The Craftsman - 1904 - 07 - July

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THE CRAFTSMAN, Published Monthly

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Contents for July 1904 : 9% Municipal Art.: A Lesson from Foreign Towns
The Franciscan Missions of the Southwest: I>ecorations. Number Vl.-Illustrated Their Interior
GEORGE
IRENE
SARGENT
WHARTON
JAMES
Woman
Master : Mademoiselle
&e&U-Ill&rated by IRENE SARGENT CRET
Translated from the French of Count Robert de Montesyuik
A Comparative The Best Fruit Nature
Study
of S&res
Methods-Illustrated ALICE
PAUL
of a Garden
M. RATHBONE
and Art in California-Illustrated Woman House, as a Craftsman Number VII.
GUSTAV STICKLEY CONSTANCE GODDARDDU BOIS
The Indian Craftsman
Series of l~04_IlI~1strated
Cool and Quiet A Study
Days-Illustrated
of the Gingko of Ugliness
Tree-Illustrated ERNEST CRdsBY
The Century Chips Book Reviews
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THE
Vol.
CRAFTSMAN
JULY
VI
ART: TOWNS. A LESSON
1904,
No.
MUNICIPAL FOREIGN GENT
FROM SAR-
tjons, as we erect the buildings devoted to the exercise of their functions. Let us honor the memory of the town meeting by an architecture which shall suggest the
BY IRENE
A
foreign
S the municipal art movement gcyes times in our own Republic forward in America, the criticism is frequently heard that it will be rendered worthless and even perideas. The criticism formulated
When none was for a party, When all were for the State: When the great man helped the poor, And the poor man loved the great.
nicious through the too free acceptance of for the most part by superficially informed or careless persons, contains a half-truth. We see, indeed, in our journeys about the United States imitations of European monuments rising, on our soil, as if they were transplanted from their fatherlands. They appear as if uprooted. They have no reason for existence. They have all conditions against them: those of climate, of race, of manners and customs. They are as discordantly out of place in our landscape and art as the unnaturalized, unassimilated foreigner is in our political system. Against such direction given to the public taste, such expenditure supported. national vivified from of the public funds the criticism is just, and it should be At the present stage of our we demand an art within, not one galvanized development,
Let us be thoroughly rowly and aggressively
American ; not narso to a point which
provokes ridicule and caricature, but con sistent, patriotic and loyal. In the monuments of municipal art which so attract US abroad, we admire something more than externals. We are still more deeply touched, without clearly realizing our emotion, by the spirit underlying sion, animating and giving the expresthe form by
which the idea is conveyed to us. It is because these expressions of art are characteristic and representative that we pass so easily and eagerly from one to another of them. Those who plan and produce them within the national of the community limit their imagination or the civic traditions
whose property they are to become. So, it is not wholly good art which awakens the enthusiasm of visitors to the famous old towns of England and the continent. To an equal, if not a higher degree, it is good patriotism ; since the value and elements of good art are understood by the comparatively restricted correct It is sentiment which makes the appeal, simultaneously with the and pleasing solution of artistic problems. In these European monuments
3.91
temporarily into a semblance of life ; an art which shall represent and parallel our social, intellectual and material stage of evolution. Therefore, let us eliminate from our city squares the French H&e1 de Ville and the German
Rathaus.
few.
Rather,
as we come
more and more to appreciate and honor our civic offices, let us hold to our own tradi-
THE
of municipal art-both
CRAFTSMAN
statue in a public square, goes to his work aflame with the inspiration derived from the masters who have preceded him in the decoration of the great city. idea of the municipality as that of a sovereign. Everywhere the is supreme. It is,
the old and those are a
which are now rising in obedience to the universally active civic renascence-we forced to honor an ardent, oftentimes
narrow, on occasion even, a selfish patriotism as the prolific source of beauty and .grandeur. In the city republics of Italy it was developed communal sentiThis animating the so-called spirit of the bell-tower : that is, the strongly ments most, of ment, which gave birth to the great monuarchitecture. spirit, emulative and aggressive to the utrecognized no outsiders, devoting itself passionately and absolutely to building up a municipality gathered about a church as a nucleus. It was narrow patriotism, tempered with honesty, which carried Florence forward to a unique position among mediaeval governments ; the sentiment expressing itself in the embellishment of the city as the object of an unqualified The same impulses prolove and pride. duced the luxuriant art of the populous, laborious towns of the Low Countries, and, in our own day, the character of Paris as the most strongly organized municipality of the world is largely responsible for the b,eauty and glory of the city. The man called to its councils, feels himself honored, much as we may imagine the old Roman in a similar position to have felt toward his Eternal City. The first care of the Parisian official is not his own enrichment. His chief anxiety mounting to an obsession, is lest some foreign capital, like Vienna or Berlin, become more imposing and splendid than Paris, through the liberal offering of knowledge and wealth. Sorbonne, the Pantheon, 382 So, too, the paintor the Hate1 de er chosen to decorate a mural panel in the Ville, the sculptor commissioned to erect a
so to speak, a presence, a personality, as real felt to think and its hand to move. enlightened fostering mother, Its brain can be For her I projecting
citizens Paris assumes the character of an her thought far into the future glong paths of ambition toward which she points her children. As visitors, -we enter the Sorbonne, and in the great lecture hall we are greeted by the type-figure of the ancient Parisian institution conceived by Puvis de Chavannes, as a ministering lay-sister of the people, calm of gesture, gentle of face, seated with the personified arts and sciences about her. We pass into the corridors and we see developed in logical sequence upon the walls the pictured story of immaterial conquests made by the masters of the venerable municipal story, eloquent schools. Elated by the we visit the neighboring
Pantheon, only to examine a new phase of Here fable, instead of fact, civic history. dominates the art and Paris is glorified through the legends related of its patron saints. We find that the geniuses, Puvis and Bonnat, have not hesitated to put their pencils to the most ingenuous tales, like the martyrdom of Saint Denis, or the childhood of Saint Genevigve. The fact accomplished, the grandeur of the existing municipality, absorbs the poverty of the fables and transfigures it in the light of its own brilliancy. Similar conditions await us in the old church of the Patroness at the rear of the Pantheon, where the chiseled silver sarcophagus and the perpetual lights tell one story to
MUNICIPAL
the credulous faithful, and another, are of of cencity. the for often broader significance, to those-and enthusiasms they are young material
ART
has had a continuous animation almost civic life; suspended ; rendering while natural to since, durConstantiher ineligiand her in London, ing the Middle Ages, Rome lay inactive, her nople shows a history ble to the rank for founders much which destined
a multitude-whose Finally, French thought idle-is mating streets building, if we stroll capital, provoked out-of-door grouped
tered in the old and yet forever we are given
in the streets
which Nature her;
other than that which-too scenes. about
spite of her great memories of the City, too resembles those organisms and can b,e in are complete in sections
by the life and traffic aniThe names of some force significant and point: cities, where to a series of of some great school, a or of dignified awaktogether noted, em-
the illustrious,
renewed in the names of the
multiplied From evolution reasoning
indefinitely, the fact
be included
such a comparison. of so continuous a life it may be deduced that Paris adapts itself by to .the wants of the people ; that and assimilative: is justified Paris by a step in evidences soof which it is progressive
are used with
not, as oftentimes they are arbitrarily avenues, public lacking building-like
in American attached the climax
a technical
museum, a place of worship amusement-in and focused. Such constantly ,gle idea. phatic impressions recurring, They which ened by the names,
plain even to the eye of the observer careless of cause or principle. cially Europe, in advance number to-day cities is to-day capitals of the other of
the memories
are gathered as have represent
in that it has progressed evolutionary brilliancy could
through stages. to t.he scarcely the work-
been
a greater character imperial The
but a sinand
It has laid aside in its course much of that giving which are its newer rivals.
are so insistent
as to present assimilative
to all who visit or inof ideas, subject of to a
habit Paris, the fact that the city is organic, vitalized, continuous are but principle tered. Out of the many Paris interesting selected interests democratic nounced, indicated, development. as capable phases of the city of to foreigners, of offering cities. which, one may be instruction That already Harrison is: its prohas which development. phenomena These impressions or phases
Ringstrasse
of Vienna
have been realized, except through ings of a monarchical
power, like that which at the middle of the The Siegesallee strong of of ancestorin its a sponta-
many
Haussmannixed
nineteenth Berlin appeal neous despotic worship,
Paris
single existence. gress, never failing
Behind them lies the civic civilization and profosbecause constantly
century. splendid
representing
stands as the apotheosis in display, to patriotism, conception tendencies
but plainly
of the same ruler whose led him, at his accession, that he was their wartheir homage.
to warn his subjects Such expressions possible in Paris. prescribes Ringstrasse, to preclude
and counsel to those having at heart the best of American character, As
lord, and as such, demanded
of public art are no longer An order like that which of the buildings fixing in the as it so great
shows a tendency Frederic
to yet farther
the height Vienna,
it is the oldest world-city
the erection of any unimportant

333
THli3 CRAFTSMAN
structure throughout the long extent of that of the Champs Elysees, is exclusively aristocratic, and that the inovement of the is conmore rapid. This trend entire city toward democratization stantly growing that splendid thoroughfare, could scarcely
be enforced for so great a distance in the Paris of to-day, since there, no one quarter is at present exclusively city having democratized. been, of aristocratic, the late years, rapidly
differs certainly from that shown in Vienna and Berlin, not to mention other instances in the cities of Brussels, London, New York and Boston. Clubland York Therefore-to of -London, cite the most familiar examples-it may well be that the the Back Bay of
Nor could the long line of
Prussian rulers attended by their contemporaries, adorning the hemicycles of the Siegesallee, be paralleled in Paris by a display of figures of the Capetian and Valois kings. The Parisians would refuse and reject them. For however modern may be the treatment of the municipal or national art which characterizes the Prussian capital, the idea lying behind it is monarchical, belonging to a period of absolutism, and once productive in France of such monuments as the Louvre. Something thought early of of fetichism resides in the such glorifying in sculpture
Boston and certain districts of Upper New will continue to develop as foci of wealth and elegance, while the rich quarters of Paris will continue, in equal ratio, to lose their homogeneity and exclusiv.eness. And in case such a result shall be reached; it can not be regarded as a permanent loss to the It will cause of municipal art and beauty. be simply a forward step in the evolution of a typical city, which has progressed through the monarchical and aristocratic stages to enter the democratic phase. It will add another proof to the many already given by history that France is in reality the soldier of God, breaking new paths through difficulties and dangers, in her march to the conquests of ideals. The democratic aspect of Paris has been made the subject of theses by students in sociology, and from their carefully weighed statements Americans should derive a lesson. not to say the populace The peopleof Paris-appear
shadowy heroes as Otto the Bear and other The democratic Parisian who, every day- in his passage over the Seine, may tread upon the stones of the Bastille, demands that the works of municipal art, with which he must perforce become familiar, shall, while pleasing his eye, not irritate his mind. In his public statues he requires the glorification of ideas, or of persons representing some mediaeval margraves.
principle of progress, intellectual, social or moral. In the new buildings rising in his more important quarters, he is tolerant of the experimental, forms, and even of the bizarre, in fresher not ones, which alone artof order that he may be delivered from the old acquire to him shall represent it-but life.
to be the chief care of_ the municipality. The petty tradesman is not excluded from the districts inhabited by the rich, where he keeps his little shop much as his predecessors in ancient Rome kept their tabernae in the palaces of the nobles and even of the imperial families. The parks and gardens with their superb arboriculture and exquisite arrangements of flowers are enjoyed by the
as the greater part of the world understands also all the important concerns The statement can well bear repeating
that no one quarter of Paris, not excepting

324
MUNICIPAL
poor and the lower middle classes with that simplicity and eagerness which are acteristic of the French.
SO
ART
forcing into prominence the element of beauty which lies in wildness and sterilitythis art assimilates the best that Paris and other advanced European exponents of civic art have to offer. study, and accepting Truly American
char-
The splendid ave-
nues of the Bois de Boulogne are thronged with men and women the modesty of whose attire verges upon meanness, yet their sense of citizenship, of pride and ownership in the privileges and beauty of the place gives them a dignified bearing altogether different from that of the humble American who, in our public places, visibly saddens at the sight of the millionaire with his horses and servants. So, too, the populace, the students and the rich meet in the museums and other great public buildings with no aggravating sense of difference in position, since their common interest and ownership in the treasures displayed renders them all companions and equals. From these visible signs of the spirit of democracy which animates the municipality of Paris, we may gain a valuable lesson for our guidance in the direction to be given to our civic art. The example of the old city shows us that we must be original, vital and progressive ; that we must appeal to the people through their patriotism, their sense of beauty and their personal pride, using all natural advantages, all national and local traditions, all dominant ideas of the period with that economy and ingenuity which we see displayed by the French. These things we may emulate with profit, preserving and even heightening by this means that honorable sentiment of individuality without which all are slaves. Along this path we have already made beginnings The art of the landscape gardener, Frederic Law Olmsted, truly American, lending itself most flexibly to all permanent conditions, seizing and and they are great ones.
also, but showing the fruits of world-wide the heritage of the past, are the works of the masters of our new school of sculpture which adorn certain parks, squares and thoroughfares important cities. cratic and the spirit that makes alive. of our It is the letter that kills
The democity of Paris, as the municipality number of evolutionary stages,
which of all others has passed through the greatest should be our teacher and source of inspiration in matters of social development and civic art. But it is her spirit and her methods alone which we should study and adopt : her close sympathy with the people ; her provisions for popular instruction and pleasure ; her constant, persistent presentation before her citizens of ideals of attainment, valor and public virtue ; her gratitude toward her great men. we should also heed. Her warnings from the depths of social and political experience To borrow the expression of Cicero, we should see that the ReElements of danger to the. commonwealth are visible in the aspect of our cities, and these we should closely study to the end of nullifying or eliminating them. The sky-scraper is the visible representative of the spirit of the trust, that a and the magnificence plutocracy is rapidly of certain forming quarters of our great cities is a sure sign As a measure of safety, therefore, and of simple justice as well, means of health, instruction and pleasure should be rapidly multiplied for the less fortunate
395
public suffer no harm.
among us.
THE
CRAFTSMAN
The Flemish revival now in progress throughout Belgium promises to renew the
classes. As a palliative to the popular resentment of imperialism, the wily demagogue Mark Antony publicly reads Caesars will, Huin which the testator establishes his own gardens as open places of recreation. manity does not change in its primary instincts, and at all social stages all classes demand equally their rights to the pursuit of happiness. As Mr. Olmsted taught by both theory and ,example, the city must be And ruralized and the country urbanized. thus by the ensuing wide distribution of privileges will be attained that democratization in which Paris is our prime instructor. The armorial device of that ancient municipality is no outworn heraldic symbol. It contains a living truth. The galley riding the waves, with beneath the legend: Fhctuat net Mergitur, is a type of the city which is often shaken but never engulfed. For our own political and social safety we should remember this legend as a password to the fraternity of humanity and fit our cities to the needs of all their citizens. Let us accept Paris as the representative city of democracy. But another and important lesson in municipal art awaits us beyond the northeastern borders of France. There, we obtain inspiration from the permanence of a civic ideal. As in Paris the lesson to be gained We may is one of progress, so in the cities of Belgium it is one of persistency. learn from these teeming, laborious towns what rich rewards, both material and immaterial, may result from fidelity to honorable traditions. By these examples of accomplishment we may judge of our own possibilities. For we, too, have brilliant historic memories from which, if we so will, we can build up an art that is truly national.
326
country in all that concerns civic art, citizenship and that patriotism which responds to the call of race and language. Brussels, which, although The antagonism to foreign influence is best seen in named le petit in the valley, some Paris, contains, as a distinct quarter, a true Flemish town lying typically and owning just as characteristically
of the finest mediaeval civic structures of the world ; while the sharp sounds of the Flemish tongue are heard among the buyers and sellers of the great market-place, contrast to the polished court language the upper French city. In Antwerp the more homogeneous native population has proceeded to a more radical movement than is possible in the Belgian capital, where the Walloon French influence are powerful. element and In the forin of
mer city, the body of the people seems to be in perfect accord with the Government Commission of learned men and artists, formed in 1894, -with. the object to preserve and restore the ecclesiastical, civic and domestic art once so brilliant in the towns of Flanders. As we thread the streets of the old seaport, noting the tall, narrow houses with their stepped gables, their quaint insignia, their minutely burghers restored Flemish features, must regard these we understand the feelings with which the themselves hardy survivals of their great past, which are for them an incentive, an ever-present inspiration to efforts which shall restore to them their industrial and commercial prestige in the markets of the world. Truly these stones are eloquent, as are also even the Dutch inscriptions with which many an enterprising and adroit tradesman has ac-
MUNICIPAL
centuated his shop-front, in Antwerp, country, hall, in thus taking But advantage of the spirit of the times.
ART
But-to repeat-the movement reaches Its importhan externals.
more deeply tion regarding degenerated
as in all other towns of this
tance and significance are shown by its acthe Dutch language which, the Flemings into a for certain religious and political reasons, among
patois, while, in Holland, it was purified by
in which each one is a miniature the guild-houses, and
republic, the interest centers in the townthe belfries, with the renewed concern for the edifices, there also rises regard for the principle of lib,erty and sodality which they represent. The Vlaamche Beweging-to use the Flemish title of the movement-perfectly characteristic of the people who are subject to its impulse-joins the sentimental with the practical, the aesthetic with the commercial. The movement embraces the great things of life, while it in no wise neglects the small. Its most apparent effort is to renew the old municipal art, and to make sightly and beautiful all those features of urban life which are necessitated by modern ideas of convenience and progress. The casual foreign visitor regards the evidences of this active renascence as shown for his personal profit and pleasure. If he be critical, he rejoices in the fine restorations of Gothic made by the school of Viollet-le-Due. If he have a taste for the picturesque, he remarks the fitness of the renewed historical buildings to serve as a background present life of the people. The for the bright
scholars and scientists, and embellished by writers of pure literature. The effort to regenerate the Dutch as used in Belgium, as allied with, or rather as an integral part of the civic renascence, marks the entire movement as one of the deepest national importance. To stifle a language is to it extinguish the life of the people using it as their native tongue ; while to develop means equally to strengthen the ideas and institutions of its possessors. Therefore, the prominence at present given in Belgium to the native speech, the antagonism shown toward the French as the official language of the country, is most interesting to foreigners as a social and political indication ; while for the Belgians themselves In the large towns, it is a vital question. costly theatres displaying their Flemish titles in bold decorative characters upon only racial
their facades, attract enthusiastic audiences to listen to dramas introducing sels advocate, Leopold and local types, and the novels of the BrusCouroubles, now issuing from the press in quick succession, touch the hearts and the sense of humor of all Belgians, from the king to the peasant, by their presentments of the Peal Fleming, who reminds the foreigner assimilative, sappy of the tough, the reed over-running
mosaics of the facades, the gold empbasizing structural outlines, spread something the cloaked of the antique glory and glitter over scenes in which the devout b&wine,
bowgeoise,
the fishwife with her basket on
- her arm, or the smoker just issuing from the estamhet, adds the living figure to innumerable subjects and motifs awaiting but the eye and hand of a skilful master, in order to rival the canvases of Memling and Matsys.
marshy lowlands of the North Sea. The Flemish movement is adequately typified in the monument to the poet Willems, standing in the cathedral square of Ghent,
THE
in which the country tended by a youthful ment is leading is rcpresentcd champion.
CRAFTSMAN
by a least expect. Originality in aesthetics, is the as in all other things result of inspiration the effect to our own impulse llrban beauty, for the people cratic Paris. exclusion after of the intellect,
strong grave woman in medincv;d garb, atThe moveto results wliose~ greatness transof the of the
: the cause being absent,

