The Craftsman - 1903 - 05 - May

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THE CRAFTSMAN
IN
ITS JUNE ISSUE

ITS PRACTICAL FEATURES FEDERATION OF I-IANDKRAFT
GUILDS
AMERICAN CE.RAMICS
TECHNICAL ARTICLES BUILDING IN CLAY
DECORATIVE LIGHTING
\VTTH IJNrQUE DESIGNS OF EI,E(TRl( SCON(ES
THE FIREPLACE
1VlTH WORKlN(: HOOD, FURTHER. DRAWINGS ANDIRONS THERE OF AlAI, AC(:ESSORlEH ,iKD WILL FIRESET BE ADDED
TWO
IN WHICII
NEW
A?;D ALL
DEPARTMENTS
TO \VOMF:S. ONE OF
OF ESPE(:IAL
INTEREST
NEEDLEWORK
INSTRIJCTIOK NAPERT AKD SERVICE THE MATERIALS SIMPLE. STRUCTURAL THE OTHER THE LWlTS STYLE
AND EMBROIDERY
DESIGNS FABRICS AND WILL USED BE GIVES IJPON DRAPERIES IN HOUSEHOLD TO BE KEPT ANI) WlTIllN FURNITURE TO DECORATION BY THE
AND THE DESIGNS FIXEI)
OF ARCHITECTURE WILI,
DEPARTMENT
BE DEVOTED
THE NURSERY
1TH APPOINTMENTS HERE WILL BE FOUND DESIGNED MODELS WITH AND DECORATION TABLES, CARE SEATS FOR THE AK11 CHAIRS OF BEDS, AND THE UTMOST OF CHILDREN ALSO, AND DESIGKS FOR FRIEZES, STORIED WITH WITH DECOB;\TIVE FAIRY TALES l,IKELS, FIREPLACE VERSE, LIFE OR HEARTH-TILES, BRIGHTEKEI) OR STANDARD CR ANIMAL PAGES TO THESE PLEASURE EDUCATION
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WRITTEN FROM PERSONAL CBYERVATlO?r SOCIETY BY TILE BROKER-CRAFTSMAN OF ARTS AK]) CRAFTS MR. B. B. THRESHER OF THE DAYTON (OHIO)
masters of his life,. estimates of his genius chosen from the writings of the best critics, and is beautifully illustrated by ten full-page reproductions (which not only preserve the aspect but the quality of the originals) of his most celebrated paintings.
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THECRAFTSMAN
A Recent The
Arts and Crafts House
Exhibition m.~trtl~r~~ Illustrntt,[i
I//u,rtmteli
IRENE
SARGEhT
Craftsman
Some Indiana The Bronxgrove Shakespeares William Work Critical Morris Ennobles
Bookplates
ESTHER
GRIFFIN
WH1TE
Guild of Applied Classes
Arts
mstrater~
Working
ERNEST
CROSBY
as I Knew Him
~uIlstratel~
ARTHTJR
S.l-RINGER
Correspondence
LOUISE C. CHARD
Art Notes Book Reviews
IRENE
SARGENT
3.5 CENTS
SINGLE
COPY
::
BY THE
YEAR,
$3.00
THE
HOUSEBEAUTIFUL
HE artistic arrangement of our homes is the growing need and requirement of the People are present state of civilization. beginning to realize that the home can be so elevated as to supply the various de= mands of our capricious natures and at the same time insuring the harmony necessary to our well being and Business and ordinary daily care peaceful longevity. occupy so much of our attention, that we seldom have much leisure to plan and arrange our domestic envi= ronments to just the extent we would deem satisfactory, and it is for this reason that THE HOUSE BEAUTIFUL magazine has an excuse for being a necessity to every household. It gives you the bene= fit of the best thought extant, and is in reality a collection of household artistic comment not to be found in any other publication. Subscription price is $2.00 a year. By subscribing at this time you have an opportunity to take advantage of the most desirable offer we have ever presented. We have a list of about one hundred (100) of our regular copyrighted books, By sending for ranging in price from $1.25 to $1.75. our catalogue you may select from the list any book you choose, and we will send it to you with one years subscription to The House Beautiful-all for $2.00. 9
HERBERT
ELDREDGECOURT
Iiindly
S.STONE,
DEPT. C.
Publisher
CHICAGO
me-ntion
The
Craftsman
Foreword
HE CTRAFTSMAN, in its present and May issue, perhaps, more fully justifies its name-at least in the practical and literal sense--than it has done in any previous issue. The first article on its table of contents is an illustrated report of the Arts and Crafts Eshibition, recently held under the auspices of the United Crafts, in the Craftsman Building, Syracuse, N. Y. It contains a synopsis of the informal addresses given on the First Night, and is illustrated with views of certain interesting halls and galleries of the Exhibition, and with reproductions of metal-work, cabinet-making, textiles and book-making. It will be followed! in the June and succeeding numbers, by more detailed articles upon specific exhibits, written by the makers of the objects described. Much interest will, doubtless, be awakened by the pictures, plans and description of The Craftsman House, which was devised in coaperation by Mr. E. G. W. Dietrich, and Mr. Gustav Stickley, founder and hirector of the United Crafts. The strong, simple construction, the harmonious color-scheme-in a word, the distinctive character and personality of the house, can not fail to inspire in those who study it the desire of ownership. The paper entitled: Some Indiana. Bookplates is printed in response to a growing interest in a minor department of design. It is a plea on the part of its writer for the recognition due to certain men and women who have been regarded as beyond the geographical limits of artistic production in their chosen field of work. The account of the constitution and labors of the Bromsgrove Guild of Worcestershire, England, was compiled from a letter written by its secretary, and from brochures published by that organization. Its existence is so beneficial to the region of its labors, its work is so sincere and beautiful, that it is not unworthy to be ranked among the features of the Shakspere Country. A contribution to the biographical literature relating to the first craftsman of the nineteenth century will be found in Mr. It is a rapid Arthur Stringers William Morris as I Knew Him. portrait sketch of the poet, artist-workman and socialist, taken in
Foreword
his characteristic attire of blouse, low collar and soft hat: an outfit which has become almost as familiar to the reading public as the military chapeau and the redingote of Napoleon First. The present number of The Craftsman further contains the conclusion of Mr. Ernest Crosbys The Working Classes in Shaksperes Time, of which the first part, published in the April issue, awakened much controversial interest among historical students; since the opinions of the author have weight, and are entitled to respect, if they can not be accepted or shared. In the contemplated series of short technical articles, which was begun in April with A Group of Lanterns, the place, this month, is occupied by a description, addressed to workmen, of simple processes by which to make hinges, knockers, pulls and other metal fittings of the door. It will be followed in the June number by an article upon electric sconces, illustrated with working drawings. To the further practical development of the Magazine, it is purposed by the Editors at once to introduce two new features. Experiments in needlework upon draperies and napery, suited to the simple household furnishings advocated by The Craftsman, will be conducted under the direction of Mr. Stickley, and by his associates in various parts of the country, the successful results of which will be shown in the Magazine. Also, in response to suggestions which have been received, The Craftsman will hereafter, in each issue, devote a certain space to the consideration of the Nursery: its proper appointments and adornment; giving descriptions and designs which can be easily carried out by domestic decorators and local craftsmen. By this means it is hoped to teach children something of the meaning of handicraft, to allow them to share in designing, even in making the objects of which they shall be the owners, and thus to aid in establishing the result desired by our most advanced thinkers: the inthat is, the parallel and interdependent training tegral education: of brain and hand.
The Craftsman
v01unx IV
ipap
- Number
1903
The United
At Syracuse,
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THECRAFTSMAN
Vol. IV
May,
1903
A Recent
Arts and Crafts Exhibition

IRENE SARGENT
HE recent Arts and Crafts Exhibition held under the auspices of the United Crafts, in the Craftsman Building, Syracuse, N. Y., proved itself a marked artistic success. It was the first enterprise of its kind to be carried into effect in inland New York. It was an adequate representation of the actual state of American handicraft. It has excited sufficient interest and comment to make the organization which conceived and executed it a center for furthering and fostering the decorative and industrial arts. The recent exhibition possessed one great advantage over many of its predecessors in this country, in that it was well displayed as to space, background and lighting, both natural and artificial. It was located in an imposing building, and occupied a large portion The fact of its proper housing made it of three extensive stories. most attractive, as considered in itself, and, also, as a social meeting place. It brought together in repeated reunions the best representatives of local culture. It commanded respectful attention from the seaboard cities, and drew many professional visitors from disIt will tant universities, and from noted studios and workshops. be remembered as an occasion of great pleasure and profit, and locally will go far toward establishing a standard of value by which to judge of the objects of use and adornment which necessarily compose the environment of the average daily life. The exhibits were classified and catalogued according to the They included system usually employed in similar exhibitions. examples of metal and leather work; cabinet making; ceramics; stained glass and cartoons for the textiles extending to basketry; same; bookbinding; book covers and book plates; designs for letters and lettering; printing; jewelry.
69
A Recent
Arts
and
Crafts
Exhibition
The exhibitors of these articles were, in the majority of cases, men and women of national reputation, and, in a few instances, craftsmen who, in their special and chosen work, have become the All were represented, as far as circumstances teachers of Europe. permitted, by their best and latest productions: the exhibition thus acquiring a value containing no outworn or uncertain factors. The projectors of the scheme labored with enthusiasm from the inception of their plan in December, 1902, until the moment when they expressed themselves in the foreword of their catalogue in the following terms: The Arts and Crafts Exhibition opening under the auspices of the United Crafts is an effort to further the interests, artistic, economic and social, of the section in which it is held. The excellent results obtained by similar means in certain of the Eastern and Western States suggested to the projectors of the present Exhibition the rich possibilities of profit and pleasure which might accrue to our community through the assemblage of things wrought by the human hand as expressive of modern ideals of form, color and style. They have therefore sought to illustrate the new movement in the lesser arts; to show the progress which has been made, within a short period, toward that most desirable union in one person of the artist and the workman: a result reached in the Middle Ages (when art and work were forms of religion), then lost for centuries, and now, apparently, soon to be re-established. In each of the various classes of exhibits, it is encouraging to note the skill and the talent displayed by American workmen: faculties which, until recently, were believed to be the prerogatives of foreign craftsmen, who had in their favor tradition, heredity and But a careful visit to the galleries of this Arts and environment. Crafts Exhibition will prove to the observer that the American is possessed of a color-sense rivaling that of the French and the Japanese; a respect for form that rejects the fantastic; an originality and adaptability that are peculiar to him alone among modern workers. The principles of the new art that is developing among us will be recognized as prophetic of a long and vigorous existence. They 70
A Recent Arts and Crafts Exhibition

