman and the craftsman remained true to American ideals, with grim determination and most magnificent ambition to excel in their own way. About all that we possess today we owe to the American craftsman and his brother workmen in field and shop. They tarried by the stuff while pioneers and statesmen marked our growth and progress. UR prosperity is based upon workmanship and the soil and not upon the ability of the trader or the financier. If you will read our history in the markets of the world you will find that the Englishmen, the Germans and even the Frenchmen are better merchants than the Americans, but that none, not even the Japanese, can corn ete in workmanship with the American who has set his hand to ma I:e an American product and make it well. In an examination of a peoples enius one is sure to discover many factors which threaten its growtfl and fruition, and, while it is asserted that our prosperity rests upon workmanship, it is equally true that by olitical practice and a kind of commercialism, we are slowly strang lp ing the spirit of craftsmanship and native genius in the masses. The two expressions of enius, craftsmanship and commerce, are really two phases of a mora P idea universally associated with success, achievement, accomplishment. Let me explain by means of my pocket knives. I have two pearl-handled knives of two blades each. One was made in Germany and is now ten years old in service. The other was made in Ohio and has been used one year. The German knife is worn slightly by sharpening, but otherwise is as good as new. It opens and closes with ease and the rivets are tight. The American knife is useless because the soft, wearing parts have
652
THE
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been thrown out of the path of motion and the rivets are loose. The blades show almost no wear, are dull and will not keep their edges for the slightest use. This American knife has one point of excellence ; it has a better appearance than the German knife and I bought it because of its appearance. It was made to sell and it cost me two American dollars (In God we trust). It is not the intention to prove that a German knife is better than an American knife, but only, in the first place, to show that not only are some knives better than others, but that some American knives are not good knives and that a cheap knife may be made to look like its betters. This comes about because the emphasis has been shifted from craftsmanship to a modern notion of commerce. In the shift the moral values have been lost and all values confused. The craftsman has one into captivity through lack of knowledge. 8 f course you knew all that before, but we are certain now that we understand that there are craftsmen in America who make these imitation knives, or furniture, or whatever, to sell to other -4mericans (and the heathen) for real money, and each thinker will explain the matter to his own satisfaction, no doubt. One reasons that the manufacturer is in the grip of an economic monster whom he must obey; another blames the purchaser and only a few think back to the fundamental immorality of false values in workmanship-moral fundamentals that concern the national genius and its freedom. With this much said, I have my own reason for adding to the literature of manual training and I do it all with keen sympathy. My father was the best worker in wood I ever knew and he taught me the use of tools from boyhood. I love a good piece of work, from a full-ri ged shi to a library catalogue, and I lean toward the workman in !eld or s!op. HEN things seem wrong we turn very naturally to our educational system for cause and remedy. In this instance we find that though manual trainin is a formalized, intellectual subject in our schools, that teachers of t a is department know little and care less for things outside the curriculum by which they obtained degrees, diplomas or licenses to teach, they (as a class) seem to have no adequate notion of the meaning and moral worth of the matter in hand. They know not why Elzevir or Phidias or the cathedral builders wrought so well. They seem not to understand that genius is in their keeping and that mans work is immortal. It is a sorry business to scold ones neighbor, but as the vacation season returns to us another army of boys and girls, it is not amiss
653
THE
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VALUE
OF MANUAL
TRAINING
to ask-a few questions, as follows, of that neighbor whose business it is to teach manual training: With shops and wood and metal and books, what have you tau ht? tv ith straight edge, plummet, compass and square, what direction have you taken ? With color and form and beautiful design, what have children learned from you of the beauty of life, of sweetness and light? With pulley and shaft, alignment and drive, what bearmgs have they found ? With T-square and triangle, plans and perspective, what castles and visions do they see ? With lessons, tasks, examinations, diplomas and intellectual equipment, what are we all for etting ? Is the genius of a people to %e nourished on blue prints alone? Are we a nation with a destiny or are we just doing time? ONCE had a teacher of history in the old school days. Following his forefinger across the map of Euro e I marched with I great armies and sat in council with kings. I koked across gulfs and seas and talked with the men who plowed the fields. He illuminated the whole matter of histor and ave it a back round. When the bell rang all sighed an (9 walke% ouky rert$l;;; one laces a book-mark in a continued story. Jos rl ua, the son of Nun, was filled with the s irit oefnwisz; f:r Moses had laid his hands upon him, I think oP that old teacher. The old Japanese painters had a way of learning which they called sitting at the feet of the master, or sitting in the doorway of the master. Thus they sat, mending brushes, preparing paper and learning the traditions and technique of art and the national cult. The genius of these learners is manifest in all their work, and it is Japanese. To be sure, the machine and system of modern education with its standardized courses and schoolhouse barracks makes old-time conditions of studio and class room well-nigh impossible, but it should not completely change the aim of the teacher, and there remain enough instances to show that it need not. In fact, the dead level of standardized mediocrity, which critics of modern education think the see, would make it true that there is no calling on earth from whit I: it is so easy to emerge at the top-to become notable in leadership-as education. The great moral awakenin and the rowin consciousness of genius in America should be refl ected in alP teaching, but especially
654
THE
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VALUE
OF
MANUAL
TRAINING
in manual trainin , the obvious and concrete expression of the educative recess. If there are defects in the machine, the remedy should Pie with the teachers, if there be any such left in the schools; but the indications are that the revival and reform in manual training will come from without. In fact, the history of education is replete with instances to show that the school teacher is corn lacently asleep at the switch, and that all changes in curricu P urn are reluctant and are due to insistent and repeated pressure from without. Possibly that is why Hugo Munsterberg s,ays that America is the only country where education is given over to the lowest bidder. The arts and crafts movement in America is oung and there is still (as in all human affairs) a great deal of (5; lettanteism, sham and vanity in it; but, young as it is, artistic craftsmanship is exerting a strong pressure upon manual training. Craftsmanship displays the genius of our people and has the right aim. It is founded upon a sense of beauty and a knowledge of design. It is slowly and surely teaching us that beauty and right--mindedness are the best cornerstones of economics in any nation and that the intellectual life is a mere bill of lading without them. Manual training must concern itself with the deeper things of life if it would raise itself to the dignity of an educational subject. Fine talk in psychological hrase and epigram concerning the hand and the brain, doing and t!Iinking, reflexes and localization of cerebral functions is mere claptrap and chea professional chatter if we forget the eople and their roblems. T !i e success of manual training depen Bs upon the confi Bence that peo le have in our institutions, especially the educational institutions, an x to inspire that confidence we must respond to the pressure from without whenever it is lain that we are lagging behind and are neglecting the genius oF the people. The scope and influence of manual training will never be understood until we begin a closer study of our own people and appreciate that the educational problem is more than the subject matter of a course of study.
655
THE QUIET PHILOSOPHER BY GEORGE BICKNELL
OF THE WABASH:
EROM, Indiana, is a quaint village twenty-five miles south of Terre Haute. Like the latter city, it, too, is situated on high land-a beautiful natural spot. Many visitors come from far away to bathe in her cheer for a day, and here dwells a hermit, a quiet philosopher, in his vine-sheltered home on the classic Wabash banks. Pi1 rims land in Merom on their way to the haunts of this man, for %e is known and loved for miles around. Over twenty-five years ago, one Sunday afternoon, a queer looking houseboat was launched at the waters edge near a thick wood. The owner of the wood happened to be standing near this spot at the time of this launching. A man, then gray in years, emerged from the boat and gave a military salute to the party on the bank. Some greetings were interchanged and finally the owner of the wood said, And what might your name be ? and the knight-for he proved verily to be that which he is often called, A Knight of the Woodssaid, My name might be Smythe. Captain Smythe, the woodsman replied-and the knight answered-Roland Smythe, Captain, however, if you prefer, and since that time the people for miles around know this great, generous soul as Captain Roland Smythebut we, who know more, but who are wise enough to comply with his deepest wishes, are silent as to his real name. In reality he bears the name of one of the most aristocratic and prominent families of old Virginia and was a Colonel in the Army of the South. In the South is where he fought and lost. A man of wealth, strong in health and mind-high in social and political life, he went into the army, believing his cause just, and for four years he fou ht, undaunted, fearless, with great organizing powers-a leader of mena doer of deeds. He came out of the war broken in health, penniless-and as he felt, eternally disgraced. It has never been strange to me that he would long for and seek a life of quiet and solitude, and this he did. After spending some years on the Mississippi he came to this spot on the Wabash, and in a little cabin here he has lived alone and content for a quarter of a century, and nothing will ever entice him from this spot but that final Great Mystery. Here he has nursed himself back to happiness and eace and health. If e is not at war with society, for he loves men and the great busy world, but his excuse is that he loves Nature more. And though this man has built his house in remote woods, men have cut a pathway to his door. Every year hundreds follow this beaten path
656
CAPTAIN OF JOHN
SMYTHE, BROWNS
FRIEND
FELSElVMERE, Residence Grapevine Cove,Gloucester,Mass.
of Hon. J. SLOAT FASSETT Edwin J. Lewis, Jr., Architect
Roofed with MATHEWS s inch thick Hard Vein Variegated Green SLATES
The architect says : The Slates are beautifully in accord with general scheme both as to colour and texture. the
Th e penetrating fogs and mists, resulting from the proximity of the ocean. have rendered complete re-finish of the woodwork necessary. A recent *nor-caster carried away a skylight battened down with screws: but did not move a single slate nor has the slate deteriorated in any way. Note the RUGGED ARCHITECTURAL ROCK and FITNESS of RUGGED ROOF
Any Building Roofed with
ath ews ES ~Oolcokui Slates 2vEegUatPktZB M