Obedient of for the development the manner of
can not be produced.
can scarcely he calc~~latet?; since the racial enthusiasm gencratcd by it is rapidly lated into commercial, industrial tic schemes which carry world. It is plain the forces parts and artis-
let us strive to create an art demomainto the which, susLet us also strenuously traditions towns
k~atherland to the rcmytest
tain our racial and national the cxamplc of
consequently,
that the the civic of
of alien influence : this the Flemish Beauty, after
following long
lcs~on to bc lcnrncd by us from rcnasccnef Iklgium us, but non- operative is one of racial fidelity.
in the cities
like the Sleeping pendcd animation, to a heritage loveliness.
arc awakening
once more
111art, the foreigner often it
has much to teach ways which we
of youth, wealth and blooming
is iii
you are looking
is alive.
It needs no recin youth,
P
contrary, insistent tongue. straction is the
ollection ARIS, those the her for as it lies before two thousand you years, of from has peras a old hills that, llnvc watched effect and character
of what has been taught of things The form finds pedantic little Later,
nor any of those reveries which arise at the identification menibcmd. its best maudlin, seen with names rcpassion, in in its the in first and room worst antiquarian
sonal life.
Kot, in a metaphor though
nor for the in a manner with Its voice on the like an foreign an abthings you, the and
sake of phrasing, less familiar, is no reflection
hut in fact ; as truly csistence to you. own mind; thing, in a is not
aspect of Paris. but the town,
it takes its proper
in the case of Ronic,
rank in all the mass of what we may learn, as you see it, recalls history to you in a living growth, what voice. and you only by speaking
a separate of your
soul of its own appeals
Its past is still alive, because the city itself is still instinct with a vigorous you feel of with regard would feel with regard to Paris to a young
it is a troubling demand, Its spoken life corporate There, of
man full interest still dead
drawn from books or from Gisibly before convinces upon compound seen. above all, this thing the modern
memories ; not at all the quiet happy memory of
one has heard. middle ages, by hcing And,
which lies in the recollections less that famous which is a fortune
of age; things
whose unity
merely which
for so many of the most
cities of the world.
328
THE
THE THE RIOR BY FRANCISCAN SOUTHWEST: DECORATIONS. WHARTON E can not GEORGE
FRANCISCAN
OF INTEVI.
MISSIONS
and created a natural, meeting all obstacles of themselves, in style,
MISSIONS THEIR NUMBER JAMES to-day decorated all their
ciples of architecture spontaneous
time and place which presented decoration, possessing good
they showed little skill in matters of interior neither originality copyists, of design, slightest In making the taste which would have enabled nor yet the appreciation this criticism, color-harmony. I do not overlook
W
entirely; renovated original At
determine of the the in-
how
the of
Franciscans
them to become
Southwest teriors
churches.
Some of these buildings beyond condition. all
have disappeared semblance enough of are their left
the difficulties in the way of the missionaries, or the insufficiency of materials at command. in this But, sucThe priests were as much hampered work as they were in that of building. in the one case, they met with brilliant cess; in the other they failed. tions have, therefore, quality. They a distinctly
while others have been restored or But
to give us a satisfactory of the Fathers the outset, it must
idea of the labors Indians. that be confessed
and of their subject understood
The decorapathetic
while the Fathers
well the prin-
show a most earnest endca-
THE
vor to beautify them was the mystically, very home of God. blood
CRAFTSMAN
rude brick, the rough, would have rneaning admire; adobe, been or rubble and preferable of color. work, to In left in unone, to prethe and afford were Here and or plastered patches whitewashed, their the
w-hat to those who,wrought
dwelt the very body,
there would
have been rugged
strength
in the other there exists only of San interior Miguel decoration, Arc&ngel ones that the ceiling
tense to condemn. As examples Missions Santa Clara, restored

Figure Il. San Miguel Mission: statue of Saint. Francis of Assisi, at left of altar
of
Inks are the only the decorations as nearly of
opportunity
for extended study. like the original
At Santa as pos-
sible, but with modern colors and workmanship. or of and or to four At Pala Chapel, within the last three months, the priest judged dead and, to the old decorations, not consult,
reality
of the Object
of Worship. the dwelling between
Hence place The great
white preferable greatly whose
the desire to glorify distance

ic.
to the indignation wishes he did
of the Indians, he has paintings
their God and their own temple. in this of case trusting performance Instead reverting reproduce
desire
whitewashed San Juan while a
the mural distemper Bautista merely and
is what makes the result pathetto thernselves, as they endeavored did in with
out of existence. splashed
A small patch rernains at as an example; obliterated almost
to first ,principles, the missionaries memory They and for from
architecture,
the ornament remembered
which they had been familiar days in Spain. tions in Burgos, qualities ion. The Valencia, to Catalonia,
in their early decoraimitate No for Mallorca, to nor artistic task. this decistrusted us in InNaThe
Figure III. San Miguel Mission: statue of Saint Anthony of Padua. at right of altar
Cantabria, sought their
them ; having
neither exactitude fit them can soften
arnount of kindliness
results are to be regretted; or sought they
I am satisfied that, had the Fathers to themselves, inspirations, decorations ture. What this criticism would have
for simple Naturegiven as their architecto emphasize involved. upon
as admirable I am anxious
is the principle without
fragment Carmelo. At
is the only survival
at San Carlos to
stead of originating ture, they copied

.%O
or relying
intelligence.
San Miguel,
little has been done
THE
disturb Fathers the interior, themselves. callp the same condition
FRAWCISCAN
MISSIONS
with a tape, I was forced Therefore, to estithe following The church
so that it is in practias it was left by the Figure I. shows the
provided
mate by paces.
figures are only approximate.
Figure
IV.
San
74iguel
Mission:
altar
of the
Virgin
interior gallery, In
of the church, taken from the choir which immediately my faces the altar. not being measurements,
is one hundred eight feet wide. thickness,
fifty
feet long
by twentyfeet in
Its walls are four
making
as is evidenced
by the deep em&l
THE
CRAFTSMAN
patron of the Mission, is a striking statue, about six feet in height, and much larger than the side statues. he holds the In his right hand in his left a scales and
brasures of the windows and side door. The floor is paved with rows of large flat, burned bricks, alternating with those similar in size
sword, on which is inscribed a Latin motto. The bracket upon which he stands is the original one cut and painted by the fathers. It is rude, heavy, and composed of simple members: namely, a slightly supporting a thick block rounded base with quarter-
round, square and round molding. Figure II. shows the statue at the left of the altar. It is clothed in the garb of the Franciscan, with beard, tonsured head, outstretched hands, and one foot upon a skull. Figure III. shows the figure to the right. It is tonsured, shaven, and wears the Franciscan garb. The panels are divided from one another by coupled columns; those supporting the pediment of the center panel
Figure V. San Miguel Mission: altar of Saint Joseph
standing out about two feet in front of the others, and having two flat engaged columns at their back. The bases of these columns are simple, half rounded moldings,
to the ordinary building brick of to-day. In this church there are five objects which immediately claim attention. These are: the reredos and its ornaments; the ceiling ; the mural decorations ; the old pulpit ; the ancient confessional ; all of which are worthy of somewhat detailed study.
1.
THE
REREDOS
This occupies the entire western end of the church reaching from the floor to the ceiling (Figure II). The altar, now in :. k
Figure
., )I-
use, is modern ; with the remainder just as it came from the hands of the Fathers. The reredos consists of three panels: the central one containing the wooden statue of San Miguel, and the side panels showing other saints. The San Miguel, representing the 3%
:
VI. San Miguel Mission: corbels
-,
and rafters
the shaft is a plain cylinder, and the capital a dual leaf, as if in rude imitation of the Corinthian. The entablature is simple and
THE
effective, Seeing Above its center Eye, bearing radiating
FRANCISCAN
a large of side panel Alllight. is a roof, church. Figure rough
MISSIONS
and extending Each VI. hewn rafter completely rests upon across the in are the a corbel
beams
this and over each each connected and leaves.
which can be seen a little more distinctly Both from rafters the and corbels trees of solid
bracket sustaining of a chalice, across
an ornament
in the shape
with the other These chalices The place the
the whole face of the altar by clus-
mountains impaired
near San Antonio,
over thirty-
ters of grapes rays issuing dcnces for days of of when
five miles away, and they have sustained unto the present day the heavy weight This is estimated to be not less thousand forty feet pounds. long. The They forty of the roof. rafters square,
have each a cover and two handles.. having the afforded Mission that edifice. arc mottled in imitation a resting birds was during
from the center piece bear cvi-
than two hundred and fully
owls and other night
are each ten by twelve inches in the at Cambria,
abandoned. the open
Even now, as I sit writing, many doves eaves, through into the sacred The pillars
I hear the cooing come floating of
were cut in the mountains
nest under
which feathers
marble, and the altar and mural decorations arc in colors, chief of which are blue, green, red, pink, and pale is pink. above showing the statue is an oval hands oval with the two crossed green. The base of the panclings On the left, panel cross. panel, right Figure Madonna the There painted of the Christ,
the nail holes of the figures. and the Child. miles away, their and carried These of the is destination. they rafters
On the other side is a similar decorated sacred with symbolic are two side altars, to the Holy
the one at the

spikes
Mother;
other to Saint Joseph the mural decoration. is modern, A
and the Holy The but figure
IV. shows the former
with some of
by the Indians
to
protrude the wall with in Figure a
the painting painted San Jose
some twelve inches or so through to which large VII. Over the altar, light pink. rations, green, and the corbels the ceiling are fastened spikes, wooden as shown
old and well illustrates Fathers. V. covers Figure the old figure
the artistic of
ideas of canopy seen in
or keyed
similar
are tinted and
rafters
Other colors used in the mural decoarc blue and white. design Over the altar, of the ceilby which decoration in blue,
This are
can be studied in Figure rafters
I.
There the
there is also a further ing in a leafy
twenty-eight
upholding
THE
special portion
III.
CRAFTSMAN
sacred I may say that although they are so evidently crude and inharinteresting, of as love and the sacred the power was and the com-
honor
is given
to the most
of the church.
THE MURAL DECORATIONS
monious they are exceedingly devotion. that and adequately wanting. plcted
a work
The desire to beautify although Fathers to accomplish To the Mission church was dear,
These choir.
are executed These
in three zones: are
house is there manifest,
of the altar, called frescoes,
and those of the church decorations
the purpose beautiful
generally
but, as I believe, erroneous-
Figure
VIII.
San IMiguel Mission:
the old pulpit
lYwith newly
They
are in reality or earthy ground
distemper pigments sinking itself.
paintupon a
sacred,
because
beautified
to
the
best
of of
ings on plaster. mineral laid stucco
A true fresco
is executed
their ability,
and raised with the ardor of God.
their whole souls to the glory
of lime or gypin, become This, it
In the altar space, the mural decorations on the sides consist of thirteen bands, alternating design fruit; green and brown; of pomegranate the brown the green being leaf, sprig design a of and
sum: so that the colors as durable appears Miguel

334
as the stucco
to me, is not the case with the San decorations. As a general riticism
a conventional
THE
leaves arranged in a lozenge each side, a painted this same figure perpendicular about tern.
in
FRANCISCAN
pattern. IV. on for In band of patright Figure
MISSIOSS
side, the pulpit VIII. This is located decoration from as seen in comprises a
panel is introduced
an altar, before described in Figure bands a horizontal
series of bands in pink and shades of green, radiating situated the floor. painted in blue. fan-shaped a green is enclosed base, in a between three and four This fan design panel, outlined These columns by fluted continue, feet above colunms, at a disalong the
can also be seen, above the the design or border, being
three feet wide; There is a fringe
small squares
set with a conventional
painted
blue to represent
lace with tassels, both
tance of about twclvc feet apart,
Figure
IX.
San Miguel Mission:
arm of choir gallery.
showing
mural
decoration
.
to the choir different zone, design at is
above gray
and below band,
this band. about three
Still
another in con-
body
of
the church
horizontal necting
feet wide, cornice
which point introduced. tern,
an entirely
and pink, with a painted the wall decorations
The columns
are further IX., which
decalso
with the moldthe mural adorn-
orated by a conventional as seen in Figure
leaf and fern pat-
cd cornice above, complete ments in the altar zone. Beginning decoration church, about
shows the frieze and the painted balustrade, both of these extending to that of the choir. choir loft, the design from the altar zone Above and below the side of This the
at the altar, there is a zone of extending eighteen on each feet. zone, for might
is the Greek key.
be termed the pulpit
in it, on the
335
THE
IV. THE OLD PULPIT
CRAFTSMAN
like a crown surmounted with a ball, on which rests a cross. loped edge in red.
V. THE OLD CONFESSIONAL
A peculiar
fascination
pertains to this
The crown is painted
little structure,
with its quaint sounding
green, gold, black and silver, with the scal-
board and crown-like cover, which could be let down as a protection when desired: the whole resembling a bird-nest fastened upon
the right wall.
It is reached by a flight of
The confessional shown in Figure
X. is
eight steps from the inside of the altar rail
built into the solid adobe wall, with two swinging doors opening from it. One of these has been replaced by new material, as seen in the picture ; the other, except for the insertion of a new panel of redwood, is as the Fathers left it. The old iron hinges, three pairs of which remain, are originals, and good examples of the iron handiwork of the time. The decoration of the old door is the continuation of one of the fluted columns before described. At Santa In& the original decorations of the altar zone still remain. Elsewhere they have been destroyed with the all-covering whitewash. In this church, the ceiling beams are painted(Figure XI.)with red, yellow and green into a
Figure
X.
San Miguel Miusioc:
the olrl confessional
portion of a circle with pendants at each point, and with a leaf design inside each arc. On the bottom trailing of each beam is a conventionalized The decorations XII.) are of black vine. the in
and is octagonal in form ; three of the eight sides being

point of decorated occupied attachment by the door to the wall. yellow; and the It is
as follows : the inner panel is deep of greenish
of the side wall (Figure and green around of marble
blue, with a band
the
outer panel being in dark green enclosed by a molding in blue, red and gray. ish yellow.
336
window, and a rude imitation panels at each side. a wooden bracket, and supporting painted
The under is shaped
In each panel in water
hangs color,
scallop is in red, with a band above of greenThe sounding board
oil paintings.
About three
THE
feet green from the base is a border of and red of a large
CRAFTSMAN
yellow, gives some detail of the dadoes of the reredos, with its marble The most striking paneling and and convensize. mural is found It is done in the above decoraThe leaf and and the leaf flower conventional figures in diamonds decoration of differing pleasing
conventionalized and inharmothe sacred beneath, it hastily
leaf, alternating nious. Indeed,
with a chalice, or vase. were it uot for and altar a rude stage
The reredos is pretentious furnishings, would suggest statues
of the whole building of the sacristy. XIV. and key, flower
in the seclusion
setting
in blues, reds and yellows, and is pictured Figure (rose?) Greek tional below
are the most the California the old mural main,
artistic
tions that I have yet seen in Missions. some of redecorations At San Luis Rey,
as seen in the marblecolumns, about at their base, the extending part of the walls, (Figure
izing of the engaged the dadoes wavy line the lower ways XV). nants temper The ing the and
and the designs
in the door-
arches
On the reredos of the of decoration XVI). angels, carrya of of constitute in dis-
side altar, also, there are rem(Figure winged crown,
fair example the Fathers decorative design

Figure X11. Santa Ids Mission: right wall of xmctuary
of the ability in this branch
art : the columnar and the as well the reredos,
on the right
left as the decoration right, Figure orations XVII.
of
prepared sacred
for an emergency,
rather than its marblefrom as also, with bases is somewhat decorated, figure,
of the lower wall on the shows the interior wall decChapel, Mission. a dependency The adobe then
function.
It is a series of The archway rudely This
deserve to be examined. of the Pala
ized panels, enclosed in columns, and cornices. the sanctuary elaborately, into the sacristy although XIII.
leading
of the San Luis Rey walls were plastered the rude columns
and whitewashed;
shown in Figure 338
and arches were colored
THE
in distemper When Ranch that to a reddish brown. Warners were would told the Palatingto Pala, they this and chapel that Imagine Club, of of for a
FRANCISCAN
MISSIONS
wa Indians
were removed from
be theirs,
priest would be sent regularly to minister to them. their chagrin to the Los Angeles, his treatment ing their nately, cesan found He Landmarks to find it leased the president
which they hated bitterly removal!
of them regardFortuConDiothey friend. services with rcgto This J. T.
in Rishop of Los
aty, the newly appointed Angeles, that a sympathizing arranged
should be conducted ularity ; sending reside among
a priest them.
latter, with a zeal for cleanliness and for making under his control his own ideas; all things to or unobservant consulting dered indignation of them the (so irritated condition of orThe the Tndians under his charge, the walls and without conform neglectful
I am informed),
to be whitewashed.
of the Indians
was intense, and has been comof the timean unsymwhen of it is this and and
339
were it not that high feeling tically honored pathetic
mon to them of late, they would have pracresented this desecration wall decorations. stranger, and that To
their anger might appear absurd ; but all the Peyri Indians
unreasonable remembered region

Figure XIV. Santa Ids in sacristy Misnum: mural dworation
are responsive of Padre
to the memories of San Diego
traditions workers
and other early
at the Missions
THE
CRAFTSMAN
Figure
XV.
San Luls Hey Mission
entrance
arch ant1 tribune
San Luis Rey, their feelings and almost proper. At Santa Barbara,
appear
natural of
the old decorations the marbleizing
are found
in the reredos, columns on
of the engaged as shown This ingly
all that
remains
each wall and the entrance marble crude, the marble.
and side arches, XVIII. is exceeddoes of not any effect and color
in Figure
represent known
Here and there on the walls of the San Juan Bautista temper further paintings. side of the On are the a few remnants of the old disseventh
arch on the left tional leaf design red, SIX. illustrated
is a convenin brownish in Figure of San
In the old building
THE
CRAFTSMAN
Figure
XVI.
San Luis Res Mission:
side altar with statues of Saints Iauis.
Francis and Anthony
Francisco,
the rafters
of
the ceiling
have
tions. placed
These
consist
in rhomboidal from
figures
been allowed to retain their ancient
decora-
conventionally the building.
end to end of
HAVE
thus
given
to
the a of
readers of The comprehensive all
Craftsman survey remaining the FranCalifornia.
practically mural ciscan They history interest. recovered
the of in
decorations Missions are not given and
as examples of of deep that such so ut-
to be copied;
but as matters therefore
Personally
I have never ability
from my surprise
men of architectural as the Fathers

