SJG33O BETTER CITIZENSHIP THROUGH H03CODOCS 71 RT TRAINING BY MINNA M C LEOO BECK BETTER CITIZENSHIP THROUGH ART TRAINING BETTER CITIZENSHIP THROUGH ART TRAINING A Syllabus for High Schools, Colleges, or Study Clubs By MINNA McLEOD BECK, M.A. Art Director, Public Schools, Harrisburg, Pa. CHICAGO A. C. McCLURG & CO. 1921 Copyright A. C. McCLURG & CO. 1921 Published February, 1921 M A. DONOHUC * COH DEDICATED TO ARTHUR W. DOW of Columbia University "/ hold that art should be approached through composition rather than through imitative drawing " 2016054 ACKNOWLEDGMENT When I first gathered data and material of various sorts on art subjects it was wholly for my own use in classwork without a thought of publication at the time. Often at lectures or from my reading I jotted down things worth while and in this way collected many valuable notes to which, however, I did not always append the name of the speaker or writer. Hence the frequent quotation marks and seeming inconsistency in crediting source. In freely using the words of others and passing on their thought, I feel that I am enlisting their various services in the great cause of good citizenship. To the many who have thus contributed so much valuable material my grateful acknowledgment is ten- dered. THE AUTHOR FOREWORD "Art should not be for the few any more than lib- erty is for the few." Educators are beginning to realize more and more the truth of this creed of William Morris. Educationally, it should be made impossible for anyone to deprecate the fact that he "knows nothing about art." The power to feel and to express, to judge and to execute, lies dormant in every soul ; in some to a greater degree than in others. Those with the greater inherited capacity and better training will become creative artists, perhaps; but all may become, at least to some extent, users of good judgment and taste. So intimately are we in touch with art principles in our daily lives, that we con- stantly use or misuse them. With practical art training, there is no reason why any boy who grows up to be a carpenter should not know that a door or window that equals two squares is a commonplace proportion, nor is there any reason why the president of a bank or the superintendent of a school who engages the carpenter should not know that the portico of his house is ill proportioned and why, should it be so. With practical art training, every girl should know how to dress simply and in good taste, and knowledge of color harmony should be general. The wish to have a well-planned, beauti- ful city is a matter of training, education; and the wish is father to the thought. Foreword The course of study, as outlined here, is designed to give a general training or appreciation to those who will have no further opportunity to study the subject; or, preferably, it may supplement exercises in design or art structure. The somewhat prevalent idea that art appreciation means the appreciation of pictures only, influences us, perhaps, to take up pictorial art - last. Such subjects as city planning, landscape gar- dening, house decoration, and costume design are too little thought of in connection with art principles. tl \ This outline is meant to be suggestive, flexible, to point out the way, and to stimulate the desire for orig- / ? inal research work. Its study may be taken up by/ t" individuals, but the best results are to be obtained working in groups under leadership. It has been found very helpful, in this sort of study, to keep note- books wherein findings of various sorts, clippings, magazine illustrations, etc., may be kept. Each note- book should be the expression of the taste, judgment, and the sense of value of its owner. There should be individual choice in the matter of tracings, clip- pings, etc., so that each notebook shall be characteristic of its owner, and, therefore, the more interesting. Following the approved method of modern ped- agogy, the student should be encouraged by the teacher or leader of a group to inquire into all reference mate- rial and to collect his own data as far as possible. The bibliography at the end of each subject should be added to from time to time, as new works on the subject are published. MINNA MCLEOD BECK CONTENTS Part I GENERAL THEORY OF ART Page General Theory of Art I Part II PRACTICAL APPLICATION OF ART PRINCIPLES City Planning 13 Garden Cities 31 Landscape Gardening . ... * .... 34 Architecture .... . _. . . . . . . 45 House Decoration . . , _. .... . . . 54 William Morris , . -v- . 82 Costume Design . . . . 87 Art History . . 103 Status of Art Education in the United States . 108 PART I General Theory of Art Better Citizenship Through Art Training GENERAL THEORY OF ART The Three Elements Structural Principles: of Art: i. Symmetry or Balance 1. Line 2. Repetition or Rhythm 2. Tone 3. Opposition 3. Color 4. Transition 5. Subordination GENERAL DEFINITION OF ART Art in one word: Arrangement. Question: Arrangement of what? Answer: The three elements Line, Tone, Color. " Question: Arranged how? Answer: According to certain laws or principles, namely, Opposition, Repetition, etc. USES OF ART 1. To the Community (city planning, landscape gardening, etc.). 2. To the Home (house construction and decora- tion, etc.). i Better Citizenship 3. To the Individual (costume design, development of good taste). 4. As Pictorial Expression (from both the creative and appreciative standpoints). METHOD OF APPROACH TO THE STUDY OF ART The old academic method contrasted with the new synthetic or compositional method: The one method makes drawing an end in itself and many years are spent working from the cast and life, composition being a mere by-product. The other method designs to train the creative and inventive powers with which all normal individuals are endowed, and to put drawing in its rightful place as a means to an end a very necessary and important, but nevertheless rightly considered tool. r^e-^ " Drawing is v the tool.by which ideas are expressed.", " Drawing is only one application of art." ', % j ^Choosing is thejcld of art." ^ / /"Nature drawing has nothing to do with the culti- ' I v^tion of fine choices." 2 ^ *y consult- 4g-0ttf- own feeling in original -exercises, we find that beauty el-line composTtron is the result of variety of shapes and sizes of spaces and a harmonious relation of these. "The term Line refers to boundaries of shapes and the interrelation of lines and spaces." Illustrative matter in the way of photographs, or tracings of the main spacings of great cathedrals, etc., should be used to explain this element of art to class. Assignment: a. Make tracings of the spacings of facades of buildings, masterpieces in painting, sculp- ture; also illustrative material from the different crafts: tracings or clippings of weavings, furniture, metal work, etc. b. Original line designs or exercises in square, ob- long, and circle. REFERENCES Dow. Composition, chap. i. Dow. Theory and Practice of Teaching Art, pp. 8-15. Through Art Training SIGNIFICANCE OF LINE DIRECTION 1. Vertical Line: Majesty, dignity, grandeur, cour- age, sternness, sublimity, austerity, etc. Example in nature : Tall forest trees. Example in architecture : Great columns, etc. 2. Horizontal Line: Rest, calmness, serenity, peace, quiet, tranquillity, death, finality. Example in nature : Horizon line on plain or ocean when calm. Example in architecture : Long, low lines of bunga- low, etc. j. Oblique Line: Motion, movement, joy, horror, treachery, threat, anxiety, weirdness, etc. The zigzag line, a line of action and violence the "busy line." Example : The ocean in storm, lightning, etc. 4. The Curve Line: Beauty, grace, elegance. Re- strained curves more beautiful and refined. Half of circumference, a commonplace curve. Example: The human body, etc. Eye follows leading line in a composition. Assignment: Paste in notebooks clippings of mag- azines illustrating " significance of Line." II. Tone: Notan, which means ^dark, light," is the Japanese word f orchis element o?-artr By Tone is meant the amount and quality of Dark-and- Light in a composition. We are not to confuse the term Light-and-Shade with Dark-and-Light. (Dow, Composition, chap. IX.) Value is another word for Tone. Expression "out of value" means wrong rela- tions of tones. Better Citizenship The acquiring of beautiful tone relationship is a mat- ter of feeling rather than of rule. The feeling is de- veloped by original exercises and by the constant use of critical judgment with regard to works of art. Orig- inal exercises, therefore, important. Necessity also for having at hand examples of great art in all periods. It is a scientific fact that the smallest amount of dark in a light composition or the smallest amount of light in a dark composition attracts the eye. This fact is used either consciously or unconsciously by great mas- ters to lead the eye toward the important part of the design. Assignment: Scale of values. Clippings for note- book, examples of good tone relationship some showing values closely related; others, strong contrast. Original exercises in Dark-and-Light. III. Color: Color has three attributes: hue, as red or blue; value or notan, as dark red, light blue, etc.; intensity, as bright red, dull blue, etc. Old theory of three primary colors. A good work- ing theory. The Munsell theory: Medium Hue Value Intensity or chroma Through Art Training Color Combinations: All in one hue. Pure hues nearly related. Pure hues contrasted in subordinate relation, f Pure hues used with black or white. Pure hues used with neutral. Hues harmonized by common hue running throughout. For Closer Harmonies: 1. Hues of middle intensity or chroma (so-called "pastel shades"). 2. Hues in low chroma (comparable in refinement to low voice in speaking, slow dance, etc.). 3. To balance neutralized tints use small amount of brilliant color. Brilliant hues have a very limited use. Three hues suffice for almost any color scheme. Dependence of the three elements upon each other: Color upon Dark-and-Light, or Tone, and Tone again upon Line. Assignment: If water colors or crayons may be used, scales of hue, value, and intensity made for note- books. Experiment with complementary and adjacent hues. Clippings from color reproductions in magazines or bits of textiles pasted in notebooks to illustrate color combinations above. REFERENCES Dow. Composition, chap. xiv. Dow. Theory and Practice of Teaching Art, p. 42. Munsell, Albert H., A Color Notation. George H. Ellis Co. Better Citizenship (After study of Line, Dark-and-Light, and Color the next lecture might illustrate these, lantern slides being used.) STRUCTURAL PRINCIPLES First and foremost is the great fundamental, under- lying principle of proportion. Test with regard to feeling for good proportion: Have students draw, or tear from paper, what seems to each a well-proportioned rectangle. Ask that best judgment be used. Now direct that a dotted line be drawn or the paper folded through the middle short- wise the rectangle, thus: Ask how many find that their rectangle is equal to two squares. Call attention to the fact that an area equal to two squares is a commonplace proportion. If rectangle is equal to three squares, still not a good pro- portion, though better than two. For further exercise or test: Have students draw two or more straight lines, as for a border, across the two shorter ends, choosing where they will place them. Compare results. Through Art Training Call attention to the interest which variety of spacing gives. PRINCIPLES OF COMPOSITION OR DESIGN; OR WAYS OF CREATING HARMONY /. Symmetry: Two or more sides alike balance. One of the most obvious ways of creating harmony. Examples : The human body, furniture, pottery, etc. 2. Repetition: Marching, rhythm. The produc- tion of beauty by using the same lines, unit, or motif over and over again in rhythmical order. One of the oldest forms of design the basis of all music and poetry. Examples : Pattern designs on pottery, textiles, etc. The swastika unit found in designs of all primitive peoples. (This principle the opposite of subordina- tion.) j. Opposition: The meeting of two lines at right or nearly right angles. A most severe and simple harmony. Also opposition in Tone; in Color. Examples: Doorways, windows, Greek, Egyptian, and early Renaissance architecture. 4. Transition: A softening of the severity of oppo- sition. The eye is led less abruptly from one point of composition to another by addition of a third line or other feature. Also transition of Tone; of Color. Examples: The capital in architecture, bracket, drapery in costumes, etc. 5. Subordination (sometimes called Principality) : A principle which has developed with civilization. An io Better Citizenship Through Art Training emphasizing or stressing of one part of composition at expense of another in order to bring about unity. There may be : 1. Subordination to an axis, as branches of tree to trunk. 2. Subordination to a center, as rosette. 3. Subordination by size or interest as the predominance of main entrance of cathe- dral over side doorways, etc. Subordination may be used in Tone and Color as well as in Line. Assignment: Find a number of examples illustrat- ing each principle. Clippings from magazines, tracings, etc. REFERENCES Dow. Composition, chap. in. Dow. Theory and Practice of Teaching Art, p. 16. PART II Practical Application of Art Principles CITY PLANNING Era of city is just beginning humanity must solve the problem of the city. "WHAT is CITY PLANNING? City Planning is the name given to the science and art of providing for the most practicable and agreeable development of a city or town. City Planning would not usurp the functions of existing city departments or civic organizations, but it would harmonize their conflicting projects and evolve in cooperation with them a comprehensive plan for the best economic, social, and esthetic development of the community as a whole. " City Planning would first investigate all of the physical ills of a community; it would diagnose them; it would determine all those matters which need improve- ment; it would determine, in consideration of all points of view, the relative urgency of the various needs; it would plan in view of this a consistent program of pro- cedure; it would work out solutions for all of these problems, keeping a due relation and proportion among them; it would meet the peculiar needs of the com- munity and preserve the city's individuality; it would concentrate on the various problems in turn and get tangible results. " City Planning is not a squandering of the city's y 14 Better Citizenship money on vague splendid dreams, but, in recognition of the fact that good design costs little, if any, more than bad design, City Planning would insist on such taste and dignity in the design of all that which affects the appearance of the city that the citizens would have just cause to glory in its beauty." GEORGE B. FORD. " City Planning an altruism that guards the rights of the future as well as those of the present genera- tion." HENRY C. WRIGHT. " City Planning is the application of wise fore- thought to the control of a city's destiny. " City Planning attracts industries, commerce, and visitors; it produces better transportation facilities, im- proved hygienic conditions, more adequate and less expensive living quarters, and food supplies. It de- velops artistic taste, civic pride, and patriotism, it makes better citizens and artisans, it creates health, comfort, happiness; it helps to increase the population and to produce industrial prosperity. City Planning is a business proposition of the first importance. It is real civilization." FRANK KOESTER. "The ideal of City Planning will be reached when cities are built upon the broad basis of the common welfare of the human race, not to gratify the vanity of autocrats, or to create wealth and power for the favored few through the concerted energy of the cit- izen masses, but to gratify the wish and confirm the right of those citizen masses to enjoy their just share of the fruits of their united efforts and the amenities that are the just reward of civic and social duties well and faithfully performed." B. A. HOLDEMAN. Through Art Training 15 " City Planning would so model the setting of the life of the community with regard to health, safety, convenience, and comfort as to make it the ideal place in which to live. Than this there is nothing of which a city may be more proud." GEORGE B. FORD. " Until our streets are decent and orderly, and our town gardens break the bricks and mortar every here and there, and are open to all people; until our mead- ows even near our towns become fair and sweet, and are unspoiled by patches of hideousness; until we have clear sky above our heads and green grass beneath our feet; until the great drama of the seasons can touch our workmen with other feelings than the misery of winter and the weariness of summer; till all this hap- pens, our museums and art schools will be but amuse- ments of the rich; and they will soon cease to be of any use to them also, unless they make up their minds to give us back the fairness of the Earth." WILLIAM MORRIS. City Planning Means: 1. Conservation of human energy and life Not merely SUPERFICIAL beautification. 