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Florentine Statuary is a composition, in color and consistency, closely resembling the celebrated Florentine Terra Gotta, hence its name. VVhen it comes from the drj' kiln it is of a pale reddish color, ready to be Allied or decorated. We give below the finishes most desirable. No. 1. Florentine — A Hat grey stone color. No. 2. Metal Bronze — Dark antique. No. 3. Gold Brilliant— Bronze. No. 4. Terra Cotta. No. 5. Pure White. No. 6. Marble White. No. 7. Silver — Antique. Although some of the above enumerated finishes are more expensive than others, we charge the same price for all. If not distinctly stated with order what finish is wanted, we will always finish in No. 1 Florentine. No. 2 to 7 finishes we make to order only. Statuary in No. 5 Catalogue and list A, is intended for decorative purposes. For Statuary, Busts, etc., for artists, designers, etc., see list D, and '"Art Studies," fourth edition. No. 5 Catalogue and List A also contain many desirable modern and mediaivel statues and busts suitable for art studies, and are therefore listed in Catalogue No. 4 and list D. To avoid mistakes those statues and busts that appear in both catalogues have different numbers, so we can understand for what purpose they are intended. In ordering mention List A, and give name and number. All numbers marked with a star are also made in Ivorite, see List C, where they are again enumerated with prices. No. .5 Catalogue, containing 100 quarto pages, illustrating and describing 775 pieces of Statuary, Busts, Plaques, etc., will be mailed upon receipt of 75 cents, post paid; but this amount will be allowed on the first order of goods, making the book really free to customers. No. Name. Ileiirht, in. .•wl-A — Adoring Angel, liiinds joined 11 .551-B— " " " " 21 re I Q CI t( a (( OA 5.50-A— " " hands folded.'.".'.'.".'.'.'.'.'.'.'.'.'. 11 r»0-B— " " " " 21 ,5.50-C— " " " " HO .565 — yEsculapius 86 *814— Africa 15^ 74.5— Air, witli Vase 42 747 — " for Lamp, Gas or Electric Lights, companion piece to Water 42 767 — Alpine Hunter 20 *i)ll — America 15^ 7.50-A — Amor and Psyche 13 750-B— " '• 28 *7.56-A— " " 13 *7.56-B— " " 16 y5^>_(J II ti 20 808— Amor and Swan lOJ i»19— Angelo, Michael 14J 632-A— AntinouB 25 632-B— " 72 638— Antique Vase 18 *878— Apollo 16 872— " 23 829-A— Apollo, Belvedere 37 829-B— " " i)0 *798 — Ariadne Deserted 17 *9.50-A — Ariadne and Panther 15 *ft50-B— " " 21 806— Art 28 *877— " 16 658— Arrotino 17 *8i;^— Asia i5\ 931— Atlas with Globe 49 858— Audrey 18J *7.3f)— Aurora to suspend 16} *960— " 1.5} 733— Autumn 18 718— " 37 *940— " 10 775— " 10 *574— " 4 Price. No. Name. Heipht, in. Prfcp. n 50 97.3— Babes in the Woods 24 6 00 *907— Bacchus and Ariadne 19 10 00 822— Bacchus m 150 701 — Bas relief Horses by M. Angelo 4 6 00 9.58— Beethoven 20 10 00 600— Belt Bucklers 24 12 00 600— Pedestiil 13} 2 00 711— Berlin Bell Cow 10} 16 00 607— Blessed Virgin 15 *.543- A— Blessed Virgin 13 10 00 .543-B— " " 33 6 00 761— Bovs' Pots 10 2 00 613— Boxer 33 3 00 522— " 48 10 00 791— Bull 20J 6 00 717— Bv Jingo 17 8 00 846— Bvron and Maid of Athens 14 12 00 706— Can't You Talk? 12 6 00 855— Capital .Joke 9} 3 .50 *836— Cellini Vase 18 6 00 826— Ceres 44 75 00 5.5:^— Child Jesus 41 1 50 94.5— (Christ and St. John 10 3 00 754— Cinderella 28 7 50 871 — Circassian Slave 14 18 00 604— Comedy 1(> 85 00 *757— Conflict of Authority 2*.) 8 50 *8.56— Conquering Jealousy 13 7 00 *74;^— Con.solation .". 24 12 00 .561— Cow and Calf. 11 7 50 854— Critical Moment 14i 3 00 789— Croquet Player 18 7 00 874— Cupid ' 16 2 00 784— Cupid Betrayed 17 12 00 779— Cupid Captive. 16} 3 50 922-A— Cupid and Psyche 18 4 50 922-B— " '"' 28 2 50 914— Cupid's Jewelry Box 4} 3 00 *976— Cupid's Repose 6 12 00 895— Cupids Supporting Vase 10 1 20 778— Cupid Triumphant 17i 1 25 583— The Cvklop Polyphemus, throwing Stone 40 at Odysseus 17 3 00 12 (K> 6 (K) 30 (K) 25 4 ,50 15 00 5 00 3 .50 1 75 1 50 9 00 1 00 12 00 18 00 7 50 3 .50 4 50 6 00 4 .50 4 (K) 15 m 14 00 2 .50 15 (m 1 75 3 00 14 00 3 00 8 (HI 5 .50 7 .50 4 .50 3 00 6 00 6 00 5 00 10 00 , ft5 3 00 2 50 6 00 LIST A— Continued. No. Name. Height, in. Price. 690— Dawn, bv M. Angelo 22 15 00 688— Day, '' " 22 15 00 612— Decorating Grandma 9 2 00 566— Demosthenes 36 12 00 *879— Diana 16 3 00 828-A— Diana 34 18 00 828-B— " 84 85 00 842-A— " de Gabii 28 7 50 842-B— " " 72 60 00 630-A— Discobolus, Myron 17 6 00 630-B— " " 72 85 00 631-A— " Naucydes 25 5 00 631-B— " " 72 65 00 975-A— Diver 15 1 50 975-B— " 24 4 00 975-C— " 27 6 00 623— Doctor 15 3 50 *844— Dolly Varden 10 2 50 714— Dove 7 80 698-A— Dying Gaul 9 4 00 698-B— ■" " 14 7 00 698-C— " " 84 100 00 971— Eagle 16 6 00 716— Emily and Doe 24 10 00 942— End of Argmnent Ill 4 50 *910— Europe 15^ 2 00 980— Euterpe 45 20 00 *833— Evangeline 21 3 50 780-A— Eve 14i 1 50 780-B— " 19 3 00 691— Evening (Twilight) by M. Angelo 22 15 00 988— Evening Devotion 21 7 50 618— Expectation 26 4 .50 894— Fairy Flower Holder 13 2 .50 982— FairV Tales 20 8 00 *SM)— Falconer 21 10 00 *963— Family Cares (Bov) 12 150 *964— " " (Girl) 12 1 50 758— Fast Asleep 11 1 80 82;^— Faun 60 30 00 629— " 29 8 00 624— " 24 7 00 *920— Faust and Marguerite 25 12 00 *8:37— " ^' 20 6 00 619-A— Fighting Gladiator 26 9 00 619-B— " " 41 15 00 619-0- " " 72 75 00 926— Finding of Moses 15| . 3 .50 886— First Lesson 12 2 50 *928— First Love 13i 5 00 665— Flamingo Bovs, Relief, Luca Delia Robbia, 39 6 00 888— Flight into t^vpt 11 2 50 881— Flora ..". 18 3 50 722— " 42 15 00 930— Flying Mercury 35 8 00 82.5— " " ■ 72 45 00 *794— Forced Prayer U 100 838— Fortuna 23 12 00 *898— Fount of Mercy 18 5 00 *965— Friends 20 5 00 766— Gamekeeper 20 6 00 923— Girl Bathing 20 3 50 760— Girls' Pets 10 1 00 819— Goethe 19 3 50 921— Goethe and Schiller 23 9 00 967— Good Morning 23 5 00 968— Good Night 23 5 00 752— Grandfather 14 3 00 790-A— Greek Slave 14i 1 50 *790-B— " " 19 3 00 953-C— " " 40 15 00 542-A— Guardian Angel 14 2 00 542-B— " '^ 24 6 00 542-C— " " 33 ■ 14 00 979— " " 16} 4 50 845— Happy Family 12} 3 50 899— Haymaking 19} 7 00 721— Hebe 42 15 00 824-A— Hebe, Thorwaldsen 25 5 00 824-B— " " 60 30 00 824-D— " " 50 25 00 804-A— " Canova 36 12 00 804-B— " " 62 35 00 815— He Loves Me 20 9 00 *993— Herald 21 10 00 622— Hercules 29 8 00 564— Herman and Dorothea 29} 14 00 628-A— Hermes 30 10 00 628-B— " 92 100 00 No. Name. Height. In. 556— Holy Family 18 *891— " " 12 *549— Holy Water Font 10 *83o— Home, Sweet Home 28 *989— Hope and Fear 30 541— Hope 13 560— Horse and Colt 13 536— Horse 22 974— Hunted Down 20 81(5—1 Love You ; 20 850 — Imi)osing on Good Nature 5} 893— Indian Warrior 15} 972 — Innocence and Love 24 *847— Innocence Protected 21 859— Is That You, Tommy? lOf 95.5 — Italian Reapers 10} 79V)— It Cannot be Mended 20 927— Italian Flower Girl 12 6.5(>-A — Jason 27 656-B— " 72 582— Juliano de Medici 36 852-A— Kiss 11 852-B— " 20 658— Knife Grinder 17 562— Laocoon 36 563— Lion Hunter's Return 29} 978-A — Lion of Luzerne 4} 978-B— " " 11 831— Lion 15 925— Lion Slaver 16} *5]4— Little Sweetheart 13 *781— Lohengrin 3!^ .581 — Lorenzo de Medici .36 *7SI5— Lost Breakfast 11 *966— Lost Found, The 20 *!»95— Love's Device 21^ 983 — Love's Message 25 853 — Love's Mirror 14 830-A— Luther, Dr. M 16* 830-B— " " 23' !>96- A— Luther Medallion 12i «H)-B— " " 19" 832— Maidenhood 22 *987— Mamma 10} *834— Marguerite 21 707— Mars 18 785 — Marv and Lamb 11} 9a5— Match Making 8 .518— Maternal Love 23 9.52 — Meeting of Jacob and Joseph 16 951 — Mentor, Telemachus and Calypso 16 800— Mercury 15} 715— " ■ 22 916— Milton 14 577— Mine 20 727— Minerva 18} 840-A— " 42 840-B— " 90 *568 — Morniug 12 *572— " 23 620— Moses 36 »889-A— Mother of Grace 13 889-B— " " 24 889-C— " " 36 957— Mozart 20 885— Music 12 702— " Relief by Luca della Robia 6} 669 — Napoleon 15 944— Napoleon 1 12 575 — Narcissus 26 704- A— Nest of Cherubs 13 704-B— " " 20 *513— Never Mind 13 *569— Night lOi *571— " 23 689— " by M. Angelo 22 905-A — Niobe and Daughter 21 9a5-B— " " 26 oA5_(j " " 92 730— Olympic Plays, Relief..V.'.V.'.'.".V.V.V.V.V.'.'.V.V.'." 11 731— ' 11 777— On the Alert 9} 909— Ophelia 22 567 — Othella and Desdemona 16 *544-A — Our Ladv of Lourdes 13 544-B— " ■ " 16 544-C— " " 21 544-D— " " 29 875— Pandora 16 Price. 6 00 2 50 2 50 13 00 14 00 2 50 7 50 6 00 28 (X) 9 00 1 20 7 .-)() 12 00 9 00 4 (X) 3 00 3 50 2 .50 10 00 KXI 00 25 00 1 25 3 50 7 00 40 00 14 00 1 00 5 00 4 50 9 00 3 00 12 00 25 00 1 00 5 00 800 8 00 4 00 4 00 8 00 1 00 .50 50 00 50 .50 80 90 9 00 600 7 00 2 00 6 00 3 50 8 00 2 50 15 00 80 00 1 50 6 00 ,30 00 1 .50 5 00 12 00 4 50 2 50 50 3 00 1 50 6 00 300 7 00 4 50 1 50 6 00 15 00 7 50 10 00 100 00 00 00 50 00 50 30 00 50 600 3 00 LIST A— C> -itinued. No. Name. Height, in. *986— Papa lOJ S43— Paul and Virginia ]3J 5!H»— " ^ H" 9;i5— Peace 12J 936— Picnic Time (Girl) loJ 937— " " (Bov) 15| 557— Pieta 20 969— Plaving Grandma 11 977-A — Playing Horses 11 977-B— ■" " 15 531 — Polybyinuia 45 946— Pomona 27 •5.52 — Praying Samuel 15 *890— Prince Arthur and Hubert 18 873— Prosperine 23 *742— Protection 24 *72()-A— Psyche 24 720-B— ■" 46 538— Queen of Heayen 29 539-A— Queen of Heayen 34 5.S9-B— " " 48 892-A— " " 16 892-B— •' " 21 7a3— Ramblers (Girl) 9* 782— " (Boy) 9J *713— Reading 14 *76»— Rebecca 18J 786— Red Riding Hood ]l| 896 — Renaissance Vase 12 897— " " 12 849— Retribution 6 984 — Reyeries of a Bachelor 8 788— Rinker 18 *729— Rock of Ages 17J 924— Romeo and Juliet 24 9.33— " " 13 mo— " " 16 918— Rubens 14i *77t>— Ruth 18j *.546-A — Sacred Heart of Jesus 12i 546-B— " " " 21 *.547-A— " " Mary 12i .547-B— " " " 21" .54.5— " " Jesus .36 548— " " Mary 36 *540-A— St. Joseph 13 54(>-B— " 34 540-C— " 48 558-A— " 34 55&-B— " 48 887-A— " 16 887-B— " 21 *821— St. Joseph and Child 22 970 — Satyr and Nyni])h 21 820— Schiller .- ! 19 *876— Science 16 g0.5_ " 28 *961— .Seaside ....'. 15 917 — Shakespeare 14 *oS5 — Siegfried and Chriemhilde 23 655 — Silenus and Infant Bacchus 22 734 — Singing Bovs, Relief. 20 768— Sketch from Nature 12 627— Slaye 46 943— Soldier of 1876 14 884— " 1776 14 576- A— Sophocles 36 576-B— " 84 929— Spanish Fruit Girl 12 868— Spoils of War 8 *573 — Spring 4 *93a- " ]0 776- " 10 Price. 1 00 3 50 2 00 1 75 2 5t) 2 50 10 00 3 00 4 50 6 00 20 00 6 m 3 00 7 00 7 50 8 00 4 00 15 (X) 7 00 12 00 25 00 3 00 6 00 1 80 1 80 3 00 3 .W 1 80 1 50 1 50 1 20 75 4 .50 3 50 10 00 2 00 3 00 3 -50 3 50 1 20 4 00 1 20 4 00 10 00 10 00 1 50 12 00 25 00 10 00 25 00 3 00 6 00 6 00 9 00 3 50 3 00 7 50 5 00 3 50 9 00 7 00 5 00 6 00 15 00 3 00 3 00 12 00 00 00 2 50 3 50 40 1 20 1 25 o. Name. Height, 7.32— Spring 18 •5.55 — Standing Angel 28 5.54— " " 28 *773 — Storm 18 719 — Summer 37 *939— " 10 *774— Sunshine 18 .559 — Symphony Relief. 17 *811— Taking the Cream I9j 772— Tancred's Farewell 26 *762— Tannhaeuser ail *755-A— Terpsichore 17 755-B— " 39 *724-A— " 17 724-B— " 39 880— " 18 867— Terriers 7 523— Three Arts 19 *771-A— Three Graces 12 *771-B— " " 21 771-C— " " 29 867 — Touchstone 18J 603— Tragedy 16' 763— True Friends 14 764— " " 14 869— Tug of War 7 *959— Twilight 1.5A 992— Two Wellers ll| 787 — Una and Lion 15 994— Uncle Tobv and the Widow llj 870— Venus 14 807— Venus and Adonis 29 740-A — Venus Canoya 23 740-B— " " ,34 725 — Venus Coming from Bath 35 737-A — Venus Crouching 17 737-B— " " 48 841— Venus Genitrix 28 827— Venus Going to Bath 32 954-A — Venus de Medici 30 954-B— " " 36 954-C— " " 62 723-A— " deMilo 19 723-B— " " 23 723-C— " " 34 723-D— " " 42 723-E— " " 84 *991— " in Shell 18 736-A— " Thorwaldsen 38 736-B— " " 62 802 — Victory, to suspend 37 9.32- " ■ 46 fi02— " Rauch, Standing 38 601— " " Sitting 44 532— Vincent Relief 11 934— War 12* 883— Washington 14 748— Water, for Lamp, Gas or Electric Liglit, companion piece to Air 42 746— Water, with Vase 42 839— Welcome .5<) *617-A— " 17J ♦617-B— " 32' 533— Wesley Relief. 12 759— Wide Awake 11 *941— Winter 10 710— Wisdom 17 962— Wolf and Lamb 14 741— Wrestlers 16 *712— Writing 14 906— You Dirty Boy 12 8.51— You Naughty Boy 14 Price. 3 00 7 00 7 00 3 .50 12 00 1 20 3 50 3 00 7 00 16 00 12 00 3 50 15 00 3 00 15 00 3 50 4 00 6 00 3 00 7 00 12 00 3 50 3 00 4 00 4 00 3 50 2 .50 4 50 6 00 3 00 1 75 12 00 4 00 10 00 12 00 5 00 50 00 7 50 12 00 12 00 15 00 35 00 3 50 4 50 10 00 12 00 50 00 600 15 00 ,35 00 15 00 20 00 18 00 20 00 200 1 75 3 00 16 00 16 00 30 00 3 00 10 00 2 00 1 80 1 20 450 3 50 10 00 3 00 3 00 3 00 All Busts marked with a star are also made in Ivorite, and are again enumerated with prices in List C. Name. ■ Helfrht, in. Price. Aeschylos 27 $ 8 00 JSsculapius 1] 1 25 " , 23 ,5 00 Agassiz 30 15 00 Agrippa , 28 8 00 Name. Height, in. Price. *Ajax 12 1 50 " 26 7 50 " 36 15 00 *Amor 17 3 50 Angelo, Michael , „ 'iS 8 00 LIST A— Continued. ' Name. Height, in. Antinous 27 Antony, Mark 28 ♦Apollo 12 '' 14 * " 23 ii ,32 *Ariadne 10 '" 12 Aristotle 26 Arrotino 30 Auber 28 Augustus, (Youth) 23 Augustus Csesar in Armor 32 *BaccliuB 10 12 30 *Bach 17 " 27 Bacon 30 Beatrice 12 Beecher 30 *Beethoven 11 J " 21 Benevieni Head 18 Bismarck 22 Boy Laughing 12 Boy — by Donatello 19 Brontafone 17 Brutus 22 *BurnB 13i " 16" * " 18 " 30 *Byron 13 " 23 Csesar, Julius 27 Canova 30 Calhoun 30 *Chopin 16J Christ 24 Cicero 22 " 27 Clay, Henry 13 " 29 *ciytie !!!!!!!!!"!!!!!!!!;!!'.'.'.3.V.'."33^".'.V^! 14 * ^' 16^ * " 23 " 28 *Coquetry 19J *Cupid, on pedestal 13 * ^' 17 Dante 12 * " 16J " 26 Darwin 26 David 53 Demosthenes 15 22 27 *Diana, of Versailles 12 " " 32 ofGabii ^/^.//..."!!"^™![!!!"".".""!!!!!!! 30 *Dickens .• 12 * " 16} * " 23 *Diesterweg 16} 26 Diomede 28 Dryden 28 *Emerson 13} Eros 26} Euripides 27 Faun 26 Fighting Gladiator 28 Flamingo Boy 20 " 20 Flora 14 Franklin, Beni 28 Frederick William 24 *Froebel 16 " 28 *Gar-B— " " 11 6 00 616— Angel Bracket 11 1 50 860— Bacchus Bracket 10 1 80 864— Cherub Bracket 5 1 00 882— Cupid Bracket 17 5 00 908— Eagle Bracket 7 150 Name. Height, in. Price. 981-A— Lvre Bracket 14 4 00 981-B— ■ " 17 5 00 862— Medallion Bracket 11 2 00 861— Oak Leaf Bracket 14 5 00 865— Shell Bracket.... 5J 100 863— Scroll Bracket 13 2 75 Name. Height, In. Price. 578— Antique Pedestal 40j -8 00 69(;— "^ " 36 8 00 705— Column Pedestal 38 5 00 749— Collosal Pedestal 37 28 00 700— Doric Pedestal 43i 8 00 792— Fluted Pedestal 8§ 2 00 956-A— Fluted Pedestal 20 5 00 Name. Height in. 956-B— Fluted Pedestal 27 738— " " 33 866-A— " " 8 sm-B— " " 8* 728-A— Gothic Pedestal 28' 728-B- " " 33 904— Wreath Pedestal 10 Price. 7 00 8 00 1 25 1 50 6 00 7 00 2 00 MILWAUKEE: 79, 81 and 83 BUFFALO ST. p-tE: cz:cD., CHICAGO: No. 207 WABASH AVENUE. statuary Decorated in Natural Colors. The collection of decorated statuary enumerated in this catalogue, is not only the most extensive, but also the best produced in this coun<^ in f i 00 1234— " (Girl) leVj' in 4 00 1235— Swedish Peasants (Girl) 19)^ in. 6 00 1236— " " (Boy) 19>^ in. 6 00 1 239 - Spanish Minstrel (Lady) 16 H in . 8 50 1240- " " (Man) 16>^ in. 3 50 124.5- Alpine Shepherdess 25 in. 8 00 1246— " Shepherd 25 in. 8 00 1247- Girl Feeding Birds 21 in. 6 00 1248— Boy " " 21 in. 6 00 1249— Ethiopian Water Carrier (Man). . . 29 in. 10 00 12.50— Ethiopian Water Carrier (Woman) 29 in. 10 00 1253— Venetian (Card Receiver) 22 in. 10 00 1254^ " (Lady Card Receiver) . . 22 in. 10 00 1263— Moorish Lady 17 in. 5 00 1264— " Man 17 in. 5 00 126.5— Actress 19 in. 6 00 1266^Water Carrier (Youth) 19 in. 6 00 1267— " " (Maid) 19 . in. 6 00 No. Name. Helgrht. 1268— Spanish Minstrel (Boy on Vase). .. 22 1269— " " (Girl " )... 22 1270— Cavalier and Maid 20 1271— Italian Mu.sician (Boy) 24 1272— " " (Girl) 24 1275— Lute Player 34 1276— Hungarian Gypsy (Man) 27 1277— " " (Woman) 27 1278— Danish Musician (Man) 36 1279— " " (Woman) 36 1280— Moorish Musician (Man* 38 1281— " '• (Girl) 38 1282— Figure A la Grfevin, Masquerader . . 14!^ 1283— " " " " .. 14>^ 1284-Watteau (Jroup 22 1285— Home, Sweet Home 19 1286— Nubian Minstrel (Maid) 19 1287- " (Youth) 19 Price. n. 10 00 n. 10 00 n. 25 00 m. 12 00 n. 12 00 n. 25 00 n. 20 00 m. 30 00 m. 23 00 m. 23 CO m. 20 00 m. 20 00 m. 3 00 n 3 00 m. 15 00 in. 12 00 m. 6 00 m. 6 00 u T^ Decorated in Natural Colors. No. Name. Height. Price. 595— Jockey (Maid) 14 596— " (Youth) 14 597— Marketing (Boy) 18 598— " (Girl) 18 611— Flirtation— double bust 19 615— Betrothal " 19 674— Rubens 20 676 — Renaissance 20 682— Arabian 30 683-Costume Bust 10 684— Costume Bust 10 692— Yachter (Maid) 16)^ 693- " (Youth) 16!^ 694— Maid— Nubian 15>i 695— Youth— Nubian 15>i 902— Coquetry 19)$ 903-Prudery 19>^ 912-Neapolitan Fisher Girl 30 913— " " Boy 20 530— Ideal Bust 18 1202-Duet (Girl) 13 1203— " (Boy) 13 1204— Winter 21 1205— Summer 21 1306— Negro 26 1207— Little Soldier (Girl) 14 1308— " " (Boy) 14 1209— Rococo (Girl) 14 in. $3 00 m. 3 00 in. 12 00 m. 12 00 in. 15 00 in. 15 00 in. 13 00 in. 13 00 in. 7 50 in. 3 50 m. 2 50 in. 7 00 in. 7 00 in. 6 00 in. 600 in. 10 00 in. 10 00 in. 12 00 in. 12 00 in. 8 00 in. 7 50 m. 7 50 m. 7 50 in. 7 50 m. 18 00 in. 3 50 in. 3 50 in. 5 00 No. Name. Height. 1310— Rococo (Boy) ... 14 1212-Martin Luther 16 1211— " " Wife 16 1215-Arab (Lady) 23 1316— " (Man) 22 1223— Arabian Minstrels (Lady) 17 1324— " " (Man) 17 1225— Gypsy (Boy) 13 1226— " (Girl) 13 1232— Bacchante 20>^ 1237— Pierrot (Boy) 26 1238- " (Girl) 26 1241— Sailor Girl 14 1242— " Boy 14 1343— Papa 14 1244 —Mamma 14 1251— Abyssinian (Man) 16 1252— " (Woman) 16 1255— Music Teacher 18 1256— Mandolin Player 18 1357— Adelgund (with Bunch of Keys). .. 14 1258— Wolfram (with Key) 14 1259— Old Man, with mug 14 1260— " Woman, with tea-pot 14 1273-Soudan Negro 20 1374— " Negress 20 1288— Nubian GirlCMaBk) 12 Price. n. 5 00 n. 6 00 n. 6 00 n. 12 00 n. 12 00 in. 7 50 n. 7 50 n. 3 50 in. ■i 50 n. 10 00 in. 15 00 n. 15 00 in 3 00 in. 3 00 in. 3 00 in. 3 00 m. 5 00 in. 5 00 in. 9 00 in. 9 00 in. 7 50 in. 7 50 in. 7 50 in. 7 50 in. 7 50 in. 7 50 in. 3 00 Photographs of these 124 pieces of decorated statuary, mounted on linen for $10.00 net, single photographs, 15 cents each. We issue an Illustrated Catalogue of Decorated Animals which we will mail on application. MILWAUKEE, 75, 8t and 83 Buffalo St. C. HENNECKE CO., CHICAGO, Ho. 207 Wabash Ate. i\7-or.ith: sT_A.Ti:jjPs.K.ir. Most of the statuary contained in this list is illustrated in photogravure book and Catalogue No. 5. Ivorite statuary is made of the very best and finest powdered alabaster. After leaving the casting room it undergoes the finishing processes in the various, departments, and is then sent to the kiln rooms, where it is sub- jected to an intense heat; after the last vestige of moisture is removed it is immersed in a hot bath of stearic acid, which closes all the pores, thus making it very hard and smooth, and giving it a fine, delicate, transparent and ivory like finish. Like genuine ivory it will turn slightly yellow with age, which most persons prefer to the glaring white, which is offensive to the eyes and does not bring out the drapery and general outlines to the best advantage. This has induced us to " tint " it after leaving the dry kilns. A slight tint is especially desirable in draped figures, as the folds and delicate outlines come out to better advantage. We will send it " tinted " unless you state in your order that you prefer " pure white." Photogravure book, containing illustrations of Nos. 1 to 202 will be mailed on receipt of $1-00, post-paid; but this an)0unt will be allowed on the first order for goods, making the book really free to customers. In ordering mention List C and give number and name of piece wanted. Ivorite Busts and Figures, not larger than seven inches, will be sent iis saniples by mail at catalogue prices post-paid. PLATE A. No. Name. Heitrht, iii. Price. 1— Christ 3 ^ .50 2 — St. .Tolui and Lamb 5 75 3 — Adoriiifj Angel 4 75 4 — Child Jesus (i 75 5 — St John and Landi (i 75 6 — Adoring Angel 4 75 7 — St. John and Lanih 3 50 8— St. John 3 .50 9 — Faith, Hope and Charity (i 75 10— Mary and Christ ". 8 1 00 11— Christ 8 1 00 12— Mary 8 1 00 13 — Christ and St. John (i 75 14— 6 75 15 — Christ and Angel (> 75 16— Blessed Virgin 8 1 00 17— St. Joseph 8 ] 00 18— Queen of Heaven 8 100 19— Mother of Grace 8 100 20— Christ Praying (i 75 21— St. Antonius 10 1 50 22— Mary and Child 10 1 50 23— Child Jesus 13 2 40 24— " " 13 2 40 25— St. Joseph 10 1 50 26— St. Louis 10 1 50 PLATE B. 27— Crucifixion, with Plush Frame 18 15 00 28— Baptism, " " " 18 15 00 Without the Frame, each |12 00. PLATE C. 29 — Battle Scene of the Goths and Vandals, with Plush Frame 17i 15 00 30— Battle Scene of the Goths and Vandals, with Plush Frame 17J 15(H) Without the Frame, each, |12 00. The originals of the above four reliefs, which are works of art of great merit, are carved in Ivory and are in a private collection in Europe. PLATE D. 31 — Hebe, Thorvvaldsen 6 1 25 32 — Venus Capua (i i 25 33^Hermes 6 2 00 34 — Music Surprised 9J 3 oo 35— Venus de Milo 6 2 00 36 — Venus de Medici 6J 1 25 37 — Venus Thorwaldsen 6J 1 ''5 38— Petrarch 6J 1 25 No. Name. Height, in. 39— Schiller 6 4(>-G(jethe (i 41— Dante 6i 42 — Crying Boy 6 4.3— .Vchilles...: .5* 44 — Mercury 7 45 — Venus fergamon 5i 45— Pedestal..... 10} 46 — Jason 7 47— -Vntinous 5J 48 — Laughing Boy 6 49 — (iiant 7 50 — Wilhelm I in Uniform 6 51 — " Draped 4 52— " (Bust only) 6} 52 — Bracket only .". 13 53— Fr. Wilhelm 4 54 — Bismarck 5J 55 — Ariosto <>! PLATE E. 56— Minerva 8j 57 — Ariadne and Panther Si 58 — Venus de Milo o" 5i»— Mars 81 60 — It can not be Mended 8 61— Psyche 8 62— Venus 8 6;^ — Amor as Blacksmith 8 64— (ioethe 91 a5— Go to Sleep 91 (>(>— Italian (iirl 13 67— Italian Boy 13 68 — Faust and Marguerite 81 69— .Schiller Oj PLATE F. 70 — Youn^ Augustus 14 71 — Siegfried and Chriemhilde 131 72— Hebe 12' 73— Fire 141 74— Clvtie (Bust only) 6', 74— Pedestal 12 75— Water 141 76 — Minerva 12 77 — Twilight .'. 15] 78 — Young Columbus 15.1 79 — Napoleon 1 15 SO — Aurora 15 \ PLATE G. 81— Monk 7 82— Washingtoi 71 Price. 1 25 1 25 1 25 1 25 1 25 1 25 1 25 2 00 1 25 1 25 1 25 1 50 1 50 1 00 1 .50 2 75 1 00 1 25 1 25 2 (X) 9 00 2 00 2 00 2 00 2 00 2 00 2 00 2 00 2 00 4 00 4 00 2 .50 2 00 12 00 () 00 3 00 5 00 1 25 3 00 5 00 3 00 5 00 5 00 5 00 5 00 2 00 1 50 LIST C— Continued. Name. Height, in. Price. 83— Lincoln 7J 84— Tasso 6J 85— Monk 7 86— Mozart 9| 87— Beethoven 9i 88 — Innocence 9 8i>— Love 9 90 — Shakespeare 8J 91— Dickens 8J 92— Moltke 10' 93— Fr. Wilhelm 10 94— Martin Luther 9 9.^— Wilhelm 1 10 !K>— Bismarck 10 97— Leucothea lOJ 98— Costume Bust 10 99— " " 10 100— Beatrice 11 PLATE H. 101— Flamingo Boys, relief. 20 102— " "^ " 39 103— " " " 12 104— " " " 16 105— " " " 12 PLATE I. 113 — Musical Cupids 14 113— " '' without base HI— " " 14 111 — " " without hase 115— " " 14 115 — " " without base 121-A — Cuind (to suspend) 6 121-B— ^- "^ 9 121-C— " " 13 119 — Five Cupids, l)v Sir Joshua Reynolds lOJ 106 — Cupid, by Sir Joshua Revnolds. 2J 107— " " " ' " 2J 109-2 " " " " 2J 116-3 " " " " 8' 118— " " " " 2i 120— " " " " 2| 112 — Sjjring 4 114 — Autumn 4 110— Cupid— Relief. 5 117— Cupid 8 108— Nest of Cherubs 6 PLATE J. PERGAMON FRIEZES. 121 J — Minerva Group 18 122 — Demeter and Persephone 20 ]2;i— Helios Group 27 124 — Hekato and Artemis 20 125 — Jupiter Group 18 PLATE K. 126— Cicero 5— Gamekeeper 20 819 -Goethe 19 790A Greek Slave 14 790B- " " 19 979— Guardian Angel 16J 84.>- Happy Family 12} 721-Het3e 42 824A— Hebe Thorwaldsen 25 S)93— Herald 21 891— Holy Family 12 Price. No. 4 00 83.5-] 12 00 989-] 4 00 847-] 12 00 852A 16 00 .514-] 3 00 781—] 3 00 795-] 6 00 9()6-] 17 00 995-] 14 00 987 ] 24 00 834-] 6 00 577-] 4 00 .568-] 5 00 572— 9 00 889 A - 2 40 .513-] 80 .571-] 12 00 9ft5A- 3 00 .567 -( 8 m .544A- 2 00 986-1 4 00 843-] 28 00 936 - ] 6 00 937- 16 00 890 -] 11 00 742-: 10 00 720A- 6 00 713 -] 3 00 769 - ] 8 00 896-] 6 00 897— 1 60 729-] 5 00 915 -] 3 00 770-; 20 00 ,540A 4 00 821- i 7 00 54(iA 3 00 .547A- 6 00 820-! 3 00 876-! 20 00 961-! 3 00 .5:K-f 3 00 768 -i 3 60 .573 i 24 00 9.38- 12 00 773-i 10 00 939 - i 5 00 774 -i 10 00 811 -' 2 00 762-' 10 (K) 771 A- 24 00 771B 12 00 9.59-' 7 00 870- 3 00 723B 6 00 991— 9 00 617A- 7 00 617B- :io 00 7.59- 10 00 941— 20 00 712- 500 Name. Height, in. Price. Home, Sweet Home 28 26 (X) Hope and Fear 30 28 00 Innocence Protected 21 18 00 Kiss H 2 50 Little Sweethearts 13 6 00 Lohengrin 33 24 00 Lost Breakfast 11 2 Of) Lost Found 20 10 00 Love's Device 21J 16 00 Mamma 10| 2 (K) Marguerite 21 7 00 Mine 20 16 00 Morning (to suspend) 12 3 00 23 12 fX) Mother of Grace 13 3 00 Never Mind 13 9 00 Night 23 12 00 Niobe and Daughter 21 15 00 Othello and Desdemouii 16 7 00 - Our Ladv of Lourdes 13 2 60 Papa ". lOJ 2 00 Paul and Virginia 13i 7 00 Picnic Time (Girl) \oi 5 00 " (Bovj 1.5| 5 00 Prince Arthur and Hubert 18 14 fK) Protection 24 16 00 Psvche 24 8 00 Reatling 14 6 00 Rebecca 18} 7 00 Renaissance Vase 12" 3 00 " 12 3 00 Rock of Ages 17J 27 00 Romeo and Juliet 15 6 00 Ruth 18J 7 00 St. Joseph 13 3 00 St. Joseph and Child 22 12 00 Sacred Heart 12} 2 40 " 12} 2 40 Schiller 19 7 00 Science 16 6 00 Seaside 15 10 00 Siegfried Parting from CliiJeuihilde 23 18 00 Sketch from Nature 12 12 00 Spring 4 80 10 2 40 Storm 18 7 00 Summer 10 2 40 Sunshine 18 7 00 Taking the Cream 19J 14 00 Tannhaeuser :B 24 00 Three Graces 12 6 00 " 21 14 00 Twilight 1.5A 5 00 Venus 14 4 00 -Venus deMilo 23 9 00 Venus in Shell 18 12 00 -Welcome 17 6 00 - " 32 20 00 Wide Awake 11 2 60 Winter 10 2 40 Writing 14 6 00 LIST C— Continued. :^LJ^T^-I\zcDF=?i-rE:. 11 00 00 00 00 00 Name. Height, in. Price. Amor 17 $7 00 Ariadne 10 2 00 Ajax 12 3 00 Apollo 12 2.50 " 23 10 00 BacchuB 10 2 00 Beethoven 11 J 2 50 " 21 10 00 Byron 13 3 00 Burns 13 J 18 Bach 17 Clvtie 14 '' 16J " 23 10 00 Cupid on Pedestal 13 3 00 '' 17 7 00 Chopin 16i 6 00 Coquetry 19| 8 00 Dante 16| 6 (X) Diana of Versailles 12 3 00 Difkens 12 3 00 16} 6 (X) 23 10 00 Diesterweg 16i 6 00 Emerson 13} 3 00 Froebel 16 6 00 Goethe 12 2 50 22 10 00 Garfield 12 3 00 16 6 (X) Gluck 16 6 00 Hiendel 17 6 (X) 22 10 00 Hermes 12 3 00 22 10 00 Name. Helgbl. Ideal Bust 18 Lincoln 12 " 16 Luther, Dr. Martin 15 Liszt , Hi " 14 " 26 Lessing 16} Longfellow 14 Mozart Hi " 21 Mendelssohn lU 20| Milton 12 Prudery 19} Psyche, on Pedestal, Naples 13 17 Pestalozzi 15} Schiller Ill " 22 Shakespeare 13 16 23 Schubert ... 17 Scott, Sir Walter 15 " " " 18 Schumann 16} Spinoza 16} Tennyson 1.5} Venus de Milo 13 " " ." 16} AVagner, Richard 11} " 23 Washington, George 11} Weber 17 In. Price. 8 00 3 Of) 6 00 5 (X) 2 .50 6 00 16 (X) 6 00 4 00 2 .50 10 00 2 .50 8 00 3 fX) 8 00 3 00 7 00 5 00 2 .50 10 00 3 00 6 00 10 00 6 00 3 00 7 00 6 00 6 00 5 CX) 3 00 6 (XI 2 50 10 00 2 50 7 00 -I\/cz5i=?i~r^. No. Name. Height, in. Price. 501}— Mary, Christ and St. John, Thor- waldsen 9x9 .502}— Amor's Complaint to Venus (stung by a Bee) 9x9 505}-A-B-C-D-E-F-G-H-I K-L-M "- Elgin Friezes from the Parthenon.' 9x2J^ each, .50(5} —Amor and the Swan, Thorwaldsen 9x7} 507}— Amor and Young Bacchus Pressing Grapes, Thorwaldsen 9x7} 508}— Offering to the Gods, Flaxman. . . .... 10x5 1 509}-A- Spring, Olrik 11x5}^ 1 509}-B— Summer, " . Ilx5| 1 .509}-C-Autumn, " 11x5} 1 .509}-D -Winter, " 11x5} 1 510}-A — Spring, Hammeleff 11x5} 1 510}-B- Summer, " 11x5} 1 510J-C-Autumn, " ]lx.5} 1 5101-D - Winter, " 11x5} 1 511}— Ages of Love, Thorwaldsen 18x7} 2 511}-B— Ages of Love, " 35x15 10 00 512}— Shepherdess with Nest of Cupids, Thor- waldsen 10x9 1 50 515}— Priamus begs Achilles for Hector's Corpse 20x10} 2 50 516} — Abduction of Briseis from Achilles by Agamemnon's Soldiers. '. 20x10} 2 50 517}- A— Spring, Thorwaldsen 10 1 25 II 50 1 50 75 1 25 1 25 25 00 00 00 00 00 00 00 00 25 No. Name. Height, io. 51 7}-B— Summer, Thowaldsen 10 517}-C-Autumn, " 10 517}-D-Winter, " 10 519} — Christmas Joy 12 520}— Musical Cupids 7 521}- A— Psyche with Cupids 21 x9} 521}-B " " " 21x9} 801}-A-B-C-D-E-F-FlamingoBoyB.'."..'.'.'.'.' 7x5} each, 592- Cellini Plaque 27 803- A— Morning, Thorwaklen 5} 803-B- " " 10 803-C— " " 22 812- A— Night, " 812-B— " - " 812-C— " " 997-Spring 10 998— Summer 10 ,999— Autumn 10 lOOO— Winter 10 559— Symphony 17x13 730— Olympic Plays, Luca Delia Robbia 11x11 731— " " " " " 11x11 734-Singing Boys, " " " . ... 20x15 702— Music " " " .... 6} 701 — Horseheads, M. Angela 4 534 Consolation 23x15} Price. 