are, briefly stated : the prominence of the structural idea, by which means an object frankly states the purpose for which it is intended, in the same way that a building, architecturally good, reveals in its The second characteristic of this facade the plan of its interior. new art is scarcely less important than the first, although it proceeds from it. It is the absence of applied ornament, of all deco-( ration that disguises or impairs the constructive features. The third is the strict fitting of all work to the medium in which it is executed; the development of all possibilities of color, texture and substance; the choice being dependent upon the beauty, without regard to the intrinsic value of the material employed. Objects approximate to this standard have been admitted to the Exhibition; the classes of objects having been selected and approved according to the law set by that prototype of craftsmen, William Morris, who counseled wisely: Have nothing in your houses which you do not know to be useful, or believe to be beautiful. The impulse thus began toward the luxury of taste as distinguished from the luxury of costliness, will doubtless advance beyond our conceptions of to-day, creating sound economic and social conditions, leaving in its wake loveliness and pleasure, and glorifying by its name,-THE HANDICRAFT MOVEMENT,-the power of the most delicate, obedient and effective instrument ever created. The opening of the Exhibition occurred on Monday evening, March 23, and was an occasion of great pleasure to those who were privileged to enjoy it. These were the thirty patronesses, chosen as representative of the culture of Syracuse; the jurors, the committee of arrangements, and the heads of departments from the work-shops of the United Crafts. In all, a company of two hundred persons assembled in the Craftsman Hall and were informally addressed upon subjects appropriate to the time. . The first speaker was Miss Irene Sargent of The Craftsman, acting as representative of Mr. Stickley, the founder and director of the United Crafts, who, through indisposition, was prevented from making his intended address.
7
A Recent
idea;
Arts and Crafts
Exhibition
Miss Sargent took as her subject what she termed the exposition tracing its development from the first Worlds Fair held in London at the middle of the nineteenth century. The motto chosen for the official seal of that great enterprise was, the speaker said, a most significant one. It was drawn from the first chapter of the Metamorphoses of Ovid, at the point when the Latin author describes the formation of the world from chaos and the establishment of order through the divine operation of the creative spirit. It reads in English translation : He has bound together in harmonious peace things separated by distance. The effect of this first great representative assemblage of the material production of the industrial nations was to spur into activity the less advanced and the less gifted peoples. It taught both manufacturers and merchants It showed them that to the value of association and coiiperation. be isolated was to be poor and degenerate. In emulation of France, the remainder of central Europe, the English, the Scandinavians and the Americans applied themselves to the development of beauty in the decorative and industrial arts and the finer manufactures. Economy and delicacy of process, subtlety of color, grace of form were lessons which profited those who studied the French superiorThus aided in experiment and enterprise, each of ity and success. the less advanced nations was made freer to develop its own peculiar genius. The exposition idea was specially propagated in America by the Worlds Fair held in New York, closely following upon And throughout the second half of the its London predecessor. nineteenth century, the industrial nations were brought into close rivalry, were kept in constant activity of preparation by the frequently recurring expositions, the greater number of which were the work of the French Government. In the United States, distinct movements may be traced to the great fairs of Philadelphia and Chicago. The Centennial of 1876 gave to thousands among the less cultured middle classes of our country their first ideas of the paramount part which must be played by beauty in every well-ordered and harmonious life, irrespective of wealth and social position. It afforded to the untraveled manufacturer and artisan glimpses of the possibilities which lay before them. And if a period of ugli7-3
-1
Cahinet:
Henry
Style
Metal Work Art Fittings Company
of Birmingham,
England
Arts and Crafts Exhibition The Craftsman Buildin): Syracuse. N. Y.
A Recent
Arts and Crafts
Exhibition
ness ensued, in all that pertains to the fine and the lesser arts, it was but transitional, like that awkward, unlovely, but happily short,, period of life bridging together childhood and developed youth, which the English name hobbledehoy. The effect of the Columbian Fair was more rapidly felt, because the people were better prepared to receive and to manifest it. The work necessitated by this enterprise gave such impetus to mural painting as to carry our native artists to the place which they now occupy at the side of the great French decorators. The Pan-American followed in the first year of the new century, showing the great possibilities of electricity as an illuminant, and leaving in the minds of all who visited it memories of color-effects which seemed as if due to a super-excited imagination, and which had previously never shone upon sea or land. But with the opening of the new century, the exposition idea passed into a new phase. The French, after a half-century of almost constant experience, favor the abandonment of worlds fairs. Since the realization of the first great scheme of this nature, human life has been revolutionized. The telegraph, the telephone, rapid transit by land and by sea have annihilated space. There is practically no more isolation, continental, national, or sectional. There remains but to establish and to assure cooperation. And this, it would seem, can best be accomplished by two means, distinct from and yet supplementing each other. There must be sectional exhibitions of all that is best in decorative and industrial art, without distinction of place of production, whether domestic or foreign. These must be of frequent occurrence, in order that the good tendencies in production may be fostered, and the evil be as quickly suppressed. In view of the handicrafts movement, now so strong and so widely diffused, these sectional exhibitions will encourage individual workers to constant activity of design and production, just as the worlds fairs formerly excited to the closest competition the most successful manufacturers and artists. By such means excellence of work will be assured, comparison facilitated, and standards established. But even were these most desirable results assured, one all73
A Recent
Arts and Crafts
Exhibition
essential factor of permanent success and good would still be lacking. In the world of the new century, there is no room for selfishness. It is a relic of barbarism. It is the worst of policies. It saps the vitality of the individual, the organization, or the people who harbor it. Therefore, cooperation and association must be And they, having experiwidely established among craftsmen. enced to the full that high pleasure of which they are now enjoying but a foretaste: namely, that of conceiving as well as executing the object-must be made willing to share that pleasure in wide companionship. Else, the exposition idea which, for a half-century, has promised and produced so much good, will fail of perfect fruition, will degenerate and die, leaving no successors to develop its unfinished work. Cooperation must be assured by founding in centers of population-the smaller and more remote, as well as the larger and more accessible-groups of craftsmen, formed into corporate bodies, with constitutions and by-laws, something after the manner of the mediaeval gilds, yet without renewing the oppressive features of those old organizations, which were, in some sense, the prototypes of the modern trusts. Furthermore, the cooperation must not be limited: it must be broad in spirit and in extent. It must not be confined to the workers of a single craft in a single town who have no outside affiliations. In order to accomplish the full measure of good for the craftsmen themselves, for the community in which they live, and for the economic and financial conditions of the country at large, they must be joined in a national federation, the principal advantage of which would be the securing of a national standard of work. By such standard carefully and intelligently fitted to each separate craft, all craft-work should be judged, and, if found worthy, should be stamped with the seal or device of the national federation. The excellence reached in work, the integrity exemplified, the consequent good accomplished for the world by a somewhat similar system may be realized by reference made to A single the history of the Florentine and of the Flemish gilds. instance suffices to convince. It may be said that, in the fourteenth century, the Florentine gild of Calimala, or cloth-dressers, acted as the jury of a world-federation of craftsmen and was the supreme
74
A Recent
Arts and Crafts
Exhibition
Woolen fabrics then made in great commercial power of Europe. quantities in the wool-growing Low Countries, were sent to Florence to be dyed with colors known alone to the craftsmen of that city, and to be dressed with processes equally the possession of the same workers. Having been dyed and dressed, these stuffs were sent to all the European markets stamped with the mark of the Calimala Gild. This mark was highly prized as a proof of good quality, as showing that the exact length of the pieces had been verified in Florence, and as a guarantee against any falsification of It is, therefore, plain why the Calimala craftsmen had material. trading relations with all Europe, and interests extending to every place where civilization and luxury were known. Their industrial and commercial honesty served as an example and spur to the other civic gilds, or arts, as they were termed; it raised their small city republic to an importance which had to be recognized and reckoned with in every European complication; it gave the florin the same monetary importance that is possessed by the pound sterling in the modern world of finance; it caused the development, throughout its own and other craft and trade organizations, of that sagacity and acumen which trained a race of diplomats, so that Florentine ambassadors and envoys were employed by all sovereigns to a degree and with a success to which one of the mediaeval popes bore witness, when he remarked : I see that the Florentines are the fifth wheel of creation. Times change and with them conditions and people. But truths remain steadfast. The present age is crying out for honesty in material production, not only because of the importance of honesty to the prosperity of the nation and the community, but, also, because of its higher significance and symbolism; because of its reflex action upon the lives of those who practice and foster it. The precise part played by the Florentine cloth-dressers gild in the politics, the finance and the ethics of the mediaeval world can not be adjusted to modern needs. But a similar enthusiasm for good workmanship can be created in our broad country of which the diverse physical features and the differing population demand an almost infinite variety of material production. Good workman75
A Recent
Arts and Grafts Exhibition
ship in reflex action means good citizenship, and good citizenship entails all that is necessary and desirable for land and people. Independent handicraft gilds, societies, and workshops devoted to some special pursuit, or to the making of special objects, not only exist, but thrive in almost every large town of the Union. Their existence and success furnish a working basis for the development of a plan which is too great in possibilities to be included in a single glance. At present, these enterprises are nourished by fresh enthusiasm and by the joy which springs from the exercise of the creative faculty untrammeled and daring. But these conditions, quite resembling the inspirational moods of an individual, can not What is true of the individual is true, in the main, be permanent. of a certain number of individuals. These gilds and workshops, remaining separate one from the other, will be subject to periods of reaction and unproductiveness. But if, realizing that independence is compatible with cooperation, and that isolation is but another name for sterility, they join themselves in federation, they will, at the same time, take the initial step in establishing an ideal republic of art and labor. In this way, the exposition idea can attain a development suited It is now in to the present needs. It grew from centralization. the localized stage. It must pass into that of federation. The essentials to be assured are thus: cooperation and a fixed standard of work; the latter to be attained through the former, and the standard to be expressed in a seal or device stamped upon every approved object of handicraft which shall be produced by a member of the federation. The means are few and simple. They lie within the reach of the friends of the handicraft movement. The times are ripe for action, and what better memorial of the present exhibition can be To the instituted than the formation of a local gild of craftsmen? accomplishment of this sectional project, to the furtherance of the larger scheme, the founder and director of the United Crafts will lend himselfwithhis usual zeal and with his characteristic modesty; acting in the spirit of the motto which he has chosen for himself, andwhichwaspreviouslyborne by two ardent craftsmen: If I can.
76
Hooked Rugs Helen R. Albee;
Harriet
Bradner
Arts and Crafts txh,h,tmn The Crafrsman Butldlne Syracuse, N. Y.
A Recent
Arts and Crafts
Exhibition
With the above quoted paragraph Miss Sargent concluded her remarks, presenting Mr. Henry Turner Bailey, director of industrial art in the public schools of Massachusetts: a commonwealth which, she observed, was a pioneer in education, a strong factor in the preservation of the Constitution, and which has again become a pioneer,-this time in the cause of civic and social reform. To reproduce the address of n/lr. Bailey, which was one of great merit and charm, would be quite impossible; since the meaning of this true artist appealed equally to the eye and to the ear, and was, moreover, supplemented by that convincing quality,-all too rare upon the lecture stage,-which quickly establishes sympathetic Enthusiasm and friendly relations between speaker and audience. tempered by judgment, a sense of proportion gained through long experience as a teacher, together with a finish, a bravura of treatment, at once refined and popular, and which is rarely attained except by Frenchmen,-are also marked qualities of Mr. Bailey considered as a speaker. In beginning, he briefly reviewed the development in our country of those arts which are the most closely connected with popular life : domestic architecture and its subsidiaries, with special reference to the use of form and color, as exercised in the making of objects intended for daily service. Alluding to the rapid growth of the nation, to the great issues and the many interests which have successively claimed its almost undivided attention within the short period of its existence, to its lack of the leisure which is necessary for culture, nlr. Bailey characterized, by a telling sentence or word, the art-expression of each generation of Americans down to the present day. He was especially happy in his use of a homely simile, when referring to the years immediately following the Philadelphia Centennial. Up to that point of time, he said, America But had been like a boy careless of his appearance and carriage. as the day comes when the boy seeks a mirror, smooths his hair and arranges his neck-tie, so the period of self-consciousness arrived for American art, when the great exhibition showed the greater advancement, the relative perfection of the European nations. Thereafter, throughout the United States, a strenuous effort was made
77
A Recent
Arts and Crafts
Exhibition
toward decoration. A period of ugliness ensued. Architecture Ornament, applied without reason, was obwas false and trivial. The old and good was set aside. The new trusive and glaring. and good could not be reached without vigorous thought and labor, similar to the training which, in other countries, had produced Yet this period with its product of ugliness artists of high merit. The people found themselves, and recognizing was necessary. that beauty in some form is necessary to all sorts and conditions of men, they set out to possess it. To-day, even, many of their efforts are misapplied, but the direction is set toward civic improvement and toward the attainment of better types of domestic architecture and of household art. In his plea for civic improvement, Mr. Bailey was especially strong and happy, since the subject is one which he has studied deeply and in which he has enjoyed peculiar advantages. Together with other artists and educators, he was, some time since, a guest of a Belgian governmental society of which the object is to preserve, beautify and sanify the old cities of Flanders. Park systems, town halls, public fountains and railway stations, streets and water ways were there the objects of his study, and thence he derived most valuable ideas, which, joined with his personal experience, have made his opinions of acknowledged value. His instruction upon these points he conveyed to his hearers by means of drawings upon a blackboard, illustrating the good and the bad by contrasted pictures. His forceful and facile wit may, perhaps, be indicated by a single quotation, as for instance, when he remarked gravely that we have no fountains in America: only statues that leak. His strictures against poor domestic architecture were made under cover of the same playful mood, with the added force of a caricature drawing, but they were instantly accepted by the audience as just and weighty criticisms. At this point he drew in outline with a few rapid, decisive strokes a pretentious house bristling with towers, gables, balconies and other forms of excrescence. IMeanwhile, he constantly commented upon his drawing, as a musician plays a running accompaniment to a theme. The Byzantine dome, the Romanesque arch, the French tower and Porte-cochire, were 78
designed by Jane Carson; made by salad Spoon and Fork: Frances Barnum, Cleveland, Ohio Ladle: designed and made by K. F. Leinonen, Boston Handicraft
Shop
Arts and Crafts Exhibitwr The Craftsman Bulldlng Syracuse, N. Y.
Tea Set: designed K. F. Leinonen
by Mary
Knight;
made
by
Arts and Crdfts Exhibition The Craftsman Building Syracuse. N. Y.
Altar Book D. Berkeley
Updike,
Boston,
Mass.
Arts and Crafts Exhibnon The Craftcman Bulldlng byracuse, N. I.
Candle Sconce: designed and made by William Cockrane, Dayton, Ohio Abalone Pearl Electric Sconce : designed bv B. B. Thresher; made by George Steiger, Daytoo, Ohio
Arts and Crafts Exhibitmn The Craftsman Bullding Syracuse, N. Y.
A Kecent
Arts
and
Crafts
Exhibition
each, he explained, a copy of %omething which the wealthy owner He then located the house in of the house had seen somewhere. an indefinite New England village, which he had visited in his Still rapidly speaking, capacity as an qfficer of public instruction. he drew above and in an oblique position from the ugly modern dwelling, an old farm house, roomy and rambling, with attached woodshed: in a word, of the old familiar type dear to many of us as the home of our forefathers. Next, he recited a dialogue in action, retaining for himself one part, and impersonating in the other an average resident of the village which supposedly contained The resident begged to show him an estate of the two houses. which the villagers were justly proud, and accordingly led him to the pretentious house of mixed styles, before which he gave the items of its extravagant cost, with the detail and accuracy of an account-book. Having stated his facts, the villager appeared to seek an expression of approval from his companion, whom he regarded as both a sympathetic soul and an authority constituted by the State. The approval was not wanting, but it was bestowed upon the old farmhouse with its homely woodshed. All this without the knowledge of the villager, who continued to believe his own admiration well placed; since a prompt and favorable reply followed his every question. The amusing deceit was accomplished by a rapid cross-play of words and glances, Mr. Bailey alternately taking his own part and that of the villager: fixing his eyes upon the farm house while making his answers, and upon the towers and turrets while asking the questions. This method of instruction, as conducted by the speaker, although exceedingly entertaining, was far from trivial. And his anecdote, exquisite in its way as a fable of LaFontaine, contained an amount of common sense equal to that found in the delightful old French writer. And further, there was a flavor of New England through it all, which recalled Ben Franklin and his Poor Richards Almanac. From his gay and brilliant mood, Mr. Bailey passed to a graver treatment of his theme: making a strong plea for the simple, structural style in domestic architecture and furnishings, and for har79
A Recent
Arts and Crafts
Exhibition
mony and quiet in the color-schemes of the dwelling. He recalled the memory-painful to all artists-of the period when gilt glittered in great masses in the American middle-class home and great roses bloomed in paper and textiles upon wall-hangings and carpets. Me insisted that the surroundings of the family should be as a background, from which should be rigidly excluded all obtrusive objects and elements. For the climaxof his address the speaker gave a definition of the work of art adapted from Hegel; judging by the principles of this definition objects of household service and ornament which he drew before his audience. He urged that every material object should be the adequate embodiment of the idea which causes its creation; that it should be perfectly adapted to its use, and that, having fulfilled these two requirements, it please the eye, and thus, through the avenue of sensuous pleasure, add to the interest and harmony of life. For this definition Mr. Bailey seemed indebted to a passage of the German philosopher which is too fine and exquisite to let pass without direct quotation. It reads: The Idea as the beautiful in Art is at once the Idea when especially determined as in its essence individual reality, and also an individual shape of reality essentially destined to embody and reveal the Idea. This amounts to enunciating the requirement that the Idea and its plastic mould, as concrete reality, are to be made completely adequate to one another. This thought simplified by its passage across clear New England intelligence, became the standard of judgment throughout the Arts and Crafts Exhibition, and was expressed constantly in differing individual ways by visitors passing in review the display of handicraft: the definition of the true work of art seeming to impress itself even more deeply upon the minds of all who heard it. The exhibition, as a whole, as has before been stated, was a successful attempt to show the actual condition of American handicraft: the point already reached by the movement which is to infuse a new beauty into the average American home, and the pleasure of thoughtful, inspiring labor into those communities, whether thickly populated, or rural and remote, which suffer from tend80
A Recent
Arts
and
Crafts
Exhibition
Properly to illustrate an exhibition encies toward the sordid life. of such nature is to classify and to choose with great care and discrimination ; and the objects to be illustrated having been chosen, to allow the craftsmen who created them to tell the story of their own accomplishments, which they can do with a frankness and fervor impossible to one who has not directed step by step the making of the object, as the parent directs the development of a child. This is the plan which has been adopted by hlr. Stickley, the projector of the recent exhibition: in accordance with which certain exhibitors will, in the near future, offer in The Craftsman illustrations of their work, accompanied by a brief history of their labors and success. In the present issue of the Magazine, only a general review of the Exhibition can be given, with passing reference to certain important features. One of such features which called forth the most spontaneous admiration was the dining room furnished and arranged by the United Crafts. Upon entering it, a New York decorator remarked that it constituted in itself an education in all that pertains to form, color and refinement of decoration and detail. The textiles used: that is the rugs and wall-coverings, were in that deep, dull green which Nature loves and which offers an unThe assertive background, refreshing, familiar and suggestive. furniture was in fumed oak of the rich, deep-toned brown seen in the weathered wood of old musical instruments, in Dutch and Flemish carvings and in Rembrandts pictures. The pieces were a sideboard, a linen chest, screens, a table and chairs; all fine representatives of the simple, structural style of the Stickley designs. The sideboard especially attracted the attention of visitors, and was judged to be one of the best pieces as yet built in the workshops of It was long and low; massive, and yet refined the United Crafts. in line; decorated only with wrought-iron fittings consisting of strap hinges and drawer-pulls. The linen-chest matched it, in wood and metal-work, resembling it also in constructive treatment. The screens and chairs were covered with rich brown leather, beautiful in tone and texture, and catching all accidents of light and The table was laid so as shade until it formed a picture in itself. 81
A Recent
Arts and Crafts
Exhibition
to leave the wood of the top largely exposed: tisch-liiufe, or long pieces of yellow-toned linen in canvas-weave, hemstitched, and embroidered at the ends, running lengthwise and across the table; each cross-piece containing two covers set opposite each other, and the wood left bare marking the space between every two guests The china, from the Maison Bing, Paris, and upon the same side. partly in Colonna designs, was of a delicate creamy paste, with slight tracings in green. There were electric candelabra in a silvery metal, and a large, low pot of yellow tulips was placed midway upon the table, with masses of the same flowers upon the sills of a succession of windows occupying an entire side of the long room. Other cabinet-work from the Stickley shops shared the praise of visitors equally with the furnishings of the dining-room, and a number of pieces from abroad received much favorable comment. One of these, a cabinet, shown in our illustrations, is a good examIt is built of fumed oak, ple of the Henry Style of London. rather light in color, with brass fittings, and is ornamented with floral designs in bright-colored wood inlay; also with leaded glass inserts. Distinctive metal-work, unfamiliar to the visitor of previous arts and crafts exhibitions in America, was found in sconces, lanterns and accessories for the fireplace, from the Art Fittings Company of Birmingham, England, and in electric lamps and candelabra from the Maison Bing, Paris. Small pieces, typical of the handicraft movement, were seen in the electric sconce ornamented with abalone pearl, the work of the broker-craftsman, Mr. B. B. Thresher of Dayton, Ohio, and in the candle sconce of Mr. WillThe latter piece was a harmoniiam Cockrane of the same town. ous combination of metal and wood wrought into a flower-design: the wood being white walnut, treated with green pigment, and the metal having a surface finish resembling old bronze corroded by inhumation, to which is given the name of vert antique. In the precious metals, there were fine and costly specimens of workmanship, intended for personal adornment, which later, in The Craftsman, will form the subject of illustrated articles. In
82
Clock and Electric Lamps From La Maison Bing, Paris,
France
Arts and Crafts Exhibitior The Craftsman Bullding Syracuse, N. Y.
Baskets: made
Corn Husk and Swale Grass,natural colors; by the Misses Francis, Plainfield, Conn.
designed
and
Arts and Crafts Exhibition The Craftsman Building Syracuse, R. Y.
A Recent
Arts and Crafts
Exhibition
table utensils, the work of the Boston Handicraft Shop was much admired for its uniformly good models and its reproductions of unmistakable heirlooms. One such was a porringer about which legends of the Puritans might be woven, and another, a punch-ladle, copied by a Finnish workman, Mr. K. F. Leinonen, from the original which he brought from his mother country. The latter piece appears in our illustration joined with a salad spoon and fork of pleasing forms, in hammered silver with green enamel, designed and made by Misses Carson and Barnum of Cleveland, Ohio. But desirable as are the results of this department of handicraft, the work when seen in progress and the workers are equally interesting. In the Boston shop, especially, the tools are as unusual as the kind of labor: the hammers for beating the metal being made of buffalo horns, and the anvils having an authentic age of two centuries; the employment of these primitive appliances proving no affectation on the part of the craftsmen, since the modern instruments fail to produce the desired effects. This lack of affectation prevailing in all classes of exhibits was a characteristic to be noted with pleasure and hopefulness. It went far toward proving the spontaneity of the handicraft movement to all who came to the Exhibition fearing to find in the lesser arts a return to old methods and designs altogether parallel to the assumed ingenuous qualities of modern Pre-Raphaelitism in the fine arts. For a fortnight The Craftsman building glowed with subtle, enchanting color, and abounded in objects of good and beautiful deThe enterprise was accepted by the community as an educasign. tional effort, like the public showing of a collection of pictures, or a musical festival. It should be held in memory as the work of a man who labors unceasingly in the cause of good art and of honest labor.
83
The Craftsman
House
HE charming Craftsman House, shown in the accompanying illustrations, was planned in cooperation by Messrs. E. G. W. Dietrich and Gustav Stickley. It is adapted to any suburban or rural locality, in the Eastern, 1 Middle, or Western States, and, by reason of its picturesque quality and exterior color-scheme, it would be peculiarly effective near bodies of water. The exterior is constructed mainly of field stones, built into the walls as they are found loose in the country, and picked from the stone-fences of the vicinity. The surfaces of the stones are left untouched by hammer or other tool: all weather-stains and moss accretions being carefully preserved. Thus the building material, so inexpensive and so easily obtainable, becomes a strong decorative factor: the accidents of color and tone produced by the touch of Nature affording to the eye an exquisite sense of harmony resultant from the union of grays and greens accented with notes of black. The stones are laid up in cement; the joints being well raked out and darkened with slate, so as to give the utmost depth. The gables are covered with hand-split cypress shingles, twenty-four inches long, and three-fourth inch butts; laid ten and one-half inches to the weather and stained silver gray; while the shingles on the roof are stained olive green: thus accenting by their deeper color the contour of the house, and projecting it in strong relief against the sky. The exterior wood trimmings, the window-frames and sashes are painted light gray, so that their outlines, well-defined and clear, may emerge from the darker masses. The one bright and culminating note of color is added by the red chimney-tops: a feature which is effectively used in England, particularly in the suburbs of London on the Surrey side of the Thames, where the view, otherwise so monotonous, is gladdened at all seasons by the ruddy tiles, and in summer by the combination of their warm, rich tones with yellow masses of sunflowers. In the case of The Craftsman House, the expectations awakened by the exterior are not afterward disappointed. The interior apportionment of space, the lighting, and all other provisions for beauty, comfort and sanitation are intelligently made.
d4
Ctjoice in color correiqmtbi3 to the begree of Gertsitibenew anb ebucation polSsei%eb tip Qe epe, Ei)e Barlbarian attb @e infant sei3e onp tl)e ttto55t striking note25 in toe coIor~gamut+- But a8 age, training, or cibiU3ation abbances,Qe ittbibibuar appre5 dates the 3semi4onea,Qe quar5 terdone@,perhaps eben @e finer bibidom of Q)ec?n+ontatic scale
I-
KITCrifN
II ;z
h
I-ALL,
The
Craftsman
House
: First Floor Plan
The
Craftsman
House
: Second
Floor
Plan
The Craftsman
House
The ground floor, exclusive of the covered porches at front and rear, is divided into library, hall, dining-room, kitchen and servants dining-room, with ample closet and pantry space. The library, dining-room, lower and upper halls are trimmed in chestnut: a wood here chosen by reason of its beautiful texture and the fine color which can be obtained from it by treatment with ammo,nia and the application of a lacquer: the latter agent enhancing rather than disguising the texture- and color-qualities of the wood The floors and giving it a perfect finish without the use of varnish. of the rooms mentioned above are chestnut boards of uneven widths, In treated with the same processes as the woodwork, and waxed. the kitchen, servants dining-room and appurtenances, the chestnut trimmings are replaced by Carolina pine stained in green. The side walls and ceilings of the first floors have a white sand finish, left under the float down to a line running about the rooms even with the tops of the doors; the remainder of the walls being covered with a hempen textile, greenish in color and of a peculiar weave which gives a variegated effect to the dyed fabric: certain of the threads approaching yellow, and certain others showing a decided green. Th e rugs are preferably chosen from the Donegal products, in greens, olives and yellows: their soft, deep, velvety tones making with the wall-hangings an admirable base and backAt ground upon which to build up an harmonious color-scheme. the windows, green shades should be used in connection with curtains of a linen fabric, uneven in texture, unbleached, and of the yellowish tone known in France as beige, and much sought after The curtains are hung in by the more refined modern decorators. the simplest way, and are finished with broad hemstitching. The fireplaces stand out boldly from this natural background They are built in brick of that sturdy red hue called the of green. Harvard, which suggests to the lover of that famous seat of learning the splendid color of the time-honored halls as seen against the June verdure of the Yard. The bricks used in these fireplaces are selected from those which have lain nearest the fire in the kilns, The fireplace and are set in black mortar with raked out joints. in the dining-room is preceded by a broad hearthstone, raised three
L-
The
Craftsman
House
inches above the chestnut floor, and which may be either the natural The hearth of the hall is of the substance or a composition stone. same brick as the corresponding fireplace; while that of the library The hoods of the fireplaces are is laid in Welsh Quarries. of copper, while the andirons, firesets, and other accessories are of finished armor-bright. The electric-light fittings wrought-iron, should harmonize with the general scheme of the woodwork and furnishings. They should be, preferably, in hammered copper, with wrought-iron trimmings, and have straw-colored glass globes. The furniture is in brown fumed oak: the larger pieces in the rooms, such as bookcases and settles being stationary. In the library a few willow chairs, stained a spring-like green, are introduced in order to lighten the otherwise too heavy and sombre effect of line Throughout this suite of rooms, the window seats and and color. large cushions are covered with the green hempen cloth before described, but occasionally, high notes of color are sounded in pillows of brilliant orange, yellow and green designs. The second floor of the house has woodwork of ivory white, with doors, floors and furniture of soft maple stained q;ray-green and lacquered: the last process giving a smooth satiny effect very agreeable to the eye. The base boards are nine inches wide at the least, with a four-inch maple strip stained green, which is coved at the bottom, in order to protect the base board. The top casings of the doors and windows are carried around the room; the ceilings are coved, and plain white plaster is carried down to the casing strip. Below this point, the walls may be tinted, or they may be hung with a plain material, such as Japanese grass cloth. The color effects of these rooms should vary according to location, exposure, and the tastes of the occupants. Yet they should conform to a general scheme of which each separate room should be an integral part. Green in varying tones may be suggested for the lighter and warmer rooms ; yellow and straw-color for those of northerly The general color scheme is materially aided by the use situation. of Grueby tiles in the fireplaces and hearths, and by curtains of raw silk falling straight, and having a valance at the top of the window to assure a mass of the color chosen. These curtains just clear the 90
The Craftsman
House
The
Craftsman
House
Bedroom
All metal-work in the with wide hems. bedrooms is done in unfinished hammered brass : from the hoods of the fireplaces (if any such are used) to the grate-curbs, firesets, This is also true of the electric locks, drawer-pulls and hinges. lighting apparatus, which should consist of sconce sidelights, or table lamps, which have plug connections in the baseboard, or the floor. These combinations of woods, metals and textiles, suggested for The Craftsman House, if accurately followed, will produce an interior, whose charm, although, at first, apparent and even striking, will increase as changing seasons and varying days reveal The Craftsman accidents of light and shade, of color and tone. House will prove itself a true home to the lover of art who shall avail himself of its offered beauty.
EDITORS NOTE :
sills, and are furnished
To all subscribers of The Craftsman any processes or details incident to the building, finishing, or decoration of The Craftsman House will be willingly given, through the correspondence department of the Magazine, or more directly by private letter.
92
Some Indiana Bookplates
N that delightful book, Bookplates of To-day, recently issued by Tone116 Br.Company, Mr. W. G. Bowdoin, an authority on this subject, says in his account of the well known bookplate designer of North Dakota, Mr. William Edgar Fisher: Most of our leading designers have hitherto been grouped in the eastern section of our country, or at least not much farther west than Chicago. Some few designs, it is true, have been produced in California, but for the most part the bookplates of note have been marked with an eastern geographical origin. It is always, of course, a matter of more or less suprise, to the resident of the Atlantic seaboard that any good thing, especially of an artistic nature, should come out of what is vaguely termed the West, and this also seems to be the state of mind with reference to bookplates. It is no doubt true that the most notable designers have hitherto been the product of an eastern environment, but that geographical considerations count for little is exemplified in the work of Mr. Fisher himself, which has not been excelled in this country for charm, originality and the manifestation of the proper function of the bookplate. However, this is not a controversial dissertation upon the subject, but some account of the results of an endeavor to make a collection of bookplates in ones own State designed by persons native thereto or resident therein. It has been a strenuous search with some rather remarkable and amusing disclosures. Naturally, one would turn to the alleged literary people, to the numerous novelists and abounding poets, but, surprising as it may seem, very few of them have bookplates and some have even declared, with the most delightful candor, that they are in densest
93
ESTHER WFFN JWZTE