2. A definite plan of orderly development into which each improvement will fit as is needed Not the immediate execution of the whole plan. 3. Business methods for city work Not the surrender of the city to artists with vague schemes for civic adornment. 1 6 Better Citizenship 4. Correlation of city's activities Not wholesale alterations at great expense with no assured financial returns. 5. Encouragement of commerce and facilitation of business Not the interruption of commerce and business. 6. Preservation of historic buildings with their as- sociations Not the destruction of old landmarks and city individuality. 7. The development of an American city Not the imitation of London, Paris, Vienna. 8. Exercise of common foresight and prudence Not ruinous expense and debt. 9. Happiness, convenience, health for all citizens Not expensive boulevards and parks available only to the rich. ARTHUR C. COMEY. II OUTLINE FOR STUDY Assignment of different topics, following the out- line as given. As much original research work as pos- sible to be done by student. Papers may be read and general discussion follow. Maps of different cities posted on board or shown in lantern. Comparison of street plans of different cities. (Traveling exhibitions, accompanied by lectures and slides, may be had from the American Federation of Arts.) Through Art Training 17 A. Topics to be considered: (May be assigned to in- dividual students for further research work.) /. Importance of City Planning. 2. Purpose Consistent development Municipal economy Sanitation Esthetic results 3. Site of a City\ Of P rimai 7 importance, but can- I not of itself make or mar a city. 4. Plan of a City: I Maximum area for build- a. Checkerboard, ing s}te or gridiron [ Simplicity of design Economy of communica- b. Diagonal rr . tion avenues V^tas of beauty Open squares and spaces .Beautiful and sanitary c. Concentric fNo congestion plan I Convenience Combination of three plans best. 5. Civic Center: Plaza, square, common, green, etc. Railroad station should be dignified and emphasized streets should focus to it. Has replaced gate of old feudal walled city. 8 Better Citizenship B. City Building in Ancient Times: (Further re- search work suggested notes to be taken by entire class from findings of those having assign- ments.) /. Sites fortifications plans. 2. Babylon: First city laid off according to definite plans ; Queen Semiramis. 3. Athens: Planned by Pericles; Acropolis; Phid- ias; Parthenon. Civilization never equaled. 4- Rome: In its early days squalid. Victorious generals. National pride born. The Caesars. First city to realize that city must provide for health and convenience of its people: (15 B. c.) Population 1,630,000. Eight great spaces set apart for games. Eighteen public squares. Thirty parks, great temples and their courts. Baths with accommodations for 62,800. (Lecture on "City Planning in Ancient Rome," illustrated with slides, by Professor H. R. Fairclough of Stanford University may be had from Art Depart- ment, General Federation of Women's Clubs.) C. City Building in Europe : (Assignment as before.) /. Paris: Best example of successful City Planning. Planned by Louis xiv ( 1 700 A. D. ) . Later Napo- leon did much for city: first sidewalks, street lights, bridges, etc. Baron Haussmann and what he did for city. Two hundred and sixty-five mil- lion dollars spent on completing plans has been good investment. Through Art Training 19 2. London: (7,000,000 population). Suffers for lack of City Planning. Contrasted with Paris. Futile desires of Sir Christopher Wren. London has spent millions trying to undo, and has pro- duced the most degraded and socially dangerous population on earth. London Traffic Commission has recently decided that two new streets must be cut through city estimated cost $125,000,000 for land damages alone. j. Germany: Much interested in City Planning. Has only university for study of city building. Many cities planning for future; Dusseldorf (300,000) has plans for fifty years to come: upon maps in city hall future streets, parks, public build- ings, etc., can be located. All this planning for constructive work, however, did not prevent the initiation of, and participation in the greatest destructive work of the ages in the late war. Think what it might have meant to the world if these four years had been devoted to "con- servation of human energy and life" and to "an altruism that guards the rights of the future as well as those of the present generation." D. City Building in America: (Assignment as be- fore. Plans of cities in book or pamphlet form may be secured. Also guidebooks with maps.) 7. Washington: Best-laid-out city in United States. Planned by L'Enfant. 2. New York: Gridiron plan upper part. Broad- way. 20 Better Citizenship 3. Philadelphia: Checkerboard, or gridiron. 4. Indianapolis: Several diagonal streets focussing. 5. Chicago: Has adopted plans idea inspired by World's Columbian Exposition (1893). Plans completed in 1909. School children study text- book, backer's Manual of the Plan of Chicago. There are in the United States sixty-one cities and towns engaged in City Planning. 1 These are scattered throughout the country and have in almost every in- stance employed experts to guide them in their work. E. City Keeping as Important as City Building: (Assignments: Research work.) 1. City sanitation. 2. Smoke nuisance. 3. Overhead wires. 4. Street noises. 5. Unsightly water-fronts. 6. Objectionable billboards, signs. 7. Parks, playgrounds. F. Our Own City: (Assignments: Original re- search work.) 1. What we need. 2. Have we an Art Commission? 3. Have we Civic Improvement Clubs in different wards? 4. What can we do to help ? 1 See Reports of National Conference on City Planning and Bulletin of New York Public Library: Selected List of Works Relating to City Planning. Through Art Training 21 III FURTHER OUTLINE FOR STUDY (Using as text The Improvement of Towns and Cities. by C. M. Robinson.) Assignments as before. 1. The Site of the City. 2. The Street Plan. 3. Suppression and Repression. 4. Possibilities of Gardening. 5. The Advertisement Problem. 6. Architectural Development. 7. Architectural Obligations. 8. Popular Education in Art. 9. Conclusions. IV OTHER FACTORS TO BE CONSIDERED IN STUDY OF CITY PLANNING 1. Circulation: 1. Streets. 2. Waterways. 3. Railroads. 4. Transit. 5. Substructures and sanitation. 2. Property: 1. Industrial. 2. Housing problems. 22 Better Citizenship 3. Recreation. 4. Parks. 5. Civic structures. 6. Restrictions. 3. Methods of Procedure: 1. Organization and publicity. 2. Controlling bodies. 3. Surveys. 4. Recording and presenting plans. 5. Paying for improvements. CITY PLANNING AN APPLICATION OF ART PRINCIPLES 1. Design in City Planning : Spacing, proportion. Principle of subordination. Civic Center and lesser groups. Rosette form of ideal city. Accents of interest, such as schoolhouses and other public build- ings scattered throughout city. Orderly arrangement of street plan and park system!. Color Jules Guerin and the Panama Pacific Exposition. "Beauty is to be desired and sought for in the de- sign of any and all parts of the system of circulation, in streets, in railway buildings, in cars, and the alignment of the very tracks themselves, but not- as something to be applied like a pink ribbon which a designer, insensitive to beauty, may hire some other man to tie upon his previously created and otherwise un- lovely work To obtain the best results, regard for beauty must neither precede nor follow re- Through Art Training 23 gard for the practical ends to be obtained, but must accompany it step by step. "The demands of beauty are in large measure iden- tical with those of efficiency and economy and differ merely in requiring a closer approach to practical per- fection in the adaptation of means to ends than is re- quired to meet the merely economic standard. So far as the demands of beauty can be distinguished from those of economy the kind of beauty most to be sought in the planning of cities is that which results from seizing instinctively, with a keen and sensitive apprecia- tion, the limitless opportunities which present them- selves in the course of the most rigorously practical solution of any problem for a choice between decisions of substantially equal economic merit but of widely dif- fering esthetic quality." FREDERICK L. OLMSTED. 2. What is Civic Art? (Exhibit of civic art, photographs, illustrations, clippings, and sketches, arranged on mounting boards and accompanied with lectures and bibliogra- phy may be had from Art Department, General Fed- eration of Women's Clubs.) " So long as art is regarded as a trimming, a spe- cies of crochet-work to be stitched in ever-increasing quantities to the garments of life, it is vain to expect its true importance to be recognized. Civic art is too often understood to consist in filling our streets with marble fountains, dotting our squares with groups of statuary, twining our lamp-posts with wriggling acan- 24 Better Citizenship thus leaves or dolphin's tails, and our buildings with meaningless bunches of fruit and flowers tied up with impossible stone ribbons." RAYMOND UNWIN. Civic art is a matter of construction; fundamental form; design; plan; not a matter of superficial and often superfluous adornment. In this connection, consider the axiom that " we may decorate construction, but never construct decoration." Organizations such as Civic Improvement Clubs are often short-lived and seemingly futile because their aims are superficial. The planting of vines and rose bushes to hide unsightly and often insanitary conditions is the work of well-meaning perhaps, but nevertheless misguided enthusiasts. " Beauty cannot easily be en- grafted upon rottenness." VI SOCIALIZING INFLUENCE OF CITY PLANNING By improving civic conditions we do not mean the advancement of beauty alone; civic art represents a moral, intellectual, and administrative progress. JOHN W. WIESE. 1. Improved Municipal Housekeeping "Municipal Socialism." a. Control: Sewer system, water supply, streets, housing conditions, disposal of garbage, smoke nuisance, general sanitary and living conditions. b. Provide: Protection against fire, park systems, free school system, public playgrounds, free libra- Through Art Training 25 rics, free art galleries and museums, municipal theaters, public baths, and gymnasiums proper environment in which to develop life and char- acter. c. Development of suburbs through rapid transit, public service, and privately owned cars. 2. Influence of Study of City Planning in Schools: a. Gives intelligent conception of meaning of City Planning as a modern movement. b. Great opportunities for correlation with history, geography, and the industries. (Investigate work of Newark, N. J.) c. A very practical reason for study of art princi- ples. d. Cultivation of civic pride and responsibility: 1. Children in Chicago schools study plan of their city. 2. " In New York City the time is fast approach- ing when the citizens will be called upon to vote upon matters which will bear the name of City Planning." In this connection it is most interesting to note the oath taken in recent years by grad- uates of New York City College. This oath (almost verbatim the old Greek oath taken by the ephebi in Athens) is as follows: '"We, men of the class of 19 , today re- ceiving the arms of the city as a symbol of her faith in us, take this oath of devotion to her: " ' We will never bring disgrace to these arms 26 Better Citizenship by any act of dishonesty or cowardice. We will never desert our suffering comrades in the ranks. We will fight for the ideals and sacred things of the city both alone and with many. We will revere and obey the city's laws and do our best to incite a like respect and reverence in those about us who are prone to set them at naught. We will strive ever to do our whole duty as citizens, and thus in all these ways to transmit this city not only not less, but greater, better, and more beautiful than it was trans- mitted to us.' " 3. Responsibility of all. " 'tis we ourselves, each one of us, who must keep watch and ward over the fairness of the earth, and each with his own soul and hand do his share therein lest we deliver to our sons a lesser treasure than our fathers left to us." WILLIAM MORRIS. 3. Propaganda: Publicity methods in City Planning campaign. Public education through : 1. Exhibition and City Planning conferences. 2. Newspaper and magazine articles. 3. Work of Civic Improvement Clubs. 4. Study in schools. University courses. 5. Poster contests. 