5} 10" 22 1 26 1 25 1 25 1 75 1 (H) 3 00 3 00 1 25 7 00 1 CX) 1 25 6 00 1 00 1 25 6 (X) 1 25 1 25 1 25 1 25 6 00 4 (K) 4 (X) 10 00 1 00 50 6 00 C. Hennecke Co., MILWAUKEE: 79, 81 and 83 Buffalo Street. CHICAGO: 207 Wabash Avenue. Washing Statuaby. — No person would think of washing Marble or any other Art Statuary; as without great care, you might do it an irreparable injury. Custodians of Art Galleries seldom dust statuary, but when they do, they exercise the greatest care, in order to avoid polishing projecting portions, as they become marked or "dust polished ; '' this is very difficult to remove, and always leaves a stain. Never handle or even touch statuary of any material, with the bare hand, as you will surely leave marks. Handle lightly, with soft tissue paper, cotton, or cloth, always take hold at the bottomof base with one hand when you lift statuary. To answer the many inquiries we receive, " can your statuary be washed ? " we will say that our No. 1 Florentine, No. 4 Terra Gotta, No. 5 Pure White, No. 6 Marble White, Decorated and Ivorite Statuary can be washed. Directions. — Thoroughly dust off" the piece to be cleaned, before applying water and Hand Sapolio. (Enoch Morgan's Sons). Take a soft sponge, dampen same in luke-warm water and rub the sponge on a cake of Sapolio; as soon as a good lather is produced which ought not to be too strong, apply to the piece and place to be cleaned. Only a GENTLE rubbing is required; never rub the cake of Sapolio on the statue to be cleaned. For parts that cannot be reached with the sponge or cloth, a small bristle brush may be used. Commence at the top and do not leave until finished. Do not give the water a chance to dry on the statue else it is apt to get spotted. Clear water should be used freely for rinsing, after the cleaning has been eff"ected with Sapolio. Dry with clean, soft linen cloth, gently pressing against the statue with same to take off any moisture that may remain on the surface. All Bronzed Statuary, Nos. 2, 3 and 7 will lose some of its lustre if washed, but it can be kept clean by dusting, and fly specks can be removed with moistened sponge or soft cloth. Catalogue No. 5 -Statuary, etc., for Ornament — contains 100 quarto pages, substantially bound with flexible Leatherette Cover, illustrating and describing 465 pieces of Statuary and 236 Busts of celebrated personages from the earliest period up to the present time, enumerated in list A. 75 cents, post paid. Catalogue No. 4, Art Studies for Design. — A book of 162 quarto pages, containing illustrated essays on Manual Training and Industrial Education, Art Education, Drawing, ^Iodeling, Clay Modeling, The Development of the Vase, Greek Pottery, Wood Carving, Original Composition, Grecian Mythologj', Biographical and Mythological Notes, with 834 illustrations; besides describing 1068 Antique Statues and Busts, Models, Anatomical Studies, Parts of the Human Body from Nature, Conventional Leaf and Flower Fonns, Vases, Architectural and Historical Ornaments, Animal Forms, etc., for Colleges, Schools, Academies of Design, Amateurs and Artists, enumerated in List D. To add to its value as a book of reference, we have appended comprehensive notes, giving a general descrijition of each Statue, name of Sculptor, when and where found, present place of original, mythological history, biographical sketches, etc. The elegant illustrations together with the text, make it a more valuable and complete book of reference for artists, designers, art students, or any person wishing to cultivate a taste for the beautiful, than any art book published. Will be mailed upon receipt of 81.50, post paid. No. 4 and 5 Catalogues to one address, 82.00, post paid. Book of Photogravure Plates, containing, 203 illustrations of Ivorite Statues, Busts, Reliefe, etc., enumerated in List C will be mailed on receipt of 81.(X) — but credited on the first order for goods. Experience has taught us that an edition of 100,000 Catalogues would fail to supply the demand, should we furnish them gratis to all applicants, we are therefore compelled to make a nominal charge for our Catalogues; but the amounts paid will be allowed on the first order for goods, making the books really free to customers. Statuary manufactured by us can be procured of all first-class distributers of art goods. To protect ourselves and customers from poor imitations, we mark each Cast with ^^^TpNlSTppTr* the following stamp: /q. -j^lJiN^Uit^ ^ In the absence of positive shipping directions, we send goods in the manner we {♦MANUFA0TUEFR9 •) consider the most advantageous to our customers. Having the best of facilities, and V ■^^-— ■"^- ' manufacturing in large quantities we are enabled to offer these high class goods at a very ^'^^^V^n^^z-zsi'ita'^' reasonable figure. Additions to our stock are being constantly made and illustrations and lists of the same will be mailed to our customers from time to time. Having correspondents in all prominent European art centres, we can furnish any Statue, Bust, etc., not enumerated in this book. For Marble, Terra Cotta, Bronze and other Statuary, we would respectfully refer to our other Catalogues. To parties not acquainted with our goods and finish, we will send, post-paid, the beautiful figures. Spring and Autumn, in No. 1 to 7 finish for 50 cents each, in No. 9 finish for 75 cents each. Busts or figures in Ivorite, in list C, under eight inches high can be sent as samples by mail at catalogue prices, post-paid. c. hknneicke; co. MILWAUKEE: CHICAGO: 79, 81 and 83 Buffalo Street. 207 Wabash Avenue. ESTABLISHED 1865. INCORPORATED 1889. fieNNecKe's ® ART o) 1 ® @ FOURTH EDITION-REVISED AND ENLARGED. e. HeNNeeKe eo.. CHICilGO, Ibb., U. §. ft. MibWisitJKee, Wis., M. §. ft. THR '^•y OP [UyTyF.R^TT Hi y Kntered according \ / to Act of Congress in the •# f year 1889, by C. HENNECKE CO., j)^ ■ffl^^lWl^^'^l *" the office of the Librarian /^^'s^^^ of Congress, at ashington. ? . H, VEWDALt a SONS CO, MILWAUKEE /kt^' @ @ ^llf^^^ © ® @ liE-fiLlD CjRl.EiE:i^UX.I*"!ir IBElFOIiE OI5.I3EE5.IITC3r. i-N ordering from this book designate it as Catalogue No. 4, or list D; order by Number and give price of article, thus avoiding errors where Numbers are not plainly written. All Casts that are made in piece moulds will be sent with cast lines, unlessodistinctly stated in the order without cast lines. Where Casts are ordered "tinted" — No. 5 pure white, or No. 6 marble white — we make an additional charge of 10 per cent, for same. f^sJj \d^(j^ Directions for washing " Tinted Plaster Casts" and for cleaning Plaster Casts not tinted, see list E. ^•~~^/l V\T^^ All Casts enumerated in this book are named in the Classified Index, pages 86 to 92, except Casts of Flowers, Fruit, Leaves and Parts of the Human Body from Nature. Nude Figures, Antinous, Faun, Hercules, etc., will be sent with an adjustable leaf. Statuary manufactured by us can be procured of all first-class distributers of art goods. To protect ourselves and customers from puTor imitations, we mark each Cast with the following stamp : In the absence of positive shipping directions, we send them in the manner we consider the most advantageous to our customers. Having the best of facilities, and manufacturing in large quantities we are enabled to ofFer these high class goods at a very reasonable figure. Not only have we a large stock to select from, but our casts have also the full and unqualified endorse- ment of the foremost authorities on educational matters. Additions to out stock are being constantly made and illustrations and lists of the same will be mailed to our customers from time to time. Having correspondents in all prominent European art centres, we can furnish any Statue, Bust, etc., not enumerated in this book. For Marble, Terra Cotta, Bronze and other Statuary, we would respectfully refer to our other Catalogues. Prices and Numbers given in this book cancel all former lists and quotations. Orders promptly and carefully i*MANUFAOTUKERS.*y filled. Respectfully, t^] MILWAUKEE AND CHICAGO. irv"' sUiiisd "i'j^aijjiJijJ lisiil JjjiJiiN^-lviaJ iiKiii^srxii^ijo BY PKINCIPAL CHAS. F. ZIMMERMANN, MILWAUKEE. T must be evident to the most casual observer, that great changes are going on in the social aiifl ^^_ industrial life of our ])eoj)l('. The demands made Qj^fj upon each individual in order to fill his position in life creditably and with a fair i)rospect of success are greater now than ever before. It is not likely that this general activity and progressiveness in the commercial and industrial world will cease, consecjuently, the necessity for an education that is many-sided, that will equip the individual with in- telligence, skill, and power to grapple with the difficult problems of life. If we carefully examine the course of study prescribed for our common schools, we nuist come to the conclusion that the training provided is inadequate to the demands made upon our youth after they leave school. All the exercises in school call for the active use of the brain, to the exclusion of the physical activities. If we wish to educate rightly, we must alternate mental with physical activity from childhood up through all the years of pre- paration for the duties of life. Any movement, therefore, that has the improvement of our school curriculum in view, and is based vipon sound psychological and peda- gogical principles, should receive attention and study. Those who have studied the progress of education in America in the last decade, must have noted with much satisfaction the gradual introduction of objective methods of teaching, and the addition of drawing and manual training to the course of study in the High Schools and grammar schools of our large cities. Hand-work is mind-work in a higher degree than most persons are willing to admit. The success of manual training is more often dependent upon the intelligence of the individual than vipon the hand. The hand can become skilful. It can become the servant of the mind. The lowest kind of work or labor need not exclude tliought. It is not the unintelligent copying of a model that is aimed at, but the ti'aining of the capable hand through practice anusy men and women of the next ten years. The busy hive of industry will be as full of workers then as now. The age of research, of discovery, and of in- vention, has just begun. The demands upon those who hold themselves out as teachers are ten-fold greater now than ever before. There is more to lead astray ; there is sharper competition ; there is an intense earnestness in every direction. Lines of throught are specialized as never before. The ocean of knowledge is so vast that one must be content to explore a small portion of it. There is a call for definite work, definite instruction ; for a putting forth of the powers of the being in work between sharply- defined boundaries. Can we aft'ord, longer, to carry out a system that fails to fit our children for real work?" — T. 0. Crawford, Oakland, Cal. 8. OUR SKILLED .MECHANICS ARE FOREIGNERS. " The training which the children receive in most of our primary grammar and high schools is calculated to prepare them for commercial, professional, or literary pursuits, and next to nothing is done to direct their minds to industrial occupations. What wonder, then, that the mercantile field is over-run with applicants for })la(es. Crowds of boys, anxious to obtain a situation in some kind of an ofiice or a store, are annually turned out of our schools, willing to serve for almost anything; whilst in the manufactories and shops, where skilled manual labor is required, the foreign element predominates; and it is especially noticeable that the higher the grade of skill required, the more we have to depend upon foreign talent to design and execute the work. I could cite innumerable instances to verify this statement. In the General Inspector's Office of Iron-clad Steamers, a depart- ment in the Naval Construction Bureau, during our late war, were employed some twenty-five draughtsmen. Of these, six were designers of machinery and vessels, the rest copyists. Of the former, four were Germans, one Scotch and one a Frenchman; and of the others more than two -thirds were foreigners of different nationalities. In one of the largest ship and engine MANUAL TRAINING AND INDUSTRIAL EDUCATION. building estab]ishincntt< in Boston, the head draughtsman was a German; foreman pattern-maker, English; l)r),ss joiner, Nova Scotian; boss boiler-maker, Scotch; ])hick- smith, Nova Scotian, and nearly all the best mechanics in every department foreign bom. The same condition, or nefirly so, is found to exist in most all large manufactories throughout the United States where skilled labor is re(iuired, esi)ecially in furniture and piano factories, stained glass and architectural iron works, potteries, house decorat- ing, engraving and lithographic estiiljlishments, etc. "The vast imi)rovements in machinery, together with inventions and discoveries of new processes, have (tom- pletely revolutionized every department of labor; even the farmer is turned into a half machinist or an engine tender, and should know enough about his agricultural machinery to attend to the many little repairs and adjustments neeessary to keep it in pro2)er working order; in other words, he should be not only a farmer but also a mechanic. Although the demand for skilled labor is now greater than ever, yet it is a well-known fact that we have no regular system of training boj's so that they may liecome skilled and efficient workmen in any industrial occupation. " It seems a little strange that such an important matter should be so lightly 'treated in this country, when our success in competition with foreign manufactures depends so largely ujion the excellence of workmanshi]) and originality of design. How can this be secured, but by giving our attention to the proper training of our artisans? And this must be begun in early childhood toUowed step by step in regular progressive order through all the grades of public schools. Unfortunately, boys ai'e too often discouraged bv their own foolish parents from cultivating a taste for industrial occupations; labor, once held honorable, has come to be regarded as degrading, and to make a living by your wits considered smartness; to borrow a dollar, invest in some speculation and pocket the margin is called business; and he who knows best how to take advantage of his fellow-men, amass a fortune while rendering no service to the world, enjoys the luxui'ies of life, and looks down disdainfully upon an honest working- man The fearful spread of dishonesty and corruption in busine.-5s and in politics, to which we are daily witnesses, is the natural outgrowth of this diseased state in our body politic, and must be met by the strongest and most resolute combined efforts of school, church and honu^ in order to bring l)ack that sturdy sense of honor, industrious habits and contempt for idleness, the corner-stones upon which our forefathers raised their prosperity and success.'' — Prof. Otto Fiwhn, Priiwipdl Maryland Institute of Art and Design, Bultinwre, Md. 9. M.'iNUAL TKAINING AS COMPAKKU WITH THE APPBENTIOE- SHII" SYSTK.M. " I will now show that a manual training school is better than any system of apprenticeship, and hence better than any trade school. "To the commercial method, of more or less formal apprenticeships, several very serious objections arise. First and foremost, the apprentice stops going to school. His mathematical, scientific and literary. training, stop the moment he enters upon his effort to secure manual training. This fact alone ought to kill apprenticeship. It has degraded all mechanical pursuits— not simply brought them into bad repute, but has actually degraded them— and has given rise to the notion that a mechanic needs no education beyond the rudiments of the grammar school, aside from what he picks up at his trade. "Then again, in apprenticeship at any kind of tool work, the boy is not taught drawing as a part of his trade, and yet tool work, however skilful, without drawing is the thinnest, lowest sort of apology for manual training. Not one journeyman mechanic in a hundred is as good a draughtsman, or as intelligent in reading drawings, as the graduate of a manual training school. " Thirdly, the ordinary apprentice gets at best a very narrow kind of manual training. He is made familiar with a very limited range of work, and he is kept at that far beyond the needs of intelligent mastery, till the mechanical habits of a rapid workman are fully formed. Henceforth his handiwork is the result of habit, not of thought, and his intellectual progress as connected with his work is at an end. " But there is a fourth argument against the commer- cial way of getting manual training, which, to some, may outweigh all the rest, serious as they appear to be, and that is this : To put a boy fourteen or fifteen years old to learn a trade as an apprentice is as a rule to commit him to that trade for life, without intelligent choice of occupa- tion and with little chance for correcting a mistake if one is made. It is a crime against freedom and humanity. " There are plenty of people whose mental make-up is such that, while they may succeed fairly in other paths of labor, they are unfit to be mechanics. They have not the ability, the proper mental qualities. To set up such people to learn trades is most unfortunate. They are sure to be low grade, indifferent workmen, always strug- gling against a fate, which a better knowledge of their capacities would have avoided. The fact is that, until one has had an opportunity to develop his faculties, neither he nor his teachers can tell what his ' bent ' is, nor what there is in him. " The student of the manual training school takes all his work without bias. There is no presumption either for or against a particular line of work in life. He is as vm C. HENNECKE CO., MILWAUKEE AND CHICAGO. free as it is possible to he. He pr()])ably changes his mind every year on the subject of what occupation he is best fitted for. At the end of his school course, however, he is likely to see clearly where he is strong, and where he is weak, and to direct his choice in the direction of his strength. " I see nowhere, in either ancient or modern times, a people whose youth have been trained as our youth should 1)6 trained. Neither Babylon, nor Athens, nor Rome, with their pinnacles of culture resting on the barbarous foundation of human slavery; nor the blooded aristoc- racies of more modern times, buttressed and supported by millions of laborers, ground down in ignorance, poverty and superstition; none of these can teach us how to educate, construct, and adorn an American citizen. We must not expect all our boys to rule, or to be ruled; to direct, or to be directed; to employ or l)e employed. No narrow, selfish aim, no prejudice of caste, no false (;laim of high culture must mislead our pupils. " Give them a generous, symmetrical training; open wide the avenues to success, to u.sefulness, to happiness, to power; and this ago of scientific progress and material wealth shall be also an age of high intellectual and social progress." — Dr. G. M. Woodward, Principal Manual Train- ing School, St. Louis. 10. VALUE OF TRAINED MEN. The Massachusetts Institute of Technology has now 827 students in the school of industrial science, and 71 in the school of mechanical arts and the Lowell school of practical design. Of the value of the Institute's training. President Walker says : " Here is a case in point : The ])resi(lent of one of the great lines of transportation in tliis country — a man with a genius for organization and execu- tion — said to me l)ut a short time ago, that he could take a young man of good sense, good judgment and good habits, a graduate from our course in civil or mechanical engineering, and, by passing him through the successive grades of responsibility in railroad mansigement, could in five years' time make him a better general superintend- ent than could bo made of a man lacking this prepara- tion in twenty years. The day of half-trained men is past in this country, in all occupations — or is rapidly going past." 11. GOOD POSITIONS FOR GRADUATES. "The president of the Rose Polytechnic Institute, during the graduating exercises, referred, with justifiable pride, to the fact that nearly all the graduates would at once enter into profitable positions. Compare the graduating classes of all the technical schools in the land with the classes graduated from the medical, legal, and commercial colleges in the same period, and no doubt it will be found that in the former the majority at once liegin life with good {)osi- tions, while in the latter many a studcait must expect patient waiting for more than a bare support." In 1886 Dr. Woodward, Principal of the St. Louis Manual Training School addressed a circular, to the grad- uates of his school for the purpose of ascertaining the results of the training they had received. The summary of occupations in which the young men were engaged at that time shows that twenty-five were students of engineer- ing, law, and medicine; twenty -three engaged as clerks in banks, railway offices, and manufactories; ten W(!re engaged as teachers, mostly in manual-training schools; nine as draughtsmen with architects and manufacturers; six as machinists; five as artisans; five as ranchmen and farmers; four as Ijusiness men; two as engineers, civil and mechan- ical; two as manufacturers; one as a leaker, and two whose occupation was not known. Out of the class of 1883, twenty-two out of twenty-nine are in business and the average rate of wages according to answers received was $68 per month. Out of thirty of the class of 1884, twelve roporttnl as (jarning regular wages. This average was $78 per month. Of the class of 188o, fourteen out of the thirty- nine have been earning wages at the average rate of $70 per month. Dr. Wooward says: "About half the boys who attend the school get less than the whole course. For a variety of reasons they drop out. A mucli larger per cent, of such boys become mechanics than of the graduates. I have had many excellent reports from and concerning them, but I have not kept the reports on file." 12. A PRACTICAL EDUCATION DESCRIBED. ''But while well-meaning educators have been giving attention to manual exercises as a means of better fitting the young for a future occupation of labor, the incidental advantages have proved well worthy of consideration; for they could not fail to notice that the mind, itself, receives very material assistance when the bodily powers are, at the same time, brought under systematic develo])ment. And so it happens that not a few who at first favored handwork in school, from the utilitarian point of view, have at length come to consider it as yet more advanta- geous for a systematic development of the whole being, whether actual use is ever to be made of trade skill or the student is to live otherwise than by bodily labor. It is this phase of industrial education, in which hand-work appears as the auxiliary of head-work, and not as the leading feature — it is this phase which most concerns us who are gathered here, whose life-work is not to guide pupils in the narrow channels of special callings; but to make them intelligent, virtuous and useful citizens. . . . " In studying the sciences, facts must be gathered in and digested and assimilated, iind all this cannot be done by the hearing of the ear, by the study of books, or attend- MANUAL TRAIHriKG AND INDUSTRIAL EDUCATION. IX ance at lectures. It is getting to be better and better understood that the student must put himself in the atti- tude of an observer and investigator. He must see with his own eyes, and feel with his own hands. He must use his bodily senses as well as his intellectual faculties. And he niust bring to his aid the various instruments which the rigorous demands of science have caused to be invented. And thus it comes that our higher institutions of learning must have their well-equipped laboratories of chemistry, and physics, and biology, and their collections of illustrat- ive specimens in mineralogy, and botany, and zoology, and even in technology. The student of medicine must himself dissect the human body and frequent the hospitals. The student of physiology must himself use the scalpel and microscope. The student of engineering must himself work with level and transit. The student of astronomy must learn with instruments what is meant by right ascension and declination. The student of mechanics must himself measure velocity and resistance, and test the strength of materials. I^aboratory teaching and laboratory work is getting to be the prominent feature of schools of science, and a not altogether subordinate one in the colleges of liberal arts. And yet with the present subdivision ol professional labor, the physician may never ply the knife among living muscles and arteries and nerves, and the chemist may never have occasion, in after life, to make an analysis. Then why require superfluous work of the young aspirant ? Because ideas that come through the hand and the eye come to stay. Because touch and sight correct the crude perceptions of the mind ; because direct observation shows more in a moment than whole pages of words can set forth. And now as hand practice is proving so valuable in the higher schools, the question comes up whether in the elementary schools also the direct sources of knowledge shall not be trained, in- stead of exercising memory alone. The most marvelous instruments that ever were made, are the eye and that culmination of contrivance, the human hand. Think of this much articulated member with its manifold executive powers. Think of those thousands of nerve loops in the finger tips, which bring the ))rain and mind into contact with the outer world. With the hand we become cog- nizant of the hard and soft, smooth and rough, sticky and slippery, even and uneven, sharp and dull, rigid and flex- ible, hollow and solid, thick and thin, wet and dry, warm and cold, heavy and light, strong and fragile. With this we take f)ur food, with this we fashion our garments, with this we build our houses, with this we create forms of beauty, with this we transmit our thoughts. These are eyes to the blind and speech to the duml>. Shall the schoolmaster continue to exercise in writing only, this member on which the Creator has lavished so much skill ? We have gymnastics, to be sure, to give strength and suppleness to the body ; but, except in quickness of catch, and firmness of grip, gymnastics leave the hand un- trained " The school should start the child aright, guide him in the right direction, and economize his strength. The aim should be, not to turn out pedants or narrow special- ists, either of high or low degree, but to develop all the powers systematically and make intelligent, capable, self- directing men and women And whatever pursuits give the best mental and physical discipline, are most worthy of a place in the course of instruction. Order, exactness, neatness, love of beauty, and inventiveness are desirable in all. In reading, the pupil may think he does pretty well if he pronounces most of the words rightly. In writing, he is satisfied if the letters are not quite all of a height, and their forms are only a little remote from the copy set. But in making a dove-tailed wooden box, hasty measurements and rude approximations will not answer. Ill-matching joints bring on one the laugh of his fellows and his own self-condemnation. Exactness is seen clearly to be the artisans first law. The boy may be tolerated in translating Greek or German into limping English ; but when he tries to smooth a board with a notched plane, he is forcibly reminded that the tool must be ground. The discipline of fitting things is far more effective than that of shaping letters, or arranging words. The pupil's patience breaks down when he tries over and over again to do the elusive sum in arithmetic, but he is so delighted to use his hands that he is not disheartened by repeated trials till the joints are neat and true " We must look out for a practical education suitable for the great mass of boys and girls. Let it combine the kindergarten and the primary school, the slojd school and the common school. Let it include finger plays and object lessons for the little ones, hand-work for the middle school, drawing, modeling and manual training in the more advanced schools, and, for as many as can go farther, the physical, chemical and biological manipulations of the scientific schools and colleges. So shall we at length succeed in bringing up a race of true men and women with trained muscle, trained mind, and executive power." — Dr. John M. Ordway, Principal Mnmud Training School, Tulane University, Neio Orleans. 