ignorance as to the nature of them. Then, there are others who are very great and magnificent personages and must be approached with many profound salaams. (Please, sir, have you a bookplate? Enclosed find a two-cent stamp, you timidly murmur. The Successful Novelist, with his ear to the wall, listening to the rumble of the presses throwing off the millionth edition of his last inanity, haughtily tosses your request aside. A thin device for my he says, with ineffable noble autograph, or less interesting, disdain. However this may be, it is a fact, more _ that very few of those most flagrantly in the public eye, in this State, are the possessors of bookplates; ,M.r. James Whitcomb Riley being one with an avowed indifference to a special indication of the ownership of his books. Mr. Edward Eggleston, however, is an exception, as he owns a characteristic plate, reproduced here, the figure being Fra Angelices Reading Monk and the words from Chaucer, the motto, also, having been carved on the frame of Mr. Egglestons library door. Among those whom one would expect to find in the possession of a cherished bookplate, General Lew Wallace does not conspicuously figure, and this seems the more surprising as General Wallace, it is understood, is of the most pronounced bookish tastes aside from his authorship; his picture taken in the midst of his books in his specially constructed library, being familiar to the public. It has been so far impossible to discover who was the earliest bookplate designer in Indiana, butitis thought that this honor may be accredited
Some Indiana
Bookplates
to Mr.BruceRogers,who has acquired reputation as a designer of bookplates and of other notable work with Houghton, Mifflin & Co. Although a native of this State, he is now a resident of Boston; his work in bookplate designs being represented in this collection by the plate of Dr. Richard B. Wetherill, of La Fayette, which was also engraved under Mr. Rogerss direction. There are, it has developed in collecting, a number of clever designers living in the State, and perhaps Miss Margaret Steele, daughter of Mr. T. C. Steele, the well known landscapist and portrait painter, leads in the number and variety of designs, several of which are reproduced here. Miss Steele has been a pupil of her distinguished father and of her brother, Mr. Brandt Steele, a clever and brilliant young artist, She shows a pronounced talent for distinct decorative effects; decorative design in black and white always having had a fascination for her, and the designing of bookplates naturally following. Her first plate was designed for Mrs. Bowles, the wife of Mr. J. M. Bowles, who at one time conducted, first in Indianpolis, and then in Boston, one of the most beautiful art magazines ever published in America, Modern Art. In addition to the dominant decorative note, Miss Steeles designs display, in some instances, a certain elusive fancy and a piquant charm not often
Some Indiana
Bookplates
The plate of found in work of this kind. Mr. Noble W. Krieder, a lyre with a border of vines and bunches of grapes, is particularly appropriate for a young musician, while those of Edna IVJcGillard Christian and Charles White Merrill are purely symbolic and heraldic. Aside f ram other considerations, the plate of Charlton Andrews possesses a personal interest for those who know him; he having lived several years in Paris, where he became known as a writer of verse of a high order of poetic charm, and where his recent novel, A Parfit Gentil Knight, had its .beginnings. Mr. Test Dalton, a relative of General Wallace, whose bookplate by Miss Steele is shown here, has also made an essay into the field of the historical novel. The plate of the Indianapolis Sketch Club is at once conventionally decorative and chaste in effect, and is one of the most successful of Miss Steeles designs. Mrs. Brandt Steele, until recently Miss Helen McKay, has made some exceedingly attractive plates : among them one for her mother, Mrs. Horace McKay, the motif for which is the night-blooming cereus; while the piquant little plate designed for her husband is characteristic, as Mr. Steele has accomplished some remarkable achievements in pottery. The third plate reproduced here, that of Miss Anna E. Fraser, was made for the latter when a student at Smith. Mrs. Steele has made other charming and effective plates which are not distinguished so much for their decorative quality, as for the expression of a distinct individuality. Some of the best work in bookplate 96

designs produced in this State has been done by %cl[iss Anna Hasselman, of Indianapolis, whose plates are largely pictorial in character. The one made for Mt. Vernon Seminary, 1Mrs. Somers school at Washington, is especially notable from the inclusion in a small design of several different motifs; the interior shown being a corner of the music room of that institution, with the alumnae pin and motto in the opposite corner of the plate, while the conventionalized daisy, which forms a part of the border, is the school flower. The bookplate of Mr. Henry Scot Fraser, designed by Miss Hasselman, is a most enticing one, showing the interior of Mr. Frasers study, with his writing table and other appurtenances; while the plate of Sarah Gilbert Millard includ,es the genuine portrait of a dog and is not that of an imaginary animal. Miss Hasselman has designed a number of other plates of a more or less pictorial character, in all of which the-well balanced composition and the presence of an individual sentiment are marked. Miss Grace and Miss May Greenleaf are young art students living in Indianapolis, who have designed several charming plates ; the one reproduced here being that of %1r. Harry I. Miller, of St. Louis, of the Vandalia railroad; and Carl Bernhardt, a clever lad of Richmond, has made several original plates, one of which shown here, that of the Rev. J. E. Cathel, a well known resident in Des Moines, Iowa, being specially unique. He has also designed an interesting plate for the library of Mr. William D. Foulke, known to-the public
37

as a writer and member of the civil service commission. Mr. Raymond White, of Richmond, has also designed several clever plates, two of which, one being that of the writer, are reproduced here, the other, that of Mr. Herbert C. Emery, of Boston, being heraldic in character; the two or three other plates made by him, however, being characteristic of the individuality of the owners. He has engraved one or two of Mr. William M. Voris, of Franklin, who his designs on wood. published for a time a clever little magazine, The Westminster Chap-Book, has also designed and cut on wood a few plates of simple motive. Among the plates in this collection from well known Indiana people, that of Mr. William M. Elliott, of Logansport, is interesting from the fact that it was designed by Elbert Hubbard. Mr. Elliott is a clever young writer of verse, some humorous verses written by him and illustrated by Oliver Herford having been published in a recent Century. Considerable interest attaches to the plate of Miss Besse Coffroth, of La Fayette, which was designed in London and printed on genuine Kelmscott paper, which she was fortunate enough to obtain. The plate of Mr. John B. Peddle, of Rose Polytechnic Institute, Terre Haute, reproduced here, is interesting from the play on his family name made by the old peddler who is approaching a hill at sunset. The plate of Mr. George Cottman, shown here, was designed by Mr. William Forsyth, one of the Indiana Group of painters, and one of the most highly regarded and best known landscapists in the West.

Mr. Cottman is himself a writer of charm, an authority on certain phases of the early life of this Commonwealth, an ardent lover of nature, and a famous pedestrian, the latter quality being the motif of his bookplate. Another writer of reputa .tion, whose artiI I cles are familiar to newspaper and magazine writers, and whose plate is included in this collection, is Mrs. Emma Carlton, of New Albany, in the south of the State. Mrs. Carltons plate was made by Ike Morgan of Chicago, from an old wood cut of her fathers bookstore in 1846, where her parent also conducted a circulating library. The lard oil lamp, the old ink bottle and the lady in the noke bonnet and mantilla, are all reminiscent of that far away ti.Ine, and the motto, Fair and Wholesome Pasturage, from Lam1 1s Old Hertfordi shire,was suggested by early perusal of Lambs essay given her by her father to read. Mrs. Carlton is an enthusiastic collector of various objects of art, and, among other things, of old bottles, her fascinating article At the Sign of the Carboy, in a number of the Century within the past year or two, having inspired more than one person with a desire to make such a collection. The
A
99
Some Indiana
Bookplates
State Library of Indiana uses the state seal as a bookplate, and the lvriter has in her collection some fascinating old plates which lvere found in books in the Workmens Institute Public Library, at New Harmony: that famous old town in South Western Indiana, the scene of the social experiments of Robert Dale Owen; the iibrary ha\ring been founded in 1828 by William 3IcClt1re. In the lublic Library at Richmond, one of the oldest and largest libr;jrics in the State, are to be found a number of interesting old plates, wme of English design and others owned by colonial booklovers. Altogether, a search of this kind can be recommended to the collect01 as a most interesting way to form a collection.
CONCERNING
CLASSICAl,
KNOWLfSDGF:
I DO NOT THINK THAT I AM SAYING TOO .\IUCH 1VHRK I ASSERT THAT HE WHO HAS NOT KNOIVN THE WORKS OF THE ,4NCIENTS HAS LIVED \riITHOUT KNO\VING \VHAT BEAUTY IS. ttFGE1, ;\IISC!L,1,.! Y f i::
,.
I.
. -
_.
._
_.
Fireplace with Copper Hood Bromsgrove Guild, Worcestershire,
England
Fireplace and Mantel Brom~grove Guild, Worcestershire,
England
.I
The Bromsgrove
Guild of Applied Arts
HE CRAFTSMAN is so fortunate as to present this month to its readers a number of illustrations of the highly interesting work in various media of the Bromsgrove (Worcestershire, England,) Guild of Applied Art, together with a short exposition of the aims of this body of workmen, written by its secretary, Mr. Walter Gilbert, himself a master-craftsman in metals. This article will afford the reader an adequate idea of the constitution and the conduct of the Guild, which has workshops and studios in many of the cities and towns of England: notably at Rugby (printing), at Birmingham (furniture, stained glass, mosaic, wood-engraving, decorative cartoons, jewelry and embroideries), and at Bromsgrove (metal and plaster). Mr. Gilbert writes of former disadvantages suffered by the Arts and Crafts and of the hopes now rising before these industries and occupations, with keen appreciation and in the following terms : During the last century, most of the arts and crafts related to building (with the exception of academic painting and sculpture), were ill-considered and slighted, while design was regarded as a matter of general appearance : little attention being given to the nature of the medium in which the design was executed. Decoration, such as was produced, came from the artist-designer, who worked chiefly on paper, and possessed little more than a superficial knowledge of materials and of processes. Thus, the decoration then employed resulted from the more or less unsympathetic attempt of a workman to put into visible form the conception of a thinker unfamiliar with the nature, possibilities and limitations of material, and of the technical processes involved in production. The blending of the maker with the thinker means the abolition of much of the dreary labor and routine of the workman. But to accomplish this desirable purpose with any degree of fulness, men of education and refinement must enter the ranks of workmen. It will then, and then only, be possible to infuse into the arts of material production something of the life and spirit which characterize the best work of the past. In the progress of the Arts and Crafts Movement a symptom
101
The Bromsgrove
Guild of Applied
Arts
of danger revealed itself in an effrontery of material forms devoid of spirit, which has produced that mass of material vulgarity known as LArt Nouveau: perhaps the most distressing and repellent expression of the borrowed originality infecting modern taste. To combat this evil, to substitute activity for the stagnation of commercialism, a body of artists and architects (for the most part late students of the Birmingham Municipal Art School) have assumed the title of the Bromsgrove Guild of Applied Arts. The Guild is centered at Bromsgrove, Worcestershire, an old coaching town, the half-way halt between Birmingham and Worcester, and lying in the heart of the Shakspere country, which is now easily accessible from all parts of England. The members of the Guild are individuals who have advanced beyond the limits of professionalism, that they might adopt the more prolific method of thinking and working in their respective media. These men and women, while they stand pledged to cooperation and mutual support, have individual studios or workshops altogether independent. Each department is financed and controlled separately by the guildsmen of the same department, who train their apprentices : choosing and employing only those who are capable of developing the main idea of the master craftsman. The Bromsgrove Guild is practically the outcome of the Arts and Crafts Movement begun in England by Morris and his associates in 1887, with the purpose of imparting to and developing from each material or medium such form and quality as lie within the limits of the material; without imitation of the forms and the technique peculiar to substances of other nature: as is commonly the case in these times of the one-man-designs which emanate from the ateliers and offices of a learned profession. It is with the purpose of supplementing and supporting architecture that these guildsmen (each of them a trained or experienced architect or artist) have taken up separate and diverse crafts : each individual developing the possibilities of his own particular medium through the use of the experiences of past ages combined with the advantages of modern inventions and appliances. It is in this sense and not in the spirit of LArt Nouveau that
102
Leaded Glass and Bromsgrove Guild,
Fireplace Worcestershire,
England
EleCtric Lantern Bromsgrove Guild,
Worcestershire,
England
The Bromsgrove Guild of Applied Arts