Send for Descrivtive Price Book
THE
Main Office:
MATHEWS
SEARS BUILDING
Kindly mention
SLATE
The Craftsman
COMPANY
BOSTON. MASS.
ix
A CRAFTSMAN HOUSE THAT IS BEING BUILT FOR A PHYSICIAN ON THE GARDEN CITY ESTATES, GARDEN CITY, LONG ISLAND
\Ve are publishing this month the illustration and floor plans of a house that the Craftsman Home Building Company is erecting in the Garden City Estates. We are taking a very keen interest in the work that we are doing in this sectiona tract of five hundred acres in Garden City, Long Island, opened up during the last two years as a residence section for New York business men-because we think the conditions therein are contribuing to the expression of what we believe to be the ideal of home life,-large open spaces, plenty of air and light, detached houses and sunny gardens, which all help to promote the simple, neighborly relations nf the country,-and at the same time, the urban advantages of fine roads and trans1~ortatio.q good schools, public and private, and perfect sanitation. As, with the opening of the Thirtyfourth Street Tunnel, Garden City ~111 be only a half hour from the very heart of New York, houses in this section must be designed to meet the requirements both of a city home and of a country resort.
This particular house is designed for Dr. Jlary h. Richards and is to stand on a broad maple-shaded avenue. The lower story is of cement on Truss metal laths ; the upper projects over the lower only at the ends of the house and shows the halftimber construction. The wood used on the exterior is cypress, chemically treated with sulphuric acid,-a process which we have previously described in THE CR.\FTS11~4~ for July, 1905..The cement surface is left rough and 1s tinted to tone with the delightful browns in the woodwork. The chimney and the portions of the foundation that are exposed are built of Tapestry bricks, so called, from the beautiful hues to which thev are colored, and the porous, tapestry-like texture of their surfaces. ,4 good arrangement of these many-shaded bricks gives a delightful and harmonious touch of color to a building. The floor of the porch and the steps arc made of deep red pressed brick laid in a herring-bone pattern with a border (Continued on page xi<)
Paint Talks, No. 4-Paint
In and Near the Water
People who know that white lead and linseed oil make the best paint for all general purposes sometimes get the idea that something else must be added at the sea shore or where fogs are prevalent. Paint for boats also is sometimes thought to require other materials.
Thus often 4 little zinc is recommended by the same people who would shun it under ordinary circumstances, knowing that its hard unyielding nature is liable to make the paint crack or scale. If zinc will crack in one place it will in another. The difficulty met with in painting at the sea shore or in other foggy localities is simply explained and simply remedied. The trouble is to get dry atmosphere to paint in, and 4 dry surface to paint on. The remedy is : Paint only on the brightest, driest days and then only in the middle of the day. Secure 4 solid priming coat and do not adulterate the white lead. Try this remedy just once. You will have no further trouble with paint at the waterside any more than elsewhere. DIRECTIONS FOR PAINTING
Full directions for for House Painting outside of the house or painting, mention that house painting, together with color schemes will be sent you if you ask Outfit. L. State whether you nlsh color schemes for painting the for the decoration of the interior. Also, if you are interested in boat fact.
NATIONAL
An ofice
LEAD COMPANY
cities: St. Lonia Pittsburgh) Ohica 0 Cleveland (National e ead & Oil Company,
in each of the following
New York Qincinnati B&On Boffalo (John T. Leaie&Bros. Com~ans. Philadelphia>
Kindly mention The Craftsman
xi
some old cloister, in ages gone, may have been seen a simple lantern, in line and form similar to the one shown in the above illustration, the soft mellow light of which harmonizes readily with the decoration of any interior.
~Continued from page 2) set horizontally, head out, and gives a finish to the foundation, that runs all around the house. Only that part of the porch before the doorway is roofed over. The rest of the porch is designed to be shaded with awnings, as in winter this will give the rooms more light than if the porch were roofed over the whole length. The low parapet is formed by two cement flower-boxes and at either end seats, also of the cement, are built in. The windows on the lower story are casements opening outward. The door is one of the most simple and beautiful of the Craftsman
T H E E N 0 S -C 0.
Office and Factory: Mrsrooms, 5 West 7th Ave. and 39th Street Boston: H. P. Esterbrook. Inc., Y Park St. Baltimore: 519 North Charles St. Pittsburg: G. P. Norton Century Building St. Louis: N. 0. X&on Mfy. co. Seattle : Cox & Gleason 19 14 Second Ave.
MAKE$&$,;::HT1nc
16th St.
NEW YORK
Cowan Blvd.
Portland. Ore.: J. (. Enghsh Co.,lZBParkSt. Chicago: W. K. & Co.. Michigan
San Francisco: 1748 Californta St. Toronto: 94 KingSt.W. Spokane: Cutter P!ummer, Inc. &
3
FIRST FLOOR PLAN.
doors-three broad boards with three square glass lights in the upper part. The door leads into a hall, not a usual arrangement in a Craftsman house, but very desirable in this instance, as it gives the necessary privacy to the doctors office. The living room, however, is practically a part of the hall and is a very interesting room. In the chamber above it a foundation floor, the polished surface down, is laid upon the beams which we see in the exterior view projecting beyond the walls of the house. This floor makes the ceiling of the living room, and another flooring is laid upon this, with a deafening quilt between, for use in the This ceiling of wood chamber above. (Co&zued 012page xiv)
Kindly
mention
Xii
he
Craftsman
GiveThat Table a Modern Finish

A
.--
T slight expense-less than a dollar perhaps-you can produce any clcsiretl effect in woodwork. You can make all woodwork and furniture barnionizc. There is no guesswork. The results
,.n,t
1 . ..-
lmnw. .
lwfnrrl12nrl --I\I.IUIICI.
rlmnca IIilL
+ 1. n c 11 L
Johnsons IVootl Dye <and Jol~n~ons Ireparetl i\ax are for sale in convenient packages 1)~ high cl:.m paint dealers cveryhcre. In their nsc you benefit b! our years of espcrience. In Johnsons \\Tootl Dye \-ou have 14 shades to choose from:
shade of Johnsons LVootl Dye YOU want. Apply it. It dries in twenty rknutes. ;ih& apply Johnsons Preparctl Wax, which gives a permanent, subdued, rich finish which will not show marks or scratches. Do not confound Johnson- 5 X.T-3 \\vvu -.---:-I. Dve with t-LIC dl ill>11 stains which imerely give
No.
110 Bog
128 I&ht .?lohcgany 129 Dark Mahogany 130 Veathererl Oak 131 Browz Heaikei-ed (ok
132 Grren Il~earlrerni Oak
Oak \o. .\.o. 1Yo. .Yo.
Half-pints 30~; pints 50~. Johnsons Prepared Wax IOC ant1 2jc packages. :\lso sold 211 large sizes. For sale by leading paint dealers. -----CL-
Pustrated Book , F I 1 e - Edition F-5. Two Sample Bottles Johnsons -Wood Dye ani One Sample Can Prepared Wax-Free.
Send counon froni thi? adrcrtiscment ,Ind \ve will send you frce, prepaid, t\vo sample \Vood Dye-select your bottles of Johnsons own shad& from list above-one ~~rnpl& can of Johnsons Prepared \Vax and our illustrated guide book for Home Iieautifying color card ant1 tell5 how and refinish to finish wood. We want to girt you theqe three packages at once. Send ten cents to partially pay cost of packnliich inclutle~ complete
..
S.C.JOHNSON
(ContimWd frowz page xii) \vith the beams exposed gives the room a distinct character of its own. It reflects the light of the lamps and of the hearth fire and adds to the cosiness of a winters evening at home, while the polished surface prevents it from seeming heavy and hot in summer. The dining room is divided from the living room only bg narrow barriers of spindles so that the two rooms and the hall are practically one large apartment. =\ few steps for the use of the servants
BurlingtonVenetian Blind
makes your wrches perfectly secluded. matefully
Make Your Rooms Cool and Beautiful