13. BENEFITS RESULTING FROM THE INTRODUCTION OF THE ELEMENTS OF PHYSICS AND MECHANICS INTO OUR COMMON SCHOOI>S. " The jjurpose sought by the advocates of so-called industrial education is the training of the eye and the hand of the pupil, and his acquisition of those elementary principles of physics and mechanics which underlie all dealing with the forces of nature and with material objects " Beginning with the pupil at the stage when kinder- garten methods and appliances are exhausted of their C. HENNECKE CO., MILWAUKEE AND CHICAGO. efBciency, tlie scholar should be instructed in the elemen- tary principles of physics and mechanics through the use of simple models and apparatus, and should become familiarized through frequent statement and illustration with the fundamental conceptions of geometry. There is a deep-seated popular error as to the age at which such things as the above can advantageously be acquired. It is too often assumed that because the young child is not competent to study geometry systematically he need be taught nothing geometrical ; that because it would be foolish to present to him physics and mechanics as sciences it is useless to present to him any physical or mechanical principles " A child of ten or twelve years is capable of under- standing the principle of the lever just as perfectly as did Archimedes of Old Syracuse. Once implant that concep- tion in his mind and it becomes germinal, and, without watering or tending, will bear fruit perennially through all his life. " A child of the same age can comprehend the prin- ciple of the arch, when illustrated by a few blocks from a carpenter's shop, as fully as does the architect who hangs a stone dome 100 feet in the air ; and when he has once comprehended all the construction and office of the arch, his eye will never thereafter fall unintelligently upon an example of it. A child of the same age is capable of com- prehending the law of perspective. Why in the name of common sense should one go on for years, walking through our streets or over the fields, his eye falling at every glance upon some object which is subject to the law, and yet never be instructed regarding it? " Do you ask how much of the elements of physics and mechanics should be given to the child of tender years ? I answer, just as much as he will take, be the same more or less. And it is always safe to offer him a little more than he will take. It can't do him any harm. Cramming him with hard and lumpy facts from so-called geographies or histories, may produce mental indigestion or colic ; but an idea, an apprehended principle, never yet hurt a human being, and never will to the latest syllable of recorded time. For myself, I would not stop short of teaching a child the doctrine of the persistance of force through all its transmutations. Doubtless he would at first fail to apprehend it fully ; yet he would gather some- thing from its familiar, picturesque enunciation ; and, as the proposition became familiar to his ear, and as illustra- tions of the equivalency of motion, heat, light, and sound were multiplied and repeated to him, I should hope that he would grow into an apprehension and appreciation of this grand and all-embracing law. " If it be asked of what advantage would it be to the youthful mind that it should be taught these and the like things, I answer : First, That if to observe phenomena quickly and clearly, if to reflect closely and justly, if to acquire an habitual, and in time, instinctive disposition to trace effects to their causes, if these things be among the prime objects of education, comparison may be chal- lenged between the matter of study that has been described and the work that now takes up two-thirds of the time of the scholar of the age we have been considering. Secondly, That if the direct usefulness of the information acquired be adojjted as the test of different systems of instruction, the elements of geometry, physics, and mechanics have preference, in an enormous degree, over the traditional studies of the primary and grammar schools. But, thirdly, that the main argument for the early acquisition of these elements is to be found in their usefulness as a preparation for the study of geometry, physics, and applied mechanics in later years " The consideration which weighs more than any other, in my mind, is that the introduction of shop-work into the public schools, closely affiliated with exercise in draw- ing and design, will give a place, where now there is no place at all, or only a most uncomfortable one, to those boys who are strong in perception, apt in manipulation, and correct in the interpretation of 25henomena, but who are not good at memorizing or rehearsing the opinions and statements of others, or who, by diffidence, slowness of speech, or awkwardness of mental conformation, are un- fitted for intellectual gymnastics. It is mighty little which the ordinary grammar or high school does at pres- ent for scholars of these classes. Not only do they at the best, get little personal pleasure from their work, and receive little of the commendation of the teacher, but, in the great majority of cases, they are written down block- heads, at the start, and have their whole school-life turned to bitterness and shame. And yet it not infrequently happens that the boy who is so regarded because he can- not master an artificial system of granunatical analysis, isn't worth a cent for giving a list of the kings of J^ngland, does'nt know and does'nt care what are the princijjal productions of Borneo, has a better pair of eyes, a better pair of hands, and, even by the standards of the merchant, the manufacturer, and the railroad president, a better head, than his teacher ''The introduction of practice in the mechanic arts would strike a responsive chord in tlie hearts of all boys of the class I have so inadequately described ; it would at once give them something to do in which they could excel ; it would quicken their interest in the school ; it would save their self-respect ; to many of them it would open a door into a practical life." — Gm. Francis A. W(dker, Presrident of Ma»mch%i»elt.s Inditutc of Technology. 14. WHAT CAN KE ATTEMPTED IX OUR COMMON SCHOOLS. " Having made this subject a special study for the last fifteen years, I have tried to find out the best method of conbining industrial and intellectual training in the lower MANUAL TRAINING AND INDUSTRIAL EDUCATION. XI as well as higher grades of schools, and I have arrived at the following conclusions : — " First. All children should be made as familiar as possible with the language and the common terms used in the common employments of life. " Second. They should be trained experimentally, and practically to a certain extent, in the elementary principles of these common employments, in order to secure for them a correct understanding of their nature and demands, and also a proper regard and a mental sympathy for the repre- sentatives of capital and labor — or for the so-called profess- ions and common employments — so that every necessary employment shall be considered equally honorable and respectable. •' Third. The manual part of this training should be of the simplest kind in our elementary schools, and should be given with the simplest tools and machinery, and with as little expense as possible. Some of the most formidable objections to its introduction arise from the heavy and needless expense and cumbersome machinery which have hitherto been considered necessary. It can easily be demonstrated that the most important educational feat- ures of industrial and manual training can be secured with simple and inexpensive machinery and tools. " Fourth. This training should be wisely adapted to all pupils alike, and brought within their reach; especially of the largest number, belonging to the middle and poorer classes, who most need it. " Fifth. While all needed industrial training is to be secured, it should not be allowed to interfere with such intellectual training as every child should receive, but it should rather serve to make that training more effectual and complete. For no education is complete which does not primarily develop and train the mind and the heart " While evidently it would generally be better to have a specifically prepared room for industrial work, yet as the child under ten or twelve years should be mainly con- fined to the acquisition of the most elementary principles, to the meaning and use of the language and common terms used in the common employments of life, one and the same room and the same teacher, if properly qualified for each grade, may be employed for the first four or five years " As soon as the elementary course of industrial training, (for this training should be carefully graded upon natural and progressive principles), and it becomes necessary to use such heavy apparatus, tools, and machinery as cannot be well introduced into the school-room above described, it will lie necessary to provide a special industrial room, in which the most appropriate, but simple, tools and machinery may be used regularly, but alternately with the necessary intellectual exercises. But it must be continu- ally born in mind that both industrial and intellectual training in our public schools should be regarded and used as means of such an education as will be preparatory to some future employment or profession, and not for the specific purpose of teaching trades or for the acquisition of book-knowledge. All preliminary school-training should be so conducted as to furnish such a preparation as is needed by all alike who expect to follow any trade or profession. " When this preparatory training is completed, after leaving the high school or college, then our pupils should enter the trade and professional schools, where they can enjoy enlarged opportunities to fit themselves, theoretic- ally and practically, for their chosen life-employment." — Zalmon Richards, Washington, D. C. 15. MANUAL TRAINING INTRODUCED IN ALL THE GRADES. "A discussion and application of the principles, methods and value of manual training was begun in this school nearly six years ago Four rooms in the school are now devoted to handwork. One is used for clay and wax modeling; another for paste-board work and wood carving; the third for woodwork and the fourth to the making of relief maps. The hand work is done by all grades when- ever and wherever it is needed to assist in the development of a subject. Much independent work is done by pupils outside of school hours. The financial means are limited, the teachers lack training and the methods are crude. The results, however, under these unfavorable circumstances, prove that hand work trains children to love work, to be cleanly, orderly and systematic. They prove that hand- work lies at the basis of logical reasoning and clear thinking; that making with the hands is organically connected with all other branches of study, and without it the harmonious development of body, mind and soul is an impossi- bility. Manual training is intrenched in the soundest psychology; it finds its most cogent support in the phil- osophy of history, and its noblest use in the needs of humanity. It has come to stay if trained teachers can be found to keep it." — Francis W. Parker, Principal Cook County Normal School. 16. COURSE OF STUDY FOR A MANUAL TRAINING SCHOOL OUTLINED. " Turning, then, to the relation which the manual-train- ing sustains to the technical school, let me for a moment consider its curriculum. It must evidently give a thorough training in the lower mathematics — arithmetic, algebra, plane and solid geometry. There will be abundant oppor- tunity to use the facts and methods of arithmetic and geometry in the shops and drawing-room ; but no famili- arity with the facts, no faculty in instrumental drawing, should obscure the value of purely geometrical reasoning. Algebra is rarely applied unless one needs its methods in higher physics, mechanics, and astronomy. As a rule, not one student in five goes far enough in mathematics, pure and applied, to make an intelligent use of his algebra ; xu C. HENNEGKE CO., MILWAUKEE AND CHICAGO. nevertheless, his knowledge of its elementary methods must be full and clear. " The elements of botany, chemistry, and physics, in- cluding at least their phenomenal sides, and some of the more obvious generalizations, should be thoroughly studied during the course at the manual ; but in every case the laboratory method should be used. Generaliza- tions made by an author for which no sufficient evidence is presented to the student, are of no educational value. They are like assertions in history, or geography, which are to be taken on faith. Real objects, personal experi- ments and tests — I care not how familiar they may be to the teachers —must give the student his basis for judg- ment and generalizations. Above all, I would advise teachers to avoid putting their elementary students at really new work ; at strictly original research. All the ground should be familiar to the teacher, and, though the pupil approaches it as a learner —as a discoverer of new truth — the teacher should, as a rule, know what he ought to find. I have no patience with premature researches and childish inventions. I am inclined to think that chemistry is easier to teach in a laboratory than physics, on account of the latter's great demand for skill in manipu- lation and construction in the physi cal laboratory. One must be somewhat familiar with all work in woods and metals in order to properly study physics. In future, we shall put our study of heat, electricity, sound and light, after the study of chemistry, in order to give time for the tool-training needed. "In a technical school, students have little time for history and literature ; hence both should come systemat- ically into the preliminary or manual-training school. The students are old enough to appreciate something of style, and to tell good writing from bad. By conscious imitation of good writers, they really learn to say things clearly, to use language accurately when they know what the thought is which they are to express ; and they can easily master the simple mechanical details of composition. American and English history, and possibly some general European history, should be learned early, and always with a certain amount of geographical study. " No technical student should be ignorant of the ele- ments of Latin, and a fair reading command of at least one modern language in addition to his own. No study of words is so fruitful in clear analysis and a high appre- ciation of the importance of slight changes of form, of endings, and auxiliaries, as that of Latin. It matters comparatively little whether the student remembers in after years the vocabulary or the exact forms of Latin verbs ; the important thing is that he will never look upon any language without feeling the influence of his Latin study. Either French, German, or Spanish, should be carefully studied at least one year before entering the technical school. " Experience has shown that the drawing course can be carried much farther in the preparatory schools than was formerly supposed possible. In the first i:)lace, they readily master orthographic and isometric projections, and employ them naturally in both freehand and instrumental work. They rapidly become expert in the use of T square, triangles, drawing-pen and brush, using India ink or colors. Accuracy, clearness and finish are acquired by systematic study of elements, and there is no lack of in- terest, though picture-making is very rarely indulged in. A certain number of very instructive drawings must be made by each student to illustrate abstract principles and to represent ideal forms ; but in all cases where it is poss- ible to draw from objects, objects only should be used. " In the selection of objects, great care should be taken to find simple ones, and yet a wide variety Pupils are rarely fit to make their own selections. Some of the elementary principles of descriptive geometry may be introduced. With the exception of a little conventional perspective, so-called, I would leave perspective for the technical school. " The elements of tool-work in woods and metals I regard as eminently appropriate to the educational work in the manual-training school. It is admirably fitted to meet the physical, mental, and moral natures of all healthy boys from the age of thirteen to eighteen. I make this statement without any reservation whatever. I am speak- ing now about manual-training schools, but were I talk- ing about classical schools which do not have tool-work in their course of study, I should say the same thing ; nay, I think, I should say it with greater emphasis in reference to those classical schools which afford so little opportunity for dealing with the concrete and forgetting primitive notions of the laws and properties of matter and force." — Dr. C. M. Woodward, Principal Manual Training Sdwol, Washington University, St. Louis, Mo. 17. MANUAL TRAINING IN PUBLIC SCHOOLS A SUCCESS. H. W. Compton, Superintendent of the Public Schools of Toledo, Ohio, gives an account of the successful work acccomplished in the Manual Training School at that place in the following language : — • "The manual-training work began in a humble way in a small room, with sixty boys and girls in the classes. These were pupils of the public schools, and did their regular work in connection with free-hand and mechanical drawing, and carpentry in the manual department. The school began to make friends of its enemies. Those who had indulged in hostile criticism of the enterprise, gradually grew silent. The second year a large four-story brick building was erected, and equipped with steam power, benches, tools, lathes, forges. Ample room was provided for free-hand and mechanical drawing, special prominence being given to architectural iind perspective work. A domestic economy department was added, in which girls MAlSrUAL TRAINING AND INDUSTRIAL EDUCATION. Xlll study the chemistry of foods and their preparation for the tiil)le. A Sewing class has been organized, in which the cutting and fitting of garments is taught. A class in clay- modeling mold the forms and designs used in the arts. The students have increased to about three hundred in all departments, and from the beginning have manifested the greatest interest and enthusiasm for the work. This intense interest in the new work had at first to be so modified as not to interfere with the regular prosecution of the intellectul or class-room work proper. After some experimenting, the two lines of work were harmoniously adjusted to each other. Boys and girls pass from their algebra and history to their drawing, wood-carving, or clay modeling, and from these again to geometry and English literature, with a hearty zest for all. The girls in the domestic economy department con their Vergils or don their cooking suits, and prepare with ease and grace such savory and palatable food as would mollify the most radical opponent of industrial training. In short, there is such a harmonious blending of the useful and the practical with the higher intellectual culture, that the unprejudiced needs but to inspect the work to be convinced of the reasonable- ness and great utility of such training. The advantages of tlie manual department are open to none except pupils of the public schools. Those who take the manual work do the same amount of mental work in the regular class- room studies as those who have no work in the industrial department " Manual training is a successful and satisfactory branch of study in the Toledo schools, not because it is theoretically a good thing, nor because it is given undue prominence and special advantages, but because it is in harmony with the nature of things, has a noble purpose in view, has been well managed, has good instructors, and has proved itself of great value to the pupils." 18. THE ECONOMIC SIDE OF MANUAL TRAINING. " I believe the work shops of manual training have a pedagogic and an economic value; that the economic side of that work is that it should enable the person who had done it to do better work, to bring out l^etter results, to accomplish something in the way of getting his liveli- hood; and that the pedagogic side is to do something towards making him a larger and nol)ler, more perfect and more complete man. Undoubtedly this question of man- ual instruction has its utility on both these sides. There cannot be anything in the way of instruction, anything in the way of training or discipline, which shall not have its pedagogic value. Yet it appears to me that the chief value of this manual training belongs on its economic side, and I am disposed to protest right here against the assertion tha,t is sometimes made that they do not care to discuss the economic side, that will have nothing to do with this. I believe the time is rapidly coming, and we are being forced to it by the circumstances round about us, when young men and young women must get in schools their instruction in trades, because there will be no other possible way in wliich they may get that instruc- tion; and that boys and girls will come out of those insti- tutions ready to earn their daily bread. I cannot see how this is to be got at entirely except through educa- tion." — Dr. Selim H. Peabody, Premie at Illinois University. 19. NECESSITY FOR TECHNICAL SCHOOLS. " One of the things well settled is that we are to have a great multitude of schools for instruction in the arts, of variovis grades and peculiarities. Those who object to anything more, to reaching the children of the people more widely, concede that this, at least, is coming. The necessities of diverse manufacturing industries, the trend of production and trade, the pressure of domestic com- merce, the competition of foreign skilled labor, trained in such schools abroad,all make this inevitable. We cannot now hold our own among civilized and productive nations without it " Everyone can see that departments in colleges and universities linking the education of the hand with established courses of higher instruction are multiplying, and that no departments are to multiply faster, though independent institutions for the same end may out- strip them. Municipalities lying near to great stores of raw material and of coal will ere-long be obliged to multiply these; the enterprise of business men and manufacturers in such marts of produce as Kansas City, Omaha, and Minneapolis, will emulate the example of those of Chicago; the division of labor going on so fast, and the distribution of specific trades, each with its own technique, will originate other schools, like and unlike, in smaller centres. We shall have towns like Chemnitz in Saxony, with a half a million of dollars of property in Higher Technical, Foremen's, Builder's, Machine, Drawing, Weaving, Hosiery, Agricultural, Tail- ors', and "Fort-bildung" Schools— the work of 100,000 persons within the city connected with that of twice the number without, and all other types of education on a par with that which prepares for the university. In all these schools for direct instruction in the arts the principle must l)e difi'erentiation, to a degree which is not possible in general education, lower or higher, though this must be less and less independent of it. Even our high schools cannot now be run in one mould. The useful art institutes of various regions, and even of the same region, must needs differ. Generous men, too, are quite as likely to follow the example of Purdue and Case and Rose as those of the great names whose munificence has made the older colleges powerful, and each to have a technological scheme of his own which his wealth shall carry out." — Dr. Gearye F. Magmm, President Iowa College. ^vi i^ilil^ii-ilxil^ BY CHAS. F. ZIMMERMANN. 'The ft)regoing testimony to the value and necessity I of manual training and industrial education should inspire our educators and friends of a rational edu- cation to introduce such changes into our schools, as will make the training given to our youth more practical, and more in accordance with the demands of the present. Better methods of instruction in the branches taught in our schools and a limitation of the time now devoted to them are demanded to make room for teaching elementary science, drawing, modeling and simple wood- work. The same course of training that will cause the pupil to observe nature accurately, and fix these facts indelibly in his mind; that will cause him to reason and draw correct conclusions from his observa- tions, are as necessary in artistic as in scientific training; and when the hand performs its part, habitually record- ing these observations by means of writing, drawing and modeling, we have laid the foundation for a rational development of the mind. If this change is to be effected, it must be through our teachers, who should take the initiatory steps, securing these benefits to themselves. Teachers should be close students of nature, logical reasoners, and skilled in the use of the pen, pencil and modeling tool. From the primary teacher to the univer- sity professor, all will find this power, this skill indispen- sible in making their acquisitions, in their researches, and in their teaching. While our common schools provide for an elementary course in drawing, provision for a thorough art education should be made in all our training schools for teachers, in our art schools, in technical schools and through museums of fine and industrial art. Ample provision must be made for all whose work in life demands artistic training. And if we are to succeed in interesting our people in this general art education, we must encourage the technical side of art first, the application of art to industry. But this national art training must have attained a certain de- gree of development before we can look for any very marked results, and raised up a class of creative artists and designers, who will give to our products character and value. Every manufacturing center will then become an art center, and the people be gradually educated in taste to appreciate the good from the bad in art. This will tend to give us beautiful homes as well as artistic furnishings. It is scarcely twenty years since a general movement for the art education of our people was made by the intro- duction of drawing into the public schools. This has been followed up by the establishment of art schools in all parts of tlie land. The foundations of three Museums of art have been laid. There are art collections in connection with most of our Art Schools, and others in Galleries inde- pendent of schools. The Museums (to which Art Schools are attached) are, the Metropolitan Museum of New York, the Pennsylvania Museum of Philadelphia, and the Boston Museum of Fine, Arts. Art Schools are located in San Francisco, New Haven, Urbana, Baltimore, Boston, St. Louis, New York, Syracuse, Cincinnati, Philadelphia, Pitts- burgh, Milwaukee, Chicago, Providence, Columbus, Detroit, and Art classes are to be found in many of our colleges and higher institutions of learning. There is no doubt that the opportunities afforded our youth will develop certain national characteristics. At present American art reflects the external conditions of American life. The idea of self-interest has so far been more efficacious in developing American art, than the love of the l)eautiful. It is founded on the desire to make money. Art students who have attended these schools urged by the prospect of earning something immediately upon the completion of their course, have gone into good industrial-art positions and nearly always succeeded, while those who have attended with a view of establishing them- selves as professional artists have not done near so well. In time, as opportunities for thorough training grow larger, we shall produce admirable results. But it is certain that it takes two or three generations of culture and study to produce a high class of artists. The system of technical art training for women in America is, without doubt, the best and most thorough in the world. Woman's work in this line has been quite successful, though as a professional artist she has failed to assert herself. While Art Schools will develop in all large centers, it will be necessary to the highest development of art in America to create a National Art School, or Art University, with its Museum of Fine and Industrial Art. I have quoted in the following pages from artists and teachers known to the general pul)lic, and trust that the hope expressed may be realized in the near future. 