the members of the Bromsgrove Guild, encouraged by the greater part of the leading architects of the United Kingdom, are earnestly decorative form and successfully attemptin g to give appropriate and quality, combined with utility, to objects designed for service or for ornament in buildings ecclesiastical, secular and domestic. The members of the Guild include craftsmen in metals, forged or cast, figure-work, etc. ; stucco-duro, plaster in situ or cast; painted and leaded glass; glass-mosaic for external or internal decoration (Westminster Abbey) ; wood and stone carving; furniture; embroideries for hangings and decoration ; wood-engraving; jewelry and enamels; and other of the lesser, kindred arts. It is done as The work of the Guild is especially interesting. far as is possible after the methods of the older craftsmen: design and adaptability being the first considerations, and surface finish of Thus, the hammer marks of the workman secondary importance. are not regarded as objectionable, since they tell the story of effort At the same time, they and so give interest to the finished piece. are not unduly emphasized and carried to the point of affectation, as is found to be the case in some examples of modern handicraft. Prominent among the objects in metal work produced by the Guild are fine, distinctive fittings for the fireplace: such as copper hoods and panels, fire-dogs and shovels, coal vases and fenders. The most important pieces among such fittings-the hoods and the grates-are, in all cases, designed with strict obedience to the two essentials of the modern fireplace: generous heat-production, and But close insistence upon these requisuccessful smoke-prevention. sites in no way mars the beauty of the pieces so carefully and artistically planned ; suggestions having been drawn from all that is good in similar work of the past: the sources of inspiration being the andirons of the Middle Ages, the dog-grates of Elizabethan and Jacobean times, the hob-grates of the reign of Queen Anne and of the early Georgian period. Fittings for electric lighting, also, have been developed from a state of bald ugliness into objects of real beauty; this result having been obtained by rejecting all forms used in the gas-system of lighting, by boldly exposing the electric wires to view, instead of con103

cealing them with clumsy tubes, and by working their graceful lines into an integral part of the design. A revival of an important decorative agent has been undertaken by the Guild in the use of plaster, often modeled in relief. This medium, used extensively during the Renascence, was popularized, at that period, by the discovery of the Golden House of Nero, on the Esquiline Hill, Rome, which contained examples of exquisitely modeled decoration. This art was carried to England, at the middle of the sixteenth century, where native craftsmen quickly developed a national treatment, charming and characterfor the grand style suitable to the Italian istic. They substituted palace, a domestic style fitted to the English home: covering a flat ceiling in a room of moderate height with plaster decoration in a method which has never been adopted in any other country. The art, as practised by the Bromsgrove Guild, results from a patient study of old work. It is devoid of all modern subterfuges and consists of quiet, simple modeling without the sharp curves, undercuttings, or sparkle of effect which might be the natural and desirable qualities of another substance. It abounds, on the contrary, in gentle curvature and in the subtle charm of a soft material. Furthermore, in large and continuous spaces, the modeling is enriched by the use of color and metals : a method of decoration especially adapted to buildings in cold, northern latitudes and productive of effects which are attainable by no other means. Another valuable decorative agent revived or rather developed by the Guild, according to original methods, is wood inlay or marquetry, employed in the adornment of furniture, in friezes, and in over-mantels. The new method is literally a mosaic of differently colored woods, carefully chosen, used in their natural colors, outlined in black, and, in some instances, enriched with ivory or mother o pearl. Examples of the old work which served as a basis for the new art, are found in early Italian churches, notably in Santa Maria Maggiore at Rome. And from such examples may be argued the originality and distinctiveness of the new treatment and process. In the department of embroidery the Bromsgrove Guild has 104

Among such is a series of panels produced several notable works. designed for the decoration of a dining room. The ground of the panels is in light chocolate color, with the design worked out in green serge applique for foliage, and in light linen for the figures and buildings ; while the outlines and certain details are done in embroidery. By this means, which is a combination of two methods : applique and the more elaborate needlework, excellent results are obtained without great effort, and it becomes possible to undertake extensive schemes of decoration at a very moderate cost. Another most active section of the Guild is that of jewelry, or rather the goldsmiths craft, as distinguished from the work of the mere framer of precious stones, chosen largely for their commercial value. The recent reform in this art has led to its rapid elevation, until at least one goldsmith, M. Reni Lalique, is honored in his own country as the equal of any contemporary painter or sculptor of his nation, while the world at large recognizes him as the artistic brother and perhaps the superior of Benvenuto Cellini himself. The change and advance in taste now felt throughout Europe and America, are producing a demand for beauty of form and design, rather than for intrinsic value. The pearl, the opal, the moonstone, the aqua-marine, with other gems and stones prized for the play of color which they afford, are the ones most favored by the new order of goldsmiths, who do not repeat a favorite design until its freshness is lost, but who render individual and unique every piece which passes through their hands. The jewelry of the Bromsgrove Guild is produced by two artist-craftsmen who are husband and wife, and whose work is highly commended by the noted critic, Aymer Valiance. The revival of another craft, rich in dignity and value, is furthered by the Guild in the practice of wood-engraving: not as a means of simple reproduction, in which function it has been outrivaled by the process-block, but purely for artistic satisfaction and purposes, and by a return to the chaste, simple style of Holbein, The mechanical reproduction Bewick and other early engravers. of a drawing may be made at a lower cost than if the same drawing were engraved on either metal or wood, but a trained eye demands 105

the quality and refinement of line which the human hand alone can give. The wood-cuts executed by the Guild are, in every case, designed and executed by the same artist-craftsman; thereby gaining an individuality and distinction far above the ordinary photographic reproduction ; the designs being made with the object of utilizing to the utmost the rich, blank line, which no other printing medium can give. The craft nearest allied to wood-engraving-that of printing, -is also furthered by the Guild in the spirit of the early masters, with the object of combating the evils incident to an age of rapid production and of consequent cheapness. Through a happy combination of the modern processes with the artistic feeling of the old Venetians and Germans, the Guild is able to attain the most desirable results, which are not prohibitive in price and are adapted to either literary or commercial uses. Thus furthering by a system, which is at once cooperative and individualistic, a variety of allied crafts, the Bromsgrove Guild has, without doubt, before it a long, useful, and inspiring career. Its actual attainments were summed up in a collection of objects of art and craftsmanship sent to the Paris Exposition of 1900, where they received the most favorable comment from the best French critics. Metal work from the same exhibit was sold to the Director of the National Art Museum of Vienna; while the London Daily News of December 19, 1900, made the following statement: With the exception of the room in the Royal British Pavilion at Paris, furnished by the Bromsgrove craftsmen, little that showed foreigners what our more adventurous spirits are attempting, was The sentence appeared in an article under the capto be seen. does England Stand, and it tion : The Arts and Crafts-How witnesses the high consideration which the Bromsgrove Guild merited abroad, and which it enjoys in the home country.
106
Bell Push Bromsgrove
in Cast Guild,
Bronze Worcestershire,
England
Door Trimmings Bromsgrove Guild,
Worcestershire,
England
Shakespeares Working
Classes
CONCLUSION
ERNEST
CROSBY
and he goes on to taunt them with cowardice. (Act 3, SC. 3.) (Act 3, SC. I .) His They are the mutable, rank-scented many. friend Menenius is equally complimentary to his fellow citizens. You are they, says he,
That Your make the air unwholesome greasy exile. (Act when at you cast stinking, caps, in hooting
Coriolanus
4, SC. 7.)
And he laughs at the apron-men of Cominius and their breath of garlic-eaters. is asked to (Act 4, SC. 7.) Wh en Coriolanus address the people, he replies by saying, Bid them wash their faces, and keep their teeth clean. (Act 2, SC. 3.) According to Shakespeare, the Roman populace had made no advance in cleanliness in Casca gives a vivid the centuries between Coriolanus and Caesar. picture of the offer of the crown to Julius and his rejection of it. And still as he refused it the rabblement shouted, and clapped their chapped hands, and threw up their sweaty night-caps, and uttered such a deal of stinking breath, because Caesar refused the crown, that it had almost choked Caesar, for he swooned and fell down at it. And for mine own part, I durst not laugh, for fear of opening my lips and receiving the bad air. And he calls them the tag-rag people. (Julius Caesar, Act I, SC. 2.) The play of Coriolanus is a mine of insults to the people and it becomes tireThe hero calls them the beast with many some to quote them. heads (Act 4, SC. 3)) and again he says to the crowd :
Whats That Make First the matter, rubbing Citizen. yourselves you dissentious scabs? We have ever your good word. will What you proud. give good words would The you have, trusts no, is to ye will you curs, you, to you, flatter rogues, the poor itch of your opinion
Coriolanus. Beneath That The Where Where Than
He that abhorring. makes
like not peace nor war? other he would foxes,
one affrights
He that
find you lions, finds you hares ;
geese ; you are no surer, in the sun. Your virtue
is the coal of fire upon the ice,
Or hailstone
107
Shakespeares Working Classes

To make him worthy whose offence subdues him, And curse that justice did it. Who deserves greatness Deserves your hate ; and your affections are A sick mans appetite, who desires most that Which would increase his evil. He that depends Upon your favours, swims with fins of lead, And hews down oaks with rushes. Hang ye! Trust With every minute you do change a mind, And call him noble that was now your hate, (Act I, SC. I.) Him vile that was your garland.
ye?
His mother, Volumnia, (Act general louts. Tribune of the people,
She calls the people our is of like mind. 3, SC. 2.) She says to Junius Brutus, the
Twas you incensed the rabble, Cats, that can judge as fitly of his worth, As I can of those mysteries which Heaven Will not leave Earth to know. (Act 4, SC. 2.)
In the same play Cominius talks of the dull tribunes, and fusty plebeians (Act I, SC. 9). Menenius calls them beastly plebeians (Act 2, SC. I), refers to their multiplying spawn (Act 2, SC. 2)) and says to the crowd:
Rome and her rats are at the point of battle. (Act I, SC. 2.)
The dramatist makes the mob cringe before Coriolanus. When he appears, the stage directions show that the citizens steal away. (Act I, SC. I.) As the Roman crowd of the time of Coriolanus is fickle, so is that of Caesars. Brutus and Antony sway them for and against his assassins with ease :
This Caesar was a tyrant. First Citizen. Second Citizen. Nay, thats certain. We are blessed that Rome is rid of him. . (After hearing a description First Citizen. 2 Cit. 0 noble Caesar! 3 Cit. 0 woeful day! 4 Cit. 0 traitors, villains!
108
. . of the murder.)
0 piteous spectacle!

0 most bloody sight! I Cit. 2 Cit. We will be revenged; revenge ! about-seek-burn, (Act 3, SC. 2.) not a traitor live! fire-kill -slay-let
The Tribune Marullus Pompey and calls them
reproaches
them
with
having
forgotten
You blocks, you stones, you worse than senseless things.
He persuades them not to favor Caesar and when they leave him he asks his fellow tribune, Flavius,
See, wher their basest metal be not moved? (Act
I,
SC.
I.)
Flavius
also treats them with scant courtesy:

Hence, home, you idle creatures, get you home. Is this a holiday? What! you know not, Being mechanical, you ought not walk Upon a labouring day without the sign Of your profession? (Ib.)
The populace of England is as changeable as that of Rome, if The Archbishop of York, who had Shakespeare is to be believed. espoused the cause of Richard II. against Henry IV. thus soliloquizes :
The commonwealth is sick of their own choice; Their over-greedy love hath surfeited ; An habitation giddy and unsure Hath he that buildeth on the vulgar heart. 0, thou fond many! With what loud applause Didst thou beat Heaven with blessing Bolingbroke, Before he was what thou wouldst have him be ! And being now trimmed in thine own desires, Thou, beastly feeder, art so full of him, That thou provokest thyself to cast him up. So, so, thou common dog, didst thou disgorge Thy glutton bosom of the royal Richard, And now thou wouldst eat thy dead vomit up, And howlst to find it. (Henry IV., Part 2, Act I, SC. 3.)
Gloster in Henry VI. (Part 2, Act 2, SC. 4) notes the fickleness He says, addressing his absent wife: the masses.
of
109

Sweet Nell, ill can thy noble mind abrook The abject people, gazing on thy face With envious looks, laughing at thy shame, That erst did follow thy proud chariot wheels When thou didst ride in triumph through the streets.
When she arrives upon the scene in disgrace,
she says to him:
Look how they gaze; See how the giddy multitude do point And nod their heads and throw their eyes on thee. Ah, Gloster, hide thee from their hateful looks.
And she calls the crowd a rabble (Ib.), a term also used in HamAgain in Part III. of Henry VI., Clifford, let (Act 4, SC. 5). dying on the battle-field while fighting for King Henry, cries:
The common people swarm like summer flies, And whither fly the gnats but to the sun? And who shines now but Henrys enemies?
(Act 2, SC. 6.)
And Henry himself, conversing with the keepers who have imprisoned him in the name of Edward IV., says:
Ah, simple men ! you know not what you swear. Look, as I blow this feather from my face, And as the air blows it to me again, Obeying with my wind when I do blow, And yielding to another when it blows, Commanded always by the greater gust, (Ib. Act 3, SC. I.) Such is the lightness of you common men.
Suffolk in the First Part of the same trilogy (Act 5, SC. 5) talks of peasants, worthless peasants, meaning perhaps property-less and when Salisbury comes to present the demands of the people, he calls him
the Lord Ambassador Sent from a sort of tinkers to the king. (Part 2, Act 3, SC. 2.)
and says:
Tis like the Commons, rude unpolished hinds, Could send such message to their sovereign.
Cardinal
110
Beaufort
mentions
the %ncivil
kernes of Ireland
(Ib.,

Part 2, Act 3, SC. I), and in the same play the crowd makes itself beggar ridiculous by shouting, A miracle, when the fraudulent Simpcox, who had pretended to be lame and blind, jumps over a stool to escape a whipping (Act 2, SC. I). Queen Margaret receives petitioners with the words, Away, base cullions (Ib., Act I, SC. 3), and among other flattering remarks applied here and there to the lower classes we may cite the epithets, ye rascals, ye rude slaves, addressed to a crowd by a porter in Henry VIII., and that of lazy knaves given by the Lord Chamberlain to the porters Hubert in King for having let in a trim rabble (Act 5, SC. 3). John presents us with an unvarnished picture of the common people receiving the news of Prince Arthurs death:
I saw a smith stand with his hammer, thus, The whilst his iron did on his anvil cool, With open mouth swallowing a tailors news ; Who, with his shears and measure in his hand, Standing on slippers (which his nimble haste Had falsely thrust upon contrary feet), Told of a many thousand warlike French That were embattailed and rankd in Kent. Another lean, unwashed artificer, (Act 4, SC. 2.) Cuts off his tale, and talks of Arthurs death.
Macbeth, while sounding the murderers whom he intends to employ, and who say to him, We are men, my liege, answers: Ay, in the catalogue ye go for men, As hounds and greyhounds, mongrels, spaniels, curs,
Shoughs, water-rugs, and demi-wolves, are cleped (Act 3, SC. I.) All by the name of dogs. AS
Coriolanus is held up to our view as a pattern of noble bearing towards the people, so Richard II. condemns the courteous behavHe says : iour of the future Henry IV. on his way into banishment.
Ourselves, and Bushy, Bagot here and Green Observed his courtship to the common people ; How he did seem to dive into their hearts With humble and familiar courtesy; What reverence he did throw away on slaves;
III

Wooing poor craftsmen with the craft of smiles And patient overbearing of his fortune, Ast were to banish their affects with him. Off goes his bonnet to an oyster-wench; A brace of draymen bid God speed him well And had the tribute of his supple knee, With Thanks, my countrymen, my loving friends. (Richard II., Act
I,
SC.
4.)
The King of France in Alls Well That to Bertram the example of his late father inferiors :
Ends Well, commends in his relations with his
Who were below him He used as creatures of another place, And bowed his eminent top to their low ranks, Making them proud of his humility In their poor praise he humbled. Such a man Might be a copy to these younger times. (Act
I,
SC.
2.)
Shakespeare had no fondness for these younger times, with their increasing suggestion of democracy. Despising the masses, he had no sympathy with the idea of improving their condition or increasHe saw the signs of the times with foreboding, ing their power. as did his hero, Hamlet: By the Lord, Horatio, these three years I have taken note of it; the age has grown so picked, that the toe of the peasant comes so near the heel of the courtier, he galls his kibe. There can easily be too much liberty, according to Shakespeare,--too much liberty, my Lucia, liberty(Measure for Measure, Act I, SC. 3), but the idea of too much authority is foreign to him. Claudio, himself under arrest, sings its praises:
Thus can the demi-god, Authority, Make us pay down for our offence by weight,The words of Heaven ;-on whom it will, it will ; On whom it will not, so; yet still tis just. (Ib.)
Ulysses in Troilus and Cressida (Act I, SC. 3)) delivers a long panegyric upon authority, rank and degree which may be taken as Shakespeares confession of faith :
II2
Shakespeare
Degree Th The unworthiest heavens degree, course, shews
s Working
being vizarded, as fairly
Classes
in the mask. and form, Sol, eye this centre,
themselves, priority
the planets, and place, season, planet,
Observe Insisture, Office And
proportion,
and custom, therefore eminence the other;
in all line of order; enthroned whose and sphered evil, of a king, But when what the planets, mutiny! horrors,
is the glorious
In noble Amidst Corrects And
medcinable
the ill aspects
of planets
posts,
like the commandment to good and bad. to disorder and what portents! frights, wander,
Sans check, What What Divert The Quite Which The Degrees Peaceful The But Take And In Prerogative
In evil mixture, plagues raging
of the sea, shaking of the winds, rend fixture! is sick. from
of the earth, changes,
Commotion unity from
and crack, their
and deracinate calm of states 0, How when could degree is shaked,
and married
is the ladder enterprise in schools, commerce
of all high designs, communities, in cities, shores, laurels, and brotherhoods dividable scepters,
primogenity by degree hark, mere what
and due of birth, stand in authentic untune follows ! the bounded higher than place? the string, each thing waters the shores, meets
of age, crowns, away, discord bosoms
but degree
oppugnancy; lift their should
Should Strength And Force Should Then Power And
And make a sop of all this solid globe ; be lord of imbecility, strike his father right resides) justice too. dead ; and wrong, or, rather, jar justice itself wolf, the rude son should should be right; endless names, includes will into whose lose their everything into will, appetite,
(Between
and so should in power, appetite;
a universal
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So doubly seconded with will and power, Must make perforce an universal prey, And last eat up himself. Great Agamemnon, This chaos, when degree is suffocate, Follows the choking ; And this neglection of degree it is, That by a pace goes backward, in a purpose It hath to climb. The Generals disdained By him one step below; he by the next; That next by him beneath; so every step, Exampled by the first pace that is sick Of his superior, grows to an envious fever Of pale and bloodless emulation ; And tis this fever that keeps Troy on foot, Not her own sinews. To end a tale of length, Troy in our weakness stands, not in her strength.
There is no hint in this eloquent apostrophe of the difficulty of determining among men who shall be the sun and who the satellite, nor of the fact that the actual arrangements, in Shakespeares time at any rate, depended altogether upon that very force which Ulysses deprecates. In another scene in the same play the wily Ithacan again gives way to his passion for authority and eulogizes somewhat extravagantly the paternal, prying, omnipresent state:
The providence thats in a watchful state Knows almost every grain of Plutus gold, Finds bottom in th incomprehensive deeps, Keeps place with thought, and almost, like the gods, Does thoughts unveil in their dumb cradles. There is a mystery (with which relation Durst never meddle) in the soul of state, Which hath an operation more divine (Acts 3, SC. 3) Than breath or pen can give expressure to.
The state to which Ulysses refers is of course a monarchial state, Corioand the idea of democracy is abhorrent to Shakespeare. lanus expresses his opinion of it when he says to the people:
That Whats the matter, in these several places of the city