by the free ventilation and artistic half-light of
Eotflngion
Vonsflon
Srndfor Free Cat&~ Blind Co.,333 Lake St., BodIngIon, Vt
SECOND
FLOOR
PLAN.
The
greatest
PRESERVATIVE for shingles is
known
Dexter Brothers English Shingle Stain

Thousands superiority samples to
207
of testimomnls over all others.
prove their Write for
DEXTER BROTHERS COMPANY

Broad Street, Boston
AGENTS: H. 1. Hooker & Co. 128 W. Washington St. Chicago. W. S. Hueston 6 d. 30th St., New York; ohn D. S. 5&s, 218 Race &reet, Philadel hia. F H P. T. c&V; 619 The Gilbert. Grand Rapids: t cDonald, & Co., Seattle, Spokane, Tacoma, Wash., and Portland, Ore; Klatt-Hirsch & Co., 113 Front St., San Francisco, Cal.; W.W. Lawrence & Co., Pittshurgh,Pa.
lead up frcm the dining room and meet with the steps from the hall at a landing screened by a high balustrade, from the living room. The .bedrooms are large and light, delightfully sunny in winter and refreshingly airy in summer. Of course, the house will gain a great deal from the profusion of foliage in that neighborhood; the result of the careful attention that has been paid to the problem of landscape gardening. It will also gain in attractiveness from the little formal garden, which, at the request of the owners, the Craftsman gardeners are to arrange about the house and from which, owing to the well known fertility of the Long Island soil, we expect the finest results. If YOU are thinking of building a home come and see The Craftsman Home Building Company, 29 West 34th Street.
The xiv Craftsman
Kindly
mention
in Hardware Trimmings
for its beauty,
the hardware that goes into your new home but also bear in mind that qua/i~~ should be of equal importance in determining the choice. Combine beauty and quality - artistic designs that tastefully harmonize with the architecture and of known durabilitv - in one of the seventv stvles of
Select
Artistic Hardware
Each design, whether plain or elaborate, is distinctive and of real decorative value. All are illustrated in
Sarsients Book of Desims -FREE
I I
Iis!
Ei I
Shows over seventy beautiful designs and is a guide to the selection of hardware. Free on request, also our Colonial Book, in which we illustrate Cut Glass-Knobs. Front Door Handles, Door Knockers, and other fittings particularly appropriate for Colonial houses. SARGENT 8 CO., Leonard St, New Y
H
to have your shingles
What
It Means
stained with
Cabots Shingle Stains

It means that they will not rot; that the colori will be soft and beautiful; that they will wear LS long as colors can. and grow old gracefully; and that the cost will be SOpercent. less than that of paint. Made in all colors, with Creosote. the best wood preservative known.
Sam&s
on wood, and color-chari. sent cm request. AGENTS AT ALL.CEWTRAL. POINTS

CABOT, sole Manufacturer
SAMUEL
BOSTOH,
MASS.
Hopp-k,
Keen a Iluntm&wz,
A~chts. N. Y.
II
The
reason
why
Old
English
is the best
wax
FOR FLOORS, FURNITURE AND ALL INTERIOR

made. sticky of
WOODWORK
is because it is the highest quality wax or pine floors~never flakes nor becomes or scratches. Send for FREE SAMPLE
Suitable for hardwood nor shows heel-marks
QLb EngLisb gzz The wax with a Guar.4atee

And if you wish to learn bow to make %oors beautiful,
request
Our Book-sent
free--*Beautiful Floors, Their Finish and Care

and Old Floors. Finishing Kitchen. Pantry an4 Bath Room Floors. Dance Floors. Varnish, Paint. etc. --I, z, 4 and 8 lb. cans.
Kindly
mention xv
The
Craftsman
For
your
Reception Hall or Foyer
/A
SIMPLE way of introducing beautiful. economical Sanitas into your home is to begin by redecorating your hall this Spring with one of the new superb patterns. You will then appreciate, through actual experience, the decorative beauty of dull finished / Sanitas, unequalled by any other material. I and what it means to have a wall covering that is proof against fading, cracking, staining , or tea&cl-that is instantlv cleaned as bright
The Standard Oil Cloth Company

320 Broadway, Dept. YF N.Y.Cib *WIPLOFF ~,,LDIR~ _ ~
You
want
vow
home
surroundinxs
har-
msigml the
and CYecntcri iv cl:R\.
I~i>ll,f\.
Ihl(f:h.
s. Y. with
Anna
authors
Katherine
dining room,
Green
finished
Beaver Board
The Modern Wall and Ceiling Material
Nade of selected pure wood fihre. shredded and pressed into panels, 33 sizes of uniform thickness. A non-conductor of heat. A sound deadener. Easily applied. Nails direct to studding.
Our papers arc dwipned nn~l colored to mret the prcsmt day re~luiremcl,ts-tlley arc the last nerd in the new order of things decotones-Orirntals Our Ta estries-Self rative. to match-dainty --l1nlwrs \rith C4 KIONSI1S little flornls-Chnmhrays and horders to match --Special friezes-are all new and distinctive Our and aive character to thrir surroundinrs. pnprrs are free from ~misonous matters-they are TRULY and PURR1.Y made. Ask your dealer for Vogue Papers Send for illustrated booklet *
Takes
Place
of Both Lath and Plaster
ALLEN HIGGINS
Eliminates unsanitary wall paner. Tint with oil or cold water pnint. Susceptible to artistic decoration. Booklet and sample FREE. Write today.
THE BEAVER
271 Perry Street
MANUFACTURING
Buffalo.
CO.,
N. Y.
Kindly
mention
The
Craftsman
xvi
You month, Once above,
remember dont again woven you?
reading
this advertisement
1as1
let us remind
you of the necessity as indicated rug or yard of
of looking
for the name
Whittall,
in the back of every
carpet you buy.

Look carefully-the in sonlo colors-but sured of absolute defrrt to develop your I1urcllase. Every WOOL naxne does not show prominently once you see it you may rest a+ pwfwtion-not cvcn the sliqhteht later and make you dlswti?fitsd with is PURE subjwted
yard of a WHITTALL rug or wrl>tt of the highest grade. colored with dyrs
WIIITTALL rugs are made for every conceivable ~n~rpow many sizes. deigns, and ln%vs. The 11ue ~ml~r~ses IHi sc~lections in 11 qualitws. Sowhere (RI, you find R wider range of styles to flt any decor&r scheme. Tell your dealer you want to we WHITTALL and carpets. Examine, frrl and subject then1 criti,,al comparison. If your dexlrr rar1not sulJl,ly write to us direct GIVING HIS NAME. We want you to have our rugs to a you,
, of a WallCovering
is a question of Art and Use. Wall Coverings that fade quickly, soil or tear easily, are a waste of money and trouble. You can get both Beauty and Durability in the wide range of colors and textures of the
FREE
BOOKLET,
Series
K,
THI?: JIARK
It is full of helpful Write for it today.
OF QUALITY
suggestions on floor covering.
WHITTALLS, 31Brussels St,,Worcester, Mass,