2. WHO IS LIKELY TO ENDOW A NATIONAL ART SCHOOL. " It is doubtful whether our government can ever be induced to establish a National Art School of a high order, that will compare as favorably with European Art Schools, as the first of our colleges and universities do with theirs; AB T ED UCA TION. XV and since such institutions cannot be made self-supporting the only hope remains, that some one or more of our wealthy merchant princes, who have sufficient appreciation and taste for art to invest large sums of money in private collections, come forward and donate the same, together with sufficient means to found a National Art School and Museum that will do for this country what South Kensing- ton has done for England, Paris for France, Dusseldorf and Munich for Germany, Rome and Florence for Italy. When this is done, then, and not until then, shall we cease ' to hear of the necessity of importing skilled workmen for our art industries,' and silence also the remaining few of our leaders in education who, for some unaccountable reason, do all they can to check the progress of this new feature in our educational system." — Proj. Otto Fuchs, Principal Maryland Institute Schools of Art and Design. 3. WHY WE NEED A MUSEUM. W. Martin Conway in the Magazine of Art, writes thus of the value of a museum : — "The position which a library takes to the student of history or literature is occupied by a museum in the case of the student of art. Whether his object be to trace the development from age to age and from country to country of the artistic spirit which is planted in all mankind, or whether he himself desire to take up a position in the ranks of the army of laborers in the field of production, he is alike compelled to fall back for counsel, for warning and for teaching on the works of others gone before." 4. THE GREAT INnuSTRIAL-ART MUSEUM AT VIENNA. We give the following extracts from his description of the great Industrial Art Museum at Vienna : — " The Austrian Museum belongs to the technical class; its object is technical as opposed to classical education; its methods are practical rather than theoretical or historical. The most prominent feature in the classification of the collections is, as will be supposed, the division according to nature. The principal classes are : works in the precious metals, in the baser metals, in clay, in glass, works of textile art, furniture, wood carving, sculpture, and miscellaneous " On the principle that * the museum is not intended to satisfy the foolish love of sight seeing (soU nicht die muessige Schardust befriedigcn),^ the first thing was to spread abroad a correct conception of its real objects, and to enlist the sympathies not only of the producing, but of the purchasing public. With this end in view, public courses of lectures were delivered on various subjects connected with art, and the crowds which flocked to hear them proved that they satisfied a want previously unrecognized No less important for students are the valuable collections of first rate productions — photographic, galvano-plastic, and other — which are kept for sale in the museum at a cheap rate 5. VALUE OP EXHIBITIONS. " During the summer of 1881 no less than three exhibi- tions were held : the first of works of photographic art of all kinds; the second of glass and jwttery; and the third of paintings, carvings and other objects. These perform a three-fold function. They act educationally, enabling the student, by the assistance of the valuable catalogue specially prepared for each, to become acquainted with the various branches of individual art; they kindle a wholesome com- petition among exhibitors; and they bring the public constfintly face to face with the best producers, and enable them to judge for themselves of the relative merits of this or the other manufacturer, whether famous or less famed. Thus they do away with much of the need of advertising, which is one of the curses of modern civilization. In the case of such an exhibition as that of pottery, all the objects are for sale on the spot at fixed prices 6. TECHNICAL ART SCHOOLS IN AUSTRIA. " If the best way to raise the taste of the public at the present day has been shown by experience to be that of exhibitions, such have by no means done away with the necessity of schools for the training of workmen in the more refined methods of production. Such schools have been established under the inspection of the Austrian Museum in all parts of the land — schools of drawing at Haida, and Steinschoenau, and many other places; schools of wood carving in the Tyrol at St. Ulrich, Hallein and elsewhere; a school of porcelain work at Elbogen; schools of embroidery, masonry, goldsmith's work, etc., in different parts of Vienna. The object in Ciich case is to direct and develop a taste already manifested by the inhal)itants of the particular locality, and thus to increase their hapjiiness and prosperity. " Naturally, however, the whole strength of the museum organization is thrown into the high school of technical art, which is held within its walls. It is under the govern- ance of the Director of the museum, three of the curators and a member of the Chamber of Commerce. The school is divided into four parts, which deal respectively with architecture, sculpture, decorative painting, and figure painting, all primarily in their relation to art-industries. There is, further, an introductory school of drawing. In addition to practical teaching in the handling of colors and tools, there are also courses of theoretical study de- voted to such subjects as perspective, the theory of stjde, the anatomy of men and animals, the theory and chemistry of colors, the history of art, artistic mythology, and so forth." XVI C. HENNECKE CO., MILWAUKEE AND CHICAGO. 7. WASTE OF TIME AND TALENT FOR WANT OF A MUSEUM. Sir Joshua Keynolds, speaking of the value of an Academy, says: — " The principal advantage of an Academy is, that, besides furnisliing able men to direct the student, it will be a repository for the great examples of the Art. These are the materials on which genius is to work, and without which the strongest intellect may be fruitlessly or deviously employed. By studying these authentic models, that idea of excellence, which is the result of the accumulated expe- rience of past ages, may be at once acquired; and the tardy and obstructed progress of our predecessors may teach us a shorter and easier way. The student receives, at one glance, the principles which many artists have spent their whole lives in ascertaining; and, satisfied with their effect, is spared the painful investigation by which they came to be known and fixed. How many men of great natural abilities have been lost to this nation for want of these advantages ! They never had an opportunity of seeing those masterly efforts of genius, which at once kindle the whole soul, and force it into sudden and irresistible approbation. " Raffaelle, it is true, had not the advantage of studying in an Academy; but all Rome, and the works of Michel Angelo in particular, were to him an Academy. On the sight of the Capella Sistina, he innnediatoly, from a dry, gothic, and even insipid manner, which attends to the minute accidental discriminations of particular and indi- vidual objects, assumed that grand style of painting, which improves partial representations by the general and invariable ideas of nature. " Every seminary of learning may be said to be sur- rounded with an atmosphere of floating knowledge, where every mind may imbibe somewhat congenial to its own original conceptions. Knowledge, thus obtained, has always something more popular and useful than that which is forced upon the mind by private precepts or solitary med- itations. Besides, it is generally found that a youth more easily receives instruction from the companions of his studies whose minds are nearly on a level with his own, than from those who are mu(!h his superiors; and it is from his equals only that he catches the fire of emulation." 8. FACILITIES FOR STUDY OF ART IN NEW YORK INSUFFICIENT. " The fact is that, so far as public facilities are concerned, the study of art or archaeology cannot be pursued at all in New York. The apparatus is not merely deficient, it does not exist. The only collection of books on the subject of art that are within the reach of the public are in the Astor Library, which is free, and in the Society Library, which is not free. In the Astor Library every facility is given with great courtesy to students, and the Society Library (at least this has been our own experience) amiably waives its rules and regulations for the moment on the presen- tation of proper credentials. But neither Library makes any pretention to completeness or even to great fullness in its art-department, and such as these are, they consist entirely of books, chiefly books of engravings. Under the able direction of Professor William R. Ware, the library of Columbia College has been enriched, as w^e understand, with an important collection of architectural photograplis, which is all the time being added to. Those who remem- ber the collection of photographs which Mr. Ware made for the Architectural Department of the Institute of Technology in Boston, while that Department was so fortunate as to have him at its head, wall need no assurance of the value of the work he is doing in his place in Columbia College; but the collection which he is making there, although we have no doubt it is open, so far as is possible, to all who can show a good claim to its use, is still a private collection; beside that it is confined to one subject, and does not at all meet the need we are concerned with. " Let us suppose the case of a class of young people formed here in New York, for the purpose of study in some one of the divisions of the broad field of art. As has been said, there is no museum where they can go to see examples of what hiis been done in that field; there is no library where they can find prints or photographs, and even the illustrated books belong, for the most part, to the ornamental rather than to tlie useful sort. If the class were formed in London, it would not l)e necessary for the members to expend a penny for the illustrations of their subject, they would simply meet at the British Museum, or at the National Gallery, or at the South Kensington Museum, and there make their observations, and take their notes. It is connnon to read, in the advertising- columns of the English literary journals, notices to the effect that Miss A-, or Miss B., or Prof C. will lecture in the Egyptian Room, or the Halls of Greek Sculpture, or in some otiior one of the departments, on a given day, at a given hour; and not in London alone, but in all the great cities of Europe, this mode of in.struction is so common as no longer to attract attention. 9. EACH ART STUDENT AT PRESENT OBLIGED TO FORM A COLLECTION OF HIS OWN. "Well, we do not have, and shall not for a century have these advantages, and so we must do what we can without them. Every one in America who has applied himself to studies — it makes ])ut little difference in what field — has been obliged to work at his own charges, and supply him- self with books, photographs, and documents of all sorts at his own expense. This is ofl;en a heavj^ burden, and yet it is one that cannot be avoided if an American, obliged to AB T ED UCA TION. xvii stay at home, would make {jrogress in any field of research. It is true that, let him do all he may with such means as in general fall to the share of scholars, he cannot accomplish any work, of importance to persons who hav^e had the greater advantages we have described. He must be con- tent if he enriches and enlarges his own mind, or excites an interest in his subject in those about him, or adds — -if it be not until he has done with what he has collected at so much expense and pains — to the slowly growing store of aids to learning which time will accumulate here at home. " This, however, it will be admitted, is not a way of proceeding that is calculated to produce the best fruit for the public. Everything with us to-day tends more and more to system; we are learning the advantages, on the one side, of division of labor, not hitherto possible, perhaps seeing how few there were to do the work required ; and, on the other hand, we are seeing more and more clearly the advantage there is in having our means and appliances where they (!an be got at, and made use of by the greatest number of people. One thing, we observe, is hapi)ening in Europe; as the great collections come to the hammer, the best things in them are finding their way to the public museums and galleries; in not a few cases, these collections are left by legacy directly to the nation; some- times this is not so good a way as the other, for the State has often to accept much chaff in order to get a little good meal; whereas, at a public auction, it can generally choose what it really wants. " The time seems to have come here with us, when we should begin to combine our hitherto scattered forces, and put our riches into a common purse, if we would make any headway in our art studies. We have shown else- where how the Numismatic Society has grown, from small beginnings, to be of some importance, by adopting a com- mon-sense policy: not wasting its money on a building, on furniture, or on any eye-catching devices, but giving its whole attention to the main business of developing and feeding a love of coins. And something of the same sort is doing by the Grolier Club; only, as that is a society with a less serious and more ornamental aim than the other, it has naturally not been satisfied to accept such plain fare. Yet, it has done nothing more than to make its rooms pretty and comfortable, and is doing its best to bring to- gether feverything that is to be found here which relates to book-binding and to bibliography. If it should make only a few purchases each year for its permanent collection, and add a few books to its library, it would find that in its case, as in the case of all small but earnest beginnings, the growth of both collection and library would soon astonish the skeptics, who do not believe that anything of importance can be accomplished in such matters without money and an imposing list of patrons." — Tl\e Studio. 10. VERESTCHAGIN ON AMERICAN ART. Verestchagin delivered a lecture at the American Art Galleries, and spoke particularly of the "need of the organization of a system of Technical Art Scho(3ls through- out the United States as being absolutely indispensible to the development of an American Art, of which he denies the present existence. The Mac/azine of Art differs with the Russian on this last point, and considers that it is simply wonderful how well American artists have done during the last fifteen years, in view of the many dis- advantages, under which they have labored. " On the question of Technical Art Schools the Maga- zine of Art and Verestchagin are at one. The subject has been frequently handled in these pages and it cannot be too often discussed. The intellectual salvation of this country must be worked out through the education of the niiisses in art. Too much crude book knowledge, of a kind that breeds ' maggots i' the brain,' has been the bane of the American people. " It behooves the next generation to soften down the harsh outlines of ' intelligence ' by the influence of art knowledge applied to the ends of daily life as a prepara- tion for the state of high creativeness which marks the progress of art of an entire nation." — Magazine of Art. Verestchagin has willed, that after his death all his paintings shall be gathered into a permanent exhibition in his native city, Novgorod, to he calletl the "Verestchagin Museum and Studio." 11. THE CERAMIC ART AND MUSEUMS. " Increased education in the Fine Arts will produce the result of a discerning public opinion, and a craving for the good and beautiful, and that in proportion to the demand of the many for good art will be the response of the chosen minority gifted with the divine powers of genius." — The Portfolio. " It is certainly not the fault of the American artist, or the English artist in America, that he becomes exhausted, and fertility of ideas yields to sterility, when there is noth- ing in the heaven above or the earth below to show him what has been done in pottery. This is the plain, simple truth, obvious to comprehend, and simple enough to lead one to conclude that the main chances of rising artists in the ceramic line lies in the foundation of museums of art. There are doubtless capable brains, but they are without impressions, such as the art workers of Europe receive at the many museums of art that are erected and filled for their use and edification. It is very plain to be seen that the artist of the European workshop has refreshed himself at the Louvre, the Vatican, or South Kensington. If he were here, he would starve mentally, as do those who fight against fate in attempting to bring out something original. As yet, America is like a desert to the model- er." — Patterns Gazette. XVlll C. HENNECKE CO., MILWAUKEE AND CHICAGO. 12. AN ART UNIVERSITY FOR AMERICA. '' We want an art university in which the purely tech- nical facility of hand and eye, which must be attained in youth, and generally in extreme youth, as in music, is cared for as the specialty of the course; where the intel- lectual enlargement shall be never lost sight of; where the theory of art, its science, its history, all that is known of its spirit and manipulation, must be carefully studied and appropriated, and at the same time the general influence of the literary life in its subjective aspect — philosophy, poetry, history, all that widens and deepens the character and gives it dignity and that purpose which is one of the most important elements of morality. The deeper in the character art is rooted, and the wider the range of its roots in their reach for sustenance and support, the greater and more durable its fruits." — W. J. Stillman, in the Century. 13. THE PRESENT AGITATION FOR THE ESTABLISHMENT OF A NATIONAL SCHOOL OF ART. " In a lengthy letter to the New York Mail and E.vpress Wilson MacDonald, the sculptor, sets forth his heart's scheme for the establishment at Washington of a National School of Art. Fifteen years ago, the veteran artist brought his plans to the attention of Congress in a petition, but nothing came in the sliape of legislation to that end. His suggestions, in their way, are as broad and compre- hensive, and no less important, than President Andrew D. White's recent article in favor of a National University in the Capitol City. The Parent Palette Club, of New York, has the matter in hand, and under its auspices the project will be brought to the attention of artists, art schools, educational institutions, the press, pulpit and bar through- out the country. All great movements, such as this needs be, are of slow growth, but in the steadiness of its growth will come the solidarity and unity of purpose necessary to give it a national character. Briefly outlined, the scheme is to have the Government erect a building for the academy and gallery, with accommodations for 2,500 students, with all the accessories needed to make it the first school in the world. The fitness of Washington is so eminent that no opposition can be manifested. The best teachers in art must be employed, and the establishment of a new department of fine arts would be a natural sequence to the establishment of the school. Appointments would be made to the school as cadets are now to West Point and Annapolis, subject to examination as to aptitude and ability. The public schools in which drawing is taught will be found prolific sources from which embryo artists and sculptors will arise. The grand idea which lies beneath the project is the development of a National spirit of art. No nation, Mr. Mac Donald argues, has ever attained high rank in art which has not developed such a spirit. Surely America, with its vast extent of country, its magnificent scenery, its varieties of fauna and flora, its unlimited resources, the peculiar tj-pes of civiliza- tion which it produces, is capable of doing that. Another point is brought out clearly in the argument, and that is that our enormous material sources of wealth have been in no small degree dependent on the art spirit for development. It is not many years since nearly every article of virtu, beauty, and ornament was imported from Europe; now our fine furniture, clocks, mantel ornaments, wall j^apers, engravings, bric-a-brac, and fabrics are produced at home. If a national spirit and direction lie given, the great results already readied, will lie followed by still greater ones, all tending to the mental and material enrichment of America. This is not the jiroject of a day. Aladdin's lamps are not the gifts of the Republic. Out of the friction of many minds comes our development toward the future greatness which will tower as a mountain over the mole-hill progress of to-day. Following fast upon the accretions of material wealth, will come with its more equitable distril)ution, the knowledge which will teach us how to enjoy that wealth. And art will line the avenue which science has built for man." — Wushinyton Post. BY CHAS. F. ZIMMERMANN, LATE SUPERINTENDENT OF DRAWING, MILWAUKEE PUBLIC SCHOOLS. UR foremost eclucators advocate the study of draw- ing as the first step in any system of industrial education, and thousands of teachers are now _^ taught so as to enal)le them to give the required J \ instruction in drawing in their schools; but how many have made this instruction of service to them in their classes when teaching other subjects? It must become a habit with our teachers to observe everything accurately, record their observations, engrave the picture upon the mind, and in this way gain the power of recalling it when needed in the class room. As teachers we should learn all those principles of general knowledge, in the sciences and in the arts, for which the practice of drawing is necessary, in order to make plain to the public the usefulness of this form of language It is a means by which we represent every object in nature as well as in art, ttom the simple leaf, pebble, rock, tree, to the animal form, landscape and liuman figure; from the simplest ornament to the statue or grandest architectural conception; from the simplest mechanical device to the most complicated and powerful machinery of the present. Violet le Due says: " I hardly know of a career in which drawing would not be useful, if not aljsolutely necessary, for the very simple reason that it teaches one to see correctly, to remember what one has seen, and to give form to thought." Herbert Spencer writes: "The spreading recognition of drawing as an element of education, is one amongst many signs of the more rational views on mental culture now beginning to prevail. . . . . . Had teachers been guided by nature's hints not only in making drawing a part of education, but in the choice of their modes of teaching it, they would have done still better than they have done. . . . . From all that has been said, it maj' be readily inferred that ive wholly disapprove of the practice of draicing from copies." 2 GIVES ACCURATE SIGHT AND SURE TOUCH. Philip Gilbert Hammerton, fine artist and critic, sets forth the value of art culture in the following plain lan- guage: " Practical art has one distinct advantage over all purely intellectual pursuits, which is, that it does not educate the mind only, but also the eye and the hand. I am well aware that a foolish prejudice, which if it is dying out, is dying too slowly, considers this training of eye and hand a mark of degredation, because the skilful use of these physical organs assimilates the artist to the artisan. Some people —but not the wisest — are as proud of having idle and useless hands as Chinese ladies are of their useless feet. With these, all reasoning would be a waste of time; but to others who have no such prejudices, I may offer a few remarks in favor of this ocular and manual education. Let it not be supposed that the edu- cation which we gain fi-om the graphic arts is by any. means limited, in its effects, to the actual practice of those arts themselves. The eye which is trained by drawing discerns form everywhere and in everything; the hand which is skilled to use pencil or brush will be generally superior in delicacy and accuracy of touch to the hand which has never been taught. The question, therefore, is not simply whether we care to be skilful in drawing, but whether we prefer a keen eye to a compara- tively blind one, and a ready hand to a clumsy one. There are a thousand things to be done in ordinary life, as well as in different trades and professions, in which accurate sight and sure touch are desirable. Surely a branch of educa- tion which gives these, not a« substitutes for intellectual analysis and synthesis, but in addition to them, has so much the more in its favor." 3. TO DESIGN IS TO OBSERVE AND REFLECT. We quote once more from Violet le Due : " In the study of drawing there are two elements, physical labor, the exercise of the eye and hand ; and intellectual work, that is, the habit of observing with exactness, and engraving on the memory what one has observed, so that the mind can compare, and draw deductions from the comparison. . . . One learns to see only by drawing, and not from engraved patterns, but from objects themselves ; and further still, only on condition of being able to explain these objects, and to describe their properties, and their rela- tions to each other I do not claim to be able to make an artist of Jean, he will become one if he has it in him. I propose only to teach him to see correctly ; to consider what he sees, and to render it so that his obser- vations may serve him, whatever the career he follows, whether that of a workman or a soldier, merchant or XX C. IIENNEGKE 00., MILWAUKEE AND CHICAGO. lawyer, artist or engineer To design is not to see a thing, but to observe it. All who are not blind, see ; yet how many people are there who know how to see, or who reflect as they see ? " 4. THK GREAT MASTERS DREW FROM MEMORY. Taking Ilubens saying that " To see, to understand, to remember, is to know," as her motto, Madame Cave has had great success in teaching drawing by laying stress upon memory drawing. She says : " Drawing from memory is having one's thoughts, the expression of that thought, at the point of his pencil as the writer has his at the tip of his pen. All the great masters drew from memory ; hence their originality Consulting, copying, kills invention and genius ; composing, putting the thoughts rapidly upon paper by the aid of memory, that is the true process of invention As soon as you see correctly, you feel correctly, you execute correctly, . . . . If you follow your eye, your observation, you will secure correctness, you will find truth, you will be natural, and naturalness is simply truth. This accuracy, this naturalness, is the result of much observation, of great memory." 5. AN INVAHTABLE ELEMENT IN GENERAL EDUCATION.- To fully impress the importance of the subject under consideration, upon the American public, the testimony of some of the leading educators in this country is herewith presented : " Drawing is an invaluable element in general educa- tion. To the workman it is of the greatest practical use ; it makes him a more intelligent and serviceable workman. If he attains a real skill in the use of his pencil, and develops the tastes and talents that cannot without this training be either discovered or made vise of, he becomes a valuable person at once. Every branch of our manu- factures is suffering from the want of just this intelligence and skill." — William R. Ware, Prof, of Architecture, Col- umbia College, New York City. " Drawing, if properly taught, is extremely useful as an aid in other studies; and indeed, in my judgment, it quite compensates for the time it takes, by facilitating instruc- tion in other branches The introduction of drawing into our schools I regard as one of the most im- portant and practical educational steps ever undertaken in this city, and there is no part of my work as an educa- tor which I look upon with more satisfaction than upon my efforts to secure efficient instruction in drawing in the public schools of this city and State." — Dr. John D. Philbrick, Boston. " I am satisfied that a knowledge of forms, which is an important element in all industrial education, can only be learned by the study of drawing, which should be taught in all our public schools by competent teachers ; the time required to lay the proper foundation for future special applications need not be disproportionate to other studies." — Dr. J. D. Rankle, Mass. Institute of Technology, Bostmi. " I regard the study of Industrial Drawing as absolutely essential, not only to sound technical education, but as of the utmost importance to the industrial interest of our country, and have urged a wider attention to it, both upon our schoolmen and our legislatures. It is gratifying to know that the public mind is already awaking so widely to the importance of the training to l)e derived from studies in drawing." — Dr. J. M. Gregory, late President III. State University. 