Fig. XIX. San Juan Bautista Mission: fragment of mural
proved themselves
3452
decnrat,ion to be, should have failed terly in these decorations.
A WOMAN
A WOMAN THE DE MASTER: FRENCH MADEMOITRANSLATED OF COUNT BY SELLE FROM ROBERT IRENE BRESLAU.
MASTER
potently conqueror about the personality of her felgirl-painter for her to follow of her lost her of her low-student, Mlle. Breslau. To this patient creating anxious
of fame the Russian public
MONTESQUIOU.
gave the first prominence; rival a world-wide efforts. For
SARGENT
her career and to know the outcome the many of EDITOR'S Nom.--It the end of the Middle cers time-a day, bury than and raphy kirtseff. Journal ion. quality in which to become in forgetfulness of two a decade the since, is said that toward Ages-say, popular. a book in Chauyears In our own suffices to more the which is the Little amid the throng her competitors; as a memory
she was long
name alone remaining early existence. is a fact dess Justice Bashkirtseff. accomplished,
book required a hundred
But to-day
her reputation to
and the stern godof Marie
a tenth part of that period continents.
leaves her as sole survivor
speak the last word in the tragedy
passion mature
indiscriminately the
and the inexperienced, romantic Many followed there of the ill-starred
the prosaic autobiogread the
genius, Mari,e Bashwere who fash-
in obedience to the passing
I
dren
N the course of the two volumes of her journal, Marie Bashkirtseff appears Inchilby a of deThe a doubt, to her readers under a double aspect. She is at once pathetic and vain. have figured, as a typical
Others were attracted as in a picture; which deeply For
by its artistic the smallest But all
deed, she might example, European termining Russian prodigy, which
; fewer still by the race type which

by the morbid study it offered. interested plot and moving and ambition
in those studies of precocious were recently Review girl-painter possessing the results published with the purpose of their gifts. was, without
it revealed in psychology tive, and Love, became action.
number of all, perhaps,
those who read it, whatever their initial moin the plot action there
both the seductive q&lof the type; her spirit of I
ities and the perversities sad end excusing her attractions. rest in peace ! Radically the grave, am to devote Fame touched mention already acquired attitude different
were-complicated, jealousy feverishly
and powerful. were there seen a trag-
her faults to the profit of But let her troubled
at work and constituting
these three principles were sedy, although represented by a single character and had their the upon seat in a single chief actor human heart. But, of persons was cast. centered in painter ambition, as in the old Greek drama, the narrative involved shadowy interest whom a reflected the
was the childhood artist And to whom
distinguished this study..
yet early,
and assured her name, at the
of which the writer of the memoirs cited, h,eard sounded a chord powand calm. The fame later the exharmonized and justice with such sure hopes. of these words speak in 343
The love of Marie Bastien-Lepage, too early wounded
Bashkirtseff Her
erful, sonorous Sonorous,
pure-minded
lost to France.
calm and powerful:
by destiny and disease, circled im-
THE
favor of the one who formulated woman of society,
CRAFTSMAN
painter ; surprising even-it -for the painter herself. ists worthy of their titlethat must surely be Since upon artis, those havof their And
them in
her restless equity : that young and brilliant ambitious to run the artistic career with the rapidity of a hare, while her prudent, patient colleague slowly, wisely, valiantly attained the successive and
ing the necessary modesty and pride-the effect produced by the collection works is in itself a great surprise. quality, like the glance
this feeling possesses a victorious, consoling described by the to a man Greek philosopher as belonging
who has laid up his treasures elsewhere than in the coffer hunted by the robber. Certainly Mlle. Breslau can cast this glance upon her own work, upon herself, when relentless Time in the course of years, shall have made of her a venerable old master. For her hands will have scattered abroad many and many precious leaves inscribed with the history of as many lives. And as a legend or epigraph this living, sentient gathering, can write: Here are fruits, flowers, leaves and attached to the future
branches . . . . Such will be the harvest of our woman master. This harvest we shall shortly
review. size the But, comparison previously instruction pass in
first of all, I wish to emphaindicated, regarding of
which offers valuable
the beneficial effects of rivality. In the second volume of the Journal

Portrait of 8 young painter
Marie Bashkirtseff, selle Breslau omitted name sieging necessary occurs I have counted recurs
the name of Mademoimore than thirty times. This a beand must have spirit,
progressive stages of the same hard race. Over these stages we have been permitted, by means of the Georges Petit Exposition, to cast a sweeping, inclusive glance, surprising even for those who have followed for years with deep interest the work of the
the passages
some of them from my list. like a haunting a spectre anxiety,
of real existence representacoveted for ones
to be overcome-the
tive of the genius ardently
A WOMAN
self : a being which exists for many, if not for all of us, and whorn circumstances the power of making ties, which without this quickening endow with influence us realize our capabili-
MASTER
She That position; is splendidly gifted and I am confident that she will succeed. minx Brcslau has finished a comlike that, one It is a great artist. if one can do things
would not reach so full a development
is certain of becoming
The
Mirror
I quote : Hreslau tions. How That well that girls rogue draws. gives me anxiety. has received many congratula-
plain, As ably.
isnt
it?
I arn jealous. of course, success;
It is well has at-
that I am so, for jealousy a matter tained a brilliant
will be a spur. Breslau she draws admir-
345
THE
Breslau Breslau myself I In will get prizes. is constantly do. for fear
CRAFTSMAN
She has not made her work very inter(alluding would to a fellow continue pupil), as have done. esting Breslau
in my thoughts, asking
and I do not make a stroke without how she would ask no questions is doing. with Breslau thin comparison box,
. . .
in a congaththrough of to the themes winding
And so these allusions of hearing I am like a beside a stant minor ering of the writer, swelling or losing five hundred rivality, and pages,
accompaniment emphasis,
what Breslau cardboard Happy
or diminishing, as the kit-motiv
and fragile,
massive, richly carved oaken chest. Breslau: yes, truly happy,
stimulating
and effective.
The quoted words were long since written. The last page of the journal periences thrilling, apply so widely of Marie BashTo the exyet equally kirtseff bears the date of 1884. different, of the two young
girls one might
these lines:
After a score of years I write again:

Ilisten...... No sound breaks the stillness dread...... There is no doubt. Already you are held Among those silent ones the world calls dead.
Alas! appeal world. appeal,
such
words
might
be the
tragic at my the of a
of the restless Marie from the spirit It would seem thus that, she issues from the shades to bring, cited from her Journal, continued rivality homage and purified and
in the allusions posthumous faithful from justified
admiration, to-day
henceforth splendidly
all mundane
by that which the compan-
ion who inspired it subrnits to our j udgrnent. to be like her, I would give all that people call my gifts. God from has been merciful wholly in preventing by Breslau, me at being crushed
least for to-day. I am not favored, in a narrow study little like Breslau, circle, who lives in which to she artistic
B
about
EFORE collection
speaking of
of
the one
striking hundred in
nearly
works exhibited of a trait her disdain to write
by Mlle. Breslau,
the Georges mention accords garding
Petit Galleries,
I wish to make which said reWhen and in
of her character of reputation. article,
every word, every step profits something
with u-hat I have already my present
. . . . the evening,
for instance,
spends in drawing
346
and composing.
A WOMAN order to
provide myself with facts, in which, I asked twenty as a her for the use of certain of the innumerable journalistic years since, criticisms her fame first appeared
MASTER
devoid of sentimentality. this sincere, to thorough produce drawing, ployed One must admire workmanship scrupulously to represent emcorrect the en-
and complete
prelude and then passed on to be accentuated infinite I in continuous, she made several but at of variations, had, certainly,
me the simple answer that: packages residence, This It of clippings, they
the time of my last change disappeared. reply ingenuous
pleased these not as poor testified, more re-
me more than is indeed superficial altogether Verlaine,
I can express. true that
judgments, candid, the poet,
lose their force flective There preciation ored ously

LIS,
at the succesof only existence. the aphonof calm so I
sive and constantly stages remains
of certain luminous if they into have genersomething their
minds who have signally infused
sentiment judgments. Among will acque. them : Mile. seeks the by
those who have Mile. Breslau RI1I. me quote
acted tolvard mention Let Chevrillon
Andre Hovelfrom a
Portrait: Rovery
and Emile
Breslau
possesses
psychological and children. presence genius, goodness
instinct preference of this
which women serious,
It is agreeable of freshness
to linger and force,
in of
tire physical from juggle the reflection
exterior life.
which takes its form Here is an art of to which refuses
wholesome
inner
enamored
and conscience
and delicacy,
full of sentiment and
with difficulties and which the French

347
THE
accustomed, ment and as it is, to lightness brilliancy of execution.
CRAFTSMAN
grace. sure Her studies of children in are often expressing its retiand and masterpieces of arrangement, successful its plant-like of simple and
eye does not always estimate at a high value, of treatMlle. at least who In
handling,
Breslau is our first woman painter, in portraiture-the is not the replica of a masculine
youth with its restrained cent strength, bloom. This passage inspired. surered dence. the quiet of its incomplete
brilliancy,
only one, perhaps, genius. i_s._.,. ,.r- _
freshness
development
is one to be proud of having eulogies of resiIt conharmo-
The woman honored by it has not by losing all other printed caused by changes though Fragment
in the confusion
it be, it suffices.
It would be useless to cite others. tains everything as an epigraph nious labor, future, to that peaceful,
and it can serve excellently
as, also, it may one day in the for her who will having
serve as an epitaph
have gained the right to rest quietly, realized her calm dream.
And now let us try in our turn to judge appreciatively indebted for it. the collection First to-day exhibwe are it not ited, as well as the artist to whom
of all, might
be believed that we find in the eyes of certain of these models a reflection pure and powerful, Mlle. azure tones ? Zurich. She tains, of descends exclaimed in truth from of her mounin one as he wit, the painter sallies Certainly, Degas, Breslau of Switzerland, and its of is a native in its whites
his characteristic
stood before a singular painted by herself. is full of meaning,

Charles Ferdinand
portrait
of the artist this portrait ad-
sombre and forbidding apparently to affectation, pretense,
as it stands, with its frown the tenderness, intelligence sweet and girls There the is dressed in reproof display-to is but truly, peculiar tender
the medium sympathetic to her sex, nothing
of
pastel,
intuitive find soothing,
all that is false in what to-day pointless limpid imitation. and Yes, region,
employment. of young
is called art, and what, for the most part, insipid, something refreshing,
more
than her groups
with their
delicate flower-tints,
their calm, harmonious
like the atmosphere
of an elevated
348
A WOMAN
is exhaled in the dignified, tranquil which, animals, among types pensive of reflective peacefully Of childlike room in flowers and sensitive men, of young their grace healthy Mlle.
MASTER
In Mllc. or sleight Breslaus of work there is no trickery no false There of style or even or laywhich artist elegance, simplicity The hand,
any style ; no tailor-made figure mannerisms. no inverse would affectation be equally
women, of older ladies, and above all of real children, pursue aesthetic life.
is, furthermore,
distasteful.
Breslau
shows herself translator
constantly
as an inHer she ex-
seeks only-and feeling. garment, sonality, rather
this is apparent than through
through sight-the it, if

340
comparable
into painting.
themes, at once simple and infinite, need to expend itself in brilliant
the ornament, the accessory upon it.
which reveals a perwhich completes This accessory,
ecutes with a power so assured as to have no execution.
or comments
THE
chosen by the painter, ing. and may to reveal even assume more
CRAFTSMAN
tion was true and accurate--suggested by the model. subjects times drew on gloves our own imagination, be an advant.age With The smile, grace perfect with even
is simple and charmform, is able upon upon that of the a peculiar head
It takes at times a pronounced
The amiable lady who somcwith which to handle will henceforth, wear mitts; in this will
hat, when such a detail of costume regarding a whole which it sits than treatise
of conversation,
since they will leave visible truth one of may compare of
physiognomy. coincide,
But I repeat that when the and that of the model the happiest portrait results.
the half of her lovely hands. this pastel culture, the work Perronneau. the subtile persuasive of the
taste of the painter there follow As an example,
I will cite as one among of M. Victor
many the attractive
eloquent
eyes, the nose indicative the soft, power
the air of penetration, the adroitness, so superbly rendered,
reveal the dis-
tinguished painter.
psychological
And yet it is in the portraits that Mlle. Breslau gift-then, calls to the mind scribe long the child procession most fully of with a greater
of children exercises this She this at A little along For all
tenderness.
one who studies behind attractive him
phase of her work, certain verses which deas leaving of these every step several phantoms phantoms defiles, smiling of himself.
or sighing, de S&e.
the walls of the Galerie these children

A portrait
are not gay.
Some of them Indeed, sorrows has yet
are far from that temper of mind. Klotz, which is a work of great distinction, by its harmonious of detail named effect. her in of the artist goes still farther and we follow the philosophy leading since her sure judgment her from conscient melancholy, the definite childhood
it has often seemed to me that, in spite of the which come later in life, one of the bitterest the impossibility understood sympathetic
and satisfying On occasion, in the choice with pleasure, what clothes, error. Carlylc
of lots, w-hich resides in its grievances and unas an The beloved take attendants I will
of making
by careless parents.
prevents
us into portrait of Mile.
.example the significant child is holding
words of the model canvases.
It is thus, in that admirable de Brantes, works The
of one of these expressive confident ish spite-a cal phrase
of Madame Breslau, ject

350
which will always her subconcep-
in his arms-the
rank as one of the richest the painter as a figure with mitts.
of his little hatreds, thin, pugdog. is added: I
of his childAnd the typiI like
has conceived
like Tom.
A WOMAN
Dick. I like MCdor.
MASTER
sonal which secret of their future individuality, and make it is her task to express
. . . . I dont
like
people ! A book tions might be made from Breslau the rcflecfrom the gathered .by Mile.
visible. In this task how expert she is! She has within her the qualities of a Kate
lips of making
her young
models.
She excels
in
Greenaway, grasp
of
larger
mold
and
higher one who
them talk, rather than in allowing in order to extract the per-
than the English
original;
them to talk,
by virtue of a sort of artistic
transposition
351
THE
of emotions to appreciate
CRAFTSMAN
same air of thought and spirit to a handful of color notes, in a vase. These clusters of flowers painted by masters who are not specialists in this branch of brilliancy-I which is peculiar and Raffaelli. Mme. Lemaire, and unique. art, have a perfume Such are Manet was about to say-a
of maternal love, devotes a celibate life full well and to desubtile means, scribe even better the first fruits of the soul. The reward of such intelligent, application, perfect aided by exceptional
sincerity and consummate art, re-
sides in the fact that no one, perhaps, like Mlle. Breslau, has been able to reproduce mortal eyes in their unveiled splendor (to use the expression of Baudelaire), together with that which makes of them, sometimes prematurely, mirrors darkened by the breath of grief. How much present beauty,
the flowers executed by Monticelli, that
admirable flower-
painter, produces faces which are like the petals of blossoms; Mile. Breslau, the subtile painter of womens portraits, produces flowers resembling women : two processes totally diff,erent from each other, but both justified by the results attained through their exercise. I must devote a word to Mile. Breslaus portraits of men, less numerous, but not less remarkable. I will mention three, of early a artist friends: the first, a strange, fascinating figure of an English student-an work, dating ing from stage in the life of the painter. finished this portrait 1880 and marking
how much
future womanliness one finds in Mlle. Breslaus portrait of the little Beatrix de Clermont-Tonwrre! The eyes are two flax blossoms; the lips an opening rose; the two chubby arms have a plumpness which is already accented and modeled, just as the glance has already a dreamy quality. As for the characteristic and infinitely varied accessory already mentioned, which the painter uses to enlighten the spectator upon what she herself is seeking to decipher, this accessory in the portraits of her little men and women is, according to the age of the subject, a map which is a steady, anchared balloon, or a balloon which is a floating world. Or again, if the accessory take a living form, we find flowers and animals whose grace and mystery are allied with sentiment or wit to those of their friends or masters. The flowers thus used as accessories, and those treated separately in panels, tell us how much and how faithfully the painter loves them: larkspurs of an intense azure; harebells of a fading carmine ; velvet gilliflowers ; flame-like zinnias ; roses of flesh and blood. other painter, 3.58 Fantin, I know only one who can give the
For, havwhich already
reveals the master, Mile. Breslau gave up all attendance upon schools and courses. As to the portrait of Carriks-the sculptor of genius whose warm friendship is one of the proud memories of the painter who has transmitted to us his features-this work is a page of contemporary art destined to live for two reasons. It is, first of all, the final and, as I believe, the only portrait, of a master already illustrious, whose fame will continue to increase. At some future time, , his native, or his adopted city will send to Mile. Breslaus studio at Neuilly a commission .authorized to obtain this priceless memorial work. the city of Similar was the action Glasgow of toward the artist.
Whistler in behalf of Carlyle.
STUDY
A
COJIPARATIVE METHODS.
OF
SEVRES
OF PAUL
METHODS
say? They ask how, without the the long pcrfecexecution which enable you
STUDY BY
ufactories
SEVRES CRET
I
ly
S Frmce and
or fertility been very much discussed, of such This establishments malady, they permeated spirit. up inspiration, places they They on and formulae position for research. grow The
help of the State, and expensive to bring tion? willing a product to pav
can you afford to its brightest the careful
experiments
elsewhere, the usefulness has The both at the accuse say, is
Also, how will you secure purchasers for
of state manufactories
present day and in former times.,
opponents cratic
them of being
with the burcauand stands in the It has rapidsubstituted priviin sclfin