Thread and Thrum RUGS
Different from all other rugs. made in colorings to snatch your decorntions. Special styles to go with Mission or Fumed Oak Furniture. rvoo1 weft, sramless, heavy, rcwrsible and dumhlr. All sizes ~1, to 12 feet wide and any length. Sold by best shops in principal cities. If your dealer does not kerp t.hem write Arnold, Constable k Co., New Pork, for Color Line and Price List. THREAD AND THRUM WORKSHOP Auburn, N. Y.
WOVEN
WALL
COVERINGS
Burlap, Canvas, Krash, Hessian and Art fabrics; Plain, Kord, Art, Lustrous, Metallic and Vellum effects; offer great variety of combinations in fabrics that last, and colors that are fast; easily cleaned, perfectly sanitary.
Free Beautiful Booklets
the
PEQU-OT RUGS
Refreshing Simplicity
who,esomc Occldcdly artistic in deaipn. ad and acrecable colora. inexpensive. Send 8tamp for booklet.
Beautiful
Hand-Woaen
CHAS.
42
Yantic
H. KIMBALL
Norwich WORK Town. TOOLS
Work or any othe Small orders receivea
Road, COPPER
Conn
Send Now
II. B. WIGGINS SONS CO., 28 Arch St., Bloomfield, N. J. ,
If you art contemplating introducing Copper branch of Manual Training let UII quote prices. md riven prompt attention.
ANVILS
AND
HAMMERS
IN
SETS
dnlg,,cd by Rose. nuti. complete line Of suppllcg OR application.
Of COPPER WORK. WC tisOCrY I induding C%UWl& IllU8USUcdQtaloZW Sal
BELCAER
& LOOMI.S HARDWARE

89-91 Weyhosset Kindly
CO.
ment The Craftsman
Dealers in High Grade Tools
St. Prov~dencc. R. 1
xvii
It does not matter which floor you are

going to cover; whether bedroom, room, library, parlor, or hall, dining
CREX is the floor
.;. . . .-.
* v
covering .a?; You need CREX for 6 It is absolutely sanitary.
you need
the following reasonsj
~-. N ..J*+,*$ --->
It is suitable for any surroundings. It maintains cleanliness and promotes health. It is the most economicaI because it is practically It greatly reduces the labor of the housekeeper. As a floor covering for summer cottages or porcherCREX has no equal.
1
M I1 L
CAUTION: Avoid imitations. The genuine bean the -label Sold by all Up-To-Date Carpet and Department Stores.
CREX smd for Booklet U. Rcatrtrfwllv Iilusimied. CARPET Broadway. New York COMPANY,377
TIGER SKINS LEOPARD SKINS
GAME HEADS ROBES
HAND-MADE FURNITURE FOR THE SLEEPINGROOM

Built as well as we know how, of solitl mhitc oak, and beautifully finished. Our Craftsmen rmbodlextreme simplicity, strength and durability in each individual article.
My Ladies Chamber, our booklet that tells about good bedroom furniture,will be sent for six cents in stamps
FRANKLIN
174 Federal St.
C. JONES
Boston, Mass.
THE
At ST.
CRAFTERS
CLAIR.
SHOP
MICHIGAN
Kindly
mention
Xvlll
he
Craftsman
...
For
Craftsman
1nterior.r
THE BUNGALOW
RUG
A heavy, reversible wool rug, hand woven, combining softness to the tread, artistic colormg It is made in solid colors-beautiful browns, blues, pinks, sages, etc.and remarkable durability. A certain with plain band borders: P most appropriate and artistic setting for Craftsman furniture. twist to the wool and a peculiarity of this new hand weave produce a highly artistic effect.
Regular Sizes Prices Regular Sizes Prices
~__
3 2 ft. 3 In. ; 6:b . 6 in. 4ft.6in. x 7ft. 6in
.. .
. .
6.00 $3.50 11.50 --
8 ft. 3 in. x x IO 9 ft. 6 in. 6 x 12ft. 9ft. -~
. .
%z 36:00
Ro matter where
you live, we can
fill
your
orders
by
mail and guarantee satisfaction. Correspondenceinvited
Established 1852
JBSEPH~LD
& a.>
Established 1852
Fifth Avenue at 35th St., New York
ORIENTAL
RUG RUNNERS
Of suitable size and quality are almost obsolete today, the sleazy, poor, tom In the place of these, pieces of recent importation being worse than useless. however, one may obtain rug runners of American manufacture 27, 36. 54. and 72 wide, the HARTFORD SAXONY Rug, woven at the famous HARTFORD CARPET COMPANYS mills. These rugs have the character and wear of an Oriental. For colored illustrated booklet address
C.
-
SAXONY,
41
UNION
SQUARE,
N.
Y.
HIIESE lICKER BASKET CHAIRS

irect from Hong Kong, China \Veather fimrhed. <trongly made. very art,stic. just the char fox porch or den. What you have always wanted, but never knew where to obtain. Sent direct up011receipt of price. Satisfactlon guaranteed or money refunded.
CUT ANY SIZE

A stamp
UP TO A WHOLE n Snmplc
SKIN Card I J
will bring
HOMER
J. HOWRY
W. A.
HALL,
119 Beach
St.
BOSTON
MISS MRS.
Tha Cohmia
LEWIS MUCHMORE FURNISHERS FURNITURE
HOME-MAKING
THE NEW PROFESSION
Is a 70-page hand-book: its jme. Home-study I)cmestic Science courses: Health. Food. Cookery. Diet, House Plmning. hlana~ement. Children. Nursing. Cressmaking. Etc. For home-makers. teachers, institutional managers. matrons. etc. Bulletin. The Up-to-date Home; Labor and hloney Saving Aopliances. 4X pages, 54 illustrations, 10 cents. Am. School of Home Economics, 604 W. 69th St, Chicago, fff.
INTERIOR %!%~sIWALL
AND DECORATORS-TEXTILES, PAPERS,
Kindly mention The Craftsman xix
Are you going to build a stucco house ?

There is something You better than wire cloth. and walls strip= to the It does away ping. studding. with sheathing If you want attach it directly
that will not crack, use
While You Are Building

BUILD TO STAY BUILT
TRUSS METAL LATH

Home builders write today for our free booklet
The Vernon Vitrified Salt-Glazed Earthenware Building Blocks

for exterior and bearing walls are what you want for the backbone Used with of your new home. ATLANTIC Portland Cement, they give you a fire and time- proof house you can leave to your children and your childrens chi!dren - ~-___ ~~~~~ FOR PARTICULARS WRITE
TRUSS METAL LATH Co.

C-147 Fourth Avenue
YORK, N. Y. YORK NEW
FRANKVERNON, Sole Distributor

103 Park
Avenue NEW
ISMOKY FIREPLACES T
HE Incipient Disintegration and Hair-
of Cement Surfaces are due to the fact that they are Capillary Positive. To overcome this defect, as well as obtain a uniformity of color, these surfaces should be treated with a cement coating. Uniformity and Impermeability can best be mbtained by the application of
cracking
No matter how handsome, the fireplace is i failure if it smokes in the room. This faul can be avoided in your new house.
Send for out Hints on Fireplace Construction, con tamng reliable rules for the proportioninp of fire .. places and flues, and catalogue of our fireplace Throat Iron Cnnl Windows rtr
THE
H. W. COVERT
Street NEW
CO
YORE
264 Greenwich
Bay State Brick Cement Coating

which fills the pores and gives a uniform color. thus doing away with the dull. monotonous blue-grey of Portland Cement. THIS COATING IS FIREPROOF and bears the label of the NATIONAL BOARD OF FIRE UNDERWRITERS. Write for our book containing 100 illustrations. entithd: HOW TO DECORATE AND PROTECT CEMENT SURFACES. Free on application to Department C.
Water Supply for PROBLEM TH5 SOLVED .^> I. / t ,..^^_^ ^_
Jz
50
HOT
BATHS
FOR
%I
WADSWORTH, HOWLAND & CO., Inc.