You cry against the noble Senate, who, Under the gods, keep you in awe, which else (Acts 2, SC. I ) Would feed on one another?
The people
should
have no voice in the government.
This double worship,Where one part does disdain with cause, the other Insult without all reason ; where gentry, title, wisdom, Cannot conclude, but by the yea and no Of general ignorance,-it must omit Real necessities, and give way the while Purpose so barred, it follows, To unstable slightness. Nothing is done to purpose; therefore, beseech you, You that will be less fearful than discreet, That love the fundamental part of state More than you doubt the change ont, that prefer A noble life before a long, and wish To jump a body with a dangerous physic Thats sure of death without it, at once pluck out The multitudinous tongue; let them not lick The sweet which is their poison. (Ib. Act 3, SC. I)
It is the nobility
who should
rule.
It is a purposed thing and grows by plot To curb the will of the nobility; Suffer t and live with such as cannot rule, Nor ever will be ruled. (Ib.1
Junius Brutus tries in vain to argue with him, but Coriolanus has no patience with him, a triton of the minnows, and the very fact that there should be tribunes appointed for the people disgusts him.
Five tribunes to defend their vulgar wisdoms, Of their own choice; ones Junius Brutus, Sdeath ! Sicinius Velutus, and I know notThe rabble should have first unroofed the city, Ere SOprevailed with me; it will in time Win upon power, and throw forth greater themes (Act I, SC. I ) For insurrections arguing.
And again
The common file, a plague !-Tribunes for them ! (Act I, SC. 6) 11s

Shakespeare took his material for the drama of Coriolanus from Plutarchs Lives, and it is significant that he selected from that list of worthies the most conspicuous adversary of the commonalty that Rome produced. He presents him to us as a hero, and so far as he can, enlists our sympathy for him from beginning to end. When Menenius says of him:
His nature is too noble for the world. (Act 3, SC. I)
he is evidently but registering the verdict of the author. Plutarchs He exhibits his fine qualtreatment of Coriolanus is far different. ities, but he does not hesitate to speak of his imperious temper and that savage manner which was too haughty for a republic. Indeed, he adds, there is no other advantage to be had from a liberal education equal to that of polishing and softening our nature by reason and discipline. He also tells us that Coriolanus indulged his irascible passions on a supposition that they have something great and exalted in them, and that he wanted a due mixture of gravity and mildness, which are the chief political virtues and the fruits of reason and education. He never dreamed that such obstinacy is rather the effect of the weakness and effeminacy of a distempered mind, which breaks out in violent passions like so Nor apparently did Shakespeare ever dream of it many tumors. either, although he had Plutarchs sage observations before him. It is a pity that the great dramatist did not select from Plutarchs works some hero who took the side of the people, some Agis or Cleomenes, or better yet, one of the Gracchi. What a tragedy he might have based on the life of Tiberius, the friend of the people But the spirit which guided Schiland the martyr in their cause! ler in the choice of William Tell for a hero was a stranger to Shakespeares heart and its promptings would have met with no response there. Even more striking is the treatment which the author of Coriolanus All but two of his English historical metes out to English history. dramas are devoted to the War of the Roses and the incidental The motive of this prolonged struggle over the French crown. strife,-so attractive to Shakespeare,-had much the same dignity
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which distinguishes the family intrigues of the Sublime Porte, and Shakespeare presents the history of his country as a mere pageant of warring royalties and their trains. When the people are permitted to appear, as they do in Cades rebellion, to which Shakespeare has assigned the character of the rising under Wat Tyler, they are made the subject of burlesque. Two of the popular party speak as follows:
John George craftsmen. John. The nobility think scorn to go in leather aprons. Holland. Bevis. Well, 0 I say, it was never age! Virtue merry is not world regarded in England in handisince gentlemen came up. miserable
When Jack Cade, alias Wat Tyler, himself to be a braggart and a fool.
Be brave then for your captain shall drink be in England small beer. seren three-hooped side shall will beAll. Cade. that (Henry God save your
you,
comes on the scene, he shows He says:

is brave and vows reformation. loaves sold for There the to I a penny;
half-penny
pot shall have ten hoops, All the realm go to grass. Majesty! good people,-there like brothers
2.)
and I will make it a felony when I am king, as king
shall be in common, And
and in Cheap-
my palfrey
I thank they may
shall be no money ; all shall apparel and them all in one livery, me their lord. worship
eat and drink VI.,
on my score and I will agree

2,
Part
Act 4, SC.
The crowd wishes to kill the clerk of Chatham because he can read, write and cast accounts. (Cade. 0 monstrous!) Sir Humphrey Stafford calls them
Rebellious Marked hinds, the filth and scum of Kent, (Ib.) for the gallows.
Clifford succeeds without much difficulty in turning the enmity of the mob against France, and Cade ejaculates disconsolately, Was ever a feather so lightly blown to and fro as this multitude? P, In the stage directions of this scene, Shakespeare Act 4, SC. 8.) shows his own opinion of the mob by writing, Enter Cade and his rabblement. One looks in vain here as in the Roman plays for a
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suggestion that poor people sometimes suffer wrongfully from hunger and want, that they occasionally have just grievances, and that their efforts to present them, so far from being ludicrous, are the most serious parts of history, beside which the struttings of kings and courtiers sink into insignificance. One of the popular songs in Tylers rebellion was the familiar couplet:
When Who Adam was delved and Eve span, ? then the gentleman
Shakespeare as follows :
refers to it in Hamlet,
Clown. Come, ditchers Was Why, What, The (Act my
where
spade.
the grave-diggers
is no ancient
speak
gentlemen pro-
First fession. Second First Second First the without
There
but gardeners, Clown. Clown. Clown. Clown. Scripture?
and grave-makers; he a gentleman? that
they hold up Adams
He was the first art
ever bore arms. How Adam dost digged; thou understand he dig
he had none. a heathen? says, Scripture 5, SC. I.) could
arms ?
That Shakespeares caricature of Tylers rebellion is a fair indication of his view of all popular risings appears from the remarks addressed by Westmoreland to the Archbishop of York in the Second Part of Henry IV. (Act 4, SC. I). Says he:
If Came And that rebellion in base and abject youth, guarded routs, rags, with like itself, countenanced native
Led on by bloody I say if dammed In his true, You, Had With Reverend
by boys and beggary; commotion and most Father, so appeared, proper the ugly shape, lords form noble
and these
not been here to dress your fair honours.
Of base and bloody
insurrection
The first and last of Shakespeares John and Henry VIII., lie beyond
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English historical plays, King the limits of the civil wars, and
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each of them treats of a period momentous in the annals of English liberty, a fact which Shakespeare absolutely ignores. John as king had two great misfortunes,-he suffered disgrace at the hands of The first event, the wringing of Magna his barons and of the pope. Charta from the king, Shakespeare passes over. A sense of national pride might have excused the omission of the latter humiliation, but no, it was a triumph of authority, and as such Shakespeare must record it for the edification of his hearers, and consequently we have the king presented on the stage as meekly receiving the crown from the papel legate. England was freed from the (Act 5, SC. I.) Roman yoke in the reign of Henry VIII. and in the drama of that name Shakespeare might have balanced the indignity forced upon King John, but now he is silent. Nothing must be said against authority, even against that of the pope, and the play culminates in the pomp and parade of the christening of the infant Elizabeth! Such is Shakespeares conception of history! Who could guess from reading these English historical plays that throughout the period which they cover English freedom was growing, that justice and the rights of man were asserting themselves, while despotism This is the one great glory of was gradually curbed and limited? English history, exhibiting itself at Runnymede, reflected in Wyclif and John Ball and Wat Tyler, and shining dimly in the birth of a As Shakespeare wrote national church under the eighth Henry. When he it was preparing for a new and conspicuous outburst. died Oliver Cromwell was already seventeen years of age and John Hampden twenty-two. The spirit of Hampden was pre-eminently the English spirit,-the spirit which has given distinction to the Anglo-Saxon race,-and he and Shakespeare were contemporaries, and yet of this spirit not a vestige is to be found in the English historical plays and no opportunities lost to obliterate or distort its manifestations. Only in Brutus and his fellow-conspirators-of all Shakespearean characters-do we find the least consideration for liberty, and even then he makes the common, and perhaps in his time the unavoidable, mistake of overlooking the genuinely democratic leanings of Julius Caesar and the anti-popular character of the successful plot against him.
Shakespeares
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It has in all ages been a pastime of noble minds to try to depict a Forty years before Shakespeares birth, perfect state of society. Bacon inSir Thomas More published his Utopia to the world. tended to do the same thing in the New Atlantis, but never completed the work, while Sir Philip Sidney gives us his dream in his Montaigne makes a similar essay, and we quote from Arcadia. Florios translation, published in 1603, the following passage (Montaignes Essays, Book I, Chapter 30) : It is a nation, would I answer Plato, that hath no kind of traffic, no knowledge of letters, no intelligence of numbers, no name of magistrate nor of political superiority; no use of service, of riches, or of poverty; no contracts, no succession, no dividences; no occupation, but idle; no respect of kindred, but common; no apparel, but natural; no manuring of lands; no use of wine, corn or metal. The very words that import lying, falsehood, treason, dissimulation, covetousness, envy, detraction and pardon were never heard amongst them. We may readily infer that Shakespeare found little to sympathize with in this somewhat extravagant outline of a happy nation, but he goes out of his way to travesty it. In the Tempest he makes Gonzalo, the noblest character in the play, hold the following language to the inevitable king (Shakespeare cannot imagine even a desert island without a king!) :
Had I plantation of this isle, my lord, I th commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known ; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn or wine or oil ; No occupation; all men idle,-all, And women too, but innocent and pure; No sovereignty, . . . Sebastian. Yet he would be king ont. Antonio. The latter end of his commonwealth forgets the beginning. Gonzalo. All things in common. Nature should produce
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Without sweat or endeavour ; treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but Nature should bring forth Of its own kind, all foison, all abundance, To feed my innocent people. Seb. No marrying mong his subjects? Ant. None, man ; all idle, whores and knaves. Gon. I would with such perfection govern, sir, To xcel the golden age. Seb. Save his Majesty! Ant. Long live Gonzalo! Gon. And do you mark me, sir? King. Prythee, no more; thou dost talk nothing to me. Gon. I do well believe your Highness; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs, that they always use to laugh at nothing. Ant. Twas you we laughed at. Gon. Who in this kind of merry fooling, am nothing to you ; so you may continue and laugh at nothing still. (Tempest, Act 2, SC. I.)
That all things are not for the best in the best of all possible worlds would seem to result from the wise remarks made by the fishermen They comwho enliven the scene in Pericles, Prince of Tyre. pare landlords to whales who swallow up everything and suggest that the land be purged of these drones that rob the bee of her honey, and Pericles, so far from being shocked at such revolutionary and vulgar sentiments, is impressed by their weight and speaks kindly of the humble philosophers, who in their turn are hospitable to the ship-wrecked prince,-all of which unshakespearean matter (Act 2, SC. I.) adds doubt to the authenticity of this drama. However keen the insight of Shakespeare may have been into the hearts of his high-born characters, he had no conception of the unity For him the prince and the peasant were not of the human race. of the same blood.
For princes are A model, which heaven makes like to itself,
says King Simonides in Pericles, and here at least we seem to see The two princes, Guidthe hand of Shakespeare (Act 2, SC. 2).
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Shakespeares Working
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erius and Arviragus, brought up secretly in a cave, show their royal Act 3, SC. 3), and the servants who see origin (Cymbeline, Coriolanus in disguise are struck by his noble figure. (Coriolanus, Act 4, SC. 5). Bastards are villains as a matter of course, witness Edmund in Lear and John in Much Ado About Nothing, and no degree of contempt is too high for a
hedge-born That doth presume swain to boast of gentle (Henry blood. VI., Part
I,
Act
4, SC. I.)
Courage is only to be expected York says :

Let pale-faced And find no harbour
in the noble-born.
the mean-born (Henry VI., man, Part
The
Duke
of
fear keep with
in a royal heart. 2, Act 3, SC. I.)
In so far as the lower classes had any relation to the upper classes, It it was one, thought Shakespeare, of dependence and obligation. was not the tiller of the soil who fed the lord of the manor, but rather the lord who supported the peasant. Does not the king have Thus Henry V. to lie awake and take thought for his subjects? complains that he cannot sleep
so soundly Who Gets Never Sweats Sleeps The What Whose Enjoys with as the wretched with the child slave, mind, bread, of Hell, distressful a body filled and vacant night, from .
him to rest, crammed sees horrid
But like a lackey, in Elysium. slave,
the rise to set, and all night peace, wots the peace, (Henry V., Act 4, SC.
I.)
in the eye of Phoebus, . . a member the king
of the countrys brain keeps little
it, but in gross watch hours the peasant
to maintain
best advantages.
And these lines occur at the end of a passage in which the king laments the ceremony that oppresses him and confesses that but He makes this admission, howfor it he would be but a man. ever, in a moment of danger and depression. Henry IV. also invokes sleep (Part 2, Act 2, SC. I) :
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0, thou dull god ! why liest thou with beds? the vile In loathesome
But plain people have to watch at times and the French finds occasion to speak in the same strain:
Thus (When Constrained are poor servitors sleep upon their quiet (Henry beds) VI., Part I, Act to watch in darkness, rain and cold. others
sentinel
2,
SC. I.)
Henry VI. is also attracted

0 . God, . . methinks . . The To be no better
by the peasants lot.

it were than a happy life, . curds, bottle, . a homely swain. homely
shepherds a fresh
His cold thin drink His wonted All which secure
out of his leather
sleep under a princes
trees shade, he enjoys, (Henry VI., Part 3, Act

2,
and sweetly
As far beyond
delicates. SC. 5.)
All of which is natural enough but savours of cant in the mouths of men who fought long and hard to maintain themselves upon their thrones. We have already shown by references to the contemporary drama that the plea of custom is not sufficient to explain Shakespeares attitude to the lower classes, but if we widen our survey to the entire field of English letters in his day, we shall see that he was running From the time counter to all the best traditions of our literature. of Piers Ploughman down the peasant had stood high with the great Chaucers famous circle of writers of poetry and prose alike. story-tellers at the Tabard Inn in Southwark was eminently demoWith the knight and the friar were gathered together cratic.
An haberdasher and a carpenter, and tapiser, A webbe, a deyer
and the tales of the cook and the miller take rank with those of the The English Bible, too, was in Shakespeares squire and lawyer. hands and he must have been familiar with shepherd kings and In the very year in which Hamlet first apfishermen-apostles. peared, a work was published in Spain which was at once translated
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into English, a work as well known to-day as Shakespeares own If the peasantry was anywhere to be neglected and dewritings. spised, where should it be rather than in proud, aristocratic Spain, and yet, to place beside Shakespeares Bottoms and Slys, Cervantes has given us the admirable Sancho Panza, and has spread his loving Are we to behumour in equal measure over servant and master. lieve that the yeomen of England, who beat back the Armada, were inferior to the Spanish peasantry whom they overcame, or is it not rather true that the Spanish author had a deeper insight into his Cercountrys heart than was allotted to the English dramatist? vantes, the soldier and adventurer, rose above the prejudices of his class, while Shakespeare never lifted his eyes beyond the narrow It was love that opened horizon of the Court to which he catered. Cervantess eye, and it is in all-embracing love that Shakespeare As far as the common people were concerned he was deficient. never held the mirror up to nature. But the book of all others which might have suggested to Shakespeare that there was more in the claims of the lower classes than was dreamt of in his philosophy was Mores Utopia, which in its More, the richest and most English form was already a classic. powerful man in England after the king, not only believed in the working man but knew that he suffered from unjust social conditions. He could never have represented the down-trodden followers of Cade-Tyler nor the hungry mob in Coriolanus with the utter What justice is lack of sympathy which Shakespeare manifests. asks the great Lord Chancellor, whose character there in this, stood the test of death,--What justice is there in this, that a nobleman, a goldsmith, a banker, or any other man, that either does nothing at all, or at best is employed in things that are of no use to the public, should live in great luxury and splendour upon what is so ill acquired; and a mean man, a carter, a smith, a ploughman, that works harder even than the beasts themselves, and is employed on labours so necessary that no commonwealth could hold out a year without them, can only earn so poor a livelihood, and must lead SO miserable a life, that the condition of the beasts is much better than theirs?
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How different from this is Shakespeares conception of the place of After a full and candid survey of his the working-man in society! plays, Bottom, the weaver with the asss head, remains his type of the artisan and the mutable, rank-scented many, his type of the Is it unfair to take the misshapen servant-monster Calimasses. ban as his last word on the subject?
Prospero. Well visit Caliban, my slave, who never Yields us kind answer. Miranda. Tis a villain, sir, 1 do not love to look on. Prospero. But as t is, We cannot miss him ! he does make our fire, Fetch in our wood and serve in offices That profit us. (Tempest, Act I, SC. 2.)
To which
I would
Who art Why thy And him Daylong
fain reply in the words of Edward

thou, . . . . faint sneer for him who wins thee bread who clothes thee, and for him who toils and nightlong dark in the earth for thee?
Carpenter:
William
Morris as I Remember Him