TllC~
hostile to all innovations, dried
way of all bold experiments. labeled leged
thern outside drowsy ignore about always loving
of com-
petition : hence contentment. public duction maintain pendent profession These of %x-es, porcelain b y private restrained Jlanufactory. improve ducers the new criticism, from times.
NOW
changes them.
taste and the new processes going being for that progress left but methods,
of pro-
comes from their art or
investigators
to their own inde-
its own sake, and not as a can sustain facts: their posiwe do not but
simple sinecure. opponents tion by the following In the history of soft and hard who, later, were regulations of the Royal to official proPlate I. Xhw vase, with profile portrait of I,onis XVI.
which we shall study,
find that the first discovrry manufacturers, by many I,ater, far
was made by that institution, vexatious
attained ditions?
by official
workmen,
who are not con-
made to fortify the lagged ideas and These
the privilege3 decorations, behind; the obliged under being producers the
cmbarasscd
by the haste of commercial the truth
in the movement only constant to
As in all discussions, tween two the two estrcmes, points of view by later how people imperfect, The
lies besee the to
adopting fire of ask help at other
and WC shall a compromise-
have tried to reconcile
private
disdained
it is true, but still superior Nanufactory
arc certainly
weak points. of state man-
the old conditions. State we take as an 355
what do the defenders
THE
example, work, every not because S&res has been of has beeri ahead of the innovator; on the whole, other institution
CRAFTSMAN
always to For and a half is comprised occidental the history of porcelain among peoples.
but because its superior its kind.
T is well known that the earliest discoveries Europe in porcelain date from century. from manufacture the second China. half This in of fine and it.
the fifteenth
At this time, porceof savants
lain was imported ware awakened pottery From succeeded makers, certain
the interest
who tried to reproduce Later,
documents
we learn that they the porthe discoveredcentury. and Saxony, which finally
first, at Venice.
celain of the Medici-recently marks a new impulse A century experiments yielded In 1707, in Meissen lain. later, were first year of the seventeenth in France renewed results.
which dates from
satisfactory for
Boetticher
made hard porcelain In France, soft porce-
the first time.
at this time, they were making century, Louis XV. founded
Then, in the middle of the eighteenth S&vres which, renown. of its highest
in a few years, attained Its first purpose useful -plates, objects, cups,
was the production pots, forms soup
that is to say: coffee
table-service tureens, inThe
etc., whose graceful spired by the exquisite work of the Craftsman Their light
Plate II. Louis Turning XVI. clock of Sh~?s porcelain: period of
were often of which
models of the handivery good simple. A gives
silversmiths
gave,
some time ago, are very
reproductions. decorations relief, studied of accentuating aspect the shape,
to the composition fully furniture
the suppleness to be found In
and carein all the no
this reason renown
it is the best subject in spite
of study. of some
this period.
general,
We must admit, that after all, its universal is well merited, weaknesses.
356
color is used. dominate.
The white of the porcelainmade to prewe find Sometimes, however,
which is of a fine quality-is
In its existence
of a century
STUDY
flowers ribbons touches models If of distributed flying, of gold. or a border that the
OF
enhanced to-day
SEVRES
light by those of
METHODS
of fashion, which, in the last it. in this way expedition of the and the that the The years, has been able to travwas disguised period.
over the surface, The simplicity
of the caprices sixty or eighty Table-service
and taste
esty art, if not to change in the Napoleonic to Egypt, geometrical Sphinx.
are perfect; studied
so perfect technically,
are still most often show so perfect that there delicate
employed. designs a knowledge appear to
the interest forms of
in the explorations the lotus
these pieces effort.
there made, caused the introduction Rut we must not forget
composition Those
seems to be no spontaneous of all great far from of a few by the
curves
have been made by a happy, movement, unconscious It is the distinctive being isolated limited to the character attempts
love for rectilinear
forms marked the period
of any end in view.
periods of art, that their creations, investigators, are produced
collaboration ists employ always into
of a whole school. it and finally lines. This for the and arid
These artcondensing work many of of it our indi-
the same motive over and over; which
refining
its essential
seems groping viduality ductive
contemporaries-whom to avoid repetition-has method. We
fever
has driven to the bizarre
in order art
been the only proowe to it Greek Ages, those two The anart in to those artistic of Louis XVI, although they soon became and Empire dry and lifeless; in vogue during had prepared Objects There of the Egyptian. begin to be covered any play with gold. of fancy in repeis no longer that the false Romanesque the Revolution insensibly
SBvres competition, 1881: centerpiece. metre. First prize, 51. Forgeron height. one
and the art of the Middle nouncement,
summits of the art of humanity. of the necessity who have studied types and have transformed hundred of during to create
which we have too often heard, a modern of
two or three years seems ridiculous the evolution seen a capital
a period of six or eight or, the small to church, modificaafter develof the
years
in order to reach the Ionic which, effort,
the Erectheion, church
the way for the introduction
tions from oped Art into
three centuries thirteenth
of continuous
the completed century. changes
cathedral
the drawing; its course are very abruptly, observer.

to
but sometimes a happy
never
tition of the decoration its super-abundance. And for eighty
makes us indulgent nothing new has

357
except to the eye of the superficial Its transformations
slow in spite
years
Designs
for Shrew TARP, (porcelain),
L. Camike
358
STUDY
OF
SEVRES
It
METHODS
to the fineness of the clay of the enamel. when Their But are forgotten the backgrounds one feels and .these the
been created in this branch of ceramics. is in the composition has been absorbed. Thus,
according the defects pure:
of vases that all effort it is here that spirit.
hardness
we must look for the dominating Since become SPvres. chosen have tory 1890, This field, tried the production has,
charm of the objects.
color is very green, The medaland flowers,
of turquoise,
of vases has artist at arts inhisbeen the
blue and pink are unrivaled. lions are decorated painted with a light give two reproductions decorated a pedestal. During ufacturing cations royal The making Their the Revolution purposes with a profile other used as a turning with genii
the aim of the successful at all times, wherever own
and vital touch.
the decorative strength-tried, Their
We of these vases, one of the King ; the clock and set upon
their
deed, to rival the old masters. is a faithful reflection taste of a nation.
of the artistic pure or with ornament, The flute-
In their forms,
mixed, plain or overcharged aesthetic, players military encircle and
capital
for manand of the to the which
centuries and races have written their ideals, commercial. of dance of the satyrs and of the.antique the marble body. vases, leaving of a beautiful life
became
scarce,
old models were employed ; the only modifiintroduced Empire of styles being the change emblems for those of the Republic. gave a new impulse of to great by vases, fine examples
the Greek
the form itself like the curve On them all antique of the beautiful robust profile. has The
with its worship Ages
were sent as presents and sometimes less, the design tion, about factory. During indicated copies reaction temporary Ages, Gothic ing it. We to-day witness the but and never
personages. the antique, neverthecreaof diffidoes Vases
drawn its harmonious, Middle
are inspired is always a mere
gave to sacred vases the type again to the love of to it the XVI. which, of the
by the Egyptian; copya
which they still keep, and the Italian Renascence tried to return form The naturally tunes through for its own of imprint of the complex vases bear acquired sake, adding of
a personal and of very dull of color
six feet in height The somewhat of
modern spirit. Louis of the new forwas so near the in the inand a of decoration.
cult production not enhance the decadence from in
are the aim of the manuthe material. This fact is
the time the marks during spirit, the
the qualities
this period, personality of the form of the
the period
the Restoration, and intelligent romantic indeed a Middle the
the Roman But century
is accentuated. the antique.
Revolution. ,eighteenth comparable judicious Perhaps
by the numerous literature infatuation the kindest
is expressed
distinction distribution
The produces for action the
one could
reproach
the models being
toward
this period for being too often derived from architectural without modeling taking ornament ; for account adaptof able indifferently to every kind of material, of the deli&y is susceptible,
of 1830,
is to keep silence regardsame tendencies in under
Louis Philippe. illustrious
At this time, the painters landscape-Millet,

359
to which porcelain
STUDY
Corot, begin before Rousseau, Daubigny a return to Nature But half upon which
OF SEVRES
and othersby the exerting arts. were fruitful
METHODS
where it could become very intelligent direction. We elements able to be called noble under
reached a point
abandoned
classicists. an influence III., of during
a century
will elapse
have seen that it possessed produce pieces which might works of art. iar and better small pieces of
we shall see this movement the decorative
It would have sufficed to add adapted to the designs which because results. of
We will pass over the period of Napoleon the compositions uninteresting. We come now to the period
to those elements another scale, more famil-
brie-ii-brat,
scarce,
grew the Ow-
our contemporaries. In I875 was founded unequal, the prize competihave been, as
more and more in favor. Designers movement ing were not of the new spirit influences and in decoration circumstances I
tion
of
Skvres.
Its results
began to give most promising to what the impulse know not. position, showing:
was natural, some very We
but they have given to manufacturers. b,ewithMayand the compositions more personal, motives are
gooamodels
ceased there and why the mixBut in 1889, the good at the Paris Exmade a poor of which we
see an evolution: seeking and
ture of those new elements was delayed, the manufacturers works not being time, also, began
come more interesting, out, however, eux, Cheret in nature alone. charming in spite of
of ornament chaste
The works of MM. Sandier
have spoken At this
in sufficient number of the entire exhibit. the to supporters be of clamorous. to them, was of of dethey vitality criticism the point radical
in composition. of the reproaches Nouveau. elements education But In play of
It is impossible tendencies, work, when artists two we of of the apostles their result, the there an important
to balance the poverty
not to see in them very modern
L+drt
they Shres asking tory. mands zation
Nouveau
easily of arose, But
LArt
Rejecting outside
all that was favorable demonstrate official art. which that Acute
architectural part. consider whom delicacy iniscences sary we This the
is a natural speak.
reached
is sufficient neceswhich
for the suppression fortunately, granted. were not of Shres
of the manufacthese However,
in their work and the classic remserve to give pieces, the severity or in pieces
in larger
produced
a desirable effect, viz. : the organiwas modified ; its activity
must be an integral scheme. It
part of an architectural that Carrier-Belof art at as a
was enlarged ; it tried to put itself in touch and on a level with the new taste which became dominant appointed a word, of 1900, of at this time. so much later, was New designers accomplished gave were that unaniIn perevery of the department spite of in his
is to be regretted
leuse, director education. sculptor, pieces, uary In
this time, was deficient, because of a similar talents manifested some interesting proper,
; the old models were ignored ; in

at the Paris exposition
eleven years
his lack of study pure and simple. Manufactory,
of design
the manufacturers it
is only too apparent The
in all that is not statat about I880,
mous praise to the old institution. fection

product,
couia sustain
comparison.
The
elegance
of the objects
363
STUDY
foundations and Nature. M. Carrikre etc. different to nearly of first applied to designs are, respectively,
OF
SEVRES
METHODS
field of decorative is to give art? to it a
architecture his study to
secret in the great alize (styliser)
It can be defined in a word: the form The painting, for fabrics, decorathe linear beauty. summary clearly istic ciently shadows,
To convention-
decorative wall-papers,
line, as we have seen, method of expression, means the forms of of cutting In realare suffilights and absolutely. the artist I form b,eof the object.
He then produced mediums of
is only an artificial the sky-line shown by
tive drawings In these principles common
for porcelain,
on flat surfaces. work and which are of LArt exclufigure. the past up as follows:
and practical where
which he applied, can be summed ornament and the
painting
all the artists
the play
iVouueau,
The source
the ,line
disappears
is almost human from
In decoration, takes pleasure This comes for
on the contrary, in marking some For artists others, being of an
sively plants sionally, Traditional are purposely
and their elements, only occaforms inherited
it strongly. absolute
animals
conventionalization
discarded.
The composition,
geometrization. an arrangement tion: the natural
it is simply too compliBeM.
above all things, of the surface ment.
seeks to adapt its process-
demanded forms
by the composi-
es to the material to be used and to the form which is to receive the ornathe
cated to be used directly Carriere stands nearer
in ornament.
tween the two there is a wide margin. plants of-the forest and field, with tion than many forms groove mony, other designers
As can be seen in the reproductions, humble their forms tion. The clearly
to the geometrizaat Sevres. (styli&s) ef-
and firmly defined, furof the stems, the eleof
But with these conventionalized he produces themselves fects : making distracting
nish, by far, the largest part of the inspiraattachment disposition ments of of the leaves and flowers upon the drawings. its petals, give The elements
the most ingenious in the bands,
them curve on the necks, and without harthe general
their stems give the most characteristic the flower, itself, of ornament These difficulty this word. Sourian What operation speak profound of is pistils, simpler
the eye from
by the execution,
more or less brilof stylisawere by th,e
stamens motives to pursty&i&s of
liant, of such and such parts. This is one of the advantages tian. obliged parts Eighteenth of the century decorators designated not destroy
and seeds, will often poses of decoration. forms
which are well adapted themselves People are
to put their flowers only on certain composition, forms, of might the as a frame, design. in order Otherwise so that while the all his
(conventionalized). in agreeing Hence the then,
have often had will pardon of Nancy: never with a
conventional general lands effect
as to the meaning the reader
that the decoration they were forced
me, if I cit,e a passage
from a book by Paul this the mysterious
to use their flowers in garways, attention;
University finally,
or in other prescribed of to-day,
they should not attract decorator (styli&es) ornament
of which
some decorators head
with conventionalized
without
shaking
flowers is able to produce
air, as if it were their professional
without the use of other elements,

363
THE
still giving necessary.
CRAFTSMAN
bisque are among the products which have contributed most largely to the renown of S6vres.l The drawings also allow the delicate ex-
to each part the exact value
ET us now examine in these drawings the qualities which are especially adapted to porcelain. We first given to the of Skvres is,
ecution permitted by this material, to be plainly seen. The color is a little gray, soft the vibrating harThe color is, a concession to the modern taste for shades : a taste rejecting
notice the great importance back-ground, tinted. The manufactory
which is white or but slightly
mony of primary colors which gave joy to the people of former times. nevertheless, good in quality, especially if we take into account the relation and value of tones in juxtaposition. There is little or no modeling. Modeling, in fact, is employed for the purpose of giving the impression of relief, and should be excluded from a decoration whose chief aim is to become as intimate as possible with a smooth surface, to be incorporated with it, and not to be interesting in and of itself. This almost total disusk of modeling, in my opinion, is entirely justified, and in accord with tradition. It has been one of the greatest obstacles met by LArt Nouueau in its conquest of the general public. This public which does not pretend to know archaeology ; which, for several centuries, has seen ornament composed which may be called artificial; of motives which, vice
veraa, has seen the living motive, when it appeared, presented in a form so realistic that it could be recognized at the first glance : this public was and is still somewhat indeed, proud-and with good reason-of reluctant to accept this return to conventionalized simply The breaking (styli&s) forms without modelthem as in ing, and has a tendency imperfect. public will have some difficulty the habit of bestowing the highest to judge
the delicacy and whiteness of the products of its furnace. It is, therefore, desirable to preserve-without falling into poverty of invention-as much free space as possible in the composition, in order to display properly the beauty of the material. [It is well known that the statuettes in white
364
praise on a work, because it is so well done
that it seems as if one might touch it.
STUDY
OF SEVRES
repeat, ployed can
METHODS
for example, in monumental on the charming the motives art. study of antique and had also its intluart must at first, I think that Japinfluence work emsilversmiths,
T
to
HIS
art, then, seems a little cold to, No merits source one, however, and its its perfect is and of on
the public. doubt
of Pompeian
adaptation Nature; guiding the object make account
to small objects. that the principles this inspiration that form, to be decorated, already
We have just of inspiration governing the form precious
A more painstaking of oriental ence. cesses in photography, be given its due weight.
seen that its chief
art, made easier by the new pro-
are:
Also the vogue of Japanese
and the desire
anese art had but feeble especially, during
of its material,
still more precious
the period in which styliwas exces-
by the work added to it.
Japon
sive. tired
or better geometrization, of the linear by a few enumeration if Crafts contour: essential
But, little by little, the artist became the flexibility of lines, offered would be the England. different in the beginup to certain remained flowers, their expression
W
cidentally, reality, To hour
E have still to consider of this art and the
the intlutendencies into in
of the Japanese character a fruitful This Arts This other ning. the German incomplete, and
ence which came in with the birth As we mentioned, art, because,
field for study. of influences movement is certainly countries. a very its still in very It we omitted to mention
which it has shown. fix the origin of
above, it is almost impossible a given
art which began
with the first man,
movement European after is
will end with the last one ; passing during the interval through set bounds tions is nearly maturity, certain a series of transformations. to one of these transformaas difficult as to say at what passed from youth to maturity to old age. the .road primary of
in idea from stationary present,
the impulses
evidenced promising influence, in
Nevertheless, and Viennese
an individual and from facts
apparent productions.
One can merely importance. So, a book
single
out along
characteristic
in the history published in
of
LArt
Nouveau,
by in
S
fectly
EVRES intluence
is now completely of LArt
under the but an by the
Nouveau,
Art Nozcveazc, after all, which is very