84 Washington
BRANCH 166 Fifth Avenue,
V&i;te;,Humphrey Instantaneous W-a% ? IVater ilo\\, stenmng hot the moment you light the gas--qua=tlty unlimited. A remarknhle bathroom. kitchen and office convenience which quickly pays for itself. Let us send you clnr 30 day Trial plan and Free Booklet. Write today. HUMPHREY CO., ant. us Kalamazoo. -~__ Mich.
St.,
Boston, Mass.
York City
OFFICE: New
Robert Burlen, BOOK BINDER hpPC**l AttPOflo IsidtoI(lndingol~.rpsI,lnstrafzrlrrrlrp, E,,FLI,IgP.Efc. ZlaFarin~saodoldhooLJ rebnnandfolf~ <>fww)-d*~criptt mn<lrto<wdrr.
156 Pearl Street
Telephone: 865 Main
BOSTON
TLAND
CEMENT
that requires no paint and no repairs, that is warm in winter and cool in summer. Stucco, concrete blocks and concrete tile made with
Houses of Stucco OverBlocks,or Tile

F blocks or tile are used in building a house, they should be concrete blocks or concrefe tile. Then you have the sume material throughout where expansion and contraction from heat or cold is equal, and the possibility of danger avoided. Stucco over concrete blocks or concrete tile makes a durable, dry, fireproof house,
will give the greatest amount of satisfaction, because Atlas Portland Cement is the standard brand-always pure, always uniform and always in one grade-the same for everybody. The U. S. Government has purchased 4,500,OOO barrels of Atlas for use in building the Panama Canal, the largest order for cement ever placed. Write for these booklets :
Concrete Country Residences
(delivery charge
Concrete Concrete Construction About the Home and on the Farm (sent free) Reinforced Concrete in Factory Construction
25 cents) Cottages (sent free)
(delivery charges IO cents) write to
If your dealer cannot supply you with Atlas
The Atlas PORTLAND Cement Company, DEPT, 9,

Largest Capacity of any Cement Company
;r.cc!ion xxi Kindly The Craftsman
30 BROAD STREET,
40,000 Barrels
New York
Per Day
in the world-Over
A
ed to a range. Every essential
Ylain Kange!
or filigree on the Cabinet Glenwood. p<aio. A room saver too-like the upright refined and improved upon. The Glenwood
r
!I! _
No fussy ornamentation
The Broad,
Square
Oven with perfectly
straight sides is oven heat indicator, Improved baking damper, Sectional top, Drawout grate and Ash-Pan are each worthy of s ecial mention. It Makes Coo R.mg Easy.
See The Gas Oven

and Broiling Compartment just above coal range, so easy to get at without stooping; also the Three Burner Gas Shelf for cooking and boiling fitted flush with range top.
Range without Gas (For Coal or Wood.)
If a large amount of baking is required, both the Coal and Gas ovens can be operated ,Ranse at the same time, using one for meats and the other for pastry.
Coa, Two Complete
Ranges in the space of one.
L
Combination Coal and Gas ranre.
Ca Dinet .GBenwood HEATHW

WITH THE
Write for handsome booklet of the P!ain Cabinet Glenwood ranxe to Weir Stove Co.. Taoaton. Mass.
BOSTON COPPER RANGE BOILERS

are the BESTmade and are all GUARANTEED
FOUR grades, to meet every demand of quality and price. We make Pressure Boilers to stand any required pressure up IO Four Hundred Pounds. Designed in every detail to give long and reliable service, embodying only highest grade materials and skilled workmanship in their construction. The most reliable in the world. Special Sizes to Order.
Gorton Side-Feed Boiler

Insures a
warm building
Day or Night in coldest weather
Catalogue and Prica
on Application
DAiiLQUIST MFG.CO.
40 W. Third Street. SOUTH BOSTOH, MASS. Largest Manufacturem of Copps Boden in New E&land ion The
Gorton& Lidgerwood Co.

96 Liberty Street, New York
Craftsman
xxii
Heat, Health and Home Insurance

EVOLUTIONARY? Yes. Sowas gas. So was electricity. Because the claims of the Farquhar Sanitary Furnace are dzfirent from those made by any other heating system,
dont doubt them! .
chamber and ail the heat is extracted from the make before it e&erJ the smoke pipe. The regulator arm built itrto the furnace and operated by the expansion and contraction of the welded Jteel fre box has opened and rloJed the draft door automatically, keeping the jire exactly even.
So you have saved fuel, too - a forty per rent Jawing over any other heating system. You have provided a complete change of warm, balmy air ezrery ten minutes, in every room. You have done ewerythipz<Fthat Nature and the best human intelligence can devise for the safety and healthfulness of your home. This is what recommends the
FARQuha
SANITARY FURNACE
to the particular-the careful-householder. Aside from its economy - aside from its luxurzous =Uarm azr-the Farquhar Sanitary Furnace regulates itself 24 hours in the dav. You tend it once a daj4t does the rest. It has a we&d steel tire box--JomethiqT new No joints-no rivets. in t/zefurnace world. No dust or gas can escape into the air sup ply-so your walls and your rarpetJ and your nr7?azns remain clean. The peculiar Farquhar Ventilating System removes all the once- breathed and cold air from every room continually,7 to admit a The steel fire volume of fresh, warm air. box nezer gets red hot; so the air is not super-heated nor scorched.
AN the warm airgfts into the rooms, SO you
You come home from the theatre. You find a warm house- that the Farquhar is~teadily maintaining the 75 degrees of warmth it showed at six oclock this morning. The nurse did not have to leave your child to go downstairs and look after the furnace. You have not been troubled one second by the fear that your house might burn, with your babies in it. Your Farquhar raztget Juperheated.
The draft goes clear around underneath the nib
do not require it excessivelv heated, even in the coldest weather. Our booklet tells all about it. Write for it. If you hare your house plans, send them to us. We willadviseyou free.
THE
FARQUHAR
105 MAIN STREET,
FURNACE
WILMINGTON,
COMPANY,
OHIO
Manufacturers, NEW ~ORK---FIIIT.ADI;I.P~iIA...COI.I~MR1~cINCIN~.4TI-IsnIAsn~oI.l~-cr.,:~I:. ~~~ . . . -..-... ..-
Kindly
mention
The
Craftsman
xxiii
CRAFTSMAN DINING ROOM SET DONE ON HAND WOVEN LINEN IN MAGNOLIA DESIGN
DINING room, of all rooms in a house. is least dependent upon the usual methods of decoration. A table well set for lunch or dinner is sufficiently decorative in itself. The most satisfactory dining rooms are those where dark, wainscoted walls and massive hospitable furniture throw into prominence the daintiness of damask and the scintillation of glass and china. A room of this sort needs corresponding characteristics in its accessories of curtains and covers. We have just completed
a new design based on the The scarf for the sideboard Stamped
leaf
and blossom
of the com*ete s5.50.
magnolia, which we think particularly suitable for dining room use, although of course it may be used anywhere. The material is Craftsman hand-woven linen, a creamy gray in resembling color, and crash in its weave. The embroidery is done with linen floss. The leaves and flowers of the pattern are done in darned work, a stitch especially effective on heavy weaves. The design is worked out in four colors; the blossom is done in clear dark red, the stamens in burnt orange and is 2 >: yards long. Price the leaves in dull green ; ready for working, t3.00 the outlines are done in green and gray-brown. A border of several strands of floss couched on with a loose buttonhole stitch outlines the hems of the scarf and It forms also the finish to the edge of curtain. the square. The adaptation of the design to the various pieces is shown in the illustrations.
The
table plete,
cover $9.00.
is forty-four Stamped
inches ready
square. for working,
Price
com-
The
curtains 810.00.
are 2 yards Stamped
in length.
Price
complete. $5.50.
$4.00.
ready
for working,
GUSTAV
29 West 34th Street
STICKLEY,
Kindly mention
XXiV
The Craftsman
New York
Craftsman
The
The lamp-chimney that lasts is always cheaper, at several times the price, than the one that breaks without an excuse,
to
anyone
who
writes
for
it.
Address
Real Bungalows From Bungalow Land
If pu are thinking of building soon or some day. you will get a lot of most valuable suggestions flom BUNGALOWCRAFT the new book of Bungalow Plans just issued. It is the latest. most comprehensive. most practical hook of the kind. Copiou4y illustrated with photographic and line cuts of REAL BUNGALOWS from BUNGALOW LAND; large, clear floor plans never before published; and mantels. buffets, lighting fixtures. front doors, windows and transoms,, interiors. etc., in abundance. IXothing just like It ever published before; Its pale of Don% and Hints alone is worth hundreds of do!lars to any contractor, architect. or lxme builder. Price $1 .OO postpaid. which amount is rebated when plans ate purchased.
Iv recurringcontact wtth theice. caused by the McCraY System. All sanitary lininps: Opal-glass, tile, white enameled wood or odorless white wood. Cut Down Your Ice Bills
porcelain
THE BUNGALOWCRAFT
Successor
403
CO.
to H. A. EYMANN
:t LOS ANGELES. CAL.
CHAMBER OF COMMERCE
Kindly
mention xxv
The
Craftsma;
Whos Afraid? Are You?