6. Enlisting the aid of such organizations as Chamber of Commerce, Rotary Clubs, Boy Scouts, Girl Scouts, etc. Through Art Training 27 REFERENCES IN CITY PLANNING James, H. G. A Handbook of Civic Improvement. Ch. vni, Social Welfare; Ch. ix, City Planning; Bib- liography on Municipal Functions; Question Sheet on City Planning. University of Texas. James, H. G. Municipal Functions. Ch. vi, Social Welfare; Ch. vil, City Planning. D. Appleton & Com- pany. McBain, H. L. American City Progress and the Law. Ch. in, Smoke and Billboards; Ch. IV, City Planning (zoning) ; Ch. v, City Planning (condemna- tion). Columbia University Press. Moody, W. D. What of the City? Ch. in, What Is City Planning? Ch. IV, American Cities Their Growth, Needs, and Dangers; Ch. v, How to Go About City Planning. A. C. McClurg & Co. Nolen, John. Replanning Small Cities. Ch. II, Roanoke, Va. ; Ch. m, San Diego, Cal. ; Ch. iv, Mont- clair, N. J.; Ch. vn, Madison, Wis.; Ch. vin, Replan- ning Existing Cities; App. Examples City Planning Legislation. B. W. Huebsch. Robinson, C. M. Modern. Civic Art. Ch. II, What Civic Art Is; Ch. VI, The Street Plan of the Business District (Sir Christopher Wren's Plan); Ch. xm, Among the Tenements; Ch. xiv, Comprehensive Plan- ning; Ch. xv, Open Spaces. G. P. Putnam's Sons. Robinson, C. M. The Improvement of Towns and Cities. Ch. I, The Site of the City; Ch. n, The Street Plan; Ch. IV, Suppression and Repression; Ch. xi, Architectural Development; Ch. XH, Architectural Ob- 28 Better Citizenship ligations; Ch. xiv, Popular Education in Art. G. P. Putnam's Sons. Unwin, Raymond. Town Planning in Practice. Ch. I, Of Civic Art as the Expression of Civic Life; Ch. n, Of Individuality of Towns; Ch. in, Of Formal and Informal Beauty; Ch. IV, Of the City Survey; Ch. XII, Building By-Laws; Bibliography. T. F. Unwin, Lon- don. Wilcox, D. F. Great Cities in America. Ch. I, Introductory (social side). The Macmillan Com- pany. Wilcox, D. F. The American City. Ch. I, Democ- racy and City Life in America; Ch. vn, Civic Co- operation; Ch. xiv, A Program of Civic Effort. The Macmillan Company. Woodruff, C. R. A New Municipal Program. Ch. XII, City Planning; Ch. xiv, Development in United States Since 1900. D. Appleton & Company. BIBLIOGRAPHY Addams, Jane. Democracy and Social Ethics. The Macmillan Company. Addams, Jane. Newer Ideals of Peace. The Mac- millan Company. American City, The. (Periodical.) American City Publishing Co. "Art and Life and the Building and Decorating of Cities" (Lectures by Arts and Crafts Society.) Riv- ington, Percival & Co., London. " Beautifying the City and Developing the People." The Craftsman. March, 1914. Through Art Training 29 Bulletin of New York Public Library. Selected List of Works Relating to City Planning and Allied Topics. Bulletin of New York School of Philanthropy: " Social Aspect of Town Planning." Bulletins of the Municipal Art Society (New York) on "Smoke Nuisance," "Billboard Nuisance," "Un- sightly Water-fronts," etc. " Civic Art and American Patriotism." The Crafts- man. June, 1914. Hamlin, Talbot F. The Enjoyment of Architecture, (chap. ix). Duffield & Company. Jenks, Jeremiah Whipple. Citizenship and the Schools. Henry Holt & Company. Nolen, John. Comprehensive Planning for Small Towns. American Unitarian Association. Pamphlets on Folk Dancing; Festivals and Celebra- tions; Plays and Playgrounds published by the Depart- ment of Child Hygiene of Russell Sage Foundation. Robinson, Charles Mulford. Modern Civic Art. G. P. Putnam's Sons. Robinson, Charles Mulford. The Improvement of Towns and Cities. G. P. Putnam's Sons. Reports of National Conference on City Planning. Sharp, Cecil J. Morris Dance Tunes. Novello & Co. Sharp, Cecil J., and Macilwaine, Herbert C., Mor- ris Book. Novello & Co. "The Children and the City." The Craftsman. June, 1914. Triggs, Harry I. Town Planning: Past, Present, and Possible. Charles Scribner's Sons. 3 Better Citizenship Assignment: Theme subject some phase or as- pect of City Planning. Suggested topics : 1. The Value of City Planning. 2. The Relation of City Planning to Health. 3. The Relation of City Planning to Moral Life of Citizens. 4. Psychological Influence. 5. Esthetic Satisfaction, etc. Through Art Training 3 1 GARDEN CITIES This is the essence of the Garden City movement "to give to every inhabitant an interest in his hold- ings." ESTHER MATSON. The Garden City movement originated in England. A book by Ebenezer Howard, published in 1898, en- titled Garden Cities of Tomorrow, is credited with being the inspiration of the movement. In 1901, a group of idealists decided to translate the book into reality they would create a town where there would be " fresh air, sunlight, breathing room, and playing room." Thus was born the first Garden City, Letch- worth. Garden City movement now enrolls twenty societies in England alone. OUTLINE FOR STUDY I. Ideal City as Planned by Ebenezer Howard. II. Garden Cities Which Have Materialized in Eng- land: /. a. Letchworth e. Bournville b. Hampstead f. Brent Garden Village c. Port Sunlight g. II ford Garden Suburb d. Ealing h. Romford 32 Better Citizenship 2. Scheme or plan of each. " Proof of what can be done when order and design take the place of anarchy and chaos." 3. Economic side: a. How financed. b. Contrasted with speculative real estate schemes. c. Development of wholly new areas. d. Income from garden plots. e. Associated ownership "Collectively earned increment." 4. Distinction between Garden City and Garden Suburb. III. The Movement in Other Countries: /. Germany. " Germany prints a journal devoted to the Garden City cause, and while fully cog- nizant of her own superiority in the matter of organization, she does not fail to refer to Eng- land as the pioneer in this cause and to turn to Great Britain for models." The Craftsman, January, 1913. 2. France. 3. America. BIBLIOGRAPHY "A Plea for State Garden City." World's Work, 1911. Abercrombie, P. " Modern Town Planning in Eng- land." Town Planning Review, Liverpool, 1910. Addams, Jane. The Spirit of Youth and the City Streets. The Macmillan Company. Through Art Training 33 "An International City." The Craftsman, June, 1914. Annual Report of Garden Cities and Town Planning Association. London, 1906. Culpin, Ewart G. Garden City Movement Up-to- Date. Garden Cities and Town Planning Association. London. Garden Cities and Town Planning. (Periodical.) Garden Cities and Town Planning Association. Lon- don. " Garden City Idea the World Over." The Crafts- man, January, 1913. Harris, George Montagu. The Garden City Move- ment. (With Preface by Ebenezer Howard.) Garden Cities and Town Planning Association. London. Howard, Ebenezer. Garden Cities of Tomorrow. Swan, Sonnenschein & Co. London, 1902. Mawson, Thomas H. " Garden Suburbs." Applied Science. Toronto, 1911. " Mutual Town Building in England." World! '5 Work. November, 1908. Nichols, J. C. Real Estate Subdivisions. Amer- ican Civic Association. Unwin, Raymond. Town Planning: An Introduc- tion to the Art of Designing Cities and Suburbs. T. F. Unwin. London, 1919. 34 Better Citizenship LANDSCAPE GARDENING Seen through each arch of pale green leaves, the gate Of Eden swings apart for Summer's royal state. ALFRED NOYES. Landscape Gardening is of two kinds, formal and informal. I. The formal has several characteristics: 1. It shows man's mastery over nature clipped hedges; carefully placed shrubbery; vistas shown here or screened there; the use of garden fur- nishings, such as statuary, marble terraces, per- golas, etc. 2. The design of the formal garden is at once ap- parent is characterized by unity has one dominant idea : perhaps a water garden with foun- tains and pools, or a rose garden with pergola or summer-house as center of interest. Its design may be a thing apart from, and independent of any architectural features, or may be a setting for some mansion. 3. The formal garden gives wide scope for the ex- pression of individuality. The personality of the designer, his tastes and modes of thinking are everywhere evident. The garden speaks of the master-mind that conceived it; but also of the Through Art T rattling 35 master-doer who tends, guides, encourages, and restrains its growth. 4. The formal garden must have an enclosure of wall or hedge. There must always be a definite boundary or outline. This limitation of a given space is characteristic of all gardens of this style. II. Informal Gardens: 1 . Need not be enclosed. They may wander on over hill and dale and, as a rule, cover considerably more ground. 2. The design in this sort of garden need not be at once noticeable. 3. Are not an instance of the will of man superim- posed upon nature, but rather nature deferentially assisted and gently led. 4. This last type of garden is much more restful; is more practical and less expensive; is better for the masses. Of the two styles of gardening, the formal is best typified b~y the wonderful Italian gardens. The infor- mal garden is represented most satisfactorily, perhaps, by the great English estates, and England is called the most beautiful country in the world because of the number of these estates and their general continuity. PRINCIPLES OF DESIGN APPLIED TO LANDSCAPE COMPOSITION Attention is called to the general principle of good proportion in planning or spacing. Beautiful leading 36 Better Citizenship lines, mass or tone arrangement, color harmony. Prin- ciples of unity or subordination, opposition, transition, symmetry, etc., used how, where, and why. OUTLINE FOR STUDY Assignment as before. I. Quotations: (Interesting correlation with study of literature) . 1. "I know a little garden-close Set thick with lily and red rose." The Nymph's Song to Hylas WILLIAM MORRIS. 2. "And here were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree." Kubla Khan COLERIDGE. 3. "Gardens, where flings the bridge its airy span, And Nature makes her happy home with man." The Garden of Boccaccio COLERIDGE. 4. "And all rare blossoms from every clime Grew in that garden in perfect prime." The Sensitive Plant SHELLEY. 5. "On the city's paved street Plant gardens lined with lilacs sweet; Let spouting fountains cool the air, Singing in the sun-baked square." Art EMERSON. Quotations from My Garden EMERSON. (Other quotations to be contributed by students.) Through Art Training 37 II. Earliest Known Gardens Garden of Eden Hanging Gardens of Babylon Garden of Gethsemane Garden of Omar Khayyam Gardens of Greek Philosophers Ancient Roman gardens letters of Cicero and Pliny Garden of Boccaccio Gardens of Naples letters of Charles vin of France (1495) III. Ancient Roman Prototypes (extremely formal) letters of Cicero and Pliny Extensive domains Terraced Graded Balustraded Fountains Edifices for ornament and rest Trees, vines, shrubs clipped Topiary work trees pruned hedges "Ancients regarded nature as servant not mistress, and indulged little sentiment for nature in the abstract." They did not seek to counterfeit meadows, forests, etc., but each garden was designed as decorative setting to palace or villa. Symmetry, order, balance, contrast evidence of nature subdued to human control. Better Citizenship IV. Gardens of Renaissance: (Reconstruction of, or development from old Roman gardens) ex- tremely formal. Not, however, until 1540 did any garden receive the form that we know today. Italian Villa Garden: Not a park or reserved terri- tory. Designedly an artificial creation, an artistic ensemble of which house and gardens are distinct and complementary parts the whole treated as a decorative composition. 1. Sloping site, cut into ter- races, affording varied pros- pects. 2. Architectural treatment of conspicuous points and fea- tures of design. 3. Running water and foun- tains on each level of gar- den. 4. Formal arrangement of flower beds, hedges, and avenues so as to provide vistas closed by decorative structures. Essential Features of Italian Gardens (classic treatment most successful designed by masters) Typical Italian Gardens: Villa Lante work of Vig- nolo; Villa Pia in Vatican grounds at Rome, etc. 1. Comprise rectangular area from a few acres to ten or fifteen on hill site. 2. Major axis with slope of hill. Through Art Training 39 3.ThreeTerraces-| Lower level gateway, flower gar- den proper. Middle level house or casino and more important architectural fea- tares. Trees : Third level seclud- cypress, ed retreat transi- poplar, tion to wilder forest and stone behind. pne Fountains Some Famous Villas: Classic rose and violet of . Villa Barberm, The Farnesi, Farnesina, Albani.etc. ex 'f encc J to extravagance of churchly lords With the Reformation many of these passed into decay. Those that remain are doubly precious unique. No modern imitation can produce their an- tique charm. Character: Enough of architecture, not too much. Contrasts never violent. Sculptures and decorations distributed with rare sense of propriety. Small gar- dens not designed like large ones sense of fitness. Environment, atmosphere, associations, art. As they appear today: Crumbling stuccoes, masonry stained by weather, tinged orange and green by lichens and mosses, overrun with ivy and creeping 40 Better Citizenship roses. Atmosphere, color, rampant vegetation, si- lent walks, whispering pines, gentle decay. Paintings of Maxfield Parrish: "Isola Bella, Lake Maggiore." "The Pool, Villa d'Este." V. French Gardens: 1. Character: Influence of Italy vast levels and long vistas of French gardens. Gardens even in medieval times. Finest garden of Renaissance, garden of Luxem- bourg (planned for Marie de Medici, 1615). 2. Lenotre (the dominating personality in French gardening) , born 1613. Louis xiv his patron. Lenotre drew inspiration from the past, but was not a copyist. He invented nothing new, but " ennobled and synthesized the insignificant and scattered elements of preceding practice." Overcame difficulties of foreshortening. Ver- sailles, with its wonderful fountains, immense basins, lofty jets, his greatest work. 3. Tuileries (in part the work of Lenotre). 4. Saint-Cloud. 5. Marvelous forest of Fontainebleau. VI. English Gardens: A Frenchman has said, "There is nothing easier than to lay out an English garden : one has only to make the gardener drunk and then follow his meanderings." Through Art Training 41 /. Character: Sloping lawns and meandering paths. "As exponents of the art and science of landscape gardening, French and Italian examples are su- perior to English, but for mere lovable beauty, fitting the needs of the true country lover, nothing can approach the English garden." Love of nature, as nature modern sentiment due to influence of poets of eighteenth and nine- teenth centuries. The English a sport-loving peo- ple. Direct response to need: the bowling green, croquet ground, lawn-tennis court, etc. Common sense and thrift, also characteristic of English people. Therefore their belief in satisfying need rather than supplying luxury. Approaches and courts fore-court; kitchen-court. Great care given English gardens. The English longing for nature unrestrained. In almost every place of size some wilderness some copse. There is always, however, transition through pasture land. 2. Two aims in laying out English garden: a. To give, by occasional long vistas, a sense of size. b. To give, by screened enclosures and half-con- cealed exits, a sense of privacy. Stimulus to imagination element of the unexpected in most interesting gardens. 5. Influence of Sir Christopher Wren (classic plan- ning) : Introduced formal terrace, walled gar- dens, clipped hedges, architectural accessories. Influence of Brown slogan "imitate nature." Better Citizenship Influence of Kemp advocated formal treat- ment about house, more natural away from house. 4. Famous English estates. 