It is not embarrassed of its beginnings to the decoration right, and is perof simple or, in other The relative art,
which I intend to sketch here, one can cite 1860, I believe, Ruprich-Robert, architectural the birth of on the use of the plant decoration.
conservative. exaggerations adapted objects.
This book retires farther back out
LArt
Nouveau
Is this way absolutely words, is it the only connected successes of LArt -for things About
than its admitted of for place the the
limits, if limits there are. of repeating motives great was a large care not to
path?
I think that the fatigue classic factor in this reaction. ancients took
Nouveau
in the designs
with monumental
I say out of place,
seem to show that it is not the only way. the year 1875 we have seen mani365
STUDY
fested another spirit which, seemed ready to take the lead. encourage from mained tered sibly This it. This spirit,
OF SEVRES
for a time, fenders if-to But people
METHODS
of ancient quote art recognize of that, even has it difa celebrated manner saying-all saying
did not know how, or had not the will to since excluded always refetpas-
been said-the
fers from time to time, and that it is better for one to speak the language even inelegantly, It is necessary modern foolish who preceded because of his time, of than not to be understood. for the eager supporters that then-not being the men
Sevres,
has, nevertheless, without than
alive outside. by it, it still national
And without produces works
break-
ing with tradition, more
also being
art to be convinced
its competitor. inferior in
necessarily in
kind of work is, perhaps, are less domestic.
earlier than they-attained to borrow, and that the merit of in being new, but and beautiful. of the
the small objects is, they
for use in our houses : that But domestic needs of
results which it is necessary order to go forward; rather in being I, myself, the School considered opposition producers number, interested the artists good a work does not consist
art is but one aspect of a great whole, and we have to satisfy life. Would tendencies ing stead art? from of it not be desirable conducted being their mutual to see the two simultaneously contact? all the various
Is this union as distant as it seems to be? have seen a number of pupils of Fine Arts in Paris-a by many -become I have in it. of as the citadel later observed of
; gainAnd inbe-
school
irreconcilable
enemies,
distinguished to be, at least, Nouveau, thus preto
come intimately This histories
united in a really complete would conform to the And I hope to slowly prewith
of modern art. And a still larger I have seen, also, among repute in LArt of the art of the centuries, the facts
evolution
of all revolutions. in fact,
see it realized. Always, pared, unusual revolutions, explode ; breaking spontaneous every bond
several revert to a study seventeenth tying The show truth their together again arising complete
and eighteenth -from
the past, and then claiming times, to have even a slight the past is a crime. of things iences. is good, They long, From within
for their profit At such with connection
the broken traditions. too summary
generation.
sented here, in a manner
Little by little, people the new state it has its own inconvenalso, for many things this longing certain after lost after limits, all a few to taking is but a the keen old is years, their
significance,
is, that
come to see that even though
every time a period tries to express itself in its own language -no (I will say its own design matter what the name of the ideas it an interesting and useful result
of the past. them again, step. new flavor; again things So, about
defends, for the time will make them right), it attains history which marks a step forward of human effort. periods are those the conthis for one reason or another, though The only uninteresting in which, spirit tentedly of research in the general
In a word, conditions all that in place, little this
have and
was useful
in the course.
the commotion to bring de-
resume their peaceful would union. The
stands still, resting Even to copy
be necessary
on the past.
over-zealous
past be most brilliant,
it is a con367
THE
fession It of weakness. power also, Such to note abdication that in individual can not be fruitful.
CRAFTSMAN
of deplished in the spring, happiness wonderful staking weeding walks, of escape bulbs us. in seed, the tucking lest opportunities The the of sowing of for the the of to
is good,
comfortably fresh
away of the earth, sweeping even the
sign the detail is of secondary and that with purely produce and vice versa.
importance,
Greek detail one can
and training borders are all so many
plants,
a work as little Greek as posisble, I am well aware that this the significance study of the us of
and the
means of grace
is not the common view of many art critics, who, unable to understand details. product decorative This of is what the of a whole scheme, are satisfied in labeling Skvres will have every permitted branch
the garden-lover. Is a fit of the blues impending? sally hoe-all forth well armed the needful with trowel, weapons-and Then rake, the
to see, as, in fact,
other
demons will ily before by the variety terms. even in a garden A neighbor, en home genial from into
you, quite dismayed to its simplest from her maidsomewhat unfailing unconrelief in to through turn
art would have shown.
of fresh interests to be found reduced
THE BY
BEST ALICE
FRUIT M.
OF
A GARDEN.
transplanted new and found
RATHBONE upon hapa word as one full
surroundings, homesickness, among for Resolutely Earth
L
end. ingly labor. To day, pomp few
ONG and serious discourses
in her garden, would she
piness have ended without for the value of gardening truly wise, however,
the summer, winter. Mother Equal its effect gardening elsewhere.
her window-plants, the comfort
of the very simplest means to that know secret, and rejoice accord-
denied her
The
well this happy
to its efficacy for as good
as a mind cure, is ills. Yet is, proposition
in the best of all the fruits Emersons let us add of emperors and cheap Give
of garden and The a
on physical
a remedial not half
me health garden.
unfortunately, us as patent In Warner half
so popular
among
a little
medicines. an hour, right says Charles Dudley in a Garden, I away from this world place large That Summer
is indeed
ridiculous reach of
compared
with the bliss that comes from a elements grow within One condition only is to called it with
in My
can hoe myself as we commonly place
almost all of us. happiness unmingled owners he never after 868
see it, into a large
be met, if we would joy.
this fruit
where there are no obstacles. should be the inheritance can compass encouraged for the
to perfection,
and pluck
of all who should be Whoever deep
It must flourish in a garcare. No factotum, really be
the use of a bit of earth, and among children.
den not too large to be under its fortunate personal so well disposed of to help, is accom-
to this end a taste for gardening succeeds in planting green enough
in a childs mind a love things growing, to work for
should be allowed to invade the little garden the turning the earth
to reach a willingness
THE
them, makes for one life Gifts delights chance, throughout
BEST
FRUIT
of
OF A GARDEN
it many Who Eden. a time. loves It makes you his garden, feel good his whew you feel bad. still keeps
the greater
happiness
all its stages.
of seeds, roots and tools will help of a Paradise in some which may lie, percorner of the cultivate, and their years. tells us amuse-
the little Adams and the Eves to realize the neglected
back yard,
and as the little folk
at the same time, their gardens tastes, they are providing pleasant Lady resource Mary Wortley is certainly
THE
ROOF-TREE HERE nothing are classes of men to whom is lacking Civilization everything of this of what goes to trappings of their to the But Parents has heaped necessary home.
themselves with a Montague the next
for their declining
Gardening permit
T
hands room, setting family
make up the external with treasure, peace, up given material
ment to reading,
and as my sight will now
a residence.
me little of that, I am glad to form of my age, now
them comfort,
a taste that can give me so much employment, and be the plaything to me. In a garden, of a happiness if anywhere, do certainly blossom natural that the little arts abound. the opening may coming As of that my pen and needle are almost useless
they possess it only and children Elsewhere dissolves. the
to desert it.
go each his own way, and the contrary happens. I
one goes out of a morning, long-watched-for this simple, pleasures however, the aspect cisely garden ending, Nowhere, Time ways of a whole day,
know a bridge in Paris where every day you may find a woman selling a plate. four Her stand planks place soup at two sous of three or awning, a less conNo shelter, all the the consists
change of the
and it is prethem neverhours last. old Father hours
and an umbrella-like for a family this
makes garden staid
and it would be hard to imagine venient matter ! Under precarious
while the happy does
reunion.
allow himself
to take on such flighty pleasant this trick to a flaw in philosup this in to
open to all the winds of heaven, there gather every evening, the children, lessons, toil spirit thing. cious, soil. of of round a smoky torch, sesting people after have some of them studying These their
as in a garden-the
are gone before the joy opher
one knows-and
of his is -the nearest approach of the summer-time. old Henry-factotum, and friend Our good question
and the father, the day. family,
and that is the essential
in one-summed
This spirit it is that must be saved, strengthened root
of the best fruit said he, just
of a garden large enough
nourished,
; and
it is tena-
his own wise way : You too large, make you happy.
dont want a garden Ive tried
strikes
in the most ungrateful
Itll do that.
369
THE
SATURE NIA.
CRAFTSMAN
beautiful should California to be wasted. suffice to dwellings, These facts alone of determine of the style
T IS tl. I
BY GUSTAV tages are truth enjoyed is forced and fresh order to assure works,
AXD
ART
I?:
CALIFOR-
STI(.KLEY truth Yet that advanor effort this when
as they have already similar which of the them art and situaand the more I noted, escountry; brilliant fitness I was to which every severity precedents
threadbare
done in several tion. But important tablished neglecting which successes, especially upon
countries
without upon
price
in the majority of the instances had followed parts in other have
unappreciated.
us in some speit appeared architeccoast. in in this by and too beauty
the architects
cific case which interests us, it becomes once again new. Thus to me, as I observed In the domestic fitness and
the regional since history,
and local traditions
u-ould
assured
ture at many points of the California their region, follow Xature. life. rare. it would seem as if,
would have concurred impressed of me a misuse feature comports of
in the result. style, The
with what appeared seaboard coast possesses
the builders of dwellings the sure, clear indications The Th,e vegetation atmospheric
had but to given
the Colonial
the Atlantic
The climate invites to out-of-door is magnificent effects are
appropriateness. admirably the purity
of the rock-bound
of New England of the Col-
THE
stead, the street-wall tivcly few windows ; the general
CRAFTSMAS
variation priate cessful College This accept of the Colonial found style really approis the Spanish, a sucI reof which to the Pacific modern coast
pierced with compara-
introspec-
tine character
be permitted its fountains and each continuous successive
of the house, if such I may to call it ; the inner court with and plants, balcony story: with its covered from ways of projecting these are
occasionally
in New Orleans, School
application
member in the Pottery in that city. failure to
of Newcomb or even to in
emphasize,
building
suggested
by regional
conditions within the
the rich existing
advantages
of cli-
and, at the same time, altogether
mate, scenery
and tradition,
I observed
A _Montecito jungle
traditions cans of architectural produced buildings ized
of the
the
country.
The
Franciscertain in Spain, harmon-
Pasadena, my
Los Angeles
and their environs. which would, were consquentin the suhwhere the of being in
Missions, principles
following practised lines and gave
surprise
and pleasure,
any case, have been great, ly much increased urbs of Santa intentions thwarted, of of Mr. Charles Frederic Barbara: Nature,
among whose
the Sierras structural
of California the interior
when I reached the home Eaton, a spot instead results.
with the landscape, of which, allowed, to their
arrangement rials at hand of

372
as far as the matethe masimum The only imnates.
have been studied
and developed
comfort
with most gratifying
373
THE
CRAFTSMAN
A beamed
and transomed
reiling:
residence
of Mr. Eaton
This villa-residence cite, a settlement lying among In&. cented, the foot as its hills It is a locality
is situated at Montealong a scenic drive of of the Sierra many name Santa acby trees,
his canvases color.
his intricate
orchestrations brown trees. the lilac
of
At Montecito, live oak forms the red clusters yellow with notes which
the golden a charming of the pepper from the soft
of the for The
background
Spanish
implies,
little elevations, time, rains, growth scene great each olate might of having and spots
and reaching watered by
down to the In the springthe winter of natural its yellow, of the bewildering and tones
proceed we find The
oranges, contrasted of the
yellow beach of the Pacific. been a of it becomes color.
lemons and the acacia Ceanothus. greens
blossoms,
a labyrinth fascinating, This brilliant by red greens,
cream-tints
are added by
masses of eucalyptus by the foliage together mentioned,
flowers, and the varied of the trees already with that of the olives, or luzerne grass. the eye travels and to Santa pearly-faced Cruz,
picture-with
supported shades the have
modified creamy again
and of innumerable shrubs mingled with lush grasses like the alfalfa, Away southward glistening the Channel to the sea, frorn the picture,
same color, through
with superb and
dark chocwinding which to one
whites
landscape--seems recurred of Titian,
and again
in the sun, and still onward Islands,-Santa
the imagination
374
as he fixed upon
NATURE
Rosa, To Anacopa, of San Miguel-lying miles from justifies the sky bare at a the shore. the its of
AND
him.
ART
of the subjects subjects which so interest since been These he has studied
knowledge
distance Spanish against sharply This unrolled landscape majority The results interest is only ment, from Mr. which, with
twenty
the northward, meaning pointed the intense
the Sierra cobalt of
his early childhood a horticulturist,

much
; his father having

Becoming year,
of its name, as it projects steel blue peaks, panorama
and his mother a woman of the owner of he developed it acexercise prepaduring the This
cultivation.
a garden cording ration in
in his twelfth to original
all vegetation. was the splendid before which and as the me as I stood in the garden whose work as architect differs so radically, that of indicated, of from
his skill by constantly so early begun, proved
rearranging an excellent
designs.
of Mr. Eaton, I have before history which
for his later studies, pursued and Italy: there,
gardener
his extensive travels in Europe, France Riviera, among the Italian
particularly along
of his competitors his efforts,
of the region. taken with the is of great that it esperinot
lakes, and farwhere the villas
ther south in the peninsula,
he has attained,
as showing attained and
that success in matters by preparation, that of genius, labor. in New England, more and as compared
of art is never a chance occurrence; knowledge; and patient was born regions,
it comes
an inspiration Eaton other
but rather
by cunning
in spite of its sterility has landscape From
produced gardeners,
horticulturists, impassioned sections ticultural enthusiasm benefited of
lovers of Nature societies
than all other with such like Solothe cedar a critthe deep who of the Renascence period retain in their Law S. Sarbelongs; formal gardens nificence. Among these places, the education of the principles of the American soundness student was completed ; since the there generally
375
combined.
early times, hor-
have labored appear, from
and success that many of those
by their work,
mon, to know every plant Lebanon to the hyssop Such as these have long students have Gray, Olmsted, gent. To the artist-type Mr. or the Charles
on the wall.
constituted
ical public capable of appreciating distinguished arisen Downing, occasionally
artists
in men like Asa Frederick
much of their old-time mag-
Charles Eliot
and Charles Eaton
possessing
at the same time much scientific
THE
prevailing, symmetry not but mind. his ality, He the economic and have brilliancy a salutary obtained, effect beyond
CRAFTSMAN
Renascence From California, theory Nice he of over-training to and could his the and over-elaboration. removed Montecito, an area of the foothills, years, with his more acwhere he purchased acres among
use of means, the upon
rapidly
advanced putting with training
period of the learner, acquirements the severe originality.
into practice the formrepression
several hundred
self-reliance and
which, for a period of nearly twenty he has embellished individual theories, in accordance or-to speak
He revolted against
In Mr. Eatons
workshop at Montecito
of Nature landscape
which constitute gardening. He
the first princisystems that of the Entime the felt
curately-which itself. simple, himself and his With
he has allowed the passage
to beautify he has of the in
ples of the French
and Italian
of years
become more and more the advocate as he has remained to the influence sufTered of no the presence of Nature, He has developed has ideas without
modern system of education to the plant thusiastic with this theory
could be applied of development
constantly subjecting
as well as to the child.
of men and books. rcvcrsions, years since so that
and again the owner of a garden-this situated in Nice-he his theory

376
his theories progressively appear
set to work to practise as against
of development,
twenty
THE
to His him as extremes of
CRAFTSMAN
branches following a heavy shadeless provision may or twigs begin to be put forth,
conventionality. gardener and his
development
as a landscape
in close succession crown of verdure. wood&, forests of
and forming The tree is at crowded, but where the is a wise sunlight twigs Per-
he detailed his estate; the means successful appreciation the brilliant fWhcn cite, with
to me, as he led me through. describing by which results; his experiments he had by long us. my lawn soon I error and attained
home in the densely
of Australia, the
explaining
also with the familiarity beauty to
marked absence of lower branches Nature ; since the small habits, shine through in its original space,
acquired
what elements gave the peculiar scene before I began
leafy
at the top and thus promote sisting its new surroundings, economizing interest late
growth.
my work here at Montcflower-beds, and
although,in a singular whom it acof does misto specu-
he said to me, I arranged geometrical My garden. effects
it has rio need for it awakens for vexed as he begins
had an Italian quickly. artificial. repressing a measure resolving tion I
I saw my
in the spectator that much
were too formal
quires a personality, upon heredity The sionary, of
I was misapprehending her and following of reform
Xature, As
question
the example criticised. the beds; Nature, The from to this resoluresults
and environment. eucalyptus, as here employed, of foreign in its quality
of those whom I had sharply for the future have beauty of never of
I removed to control From
not appear er of disease.
as an absorber to break according There be too
of miasma, a healas an agent of is Eaton, he the monotony to Mr. not,
but never to resist her. present
It is used purely
since
swerved.
decoration, which,
the estate
view,
the fact that it has never been subjected the tortures methods. The lawn at Montecito, ranged, be called a colonnade well with by matched. their they of reason a professional
the greatest gardener. mented, ocean-too one element.
evil threatening must much sky,
the landscape commuch any tree or too
gardeners
as at present arThese trees themselves, graceful interesting and the
much, for that matter-of
receives great e&e& from what may of palms. in most
In this scene, the tree trunks
with here and there a bushy or a lenfy stately and singularly for eral the sky-view. specimens tufted, Indeed, of
ate five in number, tall of their species, and Beautiful trunks are further their suggestions eucalyptus, slender and
break up the sea-view, while the eucalyptus, does the same I call it my sev-
crowns,
sky-tree,
other rearing
he concluded,
as he indicated
associations of
the same species, points adding begun, as my to
architectural Near lemon-scented contrast singular fully
which they afford. the rare This which is a fitting to the palms. as a mast, and with its trunk small
their tall figures at different
them stands
a specimen
of the estate, and in each instance accent and interest to the locality. The became guide upon analysis more continued the lawn; of the more view thus and attractive
and companion feet
tree is as straight in height,
sixty
his comments. like a painter evanescent
Lingering anxicius he ob-
bare of branch
or leaf. up to within fifteen at which distance
feet of its summit;
seize an elusive,
effect,
THE
ser ded : There
CRAFTSMAN
My guide then pointed to the south, where lay a scene, beautiful resembling and across declivities slowly curve Thrust Icdgc, and upon and rivaling the shaded, of the foot became one at Sorrcnto. Through rich hills, and brilliant, the tree trunks green, the gentle eye was
is a color quality which occurs
in a Caliwith rich, you ln the tone, and floor of
fornia which golden
landscape
nowhere else that way
in the world. bronze.
At least, in no country I mean whatever to the eye! Turn itself
the world-famous
I am -familiar.
will, it presents live oak, itis
the predominating to the entire
led to the ocean line, at which each point clearly lay outlined. the rocky has cut its out into the Pacific
when the tar-weeds the same character
fade and die, they give From this
the valleys in which they grow.
which the railway
&mnDhor-wood chest.
with ornament
in brass
and shell
rich, sonorous lemons obtain jasmine, delighted
background greater
the oranges of color,
and as
way to Ventura Reyond, floating towering parent tain, ground M6nica,
and more
distant
points.
fullness
lay the infinite blue of the ocean, brown by while transmounbackbeds of kelp and other algae; over all, into the bright against indistinct the atmosphere, rose the Rincon
do also the great yellow masses of mustard, sun-flower, golden rod and Califorof gold which so ~Indced, California poppies, those cups
toned here and there to a golden
the Spaniards.
nia is the Golden wealth.

380
State, and far more truly is made to her mineral
itself fifty
projected
so, when no reference
of the softly
Sierra Santa
miles away.
NATURE
AND
ART
After
t11c IIl:Lnller of t11osc truly hIi*. lhton gardening, of
devoted
l~ishandry, wing largely plant soinewliat life.
he is rcrml from
in inctllotls of trimlie llas cvolrcYl hut 11wr1~mom olwxwttiou lirc oak of as an
to a profession, and again and landscape trol.
returned again ahays e~npllalove of
and training from
diicli
to his theories of arl-)oriculturc~ of Nature under con-
tradition, syinpatlwtic tlw
sizing his principle Possessed
Taking
a Virgilian
example, he said: 381
THE
You erally and will have noticed a well-clothed forming parallel regular, and tree; that the lower above In
CRAFTSMAN
Now, also, examine that long stretch oaks ! ing them. them, I beams, That is my cathedral the view! the is wanting: the vaults! can columns, of live Nothcollar from when limbs the
this is genmass, cvcn many
and leafagc ground
a circular with it.
six or seven feet
I learn to build them readily
Still in spite of my intense love for sacrifice the vision. of effect threatens me, or when
places, this regularity and must be changed, tree what I may call
becomes monotonous, in order to give the personality. Such and
monotony sentiment. Having
they obstruct
I do not yield to the question of
el+ect can be secured only by accentuating the limb system as the most attractive imposing feature of the species. Therc-
thus approached
effect and symmetry,
Mr. Eaton
continued:
kP_ d.LL.__.LL.-._.--. -
except the leadI leave no opportunity outward system and upremains in My labor.
.L
.___
,_
_-___&
Leather panel by Mrs. Burton
fore, I cut away everything nothing that hangs foliage. down;
method is to unite the plan with the It is impossible for the landscape in an office. with draughtsdesign of flower He the communication let us take lines. It was Down BeStill to work intelligently with the accurate keep in constant
er at the end of all the lower limbs. for masking ward, sharply
gardener manship, beds. should with one it. of problem yonder
This leader then in-
He should not be concerned
duces the lirnbs to grow so that the branch revealed.
He has to deal with life itself. As an example, parallel
And yet there are plenty up to play growth) and glisten
of leaves higher the sunlight! ing a venerable thought see, the