We have never been afraid
We have past work force new This pets. very year.
not laid Now
oft a man that a new We but work that have ahead. will that
nor rush
lost not We
an hour
in the is on our in
of business got to teach are putting our
we are ready to new to push
for it. men, the
have
a perfectly increase in this year hardwood dustless build ne\v a book made wood
organized output
machinery is because You little are more you a clean, are our
twenty-five are going
per cent. we know and going than 1909 YOU dusty floors and carat live, home. from It is to remodel get rid of your
to install and to
the cost ;)f ne\v carpets going
hereafter, Perhaps Send This the book floors
sanitary
existence. new direct colors. of designs.
to us for and and
handsome of photographs the natural
consists free.
shows
:I beauty
Wood-Mosaic Flooring 81 Lumber Co.

Rochester, N. Y. New Albany, Ind.
Kindly
mention
The
Craftsman
xxvi
Hardwood
QUARTERED QUARTERED PLAIN POPLAR OAK and BLACK
Lumber
WHITE RED OAK OAK
MENNEN'S
TOILET
BORATED ,TALCUM
POWDER
WALNUT
Manufactured from logs cut from our own forests, BAND SAWED AND GRADED of
to please Furniture.
the Manufacturers
the most exclusive
and Artistic
Straight or Mixed Cars only
Edward L. Davis Lumber Co.

Incorporated
LOUISVILLE,
KY.
.
It Dont
Pay
to Feed
Hens
That
Dont
Lay
We have for sale 100 pure bred yearling White Leghorn hens-all laying today-$2.00 each. Also 5 cockerels S5.00 each, or we will divide the lot to suit-Settings of 15 eggs, $2.00.
BELLE HILL WHITE LEGHORN RANGE

ELKTON, MD.
~~F..QH~D~Of
;$??;s
Most economical. hcaltl,ful and wr,sfactorv-for old different patterns to march furnishmgs -outwear carpets. leading cities. Pncca and cataloguc of design FKEE. THE INTERIOR HARDWOOD
or new floorsStocks carried in MANUFACTURERS. INDIANAPOLIS. IND.
COMPANY,
Kindly
mention
The
Craftsman
xxvii
A Copy of Craftsman Homes for Your Library Table

Craftsman Homes is a book that is absolutely unique. It is utterly unlike the usual architects book of plans. To architectural draughtsmen and prospective homebuilders it is a necessity. Every home lover and book lover should also possess a copy. Its value lies in su,~@z~zess. It conveys an atmosphere of rest, of comfort and of charm-the sense of what a real home ought to be. One has pleasure in surrounding himself with such volumes. Craftsman Homes is pre-eminently a book for a friend to take up from ones reading table while waiting for host or hostess to appear. All are interested in such books, but few, perhaps, know their full value. To those who ~WZU the presence of a book like this is most significant.
The Siwzplificatiosz oj Lijc. This book is an exposition by suggestion of the CRAFTSMAN way of life. Implicit in it is a complete philosophy. What ought to be the domestic architecture of America ? * Or, put in a personal way, How shall we make our new house a home ? Regular readers of THE CRAFTSMAN know how carefully the conclusions stated J in this volume have been worked out. Many a book is written off-hand as a result of sudden inspiration. Craftsman Homes has been of slow growth, an evolution from a germinal idea. It contemplates the simplification of life, the return to a more democratic way of thought.
ON
THE
LIBRARY
TABLE
OF
MILLIONAIRE
Craftsman Homes would need no apology. THE CRAFTSMAX indicates our standard Craftsman Homes, as a permanent of excellence for a monthly magazine. collection of the best illustrations of the Craftsman House---both Interiors and Exteriorsthat have appeared in THE CRAFTSMAN, has been executed with even greater fidelity. Every particular is a production of sound craftsmanship. S P E C I F I C A T I 0 N S
that are alro~~thcr unuwal. The Limttrd Fint Ediuon
of wr
hwldral
personally
Gnard
and
CRAFTSMAN
HOMES-STYLES
AND .
PRICES . . . . . . . $1.50 2.00 3.00 5.00
Linen, Bound in Boards, Faced with Leather Paper, Limp Leather (Sheep) . . . . Craftsman Hard Leather, . . . . . De Luxc, First Edition, Hand Sewed and Forwarded, Srnt ptpi,I (,I
rrcciptcf price. ,subject to ret,cm if ,W! a~urt!ni. l-he

Kindly
GUSTAV
STICKLEY,
~mmz, 41 Craft ^
mention The Craftsman ... XXV111
W.
34th St., New York
The owner likes his casements. Uoul(lnt ham the old style guillotine windows as a gift. THE REASONS WHY
together with all you want to know about casements are in our illustrated CASEMENT WINDOW HAND BOOK (Free)
-.s&.---,y--;
r-_-
..z_
-..
--
.._.+.---*
--
--
-_.
..
-.
All New England A Vast Summer

Resort
The shores of New England, the adjacent islands, inland bays, rivers, lakes, hills, mountains and forests are dotted with summer homes. They range from palatial summer Residences to remodeled Farm Houses, Bungalows, summer Cottages and Cabins occupied by unnumbered thousands from all parts of the United States and from every rank of life.
The CRAFTSMAN SHOW ROOMS,
470
Boylston
Street.
Boston.
one
flight
up
Solves the Problem of Furnishing Refurnishing a Summer Home in New England
or
Craftsman Furniture is expressly adapted to the trying climatic condition? of summer life at the Sea-Shore, or in the Woods or Built on Nothing breaks it, mars it, or injures its finish. Mountains. Fumed honor of selected kiln-dried wood, it will not warp or crack. with acids, its finish is not impaired by exposure to Salt Air, Fog, Mist, or Mildew. * Craftsman * Fireplace
Craftsman Fabrics, Scarfs, are all simple,
Fixtures and Curtains, Portieres, Rugs, durable, yet decorative. Interior

the ideal affords Vacation-life
other Metal Bureau, and
Work, Table
A
home-like
complete
rest and
Craftsman
comfort that
just the requires.
sense
of
BOSTON, the Metropolis of Xew England, is the natural pomt of departure for Dont purchase in advance or ship from distant points. your summer home Stop at Boston and purchase whatever you require. Estimates furmshed on request, State requirements, and send ten cents for comI)lete furniture catalogue. Write toda.y.
GUSTAV
470
STICKLEY,
Kindly mention xxx The
The Craftsman
Boston, Mass.
Boylston
Street
Craftsman
Our Decorative Department will help you

We have established a department of artists, designers and decorators, expressly for the purpose of helping you decorate your house in the most satisfactory manner.
HETHER you are building a new house, or are doing over an old house, or even a single room, it will pay you to write first to us, telling us what the conditions are. This department will be glad to supply you with practical suggestions for obtaining any results you desire. We furnish color schemes, drawings, samples of hangings and curtains, and tell just the kind of treatment that will produce the results you desire on floors, walls, ceilings and woodwork. This service is find out about this We are able to give subject and glad to free. It costs you nothing to write and department, You incur no obligation. you information on any paint or varnish do so at any time.
THESHERWINWILLIAMS
LARGEST Addrma all PAINT Inqulrles AND to VARNISH ~ecoratiue Cleueknd, mention MAfiERS Dept. Ohlo The 619 Craftsman
Cb
IN THE Canal Rood, WORLD N. W.
Kindly
xxxi
SOME CRAFTSMAN FIREPLACE FITTINGS

here W E theshow fireplace a few of fittings we make in The Craftsman Workshops, just to give an idea of their strength give and simplicity of design and the character The room. workmanship preciated wrought they
to the furnishings of a excellence of the and the finish ap-
given to the metal can be
only by those who All our see the actual pieces. iron is given the finish
known by old English armorers as armor bright, a treatment which gives to iron a soft and lustrous surface, with high lights like tarnished silver, and preserves it from rust.
Coal bucket made in hammered copper or brass, with wrought-iron trimmings: height of bucket, 15 in.; diameter Of base, 12 in. Price, $14.00.
Fire set; consisting of shovel, poker, tongs and stand- all made in wrought iron. The stand is 14 in. long and 8 in.wide at the base. Price oi the implements are all 30 in. long. Price of separate imset complete, $15.50. plements, shovel, $3.00; poker, $2.00; tongs, 53.50; stand, 57.00.
Wood basket; made in wrought iron; width, 16 in.; length, 28 in. Price, $12.00.
-4
I-
-.---
Heavy andirons connected with chain: made in wrought iron; height, 20 in.; depth, 21 in. Piice, $26.00. Kindly mention The Craftsman
XXXii
Small andirons; made in wrought iron; heieht, 16 in.; denth, 20 in. Price, L12.00.
Build
a Home
That
Belongs
in the Landscape
Tapestry Brick Is Your Best Aid