5. Public parks and gardens. VII. Japanese Gardens: Japanese gardens are (i) finished, (2) intermedi- ary, or (3) rough. They may be flat or a part of a hillside. Symbolic treatment. Temple gardens. Teahouse gardens. Garden Accessories: Stones, bridges, arbors, gate- ways, trees, stone lanterns, and usually three knolls or hillocks. Stones - 1. Guardian 2. Worshiping 3. Perfect-view 4. Water-tray 5. Moon-shadow Trees - 6. Cave 7. Seat-of-honor 8. Pedestal 9. Idle 1. Principal 2. Perfection 3. Tree of Solitude 4. Cascade Circuit 5. Setting Sun 6. Perspective Pine 7. Outstretching Pine VIII. American Gardens: 1. Colonial gardens. 2. Old-fashioned southern gardens. 3. Small home grounds rules for planning: a. Keep center of lawn open. Through Art Training 43 b. Plant in masses. c. Avoid too many straight lines. d. Fill in angles transition of line. 4. Well-known estates. 5. Public parks community gardens play- grounds. Democratic conception of the garden of the future, " For whereas the gardens of the past belonged to the few, the gardens of the future will belong to the many." It seems that Bacon's prophecy, " men come to build stately sooner than to garden finely," has in part come true. But now, since man has solved his steel-construction prob- lem will he not turn his inventive genius to gar- dening, and the making perhaps of many Garden Cities? BIBLIOGRAPHY Annual Reports of Park Commissions. Blanchan, Neltje. The American Flower Garden. Doubleday, Page & Company. Brown, Glenn. (Editor.) European and Japanese Gardens. The John C. Winston Company. Davis, M. M., Jr. The Exploitation of Pleasure. Russell Sage Foundation, New York. Elgood, George S. Italian Gardens. Longmans, Green & Co. Humphreys, Phebe W. The Practical Book of Gar- den Architecture. J. B. Lippincott Company. Kellaway, H. J. How to Lay Out Suburban Home Grounds. John Wiley & Sons. 44 Better Citizenship Landscape Architecture. (Periodical.) Lay Hub- bard & Wheelwright, New York. Lowell, Guy. American Gardens. Bates & Guild Co. Mawson, Thomas H. The Art and Craft of Gar- den Making. Charles Scribner's Sons. Mero, E. B. American Playgrounds. Baker & Taylor Co. Osborne, C. F. (Editor.) Historic Houses and Their Gardens. The John C. Winston Company. Pamphlets issued by Playground Association of America. Parsons, Samuel. Art of Landscape Architecture. G. P. Putnam's Sons. Robinson, William. The Parks and Gardens of Paris. The Macmillan Company. London, 1878, Sexby, J. J. The Municipal Parks, Gardens, and Open Spaces of London. Charles Scribner's Sons. Shelton, Louise. Beautiful Gardens in America. Charles Scribner's Sons. Tabor, Grace. Old Fashioned Gardening. Robert M. McBride & Co. Triggs, Harry J. Formal Garde.is in England and Scotland. Charles Scribner's Sons. Triggs, Harry J. The Art of Garden Design in Italy. Longmans, Green & Co. Wharton, Edith. Italian Villas and Their Gardens. The Century Co. Wroth, A. E., and Warwick, W. The London Pleasure Gardens of the Eighteenth Century. The Macmillan Company. London, 1896. Through Art Training 45 ARCHITECTURE Architectural styles grow out of human needs and aspirations. I. Primarily: The character of architecture due to climatic conditions : [Grass huts of Ethiopians 1. In the Tropics j Tents of Arabs [Dome-crowned buildings of Orient 2. Northern Shores of [Colonnades of Greece Mediterranean [Open courtyards 3. Temperate Zone: Buildings with many open- ings; doors and windows to be opened and closed at will. 4. Arctic Region: Igloo or ice hut of Esquimaux. Only one opening a small door. II. As Civilization Developed: A tendency to appro- priate architectural forms or structure without re- gard to fitness for climatic or social needs. Why we find every style in the United States. "Sky-scraper" an American invention. III. Three Great Principles : Stability, Utility, Beauty. The underlying principle of all : Perfect adaptation to limitations and environment. Our " Colonial School " an example of the frank 46 Better Citizenship acceptance of local limitation. No architects the result of the interested cooperation of those who were to use the buildings with those who were to construct them. Most careful attention given to proportions and proper spacings de- sign of doors, windows, facades. OUTLINE FOR STUDY (Using as text Text-book of the History of Archi- tecture by A. D. F. Hamlin.) Assignments as before. Tracings and clippings for notebooks. fStyle 1. Introduction to Study J Structural principles ^Historical development 2. Primitive Architecture. 3. Egyptian Architecture. 4. Chaldaean, Assyrian, Persian. 5. Greek Architecture. 6. Roman Architecture. 7. Early Christian. 8. Byzantine. 9. Early Medieval. 10. Gothic. 11. Renaissance. 12. Classic Revivals in Europe. 13. Recent Architecture in Europe. 14. Architecture in United States, ic. Oriental Architecture. Through Art Training 47 "All good architecture is the sincere response of the architect to the conditions which circumscribe his work, the uses to which his building is to be put and the cli- matic and social conditions of his entourage." Topics suggested for further consideration: 1. Modern School Buildings the Educational Influ- ence of Environment. "In the past twenty-five years the average school building has become an object of some beauty and interest in marked contrast to the earlier build- ings. This greater attention now paid to appear- ances cannot fail to react favorably upon the chil- dren, giving them a more vital interest in the appli- cation of general art principles." REPORT OF COMMISSIONER OF EDUCATION, 1915. 2. Community Use of Public Buildings. " The study of the civic center is the study of the spontaneous life of communities What I see in the movement is a recovery of the con- structive and creative genius of the American people. . . . And it seems to me that the school- houses dotted here, there, everywhere, over the great expanse of this nation will some day prove to be the roots of that great tree of liberty which shall spread for the sustenance and protection of all man- kind." WOODROW WILSON. 3. Colonial Architecture of New England. 4. Architecture of the West. 5. The Old South in American Architecture. 48 Better Citizenship 6. Building for the People or the Influence of Dem- ocratic Ideals. 7. The Fireplace the Heart of the Home. 8. Stairways Their Charm of Line and Element of Mystery. 9. Doorways Beautiful and Historic. 10. Modern Architecture for Country Life. "I have thought that a good test of civilization, perhaps one of the best, is country life." JOHN BURROUGHS. 11. Consider the axiom: "We may decorate construc- tion but never construct decoration," in its rela- tion to the study of architecture. '"The world is still deceived with ornament,' la- mented Shakespeare, and for many years this has been widely true. But the deception is one that is being gradually and steadily discarded, especially in the building of our homes. We are no longer sat- isfied with the kind of architectural frills that can be 'nailed on.' Ornate designs and gilded imitations are ceasing to attract us." BIBLIOGRAPHY "Architectural Beauty in the Civic Gateway of To- day." The Craftsman, April, 1915. Architectural Record. (Periodical.) Architecture Record Company, New York. Architecture and Building. (Periodical.) William T. Comstock, New York, Through Art Training 49 Art and Archaeology. (Periodical.) Archaeological Inititute of America, Washington, D. C. Ashbee, Charles R. A Book of Cottages and Little Houses. Allen & Unwin, London. Comstock, William P., and Shermerhorn, C. E. Bungalows, Camps, and Mountain Houses. The Com- stock Publishing Co. Cousins, Frank, and Riley, Phil. The Wood-Carver of Salem. Little, Brown and Company. Craftsman, The. (Home Building Number.) April, 1915. Cram, Ralph A. Six Lectures on Architecture. University of Chicago Press. Crane, E. A., and Soderholtz, E. E. Examples of Colonial Architecture in South Carolina and Georgia. Bruno Hessling. Dana, William S. B. The Swiss Chalet Book. The Comstock Publishing Co. "Democracy's Influence upon Architecture." The Craftsman, July, 1912. Dolman, F. T., and Jobbins, J. R. Ancient Domes- tic Architecture in Great Britain. John Lane Com- pany. Dow, Joy Wheeler. The American Renaissance. The Comstock Publishing Co. Eberlein, Harold D. The Architecture of Colonial America. Little, Brown and Company. Godfrey, W. H. The English Staircase: An Histor- ical Account. Charles Scribner's Sons. Hamlin, A. D. F. A History of Architecture. Long- mans, Green & Co. 50 Better Citizenship Hamlin, Talbot F. The Enjoyment of Architec- ture. Duffield & Company. Kinne, Helen, and Cooley, Anna M. Shelter and Clothing. The Macmillan Company. Modern School Houses. The American Architect. Morris, William. Architecture, Industry, and Wealth. Longmans, Green & Co. Morris, William. Hopes and Fears for Art. Long- mans, Green & Co. "New Architecture of the West, The." The Craftsman, May, 1916. Parker, J. H. Some Account of Domestic Architec- ture in England from Edward I to Henry VIII. (3 vols.) Oxford University Press, 1853-1859. Price, C. Matlack. The Practical Book of Archi- tecture. J. B. Lippincott Company. Putnam, J. Pickering. The Open Fire-Place in All Ages. James R. Osgood and Company, Boston, 1881. Osborne, C. F. Historic Houses and Their Gar- dens. The John C. Winston Company. Reinach, Salamon. Apollo: An Illustrated Manual of the History of Art Throughout the Ages. Charles Scribner's Sons. Richards, E. H. The Cost of Shelter. John Wiley & Sons. Rothery, Guy C. Chimney Pieces and Englenooks. Frederick A. Stokes Company. " School Developed into a Social Center, The." The Craftsman, December, 1914. Singleton, Esther. Turrets, Towers, and Temples. Dodd, Mead & Company. Through Art Training 5 1 Sparrow, Walter S. The English House: How to Judge Its Periods and Styles. John Lane Company. " Staircases : Ancient, Medieval, and Colonial." The Craftsman, May, 1913. Sturgis, Russell, and Frothingham, A. L. A History of Architecture. (4 vols.) Doubleday, Page & Com- pany. Tanner, H. Old English Doorways. Charles Scrib- ner's Sons. Thompson, R. E. The History of the Dwelling- house and Its Future. J. B. Lippincott Company. Varon, David J. Indication in Architectural De- sign. The Comstock Publishing Co. "Value of the Open Fireplace, The." The Crafts- man, July, 1912. Viollet-le-Duc, Eugene. The Habitations of Man in All Ages. James R. Osgood & Company, Boston, 1876. Wharton, Edith. Italian Pittas and Their Gardens. The Century Co. LITERATURE ON THE HOME Bacon, Francis. Essays: "On Building." Emerson, Ralph Waldo. Essays: "Domestic Life." Field, Eugene. The House. Hunt, Leigh. Essays: "Windows." Lamb, Charles. Essays of Eli a: " Blakesmoor in H-shire." Ruskin, John. Works on Architecture. 52 Better Citizenship Stevenson, Robert Louis. Essays: "The House." Tennyson, Alfred. " The Palace of Art." (Further contributions by class.) Prints of architectural subjects, sculptures, pic- torial art, etc., may be secured by ordering from cat- alogues of the following: Architectural Slides (arranged for lectures) Chi- cago Transparency Co., 143 N. Dearborn St., Chicago, 111. Architectural Post Cards Architectural Post Card Co., 5540 Catherine St., Philadelphia, Pa. Aztec Prints, The The Emery School Art Co., 70 Fifth Ave., New York City. Brown's Famous Pictures Brown & Co., Beverly, Mass. Copley Prints, The Curtis and Cameron, Boston, Mass. Cousins' Architectural Prints Frank Cousins Art Co., Salem, Mass. Jules Guerin Prints University Art Shop, 1604 Chicago Ave., Evanston, 111. Medici Prints Foster Brothers, 4 Park Sq., Bos- ton, Mass. Perry Pictures Perry Picture Co., Boston, Mass. Porter Prints Porter-Motter Mfg. Co., 30 Shel- don St., Chicago, 111. Prints Brown-Robertson Company, 434 Lafayette St., New York City. Prints and Slides Detroit Publishing Co., Detroit, Mich. Through Art Training 53 University Prints, The 136 Stuart St., Boston, Mass. (Lantern Slides, Post Cards, Photographs may be obtained from the Boston Museum; Chicago Art In- stitute; Cincinnati Museum; Corcoran Gallery, Wash- ington, D. C.; Metropolitan Museum of Art, New York City; St. Louis Museum.) 54 Better Citizens kip HOUSE DECORATION / have always felt that the best security for civiliza- tion is the dwelling, and that upon properly appointed and becoming dwellings depends more than anything else the improvement of mankind. DISRAELI. The cultivation of good taste and judgment in the matter of house furnishing is one of the most impor- tant aims of art education today. The far-reaching psychological effect of a restful, yet cheerful, environ- ment is being recognized more and more fully. Art principles become more lucid in the study of their application to everyday problems. "Good pro- portion," "beauty of line," "satisfactory tone rela- tionship," "color harmony," are things that may be brought to mean more to the student than vague terms. But it is by systematic study that this is so ; by exercises designed gradually to train the student in the knowl- edge of these things. In taking up this outline we are presupposing that simple exercises suggested under the first chapter on art principles have been given. It is important that such things as were learned about spacing, Dark-and- Light, and color harmony, should be constantly kept in mind when judging textile designs, when studying the proportions of a piece of furniture, and when consid- Through Art Training 55 ering the general arrangement of furnishings in a room or an entire house. The following are the topics under consideration: I. Textiles. II. Furniture. III. Woodwork and Floors. IV. Walls and Ceilings. V. General Arrangement. / I TEXTILES The more I work in the weaving of tapestries and fabrics, in the designing of hangings, in the combina- tion of colors, in an appreciation of the beauty of the fabrics made luminous with light streaming through them, or rich and opaque against solid backgrounds, the more I appreciate the fact that we have not com- menced to apprehend all that may be done with color, texture, and line, that the days are not long enough for the development of new beauty for the furnishing of our homes. ALBERT HERTER. A. Story of Weaving: (Illustrated with photographs, etc.) Ancient: The craft of great antiquity: First step : Probably basket weaving. Second step : Linen and woolen thread used. Third step : Silk, first used in China. 56 Better Citizenship 1. Egypt (3000 B.C.) Linen for religious uses; wool for secular uses. Coptic weaving 100 A.D. to 700 A.D. 2. Greek (400 B.C.) Decorations on vases. Penel- ope at loom, etc. 3. Roman Tapestries imported from Babylon, Egypt, Persia, India. Medieval: Oriental influences saturate Europe for one thousand years (400-1400). 1. China, Persia, India, first countries to manufac- ture silk. 2. In eighth century Spain was conquered by the Saracens; silk cultivation begun. Cotton was first cultivated in Europe by the Moors of Spain in the ninth century. 3. Italy preeminent during the latter years of the Middle Ages and throughout the Renaissance. Lucca, Florence, Genoa, Venice (thirteenth cen- tury). 4. In the seventeenth century France comes to the fore Tours, Lyons, Paris. 5. In 1621 cotton was first grown in the United States. Modern: 1. Eighteenth century British silk fabrics. 