6. ARTIST AND ARTIS.VN BROUGHT TOGETHER ON COMMON GROUND. " I cannot refrain from expressing my conviction as to the immense importance of this whole movement of art education to the industrial interest and social well-being of this country. We are constantly told that art belongs to the refinements of civilization, and that therefore it has no place in the schools, where the great mass of men and women who must ever remain strangers to its enjoyments are educated. That so large a share of the people are deprived of the elevating influence of a'sthetic feeling, is the very strongest reason why the schools where they are to receive their intellectual training should lie made avail- able to bestow upon them a possession capable of yielding so much real benefit to themselves, and of so much conse- quence to the society of Avhich they form a part. But art has other uses than to minister to cultivated tastes in sculpture and painting. One of the noblest purposes to which it can be put is in applying the laws of ornament to the productions of industry. It is here that art becomes universal in its influences ; it is here that the artist and the artisan are brought together on common ground, and the taste of the studio is joined to the skill of the workshop in ministering to the common wants of men of all classes. There is no class of our people so deeply concerned in making this matter of art a part of our commonest educa- tion, as the men whose toil lies at the foundation of our industrial wealth. It is simply a question whether our workmen are to be left to handle the materials of industry in their crudest condition, or whether they are to be trans- formed, by education, into creative forces, capable of giving to the wood and iron, and stone, which pass through their hands, forms of beauty which shall lend assistance to their use ; and tlius, while enriching and improving the whole circle of society, be rendering themselves worthy of recognition as one of its noblest factors. " I believe the introduction of Industrial Drawing into our common schools to be the first step in the organiza- DBA WmQ. XXI tion of a system of industrial education which, if fully caiTied out, will be productive of effects upon tlie social cliaracter of the working classes and the wealtli of the nation, which even the most sanguine would not dare at this moment to predict." — James MacAliste)', Supt. of Public Schools, Philadelphia. 7. ECONOMY OF LABOR IN THE WORKSHOP. " Among the many ways in which art knowledge ma}' he of use in the workshop, is the economy of hibor arising from the workman having definite objects in view, and having to make no experiments in carrying out work which must be executed to scale, plan and design. I ven- ture to say, that in every workshop or factory where no knowledge of drawing is possessed by the workmen, there is a waste of time and an inferior article produced in the end — evils which are a loss to the employer, through sacri- ficing of his material and inferiority of work ; a loss to the workman, by his time having been wasted in experi- ments ; and a loss to the public of tasteful objects to be obtained at a moderate cost." — Walter Smith. 8. DRAWING IN BELGIUM BASED UPON SCIENTIFIC PRINCIPLES. M. de Lajolais, a member of the Industrial Congress gathered at Brussels in 1868, says : " Instruction should be given at first to children, in knowledge of form, then they should be accustomed to the habit of following and understanding the transformation of exact forms into ornamentation. The study of drawing, in the first in- stance, develops the intelligence of the child in teaching him how to see. To see with the eye of a designer is to create the sense of exact observation and of analysis ; and these results can be attained by a series of attractive exercises." This Congress further recommends " the necessity for the radical reorganization of the elementary teaching of the fine arts by the substitution, for the routine methods in use, of a uniform and rational mode, based upon scientific principles, which are the essence of art itself; to si(ppir,'>.'^ the aumiwn pTiatx and engraving.^ now used as models; to base the study of drawing upon the elemen- tary principles of geometry." In 1871 tlie Minister of the Interior, in his circular letter to the provincial inspectors of primary instruction, declares : " The government, in the task it has undertaken, counts upon the concurrence and sui)port of the communes and provinces. It is a question of national interest, since its principal object is the progress and the development of the artistic sentiment of the country." 9. DRAWING AND INDUSTRIAL SCHOOLS THE TRUE BASIS OF WEALTH OF A NATION. Immediately after the war with France, the authorities of the various industrial towns of Prussia were called upon, in a circular issued by the Ministry of Commerce and In- dustry, to follow the example of France in the organization of Drawing and Industrial schools ; and their attention was directed to the industrial importance of these schools, and to the fact that they form the true ba.sis of the wealth of France. The French Commission which was appointed to ex- amine matters pertaining to the improvement of the indus- tries of France, in the year 186-3, reports as follows : "Among all the branches of instruction which, in different degi-ees, fi-om the highest to the lowest grades, can contri- bute to the technical education of either sex, drawing in all its forms and applications, has been unanimously re- garded as the one it is most important to make common." And the opinion of the French Commission in 1876 was that " France ought to devote herself to the study of draw- ing and reinvigorate her productive powers at the very sources of art." 10. ELEMENTARY SCIENCE AND DRAWING FOR THE WORKMAN AND ARTISAN. The late report of the royal (English) Commissioners on Technical Instruction contains the following: — " For the great mass of our working population who must necessarily begin to earn their livelihood at an early age and fi-om whom our foremen will be mostly selected, it is essential that instruction in the rudiments of sciences bearing upon industry should form a part of the curri- culum of the elementary schools, and that instruction in drawing of a character likely to be useful in their future occupations as workmen and artisans should receive far greater attention than it does at present "This want of attention, together with the absence of competent teachers, proper modds and methods, and adequate inspection, fully accounts for the inferiority to which we have referred. . . . Your commissioners are of the opinion that sound instruction in the rudiments of dratving should be incorporated with writing in all primary schools both for girls and boys " Assuming such preparation in the infant and element- ary schools as we have here sifggested, the progress of sub- sequent instruction in art classes would be innneasurably more rapid .... Industrial design, for a variety of reasons, tlie chief of which are the tvnnt of .sufficient knowledge of nwnufactures on the part of art teachers and the absence of sympathy evinced by the proprietors of indus- trial works, has, with some notable exceptions, not received sufficient attention in our art schools and classes. In fact, there has been a great departure in this respect from the intention with which the ' schools of design ' were orig- inally founded, viz., ' the practical application of (a knowl- edge of) ornamental art to the improvement of manu- factures.' Large grants of public money for teaching art to artisans in such classes can scarcely be justified on any other ground than its industrial utility." C. HENNECKE CO., MILWAUKEE AND OHIO AGO. 11. DRAWING MORE NECESSARY THAN HEADING OR WRITING. Since the report of the committee on Technical Educa- tion, drawing has been incorporated in the code, and is now a compulsory subject in the elementary schools of Great Britain. Commenting thereon, Mr. Harry V. Bar- nett, in The Magazine of Art, writes thus : — "It is now generally agreed that the systematic and compulsory teaching of drawing to young children is a very beneficial part of their i)reparation for the practical work of life. If, having learned at school to describe things with a pencil, they afterwards enter those trades in which a knowledge of drawing is necessary, they find their initial difficulties very much lightened, they are ready to begin practical work at once, instead of having to learn the ABC. And if, on the other hand, the business they take up does not demand a knowledge of drawing, then, it is argued, they have lost nothing by being taught it, because it is, apart from its special utility in various handicrafts, a good general training for the mind: you cannot draw even a very little without observing and thinking, for which, I believe, no one is ever the worse. Many people seem to suppose that the chief object of teaching drawing to children is to make them great artists. This is a fine old crusted British superstition, handed down from days of dismal ignorance and vague ambition. It would be just as reasonable to suppose that the chief object we have in teaching everybody to read and write is to make everybody a man of letters. Drawing is in this sense one of the things which it is useful to be able to practice, and is in some trades a part of elementary knowledge even more necessary than reading or writing. 12. SHOULD BE COMPULSORY IN ALL ELEMENTARY SCHOOLS. " One of the main points brought out by the Technical Commission, is that the nations of the continent under- stood all this sooner and better than we did, and in many instances incorporated drawing with writing as a compul- sory subject in their elementary schools. Every one who studies the question at all, or who does nothing more than read the report of the Commission, finds overwhelming evidence that the effects of this system are wonderfully beneficial, both in laying the foundation of the higher and special art training that a youth may eventually receive, and in perfecting all those handicrafts and industries into which drawing, and all that drawing embodies, enter more or less. And since the tendency of trade is more and more towards competition on lines of artistic and techni- cal excellence, and since we have already lost important industries by reason of our backwardness in these particu- lars, the Commission, seeing wliat was done abroad and what was wanted here, recommended that drawing should be made compulsory in all elementary schools ; and the educational authorities, after hesitating for awhile, have carried this recommendation into effect." Speaking of the kind of drawing most necessary to be taught, the writer proceeds : " It is better to make free-hand the basis of the other kinds of drawing, than to make them, or any one of them, the basis of free-hand. And it is certain that free-hand is the most generally useful in itself, and the best of all, considered as a means to train hand and eye and mind." 13. LARGE SCALE WORK BEST, Speaking of cfrawing with sharp lead pencils on small pieces of paper, so much in vogue, Mr. Barnett proceeds: — " And just because it is always on a small scale, it is destructive of the two most necessary qualities : strength and style, it leads the pupil to be forever thinking of fin- nicking details and hardly ever of mass and proportion and breath, and so train him insensibly but surely to see large things in a small way; to take narrow views and ex- press them in a laboriously little manner. The conse- quence is, of course, that, even when a youth has gained some command of means, as it is not denied he may do by this method, when he comes to make full-sized draw- ings of furniture, of decorative design for wall-papers or textiles, of architectural ornament, of ironwork, in short, of anything whatever that is to be practically manipulated, he finds that he has to begin again, almost from the be- ginning; that what will suffice for Christmas cards is use- less in matters more substantial ; that to have learned to draw on a small scale does not enable him to draw on a large. It is, however, the large scale work that is wanted in the workshops and manufactories, as well as in the studios ; and, what is everywhere evident in English art, the qualities of handling and of mind that are thus pro- duced by training on a large-scale system are more needed still. They do these things better abroad; and of course we find in France and Belgium that instead of training a lad to draw with a lead-pencil on a piece of paper meas- ured by inches, they first give him a good lump of chalk and a blackboard measured by feet. The child, in short, begins by learning to reproduce lines, and arrangements of lines, on the largest scale possible to his youthful arm. When he has got his hand in with chalk and a blackboard he is advanced to charcoal and a large sheet of brown paper; and so on until he enters the workshop or the art school. Here, of course the system is directly the reverse of ours, and the consequence is that Continental boys of twelve or thirteen can produce large-scale drawings fi-om either fiat or round that, I do not hesitate to say, could not be ecjualled by any art student in England of twice the age and training, excepting always those who have been specially trained in manufactories and workshops, and the pupils who have the luck to work under Mr. Legros, at University College, where the antiquated illogical British system does not obtain. This is no mere opinion of my DBA WING. XXUl own, but a fact brought out with signal empliasis in the report of the commission, and striiliged to express their ideas by sketches or off-hand drawings of works which come under their observation. 22. COURSE OF STUDY. We give herewith the outlines of an elementary course in drawing : 1. Drawing from the blackboard. 2. Study of the geometrical forms, plane and solid. 3. Outline drawing from the geometrical solids and vases. 4. Outline drawing from objects. 5. Drawing from casts of single leaves. 6. Drawing leaves and Howers from nature. 7. Drawing from cast of ornament. 8. Practice in the use of draughting instruments. 9. Linear geometry. 10. Elementary design. 11. Elementary perspective. 23. AN ADVANCED COURSE FOR HIGH SCHOOLS. 1. Outline drawing from groups of geometrical solids and vases. 2. Outline drawing from the cast of architectural ornament. 3. Outline drawing from the cast of flowers, fruit and foliage. 4. Drawing from the geometrical solids and vases, shaded with charcoal. 5. Drawing from the cast of architectural ornament, shaded with crayon. 6. Drawing from the cast of flowers, fruit and foliage, shaded. 7. Drawing from objects, shaded. 8. Drawing details of human figure from the cast. 9. Geometrical constructions. 10. Elementary projection, orthographic and isometric. 11. Linear ijerspective. 12. Details of construction. 13. Elementary structural drawing. 14. Theory and harmony of color. 15. Shading and tinting with pen and brush in India ink and water colors. 16. Analysis of plant forms for purpose ot design. 17. Analysis of styles of historic ornament. IS. Principles of applied design. 24. ELEMENTARY INSTRUCTION. The plane geometrical forms used in the early study of drawing should be of pasteboard or wood, and in the hands of the pupil. The drawing of these forms should be free- hand and on a scale larger than the model. The teacher may, however, frequently allow the pupils to trace around the forms, in order to fix the correct idea of the figure in the mind of the learner. The outlines of leaf forms can also be drawn at this early stage. We begin the study of the solids by drawing the sphere and the spheroids, and natural forms and objects based on these solids. The outlines of vases can be drawn with much profit at this stage. Next the study of the cone and cylinder and forms based on them. Much time can now be profitably spent in the study of the cube and the square prism. The elementary jjrinciples of perspective thus developed will aid materially in the drawing of the remain- ing geometrical solids. Form study should go hand in hand with drawing, and the construction of the solids in some simple plastic material encouraged. By cutting forms out of paper or pasteboard, and pasting, the devel- opment of surfaces is practically and easily taught. 25. SOME SUGGESTIONS. In drawing the outlines of leaf forms, or from casts of ornament, the following order may be observed: 1. Draw the principal perpendicular and horizontal lines first, as we can only judge of the slant of the oblique lines by comparing them with some standard lines. 2. Sketch the general shape of the object, and decide upon the correct general proportions. 3. Draw the parts definitely and add no details until the work is accurately laid in. 4. Erase the lines until they are just visible. 5. Line in, or make the true outline. The line should be of equal thickness. Draw leaves and flowers from nature. With the nat- ural form as a basis, draw the conventional form, which is regular and symmetrical. The (sonventional leaf form is used in all good ornament. It makes very little difference what instrument is employed in the beginning. Giotto — ^once a poor shepherd boy, used a stick, and made drawings of his flock in the sand, and on flat stones. A piece of charcoal and the wall, or a piece of chalk and the blackboard have been helpful to many a one. The student should consider his tools of secondary importance. I^et him supply them as he feels their need. The draughtsman relies upon his trained hand and eye that direct the medium used, and not upon the instrument itself. The quill, the steel-pen, the lead-pencil, the crayon, each has its place in drawing, and the student should learn to use them all. The paper should not be too smooth, but have a rather rough surface. The less the India rubber is used, the better. 26. DRAWING FROM OBJECTS. In studying the solids as they appear, draw them in their simplest positions first, and notice the apparent con- vergance of the parallel lines; also that the representation C. UENNECKE CO., MILWAUKEE AND CHICAGO. of a circular plane, when viewed obliquely, is an ellipse. These elementary princdples of perspective once mastered will aid the student materially in his jjrogress. Always draw the model as you see it, and not as you remember having seen it represented. You will be greatly helped in the beginning when drawing the outline of an object, to use only one eye, as the object then appears flat, and not as a solid. When judging distance we must use both eyes. When we wish to see the princijjal msisses of light and shade, we partially close both eyes. Wire models have been constructed to aid in the study of the appearance of solids. A pane of glass placed ver- tically between the student and the object, can also be used to advantage. The lines bounding the object can be traced upon the glass, and the observations made by the eye verified. Good books on the subjects of model drawing and per- spective can not easily be obtained. There is, however, no royal road to drawing any more than there is to the attain- ment of knowledge. Books and teachers may be consulted, but the student who is not serious in his study of Art, who does not make a conscientious effort to master the difficul- ties presented in each stage of work, need not look for success. The eye as well as the hand must be trained. Men are not born with capacities for art beyond the great mass of their fellow-men. They can only rise above the common level by study and right training. 27. WORKING SKETCHES. The regular geometric solids should also be studied with reference to their construction. Three views of each object should be drawn, that is: a front view, a view from above, and a view from one side; the views must show corresponding measurements. These views, are not per- spective drawings, but simple free-hand "working sketches." In making these sketc'hes draw the lines which represent the contour of the object and are seen as full lines; the inner lines are either seen or hidden; if hidden, they are drawn as dotted lines. In drawing the sections of solids, draw the cross section, the longitudinal section, and the oblique section of each solid. 28. DRAWING THE FEATURES. In attempting to draw the features of the face from the cast, select as the simplest and easiest one which shows a full or front view of the mouth. Study the cast — think before you draw — and having detuded upon the propor- tions of the parts, put the general ideas obtained on paper and combine the proportions so as to make it one harmon- ious whole. Compare the sketch with the cast before you, and continue your study and delineation until you have obtained a drawing which shall correspond in form and character to the model before you. It is not wise to imitate the off-hand and ready manner of the expert draughtsman. It will only result in failure. You can only get strength as you go along. The power to delineate with accuracy and rapidity can only be acquired Ijy patient study and unceasing toil. The study of one feature in the manner indicated aljove will contribute more to your progress than a dozen desultory sketches. For, unless the first difficul- ties are mastered, the student will soon find himself entangled and unable to extricate himself. Following the study of the mouth, the eye, the ear, the nose, and the face may be taken up. Always draw on a large scale giving special attention to correct outline and proportion of parts. No amount of time spent in shading will make up for poor drawing of form. For the beginner, casts are much better than the living model, and a collection of good casts should be found in every school-room. White models or casts are the best to work from, because the laws of light and shadows are best studied from them; being non-absorbent, they reflect all the rays. While pursuing the course outlined above, either under guidance or at home, let the student also attempt to draw from objects and from nature as his fancy directs him. Bv doing so he will encounter difficulties which will test his strength, and have a strong tendency to give additional impulse to his studies. It will also cultivate that love for art which sometimes suffers by adhering too rigidly to a prescribed course. Let the student further test himself by atlempting to reproduce drawings from memory. If he cannot remember what he has once learned, if he cannot draw except what he sees before him, he is not only losing much of the good already acre.sent we may both concede. Neither can you write a story in Russian, but it ma}' be- cause you do not know the words of that strange tongue. When we have learned the language of art, then we will begin to con»sider our story. The average artist is so busy, however, with the language, that he forgets all about the story and talks nonsense. The true artist is scholarly in his tastes, a man who reads luid enjoys ; who reverences truth wherever found and loves beauty wherever revealed. The aspirant who finds that he has a hand steady enough and an eye clear enough to learn to draw, who will carry on his other studies at the same time, with the same interest, possesses the qualifications of an artist and need not fear. As he grows familiar with the figure and ad- vances in the study of expression, his reading will liring clearer pictures before his mind's eye. Bj' the time that he is able to give them form they will have grown so vivid that he has but to transfer them to the canvas or the clay. They will have become his real comrades, and their gentle companionship a source of great happiness. ^z Bz^z^wmsri 1)2 ^z Urn ^z^ BY JOSEPHINE C. LOCKE, CHICAGO. el Of ' IKST in time and order i? the body of tlie vessel, of which the leather bottle used to carry water ? across the desert, and the most primitive household utensils that held litjuids, supply the earliest sugges- tion. Egyptian vases and the ordinary earthen vessels of the e.arly historic periods were rather globular in form. It remained for Greek refinement and love of free bold curves Fiy. 2. Fig. ?,. to transform the less pleasing spherical outline into the more subtile forms of ellipsoid and ovoid. Figs. 1, 2 and 3. The parts of the most highly developed vase are: body, mouth or rim, neck, foot or liase, handles, spout. A. Globular, Body of Vessel B. Elliptical, , oblong Ovoid. (C. Ovo.d, . • I Broad Flat Ov.id. The Greek Amphorae, Diogenes famous tub included, were baSed on the broad, flat ovoid. \ / w Fig. 1. Fig. 4. The mouth or rim was distinguished by the character of its edges. These were sometimes concentric as in Figs. 4 and 5, sometimes beveled outward as in Fig. 6, sometimes rounding as in Fig. 7. Gradually the neck was intro- duced bringing additional height and grace to the vessel by increasing its complexity both of proportion and outline. The primitive thought of raising a fiat vessel by sliding a block of any kind under it, or by setting it in a Fig. 5. Fig. (i. ring of clay, naturally suggested the elevation of the same by means of a foot or base, which in its growth followed nmch the same genesis as the mouth.. We have in Fig. 8, the simple plinth, a section of a cylinder; Fig. 9 the same but outlined by curves curving outward; Fig. 10 the same beveled outward, and finally the double base bounded by the reversed curve Fig. 11. The development of the foot or base is purely Greek and originated partly in the custom of carrying the vessel upon the head, and partly in the character of the climate, a rainy atmosphere. Water was received from above, hence Fig. 7. Fig. 8. the vessel had to be made so as to stand. In Egypt, where the climate was dry, water was obtained by the lowering of a vessel. The Egyptian water vessel is usually pointed at the base, and sometimes one handle suffices, extending over the entire mouth. In Greece the handle was not only used as a matter of convenience and necessity, but also to secure a more pleasing proportion and balance. Frequently vessels were supplied with double handles, one pair for use and another for the purpose of harmony, balance or contrast. The last and final addition was the spout or pouring mouth, leading to the modem pitcher. In the earlier vessels this was very small; sometimes two or three were used; often the handles were altogether omitted, but more usually, wherever the spout is found, one or more handles also exist. OF 'l^HE CALIFOB^^ ^ xl C. HENNECKE CO., MILWAUKEE AND CHICAGO. It will be seen that the addition of each of these parts taxed more and more the ingenuity of the workman and called for nicer and more delicate balance of proportions ; but Fig. i)A. Fig. tians and Romans. The pitlios served the purposes of a cellar, for in it were stored wine, oil, or corn. It was made of coarse clay, had little decoration, and of a size large enougli for a man to sit in. Diogenes lived in such a tub. It had no handles. It was usually buried in the ground up to its neck. Amphora. Tlie aiiijiliora was less in size than the pithos. It was usually of moderate size, but some were more than five feet high. The amphora was filled from the pithos. It was used for wines, oils and fruits. Two handles were arranged on the neck. The common form of the amphora was pointed at the foot, which was placed in the sand. The later forms show a ring or base in whicli it stands. Figs. 3965, 396(). Tliere is, how- ever, a great variety of forms. The amphora highly prized for its beauty is the kind called the Panathenaic ampliorse, given as prizes at tlie