35.9
On that tree alone (indicatI have spent long But me! is grateful to
which I have here treated ! superposed is the shore line of the Pacific.
and two days of actual work. old monarch
yond is a twenty mile reach of ocean.
NATURE
more distant California parallels To end, fatigue destroy transform planted cypresses of the long horizon line of the Over all, the superb distinct in the to I would, or
AND
one
ART
finds the condition of the plants in gardens. of the palms alone was such Among with them I noted fcathbent from leaves
island of Santa Cruz. sky. which, that it into
botanical
We have then four if unbroken, monotony, pleasing palms, just
The variety the plumed cry fronds; or backward, their edges; familiar attractive
as to cause surprise.
the eye and irritate
the brain. rather
palms with their delicate specimens inclining finally peculiarly
diversity, auracanias,
sky-trees, and oranges,
a variant
of the more Beside,
as the leader and the
date palm with its widely extended, semi-tropical leaves.
an orchestra
arranges
his instruments,
so that the strings,
the wood-winds
there were numbers of bamboo and camphor
Leather
panel by Mrs. Burton
brasses may best contribute complex From before effect. this observation done, the multitude I was surrounded. would names, which be to offer but to
to the general complexity than I had rare plants To a dry enumerlist of was a
trees;
a variety
of own
the eucalyptus seeds; the leafed
which plant of
distributes upon of striking trees;
its
Buddlcia
Madagascarensis, beauty; paper a Chinese candlenut
a large plant; pcaf,
I was Jed to note more carefully by which ate them scientific delight
an Ahyssinian
banana and of flameand a
a group
an alligator
a cinnamon
tree, the latter from Guatemala; and the Montpreferably joins with that number
383
see them
the wild bay in abundance, erey pine which Mr. Eaton with the eucalyptus, tree an admirable Having contrast.
comes rarely wearing
in a life time. as if for of as
Each tree or shrub stood growing its own delight, an exile, or of being coaxed
as offering
no appearance into bloom,
thus realized
the great
Leather
screen by Mrs.
Burton
384
NATURE of
strange species served described here representedof tale upon grew
AND
could
ART
in no wise lessen my admiration of tending especially I asked My and treating impressed by for them the thi? that
enough
to have
as the original in Hawthornes
the methods As I of was light
the collection
here displayed.
of Rappaccinis their selection.
Garden-1
came also to
realize the care and expense attendant Out of my surprise a question to which Mr. Eaton
play
and shadow
in the denselyreplied
planted successful
grove,
the secret of guide
replied with
result.
Lamps
in metal and shell by Mrs. Burton
the information California which himself founders.
that his estate was formerfor the Southern Society, accounted of in were the but it
it lay in the rule observed trees and shrubbery He explained When of the
in planting composed
the it.
ly the place of experiment Acclimatization This fact
which
:
that grove In order to
385
and Dr. Franceschi then
the sun shines upon one gets and lcavcs flowers.
in the morning,
the rich beauty
part for the presence
of the plants,
THE
must not look directly
CRAFTSMAN
taincd in artificially lighting a room. Beauty is never secured when one looks directly at the electric light. The lamps should be so turned that their direct rays strike the ceiling only. Then the softened, reflected light reveals and creates beauty everywhere, From the observation of the plants, I was led naturally to examine one of their sources of nourishment : tion of the water-supply, imporwhich in California, is a queseven greater tance than elsewhere. To this portion of his work my guide came well prepared by his studies of gardens in Italy, where no drop is wasted and small volumes or cascades arc used with spectacular effect. In order to secure a supply adequate to his requirements, Mr. Eaton deeded to the town of Montecito a certain watertunnel from which he obtained the first right to a flow of twenty thousand gallons the day. He then constructed a channel to receive the supply defining water-way appearance stream into the his estate,-so of the course of a
enjoy the suns rays among the trees, one toward them, but, instead, at the objects upon which they fall. For this play the palms, eucalyptus trees, cosmos, laurel and live oaks, with their varied foliage, offer fine opportunity. As the wind moves them, hou they glint and
as to give it the natural hurries and
Brass
sconce
by Mrs. Burton
color !
The fact involved in this phenomin all landscape as here we never Therefore,
which which rushes over stops, stones in tiny cascades, only a moment later to expand into lakes and pools, as if with every step it changed form its purpose. To this channel, the bed was cut and
ena must be considered gardening.
desire to look westward, I planned my grove to have its forest effect in that direction and opened its view to the east. I may add that the same principle 3BG should be main-
thoroughly cemented, after which boulders were tumbled into it at selected points ; the stones firmly fixing themselves in the paste
NATURE
AND
ART
Lamps as
in metal
itnd shell
tw Nrs.
Burton
Early each morning, the artificial water supply is started upon its course from an upper reservoir, whence all day it sings a quiet tune, on its passage to the large cemented reservoir which serves as a lake; thence it falls to accomplish its final work of irrigating the orchard below. The little lake is most attractive with its houseboat, and its surface starred by clusters of the splendid African lily which there blooms seven months of. the year. At one side, also, there is a mass of the tufted papyrus of the Nile, and near it large bouquet-like groups of calla-lilies. The presence of water is further secured
they fell.
in small quantities at various points of the estate, by devices such as sprinklers connected with faucets, placed high up among the trees; so that the feathered friends of Saint Francis regard Mr. Eaton as a rainmaker, and, judging by their songs of praise, we may believe them to be as grateful to him as they are represented in picture and legend to have been to him of Assisi. But this paradise is detaining me with
its memories even as it did with its exquisite realities. Work is the natural sequence of the Garden of Eden. Expelled therefrom, Adam delved and Eve span. I must
387
hasten onward to describe the handiwork of the craftsmen who created this place of enchantment.
level, like sections of France, the Netherlands and England, which SO admirablycomport the Gothic. Judging by both his comments and his in Mr. Eaton, as a which char- But work, I recognized
T is seldom that a person artistically gifted, evidences his abilities in a single form. This is especially true of to conthe emoto be verThus I those in whom exceed
craftsman, the same originality
acterizes him as a landscape gardener. duced in his shop-his
I shall not here speak of the objects prouse of the native shells in screens and lamps-which have acquired for him a wide reputation. I shall rather devote my remaining space to do what slight justice I may to the beautiful work of his daughter, Mrs. Burton. The illustrations which I have here introduced of these charming things fail signally to show the beauty of the originals, because they are wanting in color. But master-craftsman. Mrs. Burtons treatment of leather is unique ; since she employs it as a painter uses his pigments: that is, in masses, to represent features of landscapes, parts of the body and drapery. be called a mural painter in leather. Indeed, she may Pos-
those endowed with the capability ceive, plan and construct; the reasoning tional power. faculties
What is judged
satility in such individuals is but the exercise in many forms of one talent. found my host and guide at Montecito to be equally a landscape gardener, an architect, and a craftsman producing objects of household decoration. peculiar
A small structure used by him as *his the line remains to reveal the hand of the workshopd.up to the still recent time, when he established new ones at Santa Barbara, attracted me by a quality which, at first indefinable, I afterward knew to be a perIt was built fect fitness to the landscape. from local materials by Mr. Eaton himself, aided by one Mexican man-of-all-work ; these limitations contributing to good results, instead of gray-brown. preventing them. The stone combined with a wood over the first, the that like
sessed of the sense of her art to a high degree, she never confounds the decorative with the pictorial, and to attain her effects she reaches out for material in all legitimate directions. Like her father, she is also a metal worker, using bronze in a gamut of greens and yellows, in combination melon, and Philippine lamps and sconces with the abalone, shells, to produce forms. In
harmonizing with it, the floor-beams of the second story projecting low-pitched roof with deeply overhanging
eaves, unite in a whole so satisfying due to form or to color. The roof,
one does not question whether the effect is that of the residence at Montecito, expresses the builders idea regarding this prominent feature, which in his belief, should be flat in a mountainous country, as exemplified in the Swiss chalet, and pointed with sharp incline, only in regions lying low and
388
in floral
these the exquisite choice of the shells, the intelligent use of the patina-or iridescent coating of the metal, such as would result from inhumation-as .well as the studies of line offered by the design awaken the ad-
NATURE
mirat.ion Among of one who carefully of surprise. most interesting to chest, the material been stained green, examines
AN11 had
ART received a high French polish; the
them even to the point the pieces having lnc was a camphor-wood of which after
whole process producing ish tone, recalling Rut seen at her best. in the leather
a beautiful screens
brownis em-
the Califprnia Here
landscape. the artist
the material
The Redwood
Forest ; leather screen by Mm. Burton
THE
ployed color and by burning, leather
CRAFTSMAN
THE ROOF-TREE UT let us get back to reality.
.US
is white ooze, decorated in water for the attainment
of a mottled effect of singular beauty. The is colored as desired, cut, and applied by sewing. Layers of this material are thus couched, one on the other, until they oftentimes reach twelve in number ; certain parts of the edges being left exposed, if necessary to the desired effect, and other cunning devices used to secure contrast, which is the decorators substitute for perspective: Most successful of all, perhaps, was a screen showing as its subject a redwood forest, conceived in the spirit and-1 had almost said-with Chavannes. the mastery of Puvis de The materials used were, be-
B
it.
Let
not give ourselves over to dis-
couragement or regret, but face the
actual situation and try to make the best of What can be done to give a more permanent exterior setting to family life, to atone for the absence of a stable roof-tree? First, we must aim for a minimum of change, become less and less birds of passage, not leaving for trivial reasons a dwelling which has become a part of our life, and to which the first impressions of our It is not a children are perhaps attached. be faithful to his dwelling. matter of indifference whether or no a man There are two divorces that are doing our society to death : mans divorce from the soil and his divorce But if imperious reasons from the home. \ condemn us to move in spite of ourselves, in default apartment, of a house, in default of an that let us cling to our furniture.
side the wood, leathers of various admirable tones and the Philippine window shell, which gives an opalescent effect softer than that of- jeweled glass. The wood was the carved into the semblance of tree-trunks, burned and stained ; so reproducing eral suggestions appearance of the bark by broad and genin which there was no touch of the feminine or the trivial ; while the soft lights and tints of the sky were rendered in leather and pigments. Before this exquisite work of art I lingered long and in deep thought. It was a small object made by the human hand, and I was fresh from the contemplation of the mighty, overpowering works of Nature. Yet for that reason the picture did not The mission condense into insignificance. of art is to represent, not feebly to imitate. And the idea .of a great forest was here visibly represented to me, without confusing details and in strong, sensuous terms. The picture made a fitting climax to one stage of my California journey.
s90
Let us preserve with care everything
could perpetuate a tradition or preserve a memory. Let us not disdain an arm-chair we have always seen about, a table beside which we grew up ; such things, however simple, have for us and for our children a Some spiritual worth that is incalculable. old bit, without significance to profane eyes, is equivalent to a title of nobility ; to take it to the bric-a-brac dealer dishonors us. The more life buffets us, casts us out upon the world, the more need for holding fast to these tokens, which are so many planks of safety on the flood. And yet we must not be materialistic ; in spite of its capital importance, it is not after all the house that makes the home.
THE
THE INDIAN DU
INDIAN
WOMAN BY
WOMAN
AS A
CRAFTSMAN
them, and who never
sisters who purchase fail to remark: dians work. should be It able
CRAFTSMAN. \GODDARD SINCE .I all
CONSTANCE
is astonishing to do this
that Insort of
BOIS with civilization of almost by deof the of primitive equally work, industries of for them
their contact has deprived stroying their native and robbing
This possessed of many
surprise
at the fine craftsmanship workers is only one .their concerning people. advance we lose to a certhe one
the Indians
by primitive misconceptions
the balance
capabilities, civilization
held by educated
economics, materials introduction salvation race.
It need surprise
no one who realizes that
and opportunities
is not an uninterrupted
of the white mans the remnants
industrial
upward ; but that, on the contrary, much in order to gain more. The race gains insanity, and at the expense, increase qualities of on of tain extent, of the individual. crime hand ; the individual self-expression, into cerity the visible
arts has been tried for
of late as a means
of a perishing
In some instances it has accomplished Indians, robbed of in the sides, by
Degeneracy, courage, insight sin-
its purpose. The destitute Mission their lands, and deprived tages gained by industrial Spanish where has Mission agriculture seized and the of all the advaneducation now live in forbidden all the
original workings
invention,
Nature, being
communities, is almost occupied site of
and fidelity
to an idea are lost or found, basketwoman trained exfor the old Indian society the hand
desert canyons,
or on stony mountain
diminished: perhaps, maker; Thus, for pression in similar satisfied machinery condition
all these qualities the average
in an ignorant while
the nature of the soil ; while the white man fertile villages, turnon the which, Indian white valleys, ing with once Indian
may possess not one of them. it is easier for to to acquire generations acts of individual
and still acts as a relentless aggressor, his cattle patches Chinese-like these and swine to fatten of corn, or beans, the the industry, circumstances, pitiable
new arts than
idle fingers
of the rich to excel as quickly occupations.
coaxes to grow in the most sterile places. Under priate mans industry, in theory, however exotic or inapprobecomes a means of salvaand a whole of San Diego by the for R.
The woman whose every need or whim is by the products can not of conceive elaborate over to of the set in motion the world
do her bidding,
tion both to life and character, community County, the Indian in the mountains California, of women,
of the first Indian family,
woman who, to invented basset to
meet the needs ofher kets and pottery, and, not content
has been uplifted lace-making Sophie
twine, and woven fabrics; with bare utility, with decora-
introduction
by Mrs.
Miller, Church
work to adorn her handicraft tive forms of Nature, taught. please learned from All early
under the auspices of the Episcopal Missions. The fabrics wrought
no school but that being primitive true, art

391
that supreme teacher of the unart forms, All
by the bronze work-
women are the marvel of their white-skinned
the intelligence.
THE
is debased, civilization. The modern appreciation craft which is gaining intelligent tendencies not elevated, by contact
CRAFTSMAN
with beaten trails, and the keen eye observed that when the stalks became dry, the outer bark hung in thread-likefibres. Observation, logical thigh, motion, other; fibres, from series. or ankle, deduction, The with stalks action were made a soaked, twisting of other the white woven sacks and for
of good handiamong the
ground
few, can not offset the degrading of a commercialism whose watchdesire for which the imperative for
beaten, dried ; spun by hand upon the bare a curious first in one direction, lengthened, into the a cord, red-stalked the carrying of grain, white then in an-
word is cheapness; which is forced ditions includes wants. The lesson of efforts of
upon the many by the conexistence thousand artificial will to
a struggle
by the addition from
as necessitiess Indian
milkweed, art, however, efficacy, the etc., lost upon of this generation.
or a beautiful
shade of old rose for petticoats, loads, other useful
variety; of
not be entirely Spasmodic introduce ments of
knotted into tasseled fringes nets for storing Asack remarkable its bands into eye), of and many
doubtful
craftsmanship needlework,
. into
public show,
schools, sacrificing at least, a striving of the individual ideal of Nature When the
the three Rs to the rudibasketry, towards the lost liberty and the lost shall found of delischooland
.articles for the home. of this kind, valued National as a rarity Museum, the is of age of in the Washington decoration, white a neutral
as a worker, as a guide. of art
not so much for the beauty (although tone, and red,, softened are satisfying by
alternate to the
patrons
endowed schools for the cultivation cate handiwork work duct, may when markets to which this public serve
as for the honesty
and durability
as an introduction, may gain
the workmanship. years, having Basketry, although from design the part of the time. that
It has lasted a hundred
shall be opened life.
for the proa serious we must
been in active use the greater universal primitive art,
craftsmanship
value in modern turn to the Indian with innate
Meantime.
worker as an instance of of purpose, and no workshop of the means of civilthe
is still practised
among the Mission Indians, of note that baskets region show in and individuality Manzanita
what may be done in singleness intelligence, but the wilderness. In surroundings of satisfying a tangled Indian clothing, arising the race. Two Southern
398
it is worthy remote variety
much greater destitute
than do those specimens
of the art and more artwork class Counwill and
a single requirement thicket or a desert material
made in places nearer civilization, Turning istic from primitive we find
ized lif_e, where the white man could see only waste, woman found from for food .and developments necessities grew of
under the influence of the white mans ideas. to modern admirable mdustries, women
and a dozen artistic these primitive of milk-weed
among the laces made by Mrs. Millers of Indian ty, at the La Jolla of San Diego on, the sale pillow-lace Later for tion, in the mountains
reservaclass
species
in the
California. and have
California
mountains
beside. the
exhibit
THE
Venetian cut-work. enough,
INDIAN
WOMAN
CRAFTSMAN
The latter, curiously will -be a revival of one of the
industries taught to the Indian women in the early Mission settlements, by the Spanish missionaries, who, with.? wisdom far in advance of all other American pioneers, included industrial training, in both mechanics and art, among their other methods for the instruction of their Indian converts. The women take kindly to the work, the more so since it is almost their only means of livelihood. of industry, Unfortunately, in this sort done under direction, with forms and designs dictated by market demand, the workers are prevented from the free exercise of fancy and invention. Sooner or later, they must fall under the sway of the white .mans commercialism, in which pride and satisfaction in handiwork, the native birth-right of the primitive craftsman, is lost and forgotten. In vain do our educators anticipate, as a result of the socialistic uplifting of labor, the modern workmans conscious joy in the digging of a ditch. A man can take only so much satisfaction in his labor as shall correspond to the personal intention which it expresses. The Pima Indian knew that joy, he dug his irrigating when years before the coming of the white man, ditch, and watched the life-giving water flow from level to level as his inventive skill had decreed. To stand shoulder to shoulder with other hired laborers digging a trench under the direction of a boss, can give a man no possible cause for satisfaction. This condition is a mental result and :can not be induced from without. Let our students of industrial conditions consider the factors of primitive industry,
and reproduce them so far as is possible in modern life. Only by an effectual resistante to the leveling tendencies of industrial organization, as at present practised, only by a return to the freedom of individual expression, can we regain that blessing to the craftsman, the lost joy in labor.
THE WORK
MORAL
VA.LUE
OF
HAND
T / and Agricultural
HE worth of work with the hands as an uplifting power in real education was first brought home to
me with striking emphasis when I was a student at the Hampton Normal Institute, which was at
that time . under the direction of the late General S. C. Armstrong. But I recall w5th interest an experience, earlier than my Hampton training, along similar lines of enlightenment, which came to me when I was a child. Soon after I was made free by th e proclamation of Abraham Lincoln, there came the new opportunity to attend a public school at my home town in West Virginia. When .the teacher said that the chief purpose of education was to enable lan-
one to speak and write the English ment in my mind and stayed there.
guage correctly, the statement found lodgWhile at the time I could not put my thoughts, into words clearly enough to express instinctive disagreement with my teacher, this definition did not seem adequate, it grated harshly upon my young I had reasons for feeling ears, and that education
ought to do more for a boy than merely to teach him to read and write.
-Booksr T. Washingtulz, in Working with ths Hands , 393
A CRAFTSMAN
CRAFTSMAN SERIES HOUSE, NUMBER VII. OF 1904 HE House numbered VII. in The Series for 1904, is
HOUSE
stain, darker than that used for the plastter, is given to the cypress roof-shingles, and, as well, to all the exterior woodwork, No stone is used except in the construction of the steps leading to the entrance porch and to the rear veranda, both .of which are floored with brick, or, if so preferred, with cement. The veranda and the porch, now of great importance in American domestic architecture, in this instance, have received careful study. The first adds accent to what weGe treatment of otherwise a too monotonous the facade. which is of the same material.
Craftsman
designed to be erected in suburban districts, or yet in any city where of population permit of
the conditions
detached residences. The structural lines of the house are such as to prove very effective in localities where the air is pure and bright, since they invite the play of light and shadow. Especially is this true of the roof ,with its bold eaves, and the porch with its open timber roof and Tuscan columns. The materials used in the construction of the exterior are brick and plaster, the former extending to the base-line of the windows of the second story and being hard burned and uneven in color. The plaster is applied over metal lath, and contains in its last coat a pigment which gives it a soft green tint. Its surface, while yet soft, is stippled with a dry broom, in order that it may acquire a slightly mottled effect. Beside constituting the covering of the upper section of the exterior walls, the plaster again appears in the arch-forms surrounding the window openings of the first story, where it contrasts agreeably with the brick. A green
It is made suggestive9 as has before been indicated, by the open-timber construction of the pseudo-roof, vines, a miniature pergola. The veranda is still more important, if -it be judged from the point of view of the occupant, rather than that of the architect of the house. It may be entered from the living and dining rooms, through windows extending to the floors, it faces the garden, and it may become in summer, through the addition of
Craftsman House, Number VII., Series of 1904. Front elevation
-I
c
3
397
THE
CRAFTSMAN
and it is partially second story.
roofed most
by the projecting interesting in very of chill feais the
tween them large
areas of
rough
plaster,
The
which is used also in the frieze. The burned fireplace, built of dark hard brick, has a very slight projection :
ture of t,his portion fireplace, and specially beside which,
of the building shown being
illustration, decorative, October, also, if
with its open vistas at either hand, N-ill be appreciated in evenings habit The when the open-air to be resisted. the orientation verted into it with sash. is still too strong may,
being carried out only one and one-eighth inches from the wall, so as to be even with the bands of wood of the same thickness, the frieze from which divide the wall space perpendicularly at intervals, and separate the side walls proper. The window frames leaded panes,
and clear yellow
veranda
of the house permit, be consun-parlor by fitting
a winter
arc glazed with small se&ions,
white in the upright in the t,ransonia.
The walls are tapestried
with Craftsman which

a dclinen
T
Judged library dark color broad,
398
HE
interior
of
the house
compares in both of the as may be
canvas
sign
Cl,ppliqUi.
in grAy-green,
appears The
upon
favorably from a
with the exterior diagonal section
in old rose and green
style and attractiveness, and the dining hazel wood, room,
window with
curtains
are hems
of into
lustre
The
canvas,
&au-n-work
seen in our are of of Cirare as to insure those beams showing
which old rose threads are introduced.