2. Colonial period New England States. 3. Modern Japanese textiles. 4. Weavings of southern mountaineers in the United States. 5. Modern decorative fabrics. Influence of Poiret, peasant embroideries, etc. Through Art Training 57 Suggested Topic: The Future of the Textile In- dustry in the United States; what we may expect from trained designers and better equipment, or Art and Industrial Preparedness. BIBLIOGRAPHY Dooley, William H. Textiles. D. C. Heath & Co. Kinne, Helen, and Cooley, Anna M. Shelter and Clothing. The Macmillan Company. " More Color in the Home : Painted Furniture In- spired by Peasant Art." The Craftsman, June, 1915. " Some Recent Decorative Fabrics," Arts and Dec- oration, September, 1915. "Weaving on Old Time Looms." The Craftsman, November and December, 1915. Woolman, Mary S., and McGowan, Ellen B. Tex- tiles. The Macmillan Company. (Photographs of textiles may be secured from The Metropolitan Museum of Art, New York City. Trav- eling exhibit from The Metropolitan Museum of Art, New York City, consisting of textiles ranging from the fourth to the eighteenth centuries.) B. Pattern Dissection: (Assignment: Illustrative ma- terial, clippings, tracings, or samples of textiles for notebooks. ) I. Stripe: etc. Better Citizenship 2. Cross lines: | check, ^ diamond diagonal. 3. Spot pattern: (in form of stripe, check, or dia- mond). a. b. n mu 4. Triangle: 5. Hexagon: 7. Segments of circles and other curves: a 'O( )( X ( Ji ) CD 8. Scale pattern: (Either the background space or the design should predominate, giving subordination.) (Symbolism in. pattern design. "A symbol is the visible representation of an idea.") Through Art Training 59 REFERENCES Day, Lewis F. Pattern Design. Charles Scribner's Sons. Morris, William. Some Hints on Pattern Design- ing. Longmans, Green & Co. C. Rugs: (Assignment for notebooks, tracings, etc.) Fineness of rugs measured by number of knots to the square inch. / fancy I should like to meet The men who prayed there, and whose feet Wore this rich carpet, dim and frayed. Peace to your souls! men who prayed In Ispahan. ANNA REEVE ALDRICH. /. Oriental: Persian. a. Saraband or Serebend. (Palm leaf pattern, gourd, etc.) b. Senna or Sehna. (Fish motif.) c. Feraghan. d. Ispahan (not made now), and others. Caucasian. (Symmetrical in figure.) a. Daghestan. (Three cross shapes through center of rug. Close in value relations.) b. Kazak. (Strong in Dark-and-Light.) c. Mosul. Turkish. a. Ghiordes, Yoordes, Yordis, Gordis. b. Kulah. (Long pile, rough weave.) 60 Better Citizenship Turkoman. (Octagonal figures.) a. Bokhara. b. Tckke Bokhara. c. Afghan. d. Keva, Khiva, etc. 2. Domestic: CARPETS a. Wilton. b. Axminster. c. Body Brussels. d. Ingrain. RUGS a. French Wilton. b. Royal Wilton. c. Smyrna (reversible). d. Kilmarnoch (made in U. S.). e. Donegal (made in Ireland). Mattings, Crex, grass, and fiber rugs. Rag rugs. Rugs made from old carpets, etc. General rules as to designs in rugs : 1. With large masses close values should be used. 2. Beware of strong contrasts in color value. 3. Beware of strong contrasts in color intensity. 4. Brilliant colors should be used in small quantities. REFERENCES Hawley, W. A. Oriental Rugs: Antique and Mod- ern. John Lane Company. Through Art Training 61 Holt, Rosa Belle. Rugs, Oriental and Occidental, Antique and Modern. A. C. McClurg & Co. Lewis, G. Griffin. The Mystery of the Oriental Rug. J. B. Lippincott Company. Mumford, John Kimberly. Oriental Rugs. Charles Scribner's Sons. Ripley, Mary Churchill. The Oriental Rug Book. Frederick S. Stokes Company. D. Decorative Fabrics : 1. Tapestries: a. Their origin and history b. Their uses c. Some famous pieces 2. Other Decorative Fabrics used as: a. Drapery, hangings, curtains, etc. b. Wall covering c. Upholstery REFERENCE Hunter, George Leland. Tapestries: Their Origin, History and Renaissance. John Lane Company. II FURNITURE "The value of an understanding of old furniture lies not merely in sentimental satisfaction and pleasing retrospect. It will give us a vigorous commentary on the economic history and social manners of the times 62 Better Citizenship in which it was made, if we care to take the pains to read a little between the lines." "The historic point of view has its own very real and unquestionable value .... but the truest and most satisfactory side from which to view the whole subject is its artistic and decorative value." "By regarding the making of furniture as an art, our reverence for it will be well founded and we shall be convinced of the worthiness and dignity of our study." Elizabethan or Tudor Jacobean or Stuart Queen Anne or Anglo-Dutch ~ , George m, .760 Chippendale JJeppelwhite Sheraton Adams Empire George IV, 1820 Victorian Victoria, 1837 ENGLISH STYLES Henry vill, 1509 Edward, 1547 Mary, !553 Elizabeth, 1558 James i, 1 603 Charles i, 1625 Commonwealth, 1649 Charles II, 1660 James II, 1685 "William and Mary, 1689 Anne, 1702 George I, 1714 [Colonial or George n, 1727 [ Georgian Colonial or Through Art Training OUTLINE FOR STUDY Assignments, tracings, etc. (Using as text The Practical Book of Period Furni- ture, by H. D. Eberlein and A. McClure.) 1. Jacobean Period (1603-1688). 2. William and Mary (1688-1702). 3. Queen Anne and Early Georgian (1702-1760). 4. Louis xiv and Louis xv (1643-1774). 5. Chippendale (1705-1779). 6. The Adam Brothers (1762-1792). 7. George Heppelwhite (1765-1786). 8. Louis xvi (1774-1793). 9. Thomas Sheraton (1750-1806). 10. The Empire Period (French and English, 1793- 1830). 11. The American Empire (1795-1830). 12. Other American Furniture. 13. Painted Furniture. AMERICAN FURNITURE "The difference between period furniture and fur- niture based entirely upon good craftsmanship is the difference between the need of the people and the whim of the aristocracy. "American furniture should embody the same prin- ciples that made the slender French, painted Russian, and carved English work such perfect creations of their kind, namely fitness and an expression of the needs and ideals of the people who made it. 64 Better Citizenship "American furniture should never be flamboyant, nor an imitation of any, period no matter how excel- lent it may appear; it should be honestly constructed and designed with fine thought for grace and beauty. " Contact with strength and sturdiness is good for a nation, whether that strength is in character, in archi- tecture, or in furniture." GUSTAV STICKLEY. " I feel that the time has come when absolute imi- tation of any period in architecture, furniture, or dec- oration is not greatly valued except for educational purposes. We are becoming more and more a devel- oped personality as a nation, we are losing our provin- ciality, we are ceasing to be fearful of our own ex- pression; in other words, the American has developed an outline." ALBERT HERTER. "It is pleasant indeed to look back upon a fine and distinguished period of architecture and of house fur- nishing, but it is pleasanter, I think, to look back upon it than to live in it. To be sure it is better to have periods of beauty than periods of ugliness, but how much more interesting, how much more generous, the nation's feeling that demands intelligence and culture for all the people in order that all the people shall create about them beautiful surroundings. This is in reality the true democratic ideal." " It seems no longer feasible to doubt our ability to found a new decorative period that of the twentieth century American!" HAZEL H, ADLER. Through Art Training 65 OUTLINE FOR STUDY 1. Early American Furniture. 2. Later Furniture (very few distinctive styles). 3. Reaction from mid-Victorian Extravagances. (Influence of William Morris.) 4. Mission Furniture Joseph P. McHugh. 5. Craftsman Furniture Gustav Stickley. 6. Handcraft L. and J. G. Stickley. 7. Roycroft Elbert Hubbard. 8. Modern Wicker Furniture. 9. Painted Furniture: Cosmopolitan Inspired by Art of European Peasants. 10. The Ethical Influence of Good Craftsmanship. BIBLIOGRAPHY "American Style of Home Furnishing." The Crafts- man, October, 1914. Candee, Helen Churchill. Decorative Styles and Periods. Frederick A. Stokes Company. Clifford, C. R. Period Furnishings. Clifford & Lawton. Eberlein, Harold D. and McClure, A. The Prac- tical Book of Period Furniture. J. B. Lippincott Company. " Furniture of Our Forefathers, The." The Crafts- man, May, 1913. Hayden, Arthur. Chats on Old Furniture. Fred- erick A. Stokes Company. "Historic Periods in Modern Houses." Arts and Decoration, September, 1915. 66 Better Citizenship "Painted Furniture." The Craftsman, September, 1915. Stickley, Gustav. "Furniture Based upon Good Craftsmanship." The Craftsman, February, 1916. Ill WOODWORK AND FLOORS Feed the oak with oil and polish it with wax. OLD ENGLISH MAXIM. "In finishing woodwork, we believe and Amer- ican architects, decorators, and homemakers are com- ing to share our opinion that stains rather than var- nishes are preferable, soft mellow tones of brown, green, and gray that protect the surface and deepen the color of the wood without obscuring its natural beauty of grain and texture." GUSTAV STICKLEY. "To the Japanese, wood, like anything that pos- sesses beauty, is almost sacred, and he handles it with a fineness of feeling that at best we reveal when we are dealing with precious marbles." RALPH CRAM. The peasants of Europe use paint most successfully but not to cover up the grain of the wood. " Pine is the wood employed, and it is first given a coat of paint usually blue which is wiped off before it dries. The paint sinks into the pores of the wood, empha- sizing the grain and giving a wonderful satin sheen to the surface." Through Art Training 67 OUTLINE FOR STUDY 1. Different Woods : Mahogany Varies from hard to soft. Natural mahogany about middle value. Imitations: bay-wood, red-wood, and birch (more durable than soft mahog- any). Walnut Black, Circassian. Oak vary hard. Maple hard, durable. Curly, Bird's-eye. Cherry not often used. Rosewood very expensive. Ash too brittle. Pine soft, hard. Chestnut used for woodwork, not furniture. Ebony and Teakwood used occasionally. Cypress beautiful grain. 2. Methods of Finishing: Stains pigment and carrier (linseed oil). Paints base, carrier, solvent, pigment. Enamels. Fumed Oak (subjected to fumes of ammonia). 3. Woodwork of Rooms Includes: Floor. Doors and Windows. Paneling. Molding, baseboards, etc. These should be considered, together with walls and ceiling, as a background for furnishings and there- fore: 68 Better Citizenship a. Should not be obtrusive in Line. That is the woodwork should follow the construction lines of the room should be simple and not ornate. Dignity and beauty are to be obtained by well-proportioned spacing of walls and windows. Often the decorative use of structural woodwork and trim, together with division of walls into beautiful spaces, leaves very lit- tle to be desired in the way of " ornament." b. Should not be obtrusive in Tone. That is the value of the woodwork should not be too dark or too light for walls. Floors, particularly, should not be too light in value. Woodwork that is " out of value " jumps, will not " stay put." c. Should not be obtrusive in Color. " It naturally seems best, in coloring wood, to give to it by art such colors, on the whole, as might have been given by nature. There are many rich browns, for instance, that resemble the colors in the bark of a tree; mellow, greenish stains suggest the moss-grown trunk and col- ors of the foliage; while the soft shades of brownish gray recall the hues produced by weathering." Gus- TAV STICKLEY. d. Woods appropriate for different rooms : Living-room, Library, Dining-room, Halls, etc. : Woods of pronounced grain, rough texture, as oak, ash, elm, chestnut, or cypress. Parlors, Bedrooms: Woods of smoother texture, less denned grain, as poplar, maple, birch, our native gum woods, etc. Through Art Training 69 Kitchen, Pantry, Bathroom, etc. : Painted or enameled woodwork. And here varnish may be used because of its hygienic qualities. Often the floor of the kitchen is covered with linoleum. Com- position flooring. BIBLIOGRAPHY Addison, Julia DeWolf. Arts and Crafts in the Middle Ages. The Page Company. " Floors and Their Treatment." Arts and Decora- tion. October, 1915. Price, C. Matlack. " Historic Association in Pan- elled Rooms." Arts and Decoration, October, 1915. (Samples of wood may be secured from S. C. John- son and Son, Racine, Wis., and from Sherwin-Wil- liams Co., Cleveland, Ohio.) IV WALLS AND CEILINGS The first impression of a room depends upon its walls. As has been said, the walls and ceiling of a room should be considered as part of the background or setting for the furnishings. They may be, according to the style or character of the house, of rough plas- ter, papered, tinted, painted, calcimined, paneled with wood, burlap, and other textiles, or with beaver-board, compo-board, and the like. 70 Better Citizenship OUTLINE FOR STUDY Assignment: Clippings, illustrations for notebooks. Line: The division of the wall spaces by placement of windows, doors, molding, paneling, etc., is a mat- ter of line composition and should be considered most carefully. A room whose ceiling is too high may be improved by lowering molding (principle of opposi- tion) , one that is too low by placing molding at ceiling. Remember that a rectangular space that is equal to two squares is a commonplace proportion. Feeling and judgment are to be consulted in choosing a beautiful proportion, Value: As to value, or Dark-and-Light, the lighter the value of the ceiling the higher it will appear, and the size of a room will appear larger or smaller ac- cording to the value of its walls and ceiling. Figured paper has the effect of bringing the walls closer to- gether, plain paper of making them recede. Avoid the spotty appearance of too great a contrast in Dark-and- Light in figured wall paper. Color: Value and color are so intimately associated that while value may be considered without color, color may not be considered apart from its value. Chroma, or intensity, is another attribute of color that must be reckoned with. The following general rules relating to color schemes for rooms is offered for discussion : For formal room cool hues, light value. For informal room warm hues. Living-room middle or low chroma, any hue, Through Art Training 71 Sleeping-room light value, low chroma, not more than two hues. Kitchen light value, strong chroma, cool hue. These are very general rules. The situation of a room, whether it be a north room or a south room, its lighting, etc., all have direct influence upon the hue, value, and intensity of color used. Color will be treated more 'specifically under "General Arrange- BIBLIOGRAPHY Rothery, Guy C. Ceilings and Their Decoration. Frederick A. Stokes Company. "Walls, Floors, and Woodwork as Harmonious Backgrounds." The Craftsman, January, 1915. GENERAL ARRANGEMENT Have nothing in your houses that you do not know to be useful or believe to be beautiful. WILLIAM MORRIS. Perhaps if we begin with Morris' injunction, the task of assembling and of arranging our furniture will, in- deed, no longer be a task, but a joy and privilege. " In every homemaker is the artist's power to vis- ualize a perfectly appointed home and the humble workman's willingness to patiently work out the de- tails that would be troublesome enough without love of the work. To select the proper furniture, draperies, 72 Better Citizenship rugs, and all the manifold little things that go to make up a livable, lovable home involves knowledge of ma- terial gained only by study and experience, a sense of fitness, and an inner feeling for beauty." OUTLINE FOR STUDY Assignment of papers. 