ARTHUR
STRINGER
ANY men have written more abstrusely than I shall here attempt to write of William Morriss art. Many students have probed deeper into his principles of socialism than I should here care to probe. Many critics have looked more closely into his poetry than I on this If, however, I might accomplish one trivoccasion intend to look. And that end would be to ial end I should be more than satisfied. give you a hint of William Morris, the Man. It was Merck who said of Goethe that what he lived was more beautiful than what he wrote. I have always felt, in much the same way, that it is only as the living, composite, sometimes incongruous enough, Man, that William Morris stands pre-eminent, triAs a political economist his dearest dreams were tinged umphant. with that uncompromising ideality in which he himself, toward In the end, sadly discovered the elusive rose-tints of utopianism. his poetry, with all its vivid coloring, there are to be found grave defects ; in it we look in vain for either the charm of Rossetti or the music of Swinburne. As an artist, pure and simple, he was not without his superiors. We Yet before William Morris, the Man, we stand overawed. look back over his life bewildered, astounded into silence at the vastness of his accomplishment, perplexed at the diversity of his interests, amazed at the sheer vital force and unflagging energy of To those who knew him more intimately it was this tirethe man. less and buoyant activity which saved him to the last. He was recalcitrant only from the knees down. Revolter though he was, he never forgot that this world was the workshop of God. Where Ruskin himself-intoxicated now and then, perhaps, by his own dizzy eloquenceeventually fell into the pitfall of empty petulance, Morris saved himself by being always more than a mere His revolt was dignified by struggle; the darkest hour whiner. of his pessimism was ennobled by heroic effort toward better things. And he was the Thompson as well as the Edison, the Erasmus as It is a far cry from the Morris Commonwealth well as the Luther. But each was a flower on his tree of down to the Morris Chair.
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Morris
as I Remember
Him
The one, earths children caught at readily enough; vigorous life. the other grew too high for nineteenth century hands. Of Morriss early life I know little,-little, at least, beyond And books, at best, what may be gathered from hearsay and books. are half-hearted and halting interpreters. The great craftsman was already an old man when I first met him. It was, strangely enough, in Oxford, that beautiful, dreamy, grey city on the Isis, the city for which he had once stood ready to do so much, yet which still pored tranquilly and unperturbed over its Menander, when, in the summer of 1896, the last remains of its great son were carried through the grey-walled town, toward, perhaps, a more fitting resting place. It is hard to say just what, in turn, Morriss own feelings for It must be acknowledged, at any rate, that they were Oxford were. The earlier spell had long since fallen away. curiously mixed. He felt that any old debt of gratitude was well wiped out by that winter day at Holywell, in 1885, when the undergraduates of his alma mater derisively pelted him with eggs and old vegetables, transforming an orderly meeting into open riot. It was a year later that Cambridge curled a contemptuous lip over his ideas. And I must here turn aside to add that this always seemed to me the most pitiable period in this great mans existence. I mean, of course, that period in the later eighties when so much of his good life was given up to inglorious scufflings with the London police, to the jostle and jeers of a huge citys uncomprehending rabble, and, what was worse, to the fawning adulation of a herd of parasitical It is all hypocrites who utterly failed him in the hour of need. more than pitiable, not so much because of its mere predestined futility and impotence, but more because of its ultimate effect on Morris himself. It left him to die a bitter and disheartened man; though the world, indeed, saw little of that bitterness. But throughout the more intimate tones of his verse the cry escapes him, again and EnlightHe was but the idle singer of an empty day. again. ened as to the ugliness and sordidness of his own age, he was forced to harp forever backward to an Age of Gold, or forward to an Age visits to the of Dream. I have seen him, after one of his evangelizing
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Morris
as I Remember
Him
East End of London, crushed in spirit and fatigued in body, silently but poignantly hopeless of that newer life for which he was willing to stake so much. It was sadly unpromising material he had to deal with, and knowing that particular type of stolid British workman whom he was struggling to awaken from disheartening apathy, I more than once asked him if, after all, it would not have been better had he undertaken this thing in America, the land of new ideas and new ideals. But to this he always shook his head; I knew that he was still English to the back-bone. Yet to-day I am often tempted to speculate, perhaps idly enough, on just how much William Morris might have accomplished had the hand of destiny flung him upon the New World, instead of the Old. I have spoken at some length of Morriss pessimism, but this, it must be remembered, was a thing which he did not wear on his It was a development which did not properly belong to sleeve. the man at all. Even in his last illness, he looked up one day and said : If this means months of idleness and then the End, I dont like it at all, for life has been a very jolly time to me! I can remember, too, one bright morning on the High, in Oxford, as he walked with his short, quick, stocky steps out across Magdalen Bridge, and let his eyes wander musingly along the waters of the He suddenly drew in a great breath of air, scented with Cherwell. the smell of flowers from the Botanical Gardens, and gasped out: My eyes, how good it all is! These are the identical words, I have been told, that Morris uttered when he beheld the first page the book which we all know well of his Kelmscott Chaucer, enough brought him down to his grave. My eyes, how good it is I At Kelmscott Manor, too, he seemed always to drink in the sheer joy of life, where, and especially in his later years, he loved to linger late in the mellow English autumn, and toward which he always hastened early in the Spring. It stands typical of the man, that curious old country house, with its low, many-gabled, mullion-windowed, rubble-stone walls, surrounded by well-kept English gardens, and yew hedges and hawthorn and wild rose, and beautiful elms,- elms the like of which you would scarcely find and odorous clover-meadows and fragrant elsewhere in England,328
William
Morris
as I Remember
Him
hay-fields sloping dreamily down to the valley of the little Thames, where the master of the house himself so loved to steal away now and then and give a whole half day up to fishing and strolling along For with all his dreams of socialism, that bird-haunted stream. there was a touch of the aristocrat about William Morris, to the end. Cambridge, twelve years before his death, had taunted him with the charge that he made books and tapestry for only the It was charged that his things were costly, wealthy and well-to-do. and far beyond the reach of the poor, about whom he prated so much. Yet it was his awakening to the fact that the poor had neither the taste nor the opportunity to grasp at the beauties of life, as expressed in art, that first swept him from his rock of passive aristocracy into the turb;.l waters of socialism as he defined it. Culture, wealth, and friendship of such spirits as Rossetti, BurneJones, and Madox Brown, a youth that had been steeped in the grey loveliness of Oxford, a home that was all beauty and peacefulness, unlimited opportunities for immuring himself within his own Palace of Art,---all these were not enough to anchor him to a life of mere art and aristocratic indifference. LOxford, he once said to me, taught me the need of beauty; Stepney taught me the need of humanity. After the time-softened towers and walls on the Isis, it was small wonder that he railed against the brick boxes with slate lids, as he used contemptuously to dub the suburban villa Indeed, from architecture of London, and later of Oxford itself. the first he had fretted and fumed over what he called Oxfords architectural errors. The re-roofing, with green Westmoreland slates, of Exeter College Chapel was a subject which angered him almost unreasonably. He was equally exercised over the restoration of the Tower of St. Marys; in fact, in the summer of 1893, old man that he was, he clambered up the tall tower for a personal inspection, and for many weeks fought with Mr. Jackson, the gifted He arenough restorer, about the displacing of the old statuary. gued vehemently that the tottering and time-eaten old figures ought not to be done away with; let them be braced and supported and patched up, but above all things keep them where they were first placed. Put an iron cage around them, if you have to, he cried
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William Morris as I Remember
Him
only keep them there! In more tangible ways, however, he had already done his share for Oxford, if not altogether personally and directly, at least through the firm of Morris and Company. One has only to study those beautiful windows in Christ Church College, or The Star of Bethlehem arras, still so badly stretched in Exeter College Chapel, to realize his services for his old university, whose walls he loved much better than all her books. There is, too, one significant little fact I should like to point out in passing. It was the Oxford fritillary, that little, checkered, purplish flower commonly called the snakes-head, which blooms SO beautifully along the Isis, about Iffley, in the late spring, which The gave to William Morris one of his favorite flower designs. slender spike of the Oxford wild-tulip, which you will to-day find flowering about the meadows of the Cherwell, furnished him with an equally happy design. It was these simple flowers that he knew and loved best. Remembering this tendency of his for simple things, it has always puzzled me to understand why he should plead so passionately for the Gothic in architecture, and so pin his hope to the distorted saint and tobacco-pipe column style of building, as Germanys greatest man termed it, when he stood before the Temple of Neptune at Paestum. Although it has been said, and generally understood, that social problems did not perplex Morris until the latter part of his life, from his earliest day I believe him to have been a revolutionist We have that half-humorous and half-pathetic story of at heart. his monkish fasting and self-flogging at Exeter; even that was a revolt against youthful ease. He once expressed the wish that he might have been like Bernard Palissy, the Huguenot potter, burnPerhaps, though, it was better ing his last chair in attic poverty. he should show the world that the well-fed lion does not always lose its ferocity. He was an anarchist, if you will, but an anarchist The great constructive hope of only in the Kingdom of Ugliness. his life was to make the workman an artist; if, in the end, his family came into the fortune he left, it was only because those workmen whom he had called into his factory, under the new order of things which he hoped to establish, miserably and selfishly imposed on his
130
William
Morris
as I Remember
Him
optimism, instead of joyfully and gratefully accepting his relief. Art, he once said, is utility touched with aspiration. Art is nourished, not by theory, he held, but by life; it should stand as an expression of lifes joy in labor. For this reason he despised all dilettanteism and idly toying with things artistic. Oriental art was sheer jugglery to him, for he believed that feeling is the soul of architecture, in small things and in large things alike. He freely enough confessed that he was careless to all metaphysics, and indifHe bent his knee to only Beauty and Freeferent to all religion. dom. Before pedants and those opposed to his views he often lapsed into a sort of gloomy and silent petulance. Through an hourIs argument, outwardly destructive to all that he held most dear, he could sit obstinately, irascibly wordless. His practical, workman-like spirit was intolerant to the uttermost of mere empty theorizings. When he was moved to speak-and there were times when he could talk by the hour together-he spoke in short, crisp, Anglo-Saxon words, not easily and fluently, but hesitatingly, hacking and pounding at his sturdy, oak-like, inflexible English senIt was the seeming weight of personality behind the words tences. that invariably saved him as a public speaker, though on the whole I believe that his brusque, fiery, intolerant harangues in vivid yet broken flights of homely Anglican idiom did not succeed in winning over his audience (and especially when they chanced to be an East End audience) as well as he and his sympathizers often might have wished, As for the appearance of the man, the rugged shell which housed the great soul, Watts portrait will, I think, always stand the best. There was something leonine about the massive, rounded head, with its earnest, audacious, stubborn eyes, and its wealth of up-thrust, iron-grey hair. The full beard was of the same irongrey tinge. His body was strongly-knit and heavy in line and movement (all but those wonderful, alert, restless hands !), and the length of the body itself was perhaps accentuated by the unusually short legs, which gave to his stride its nervous, quick motion under excitement, when he invariably fell to pacing the floor. At all times he affected a shirt of the plainest blue flannel, dressing undel?l
William
Morris
as I Remember
Him
viatingly in a stout, loosely-made suit of black-blue cloth, with an often rusty enough blue cloak, and a black, soft-rimmed wideHe lived simply, always traveling third class, walking awake. often where others would ride, enjoying to the last his pipe, his fishing-rod, his pictures and old manuscripts, his quiet home on the Thames, and, above all, his yearly task of trimming the yew-tree dragon, just under the tapestry-room, in the gardens of Kelmscott Manor.
THE NECESSITY FOR USING OUR EYES, IF WE ARE TO BE ARTISTS, HAVING BEEN ADMITTED, THE QUESTION COMES: HOW ARE WE TO GET PEOPLE TO USE THEIR EYES, ALWAYS KEEPING IN MIND THE FACT THAT FOR SOME TIME AFTER THEY HAVE BEGUN TO DO SO THEY WILL BE A TORMENT TO THEMSELVES AND THEIR NEIGHBORS, AS I AM.
WILLIAM AND MORRIS AND HISTORY ABBBY WESTMINSTER ARCHITECTURE
132
Work
Ennobles
a---2te
DQ)R
WIlvGL
HAT is named intrinsic value by a rapidlypassingschool of economists, is not the measure of service, or of beauty. That which is of common use has first proven itself of universal demand and importance. In the material world, this is true of two articles of consumption without which human life could scarcely exist: bread to eat, and iron with which to cultivate the 1 earth, to facilitate trade, and to proi F tect from attack. Iron has been called the culture-gauge of the world, and the title is just and fitting. It has been utilized for five It has risen in imthousand years. portance in proportion to the progress of civilization : at first, slowly; then, with ever-increasing rapidity; so that the product of the present century is far in excess of the product of all preceding time. And as iron, in itself the basest of metals, is truly a gauge of human culture, so it no less offers a strong parallel to the human being. In its natural state, it is not found pure and perfect. Power is needed to remove it from its primitive and natural associates. Above all, work ennobles it. Apart from its great importance as a civilizing medium, its uses
I33
Work
Ennobles
are manifold. Its value in the industrial arts can scarcely be over-estimated. It is most useful, and it becomes beautiful, because it lends itself so easily to modeling. And again, it is easily modeled because of its power to retain heat. In color and texture it is better fitted than copper as a metal with which to complete or to ornament objects intended for ordinary and daily service. Its very unobtrusiveness is a strong quality. Its brightness and glow do not If it were advance to challenge the vision. permitted to lend the attributes of the phenomena of sound to those of sight, iron might be said to be silent, and copper to be
clamorous.
These artistic qualities of iron, no less than its resistance and toughness, make it adapted to complete the functions of the door, when wrought into hinges, handles, latches, pulls and knockers. Accordingly, some recent successful Craftsman models of such articles are here presented, accompanied by working drawings, and by a simple statement of the separate steps followed by the workman who made them. He first drew on paper a working detail of the object,-a hinge, for example,-and afterward traced his pattern with chalk upon a piece of sheet iron; so that, in working, the hot iron might be laid over the pattern without danger of destroying it. He then selected iron of proper thickness and forged A KNOCKER it: heating, bending and hammering the metal until it roughly corresponded in size and shape to the He then carried the piece to the fitters bench, working drawing.
A DmR PULL
34
Work Ennobles
where he bored holes for screws in the hinge, which had, as we have Next, he carefully examined each part seen, already taken shape.
and matched it to the same detail of the working drawing; after which he fitted the separate parts together. It remained for him to He had now f~~it2ioned the hinge. fini.~/z it. Beginning this new process, he first heated the metal
nfNcc - LATCH AND PULL FOR A CUPl3oARDS
Work
+ z%,
Ennobles
piece, in order to make it obedient Then he smeared to his purpose. the iron with beeswax and burned it over a smoky fire, which is a requisite to the success of the finish. As he followed this step of the work at his forge, he might have been compared with a cook toasting: since, carrying his metal upon a long holder, he carefully exposed every spot of the surface
to the fire, much as if the iron had been bread. The wax having been suffi- 0 ciently burned into the metal, the workman cooled his piece and then scoured it with emery-cloth ; his artistic sense advising him when he had reached the proper point of brightness. Next, he cleaned the iron with benzine, by which agent he removed from its surface any soiling substance which might have been A
136
DODR
HANDLL
Work Ennobles
DaDR
PvLLS
DaOR
PULL3
left upon it by the hand. Finally, he provided his finished piece against rust by rubbing it thoroughly with beeswax and turpentine. Having thus completed the last of his simple processes, he looked upon his work and saw that it was good. He had joined in himself the artist and the worker, thus forming the perfect craftsman: that is, as the Germanic meaning of the word implies: the What he had wrought with his hands man possessed of power. was not the imperfectly realized conception of anothers mind. It was the adequate embodiment of his own idea.
137
Critical Correspondence
HE argument which, in the last issue of The Craftsman, opened the department of critical correspondence, is continued this month, by the same earnest yet friendly opponents. And in order that the discussion may be fruitful in ideas and results, it is desired by the Editors that still other interested persons add The same department their thoughts to those which already have been advanced. of the Magazine is also open to all who shall express their views briefly, clearly and with moderation upon any subject involving considerations of art allied to labor.
THE BEACONSFIELD Brookline. Boston, Mass. To GUSTAV STICKLEY,ESQ., THE UNITED CRAFTS, SYRACUSE,N. Y.
My Dear Sir:
I had your letter of the twelfth of March in due time, but have not replied before for several reasons: one being that I am not at all sure that I am competent to take up your challenge to continue our friendly argument, and another is that there is so much about the Arts and Crafts movement both here, in England and elsewhere, that one can accept and ought to be grateful for, in its striving for, and I believe, promise of, a better condition of things both artistically and in other ways, if honestly and intelligently striven for, that one does not, at any rate, I do not, feel much like mere criticism of it, until I have done something more affirmative and constructive than criticism usually stands for. I think it was an illustration of a billiard table, with six enormous, square, uncompromising balks of timber for legs, and which looked almost equal to supporting the weight of an iron-clad, that first made me feel bound to cry out out against it; reminding me, as it did, of the story of the Irishmans wall, which he built five feet wide and three
feet high, so that if it ever did fall over, it would be higher than when it fell! Doubtless there is something in what you say (looking to the past at all events) about the violence of revolutions, and about applied ornament, merely as such, being parasitic, though I do not myself admit the intrinsic necessity, nor even the desirability of violence in revolutions properly conducted; nor can one deny the grace and beauty of the vine, to cite only a single instance, parasite as it undoubtedly is. If utility is urged, I say utility for what? mere physical utility is well enough as far as it goes, but what about the souls necessities? Are they not to be ministered to as well, and can they be by sheer severity? It seems to me that there can be no divorce between Truth and Beauty. In its natural growth a tree is not only perfectly fitted for its work, but it is gracefully and perfectly proportioned, and, therefore, beautiful at the same time. The clouds, too, are perfectly practical water-carriers and utilitarian, pre-eminently sun-shades, and yet as pre-eminently beautiful, while at the same time suggesting nothing so little as any idea of permanence or re-
Critical
Correspondence
It seems an amazing thing, after all it has experienced, in the thousands of years of known history, both before the Christian Era and in the nineteen hundred years since, that humanity has tried and continues to try every conceivable way how not to do it, as regards every issue it has confronted, though less so in America, I believe, than anywhere since the world began. Awaiting with interest your reply, I am, Yours sincerely,
I. G. RAINSBOTTOM.
APRIL 3, 1903. THE CRAFTSMAN BUILDING SYRACUSE, NEW YORK Editorial To I. G. Rooms RAINSBOTTOM, BROOKLINE, ESQ., THE MASS. BEACONS-
pose, except that highest form of repose, action: and the same may be said of the sea. Frankness and sincerity of construction do not seem to me necessarily to imply boldness or unrelieved severity, and, to revert to the Billiard table again, it isnt even true in a sense, because any O,ZFof those legs quartered, would support a table like that perfectly. In any case two blacks dont make a white, and one extreme is as bad and as untrue as another. Also, simplicity and frankness of construction are all right as long as they do not descend to absolutely primitive barbarity and crudity. Ruskin says somewhere: The architect is root lout& to exhibit construction, and Edn,ard Lacy Garbett, who thus quotes lrss CXI he be him, continues : SC! boun d to exhibit the whole of it; to do what nature has never done. He may conceal as much as he likes, but may not disguise any. None need appear, but that which does appear must be true. But I ought to apologize for writing at such length. You see, with the inevitable frailty and inconsistency of human nature, I am a standing example against my own criticism of extremes: either I cant write at all, or I let my subject run away with me. At any rate, I can wish your venture every success, and do. As long as it follows the principles of the Ten Commandments and the Sermon on the Mount, in its objects, methods and developments, it will succeed ; and if not, I expect you vourself would not want it to succeed.
FIELD,
BOSTON,
My
Dear
Sir:
Your letter of April three assured me of your continued interest in our argument, which might be termed: Simplicity versus Decoration. I am glad to feel to the degree that I do your sincerity and earnestness in the points which you so ably maintain. Your description of the heavy billiard table is nothing short of amusing, and reminds me somehow-I think in its suggestion of weight and support-of Caesars timber bridge over the Rhine, which every schoolboy crosses on his powBut to be serious ! Perhaps the table was not altogether wrong in construction. Were it only for the satisfaction of the eye, there must be balance in masses, and the heavy, horizontal bed of 139
Critical
the table should be matched with tical supports in answer
Correspondence
vermay perfect when verif it be the your or even You But huthem. ReThere Horace, garland plain. sidiously slow mantles. and taking: the case, whose return there nature fair construction is the vine and whose the There decay of poplars is also the that adorns, like the one married to the elm in the verse of modern of the the vine descendants Lombard that which entailing init
to the demands and firm,
made by the eye ; so that confidence be felt in the strength And this is no light and how free level of the field on which we remember by faith, be allowed wholly asserted mind refusal the sonal, men manity Practice forms, yet been ing life, safe that how great easily rein
the balls play. a part is played drlgerous
consideration,
saps and mines ; that causes the structure In one case, there the gift of support gift of beauty; active and ornament. is an is disguised exterior. from Ruskin Garbitt I think with its Lacy is exit might to Gothic, and Romanand if I mistake elements; of London of its space Fimade strucis and may will deare giving if you will, In the other agent beneath of evil, an ex-
tigo may be induced places. if the
by imagination, in high, Indeed, it may
although
eye is satisfied, stricture:
is convinced. second the of entire attitude must counter to admit desirability peaceful in general and runs worthy necessity, revolutions. right of mind. reckon to with against theory.
I pass to your
ceedingly Your extension cellent
quotation by Edwin
have, of course,
to your per-
and well used. with
be strengthened as contrasted organized for the esque architecture. Gothic not, requires whereas, occupies nally, tural velop
by a reference Roman structure, supporting cathedral per cent
history-not
A well planned
of the name, offered this
have not as violence be such perand to the opposelement And say the
but ten per cent. of its area
accomplished u hether
without
necessary St. Pauls seventeen repeat
of some kind being element, property, nature-let mankind,
or sentiment. us not
lvith the same elements I must style in my first letter that
of support. the simple, art
is the versity-of delights just
my statement
that it demands abrupt physical organs-the
in pronounced,
changes, and my reply and it vines.
of the new
movement strong
as the purely discords. the upon no of Now, same one the
in its first stage;
that evolution at once
eye, the ear, occasionally sudden In word that beauty be. paragraph can vine, there deny are
relish sharp you note and grace though and the vines
in it qualities hoping Very that
fine that are as yet unsuspected. Again our argument yours,