A house faced rn% conventional brick stands out against a country landscalxz in a jarring splash of color. You can see at a glance its puny demand for recognition in the midst of a wealth of Satures harmonious colorings. 1\-ith Tapestry Brick, the rough texture is reprotlucetl. of Saturcs permanence 117itll Tapes@ Brick, her soft, deep reds and quiet olives arc obtained. Your home becomes a harmonious part of the lantlscalx Tapestrv Brick is burned to an iron-like hartlncss &xl withstantls the wear and tear of the seasons. It is made of shale and burns to a great These various colors variety of colors. might be strong contrasts were it not for the large proportion of intermediate shadings, which tone them tlown to a rich, deep color that gives the brickwork enough life to be interesting and at the same time marks the mellowing influence of time ant1 ripe old age. The txo pictures in this atlvertiscmc~~t show ow difcwrlcc between Tapestry Iirick
and the conventional facing brick-that ia fest UPC. The ordinary brickkvurk at the bottom of the page presents bricks of regular form and ccolor-the &chine-made product-put tclgether It is \vith the narrowest of mortar joints. an imitation of a
1 If your I possibilities gatruays, ,
texture is markmortar cd. The joints are not ashamed to Ix been. \Zc hare prepared a tmoklct with n11mcr01i~ colored plates \howing Tapestry Brick laid in vnrying joint< and 11, actual use in hildinfi, large and small. It oh hantl.omely printed and gives some instructive figures as to compnrative costs of brick, frame and stucco buildings Send 20 cents 1x2 stamps to cover cost of m:iiling.
house is already of Tapestry Itrick paths, etc. built, consider and Tile for the garden artistic v.alls,
Fiske
1650 Flatiron
& Company,
Building
Inc.
New York
For PVET~ dollar that the w.ve , f To wsfrl. l?rzrk adds to your cost ,f add< ten dollars to the v&c of the property aad doulrles us salabzlzty.
_ ;..
Kindly mmtion ... XXXIIl The Craftsman
il.
:I
,, ..... ..;^--
YOUR
COijPERATION
OF DOMESTIC ARCHITECTURE
upon the
IN THE IMPROVEMENT
THE CRAFTSXIX feels that perhaps the greatest public MXV~CC it can glvc IS the The henclits attelldant erection of improvement uf dc)mestlc architecture. the right sort of tlnellings are shared not only by the mmatcs. but by the community at large. I<ventually they lvill escrt a profound influence ln shaping the national character and destllly. Ilencc TVC earnestly invlte the cotipcration of our readers 1n our efforts to promote the bullding of Craftsman liuu5es everylvhere.
Who
To
Do You Know That Is Going to Build?
this end ne especially want at this time the names of persons expecting to build \\lthin a year, town, country or suburban resldcnces costing $3,000 to $j,ooO and up\vardx. or Bungalows, Cottages or Summer Cabins costing $joO and upwards We ha\,c in press a little illustrated booklet to be called The Craftsman House. Also a folder sho\ving Perspectives and Floor Plans of a number of Craftsman houses. These \ve \yish t<, send to persons in order to call their attention decisively to the prlnclples in house-building which \ve advocate. Additional copies will be supplied to our readers for distribution without charge. This booklet tells m a brief, clear way what a Craftsman Ilouse LS, explains fundamental principles which It emhodics, and states the resulting advantages to the okvner. 1Iembers of Village Improvement Societies and persons interested in Civic Betterment evcry\vhere, will find this an effective booklet for use as a tract. It will promote the building of a better class of dwellings.
such
Do You Know an Architect, Builder or Real Estate Man ?

i\-e cohperate Builders, Budding who 13 Interested,
ARCHITECTS more hullding necessary man esting structural ing houses. houses to artistic for them than the and our materials from in features. EST.ITE and call
THE
with Architects, Builders, Sellers of Real Estate to prospective Indeed, we are glad to hear from Contractors and Owners. directly or indirectly, m Domestic Architecture of the better
find sound house plans These or of our work helps them. in called useful often advise in OUT plans. \Ve inculcate dwelling. And nho modify we have them, future their them on where in their \\e clients teach a the the that and suitable 0; desire for to is ordinary commonplace craftsmanship honestly have floor been space, are are to constructed. ormssion in and small conventtonal construction. .Irchitects upon of to appreciation pay of huildlng novel decorative plans architects
Homeanyone sort.
something of good is Craftsuse for of what
advocate supervIsed find plans.
willingness much walls
a good
and inter-
economy
unnecessary by
partition clients request. the
suggestions is glad flom
designing assist towns,
REAL
OPERATORS CRAFTSMAX A\SL) work directly COSTR.ICTORS
consulted
about services
dwellal-e llot
BLIL,DERS available. often
Wont
Wont bors expecting slve Architect, architecture. personal IVe your
you
You Write Us With a L.ist of Names?

LIS us the
very kindly send the names and addresses of any friends or neighto build in the not distant future? Or send name of any progrcsBuilder or Dealer in Real Estate interested in the betterment of domestic 11-e invite correspondence concerning conditions m different localities and -411 letters bv111 have our promptest and best attention. problems earnestly solicit your cooperation in getting Craftsman constructed in
such Houses
community
GUSTAV
41 WEST
STICKLEY,
34th STREET.
mention
THE
The Craftsman
CRAFTSMAN
NEW YORK CITY
Iimdly
xxxiv
THE CRAFTSMAN ADVERTISER

A Talk with Readers of The Craftsman
A Mutuality of Interest that is exceptional exists between the ;itlvertlsers its atlvcrtiscrs and tile pttblisher. reatlers of TIE CI<.\L:TS;;\L;\N, say their CKXFTS~LXS incluirlcs inthcatc that our editorial and advertising The reason lies in our I)agcs are read with equal interest and conliclencc. In our .\rchitectural and other Draughting Rooms, in our conimon interests. WCmake ube onlv of the very best \\.orkshops antl our buildin, 7 operations, of &-t&s Colors and Supplm, I:uiltling Materi&, Paints, Stains, Iriterior i-bus we know what goods in these L)ccorations and Home Furnishings. for the atlverlines are first class. Xnd \ve solicit only the best of everything tising pages of TIIE CR.WTSMAN. Craftsman Readers naturally are interested in the Arts antl Handicrafts, in House Building, Furnishing .antl the Remotleling and l>ecoration of their homes. Many new readers come to us when they arc al)r)ut to build or rebuild, furnish or refurnish, because our friends have recommcntlctl TIIIC CH.\FTSX\S. Thev turn naturally to the advertising pages Hence our purpose is to of TIlE CK.\I:TSJI.4S as sources oi information. carry a representative line of advertisers in the best of everything for the StutGo or the Home. Not all of our Readers, however, appreciate how much the advertisers in THE CR.\FTSJI.IN can maidthem. The modern atlvertihing bookAnd the departments let contains a deal of strikingly valuable information. maintained by many advertisers to furnish estimates, samples, information and advice are really marvelous in their adaptation to every-day needs. Send for the &&lets and other information advertised in THE CRAFTSMAX. Study them and keep them at hand. Always mention Trlr: CRAFTSMAN when writing. Also mention THE CR.\FTSM.ZN when purchasing of dealers, goods advertised in its pages. Call vour friends attention to the Kooklets and other information thus received a&l ask those interested, when Our care in exclutlwriting to our advertisers, to mention THE CR.\FTSMAK. ing from our columns all fraudulent or questionable advertising of anv sort insures you against 10;s and and in soliciting onlv the best of everything, assures your satisfaclion. New Advertisers, especially, we ask you to welcome to your midst There are many friendly faces in our atlverwith cordial letters of inquiry. These we know ~011 I\-ill tising columns that have been with us for years. not neglect. Bnt the new advertiser feels at first like a stranger, and unless Just well received by you will be doubtful of his standing in your esteem. now we are making new introductions rather rapidly and WC bespeak for each the courtesy of a cordial welcome. The Loyalty of Our Readers to THE CR.\PTSX.\S is evidenced bv the fact that so far as we know there is not a dissatisfied advertiser in on; columns, or one whose attitude is not most sanguine, even enthusiastic. A4ntl we earnestly bespe,ak at this time a continuation of your good lvill and patronage.
Gustav Stickley, The Craftsman