1. The Place of Period Decoration in American Homes "We have had period decorations and all their forms of variation given us till we have finally and with determination demanded something distinctly ex- pressive of our own period, which is a fitting setting and background for our own modern, alive selves." ASCHERMANN. " . . . . beautiful things from many ages can be gathered together by proper selection with artistic result. Rooms should not be historical collections of period furniture, for then they would be too formal, too much like a showroom instead of an inviting place to live. " Certain pieces of furniture of widely different types are companionable as are some people of dia- metrically different characters. Why not have our rooms filled with furniture of different types as we enjoy having friends of different interests? "If we can have but one living-room, why should we have only one type of thought in it, such as is rep- resented by a set of furniture? Variety of form and Through Art Training 73 type, of color and size, makes for far greater grace, informality, and sense of comfort." Period furniture is more suitable for formal pub- lic places, such as clubhouses, hotel apartments, etc. While such places, since they are community homes, should be dignified, beautiful, and appealing, no per- sonality is expected nor desired; an intimate touch here, contrary to what is looked for in the real home, is out of place. 2. Selection of Furnishings By what net of selection or rearrangement of objects is beauty caught? a. Many things to be considered : Furnishings must be in keeping with house (suita- bility) ; Must be of good design and finish (art qualities) ; Must be of honest craftsmanship (sincerity) ; Must be of lasting worth, not a fad of the hour '(simplicity). Consider the three S's Sincerity, Suitability, Sim- plicity. b. Selection by Elimination "In place of the restless over-furnished, over-dec- orated rooms that were in vogue a few decades ago, our homes are growing more gracious with the beauty of simplicity. Elimination, blowing like a refreshing breeze through open doors and windows is sweeping away that which was needless or ugly, leaving the use- ful, the comfortable, and the beautiful behind." " In every phase of life in America we are coming 74 Better Citizenship to recognize the importance of elimination, and espe- cially is this true in the furnishing and decoration of our homes in what may be known as the American style." " Thus we see that in order to achieve real distinc- tion and beauty in American home furnishings we must approach the undertaking from the standpoint of elim- ination, or judicious selection of objects, textures, and color harmonies." "I have never been in any rich man's house which would not have looked the better for having a bon- fire made outside of it of nine-tenths of all that it held." WILLIAM MORRIS. c. Japanese Influence "The Japanese show their appreciation of a perfect article in a manner that has much to recommend it. They place but a single beautiful object in the niche reserved for it. The objects are changed to show honor to a guest, upon holidays, with the changes of seasons, or for any other good reason that occurs to the household. " Our tendency is to crowd our rooms with as many costly things as we can get into them, while theirs is to have as few as possible in evidence at one time. They feel that the full beauty of an object can only be gained by giving it a setting that in no way distracts attention from it.'* (Principle of subordination.) d. Selection by Assimilation "There is a limit to our capacity for appropriating and assimilating material things. Mere ownership is not possession. The only houses which have real Through Art Training 75 meaning and beauty are the ones into which the owner has toilsomely, yet lovingly, worked a part of him- self." Often owners of mansions, occupied only a few months " in the season," " are haunted by the desire to own more things than their souls can grasp and their personalities can vitalize." "We should give more study to the matter of furnishing our homes, buying a few things at a time, as we find articles that we like, and thus gradually build up our home as we build up our education." e. Expression of Personality in Selection " More and more we are doing our own thinking and planning and selecting, and expressing our own indi- viduality in an environment that we ourselves help to 3. Arrangement of Furnishings It is well to remember that in the beginning of this study we agreed that art was arrangement arrange- ment of Line, of Tone, of Color, and arranged accord- ing to certain principles of balance, symmetry or order, of opposition, transition, repetition, and of subordina- tion. (See Composition, by A. W. Dow.) In arranging or placing furnishings in a room, we are dealing with the three elements of art Line, Tone, and Color, and we must dispose of them accord- ing to certain laws or principles if we expect a harmo- nious whole. Line. The structural lines of the room must be strengthened, not weakened, by the placement of fur- 76 Better Citizenship niture and the hangings of draperies, etc. The vertical line, we must remember, is a line of dignity, the horizon- tal line, one of rest. For grace, and to avoid stiffness and formality, the transitional line may be used, but the oblique line, used indiscriminately, will cause con- fusion and unrest. If a room is too long its length may be apparently shortened by using the principle of opposition per- haps by the placing of a rug or table. Other ways in which this principle may be used, or is used, will occur to anyone giving the matter some thought. An in- stance of balance or symmetry is not hard to find. It may be a so-called "occult balance" or the simple order or balance secured by the placing of two chairs on either side the mantelpiece. The principle of subordination is apt to seem, to the untrained mind, somewhat elusive, but it is a vastly important principle the one that brings about unity, cohesion, and simplicity. The Japanese understand this principle thoroughly. It is a matter of " creating beauty by the elimination of the superfluous." " Every part of an interior, every wall space, man- telpiece, corner, or grouping of furniture should be a beautiful still life, its elements so juxtaposed as to make in itself what is called a picture a paintable thing just as it stands, with lights and shades, harmonies or contrasts, accented or plain surfaces as in a well-com- posed and balanced canvas. It is this studying of the problem as an ensemble, this subordination of detail, which should be the artist's work in the creation of any room, and it is in this most essential quality that the Through Art Training 77 amateur or the commercial and untrained decorator makes the flagrant mistake of assembling objects which, however good in themselves, are unrelated." ALBERT HERTER. Tone. Under "Walls and Ceilings," Tone, or value, was discussed. In furnishings as well, this ele- ment is to be considered. The principle of opposition is used for the sake of contrast and variety, yet a spotty appearance must be avoided by keeping in mind the principle of subordination. A certain amount of balance in value relationship is inevitable in a beauti- ful tone harmony transition used also. Color. The principle of opposition (the use of complementary colors) overcomes the unpleasant monotony of a scheme of one hue or adjacent hues, but in order to gain unity the principle of subordination must come into play. The repetition, or echo, of a hue in a room, by way of textile, pottery, rug, etc., is a necessary means of distributing color. Transition applied to color harmony is a means by which we may soften what might otherwise be too severe a combina- tion. "The obvious consequence of ill-considered com- binations is a subtle irritation, an unrest, which carries its inevitable but usually unanalyzed reaction. For some reason the ear protests against discord in sound, while the eye adjusts itself more easily to disharmony, and fails to recognize what is subconsciously a factor of unrest and nervous strain. . . . . We can be trained to formulate our unconscious sensitiveness and to more or less scientifically apply our conscious knowl- 78 Better Citizenship edge, so that we can control and improve our color surroundings as we try to the noises and smells that we find obnoxious." ALBERT HERTER. The following are topics that should be considered in connection with the study of color in furnishings : a. The Influence of Peasant Art. b. The Influence of L/on Bakst. c. The Influence of the Japanese Print. d. The Influence of the Oriental Rug. e. Symbolism in Color. Color was first used symbolically in the hieroglyphics of Egypt. It played a part in the religious rites of all primitive peoples. The colors in an oriental rug are symbolic. White is always used for purity; Black for evil ; Blue for virtue and truth; Yellow for royalty (in China) ; Green is regarded as a holy color by the Turks; Red is symbolic of blood, fire, excitement. f. The Mental Influence of Color: Yellow brings cheer and light into a dark room. " Morbid dispositions require this color though they do not choose it." Red irritates the nerves may be used in clubrooms, dance halls, etc., "where gaiety and a certain amount of excitement are desirable, but for other interiors it should be employed only in occasional detail. Often mothers choose red for the nursery because the chil- Through Art Training 79 dren like it; but the normal child is naturally excitable and nervous, and does not need this rousing note." Blue is calm, retiring, refreshing in character is successfully used in warm climates, in summer homes, and sunny south rooms. Orange, the combination of yellow and red, is sym- bolic of light and heat which makes it the hottest color possible. Since it is the strongest and most intense of colors, it should be used in small areas only. Violet, composed of red and blue, suggests heat and cold combined which results in ashes. It is the color of shadows; it expresses restrained heat, or mystery and gloom, and this is the psychological reason for its use in mourning and religious rites. Green, the result of mixing yellow and blue, ex- presses light and coolness. Generally speaking it is the most successful color that can be used in interior furnishing, for it eliminates the nerve-exciting red and combines rest and cheer than which nothing can be better for a home. 4. Individuality or Personality in Furnishing There may be many ways of solving a problem all equally good, as far as theory goes. There may be innumerable ways, all admirable, in which harmony may be brought about in house decoration. The choice of the way indicates the individuality of the decorator. However, we should not expect the professional decorator to be able to put himself that is, to make a choice that is expressive of his per- sonality into the decoration of other peoples' homes, 8o _ Better Citizenship That is asking too much; in fact, the impossible. He will follow the rules of the game but the result is apt to be an interior that is "too perfect, with an unpleas- ant air of aloof superiority, an unlovable trait in rooms as well as in people." No, we may not shift the responsibility for the dec- oration of our homes on to other peoples' shoulders. It is a matter of training and education in which we all should participate. It is this sort of education that we want in our schools, the sort that shall "help the men and women of America to achieve not mere houses or mansions, but real homes." ". here in America we have newly awak- ened to a realization that all homes should be well built, beautiful in architecture, that all these well-built homes should possess lovely gardens made fair by the hand of the mistress, that the inside of the home should express the personality of the woman who lives in it, who is the spirit of it. In order to accomplish all these delightful things it is necessary that American women should really learn to understand gardening and should elect in many instances, more than we can compute, to become the decorators of their own houses." BIBLIOGRAPHY Adler, Hazel H. The New Interior. The Cen- tury Co. "Color in Decoration." The Craftsman, May, "Color, the Magic Spirit in the Home." The Craftsman, January, 1915. Through Art Training 81 "Ethics of Home Furnishing, The." The Crafts- man, January, 1916. Herter, Albert. "The Value of Clean Color in Decoration." The Craftsman, May, 1916. Holme, Charles. Peasant Art in Sweden, Iceland, and Lapland. John Lane Company. Holme, Charles. (Editor.) The Studio Year Books of Decorative Art. (6 vols.) John Lane Com- pany. " Japanese Print as a Reformer, The." The Crafts- man, May, 1916. " Modern Furniture Reproduced from the Antique." The Craftsman, May, 1913. " More Color in the Home : Painted Furniture In- spired by Peasant Art." The Craftsman, June, 1915. Parsons, Frank Alvah. Interior Decoration. Dou- bleday, Page & Company. n ' Personality in Furniture." Arts and Decoration, April, 1917. " Rooms that Satisfy." Good Housekeeping, Octo- ber, 1914. Wood, Grace, and Burbank, Emily. The Art of In- terior Decoration. Dodd, Mead & Company. 82 Better Citizenship WILLIAM MORRIS " Even if Morris' writings were but half as beauti- ful as they are, he would still have touched eminence in his day and generation, for his apparently exhaust- less energy, his diversified interests, his untiring occu- pation, his command over so many mediums of literary expression, his wide scope of handicraft achievements, would have left their impress upon the taste and opin- ion of his time and country." Any study of the principles of good taste and of art applied to daily living would be incomplete without an acknowledgment of the influence of William Morris, and a consideration of those ideals for which Morris lived his life. In the books of almost every writer on interior dec- oration and kindred subjects, in the writings of almost every social reformer, we see his words quoted. It is patent that certain of our American craftsmen are fol- lowing in his footsteps, and that students and teachers of the arts in general find great inspiration in his life. "His medievalism was in the spirit more than in the letter, and he opened up a vast field for activity in all branches of the arts and crafts. In doing this he did a noble work, and a work that will continue to de- velop through many arts-and-crafts societies. Through his connection with art workers and art problems he Through Art Training 83 came to his position of a socialist, through art and its needs, not through the usual channels of political economy and kindred lines." Did not Morris have the same purpose in studying medieval life that the Renaissance leaders of thought had in studying the lives of the ancients? The Re- naissance idea was to "study the grammar, in order to learn the language, to get the life, to live the ideals of the Athenians." Was there not something of this sort in Morris' passion for medievalism? OUTLINE FOR STUDY (QUESTIONNAIRE) Assignment of paper on " Ideals of William Mor- ris." 1. What were the conditions of art and society which Morris found unsatisfactory? 