Greek games. Figs. 3960, 3961 , 3963. Tlie amphorBe were sometimes used as cinerary urns and sometimes as coffins, being opened lengthwise to receive the corpse. Among Greeks xlii C. HENNECKE CO., MILWAUKEE AND CHICAGO. and Romans the amphora was used as a standard measure of capacity. The Attic ampiiora contained nearly nine gallons; the Roman about six. Police. A wine jar distinguished from the amphora by narrowing ujnvards towards the mouth. Stamnos. A jar used for mixing wines for the table by the ancients. It has been happily described as " a high-shouldered, short-necked, plethoric vase." Hydria. A water-jar used for culinary purposes or drinking. It was of large capacity, seldom moved, and was filled from small- er vessels which could be carried to the spring. It usually had three handles and was decorated with a painting of some scene. Fig. 3967. A large vase similar to the hydria, but having two lumdles, was used at elections for the re- ception of the votes. Similar vases were also used for storing the ashes of the deceased. Cinerary vases were sometimes without handles. Fig. 3964. Krater. Tlie krater was a gigantic punch-bowl from which the mixed wines were dipped out iit feasts in the (enochoe, or wine jiiteher, and poured into the var- ious forms of cups held by the guests. It had a wide neck and two handles. Figs. 3968, 3971. Calpis. A water jar having three handles, two at the should- ers and one at the neck. Celebe. A vase found chiefly in Etruria, distinguished by its peculiarly shaped handles, whicli are pillared. Ozybaphon. A bell-shaped vase found in Magna Greeia. Oenochoe. A wine-jug, dip])er, wine-pitcher, or wine pourer. Its lip was sunietimes tre-foiled. The jug in which the wine was transferred from tlie krater to the goblets of the guests. Fig. 3974. Frochous. A smaller variety of oenochoe. An ordinary jug or pitcher. Fig. 3975. Cantharus. A kind of drinking cup with handles. Fig. 3978. Cyathus. A single-handled drinking cup, generally used as a ladle to lift wine from the larger vessel — the crater — for the drinking party. Fig. 5. Shows the modern potter's wheel turned by foot^power Carchesium. \n antique drinking vessel with a shallow foot. It is wider than deep, smaller towards the center, and has handles rising high over the edge. Phiale, Patera. A shallow, circular, saucer-like vessel, commonly of red earthenware, sometimes of bronze and other metals, ornamented with a drawn pattern. A bowl. The patera was used for holding liquids, and especially employed to eon- tain tlie wine with which a libation was poured over the head of a victim, or on the altar. Occa- sionally it had handles. Holcion. An antique drink- ing cup, resembling a small can- tharus, but without handles, and much like our modern goblet. Scyphus. A capacious drink- ing cup, used by the lower orders of the ancient Etrurians and Greeks. Kylix (Calyx). The most common form of cup, broad and shallow, six to ten inches in diam- eter. The kylices have frequently l)aintings of wonderful delicacy and beauty. Fig. .3970. Lepaste. A drinking cup, dift'ering from the kylix in having a broad base to rest on, in place of the more elegant stem of that cup. Fig. 39()9. Rhyton. A drinking cup — sometimes in the form of a horn, or its foot extending into the head of a deer or some other animal. Lebes. A deep vessel used to catch the water poured over the hands and feet at meal times. Lecythus. A small elongated vase with asingle handle, or with- out one, having a slender neck, to allow oils and perfumes to drop slowly from it. The "white" lecythus was so called from the color of ground laid for the i)ic- ture on it. It was peculiar to Attica, and was used as a funeral vase. Some of these are among the most delicate and beautiful works of Greek art. Figs. 3972, 3976. Alabastron. A box, vase, or other vessel, to hold per- fumes, fcirmcd of alabaster, and sometimes of gold. Bombylios. A small, narrow-necked pot for perfumes. Aryballos. A vase for ointments or perfumes used by the natiims of antiiiuity. Fig. 3980. Cotyliscos A small pot with a single handle; in other respects like an amphora in miniature. Hood Gasf l^^e BY CHAS. F. ZIMMERMANN. i. \ I /HE art of wood-oarving was practiced in the earliest \ I / times by the Greek and Roman sculptors, by ^\^ the natives of India and Persia, by the Saracens, Moors, and the more civilized nations of Asia. In India the ancient Hindu temples were decorated with doors, ceilings and other fittings, carved in sandal and other woods. The patterns are rich and minutely elaborated. The Moslem wood- carvers designed and executed the richest panelling and other decorations for wall-lining, ceilings, pulpits and all kinds of fittings and furniture. In China and Japan the wood-carvers possess great technical skill. The extensive use of wood or bamboo for architectural purposes has always given the wood-carver a wide field for the exercise of his talent. A large number of small examples of Egyp- tian wood-carving exist in various museums, such as fur- niture, boxes, toilet articles, decorated with reliefs of animals and plants, the lotus and papyrus flowers skilfully treated predominating. The earliest examples of the plas- tic art among the Greek were the rude wooden images of the gods. The Palladium, was one of these wooden images. After the establishment of Christianity, sculpture in wood was employed in the Christian houses of worship. In Germany the art seems to have been especially encour- aged, for not only the churches, but palatial edifices, the chateaux of the nobility, show beautiful examples of the art. In Augsberg, Aschaffenberg, Berlin, Cologne, Con- stance, Dresden, Gotha, Munich, Manheim, Nuremberg, Ulm, Ratisl>on, and other towns some of the hiost remark- able examples are found. In Holland and Belgium beau- tiful examples exist. Almost every church in Antwerp, Ghent, Brussels, Ypres, and other cities of Belgium abound with wood-carving. The town-halls and council chaui))ers were also elaborately decorated in the same way. In ICngland ornamental sculpture is applied to religious and domestic structures ; and manv of the old towns, such as Coventry, Chester, Shrewsbury, Ludlow, Hereford, still show fine specimens. Many of the liuildings in England were decorated by Flemish artisans, particularly in Norfolk and Suffolk. The most illustrious of the English wood- carvers was Grinling Gibbons, who descended from a Dutch family. In Italy during the first half of the 16th century, wood-carving of the most elaborate and magnificent sort was largely used to decorate church stalls, wall-panelling, doors and the like. Many of the French cathedral and abbey choir stalls of the mediaeval period are of the utmost magnificence. Towards the close of the 15th century, the wood-carving of Germany occupied the foremost position in the world, and in many places, such as Nuremberg and parts of Bavaria, great technical skill has survived down to the present time. 2. THE PEOPLE MUST ENGAGE IN SOME ARTISTIC WORK. Grant Allen in the Magazine of Art, writes : " In order to arouse artistic feeling in the people at large, they must all make something with their own hands. They must learn what handicraft means. That is just what very few of our people know as yet. If they could do something toward the decoration of their own homes, it would teach them a thousand times more than any number of art exhibitions or South Kensington Museums. They go to such places now and then in a blind sort of way, and they see the pictures, and the Venetion glass, and the Palissy ware, and the Oriental carving ; but they don't know what these things mean, or how to admire them, 'because they have no standard of reference. Thej' have done nothing with their own hands, so as to show them what handicraft is, and what qualities in it are admirable " Give a man a piece of wood and ask him to carve it, say into a book-cover. If he has never learnt wood-carving he will at first know very little about it. But as he pro- ceeds he will pick up principles from day to day, which will be a thousand times better impressed upon his mind than if he were merely told them by book or word of mouth, because he will have found them out for himself. He may spoil two or three book-covers in the process, but they will be well worth the trouble of spoiling " Wherever art has been really a living thing among the people, it has been because the masses were engaged in artistic handicrafts. In Italy almost all the trades of the country involve more or less of art: in France a large proportion do so. Florentine mosaics, Venetian glass, Genoese filigree, Sevres porcelain, Gobelins tapestry — all these things, whatever their various values in other ways, have gone to build up the national taste of France and Italy for good or for bad. And as you will always find that, where the general level is high, exceptional cases will rise still higher, so, as you do more to raise the taste of the mass, you will make possible more and more exceptional xliv C. HENNECKE CO., MILWAUKEE AND CHICAGO. geniuses. A great mechanical discoverer and inventor like Watt or Edison is only likely to arise among a nation of general industrial character ; a Raphael or a Phidias is only likely to arise among a nation of general artistic taste. "_ 3. THE SKILLED ARTISANS OF JAPAN. Theodore Wores, in a recent number of the Century Magazine, gives the American people some of his observa- tions on the Japanese artists and artisans. The whole article should be carefully read and studied by all inter- ested in general art education. " In associating with the people and visiting the work- shops, I was surprised at the almost universal ability dis- played for drawing in a free, off-hand manner. Almost every artisan could, with the greatest facilitj% make a quick, effective sketch for any design that might be sug- gested to him. This facility in rendering forms and designs in flowing lines with brush and ink is undoubt- edly owing to the graceful form of their writing, to which years of study are devoted ; and this is in itself an art education He relates his experience with one of their wood carvers as follows: — " When I told him what I wanted he hastened to assure me that he could execute my order without the slightest difficulty, and displayed such eagerness to under- take the work that I resolved to give him a trial. The design of this frame, I explained to him, was to consist of lotus leaves, flowers and turtles, carved in relief. With the assistance of a few rough suggestions with a pencil I made my idea clear to him, and he volunteered to make a drawing. The next morning he presented himself with a large and elaborate sketch. " I could hardly believe it possible that such a beauti- ful work, which embodied in the most artistic manner all I had suggested, could have been executed in so short a time. His ability was therefore no longer to be ques- tioned, and when a few days later I again called at his shop he was already hard at work on the frame. It was most fascinating to observe its progress. A rough piece of camphor wood, which represented one side of the frame, lay before him. With a few rapid strokes of his brush he indicated the general design, and then, without any further preparation, seized his hammer and chisel, and without hesitation boldly hacked away at the wood, making the chips fly in every direction. Before long the unmistakable forms of lotus leaves, flowers, turtles and water lines, gracefully intermingled, began to appear " The skilled artisan in Japan not only executes, but in most cases designs his own work. He perfecty under- stands the capabilities of the materials he employs, be they of wood, bronze, lacquer, or ivory, and he designs his forms to adapt them to the materials used. He does not consider it necessary that the form he plans should be a perfect or accurate reproduction of the object he under- takes to represent, but he does endeavor to give its char- acter, however he may vary the design in conforming to the character of his materials. " In this he is undoubtedly guided more or less by his artistic instinct, which is but an inheritance from genera- tions of artisan forefathers, who have bequethed to him their accumulated knowledge. Thus it is that the Japan- ese artisan is instinctively artistic, and produces artistic work almost unconsciously by simply following out his natural tastes and inclinations." 4. ITS USE IN ARCHITECTURE. The Artist, London, gives an abstract of Mr Pollen's lecture on wood carving. We can quote in part only. " Now let us consider what the opportunities of the carver are, and what different methods of treatment he has at his command. There are the beams of which parts of all houses are constructed, and which, being of wood, are to be carved when the style of the architecture exposes them to view, as in church and hall roofs, rooms in which the joints of the floor above are exposed, etc. As beams and timbers are concentrations of strength, they often have to bear walls that exceed their thickness and project beyond their edges, such as door lintels, architraves, and the like. In these cases it is the angular edge, or so much of the edge as will not impair the strength of joists or rafters that can be carved effectively. In the case of a post such as a stair newel, the king post of a Gothic roof, both edges and sides can be carved — extra length of wood being allowed for the purpose above the stair newels or below the king posts — without interfering with the actual purpose of these posts, either in reality or apparently, apparent strength being necessary to due effectiveness. As to running mouldings worked on edges, whether of beams, joists, rafters or rails of any kind; or again, on the angles of door and window jambs and lintels, or on the framework of panels, the distinct rolls and hollows of which they consist must be limited in number. There should never be less than three, that a due proportion between the members may be maintained, nor should they be too numerous. Brackets have so many distinct ends projecting over the other. Cornices are made up of rows of brackets, or are one continuous running bracket. In this way cornices represent thicknesses of wood projecting from the wall one above another, and should represent, say, an upper, a middle, and a lower projection. We ought to preserve this idea in complicated cornices and give emphasis to the middle feature; then there will be a group of lines above it and a group of lines below. These groups break the angle between roof and wall, or anything wo OB CARVING. xlv that represents roof, such as tlie top of a chimney-piece, or a door-way, and so forth. When you see an unmeaning succession of repeated mouldings, as you often do in builders' decoration, you will feel that the real idea of their relation to each other has never been grasped. If from solid timbers we pass to wall surfaces, it is obvious that large wall spaces can be only covered hy framed paneling. The framework must be of sufficient thickness to be grooved to take the panels, and this extra thickness has to be relieved from the heavy appearance of a more thick edge. We have to ease down the edge by mouldings or lines in relief, some bolder, others finer, as the edges of the frame decrease till they meet the panel. In a large room cut up into paneling, the general effect will depend on the size and proportions of the panels to height and width of the room and of the rows of panels to each other. Paneling requires to have some rows taller than others, and to have upper and lower rows of less height than the general order. Upon the size of the panels will depend the l)oldness and size of the mouldings. We meet with large paneling in which the mouldings are planted into the junction of frame and panel, and exceed the thickness of both. I do not think it a good feature, and it is often a vulgarism. 5. OARVKD MOULDINGS. " In carving mouldings there are two rules to observe — one that the general form and outline of the original lines, or bars, or hollows moulded by the plane have to be pre- served ; another rule is that no work put upon these feat- ures ought to be allowed to quarrel with the direction of their lines. Foliage or plaited ornaments should run at right angles with that direction, and be delicate enough to lose themselves at a distance, at which the original mould- ing only can be distinguished. But in all large surfaces of panelling the greater quantity of moulding will be worked mechanically by a plane iron filed to the curvature required. If you examine the small panelling of the 15th century, much of it will be found to have been executed by a tool worked by the fingers after the wood has been framed together. The mouldings die down without meet- ing in the angles, but these mouldings are necessarily small and shallow. On furniture, chests, and other more important joinery, mouldings seem to have been cut throughout with the carver's gouge. Here, then, we have the treatment of edges of panels. How effective they can be made I need not say. Panels are sometimes made of wood, so thick as to be brought up to the level of the rails that frame them, and reduced by wide bevelings to meet the grooves of stiles and rails. The thick parts are left with a defined edge as though a thin extra plank were added to the thickness. I consider that the jjroper pur- pose of this thickness is to allow of carving. Carving in these parts has to be in very low relief — historical subjects or leaf-work compositions. Figure carving in some places is sometimes of extraordinary merit. Examples can be seen among the cabinets of the Soulages collection in the Kensington Museum. There are, of course, parts or feat- ures of all interiors in which the carver has to put forth all his powers, those in which bold relief can be employed — door heads, fire places, and other prominent features. Here will come figure work, bold foliage, heraldry and the like. Generally and broadly speaking, what is it that makes carving effective ? Not extreme skill in cutting, nor absolute indications of nature, however good. It is a knowledge of, or rather, an habitual recognition of, laws that govern all composed design which becomes what we know by the word feeling. We have spoken of mouldings on the edges of woodwork, and of composition of foliage and figures, heraldry, and other ornamental composition. What is the law that governs the due prominence and arrangement of lines and masses ? I consider mouldings as bars or borders of light, separated just so much from the surface to which they form an edge as to show their outline. This first edging is the largest and widest, as it is on the thick portion of the wood ; on its shaded side it dies grad- ually until it ends in a smaller roll, and then, perhaps, a sharp arris. 6. SOME PRINCIPLES TO BE OBSERVED IN WOOD CARVING. " If you watch the growth and decay of styles of archi- tecture, it is in the multiplication or breaking up or loss of meaning of mouldings that these stages of decay and corruption are most obvious. Mouldings form three- fourths of the carver's work. Carry this principle further into the composition of carved groups, such as fill sunk panels or pediments. One may be able to carve the figure of a man, a lion, or a piece of foliage, but so to combine a number of figures as to make each of them evident, to give the grace or the force that belongs to each of them respec- tively, and when combined to form an agreeable and well- balanced composition of masses and line of light, here is the difficulty. Regarding the amount of detachment or absolute relief that good carving in such cases ought to have, it will depend on the character of lightness and of movement the carver wishes to give his work. Generally, carving of this kind should never lose touch in appearance from the mass to which it belongs, and should die gradually into the shadow. Much excellent carved work loses value from too much under cutting, even in the work of so great an artist as Grinling Gibbons. Further, if carving is not to appear as if it floated in a disproportioned sea of shadow, neither should it be so crowded up as to become indistinct. Nor can decorative carving be carried, except to a limited degree, to the direct imitation of nature. As nature would not join animal and vegetable life together, so we are to xlvi C. HENNECKE CO., MILWAUKEE AND CHICAGO. represent natural life and living objects not as if we were making definite pictures of them, but such features of their nature as will gracefully express the arrangements of light and lines as are required for our immediate purpose, and no further. The value of light and its concentration on masses of relief is of the first consequence to the carver, grace of line is second. Not that the two are separable, but the composition of masses seems to me the more difficult of the two." 7. HOUSEHOLD ART. " In reviewing what may be called the household art of many ages, it would be difficult to assign an absolute superiority to the artists of any one generation, consider- ing what countless beautiful objects have been made for the personal use and enjoyment of men. The sculptured thrones of ivory and gold, the seats and couches of bronze overlaid with gold and damascened with the precious metals, the inlaid chariots, tables, chests, and jewelled caskets of antiquity; the imagery, the shrines, the stalls, and roofs of the middle ages; the wood sculpture, tarsia, pietra dura, damascening and the endless variety of objects produced during the days of Leonardo, Michel Angelo, and Raphael, down to the ca^^'ing of Gibbons, and the splendid work of Boule, Riesener and Gouthiere, are all in various ways excellent. " We must not venture to call one class of production finer than another where the differences are so great and such high perfection has been attained in each. Every style and feshion when at its best has resulted from the utmost application of mind and time on the part of trained artists; and the highest art can never be cheap, neither can any machinery or any help from mechanical assistance become substitutes for art. Beauty which is created by the hand of man is not the clever application of mechanical forces or of scientific inventions, but is brought to light, whether it be a cabinet front or the Venus of Milo, often with pain, always by the entire devotion of the labour, the intellect, the experience, the imagination and the affection, of the artist and the workmsm." — John HiDigerford Pollen. 8. SOME PRINCIPLES OF CONSTRUCTION AND ORNAMENTATION. '• The constructive forms, moreover, should not be obscured by the ornament, but rather brought out by it; nor should all portions be equally decorated, but only such parts as friezes, pilasters, capitals, piUars, or panels; herein simplicitj' is the safest guide to beauty. Over-enrichment, indeed, destroys itself, and it would not be difficult to point out works of the greatest pretensions and the most costly workmanship, which are completely spoiled by this fault. Cabinets entirely covered with carving, the very stiles and rails being as decorated as the panels and pilasters; metal chandeliers, with leaves and flowers in as great profusion as in nature; papier-mache hidden under a surface of pearl and gold. It should be remem- bered that contrast is one of the first elements of pleasure, and that repose is one of the most valued excellencies of art; thus simplicity serves as the back ground to ornament, as the setting to the gem, or the foil that enhances the beauty of the jewel; and the good artist is as much shown in the economy of his labor as the bad one is by over- enrichment. " In following out our principle that ornament should arise out of construction, the work, abstractedly, should be constructed and then decorated; not that it is meant that the ornament should be applied to the object, but (as in wood for instance) carved from it; thus the leg formed for support, the pilaster or column for bearing, may be light- ened and enriched by cutting away from the block or slab, not by adding to it. In his natural stat« man is a true workman in this respect, and works on just principles without knowing it. The New Zealander, or South-Sea Islander first /ornw his war-club or his paddle of the shape best adapted for use, and then carves the surface to orna- ment it. The Swiss peasant, or the shepherd of our own hills, works in a similar way. Such also is the case in the works of Eastern nations, as is particularly exemplified in their choice sandal-wood carvings. Here the natural and the refined taste agree, for the best ornamental wood carv- ing of the Renaissance is on this principle, low in relief, seldom projecting beyond the surface of the pilaster, or the framing of the panel. "In wood-carving care should be taken not only to have the relief so managed as to guard the work as much as possible from accidental injury, but the designer should seek to adapt the forms of the ornament to the direction of the grain when it is open or free, and the work should be framed with a view to this consideration; moreover, ornamental carving should not be applied to wood of strongly-marked parti-coloured grain, but that which is homogeneous in color should be selected for the purpose, in order that the ornamental tbrms may as little as possible be interfered with by being mixed up with the lines and colours of the grain. It is curious how much costly and skUful labor has been thrown away from inattention to such minor considerations as these. 