furniture is here of in canvas brown fumed
illustration.
Here the trimmings so treated resembling The infrequent, ceiling
oak, upholstered wood-brown, the repeated very effective.
of a warm,
rich
and figure walnut,. flat, and
cassian
against. which, in the pillows, rose and green clpyliqd is
be-
-___--_-___-__.
,D/r?l@ ~oum
-14-01 -----/t-G ------.
1
I
_1
zzzzx!c----------
EL_._
L&b?/
I<>-0 ----___-_--___ .~-___-_____--___ r ,4-r,
THE
CRAFTSMAN
second
i%ar P/an
400
..
COOL
COOL AtiD HE QUIET building is DAYS here
AND
QUIET
The
DAYS
.
roof is covered artificial protects with redwood shin-
.T
ing every fering South, their very
gles without presented in projection which particularly dwelling fitted no
stain, and by its wide the casement .windows,
illustration for a country climate,
are glazed
with small panes. of rest doorde-
in a warm
The deep .shadow thus caused and which has before way, vice. trusive, been noted, is suggestive as is also the recessed an effective two features, compose giving, opens doorways which architectural a fitting and coolness, always These
although of
it contains a summer States:
feature which could prevent it from answerrequirement home in any section of the United The exterior from by all that each -other separates contrast. is of a pronounced as the dwelling the rural cottageplainto of refined and distinctive, a simplicity
nilthough unobprelude
and the interior, the North
while diffrom the from
together
in suggestiveness
to the interior; to its secret. The having entrance lateral hand,
as it were, the key into a narrow hall
are pleasing
in combination
giving
into rooms to, the large on
The exterior type, original, ly not intended ble, that yet which
on either rectangular enclosure with brick, being secure jecting by ing forms the on branches,
and leading
court
is surrounded The hall
of the humequal districts
three sides by the building, at the rear. and the court,
and is without is paved like the porch,
preserving marks
England Upon are found roof-line, perforation which ance,
and Belgium. analysis, the of the interesting of features of the and to be the bold projection contrast the roof
with flat stones set in cement ; this pavement placed proper widely boles rough above the level of the ground the building, in The trimmed This order roof, bare to proof drainage. of trees surrounding
the stones
cement with the mortar, but most of all, the by the chimneys, structural plants with appearthat, in whose low of as gives pleasing a strong, world,
into the court,
is supported
stripped
of their bark, and bearbases. device without of or portico, shaded from
in the same way are those together the porch, the leaves.
stone
the natural The
a colonnade
stems perforate chimneys, left
the sun, and from the state, inconvenience the open. Within are built
which to enjoy
the benefits
and beauties
wall
surrounding
field stones,
in their natural
the rectangle
thus enclosed upon
far as is consistent ing up ; the porch stones ; while formed The cypress in cement. exterior shmgles the of rough
with their proper step leading deeply are to
layit is
is paved with large flat imbedded with green, of the
three sides by the ;colonnade, a still smaller ,A;? . rectangular space is described, which is sunken below the pavement, laid in walled cement, with and field-stones roughly
boulders walls stained
strewn with white sand, gravel covered to -a rich water-lilies large or aquatic
or pebbles, In the,
except in spots where it is desirable to grow grasses. basin thus formed, a fountain is built from some local
403
with the windows, same wood, showing
doors and trim a darker color.
mossy rocks selected from
404
COOL AND
stream, and the water jet is so arranged as to issue from their midst, to fall over them in a thin cascade, and thence into the basin, which is piped to be relieved of surplus water and even to be entirely drained. The effect of a fountain such as this differs al-----
QUIET
DAYS
from that produced
together and happily
by those formal compositions of sculpture, burdened with-figures grown so familiar as to generate contempt in the minds of those who are forced to look upon them. Instead, rough, mossy stones are closely asso-
1
I
.&d
.@om
611
THE
ciated in the minds of all with falling and, of late,. sculptors their most ambitious by this association Grand of fountains, attempts,
CRAFTSMAN
water, even in is witin the may be reached from two of the rooms and from The the court. .plan, as well as the exterior,, will through
have profited
; as, for example,

composition
gain, rather than lose in attraction close examination, struction exceed $2,000. is not prohibitive,
nessed by Lambeauxs
and the cost of its consince it can not
Place at Antwerp,
in which it is im-
possible to tell where the weathered stones of the pavement fountain surprise .begin end and where those of the to rise amid the greenery no to rather
of the market booths : the tihole offering to the eye, but seeming to the place. here presented ample upon days be the thing natural In the dwelling and fountain comfort make
A STUDY
OF THE leaf of
GINGKO-TREE the Oriental for embroidery, Gingkopage, is the in
the court for heat has of
provision proper
and pleasure
and sunshine. been planned The living ing upon
But the interior with equal care. room and dining only
T
plant. English, or fruits the tree. Th e from point family
HE
tree, shown on the opposite in a study product The of name, a highly variously
interesting spelled
alcove lookby means of windows,
is a transliteration
of the Chinese silver aprifall from
the exterior
yin-hiig:
words which signify which, in the autumn, claims
the high-pierced are connected door-windows, lighted be mentioned
and small-paned with the court so that they
cot, in allusion,
no doubt, to the false cones
by means of may be better It must
and more freely ventilated.*
gingko
attention
equally type of _
also that one of the exterior
the scientific of view. existing of
and from
the decorative
windows of the living room is an oriel, fitted with a plant-shelf. The beamed rooms ceilings, already showing The mentioned rough of walls have in are plaster
It is an ancestral in the carboniferous which leaves of elegant
plant, the only living the members by fan-shaped The Japanese was adopted of as to the floor-plan, These are solidand with the at the with designation,. the Salisburia, About introduced symmetrical jurious the eighteenth
species of a numerous period,were characterized shape. the close as as
the interspaces. left with
the entire being
house, when not designed a sand finish; hung with canvas. The living contain
to be covered, the others
form of the name Gingko, toward century, as its generic
by Linnaeus, although andstill
room and all fhe bedrooms,
it is also known more commonly years since,
will be seen by reference ample fireplaces.
the maidenhair-tree. one hundred it was into the United States, where its from inuse as north it for as far
ly built of brick and stone in a pleasing homely manner quite in accordance remainder occupy left of of the masonry. and,
The bedrooms connected
shape and its freedom recommended street tree. difficulty
the ,entire side of the building the entrance,
fungi,
an ornamental It grows
each one, is a large closet;

4.06 ,
while a fine bath
without
I- .. -. -._ _-.
.-_
__._ j
THE
as Massachusetts, dens, public suburbs; In and private, of Boston
CRAFTSMAN
Carriere plant for a Skvrcs vase, in which the and its occurs as the only of decoratinted of the
and is seen in the garD. C., sevwith it. centuries being a culti-
motif
while in Washington, it has been for
tion ; the soft yellow green of the leaf harmonizing background exquisitely with the faintly the torture, fabrics more employed delicacy accord
eral entire streets are planted China sacred tree, groves of gingko in America, grounds,
; while
stems and the lines which they can be made to assume without In gingko being pattern, monizing designs for equally the form well with the tall, slender shape of the vase. the use of the is even sometimes familiar; enclosed
v&d
about the temples,
and when discoveven though it is made by rites. Its digfrom the
ered by Chinamen it stand in private them the object nified character fact tribute The possible, capabilities They
of religious
scan be deduced planted of a gingko
as an all-over in a disc, or harpeculiar to it. the stems drawthe who with
that Li-Hung-Chang,
as the highest at the for en-
with the leaf colors which to are
and the use of any two contrasting indicate the markings characteristic study, the leaf,
tomb of General
Grank at Riverside. the gingko can scarcely be over-
trance into decoration estimated.
But in the accompanying have b,een retained ing has been made of serving The materials for purpose way. of any
are apparent as Oriental.
at a ,glance, by designThe articand what of
and an imitative needleworker
and have been widely recognized ers, as well Western
ulation of one stem upon another, the young shoot, the mature leaf, the fruit, may be termed the attitude interest and- beauty. The qualities lend themselves ceramics branch Craftsman of the gingko especially. to are such as designs for or carriage
may care to employ man canvas linen for of the couching

posed
the motif in an original here used are Craftsof the articles,
the body
the plant, all unit,e to form a whole of great
the appliqud, and linen floss for
; the color scheme being comranging from dark and and yellowish, and a deep
greens, forming
brownish to light reaLband design.*
and embroideries. of art, the present presents
In the former number of The by Leon
the base of the curtain
a drawing
THE
THE CENTURY CROSBY HE Nineteenth for
CENTURY
BY
OF UGLINESS
so consummately enough. And finished, these yet a cancer on
OF UGLINESS.
ERNEST
the cheek of a sturdy backwoodsman cities, Century things name, may in that be the of attracting bleached
is bad to be
T
of journal Tokio, dozen of tions twenty
everlastingly to
what is best in the country country people, forests and enfeebled-their
known future,
many
themselves-the
but it cannot
well escape
to be
one uncomfortable of Ugliness. by a picture
scattered about the streets as waste papertheir lakes and streams, to be used for any purpose but purification and cleanlinessb,elching sumfalse whole refuse with a these same cities Newports, Coney are perpetually Islands,
the Century the fact
I am reminded in an illustrated thing is a
of a military and.the rows,
scene in the streets of poles, in half is hideous, if one reader
most conspicuous of telegraph
forth in return black smoke, cheap suburbs, cemeteries, vulgarity, mer boarders, Our mining countries, less night, and sooty pall. excursionists, regions piling Half
the multitude incidence. that
of all kinds, The effect
sizes and angles and in
ideals and every
other unnatural
monster.
yet so accustomed noticed
are,we to such abomin,a-
have devastated of
it is doubtful people
condemning
men to work in endcounties
them, and it is quite certain of Tokio, representaraces that them
up mountains covering the attention of dynamite
that the good
eventually
tives of one of the most artistic ever existed, have long as matters of course. busily every at work making conceivable and way their ingenuity.
bestowed and battle-
since accepted
upon the invention ships might sun. silver better nigh
The fact is that for .has been ugly in the world
by this time have learned how of gold have and well-
over a hundred years Christendom
to store a little of the wasted heat of the And as for the digging and off diamonds, without them. We of we should be much the world. the Adimore And in
and with the most Cities have grown sordid suburbs are Some
remarkable enormously forever
destroyed to-day
the forests without
eating
into the countryside. Blake?)
No man with a soul can traverse rondacks than he enjoys, Wisconsin mark,
one (was it William
called London too early. disturb-
suffering stumps. it is worse. men, forsooth
a wen, and it may have resembled a wen in his day, but he made his diagnosis Examine Look the the edge of the economic ance called London noble trees,
as he looks upon the thou.This am a
sands of acres of barren and Michigan of practical is the work sentimentalist! the ugliness blackened ty-five buildings
at any point you please. lawns and gardens, exquisite green, and suburban streets relentof a the
save the
at the beautiful
and I, who protest, of machinery,
Is it necessary
to speak of and and twenby
then watch swallowing you of
the wretched
with its noises, of railways
them all up and pushing devouring The the face
its smells and its monotony, railway story trolley-wires and gongs, buildings
lessly on, and tell me if it does not remind a cancer woman? pretty similar .phenomenon or Chicago is not are _ not
yards and terminals, and narrow
~ interspersed
in the case of New York so shocking,
of five ?
The pretty
costumes of
for our surroundings
the peasant
have gone
and chalet and log409
THE
CRAFTSMAN
ble soldier, he daily mounts guard in the servitie of humanity.
cabin give place to shapeless boxes and tenements. We have robbed the poor of their sole wealth, the quality of being pictur-
Having familiarized himself with the esque. And not content with this work of , printed matter before him, he thought as uglification at home, we have ruthlessly, he wrought, until his conclusions regarding carried it across the sea. W,e have inflicted all that he had read assumed a definite form. a death-wound upon the art of India and His judgment, which, in view of his lowly China and Japan. We are waging war position in life, has little importance for against turban and galabieh in the name of top-hat and trousers. ing graceful kins, and the telegraph This Century. beauty. is the story There What may building of be We are convertpoles of the Tokio Orientals into aping mannithe world, is yet, perhaps, worth recording as a sincere expression of good will to men. It was in no spirit of dissatisfaction, or of revolution, in no temper of mind common to-the workingmen of to-day, that our the he disapproved of the trend ,of thought evidenced in the mass of this commencement literature. marily from Much of it he dismissed sumhis thought as verbiage, in as light is im-
stand as witnesses of our triumph. Nineteenth items to erected in
credit also, but they are not in the line of Nineteenth Century would the world miss? But let by-gones be by-gones. The practical question is: Shall we allow the same epitaph to be written over the Twentieth? It will require high ideals and resolute actionto prevent it.
which ideas were clogged,
prisoned in an imperfect medium of transmission. Behind other utterances lay the evident desire to separate the scholar from the world, to the end of aristocracy continuing an of the intellect, like that which
in old New England days, preferred. the man :who painfully spelled out his Greek, above one possessed of twice the others brain CHIPS FROM THE CRAFTSMANS power, and whose knowledge of books was confined to those dealing with the three Rs. Another portion of the discourses dealt with HE Craftsman sat in his workshop, surrounded, rather overnay whelmed by the. literature of the month which is sacred to students. questions of the hour, sometimes approached sincerely, but often treated brilliantly speaker into prominence applause. Exhortations and of and superficially, with the desire of bringing the eliciting there were also, WORKSHOP
T
410
The journals and periodicals piled upon his bench to be read in his hour of recreation, were filled with baccalaureate sermons, with the counsel and the warnings of the learned to those just possessed of their new degrees. In all this literature the old toiler found vital interest, since he regards his workshop quite as a sentry-box in which, like a hum-
earnest and eloquent, instinct with the spirit of a Cicero defending the Republic, as when the president of an important university denounced the graduate who should shirk the duties of a father and family bread winner, in order to entrench himself in a citadel of selfish culture.
BOOK
So approving or disapproving,
REVIEWS
the
at the instance of the scholar, the integral

education, championed by Kropotkin : that is, the simultaneous training of the brain and the hand, the elevation of the workshop to the place which it occupied beside the school, in. that most organic and unified of historic periods-the thirteenth century,
Craftsman selected his documents, reaching by careful steps his final opinion, according to his custom acquired through the patience necessary to his labor; according also to the slow habit of his brain, less responsive and active than his hand. And thus the fact was gradually borne in upon him that among this multitude of hortatory discourses there was no simple plea for the practical ; no warning to the student, about to become his own master and teacher, that success for him lies in his instant ability to transform the idea into the thing, the thought the word, the airy nothing into the three dimensions of solidity. More than twenty years since, the Craftsman remembered that the first effort to bring the American student into quick and constant communication with the outside world, was begun at Harvard by one of the great name of Adams, whknhe denounced mediaevalism in education, and sought to give to modern languages the dignified place which they at hresent occupy in the curriculum. Without these tools of the trade of an international arbitrator, he said, I have been an inferior among my geers. This, mused the Craftsman, was the Afterbreach made in the Roman wall.. into of the plan
BOOK REVIEWS
HE
SOCIALIZATIONOF HUMAN-
rrv, by Charles Kendall Franklin. As the preface states, the object of this. book is to trace physical, and social phenomena to their
organic
sources, in order .that human energy may be ,expended for human welfare, in accordance with the laws discovered. The investigation is conducted with such .broadminded liberality that the deductions sometimes seem almost shocking, as is the case in regard to the treatment of theology. A system of monistic philosophy, such as this is, is founded upon a naturalistic conception of things; that is, all things are due agencies only beand book our may inbe their real origin. to natural causes, and we ascribe certain things to supernatural cause ability The of our ,to comprehend argument of ignorance, the
ward, the Garibaldis of education invaded the sacred places and unified a liberal scheme which has diminished the historic power. But the great work for the people yet remains to be done. mands of the latter-day The world descholar that he they be small
summed up in a few words. Under the individualistic system, men work at cross purposes, and much energy is wasted. This is caused by lack of understanding and of Energy will seek the line of least resistance, and in time, when men become more social, it will be. seen that there is least resistance when men work in harmony for the good of all. Thus will come about the socialization of human411
an intelligent oversight.
shall understand the relations of the things committed to his care-whether or great-and into usefulness. that he shall coordinate them It demands for the masses;
THE
ity. ed.
CRAFTSMAN
reached. ity, by [The S ocialization of HumanCharles Kendall Franklin. ChiL. B. destroyed many
Individualism has proved its inability The time has now come when a new it-a new system also, is idea
to perfect man, although it has greatly aidsystem must displace than the individual. outgrown, ship of has passed. unprejudiced for an unknown,
cago : Charles H. Kerr & Company ; size
6 x 9 inches; price $!2.00.]