STICKLEY.
parasitic
growths, parasite
he continued,
I am, sincerely
GUSTAV
APRIL 18, 1903.
140
Art Notes
HE Society of American Painters opened its twenty-fifth exhibition on Friday the twenty-
seventh of March. This exhibition, which is looked forward to all the year as being the best New York affords, does not this year fulfil our expectations, and certainly is not all that the public has every reason to expect from an organization which stands for what this one does. The best men are represented, but either the public are demanding more, or the painters are giving less thought, putting less of themselves into their work. They their paints with are not mixing brains. We note very little progress, for instance, in such men as Kenyon Cox, Carroll Beckwith, Douglas Volk, and others who are among the founders of the society-and whose aims and reasons for leaving the Academy were made so very public twenty-five years ago. The quarrelsome disposition of some of the members has deprived the public of seeing the Whistlers, which were exhibited in Philadelphia, and reviewed in these columns last month. But the portrait of William M. Chase by John S. Sargent is here and hung to much better advantage than in former exhibitions. This has been spoken of so exhaustively in a former notice that no mention now is necessary. The next portrait of worth is that of a young woman in black, by Robert A most distinguished piece of Henri. work it is, too,-though we quarrel with
the artist, who, after placing the hands so conspicuously, has not given more thought to the painting of them. In the whole exhibition there is not a hand done with enough thought. Do not our painters feel that there is as much portraiture in the hands as in the facesurely as much character! On either side of this charming portrait, several small pictures intervening, are two marines of great beauty. One by Charles Woodbury; the other, the better of the two, by Louis F. Hurd, a painter we have noticed before, but whose best work has not been shown. The one now exhibited is vigorous in treatment and of glorious color. The place of honor is given to Abbot Thayer, who has painted this picture as a tribute to Robert Louis Stevenson. The figure of an angel is represented as seated on the rock which marks the grave, on the mountain-top in Samoa, and while Mr. I hayer has, with his favorite model, given the face a sad, yearning expression, he has not given it the glorious exaltation which should be there. The picture as a whole is very beautiful and the draperies contain all the beauty of execution we usually expect from this gifted painter. This picture is surrounded with interesting landscapes; those on either side, one by Ben Foster and one by Leonard Ochtman, especially good. On the same .wall is a portrait by Douglas Volk, which has been awarded the Carnegie Prize. This is a beautiful 141
Notes portrait of a boy full of life and we like it, even if we do not altogether agree with Mr. Volk in his handling and use of the medium employed. Near this and placed in far too important a place, are two very crude specimens of the work of Will Low. Turning back again, we come to a portrait by Kenyon Cox-Portrait of P. H. P.,-full of masterly work, but poor color and incongruous indeed, with its red face against a piece of old tapestry. Next this is a very cleverly painted portrait by Seargent Kendall, The Green Gnome : a child in a green frock, her attention held by the mother reading. We forgive the very bad drawing of the hands for the clever brush work A curious landscape and expression. with an extraordinary sky of spots of red, by William Coffin, hangs near this, and just beyond the Sargent portrait of Chase hangs a most beautiful bit of woods in moonlight, by Emil Carlsen, who has the real feeling of the woods at night. A portrait of Mrs. Gilbert Colgate, by Paul Moschcowitz, comes next in importance, and next it an interesting picture by John W. Alexander, called A Flower, well staged and full of dramatic force. Louise Cox exhibits a portrait, Olive, which has received the Julia Shaw memorial prize. Near this and in the centre of the wall space is the best landscape in the exhibition, The Dawn, awarded the 142 Webb Prize. It is full of poetry and tenderness, painted in a manner which equals Corot and supplies the gladness The figof color which Corot refused. ures are used beautifully, those seated in the shade of the trees by the edge of the stream, as well as those walking arm in arm, on the edge of the hill, where the sun strikes, and the solitary one in the open field. In such a landscape we feel sure the people of the DeCameron walked and read. Bruce Crane sends a big canvas with all the charm of his former work: the last snow of winter melting on the brown hillsides. F. Luis Mora has a study of light and shade with carefully considered study of the different characters in it. The feeling after leaving the hall and on recovering from the fatigue which a collection of pictures studied a long time brings, is that this is an exhibition we would not have missed of course, but should have been glad to have less of it, and glad to spend all the time on a few really good pictures. The Arts and Crafts Society on 23rd street has just closed what was a very interesting exhibition of its own work and that of outside contributors. Some very interesting book bindings by Miss Preston of the Guild of Arts and Crafts, as well as some of CobdenSandersons, were shown, and a good many baskets by the Misses Francis. Especially did we notice a set of buttons, using the iridescent colors of the peacock feather, blending blues and
Book Reviews
greens silver, Greek surface. Very Guild delightfully, with design borrowing and a belt buckle the design design were in tightly; and sign work the colors blue and a grey white, blue Hicks, exhibited of Deedy Windsor, of New and who, green ; the This devery involved. is the of dull blue, and one of the over some its of a little bowl of copper in others, being of Miss were
in copper has enamel
fret, while
to be sure of as well. G. also worm
in a spotted indeed
the effect, Rugs S. and some Ruggles Miss
does all her dyeing
also by Mrs. Connecticut, York;
beautiful of Arts
the rugs shown, the cotton
and Crafts.
done by members These
of the are of
of the Ashville,
Tennessee,
cord before
it has been twisted
hangings.
LOUISE
C. CHARD.
Book Reviews
UTUAL a series Pierre between their years would, tempt limits nay, ration izing Kropotkin, 1892~96. were and published AID,
A FACTOR IN
every the than
animal man of means
against against
its congenors all other Over of nature men and
and for more in the the against
EVOLUTION
is the reprint were
of
of every this hard
of studies which
by Prince originally Century, studies, as
existence.
provision force and this
in the Nineteenth These and learned constant
outweighing
it, Prince which force
Kropotkin both animals
sees another and men,
operates
brilliant close
author
writes of seven It to atdeserve,
same beneficer: S way among law of mutual aid. The the but himself. formulated the terest lower Russian He author of this states
in his preface, therefore, to review
the result
he terms
work.
be presumptuous them within notice. They and
does not attribute beneficent that his law ideas to are
the narrow thorough prepaof the Prince It is for
discovery
of a book demand made himself and
a prolonged joined with opposes fitting work, by the reviewer sociologists or
a development in the forms
of those Descent of the
of Darwin of Man. of aid infed were mutual which and
consideration,
to a special the arguments whom supports.
in familiar-
He finds also in Goethe factor: received by adults also that the many The the this relating into poets a story a nest
a recognition of the poets
scientists Kropotkin much
in two wren-fledglings of the latter remark: of a feeding all Nature an enigma law
more
to gain so strong influence, which natural
readers
of robins species; If
this important outlining the The kindly whole
in civilizby rapidly it birth. the imof which of
quoting goes having
ing and socializing spirit of that
it be true
its plan and by acknowledging gave to lessen law is an effort
stranger
through
as something would
character
of a general of mutual
law,-then KroI43
portance
be solved. aid Prince
the workings
are seen in the struggle
Book Reviews
potkin defines as a feeling infinitely wider than love or personal sympathy. It is based upon an instinct which has been slowly developed among animals and men in the course of a very long evolution, and which has taught animals and men alike the force they can borrow from the practice of mutual aid-the joys they can find in companionship. From such a point of view, M. Kropotkin combats those scientists who, like Herbert Spencer, maintain that, among primitive men, the war of each against all was the law and the necessity of life. In refutation of this statement our writer adduces the number and the importance of mutual aid institutions which were developed by the creative genius of the savage and semi-savage masses ; which were so strong in the mediaeval city-republics ; and whose universality and influence upon modern civilization have not yet been duly recognized or appreciated. The Mutual Aid instinct, according to the Kropotkin argument, long deferred in rudimentary society the establishment of the separate family. It is strong in the primitive conception of justice and it is the animating spirit of common law. This strongly preservative force has developed by a slow evolutionary process. It has been divided into stages or phases by the revolt of an opposite and destructive tendency based upon the law of Mutual Struggle. The author explains that when the Mutual Aid institutions-the tribe, the village community, the gilds, the medieval city-began to lose their original character, began to be invaded by parasitic growths, and thus to bar and to prevent progress, the revolt of individuals against these institutions took always two contrary aspects. A part of those who revolted, strove to purify the old institutions, or to devise a higher form of government based upon the same persistent Mutual Aid principles. But, at the same time, another class of rebels sought to abolish the protective institutions of mutual support with no other intention than to increase their own wealth and power. This tripartite struggle between the two classes of rebels and the supporters of old institutions, constitutes the drama of history, which, although a tragedy in the eyes of Prince Kropotkin, is never discouraging or debasing. Society will not succeed in the principle of every one for himself and the State for all. The Mutual Aid factor exists and persists. It may be denied, ignored or mocked, but it works constantly and silently, guiding the race with a pillar of fire or of cloud, according to the demands of the hour. Prince Kropotkins present work is truly a monument of thought and labor. It shows above all that first characteristic of the Russian mind: the power to assimilate the raw material of knowledge and to stamp facts with the mark of individual understanding. The book is solidly constructed, recalling a giant fabric of stone, like a cathedral, whose parts are interdependent, and which is
Book
built for all time. The plan. chapters The germ Origin by life. those their are of presented of a great the work, of Species, observations So, the record relative breeding to the reader ground like the divisions
Reviews
by dry sively learned. ever toward Villa London, sincere, at lips pages. the & their that Viola from present Uncut facts. addressed The or work is not excluto the adapted and all such, or wherever
It is written nation little which time. edges.
for the thoughtwhattheir
like that of Darwins was developed among forms
ful and the earnest, home, now turn
by travel, of animal with of birds, their
with respectful in a southern issues
attention suburb writing of as Phil-
of facts begins and
flower-surrounded
to the migrations associations
autumn
with societies ; continuing of the village-community, ters, trade and craft prompts from absorbing and and the for the gilds; a recognition Aid which Apart are worm man, book reason. arts mark the the range nomena tual subtle Aid and of certain these modern appendices of in which chemical are of of Nature
the discussion of city-charending and with which which of the of the of of Mutual
and as scientific Company:
as any produced [McClure, York.
New
328
inches. Jerome
of the principle strikes first interest those who
51,xSl/a by Arthur its name
DELIGHT, THE SOUL OF ART," is a