9. IMITATIVE CARVING IN FURNITURE NEVER JUST IN PRINCIPLE. " The furniture of a man's house should indeed be well designed, well constructed, and judiciously ornamented, for, as it is constantly under his hand and eye. defects overlooked at first, or disregarded for some showy excellence, grow into great grievances, when, after they have become an oflFense, the WOOD CARVING. xlvii annoyance daily increases. Here at least utility should be the first object, and, as simplicity rarely offends, that ornament, which is the most simple in style, will be likely to give the most lasting satisfaction. Yet how seldom is this consideration duly attended to ! The ornament too often consists largly of imitative carving ; bunches of fi'uit, flowers, game, and utensils of various kinds in swags and festoons of the most massive size and the boldest impost, attached indiscriminately and without meaning to bedsteads, sideboards, book-cases, pier-glasses, etc., rarely carved from the members of the work itself, but merely applied as so much putty-work or papier-mach^ might be. The laws of ornament are as completely set at defiance as those of use and convenience. Many of these works, instead of being useful, would require a rail to keep off the household. We see a sideboard, for instance, with garlands of imitative flowers projecting so far from the slab as to require a ' long arm ' to reach across them, and ever liable to be chipped and broken ; and cabinets and book- cases so bristling with walnut-wood flowers and oaken leaves, as to put use out of the question " Those designers who unreservedly adopt the ornament of past times must, of course, apply it to their works with- out any peculiar significance or connected idea, but merely for its beautiful forms, elegance, grace, or richness. Where, however, any significant allusion, sentiment, or happy idea can be embodied in the ornament, uniting it with the use and intent of the work on which it is to be placed, it Avill have a charm which is otherwise wanting. Not that this want is peculiar to the application of traditional orna- ment, since the designer in the natural or imitative manner seldom attempts any connection between his decoration and the work to which it is to be applied. There seems no fitness, for instance, in surrounding the frame of a pier-glass with dead birds, game, shell-fish, nets, etc., although they may be excellent specimens of carving ; nor is it clear why eagles should support a sideboard, or dogs form the arms of an elbow-chair ; nor, again, why swans should make their nests under a table, at the risk of having their necks broken by every one seated at it. Indeed, in most cases, as such imitative forms cannot in the strict sense be called ornament, they almost challenge inquiry as to why they have been adopted, and only disappoint us when we find that their application has been without motive : this is not the case with traditional ornament, which, like the current coin, is accepted at once without inquiry 10. CUE ART-WOHKMEN MUST STUDY DESIGN. " The great defect in all our ambitious furniture is the want of art power in the workman. In this respect we are still sadly behind continental nations. Whenever the human figure is used as ornament in English works it is pretty sure to be faulty. The figure may be well com- posed, may be evidently designed in good taste, since that is often the work of a superior artist; but in the execution it is almost alwaj'S misunderstood and spoiled. The extremities are finished without knowledge of the internal structure, the fingers, toes, and joints have no bones within the skin, but that ' gummy ' undecided treatment which evidences the ignorance of the workman. In wood- carving this is equally apparent, even when it consists only of ornamental forms. Very often in such work the ' design ' of the ornament would seem to be by the same unskilled hand that carved it, since it is mostly out of place coarse, and merely ' natural ' in style, and rarely reaches beyond the expression of the most commonplace thought, or the imitation of the commonest fruits and flowers. Success in rendering either the human figure or animals, when in life and motion, can only be the result of knowledge attained by a careful study of the structure of the bony frame-work and of the mov- ing muscles; and thus it is the want of such anatomical knowledge and of a proper training in art that causes the de- ficiency we are obliged to notice in our furniture, and which compels the carver to confine himself to mere works of imi- tation, knowing that higher flights are licyond his powers. This deficiency of power and skill in the human figure is only an additional evidence of the want of better educa- tion for our art-workmen. They need to have proper treatises prepared for them, laying down the principles of ornament, and giving them a thorough foundation in practical geometry, form, proportion, and, above all, in anatomy, together with a careful education of the hand and eye. Unless the manufacturers of this country are soon awakened to our deficiencies, and prepared to make great sacrifices to support the government art schools, and to enable and induce their workmen to study in them, we must be content to lag still further behind as the world advances, and for the future to be manufacturers of cheap goods, leaving excellence and beauty to our continental neighbors." — Richard Redgrave, R. A. 11. MATERIALS AND TOOI^. The wood of the lime-tree is well adapted for the first work of the beginner. When some knowledge has been gained of the manner in which tools should be used, the harder woods may be employed. Sycamore, holly and chestnut are light woods, pear is moderately hard but works well and takes a stain and polish readily. Apple, poplar, mahogany, bay-wood and cherry are also good woods. For small, delicate work box-wood and ebony may we used. Woods which show an ornamental grain, such as bird's-eye maple, or satin-wood, are used very little as the figure in the wood mars the effect of the carving. Oak is most generally used and next to it the xlviii a HENNECKE CO., MILWAUKEE AND CHICAGO. walnut. In Europe, in addition to these two woods, the sycamore, the chestnut, the fir and the plane-tree are chief!)' used. In the oriental countries, cedar-wood and sandal-wood have been favorites with the carver. It is of great importance that the wood used should be thoroughly seasoned. " Green " wood causes great injury to the fin- ished work. Only a few tools are necessary for the beginner ; more can be added as the use for them is determined. Get tools of tlie best make. A few square chisels, Hat gouges, hol- low gouges, skew chisels, a parting tool, or V tool, a niac- caroni tool, a mallet, a punch, a small circular grindstone of emery, an oil-stone, are all that are necessary to begin with. The chisels recommended are i in., i in., and J in. flat tools ; } in. and i in. gouges, straight and bent. See j)ages 84 and 85. The liandles to the tools should be short, say five inches. Longer handles may be used later in the work. It is important to keep the tools well sharpened. This requires considerable practice, as carver's tools are sharp- ened on both sides. The gouges must be carefullj' turned ro\ind during the process of sharpening, so as to grind evenly all parts of the edge. The maccaroni tool is sharp- ened on the outside only. If tools are very blunt they are ground first, then sharpened on the oil-stone, and finished on a piece of stout buff leather prepared with grease, flour emery, and crocus. The Arkansas stone is the best for sharpening the finer tools. The punches for marking the background can be purchased or made by filing the point of a large spike or nail into four or more points. The Addis' tools are considered the best. They are made in various sizes and shapes, but belong to the groups of tools named above. Each student must select the particular variety of tools from the various lists best suited to his wants. (See pages 84 and 85). As considerable force is used in carving wood it is very important that the block upon which the carving is done should be firmly fixed to the bench. A bench vise is used for this purpose, but the carver^s screw has many advantages. Page 84. This screw is passed through a hole in the bench and screwed into the block of wood sufficiently far to get a firm grip of it, but not far enough to interfere with the carving. The screw is held by a fly-nut underneath. As the learner progresses in his work, the best contrivances •for holding the wood will naturally suggest themselves. 12. THE DESIGN. Preference is always to be given to designs fi'ora some old work of the fifteenth and sixteenth century when wood- carving flourished in the different countries of Europe. Original designs by the amateur wood-carver are in order when considerable skill has already been acquired. On light wood draw the design in outline with a lead- pencil. On dark wood paint the design with a fine camel's hair brush in Chinese white, and mark the por- tions to be carved out in a darker color. The tracing wheel may be used to mark the design on the wood; or the design may be pasted on to the wood and the carving done through it. But where the design is to be preserved we can transfer it by placing carbon paper between the design and the wood. 13. FIRST EFFORTS. Having selected a piece of pine about an inch thick for your first effort, see that it is free from knots or shakes. It should be planed so that you can draw or mark upon it easily, and square at the edges. Clamp the wood down upon the bench, table, or jjlank firmly. Draw lines upon it and taking your chisel or gouge practice cutting out the wood between the lines, cutting with the grain of the A simple geometrical figure composed of straight lines and curves is preferable to a design composed of leaf forms for. the first effort. The kerbschnitt designs, of which we shall speak further on, are Avell adapted to the first efforts. Fig. 1. wood. Do not use the V tool to begin with as it is easily broken. Do not remove too much wood at first, but take away a little and go over it again. Practice cutting against the grain of the wood next. Then try to carve curves drawn upon the wood. Hold the tool in the right hand and guide it with the forefinger and middle finger of the left hand. See Fig. 1. Keep the fingers away from the edge of the tool. On no account hold the work with one hand while the tool is being used by the other. Bear on lightly, and remove the wood evenly. Sharpen the tool every ten or fifteen minutes on the hone or strap. This preliminary practice will have given the student some idea of how to use the chisel and gouge, and he can now proceed with a simple pattern. Select another piece of wood, planed and squared as suggested above. Cut away a narrow strip of wood a quarter of an inch wide and deep, making a rabbet or groove all around. Now in carving keep above the im- aginary line A B, in Fig. 2, as this line is the ground level upon which the ornamentation will appear to lie when finished. Draw or transfer the design upon the surface of the wood, in good, strong black lines. The parts forming the WOOD CARVING. xlix background are now to be cut away until the ground line A B is reached. Outline the pattern with the chisel or gouge, pressing it down at an angle of 45° and away from the portion to be left in relief, never under- neath it. Takeout all the background, and get it (juite even and Hat. When all the ground has been taken away, trim up the edges of the raised parts. When the student has mastered this part of the work well, he has already laid a good foundation in the art. It is there- fore best to confine all his early efforts to work of this nature. Prick or indent the background with the punch or stamp; (see page 84); the closer and deeper these indentations are made, the better. 14. FINISHING. But not all work is left in the state in which it was after the ground had been taken out. The student must decide which are to be the most prominent points in his work, and he must work from these so as to produce the proper distribution of the lights and shadows; he must giv-e prominence to some forms so as to appear to come Fig. forward, and others to recede or pass into the background. This requires judgment and skill for which no definite rules can be laid down. Observation and study of nature are the only safe guides. In giving his work the finishing touches, the student has a chance to display his artistic feeling, and apprecia- tion of the beauties of form. If his preparation in draw- ing and modeling, and the study of nature has been sys- tematic and thorough his mind will have become critical, and he intuitively rejects whatever will mar his work, while he is at the same time able to select what is most worthy of being expressed. The work having been completed it is not necessary to efface the tool marks by trying to obtain the smoothness produced by sandpaper and polishing. These very tool marks show the skill or the lack of skill of the carver. The piece of work may be oiled, stained, or polished with oil, but should never be made to appear anything else than the product of the sculptor in wood. 15. KERBSCHNITT. This beautiful system of surface decoration, consisting of geometrical forms carved in wood, was much in vogue in all the northern countries of Europe as far back as the 13th century. As much of this work Can be executed with the aid of the knife and a few tools, it has been adopted as one of the branches of manual training in the schools of Germany with excellent results. The surface to be ornamented is divided into regular spaces by using the rule and the compass. The background of these figures is not flat and even as in wood carving described above, but the whole surface is broken up in regular and irregular fonns, the lights and shadows being so disposed as to produce a very beautiful effect. (See illustrations below). ^^^^'^.W^ e g I ixixixixixixixixgm ?5gteil ^e^j)t5!l!Bi|, BY CHAS. F. ZIMMERMANN. HE art student or worker in art industries who would excel must devote himself to his chosen profession with all seriousness. If nature has endowed him with a taste for the beautiful, with talent, or perhaps, genius, and he has already mastered the technical part of his profession, he has still need of a liberal culture. He must not only know nature in her outward garb in all her varied forms, he must also know the secret springs, the causes of all these phenomena. He must know the laws of organic life as far as they influence the different phases which nature presents. His chief aim must be to render nature truthfully. He must not only study the' laws which control the material used in his chosen art or pro- fession, but learn to appl_y the laws of the beautiful in his work. To enrich his fancy and strengthen his imagina- tion, he should devote himself, according to inclination, to the study of archeology, history, natural science, or litera- ture. The study of the history of culture cannot be too highly commended. The history of art and the master- pieces of the great poets of ancient and modern times should be studied to enlarge the mind, enrich the imagin- ation and purify the taste. From the history of art he learns the causes which have determined the rise and fall of art in the different periods; it becomes his guide in the choice of subjects and creates an ideal by which he is enabled to judge his own productions correctly. 2. WHAT TO STUDY. " Power to design seems to be incommunicable; because in proportion as the motive or inspiration is conveyed from one to another, it results in reproduction rather than originality. The infinite resources of nature in the two directions of form and color, and the laws upon which they are displayed, constitute one portion of the study of design; the application or disregard of those laws in the works of those who have gone before us, so far as we can now ascertain them, is the second part; thus we acquire a knowledge of natural principles and their historical treat- ment; for the surest foundation of originality is extensive knowledge, combined with great executive power and imagination, which, if the necessary creative impulse should seize upon, may result in the conception of original works. The only instruction, therefore, that can be given to the student of design, likely to be of use to him, will be to direct his attention to natural laws and beauties, and to analyze with him the peculiarities of standard examples of good designs,— generally accepted specimens which exhibit the qualities of adaptation to purposes, skilfiilness of treatment, and a pure imagination." — Walter Smith. 3. PRINCIPLES OF COMPOSITION. " Composition should have its laws, or it would be only a fancy and a caprice. Now, without considering what concerns painting, sculpture and music (although it may be possible, it seems to me, to define the rules which ought to enter into the compositions of musicians, sculp- tors and painters, in the matter of aits applied to archi- tecture and various industries), it is evident that compo- sitions should have reference to two elements, — the mate- rial made use of, and the processes that can be applied to it. The composition of a work requiring melted, wrought, or forged metal, would not suit one which employs wood, marble, stone, or terra-cotta. Each industry or each pro- cess of manufacturing ought necessarily to possess a method of composition which shall be appropriate to the material made use of in it, and to the manner in which it is worked. The beatdiful examples of past centuries, which we admire, follow the.se elementary principles. " To teach composition, you must first define these prin- ciples. The mistake in the instruction given in our schools has been in always presenting works that are indisputably beautiful to the pupils, without ever indicat- ing to what they are applied, of what material they are made, and what are the processes employed by the artists or artisans who produced them, and what is their place and purpose. "Thus it happens that, in the majority of our produc- tions belonging to what is called indxistrial art, the most singular transpositions are brought to the attention. " In these matters, the want of a good education causes the reproduction in wood of works which belong more particidarly to molten metal; and, in marble or stone, of forms belonging to stucco. In the composition of what- ever relates to architecture and common articles, such as furniture, utensils, jewels, and gold and silver work, the first condition is to notice the particular properties in the material employed, and the mode of employing it, or the way it can be manufactured. For want of observation of these prinidples, one produces works that not only violate the most simple rules of good sense, but do not please, and offend reason as well as taste, and which weary with their monotony. The charm of the best works of antiquity lies in their variety of form, the result of the nature of the material employed, and the way it is treated. "The first' condition of composition is a knowledge of materials and their proper manufacture." — -Violet le Due. tii'x'ijpAui}-:^^ BY CHAS. F. ZIMMERMANN. ( ) Homer and Hesiod, as well as to the Greeks universally, Zeus is the great and predominant god, " the father of gods and men," whose power none of the otlier gods can hope to resist, or even deliberately think of questioning. All the other gods have their specific potency and pecu- liar sphere of action and duty, with which Zeus does not usually interfere ; but it is he who maintains the linea- ments of a providential superintendence, as well over phenomena of Olympus as over those of earth. Zeus and his brothers, Poseidon and Hades, have made a ilivision of ])ower ; he has reserved the ether and the atmosphere to him- self — Poseidon has obtained the sea — and Hades the under- world or infernal regions ; while earth, and the events which pass upon earth, are common to all of them, together with free access to Olympus. "The inmates of this divine world are conceived upon the model, but not upon the scale, of the human. They are actuated by the full play and variety of those appetites, sympathies, pas- sions, and aflections which divide the soul of man ; invested with a far larger and indeterminate measure of power, and an exemption as well from death as (with some rare exceptions) from suffering and infirmity. The rich and diverse types thus conceived, full of energetic movement and contrast, each in his own province, and soaring confessedly above the limits of experience, were of all themes the most suitable for adventure and narrative, and operated with irresistible force upon the (jrecian fancy. All nature was then conceived as moving and working through a number of personal agents, among whom the gods of Olympus were the most conspicuous ; the reveren- tial belief in Zeus and Ajxdlo being only one branch of this omnipresent personifying faith. The attributes of all these agents had a tendency to expand themselves into illustrative legends — especially those of the gods, who were constantly invoked in the public worship. Out of the same mental source sprang both the divine and heroic myths, the former being often the more extravagant and abnormous in their incidents, in pro- portion, as the general type of the gods was more vast and awful than that of the heroes. "As the gods have houses and wives like men, so the present dynasty of gods must have a past to repose upon; and the curious and imaginative Greek, whenever he does not tind a recorded past ready to his hand, is uneasy until he has created one. Thus the Hesiodic theogony explains, with a certain degree of system and coherence, first, the antecedent circum- stances under which Zeus accjuired the divine empire, next the number of colleagues and descendants. "The divine race, under the presidency of Zeus, will give us: 1. The twelve great gods and goddesses of Olympus — Zeus, Poseidon, Apollo, Ares, Hepha'Stos, Hermes, Here, Athene, Artemis, Aphrodite, Hestia, Demeter. 2. An indefinite number of other deities, not included among the Olympic, seemingly because the number tivelve was complete without them, but some of them not inferior in power and dignity to many of the twelve. Hades, Helios, Hekate, Dionysos, Leto, Dione, Persephone, Selene, Themis, Eos, Har- monia, the Charities, the Muses, the Eileithyiic, the Mcerte, the Oceanids, and the Nereids, Proteus, Eidothea, the Nymphs, Leukothea, Phorkys, vEolus, Nemesis, etc. 3. Deities who perform special services to the greater gods : Iris, Hebe, the Horse, etc. 4. Deities whose personality is more faintly and unsteadily conceived: Ate, the Litse, Eris, Thanatos, Hypnos, Kratos, Bia, Ossa, etc. The same name is here employed sometimes to designate the person, sometimes the attribute or event not per- sonified — an unconscious transition of ideas, which, when con- sciously performed, is called allegory. 5. Monsters, offspring of the gods: the Harpies, the Gorgons, the Grrese, Pegasus, Chrysaor, Echidna, Chiniiera, the Dragon of the Hesperides, Cerberus, Orthros, Geryon, the Lernsean Hydra, the Nemean Lion, Scylla and Charybdis, the Centaurs, the Sphinx, Xanthos and Balios the immortal horses, etc. " Each god had many different surnames, temples, groves, and solemnities, with each of which was connected more or less of mythical narrative, originally hatched in the prolific and spontaneous fancy of a believing neighborhood, to be afterwards expanded, adorned, and diffused by the song of the poet." — (GroU.) " The primitive chaotic conflicts appear under the form of the war of the Titans; their end is the confinement of those giants in Tartarus, whose compulsory subjection is the com- mencement of order: thus Atlas, the son of lapetus, is made to sustain the vault of heaven in its western verge. The moral is prefigured by such myths as those of Prometheus and Epi- metheus, the fore-thinker and the after-thinker; the Iiistorical in the deluge of Deucalion, the sieges of Thebes and of Troy. A harmony with human nature is established through the birth and marriage of the gods, and likewise by their sufterings, pas- sions and labors. The supernatural is gratified by Centaurs, Gorgons, Harjjies and (!yclops. " There was a universal agreement that heaven was situated above the blue sky; but as to hell, much difference of opinion prevailed. There were many who thought that it was a deep abyss in the interior of the earth, to which certain passages, such as the Acherusian cave in Bithynia led. But those who with Anaximenes considered the earth to be like a broad leaf floating in the air, and who accepted the doctrine that hell was divided into a Tartarus, or region of night on the left and an Elysium, or region of dawn on the right, and that was equally distant from all parts of the upper surface, were nearer to the original conception, which, doubtless, placed it on the under or shadowy Hi C. HENNEGKE CO., MILWAUKEE AND CHICAGO. side of the eartli. The portals of descent were thus in the west, where the sun and stars set, though here and there were pas- sages leading through the ground to the other side, such as those by which Hercules and TJlysBes had gone. The place of ascent was in the east, and the morning twilight a reflection from the Elysian Fields. " On the rim of the flat earth is the circumfluous ocean, the source of the rivers, which all flow to the Mediterranean. ' The sea-girt disk of the earth supports the vault of heaven.' Im- pelled by a celestial energy, the sun and stars, issuing forth from the east, ascend with difficulty the crystalline dome, but down its descent they more readily hasten to their setting. No one can tell what they encounter in the land of shadows beneath, nor what are the dangers of the way. In the morning the dawn mysteriously appears in the east, and swiftly spreads over the confines of the horizon; in the evening the twilight fades gradually away. Besides the celestial bodies, the clouds are continually moving over the sky, forever changing their colors and their shape. No one can tell whence the wind comes or whither it goes; perhaps it is the breath of that invisible divinity who launches the lightning, or of him who rests his bow against the cloud. Not without delight men contemplated the emerald plane, the sapphire dome, the border of silvery water, ever tranquil and ever flowing. Then in the interior of the solid earth, or perhaps on the other side of its plane — under world, as it was well termed — is the realm of Hades or Pluto, the region of night. From the midst of tliis dominion, that divinity, crowned with a diadem of ebony, and seated on a throne framed out of massive darkness, looks into the infinite abyss beyond, invisible himself to mortal eyes, but made known by the nocturnal thunder, which is his weapon. The under world is also the realm to which spirits retire after death. At its portals, beneath the setting sun, is stationed a numerous tribe of spectres — Care, Sorrow, Disease, Age, Want, Fear, Famine, War, Toil, Death and her half brother Sleep — Death, to whom it is useless for man to offer either prayers or sacrifice. In that land of forgetfulness and shadows there is the unnavi- gable lake Avernus, Acheron, Styx, the groaning Cocytus, and Phlegethon, with its waves of fire. There are all kinds of monsters and forms of fearful import : Cerberus, with his triple head ; Charon, freighting his boat with the shades of the dead ; the Fates, in their garments of ermine bordered with purple ; the avenging Erinnys ; Rhadamanthus, before whom every Asiatic must render his account ; JSacus, before whom every European ; and Minos, the dread arbiter of the judgment seat. There, too, are to be seen the great criminals whose his- tory is a warning to us : the giants, with dragon's feet extended in the burning gulf for many a mile ; Phlegyas, in perpetual ter- ror of the stone suspended over him, which never falls ; Ixion, chained to his wheel ; the daughters (jf Danaus still vainly try- ing to fill their sieve ; Tantalus, immersed in water to his chin, yet tormented with unquenchable thirst ; Sisyphus despairingly laboring at his ever-descending stone. Warned by such ex- amples, we may learn not to contemn the gods. " The wanderings of Odysseus and the voyage of Jason and his heroic comrades in the ship Argo, when they went to seize the golden fleece of the speaking ram, are full of mysteries and marvels. " — ( Draper. ) With few exceptions the Roman names of deities and heroes are used, in preference to their Greek synonyms. For the convenience of those familiar with one name only, the following list is appended. THE GODS OF OLYMPUS. (Greek.) (Roman.) Zeus, Jupiter, The ruler of heaven and earth. Hephrestus, Vulcanus, The god of fire and the forge. Here, Juno, Queen of heaven. Pallas Athene, Minerva, Goddess of wisdom. Phoibos ApoUon, Phoebus Apollo, Presiding deity of various arts and protector of the muses. Artemis, Diana, A virgin goddess who presides over hunting, chastity, and marriage. Ares, Mars, The god of war. Aphrodite, Venus, Goddess of beauty and love. Hermes, Mercurius, The ambassador of the gods. Hestia, Vesta, The goddess of the family hearth. Eros, Amor — Cupido, God of love. Nike, Victoria, Winged attendant on the su- perior deities. Hebe, Juventas, Cup-bearer of the gods. Helios, Sol, The sungod. Selene, Luna, The moon. Eos. Aurora. Goddess of the dawn. Besides these there were the Muses, daughters of Zeus. They are named Polyhymnia, the muse of the grave chant of religious music; Calliope, the muse of epic poetry and science generally; Clio, the muse of history; Euterpe, the muse of lyric poetry; Melpomene, the muse of tragedy; Terpsichore, the muse of dancing; Erato, the muse of erotic poetry, together with geom- etry and the mimic art; Thalia, the muse of comedy; Urania, the muse of astronomy. The Charities or Graces, generally appear in attendance upon the gods; their names are Aglaia, Euphrosyne and Thalia. Themis and her three daughters, the Horfe (Seasons) — Eunomia, Dike and Irene, represent the regular march of nature in the changes of the seasons. The four chief winds were the sons of Eos. They are named Boreas, or Aquilo, the rude north wind; the Zephyrus, the welcome messenger of spring; Notus, the south wind ; and Eurus, the east wind. OTHER 1 GODS. (Greek.) Poseidon, (Roman.) Neptunus, The mighty ruler of the sea. Amphitrite, Gfea, Salacia, Tellus, The wife of Neptune. Mother earth. Rhea, Dionysus, De meter, Persephone, Kora, Hades, Cybele, Bacchus, Ceres, Proserpina, Pluto, Mighty mother. The god of wine. Protectress of agriculture. Goddess of vegetation. The ruler of the lower world. Hekate, Rules over the secret forces Asklepius, .iEsculapius, of nature. The god of the healing art. Hygiea was the goddess of health. She was described as the daughter of .