While the Civil War a promising
based upon a desire to aid society, rather Theology, the time for superstitious worunmanifested We can, if we search with an mind, find the ~natural cause be blindly, wilfully youth, and probably lessened yet it was the means of
the number of geniuses that America might have produced, making other men great, transforming a quiet tanner,, like Grant, into the first general of the age. Many a lesser genius also resulted from that war. Among them is a face and form familiar to the churchgoing people of America, Samuel Chapman Armstrong. His biography, by Edith Armstrong Talbot, is well worthy of study. One learns in this story, how birth and breeding helped General Armstrong to find himself. Born of missionary parents in the Sandwich Islands, he early learned how to deal with.a. race different from his own. These chapters are interesting for the man and the country we now claim as Ame,rican. Williams College brings its usual inspirations, its helpfulness to a higher life. Then tames the war. Armstrong is not quite satisfied as captain of men of his own race. Shaw, the brave New England ended,-as IThe war ends, Armstrong martyrs and
everything-why
ignorant, just because our ancestors were? They ascribed thunder and other: phenomena to their God, but we pity their superstition. life--but We ascribe to God the origin of if we look, we cannot fail to find our abounds Are we more adforebears? primitive with definitions, the easy to follow
the answer in Nature. vanced than The volume making thought. A
it extremely
distinction
is made between
religion and theology:
religion is defined as
an emotion resulting from the performance of acts which are conducive to collective human welfare. The acts are instinctive. Religion binds the human race, it organizes mankind. It is>the only invincible emotion the race possesses, the only emotion that can conquer death ! We may be deprived of our belief in immortality by our loss of theology, but the soul will find its immortality in the life of the race. Love -is an individual, selfish passion ; religion is the. only unselfish emotion. The new, scientific religion, based on knowledge, not on blind relief, will be much grander and more uplifting Deep thought than the present systems. and honest purpose are
His life work begins where that of Colonel colonel of a regiment of blacks. waits
<watches a little time for a career, but his career came to him instead, as it ever does to the man who waits on Providence: General Howard selects Samuel Armstrong as one of his chief aids in the Freedmens Bureau. Thenceforth, his life is familiar to most of the American people; work in these pages. but all will enjoy reviewing the speeches, letters, plans, [Samuel Chapman
manifest in this work, and however one may look upon the conclusions, it must be admitted that they are logically
W-2
and fearlessly
BOOK
Armstrong, price $150.1 In the Harvard ISO4, ing Spirit Mr. Dr. G. von upon C. Monthly Hirst Greek by Edith Armstrong
REVIEWS
general information, interesting oring and are, furthermore, discussions. Such, for example, is his chapter upon The Colof Greek Sculpture, and the one as skilful
Talbot.
New York : Doubleday, Page & Company ; J. R. C. _ for wrote recently Sculpture: trained . March, regardpubIts in the of
which ,deals with the debatable subjects of the figures in the pediments of the Parthenon. Another valuable chapter of the book discusses the human body as the principal theme of. Greek sculpture, and in this Dr. von Mach becomes as well worth reading as the English Symonds, from the point of view of fact, while remaining far more direct and simple in statement, since he uses his erudition but as a simple tool, and seeks no style but such as results from clearness and good English. The book also deserves comment for the excellence of its mechanical execution: the beauty of type, the dimensions of the page and the disposition scholarly of the margins. nomenclature and are delightful Further, the the careful in these days
Machs
lished book
and Principles :
severe school of the archeologist and fortified by it .against the misconceptions insufficient knowledge, Dr. Mach has treat,ed the subject with a much broader vision, and his book is the result of a happy combination of the archeologists facts beyond them. Compared grip on the with the artists scent f,or what is with this new
book of his, former histories read like mere From this intelligent criticism may be gained an accurate idea of the book, which, as its prefaceannounces, is addressed to all students of art, to executing artists, and to the general public. . The latter element, rarely benefited t.o any great extent by works such as this, will find here not only valuable material, but also material so arranged as to be ready for use in those many popular, ways in which today a knowledge of art finds employment. Dr. von Mach has written an interesting book, which many of those who have preceded him in his subject, have evidently hesitated to do, in the fear of becoming popular in style-that is, serviceable to the public ; believing themselves to be learned when they have only been dry in the presentation of crude and inarticulate facts. Dr. von Machs arguments concerning important disputed points of his subject, while valuable, first of all, because they are illuminating in a special sense, afford, beside, much collections of notes.
proof-reading
of carelessness and haste. [Greek Sculpture : Its Spirit and Principles, by Edmund von Mach. Boston : Ginn & Company ; illustrated ; pages 357 ; . size 61/z x 91/z ; price $450.1
WORKING WITH THE HANDS, by Book:
er T. Washington, read autobiography
is a sequel to his widelyUp From Slavery.
The newer book gives, as its publishers announce, both facts and theories drawn from Mr. Washingtons work of building up the negro school of industrial The training, at Tuskegee, Alabama. aim of the present writings can best be described by a quotation from the preface of the author, who says : For several years I have received requests from .many parts of the United States, and from foreign
413
. THE
countries mation training veiop it. Two First: as well, for concerning some detailed of employed the value
CRAFTSMAN
inforto defar from the maddening is a natural Champs House. crowd. This question of the one for the foreigner in the districts and the great city
industrial
and the methods
.for whom Paris is contained Elys6es But Latin Opera lying
This little volume is the result in to answer these queries. need emphasis without here: moral, for facts
part, of an attempt proven
there is another
in the laborious
Quarter to the himself has pastor, on
Mere hand training, The need, aim hands, should to The
character
of which M. Wagner
religious, very little. educational Second:
and mental education, as the essential
counts
paid a high tribute. the Boulevard of the Simple and By surprise. alpaca of pursues ings concierge
And for one who has the utterances Way, a and
the. head, and the elementssof be so correlated an industry should be
seen the home of the Protestant Beaumarchais, Life,
heart together,
the Better
that one may be made to help the others. The make pay its way should not be made the aim of first importance. most emphasized. of efficiency class wagon, teaching At Tuskegee, for exama first-
the Fireside,
are no longer
Near the site of the Bastille gown and apron His clothe
in a quarter
where the blouse and cap, the nine-tenths M. Wagner lodgand his in the streets,
the passers
ple, when a student his trained
to the point
his work.
own modest
where he can construct
are a sermon
in themselves,
we do not keep him there to but, send him out into influence and others to his level, of the
must certainly comfort the third
be also his disciple int.o aland , with honin the source of
build more vehicles, capabilities and we begin the principles in lifting
-so
much of the infinite riches of brighthas she condensed book of its author, in thought,.
the world to exert his trained
ness and This, though perfect
her narrow room. pure and elevated in expression, Life, appears
our work with the raw mateAs a development succinctly stated, here
rial all over again.
when compared
_ book should be studied by all who are interested in economics [Working T. Page.& net.] In a review a well-known of Charles Wagners the writer French RP in a is asks capWashington. Company and sociology. by Booker York : Doubleday, \with the Hands, New
the Simple ored, because
as a sUccds des-
time, a work which must be specially conceived and heart as those which cooperated birth of that first masterpiece. Life flowed from of waste; a deeply of its authors careless By being, hidden
by the same brain The Simple
; illustrated ; price, $1.50
rich and impetuous,
while. the thoughts and guarded. of
THE FIRESIDE," which recently publication, the question : Can ital, We
appeared that
the Fireside book, in
are like drops of distilled gathered a series twenty-two of a famiLy ; named sense of
water; carefully The chapters,
it be possible
citizen of the gay and rushing with all its fashion for the simplicity rather expect should pleading
traces the evolution
and frivolity, such
the first chapter the Roof-Tree,
being picturesquely The delicate
of our fathers? utterances
and the last, the Religof the French-
ion of the Home. observation,
from the pastor 414
of a retired rural parish-
the strict logic
BOOK REVIEWS
man is apparent beauty parent medium of on every page, and the contains often life. a beside, pression individual chosen as the passage which of all the book remembered and mostas inIt has, and exmay be in
P
of the language-which expression-we lost in English. on the same
is a transA character-
deserves to be longest It is vital a tender to a I
a0 not
of a of quarvery do we
used as an aid in the hard places of with a philosophy of Browning. of thought It grace M. as that
find wholly istic passage dozen .great
occurs in the description corridor of the poorer and how
dependent
homes
tenement-house
which are partly
racial, and partly quotation
ters : They exposure, strange
are identical
in size, plan and In no two
Wagner.
yet how marked the contrasts !
representative have assembled a band through
which to sum up the impressions the book: of my remembrance as I passed of
created by admirable to en- They by with and this
breathe the same atmosphere, ent are the impressions that we might from on the on be passing is simply takes continent aspect different of crossing to
and so differfrontiers, continent. or It cell, The
in the depths
everywhere received,
people whom I have had the fortune counter belong life.
that a room, on different
even a prison its tenant. hands, women, of figure,
to all the social classes, all religions, When pretension, I am wearied disgusted ambition, among and prejudice, of
all professions. narrowness the sight stupid
same gloves costumes formed ent
the same are transmind and differefthese philanthe Gerthe and the
by differences
produce
egoism,
I take refuge
culture ; and the same walls housing people, In totally and fects. dwellings thropist man Italian criminal would visiting describing facts,
society within me. Then my spirit is soothed and reinspired. souls, the thought ening And among these upright of whom is so strengthof pessimism, they inspire spirit, are in but sancand I find it impossible from contact
different
of the poor, would have
the English
and so preventive the veneration simple that
have noted tabulated Who
some humble servants. to express with their I rejoice tuary, me, or the good
would
statistics, abnormal
would have discussed types. have recorded
I have got and faithful
but the Frenchman with sensitiveness French do
at least in the inner all fictitious of -a pure by greatness
artistic impression entitled : What anything. And
made upon him?
where
to the core also is the chapter upon old age, those do who no longer in following it, pictures in which it is man and feeble wo-
conventional tribute. [By pages
values fade away,
I can offer
them the fulness
and religious Wagner.
.
the Fireside, Charles Phillips & Company
come to the reader of the streets, railwaystations and parks of France, a familiar giving different his arm to an aged sight to observe an elderly
New York : McClure,
300 ; size 5 x 7 inches ; price $1.00.1 the contents

THE MAKING,
man, at whom he glances lover, as he eagerly calls her Maman. the caption of Our
with an affection
With
KIND IN
of
the book, by H.
MAN-
from, but not less than that of the converses with her and But the section under Servants, certainly
G. Wells, Re_
the readers of the British view and of the American are already acquainted.
Fortnightly
Cosmopolitan,
These essays have

415
THE
.
CRaFTSMAN
to arrest.
.
In ap$iances, in politics, in philthere is a perpet-
excited wide discussion and, according the testimony of
living language, a growth that no one may osophical interpretation,
the author, have occaacquired
sioned active and extensive correspondence. In view of the wide reputation by them, it seems almost unnecessary to state that they attempt to deal with social and political questions in a new way and point, viewing the from a new starting
ual necessity for new words to express new ideas and new relationships, free from ambiguity. But the new words of th,e street and the saloon rarely supply any occasion of this kind. For the most part they are just the stupid efforts of ignorant men to And side by side with cheap substitutes for existing words and phrases,% goes on a perpetual misuse and distortion of those that are insufficiently known. These are processes not of growth but of decay-they distort, they render obsolete, and they destroy. A language may grow-must grow-it may b,e clarified and refined and strengthened, but it need not suffer the fate of an algal filament, and pass constantly into rottenness and decay whenever growth is no longer in Where can we find a more just progress. and severe arraignment of the defilers and destroyers of one of our most precious inheritances as Anglo-Saxons as our own hands and brain ? Wells. [Mankind in the Making, by H. G. New York: Charles Scribners 400; ~ : our common language, which should be as precious to us supply the unnecessary.
whole social and political world as aspects of one universal evolving scheme, and placing all social and political defined relation to that. activities in a This explana-
tion, written in grave mood and contained in the preface, may have the effect of deterring from reading the book many who would enjoy it, and, furthermore, profit by it. Thewriting of the body of the work is more sprightly, quite titechnical, and well calculated not only to attract attention, but also to result in good by reason of its popular quality. It is the earnest, spontaof the thought of an thinker One neous expression
educated, not to say, specialized
uhon the most important concerns of life. As such it demands serious attention. paragraph we may choose from the Be-
ginnings of Mind and Language; which deserves to be copied infinitely, and posted in places where the people_ congregate. reads : Of necessary growth and development It in a. course there. is a natural and
Sons ; size 7yh x 5$$ inches ; pages price $l.SO.]
CRAFTSMAN
MADE AT THE
CLARK
ENGRASLING
LET US SHOW
WHAT
WE CAN
DO
BASKET
Four Dollars Worth
MAKING
for
TWO
Dollars
-a-SPECIAL
GEORGE WHARTON JAMES HAS JUST
OFFER
PUBLISHED
-ITWENTY FULL-SIZE weaver can copy The price of the
MODEL
They them. set is (the are of typical baskets There have never these
INDIAN
BASKET
drawn
DESIGNS
that any ordinary designs issued.
and are so accurately been so large and offer is made. Fraternity),
good
$2.00 Tointroduce
quarterly will
this special of The Basket
A full set for rgo3 of containing
bulletin be sent
THE BASKET How to Make Indian and

are for
Other Baskets,
issued), postage,
illustratetl numbers for 1go.f (as they and all the four beautifully Add twenty-five cents free (so long as they last) for Two Dollars.
Apply at once,
as this offer
will not last long.
THE
BASKET
Station
FRATERNITY
CAL.
A, PASADENA,
REALIZING TEN-CENT
THE INCREASING POPULARITY OF THE MAGAZINE, AND DESIRING TO PLACE
CAMERA
ONE
CAMERA
114
CRAFT
WHO WISH TO FRIENDS, THE CAMERA CRAFT TO :: :: :: :: ::
WITHIN REACH OF ALL THOSE REMEMBER THEIR PHOTOGRAPHIC YEARLY SUBSCRIPTION RATE TO :: :: :: :: :: HAS BEEN REDUCED
DOLLAR
CRAFT.
STREET,
PUBLISHING
SAN FRANCISCO,
COMPANY
CALIFORNIA
GBARY
Kindly
mention
The
Craftsman
A RARE OPPOIZTUNITY
TO SECURE THE FEW RE MAINING VOLUMES OF THE EARLY NUJVIBERS OF
THE
CRAFTSMAN
WHICH CONTAIN VALUABLE INFORMATION ON THE HANDICRAFT MOVEMENT NOT TO BE FOUND ELSEWHERE
THESE MAY BE HAD IN CRAFTSMAN IN HALF BINDING OF CRAFTSMAN FULL LEATHER LEATHER OR AND LINEN
&
Volumes I, II, III and IV Limp Binding, each $3.50 Volumes I, II, III and IV Half Bigding, each $3.00
Table of Contents furnished upon application
&
Address t GUSTAV STICKLEY, Craftsman Bldg., Syracuse,N. Y,

Requests for Vofutnes I and 11~21 be flrred in the order in which t/Nj) are received
BOOKBINDERS//
ii
Printed Work, Periodicals

and
LibraryWork
Given Special Attention
Valuable Old Books

Repaired and Rebound
A.J.WALLON
320 EAST ONONDAGA STREET,
is SON//
SYRACUSE, N. y. 11
The Craftsman
1~~--------------
Kindly mention
c-
II
r
Will profit by Coast, touring
adding a trip the delightful
to
Colorado, Utah Rocky Mountain
or the region
Pacific via the I\
dDenver
@k Rio
Grande
R. R.b
1
which has more scenic attractions. mountain resorts, mineral springs and fishing grounds than any other line in the world. As health resorts, Manit&. Colorado Springs, Glenwood Springs and Salt Lake City are world-famed.
The Invigorating
Climate
of Colorado
makes it especially inviting for a Summer Uacation

recursion to Colorado a are3 on sale via a11 lines allowing stop-avers and of Colorado points. lhroudh car service from St. Louis md Chicago to Colorado, Utah and California points. Superb Dining Cars. sewvice . Ir carte. on all through trains. Writs da;* for free illustrated booltlsts.
rates
west
at
to-
S.
X.
HOOPER
Kindly
mention
The
Craftsman
Are you going on a camping tour? Do you seek the best place for Trout fishing, Bass or Muskallonge? Are you looking for a quiet farm house or village where your family can spend the Summer, or for more elaborate hotel service at points where fine golf links, tennis courts, bathing beaches and yachting fleets provide recreation? Do you desire information as to the hundreds of cool and charming lake resorts and fishing and hunting grounds of Wisconsin, Minnesota and Northern Michigan? Are you interested in the trip to the mountain resorts of Colorado, Utah, the Black Hills, the Yellowstone, the Yosemite, Alaska, or the many delightful places on the Pacific Coast? If so, you can obtain hundreds of helpful facts by application to the ticket offices of the
CHICAGO&NORTH-WESTERN
numerous extensive assistance in arranging mer Outing. If you cannot call, write, advising what subject you are interested
RY.
hotel lists and interest-
Waterways of the Southern Pacific

Elegant New Passenger Steamers
Weekly
Between
NEWYORK@NEWORLEANS
FIVE DAYS ON THE
Orleans
DEEP
wit/i
Connecting
at New
FAST
For All
EXPRESS
Points in
TRAINS
TEXAS, NEW
and
LOUISIANA,
MEXICO,
ARIZONA
CALIFORNIA
THENCE
Z GOLDEN GATE% ORIENT

Steamers of the
Pacific Mail S. S. Co.,

Every Ten Days for
Occidental
Leaving
and
San
Oriental
Francisco
S. S. Co.,
about
Toyo Kisen Kaisha, HONG
HONOLULU, KONG,
and
YOKOHAMA,
NAGASAKI,
AllPoints it.2 CHINA and JAPAN

FOR MAPS, TIONS, ALL TIME INFORMATION. TABLES, ANY FREE RAILROAD AGENT ILLUSTRATED AND STEAMSHIP PACIFIC PAMPHLETS, RESERVA. as follows: ADDRESS OF SOUTHERN
170 Washington 349I i i Broadway,
Street,
BOSTON
NEWYORK
CITY
rag South 210 North 129 South
Third Sreet, PHILADELPHIA Charles Street, BALTIMORE Franklin Street, SYRACUSE
Kindly
mention
The Craftsman
THE MOSHER BOOKS

An Opinion
have usual
of a Typographical
Expert
In the new catalogue of 7% hlosher Books (now first brought forward under the name by which they so long been generally known), one finds the years harvest of esthetic characterization and
poetic appreciation. Mr. Moshers catalogue is, we believe, the most literary piece of advertising issued in this country; and, being addressed only to persons who feel the appeal of purely literary things, it justifies itself. It is probably as well, however. that the plan is not followed by publishers generally, since it is adapted to capture the scanty savings of such unfortunates as fall beneath the spell of its eloquence. The new hooks published by Mr. Mosher this year include additions to all his well-known series, and some unusually interesting miscellaneous titles. The new books in the unique Vest-Pocket Series seem
likely to find demand equal to former issues, the editions of Aucassin and Nicolete and Aes Triplex being specially certain of popularity. There are people who maintain that few buyers of books care anything about the typographical excellence; be it granted; but even the most indifferent will not reject the good when it can be obtained cheaper than the most slovenly product of the factory. Almost as small in price and even more attractive in execution is the new Mosher edition of Mr. Yeats play, The Land of Hearts Desire. These books are typical of one of the phases of Mr. Mashers work. The larger volumes will never reach anything ap proaching a wide circulation; they are for the collector and the hopeless booklover, but the printing of small books, holding to a high literary and artistic ideal, is not without its result on the craft of the time.
THE
INLAND
will
PRINTER,
be sent free on request
January,
The
1904
:: :: :.
: : : : : : This Catalogue
to all who mention
Craftsman
THOMAS
B. MOSHER
:: PORTLAND,
MAINE
MIND
Edited by Charles Brodie Patterson
dealing
Religion,
MIND is the worlds largest with contemporary research Psychology and Metaphysics.
and most important periodical and progress in Philosophy,
MIND is the acknowledged leader, in the literary great NewThought Movement, which is characteristic and it should be in the hands of every thinker.
112 Pages Monthly, Large Magazine $2.50 a year; 25 cents a copy (Sample Copy 10 cents) Size
world, of the of our times,
THE
ALLIANCE
PUBLISHING
Kindly
COMPANY,
mention The
569 FIFTH
AVE.,
NEW
YORK
Craftsman

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THE CRAFTSMAN, Published Monthly

&e&U-Ill&rated by IRENE SARGENT CRET

Translated from the French of Count Robert de Montesyuik

A Comparative The Best Fruit Nature

and Art in California-Illustrated Woman House, as a Craftsman Number VII.

GUSTAV STICKLEY CONSTANCE GODDARDDU BOIS

The Indian Craftsman

Cool and Quiet A Study

of the Gingko of Ugliness

Tree-Illustrated ERNEST CRdsBY

The Century Chips Book Reviews

25 CENTS SINGLE COPY Copsright, 1904, ~~GUSTAV STICKLEY. Entered

November 18,1902, at Syracuse.

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