2. Why were conditions so ? 3. What had art to do with society, or society with art? 4. What led Morris to become a socialist? 5. What remedies did Morris propose? 6. Morris and Company. Consider in connection with the study of Morris: i. The relation between industry and art. "Life without labor is guilt, and industry without art is brutality." "To give people pleasure in the things they must perforce use, that is the one great office of decoration ; 84 Better Citizenship to give people pleasure in the things they must perforce make, that is the other use of it." 2. What should be the spirit of the true craftsman? "Als ik Kan." " The lyf so short the craft so long to lerne." "That thing which I understand by real art is the expression by man of his pleasure in labor." WIL- LIAM MORRIS. " The hand can execute nothing higher than the char- acter can inspire." 3. What responsibility have we as individuals in helping to cultivate good taste and judgment? a. As consumers purchasers. b. As producers creators, makers, doers. Awful is Art because 'tis free. The artist trembles o'er his plan Where men his Self must see. Who made a song or picture, he Did it, and not another, God nor man. SIDNEY LANIER. "What does all this art movement mean to Amer- ica? It means that William Morris alone descended from the clouds of romanticism to put into practical, utilitarian form the charms and value of Beauty. This was work enough for one man to have done. We must see that he did not live in vain. Let us gird on the armor and attack the thousand-headed monster of Ugliness that crowds us at every turn. If we cannot all of us be William Morrises, let us be his disciples Through Art Training 85 for better taste, fight ugliness with beauty, and thus reap a share of the reward that was so sweet to him." 4. Is the understanding then of this whole subject a matter of education? And that brings us to the question, what is an education? A matter of tabulated knowledge, useful information, perhaps. Or shall we say rather a matter of right attitudes, a sense of values, a matter of seeing things in their true proportions? 5. What sort of an art education do we want? A study of art principles so that there may be true appreciation on the part of many. In that sense Mor- ris says : " I do not want art for a few any more than education for a few or freedom for a few." He speaks also of " a new art, a glorious art, made by the people and for the people as a happiness to the maker and user." 6. Art and "Industrial Preparedness." (See address, "Economic Importance of Industrial Art," by James P. Haney.) BIBLIOGRAPHY Brock, A. Glutton. William Morris: His Work and Influence. Henry Holt and Company. Gary, E. L. William Morris. G. P. Putnam's Sons. Eliot, Charles W. Changes Needed in American Secondary Education. (Pamphlet published by Gen- eral Education Board.) Mackail, J. W. William Morris: An Address. Longmans, Green & Co. Morris, William. Architecture, Industry and Wealth. Longmans, Green & Co. 86_ Better Citizenship Morris, William. Collected Works, with introduc- tion by his daughter, May Morris. (24 vols.) Long- mans, Green & Co. Morris, William. Hopes and Fears for Art. Long- mans, Green & Co. Morris, William. Signs of Change, Longmans, Green & Co. Russel-Bonser. Industrial Education. (Bulletin published by Teachers College, Columbia University.) Through Art Training 87 COSTUME DESIGN The study of art principles as applied to dress may not begin too early. Even in elementary schools the subject is taught most successfully, with the result that there is great improvement in the choice and judgment displayed by the children in matters of dress. In high schools and colleges the study of costume design, in all its phases, should receive serious atten- tion. Gustav Stickley says: " I myself have for years felt that dress was one of the significant issues of the day, that our social and political conditions were ex- pressed in it, or hampered by it." He asks: "What does the dress of our women as it stands today cost us materially and spiritually? Where do we find the salvation for this condition? Must our women create the reform themselves? Is it a matter of education? Can we hope for better things from the present gen- eration or must it lie wholly in the training of our chil- dren?" To answer these questions intelligently requires in- terest, thought, and a certain amount of research work on the part of the student. The following outline is offered: I. History of Costume. II. The Esthetic Study of the Person. III. Dress from the Standpoint of Design. Better Citizenship IV. Selection of Clothing from the Standpoint of: 1. Hygiene. 2. Economic and Sociological Responsibility. 3. Ethics. I. HISTORY OF COSTUME Assignment of tracings of costumes. The world, if we choose to see it so, is a compli- cated picture of people dressing and undressing. D. C. CALTHROP. 1. Purpose of study: a. Recognition in modern dress of styles or periods from which they are derived. b. Study of principles underlying the good in all pe- riods so that they may be applied to improvement of modern dress. 2. Origin of our knowledge concerning early costume : a. Ancient hieroglyphics. b. Sculpture. c. Early paintings. d. Illuminations. Egyptian Costume: Simple in construction, good in ornamentation, in- cluding color. The use of symbols such as the lotus, asp, etc. The beginning of drapery. Greek Costume: i. Early costume, tight waists, and full skirts. Through Art Training 89 2. "Greek dress," full of charm, simplicity of line. Men and women dressed almost alike. Women added veils, ornaments for the hair, etc. 3. Regulation dress two garments in the costume. a. Chiton, or dress. b. Himation, or mantle. Doric chiton simple, heavy material. Ionic chiton more elaborate, thin material, folds. General shape rectangular a foot longer than the person and as wide as arms outstretched. Draped about the body. Roman Costume: Adapted from the Greeks. Tunic undergarment 1 Toga outergarment Stola long tunic with border] Palla mantle j-Women Roman costume fuller than the Greeks and more or- namented. Early Gauls: Painted and tattooed bodies. Skins of Animals. Hip aprons. Barbaric jewelry. After the Roman Conquest, the tunic, mantle, etc., of the conquerors were worn. (Caesar conquered Gaul 55 B.C.) Later, in the fifth century, after the estab- lishment of the French kingdom, a combination of Roman, Gallic, and Prankish costume was worn. 90 Better Citizenship French Costume: The eighth century the beginning of French dress. Women wore two tunics under one long, straight, and narrow ; outer one short and full. In the eleventh century, silks, cashmeres, etc., were introduced by returning crusaders. Buttons appeared for the first time. The fourteenth century was a period of luxury. This century is noted for its eccentricities of dress. Pointed shoes, high pointed headdress harmonized with the turrets, pointed arches, etc., of Gothic architecture. In the fifteenth century, reign of Louis XI, dress was more simple. The latter part of the fifteenth century French costume was characterized by rich materials, bright colors, but greater dignity and grace of line. In the sixteenth century, Renaissance, there were great changes in dress. Introduction of crinoline, hoops and corsets for women; bodice with pointed waistline, front panel, and over this a robe which fell to the floor in great tubelike folds. Garments for both men and women were much slashed. In the reign of Henry ill many men adopted feminine fashions, wear- ing enormous ruffs and tight corsets. In the reign of Henry IV the hoop skirt became barrel shaped and so large that the arms rested upon it. Waists were smaller, more pointed, padded, and puffed. Sleeves had very large ruffs. The corset had become a true instrument of torture; the whole costume a ridiculous silhouette. Louis xni hoops and padding discarded, lines be- came more graceful. Through Art Training 91 Louis XIV again the pointed waistline, very low necks, no hoops, but stiff materials with much fullness. Introduction of the bustle. Enormous headdresses sometimes two feet high. Eighteenth century charming WatKau costumes, characterized by grace influence of Marie Antoinette enormous headdress, hoops, profusion of laces, rib- bons, puffings, "pannier." During Revolution, at first styles and materials were simpler. Later, with the Directolre, Greek and Ro- man costumes were copied but in an exaggerated way. The men copied English fashions. Costumes, at the time of Napoleon, which we now call Empire, were revivals of Greek fashions. Dresses had short waists, long skirts, low necks and short, puffy sleeves. Shawls were used. Period 1815-1830, the Restoration fashions were very ugly; bad proportions in everything. In 1850 luxury and extravagance. In 1854 hoops returned and polonaise was intro- duced with triple flounces on skirts. Until 1870 the most fantastic costumes for women were worn. After that time skirts became smaller, hoops disappeared, and lines of gowns were more dignified. Exaggeration and vulgarity were no longer prevalent. In 1880 dress was more simple. Gloves adopted generally at this time. 1880-1900 development of better taste. Bus- tles and pads were worn for a time. " Leg-o'-mutton " sleeves and other idiosyncrasies. Since then there have been many changes but the novelties have not lasted long. Better Citizenship " More intelligence and thought have been given in the adaptation of the best of the costumes of the past to the needs of today." Regular fashion sheets have been in vogue only since the French Revolution. OUTLINE FOR STUDY (Using as text History of English Costume by D. C. Calthrop.) As an interesting climax to the study of the history of costume, an evening of Tableaux Vvuants might be given, tracing the evolution of dress, in chronological order, from early times down to the present. Chap. I William I. Chap. II William n. Chap. Ill Henry i. Chap. IV Stephen and so on through contents of book. The different chapters may be assigned to different students who may report their findings for the benefit of others in the class. All should make tracings for their notebooks of the important periods. "The tendencies of other generations can be studied in dress as well as in architecture and language." II. THE ESTHETIC STUDY OF THE PERSON Esthetics theory of good taste the science of the beautiful in nature and art. Dress should be subordinate to the wearer; should Through Art Training 93 be persuasive not self-assertive; should emphasize the personality of the wearer. 1. In taking up the study of dress from this stand- point there are many things to consider: a. Care of the person cleanliness, etc. b. Arrangement of the hair. c. Proper dress as to outergarments and under- garments. d. Shoes, gloves, hats. e. Accessories jewelry, bags, scarfs, parasols, etc. 2. Suitability, Sincerity, Simplicity three watch- words. "Simplicity is not plainness, nor stupidity, but the intelligent omission of the superfluous." Considering these we find selection based upon : a. Time of year g. Hygienic laws b. Time of day h. Means or wealth c. The occasion i. Use of garment d. Style of figure does it answer the pur- e. Coloring pose for which it was f. Age of wearer designed? Any violation of the law of Suitability or Appropri- ateness brings the transgressor face to face with Con- spicuousness, than which there is no deadlier sin against good taste. 94 Better Citizenship III. DRESS FROM THE STANDPOINT OF DESIGN Decoration is the most powerful and controlling fac- tor in the selection of body covering. Design or Art in dress is a matter of Line, Tone, and Color arrangement. These three elements may be so used and manipulated as to conceal or exaggerate faults, a sort of art jugglery, or they may be used to enhance nature's most wonderful handiwork. OUTLINE FOR STUDY Assignment: Clippings from fashion sheets, illus- trating each principle under each element, mounted and brought in for class criticism. Clippings or tracings also for notebooks. LINE Line in dress design takes into account the silhouette of figure, or boundary of space; and also the breaking up of the space, as in other designs, by other lines: construction lines and lines of trimming or decora- tion. Here again we must remember that we may "decorate construction, but never construct decora- tion." And again we must remember the significance of the various kinds of lines, the vertical, oblique, etc. Do we wish to express dignity in our dress? Are we willing that our appearance should give the feeling of unrest a subtle annoyance? Through Art Training Consider the following principles in connection with Line when they may be used to advantage and how: Opposition as use of horizontal lines to oppose length of tall person. Transition used where too much opposition would be severe, as "V" neck instead of sauare neck, long transitional lines in drapery, etc. Repetition as motifs in bands of trimming, etc. Too many lines of opposition, as many tucks from waist to hem of skirt, produce repetition rather than opposition and add to apparent height of figure. Symmetry, or balance either obvious or occult as the placing of an ornament on the uptilted side of hat, etc. Subordination the bringing about of unity in a cos- tume by centering the interest, usually near the face; by considering all parts of the costume in relation to the whole. " The subordinate relation of the costume to the wearer and the unity of the whole is a result of the study of art principles; for dress design is first of all an art oroblem." TONE (Make tracings of costumes, changing Dark-and- Light schemes.) As in Line, the principles of opposition (contrast), of repetition (echo), of transition (gradation), of symmetry (balance), of subordination (unity), come into play. g6 Better Citizenship Discuss these and illustrate each principle with find- ings from fashion sheets, as Vogue, Vanity Fair, Harper's Bazar, etc. COLOR Opposition in color means the use of complementary hues, and this use must be in subordinate relation as explained in the first section under " General Art Prin- ciples." The other principles of repetition, transition, symmetry, and subordination applied to color arrange- ment may be studied and color theory reviewed. To illustrate color harmony in dress design by use of clippings from fashion sheets may perhaps be diffi- cult. A most satisfactory way out of the difficulty is to have students bring a number of costumes to class. A frank criticism of these on the part of the teacher or leader of group and students will bring out many in- teresting points. In connection with the study of color harmony in dress, the coloring of the wearer must be considered ; and the general becomingness of the gown not only from point of color, but also from suitability of line and beauty of tone. Several types, a blonde, a brunette, a person with auburn hair or red hair, might pose before the class in costumes of different colors, etc. This practical demon- stration can be made of great value if serious thought is given to the selection of costumes to be shown, and the principles underlying each are brought to the atten- tion of the class. Through Art Training 97 IV. SELECTION OF CLOTHING FROM THE STAND- POINT OF : 1. Hygiene. 