41 WEST 34th STREET
Kindly mention
NEW
The
Craftsman
YORK
CITY
ENVIRONMENT DEVELOPMENT TRANSPORTATION

are the three the country. great essentials for comfortable living in All of these are found at their best at
Environment:
L&C.
Established community with noted No objectionable features. Property thoroughly
Schools, Churches, restricted
Hotels,
Cathedral,
Golf Links,
Development:
Improvements now in (not promised at some future time), including granolithic walks and curbs, catch basins for surface drainage, a modern system of sewers and water mains in every street, gas, electricity, telephone, telegraph-everything for your comfort and convenience that can he found in New York. : Electric Express Trains connecting directly with the Subway at Flatbush Avenue, lyn. Forty minutes from Wall Street now, and when the new 34th Street tunnels are completed, 30 minutes of the business and theatrical center of New York. If you are contemplating yourself. living in
the suburbs or
Transportation
Brookwithin
making
an investment
in real estate,
come
and see for
Flatiron
Buildin&
New
York.
Sewage
Without
Disposal
Sewers
MAKERS
Every CraftsmanHouse and other Country and Suburban Homes, Cottages, Resorts, Public Institutions not connected with
sewer safely, natural on-the liquid liquid
mains can dispose of sewage most effectively, economically by the method which cannot be improved reduction of organic waste to a and the purification of this by nitrification.
The
ASHLEY
SYSTE
accomplishes these results in the AshleyBiologicalTankand Nitrification Duct (patented). No attention to operate, no repairsorchemicals necessary. stalled.
Disposal S B III\I)I45 W. 34th
Co. ,: H I ~.,a,, S~wcini Tir,,reent.~t>vc. St., Sew York City, N. Y.
Kindly
mention
The
Crattsman
xxxvi
To .own ifi QEberett greitest...ArtiJts
is accepted. .among the Worlds of best tone judgment.
as proof
berett
Everet?, .-.-_ - r -- - ..---_ _-.. -..-. ,*e purchase write on us.
is synonym for Best.

Special Art Cases to Order.
We can make terms. it easy for you to
Is$725 to $1500.
Catalog Free
inspect the piano
convenient
Cillcinllati
THE
JOHN
CHURCH
Chicaf.zo
COMPANX
New Iork
Ow%ers of The Eoerett Piano Co., Boston, Mass.
xxxvii
No form of invitation is so closely scrutinized by the recipients as a wedding invitation. It is, therefore, most important that wedding invitations should conform to social customs in appearance, wording, engraving, and stock. For years
have had the approval of society, because for years society has found nothing else so distinctly appropriate for the purpose in every way.
your
You, of course, want the best and want friends to know you are using the can always be 6Cranes on be had wher-
best. Cranes Wedding Papers identified by the water-mark both envelopes. They can ever good stationery is sold.
CRANES
is a writing pnpcr that has, conformed to the highest of quality and has been successful in attaining the fabric finish. for years, standard thc most so-called
LINEN LAWN
It can now bc had in thr new Parisian colorings,Daybreak Pink, Willow C;rwn and Orchid, at all stores whew good stationrry is sold. Look for the Crane water-mark.
EATON,CRANEL PIKE COMPANY, Pittsfield, Mass.

Kindly mention The Craftsman ... XXXVlll
Speaking
of
Strathmore Water Color Papers

one 66 artist says: HE paper submits with the best possible grace and with the least disagreeable contrasts to the use of Chinese White and body color in conjunction with tinting, and to sponging and wiping as well as other devices for heightening effects or redeeming failures. While this adaptability of Strathmore Water Color Papers appeals to one artist, you may demand other qualities of them for which your individual methods call. You will not be disappointed in any demand that you make of them, for Strathmore Water Color Papers adapt themselves most readily to every style of work, to every quality of brush stroke from the broadest to the most delicate. Put this to the test of personal experience. Ask your dealer to let you have one of our free sample books which contain specimens of our papers in a sufficient size for testing. These books also contain specimens of all other Strathmore Drawing Papers and Boards for pen, pencil, brush, charcoal or crayon. If your dealer hasnt the book write to us for it.
When you want unusual and striking effects in Posters, Mounts, Folders, Booklets, etc., use the Strathmore Quality Cover Papers. A great variety of beautiful colors and textures make them adaptable for a large range of effects. They have strength and durability Samples on request. MITTINEAGUE PAPER
Kindly mention
COMPANY,
The Craftsman
MITTINEAGUE, MASS., U. S. A,
rxxix

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TIFFANY & Co.

The Establishment & Co. as a Place of Tiffany of Interest

Fifth Avenue &37th Street New York

BATH TUB INSURANCE FREE

half Million Dollars and a life-time

Black Label Baths.

The Auk Mother The Evils of American

Prayer: A Poem People of the Totem-Pbles

Their Art and Illustrated

622 630 638 644

Arts and Crafts

645 650 656 663 664 669 670

688 695 702 707 709

THE CRAFTSMAN is the most sztsfactory

for consideratmn plan.

1909. bv Gustin ~t,ckley

Entered June 6. 1906. at New York City. 8~ second-classmmer

DEVOE STENCIL OUTFITS

Bruno Hessling Co., Ltd.

tubes. One pound tubes illustration

and White Work for fur Pencil and Crayon

%@in$or dE*ebton, Ximiteb

*ationaI jIBhe#rint Co.

TO WORKERS IN ARTS AND CRAFTS r~---TDo You Need

Buy Your Gems and Stones Direct from

LOW & TAUSSIC

Afentzorr rhe stones in which you arc particularly interested.

cbe uon Rydingsvdrd School of flrt uood

ST. OF --- FINE ARTS -- LOUIS SCHOOL

E. H. WUERPEL, and Locust Sts.

Director St. Louis,

PRATT INSTITUTE ART SCHOOL

35 Instructors; SCOTT PERRY.

23rd Year Director. ~. ___

SCHOOL ofINDUSTRIAL ART

Emma Willard School of Art

CAST and ART EM-

Arts and Crafts Department

Minianxe and Mineral Paintinr. Art. Theory and Practice of Teaching

7 Eest 15th St., New York

York School of and Applied Art

DR. If. K. WHITE. ROCKRIUGL HALL. WELLESLEYHILLS. MASS.

L *m. 6dtoOl of Rome Economics, 604

W. 69tb St. Chicago, I%

PAINTING one cent each

Four series with Handbooks separate reproductions, cent each.

2.000 for the student. 80 cents for 100 or on8

Send two-cent stamp for complete catalogue and sample prints

TRAVEL Boston, Mass.

Furniture Porcelain Bronzes d Tapestries

16 West 20th Street

MAGAZINES S4bFifth Avenue. NewYork 156 PEARL

ABSOLUTELY GRITLESS; OF FIRM, EVEN TEXTLJ;EtiJ$EXTREMELY

Feeds Coal in at the Chimnev

Cameron $chrothCameron ($.

*RICHMOND Bath Tubs-Lavatories-Sinks

Co. %~?E%$ 4Fiidz New

STICKLEY. EDITOR AND PUBLISHER XVI SEPTEMBER,1909 NUMBER 6

tradition instead of us face to face with 605

~-. N ..J+,$ --->