book of five lectures Eddy, initial tive already Delight Labor. pure, which paints turns our the prose tongue. The tion tured and from or book indeed two back. lecture-course, their less from gifted savors It of a generathe culrecalls Sumner, and which study. in thought noted, in the The takes The and, deal from the one in ; in is It that kind
exists in slum-life. chapters regard part for and gilds to lovers
lectures after with:
are consecuthe first Delight ; Delight
the clod most which city. because
as the brothers minutely This examines
important
the Thought
(of which Symbol English
there are two) of the book rare.
is that Both crafts
the mediaeval
a double because which of are wide phelike portion the of a also a
of the prevailing
the construction
of that
movement, of the
is too rapidly ; nor does that
becoming it abound would who were
features trusts. scientific
does not obtrusively of speech grandfathers, old-time and upon verse
seek the word
associations dealing and
as the parents Valuable with
in foreign have grieved taught masters in and in
economic to exist In this the human notes
one-course the of our
colleges, great
the principle agent. found of the of
of Mu-
nourished
classic
can be proven
mother-
of the work swarming ants, the the
upon polity
butterflies,
origin
family, At
and the time when Curtis sounded and associates
preventives
over-multiplication, is neither wearied
the eloquence
of Phillips,
and the means overwhelmed
to avoid competition. by theories, nor
the end of the book, the reader
the rostrum. the fine English
Apart
the I45
Book
refining tendency of the lectures, their value is not of the first order. Considered as criticism they fall short of being the best attainment, and for readers of Symonds and the newer scientific writers upon the fine arts and literature, they are somewhat wanting in basis and substance. But they contain observations upon conduct, thought, books, pictures, men and life which are attractive and suggestive; which call up in the mind of the reader things and trains of ideas which can not be otherwise than educative. Certain of these observations, however, deal with points which have been hotly discussed with uncertain issue; such as the spiritual quality in Millets Angelus and the rank of the French painter of peasants, if he be compared with a brilliant materialist like Rubens. The utility of such arguments is questionable. They can not convince the well-grounded student, since each such has his own point of view from which he cannot be moved. They mislead the rapidly increasing number of those who know the names and recognize the composition-scheme of the great canvases of the world, without possessing power of judgment, either natural or acquired. Such arguments would appear to prompt prejudice and to bar progress. Another comment, made upon Turner and dangerous for the beginner in criticism, is found in the following passage, which is Hugo-like in expression: The Death of Nelson is a vision, the Fight* ing Tkmdrairk is a dream, the Burning 146
Reviews
Slave Ship a nightmare, but in their way they fill us with awe. Certainly a rapid enumeration capable of giving great personal enjoyment to one who is able through memory and thought to make it! But yet an utterance ill-fitted to aid forming that intelligent public in default of which art can not exist. On the contrary, high praise must be given to an equally short note appearing on the page opposite to the comment upon Turner. It is an appreciation of Browning, Tennyson and Swinburne, contained in three lines which would prove a material aid to a college freshman in passing his English exam, and which is yet precise and adequate enough to satisfy the life-long student of the Victorian poets. But by far the most valuable portion of the book is the final lecture upon Delight in Labor. This contains elaborate definitions of both labor and art and is an argument to prove that these two powerful factors of life can not be separated without incurring the greatest danger to the world. Mr. Eddy contends that art. and labor were synonymous in the early ages, and that the separation of the two was slowly brought about by the abstraction of pleasure from He says: The element of pain work. asserts itself as the element of joy disappears. Labor may be likened to a room which may be filled with either light or darkness. As the light, which is a joy, appears, the darkness, which is pain, disappears; and, as the light goes
Book
OUt, the shadows deepen until the effect is dreary and painful. It SO happens that in nearly every occupation in the civilized world, the light has well-nigh faded from the room, until men have come to accept labor as painful, and as a curse from which there is no escape. And again he writes: Art is labor under conditions of delight-delight in the thought and delight in the symbol, delight in the design and delight in the manner and mode of execution. Truly a definition encouraging and inspiring, since it shows that a real bond unites the humble worker with the genius, and the barbarian lovingly fashioning his basket or his battle-ax, with the creator of the grandest monument. [J. B. Lippincott and London. Company : Philadelphia 287 pages. Uncut edges. 5x71, inches. $1.50 net. A beautiful and timely book has recently been published by Tonncli and Company of New York, under the title of BOOK PLATES OF TO-DAY, edited by Wilbur Macy Stone. It consists of a number of papers upon the artistic treatment of book-plates; upon American designers of these interesting examples of a minor art; also, upon the various types of artists who have successfully produced them. It is profusely illustrated ; containing reproductions of entire collections, and, at the end, giving a check-list of the work of twenty-three book-plate designers of prominence. It is a book for the amateur, since a person of good taste and of ordinary manual
Reviews
skill may gather there, from both text and pictures, a working knowledge s&icient to keep him from grave errors of design and execution. On the first page of the book occurs the statement that American bookplates of note are largely the work of eastern designers : to which the comment might be added that this fact proves no lack of artistic ability on the part of the western men and women. It is to be explained upon the basis of supply and demand. The East possesses by far the larger libraries, public, semi-public and private. It is the larger share-holder in hereditary culture. It simply demands book-plates for its books. In the chapter by Temple Scott, upon The Artistic Book Plate, the reader finds much to enjoy from the contact of a scholarly mind and a fervent lover of books. But here and there the work is marred by the use-all too frequent at the present time-of extravagant words ; as, for example, when pleading for a simple, direct embodiment of the artidea in the book-plate, the author says: the simpler and more direct it is, the more it will appear; and the more beautiful it is, the more will it soften the kleptomaniacnl tendencies of the ghoulish book-hunter. In criticism one may ask why our Saxon word thievish should not be substituted here for the heavy Greek derivative kleptomaniacal, which, with its antepenultimate accent, gives a needless pedantry to the sentence; just as the word ghoulish strikes a false note in taste.
147
Book
The Architect contains tion that a book-plate of his times plied from either the his last as the essay a not artist, Medici notes; of the book: The suggesby nature have supdesigns little of Book-Plate uninteresting was he could library using with very Designer,
Reviews
selves, munity that and yet bound of thought usefully together and by a comThe purpose.
book is so interesting it might upon the living-room spare moments necessity vored Whether the essays, random satisfying method pears ment of wisdom under of and to learn duty how
and of such nature replace table, the novel to be read at faof at is bits apman by an his latter
Michelangelo required,
and that, had the need
; since it is an advantage, for a!1 the more the other the sequence paragraphs the result the By half live.
suppression
or expansion. book is fascinatof which an hours New inches. worth 71/4x91/l like the subject & Company:
one follows or yet chooses
Altogether ing and refined, it treats, study. York.

$1.00.
the little
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and it is well [Tonne16 Illustrated.
one chances
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who is a machine he bears authority loses relation only. mass voters pages. which
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It is not scientific workers City in Boston,
all opportunity to that whole. results is the to life. New 5x755 York. inches. This of bear
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He is interested to himself lvhich workers Mead net. Illustrated. the and & 315
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sense as the more literature interest not similation Boston tion
Company:
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EXTRACTS OF SOME
FROM THE TITLE-PAGES CURRENT PERIODICALS
and citizenship Information
in the in
and instrucmeasure but they have to the sysand they in thesis. in them-
Literary Digest: Symposia on the following:
Financial
Jour-
are contained of Miss
in large Betts, according
the writing
not been tabulated tem of some eminent The separate

148
nals on the Merger Decision; hlr. Cleveland and the White Mans Burden; Sargent and Books That Influence The Old Masters; Childhood. Archiieciure: Authority ris ; Jlethod
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Rudyard Kipling as an Illustrator The Attitude of the Jews towards Jewish Sailors as Critics of Sea Fiction, . Italy in Fiction, . . . . Sappho : Lyrics, On Living Down a Bobk, : : Old Age, . . . .
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HE BIBELOT is in shape a small quarto (4% x 6)) choicely printed on white laid paper, uncut edges, ,and done up in old-style blue wrappers. It is issued monthly, and has from 24 to 32 pages of text, in some numbers 40 pages or more have been given, forming a volume of 400 pages, at least, each year. The BIBELOT for rgo3 is in al] essential features a continuation of the Editors preferences in literature as originally projected. The subject was clearly thought out in advance, and from the first number there has been no change in the simple plan of bringing together the posies of other men- resown so to speak, in fields their authors never knew. The BIBELOT does not profess to exploit the new forces and ferment ofpn de sitcle writers: it offers the less accessible things that perish never,-lyrics from Blake, Villons ballades, Latin Students songs -literature once possessed not easily forgotten of men. The BIBELOT is now in its ninth year and has been a success from its first number. Never widely advertised, it has become known as an unique presentation of tile choicest subjects in English literature.
Subsrriprionr for ,903 OIC now 75 cents in ndvonrc, postpaid. and arc taken /or the romplete yeor only. This ratr ir subjerr to adnanrt as the rdtrion decreases. Foreign subsrriptionr arc 25 rcntr ndditionnl
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is published monthly by The Society of Arts and Crafts, in Boston; under the editorship of Mr. Arthur A. Carey, president of the society, with Professors Charles Eliot LNorton and H. Langford Warren as associate editors, and has just completed its first year. Bound volumes can be supplied in various bindings costing from two dollars upwards.
CONTENTS
OF VOLUME
I.
Principles of Handicraft, The Past Year and Its Lessons, an address delivered to The Society of Arts and Crafts by Arthur A. Carey, president; Aesthetics and Ethics, by Mary Ware Dennett; Style in the Composition of Type, by D. B. Updike ; Cups, by Sarah W. Whitman ; Lace Making in Boston, by Sylvester Baxter: Art Enamels and Enameling, by Samuel Bridge Dean ; The Artist as Craftsman, by Sylvester Baxter; The Present Aspect of American Art from the Point of View of an Illustrator, by Howard Pyle ; The Movement for Village Industries, by Sylvester Baxter: Byways Among Craftsmen, by Elizabeth B. Stone : The Qualities of Carving, by Prof. H. Langford Warren : The Arts and Crafts : a Diagnosis, by Dr. Denman W. Ross; Handicraft and Its Development at Jpswich, by Sylvester Baxter ; Indian Handicrafts, by George Wharton James : Editorials, Quotations, Reviews, Notes. The Second VoIume began with the April number, containing, The Arts and Crafts; an Outlook, by Mary Ware Bennett. Ihe May number contains an article on (The Museum and tbe School, by C. Howard Walker. Subscriptions are invited at One Dollar a year; single copies, Ten Cents.
Published 4
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AND
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STICKLEY.
The Prominence of the Constructive Idea

by which means an object frankly states the purpose for which it is intended
The Absence of Applied Ornament The Development of All Possibdities of Color Texture and Substance
the choice being dependent regard to the intrinsic value upon the beauty, without of the material employed
The
WOODS
used in both finishing and furnishing are OAK, CHESTNUT and ASH. They are subjected to special processes which heighten their natural qualities, and appear in rich or soft Browns, Grayish and Greenish effects. These refined color-elements serve as the bases and guides of complete decorative schemes. Appearing first in the wainscoting, the movable and immovable furnishings, they are repeated in the Leather or the Textiles for Wall-hangings, Seats and Cushions, and in the Draperies and their accessories. The advantages of so simple a scheme are that it may be executed in comparatively inexpensive materials. It therefore results that an individual of moderate or even small income, may possess a House, an Apartment, or a Home, which, judged by aesthetic principles, will compare favorably with the costly environment of his wealthy neighbor. In order appointments workshops to carry the same principles of beauty throughout into of the house, Mr. Stickley has introduced the his
Expert Craftsmen in Metal
who, after original designs, produce Fittings for the Fireplace and for Domestic Lighting Systems, such as Hoods, Panels, Grates and Curbs; Coal Vases, Andirons, Shovels and Tongs; Door-hinges, Drawer-pulls, Bell-pushes and Door-plates, Electric Lamps, Sconces and Candlesticks; all articles being made by hand from Wrought Iron, Hammered Copper or Brass, or from other available materials. In addition to their artistic qualities, these pieces of metal work possess the advantage of never being produced in quantity, thus offering few replicas, and assuring to the purchaser the acquisition of work that is practically unique.
For Designs, Schemes, Estimates and Counsel, Address
REGAL
E& SHOES
THREE
MODEL MODEL
METROPOLIPARf
Patent Calf only,
STYLES
Lace style, Patent Calf only, plain toe, cloth top,
17427 17431 17467
Button
style,
single soles.
Lace style Lace style
single soles.
MODEL
in Imported Enamel, and Patent Calf, medium soles, also Black Calf Skin, double soles. in Black King Calf with either cloth or leather lining, heavy double roles.
our stores we show 27 styles of Mens shoes for street, business and dress, also 36 different styles for Women, 18 sizes anxhxizes, 8 widths, 144 fie.Shoeso suitmet and1 requirements. If you do not live near one of our 45 stores we can deliver at your door for %3.75,* through our Mail Order Department, immediately on receipt of order, any of these 63 Our complete -__ styles. catalogue sent FREE ON REQUEST. YOUare paying for Oak Soles, are you getting them ? How can you tell, all black bottom shoes look alike. We prove our statements before you buy. Our booklet tells how. (FREE on request.) --It is not what we say, but what we do that has made the Regal famous. --7-YOU TAKE NO RISK when ordering by mail. Shoes exchanged or money refunded.
I
$3.5
--
o~MFze;Fz~AL
SHOES made in all
popular styles, both dainty and mannish. Sold only in our excluswe stores for wo-
men, and obtainable through our Mail
&it Styles
L. C. BLISS & CO.
MANUFACTURERS
MAIL ORDER DEPARTMENT BOSTON,MASS., 5 19 Summer St. 6~~~I~~~g~~~~~~~~~~~er
*Delivered through our MAIL ORDER DEPARTMENT, carriage charges prepaid, to any address in the United States or Canada. Mexico. Cuba, Porto Rico, Hawaiian Islands, and PhilippIne Islands. also Germany, and within the hmits of the Samples of leather and any information ParCelS Post System, on receipt of $3.75 per pair (the extra 25 cents is for delivery.) desired will be gladly furnished on request. 14 STORES
MENS STORES-New
IN
NEW
YORK DISTRICT
ALONE.
York, 115 Nassau St.; 291, 785, IZII. r341 Broadway; 166 W. 125th St. Brooklyn, 5, Fulton St.; III. 1001 Broadway. Newark, N. J., 841 Broad St. Jersey City, 66 Newark Ave. Boston, TT Summer St. 6 rovldencc. 220 Westminster St. Albany, N. Y., 34-36 Malden lane. Balt!more, Md., Rochester.N. Y., 40 E. Main St. 6 E. Baltimore St. Philadelphia, 1218 Market St.; 732 Chestnut St. Washington, D.C.. 1ao3 Penn. Ave. Pittsburg. 433 Wood St. Atlanta, Da., 6 Whitehall St. Denver, Cola., 42 Sixteenth St. Louisvflle, Ky., 116 W. Market St. Richmond, Vs., 909 E. Main St. Nashville, Term ., 515 Church St. BU i felo. N. Y ., 362 Main St. Cincinnati. 129 Vine St. St. LOUIS, 618 Olive St. Chicago, 103 Dearborn St.: 215 Dearborn St. Detroit, 122 Woodward Ave. Cleveland. 69 Euclid Ave. Milwaukee, VIZ Grand Ave. Minneapolis, 516 Nlcollet Ave. St. Paul, car. Wabasha and 6th Sts. Los. Angeles, 2.z W. 3d St. San FrPUClSCO, corner Cearyand Stockton Sts. Hartford, Conn.,65-6,Asylum St. London, Englend.9, Cheapside.
way; 1339 Broadway ; v&h St. COT.7th Ave.
WOMENS
STORES--Boston,
log
Summer
St.
Philadelphia.
1218 Market
St.
New York,
785
Broad-
Kindly
mention
The
Craftsman
Bausch 8 Lomb
Photo&-aphic
LENSESAND SHUTTERS
Sold
are made
Round
the World
lens making establishment
by the oldest
and best equipped in America
Bausch
%t Lomb-Zeiss Anasti&liats and Plastidmats with Volnte Shutters
Are Regularly Furnished on All High Grade Cameras

Mhcn Inwing your camera this year see that it is equipped with me of our x!perh lenses, making it possible to do every kind of photography. and the best photography w~rh one outfit. If your ci,n,rrn has a I~AUSCII 8: LOhlR lens or shutter you can camp for the
$5,000.00 Bausch
NEW YORK
for Optical
ROSTON
Photographs Co.,
St.
which is offered :~l~solutrlv without reserve to users of our lenses and shutters. Sernff;~ Zhok/rf. Catalog of IrismFicld Glasses, Microscopes. Projection I,anterns on request.
Lomb
Rochester,
CIIICAC.0
N. Y.
and Rlonroe sts. I
25th SI. and Broadway r
I20 Roylston
Wabash
COMMEKClAL VI?ilIH&
-------AAl.
WWWAWBW
$50
California&Back
From Chicago to San Francisco or Los Angeles and return. May 12 Splendid service via the Chlcago. Milwaukee B St. Paul and Union Pacific line. Three trains every day Chicago to San Francisco. All meals served in dining cars. Folder sent on request.
TYPEWRITER
SIMPLE : EFFICIENT:
Visible Writing, changeable Type, Useful Features
ECONOMICAL
Universal Keyhoard, InterManifolding Facilities, All : : : : : :
F. A. MILLER
General Passenger Asen
PRICE,
FIFTY
DOLLARS
CHICAGO
277 Kindly mention The
NOTE.-We take in exchange all makes of typewriters. We put them in thorough order and offer them cheap for cash 01 rnry inrrollmrntr. Send for price and term%
BROADWAY
Craftsman
NEW YORK
THE
NEW
DOUBLE-MAGAZINE
LINOTYPE
CARRIES TWO COMPLETE FONTS OF MATRICES, - UPPER AND LOWER CASE, WITH ITALICS AND . . . . .. .. SMALL CAPS OR BLACK FACES :: ::
11 Mergenthaler
NEW YORK
Linotype
CHICAGO
Company
SAN FRANCISCO

The Craftsman - 1903 - 05 - May

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www.historicalworks.

Pictures and Stories of Florida and the Southland

must be relieved from the hard pressure of cimmstancr.

must be removfd to perceive materials that shop, may

a22d acklzowZedg-c the value: which that

their- worth and digflity as

as one of the p&2e

oyganizcd and civiZized Zz-e.

Arts and Crafts Exhlbltwn The Craftsman Bulldtnz Syracuse, N. Y.

Learn Build a Home

to Plan, and Decorate

flYhe Cornhill Dodgers

PUBLISHING COMPANY Block

Thereis but OneWay

you are received.

not satisfied 15 cents

Land ofEVanPeline Nova Scotia

Published monthly for the China Painter, Potter, Clay Modeler

mention The Craftsman

ITS JUNE ISSUE

TECHNICAL ARTICLES BUILDING IN CLAY

AND THE DESIGNS FIXEI)

REPRESESTATIOSS IT IS HOPED FEATURE

STREET, BOSTON, MASS.

Thames the Thames Hew, and in the

Old London Upon the South of the River of Richmond, Near

Architectural Remains and Mortlahe Ancient Royal Palaces

67 FIFTH AVE. NEW

Preparing for Greater Opportunities

Arts and Crafts House

Exhibition m.~trtl~r~~ Illustrntt,[i

Guild of Applied Classes

Art Notes Book Reviews

Arts and Crafts Exhibition

A Recent Arts and Crafts Exhibition

Arts and Crafts

Metal Work Art Fittings Company

Arts and Crafts Exhibition The Craftsman Buildin): Syracuse. N. Y.

Arts and Crafts

Arts and Crafts

Arts and Crafts

Arts and Grafts Exhibition

Hooked Rugs Helen R. Albee;

Arts and Crafts txh,h,tmn The Crafrsman Butldlne Syracuse, N. Y.

Arts and Crafts

Arts and Crafts

Arts and Crafts Exhibitwr The Craftsman Bulldlng Syracuse, N. Y.

Tea Set: designed K. F. Leinonen

Arts and Crdfts Exhibition The Craftsman Building Syracuse. N. Y.

Altar Book D. Berkeley

Arts and Crafts Exhibnon The Craftcman Bulldlng byracuse, N. I.

Arts and Crafts Exhibitmn The Craftsman Bullding Syracuse, N. Y.

Arts and Crafts

Arts and Crafts

Clock and Electric Lamps From La Maison Bing, Paris,

Arts and Crafts Exhibitior The Craftsman Bullding Syracuse, N. Y.

Arts and Crafts Exhibition The Craftsman Building Syracuse, R. Y.

Arts and Crafts

: First Floor Plan

sills, and are furnished

Some Indiana Bookplates

ESTHER WFFN JWZTE

Some Indiana Bookplates

Some Indiana Bookplates