^Esculapius. Nemesis was regarded as the goddess of equality, and sees that happiness and misfortune are allotted to man according to merit. Tyche was the goddess of good fortune. Besides Fortuna, the Romans honored a deity called Felicitas, as the goddess of positive good fortune. The Tritons were sea-deities of fantastic form. Nereus, GRECIAN MYTHOL OGY. Uii the son of Pontus (the sea), represents the sea in a quiet state. Ino, afterward named Leucothea, was regarded as a benevolent sea-deity. The Sirens were also sea-deities, whose songs were death to those who were seduced by them. The Oceanids were the numerous descendants of Oceanus. The Nymphs were tender, graceful maidens, who preferred the peaceful solitude of the woods and mountains to the habitations of man. The Satyrs (Fauni) were sensual wood and mountain spirits following in the train of Dionysus. Silenus, an old satyr, tended and brought up Dionysus. Pan was a very ancient god of the woods and meadows. The Erinyes (Furise) executed the commands of Hades and Persephone. THE HEROES. In Homer's account of the Centaurs, they are not demons, but an old Thessalian mountain tribe of giant strength and savage ferocity, utterly unable to control their rude, sensual nature. Tliey are celebrated in ancient story for their fight with the Lapithse, which arose at the marriage feast of Pirithous. It ended by the Centaurs being expelled from their country, and taking refuge on Mount Pindus, on the frontiers of Epirus. Chiron is the most celebrated among the Centaurs. We know- that hunting the bull on horseback was a national custom in Thessaly, and that the Thessalians were celebrated riders. Hence may have arisen the fable that the Centaurs (Bull-Killers) were half men and half horses, just as the American Indians when they first saw a Spaniaril on horseback, believed horse and man to be one being. The Centaurs are frequently repre- sented in ancient works of art, and generally as men from the head to the loins, while the remainder of the body is that of a horse, with its four feet and tail. The celebrated legend of Cadmus relates the founding of Thebes. When Europa was carried off by Zeus (Jupiter) to Crete, Agenor sent Cadmus in search of his sister, enjoining him not to return without her. Unable to find her he settled in Thrace ; but having consulted the oracle at Delphi, he was commanded by the god to follow a heifer of a certain kind, and to build a town on the spot where the heifer should lie down with fatigue. He found the heifer in Phocis and followed her to Boeotia, where she sank down on the spot on which Cadmus build Cadmea, afterwards' the citadel of Thebes. Intending to sacrifice the heifer to Athena (Minerva), he sent some persons to a neighbor- ing well where they were slain by a dragon belonging to Ares (Mars), who guarded the spring. Thereupon Cadmus slew the dragon, and, on the advice of Athena, sowed the teeth of the monster, out of which armed men grew up, who killed each other, with the exception of five, who were the ancestors of the Thebans. Cadmus and his wife Harmonia were afterwards changed into serpents and removed by Zeus to Elysium. Cadmus is said to have introduced into Greece, from Phuunicia, or Egypt, an alpha- bet of sixteen letters. The lamentable fate of Actseon has always been a favorite subject for sculpture. Action had been trained by Chiron as a hunter and warrior. When he had hardly reached the prime of his youth, being out hunting one day on Mount Citha^ron, he was transformed by Artemis into a stag, and was torn in pieces by his own (iogs. He had incurred the displeasure of the chaste goddess and was thus punished by her. Another tragedy, the punishment of Dirce, is related. Antiope, the mother of Amphion andZethus, having been taken prisoner by Lycus, was obliged to submit to the most harsh and humiliating treatment at the hands of his wife Dirce. At length she managed to escape, and by a wonderful chance discovered her sons, who had grown into sturdy youths. The story of her wrongs so enraged them that they resolved to wreak vengeance on Dirce. After having taken Thebes and killed Lycus, they bound Dirce to the horns of a wild bull, which dragged her about until she perished. Her mangled remains they cast into a spring near Thebes, which was henceforth called the fountain of Dirce. Amphion is further celebrated on account of the melan- choly fate of his sons and daughters. He married Niobe, the daughter of Tantalus, king of Phrygia. Proud of the number of her children, she deemed herself superior to Leto (Latona), who had given birth to only two children. For this presumption her children were slain by Apollo and Diana, and she was changed into stone. Amphion slew himself. Zeth.u8 was also unfortunate in his domestic affairs. Aedon, his wife, jealous of the Niobe in having so many beautiful children, while she had an only son, Itylus, resolved one night to slay the eldest son of Niobe. But by mistake she killed her own child. Zeus took compassion on her, and changed her into a nightingale. In this guise she continues to bewail her loss in long-drawn mournful notes. One of the national heroes of Corinth was Belleroph.on. Being obUged to leave Corinth he was hospitably received by Prtetus, king of Tiryns, whose wife falling in love with him, and finding her passion slighted, slandered him before her hus- band. Proetus sent Bellerophon at once to lobates, king of I>ycia, to have him put to death. lobates sought to fulfill the command of Proetus by involving his guest in all kinds of desperate adventures. He sent him to destroy the Chimjera, a dangerous monster that devastated the land. Bellerophon destroyed the monster by raising liimself in the air on liis winged horse Pegasus, and shooting it with his arrows. lobates now sent Bellerophon to subdue a neighboring hostile mountain tribe, which he accomplished ; and then against the warlike Amazons, a nation of women, trained from their earliest youth in all warlike exercises. Returning in triumph from this expedition, his life was attempted once more by being sur])rised by an ambuscade. Bellerophon, however, escaped, and slew all lus assailants. lobates now gave him his daughter in marriage and a share in his reign. Later in life Bellerophon was seized with madness, and wandered about alone, fleeing the society of man, until he at length perished miserably. The story of Perseus is one of the Argive legends. Acrisius, tlie grandfather of Perseus, had him and liis mother, DanaP, con- fined in a chest and cast into the sea, because the oracle had told him that he was doomed to perish by tlie hands of this grandson. The cliest was cast by the waves on the rocky island of Seriphus, where it was found by a fisherman. Danae and young Perseus were well cared for here. Subsequently Polydectes, the governor of the island, wished to marry DanaP, and on her rejecting him, made her his slave. When Perseus was grown up, I'olydectes dispatched him to bring the head of the Gorgon Medusa. In this perilous adventure he was aided by Hermes and Athena. Perseus first went to the Grsese, the sisters of the Gorgons, took from them their one tooth and their one eye, and woidd not restore them until they showed liini the way to the Nymphs, who possessed the winged sandals, the magic wallet, and the helmet of Hades (Pluto), which rendered tlie wearer invisible. Having received from the Nymphs these invaluable presents, from Hermes a sickle, and from Athena a mirror, lie mounted into the air, and arrived at the abode of the Gorgons, who dwelt near Tartessus, on the coast of the ocean. He found them asleep, and cut oft' the head of Medusa, liv C. HENNECKE CO., MILWAUKEE AND CHICAGO. looking at her figure in the mirror, for a sight of the monster herself would have changed him into stone. Perseus put her head into the wallet which he carried on his back, and as he went away he was pursued by the other two Gorgons ; but his helmet, which rendered him invisible, enabled him to escape in safety. Perseus then proceeded to Ethiopia, where he saved and married Andromeda. Perseus is also said to have changed Atlas into the mountain of the same name by means of the Gorgon's head. On his return to Seriphus he found that his mother had taken refuge in a temple to escape the violence of Polydectes. . He hastened to the palace of Polydectes and metamorphosed him and all his guests into stone. He then gave the head of the Gorgon to Athena, who placed it in the middle of her shield or breastplate. Perseus subsequently went to Argos. Acrisius, remembering the oracle, escaped to Larissa, whither Perseus followed him in disguise to persuade him to return. On his arrival at Larissa, he took part in the public games, and accidentally killed Acrisius with the discus. Perseus is said to have founded Mycense. The Dioscuri, that is, the sons of Zeus, the well-known heroes. Castor and Pollux, were called by the Greeks Polydeuces, by the Romans Oastores. Castor was famous for his skill in taming and managing horses, and Pollux for his skill in boxing. The fabulous life of the Dioscuri is marked by three great events. 1. Their expedition against Athens, where they rescued their sister Helen, who had been carried off by Theseus. 2. Their part in the expedition of the Argonauts, during which Pollux in a boxing match, killed Amyeus, king of Bebryces. 3. Their battle with the sons of Aphareus, Idas and Lynceus. Castor, the mortal, fell by the hand of Idas, but Pollux slew Lynceus, and Zeus killed Idas by a flash of lightning. At the request of Pollux, Zeus allowetl him to share his brother's fate, and to live alternately one day under the earth, and the other in the heavenly abodes of the gods. According to a different form of the story, Zeus rewarded the attachment of the brothers by placing them among the stars as Gemini. Of all the Greek myths, the myth of Herakles (Hercules) is the most glorious. The first proof of his divine origin was in tlie strangling of two serpents sent to destroy him, when he was but a babe. He was a shepherd until he was eighteen. After attaining his growth he slew the lion of Cithaeron, and led a suc- cessful expedition against the King of Orchomenus, freeing the Thebans from future tribute. AVe will here give a brief outline of his twelve labors imposed upon him by Eurystheus, after he had consulted the oracle of Delphi. The first labor was the slay- ing of the Nemrean lion, which lived in the valley of Nema'a, be- tween Cleonse and Pldius. After using in vain his club and arrows against the lion, he drove him into a cave and there strangled the animal with his own hands. He returned to Eurystheus, car- rying the dead lion on his shoulders. His second labor was the fight against the Lernean hydra. This monster ravaged the country of Lerna, near Argos, and dwelt in a swamp near the well of Amymone. It had nine heads, of which the middle one was immortal. Hercules struck off its heads with his club; but in the place of the head he cut off, two new ones grew forth each time. However, with the assistance of his servant, lolaus, he burned away the heads of the hydra and buried the ninth, or immortal one, under a huge rock. Having conquered the monster, he poisoned his arrows with its bile, whence the wounds inflicted by them became incurable. His third labor was the capture of the Arcadian stag. This animal had golden antlers and brazen feet. Hercules pursued it in vain for a whole year; at length he wounded it with an arrow, caught it, and carried it away on his shoulders. His fourth labor was the destruction of the Erymanthian boar. Hercules chased it through the deep snow, and having thus tired it out, he caught it in a net, and carried it to Eurystheus. In his pursuit of the boar, Hercules came upon the Centaur Pholus, who received him kindly. Pholus had received a cask of excellent wine from Bacchus, which Hercules opened contrary to the wishes of his host. The sweet fragrance of the wine attracted the other Centaurs, who besieged the grotto of Pholus. Hercules, how- ever, drove them back with arrows and firebrands, and com- pletely vanquished them after a terrible fight. Cliiron and Pholus were also accidentally killed. The fifth labor of Her- cules was the cleansing of the stables of Augeas, king of Elis. Augeas had a herd of 3,000 oxen, whose stall had not been cleansed for thirty years. Hercules agreed to cleanse the stables in one day, and was to receive from Augeas a tenth part of his cattle. Hercules turned the rivers Alpheus and Peneus through the stalls, which were thus cleansed in a single day; but Augeas refused to give him the reward. Hercules subsequently invaded Elis, and killed Augeas and his sons. After this he is said to have founded the Olympian games. The sixth labor of Her- cules was the destruction of the Stymphalian birds. These voracious birds had been brought up by Ares. They had brazen claws, wings and beaks, used their feathers as arrows, and ate human flesh. They dwelt on a lake near Stymphalus, in Arcadia, from which Hercules was ordered by Eurystheus to expel them. Athena provided him with a brazen rattle, by the noise of which he startled the birds; and as they attempted to fly away, he killed them with his arrows. According to some accounts, he only drove the birds away, and they appeared again in the island of Aretias, where they were found by the Argonauts. Hecules' seventh labor was the capture of the Cretan bull. The bull had been sent out of the sea by Poseidon that Minos might sacrifice it. But charmed by the beauty of the animal, Minos kept it and offered another in its stead; whereupon Poseidon drove the bull mad, and caused it to com- mit great havoc in the island. Hercules caught the bull and brought it home on his shoulders; but Eurystheus afterward set it free again. The bull now roamed through Greece, and at last came to Marathon, where it appears later, in the story of The- seus, as the bull of Marathon. The eighth labor of Hercules was the capture of the mares of the Thracian Diomedes. These horses were fed on human flesh, Diomedes causing all strangers cast upon his coasts to be given to these wild mares. Hercules seized the animals, defeated the Bistones and their king, Dio- medes, whose body he threw before the mares, and then returned to Eurystheus with the mares, which had become tame after eating the flesh of their master. The ninth labor of Her- cules was the seizure of the girdle of Hippolyte, the queen of the Amazons. The daughter of Eurystheus was anxious to obtain the girdle which Hippolyte had received from Ares, and Hercu- les was sent to get it. After various adventures in Europe and Asia, he at length came to the country of the Amazons, and having obtained the favor of their queen, she consented to give him the girdle. Bnt Here, in the guise of an Amazon, excited the Amazons against him, and in the contest that ensued, Hip- polyte was slain by Hercules, who secured the girdle and departed. On his return home he rescued Hesione from the monster sent against her by Poseidon, and for this service, her father, Laomedon, promised him the horses he had received from Zeus as a compensation for the loss of Ganymedes. But, GRECIAN MYTHOLOGY. Iv as Laomedon proved false to his word, Hercules on leaving threatened to make war against Troy, a threat which he after- wards carried into execution. The tenth labor of Hercules was the capture of the oxen of Geryones in Erythia. The oxen of Geryones, a monster with three bodies, were guarded by the giant Eurytion and the two-headed dog, Orthrus, and Hercules was commanded to fetch them. He undertook this long jour- ney, meeting with numerous adventures on the way. To cross the sea, ho forced Helios to lend him a golden boat, by shooting at him with his arrows. Having reached Erythia, identified as Gades, or the Balearic islands, he killed the herdsman who was keeping the oxen, together with his dog, and the monster Ge- ryones. He sailed with his booty to Tartessus, where he returned the golden boat to Helios. On his homeward journej' many attempts were made to deprive him of the oxen, but he brought them safely to Eurystheus, who sacrificed them to Hera. The eleventh labor of Hercules was to fetch the golden apples of the Hes])erides. Hera had received them from Ga; at her wed- ding, and had entrusted them to the keeping of the Hes- perides and the dragon Ladon, on Mount Atlas, in the country of the Hyperboreans. On arriving at Mount Atlas, Hercules sent Atlas to fetch the apples, and in the meantime bore the weight of heaven for him. Atlas returned with the apples, but refused to take the burden of the heavens on his shoulders again. Hercules, apparently agreeing, asked Atlas to relieve him until he had arranged more comfortably a cushion for his back. When Atlas consented, Hercules left him in his former position, and made off with the apples. The twelfth labor of Hercules was the bringing of Cerberus from the lower world. He decended into Hades, accompanied by Hermes and Athena. He delivered Theseus and Ascalaphus from their torments. Pluto granted him permission to take Cerberus to the upper world, provided it was done without the force of arms. Hercules seized the furious beast, and having chained him, he brought him to Eurystheus, and afterward carried it back again to the lower world. After Hercules had performed the twelve labors, he was released by Eurystheus and returned to Thebes. Theseus is the national hero of the lonians, just as Hercules is of the vEolians. There is no great undertaking of antiquity in which Theseus is not supposed to have taken part. He was brought up at Troezen, and at sixteen his mother took him to the stone where his father, jEgeus, had left his sword and sandals. Theseus, with a slight effort, raised the stone and took the tokens to Athens. On his way he destroyed the rob- bers and monsters that infested the country. Theseus next captured the Marathonian bull, which had long been the terror of the surrounding country. After this he went of his own accord as one of the seven youths whom the Athenians were obliged to send every year, with seven maidens, to Crete, in order to be devoured by the Minotaur. With the aid of a clew of thread which Ariadne, the daughter of Minos, gave him, he was able to find his way out of the labyrinth after he slew the Minotaur. Having effected his object he sailed away, carrying off Ariadne, whom he deserted at Naxos. As the vessel in which Theseus sailed approached Attica, he neglected to hoist the white sail, which was to have been the signal of the success of the expedition, whereupon ^Egeus, believing that his son had perished, thew himself into the sea. One of the most cele- brated of his adventures was his expedition against the Ama- zons. It is said that he made war upon them soon after Hercu- les had assailed them, and he carried off their queen, Antiope. The Amazons then invaded Attica, and the final battle in which Theseus defeated them, was fought in the heart of the city of Athens. Theseus was one of the Argonauts ; joined in the Calydonian hunt ; aided Pirithous against the Centaurs, and with his assistance, carried off Helen from Sparta, and the two attempted to carry Persephone from the lower world. Pirithous perished in the enterprise, and Theseus was kept in hard durance until delivered by Hercules. The story of Meleager and the Calydonian boar hunt is, no doubt, a provincial myth. CEneus, king of Calydon in jEtolia, on the occasion of a great festival, had either accidentally or purposely omitted to sacrifice to Artemis. To punish this neglect, she sent a huge wild boar, which proved very destruc- tive to the country, and seemed invincible by ordinary means. Meleager, the brave son of ffineus, called together all the renowned heroes of Greece, and after entertaining them with great splendor for nine days, the hunt began, and the huge beast, which was larger than an ox, was surrounded and driven from his lair. Atalante was the first to wound him, and the enraged beast tore open the body of one of the heroes who advanced with his battle-ax. At length Meleager hurled his spear and the monster received a mortal wound ; it was soon dispatched by the rest of the heroes. Meleager received the head and hide of the slaughtered animal, but gave his reward to Atalante, on the ground that she first wounded the boar. This excited the bitter jealousy of the brothers of Althaea, the mother of Meleager, and they laid in wait for Atalante and robbed her of her present. Enraged at this, Meleager slew them both. Althsea in the first outburst of grief and indigna- tion, placed a certain brand which she had carefully treasured up, again in the fire, and thus, according to the oracle, cut off the life of the noble hero in the prime of his youth. The story of the Argonauts is the history of the heroes who sailed to Colchis for the recovery of the golden fleece. It is related that Ino, the daughter of Cadmus, persuaded her hus- band, Athamas, to sacrifice Phrixus, his son, as a sin-offering to Zeus, in order to put an end to the drouth with which the land was visited. Whether Helle, his sister, was to have shared his fate, is not stated ; but before Ino, the stepmother, could accom- plish her purpose, Nephele came to the assistance of her children, and gave them a winged ram with a golden fleece, which Hermes had presented to her for that purpose. Seated on this ram they fled over the sea to Colchis. On the way Helle fell into that part of the sea which bears her name and was drowned, but Phrixus arrived safely in Colchis, where he sacri- ficed the ram to Zeus, who had preserved him in his flight. The fleece he hung up in the grove of Ares as a sacred treasure, and was guarded day and night by a dragon. When Jason had completed his twentieth year, he went to his uncle to demand of him his rightful inheritance. Pelias prom- ised to restore the crown if he would get the golden fleece from Colchis. Jason undertook the enterprise, and commanded Argus, the son of Phrixus, to build a ship with fifty oars, which was called the Argo, after the name of the builder. Jason was accompanied by all the great heroes of the age, to the number of fifty. After meeting with many adventures, they at length arrived at Colchis. The King ^Eetes promised to give up the golden fleece if Jason would yoke to a plow two fire-breathing oxen with brazen feet, and sow the teeth of the dragon which had not been used by Cadmus at Thebes. Medea, the daughter of yEStes, fell in love with Jason, and, on his promising to marry her, she furnished him with the means of resisting fire and steel, and put to sleep the dragon that guarded the golden fleece. Ivi C. HENNECKE CO., MILWAUKEE AND CHICAGO. After Jason had taken tlie treasure, lie and his Argonauts embarked by niirlit, ulonjr with Medea, and sailed away. They returned to Thessaly after an eventful journey. The tragic history of the Theban house of Labdacidfe, has furnished many subjects for Greek art and poetry. We will briefly give the history of CEdipus as an introductory to the great events that followed. CEdipus was the son of Laius, king of Thebes. His father having learned from an oracle that he was doomed to perish by the hands of his own son, exposed QDdipus immediately after his birth, with his feet pierced and tied togetlier. The child was found by a shepherd of King Polybus of Corinth, and he reared him as his own child. When CEdipus was grown up, he met Laius on the road between Delphi and Daulis, and slew him in a scuffle without knowing that he was his father. In the meantime the celebrated Sphinx had appeared in the neighborhood of Thebes. Seated on a rock, she put a riddle to every Theban that passed by, and whoever was unable to solve it was killed by the monster. CEdipus solved the riddle and the Sphinx threw herself into a deep abyss. CEdipus was rewarded with the sovereignty of Thebes, and the hand of locaste his mother. For several years he enjoyed uninterrupted happiness, but when a plague visited Thebes in consequence of the incestuous marriage, the oracle ordered the expulsion of the murderer of Laius, and the seer Tiresias told CEdipus that he was the guilty man. Thereupon locaste hung herself, and CEdipus put out his own eyes, and wandered from Thebes, accompanied by his daughter, Antigone.. In Attica he at length found a ])lace of refuge, and he was soon after removed from the earth by the avenging deities. The curse of their father took effect on his unnatural sons. The elder drove out his brother, Polynices, who then sought the assistance of Adrastus and the other Argive heroes in the recovery of the crown of Thebes. But the attack on Thebes was repulsed, and all the Argive leaders, with the exception of Adrastus, slain. Ten years afterwards Adrastus persuaded the six sons of the heroes who had fallen in the war to make a new attack u])on Thebes. This war is known as the war of the "Epigoni," or descendants. Thebes was taken and razed to the ground. We will now briefly recount the fourth and most celebrated of the common undertakings of the later heroic age, namely, the Trojan War. In regard to its origin we learn that Eris, the goddess of discord, not having been invited to the marriage festivities of Peleus and Thetis, avenged herself by throwing into the assembly a golden apple, with the inscription : " To the fairest." Each of the three rival goddesses — Hera, Athena and Aphrodite — claimed the apple for herself, but were referred by- Zeus to the decision of Paris. Paris was the son of Priam, the king of Troy. In consequence of an ill-omened dream which his mother had, he was exposed after his birth. He was found, however, and brought up by some shepherds. Paris decided in favor of Aphrodite, who had promised him the most beautiful woman on earth as his wife. Paris visited the court of Menelaus in Sparta, and was hospitably received and entertained by him. During the absence of Menelaus, Paris and Helen fled to Troy. On the refusal of the king of Troy to surrender Helen, Menelaus succeeded in rousing the whole of Greece to a war of revenge. Agamemnon was chosen leader of the expedition, which con- sisted of 1,186 ships and 100,000 men. The first nine years ofthe war were fruitless, but in the tenth year there were many bril- liant exploits on both sides. The greatest and bravest Greek hero was Achilles. Accord- ing to a legend, his mother plunged her son into the Styx, and thereby rendered him invulnerable in every part except the heel by which she held him. Ajax was a hero scarcely inferior to Achilles. He was of mighty stature and great strength. He bore a mighty shield. His brother Teucer was regarded as the best archer among the Greeks. The aged Nestor was as indispensable to the Greeks before Troy on account of his wise counsels a« the courageous Achilles, or Ajax. The Locrian, or Lesser Ajax was renowned for his skill in hurling the spear and for his great fleetness, in which he was surpassed only by Achilles. Odysseus, or Ulysses, was the most popular ofthe Greek heroes in this war. He was wise and eloquent, dextrous in feats of strength, and valorous amidst the greatest dangers. Hector was the chief hero of the Trojans, and was the eldest son of Priam. Ho fought with the bravest of the Greeks and slew Patroclus, the friend of Achilles. The death of his friend roused Achilles to the fight. All the Trojans fled before him, Hector alone remained ; but wlien he saw Achilles, his heart failed him, and he fled. Three times he raced round the city, pursued by the fleet Achilles, and then fell pierced by the spear of Achilles. The body of Hector he surrendered to his father Priam, upon his prayers, and by command of Zeus. Immediately after the death of Hector, Penthesilea, the queen of the Amazons came to the aid of the Trojans. The Amazons fought bravely, but Achilles at length slew their queen, and they were driven back. Then Memnon, king (iiIi\\M\o\)Vi., a handsome and courageous warrior arrived as an ally to the Trojans. Many fell by the hands of this great hero, but when he ventured to meet Achilles, he also was van- quished after a brave struggle. In an assault, at the head of his Myrmidons, Achilles was killed by an arrow from Paris. A furi- ous contest, lasting an entire day, took place over the possession of the body of Achilles and his armour. Ajax and Odysseus at length succeeded in getting it to a place of safety. There was great mourning among the Greeks at his death. The arms of Achilles were adjudged by Agamemnon to Odysseus, at which Ajax was so mortified that he became insane and put an end to his own life. Odysseus thus became the chief personage among the Greeks. By his advice and assistance tlie arrows of Hercules were brought into camp; the Palladium, on which the safety of Troy depended, was stolen; the young son of Achilles brought from Scyros to the Trojan camp, and lastly, it was Odysseus who devised the wooden horse, an