2. Economic and Sociological Responsibility. 3. Ethics. i. Hygiene of Clothing. a. Clothing in relation to body heat. The purpose of clothing primarily is to protect the body from cold and to maintain a constant body temperature. Heat and energy are generated by the body. If heat is dis- sipated too quickly by exposure of the surfaces of the body, there is waste of energy and danger. In sum- mer, clothing should not interfere with the dissipation of heat. In winter, proper clothing should prevent un- due loss of heat. Study of the qualities or properties of different sorts of material, wool, cotton, linen, silk, as to which retain heat, moisture, etc. b. Not only heat of body must be considered but also cleanliness. Study of materials with this in mind. c. Unrestricted body a consideration of the evils of tight clothing, high-heeled shoes, etc. (Charts may be obtained from physicians showing the danger of throwing weight forward on ball of foot instead of sharing weight with heel.) d. Dangers in textiles from dyes, insanitary con- ditions of factory, workshop, or home. e. Relation of fashion to the hygienic clothing of the body. Should fashion dictate where laws of hygiene are concerned? 98 Better Citizenship Consider that: Velvet hats and furs are worn. In summer^ Heavy clothing is often worn by men. Coat suits of women are often uncom- fortable, and Straw hats are introduced in January. Thin clothing that is suitable for indoor In winter H wear in steam-heated buildings, is often worn where conditions are not so favorable. Origin of these customs among the ultra-fashionable do we have to "copy?" What of our vaunted American independence? 2. Economic and Sociological Responsibilities. "The study of the economics of consumption must be, in a large degree, a study of the time and its needs, a consideration of the influence of factors large and small in the home life, and a realization of the re- quirements for woman's training for service in the home, and also in civic and national life." ( i ) Economic Study of Woman as a Textile Con- sumer. (She has ceased to be a producer except in a small way in factories.) a. Choice or Purchase of Material. "As a class, women neither choose materials wisely, nor indicate satisfactorily what shall be produced from manufactured goods hence are not efficient as plan- ners or users of wealth for textiles." Through Art Training 99 Consumers' influence on manufacturer (by choice). b. Use and Care of Materials. When cheap materials may properly be used, etc. Mending, brushing, and careful packing of good ma- terials. c. Extravagance of Consumption [Affects the market due to changing fasmonsi Reacts to disadvan- tage on character of consumer. Sets a "bad example" to others. due to parasites among women who " show off " the wealth of the family " From the standpoint of the community there is an irreparable waste when human energy which should be directed to the production of the necessities of life is diverted to the elaboration of superfluous things." Read: Woman and Social Progress: A Discussion of the Biologic, Domestic, Industrial, and Social Pos- sibilities of American Women by Scott and Nellie M. Nearing. Woman and Labor by Olive Schreiner. Works of William Morris. d. Domestic Goods "Made in America" slogan. " Most of the American-made cloth compares favor- ably with that of Great Britain and the continent of Europe, but public demand for some of the finest ma- ioo Better Citizenship terial is made upon foreign countries; consequently American factories are obliged to specialize on me- dium-grade fabrics. Domestic goods, when equal in quality, should have preference with American consum- Question: Have we the technical equipment (ma- chinery, etc.) in America to produce textiles as beau- tiful as those we import? (We could have, of course.) Have we in America designers of fabrics equal to the designers or artists of Europe? (We could have.) "What shall it profit a nation that possesses the treasures of earth if it cannot refine them to its highest needs?" (Read articles by M. D. C. Crawford, of the American Museum of Natural History, on this sub- ject.) (2) The Consumers' Responsibility to the Producer. "A large number of women are consumers and users of wealth rather than producers, and they owe the women workers their intelligent consideration and their assistance for further betterment." a. "SweatShop." b. Consumers' League. c. Woman's Trade Union League. d. National Child Labor Committee. (Government bulletins on the Condition of Women and Children in Industry.) (3) Manufacturer's Responsibility to the Con- sumer. Honest labeling of goods, etc. Through Art Training 101 3. Ethical Standpoint. " It is impossible to state the relation in exact terms, but we believe that adequate, attractive, neat clothing is a factor in virtue, and that being well dressed gives a feeling of satisfaction and self-confidence which often enables the wearer to conquer a difficult situation." 1 i ) Obligation to train for the highest service that can be given through wise consumption. Each woman must decide which, for herself, is the best method: Shall she wear ready-made or home- made clothing? Buy a few expensive, exclusive styles that last; or a greater number, perhaps, of simple and inexpensive clothes? ( 2 ) Obligation to consider : a. The objective and subjective influence of dress. The matter of modesty. Beauty in clothes. Self-con- fidence. b. The amount of time that may rightly be given to the subject of dress. Shall women adopt a uniform business dress? etc. BIBLIOGRAPHY Baldt, Laura I. Clothing for Women: Its Selection, Design, and Construction. J. B. Lippincott Company. Calthrop, Dion Clayton. English Costume. The Macmillan Company. Challamel, A. H. History of Fashion in France. Sampson, Low & Co. London, 1882. Earle, Alice Morse. Costume of Colonial Times. Charles Scribner's Sons. 102 Better Citizenship Earle, Alice Morse. Two Centuries of Costume in America. The Macmillan Company. Goldenburg, Isaac. Lace: Its Origin and History. Brentano's; Hughes, Talbot. Dress Design. The Macmillan Company. Kinne, Helen, and Cooley, Anna M. Shelter and Clothing. The Macmillan Company. McClellan, Elisabeth. Historic Dress in America. (2 vols.) George W. Jacobs & Co. Planche, James R. History of British Costume. The Macmillan Company. Quigley, Dorothy. What Dress Makes of Us. E. P. Button & Co. Racinet, Albert C. A. Le Costume Historique. (6 vols.) F. Didot et Cie. Paris, 1888. Rhead, G. Woolliscroft. Chats on Costume. Fred- erick A. Stokes Company. Robida, Albert. " Yester-Year: " Ten Centuries of Toilette. Sampson, Low & Co. London, 1891. Woolman, Mary S., and McGowan, Ellen B. Tex- tiles. The Macmillan Company. (Costumed dolls: "Illustrating trend of feminine apparel from the Middle Ages to the twentieth cen- tury," at Metropolitan Museum.) Through Art Training 103 ART HISTORY "The evolution of art is never complete; to speak of perfection in art is a dangerous error, for by impli- cation, it condemns artists to an eternal reproduction of the same models, to the renunciation of progress. The function of men of genius is rather to prepare the way for new tendencies by giving adequate and definite expression to those of their own times." The history of art, in its beginning, is a story of ap- plied art. " From the time of the cave-dweller man has sought to spell out his soul in line and pattern." Until the time of Leonardo da Vinci the story of art is the story of man's spiritual longing "to decorate his person, his weapons, his home and all his belong- ings." "Soon after the time of Leonardo da Vinci art ed- ucation was classified into Representative (imitative) and Decorative, with separate schools for each a se- rious mistake which has resulted in loss of public ap- preciation. Painting, which is essentially a rhythmic harmony of colored spaces, became sculptural, an imi- tation of modeling. Decorations become trivial, a lifeless copying of styles. The true relation between design and representation was lost." A. W. Dow. In studying art history the foregoing must be kept in mind. Also we must remember that as art students 104 Better Citizenship we have certain standards by which we may judge of the merits of a work of art; for instance, we do not have to depend upon the traditional valuation of a pic- ture. It may be that, because of its historical or other associations, because of its reputation, or because it is the work of an old master, its monetary value is very great. However, the catalogue of an art gallery should not be our sole criterion. If we are at all sure of our own judgment, if we have had sufficient training in such matters, we may ask this question concerning any so- called great work of art : Is it beautiful or forceful in line, in line composition or spacing; is it beautiful or satisfactory in its tone relationship; is it beautiful or striking in its color harmony? OUTLINE FOR STUDY (Using as text A polio by Salamon Reinach.) Assignments may take the form of illustrated lec- tures, prepared or delivered by individual members of class. The stereopticon may be used. Lantern slides may be obtained from the Metropolitan Museum or a permanent collection may be purchased. Prints should be ordered from different publishing houses by the stu- dents themselves for their notebooks. This individual choice in the matter of illustrative material for note- books is important and brings about an interesting diversity. 1. The Origin of Art. 2. Art in the Stone and Bronze Ages. Through Art Training 105 3. Egypt, Chaldea, and Persia. 4. Primitive Art in the Grecian Archipelago. 5. Greek Art and so on through the twenty-five chapters of the textbook. Several chapters on the same subject may be assigned the same student, and always the student should show that the art of the period he is discussing reflects the life, the belief of the people. SUGGESTED OUTLINE FOR FURTHER STUDY 1. The Barbizon Painters. 2. The School of Impressionists. 3. The Pre-Raphaelites. 4. The Influence of the Far East on Modern Art. 5. American Painting. a. Colonial Portrait Painters. b. The Hudson River School. c. Marine Painters. d. Modern Portrait and Landscape Painters. 6. The Modernists, Post-Impressionists, Cubists, etc. Speaking of the French school of the nineteenth cen- tury, Reinach says : " The unity of this school disap- peared; we find it embracing Classicists, Romanticists, Realists, Idealists, Impressionists. Thus, everything points to the assumption that schools will henceforth no longer bear the names of cities or of nations; there will no longer be rivalries of countries, but of prin- ciples." io6 Better Citizenship After predicting this internationalism of art, he closes his text with these words: "Far from believing that the social mission of art is at an end, or drawing near that end, I think it will play a greater part in the twentieth century than ever. And I think or at least hope that greater impor- tance than ever will be attached to the study of art as a branch of culture. This study is one which no civilized man, whatever his profession, should ignore in these days. It is in this belief that I have prepared this brief survey, which I hope may serve the educative purposes of art." BIBLIOGRAPHY Bell, Clive. Art. Frederick A. Stokes Company, New York. Berenson, Bernhard. Works of: Central Italian Painters. G. P. Putnam's Sons. Drawings of the Florentine Painters, The. E. P. Button & Co. Florentine Painters of the Renaissance. G. P. Putnam's Sons. Guide to Italian Painting. The Macmillan Com- pany. North Italian Painters of the Renaissance, The. G. P. Putnam's Sons. Sienese Painter of the Franciscan Legend, A. E. P. Dutton & Co. Through Art Training 107 Study and Criticism of Italian Art, The. The Macmillan Company. Venetian Painters of the Renaissance. G. P. Put- nam's Sons. Fenollosa, Ernest F. Epochs of Chinese and Jap- anese Art. Frederick A. Stokes Company. GleizeSj Albert, and Metzinger, Jean. Cubism. (Translated.) T. F. Unwin, London, 1913. Goodyear, William H. A History of Art. The A. S. Barnes Company. Goodyear, William H. Grammar of the Lotus. The A. S. Barnes Company. Holborn, J. Stoughton. Tintoretto. The Macmil- lan Company. Hunt, William Holman. Pre-Raphaelitism and the Pre-Raphaelite Brotherhood. The Macmillan Com- pany. Isham, Samuel. History of American Painting. The Macmillan Company. Poore, Henry R. The New Tendency in Art. Dou- bleday, Page & Company. Reinach, Salamon. Apollo: An Illustrated Manual of the History of Art Throughout the Ages. Charles Scribner's Sons. Smith, Charles Sprague. Barbizon Days. Wessels and Bissell. Van Dyke, John C. What Is Art? Charles Scrib- ner's Sons. Wright, Willard H. Modern Painting: Its Ten- dency and Meaning. John Lane Company. (For list of catalogues of Prints, see page 52.) io8 Better Citizenship STATUS OF ART EDUCATION IN THE UNITED STATES Very likely, when speaking of the " social mission of art," Reinach did not have in mind the introduction of such subjects as City Planning, Landscape Garden- ing, House Decoration, Costume Design, etc., into the school curriculum. But his intuitive powers declared, no doubt, that in manifold ways the "educative pur- poses of art" would be served. Considering these things, it seems not inappropriate, before closing this syllabus, to look into the condition of art education in the United States. OUTLINE FOR STUDY (QUESTIONNAIRE) Assignment of theme, or class discussion. 1. What is your conception of an art education? 2. How are you to get the proper training for this sort of education ? What kind of training will give you an art education? 3. Where can you get such training? (A thorough study of the art courses offered in pro- fessional art schools, in colleges and universities, in private schools, and in public schools, should be made. Catalogues from the various schools should be sent for, and also the following bibliography consulted.) Through Art Training 109 BIBLIOGRAPHY Bulletin of the College Art Association of America. January, 1917. Dow, Arthur W. Constructive Art-Teaching. (Bul- letin published by Teachers College, Columbia Uni- versity.) Eliot, Charles W. Changes Needed in American Secondary Education. (Pamphlet published by Gen- eral Education Board.) Report of Commissioner of Education (annual). (Government Bulletin on Art Education.) Russel-Bonser. Industrial Education. (Bulletin published by Teachers College, Columbia University.) Smith, E. Baldwin. The Study of the History of Art in the Colleges and Universities of the United States. (Pamphlet published by Princeton University Press.) EGIONAL LIBRARY FACILITY A 000 020 831 4