The Craftsman - 1908 - 12 - December.pdf

7/27/2019 The Craftsman - 1908 - 12 - December.pdf

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TIFFANY & Co.

Brief Mention of Holiday StockDescribed in the Christmas Blue Book(Blue Book, containing range of prices, sent cpon request)

Tiffany & Co. urge patrons to make early selections, as the stock consists IarRelyof individual pieces that will not be duplicated. Through the fxilities of Tiff any& Co.s Correspondence Department, patrons living at a distance are assured ofprompt and efficient service. Goods will be xnt on approval to persons known tothe house or to those who will make themselves known by satisfactory referencesDIAMONDS AND PRECIOUS STONES : An un-usual stock of diamonds, pearls, and preciousstones, offering unlimited opportunities forindividual taste in selections for mountingsand in the choice of pearls for necklacesJEWELRY : Rings, brooches, bracelets, bangles,necklaces, hair ornaments, waistcoat buttons,sleeve links, scarf pins, stick pins, watch pins,French enameled, and jeweled lorgnons; hatpins, collar pins, earrings, etc.WATCHES AND CHAINS : Plain gold watches,split second, and repeaters, for men; plaingold, enameled, and diamond mounted watchesfor ladies; watch chains, fobs, and pinsGEMS AND MINERALS: A varied collectionof tourmaline,amethyst, topaz,kunzite,chryso-prase, turquorse matrix ; amber, coral, and jadebeads; also richly carved objects of rockcrystal, lapis-lazuli, and nephriteFAVRILE GLASS AND METAL WARE : Vases,bowls, wine glasses, cups, candlesticks,compotiers, decanters, cabinet pieces, etc.FANCY GOODS: Imported novelties, Frenchenamels, minatures by Patout, Paillet, Sayer,Mollica; enameled cigarette,and vanity boxesset with precious stones: plaques, jewelcaskets, reproductions in silver of rare antiquevases, and coupes ; ivory carvings, many stylesof gold mesh bags, plain, and mounted withprecious stones; cigar, and cigarette cases;match boxes, card cases of gold, silver, andleather; library articles, desk sets, game boxes,olain. and gilded French silverware of the Em-bire style ;Dutch silver; unique hors doeuvre,and bon bon dishes of sdver and glass; Englishautomobile baskets with all fittingsOPERA, FIELD, AND MARINE GLASSES: Lorg-nons of gold, shell, and pearl; barometers,thermometers, compasses, etc.TOILET ARTICLES : Gold, silver, ivory, shell,and fancy wood toilet articles; manicure setsPOCKET CUTLERY AND RAZORS: Gold, andsilver penknives; Swedish razors,scissors, safetyrazor sets, cigar cutters, cigar box openers, etc.

SILVERWARE : Complete dinner, and tea serv-ices ; chests of forks and spoons, presentationpieces, loving cups, etc.FANS: Rich modern, and antique lace, andpainted fans with pearl, shell, and ivory sticks.Fans of Point dAngleterre, dAlencon, Burano,and Venetian laces; rare antique fans ofLouis XV, and XVI periods. Vernis Martinfans, and others painted by Houghton, andMaurice Leloir. Ostrich, and other feather fansUMBRELLAS. CANES AND WHIPS: Umbrel-las, canes, riding whips, and crops, mounted ingold, and silver, some with enamel, others setwith jewels;gold,and silver spurs,and stirrups;silver, and ivory handle boot pulls, etc.BRONZES AND MARBLES: Statuettes fromFrance, Germany, and Austria, by G&Bme,Bareau, Barrias, Moreau, and others; also bustsof Washineton. Lincoln. Beethoven. Mozart.Wagner; animils by Barye, B&he&, Peyrol;Proctor, Remington ; and groups by otherEuropean, and American sculptorsLEATHER GOODS: Automobile,shopping,andtraveling bags; suit cases, portfolios, polte-monnaies, card cases, blotters, belts, etc.CLOCKS: Hall clocks in woods to harmonizewith house decorations, bronze, and marbleclock sets, gilt and glass regulators, mantle,night. automobile, marine, andtraveling clocksTIFFANY FAVRILE LAMPS AND ELECTIIO-LIERS: Favrile alass and metal lamps forlibrary, desk,, pi&o or hall; large h&gingshades for dming room, also many styles ofcandlesticks, and shadesPOTTERY AND GLASS: Finest productionsof Minton, Copeland, Crown Derby, and othernoted English potteries; remarkable Doultoncrystalline glazes, Moorcroft Luster pottery,authentic Royal Copenhagen signed pieces. rareNational Sevres vases, new effects in TiffanyFavrile Glass, Lancastrian, and Ruskin wares ;and other American products from the Grueby,Robineau, Rookwood, and Trenton potteries ;also English glass vases, bowls, and table sets,in cut, and rock crystal effectsFifthvenuend 7thStreetNework

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PORCELAIN ENAMELEDBaths d Lavatori& )-$ are always preferred for the most modern homes be-;:. c.allse thevinsure better sanitation an*d irtiater satisfac-

Louisville: 325-319 West Main Street. Pitwburgh:London. Lg.: 22 Holborn Viaduct. E. C. 949 Peon Avcaoe New Orleans: Cor. Baronne % St. Joseph Sm.Cleveland: 648.652 Huron Road. S. Ii.

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THECRAFTSMANVOLUME XV DECEMBER. 1908 I\TUMBER :I

II Vasilissa and the Gleaming-Eyed Skull . . Frontispiece IIRussian Folk-Tales as They Are Told in Pictures for the Children of the CzarIllustrated HI Gurd lzcr Tcal l 259George Gray Barnard . .The Spirit of the New World in. Sculpture 13~1


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DEVOEART ,STENCILS

41 Designs for Pillow Tops, Portieres, Cur-tains, Scarfs, Center Pieces, Etc.READY FOR USE

91 It is not necessary to be experienced touse DEVOE ART STENCILS as theyare designed and cut especially for amateurs.Beautiful Chriitmas gifts can be made byusing these Stencils.

41 In coloring designs F. W. DEVOE &CO.3 Artist Oil Colors thinned with H PIndelible Mixture will give best results.Illustrated catalogue of seventy-tw o design s sent 01% equest i fyou menti on The Craftsman.

F. W. DEVOE & C. FEy;DozT. RAYNOLDS CO. c H I c A G o

Stencilsdesigned and made toorder to suit any schemeof decoration. Sten-ciling done or stencilssold for home use.

BOWDOIN & MANLEYFurnishing

546FifthAvanus. NewYork

EDWARD:H:ASCHERMANSAMUEL : J : MACMAHAN546:FIFTH:AVENUE:N:YHarmony in design and color shouldbe carefully studied where the in-terior of the home is concerned. Weexecute decorations and furnishingsfrom our own original designs whichgives that individuali ty so essentialin the modern home. :: :: :: ::

__~~~ ~~__The New Home-MakingY OUR husband is worth from $30,000 to$SOO,OOor more, capitalizing his salary at 5 per cenfinterest. Your child is worth-all &at yohave! You have the care of the life, the health, thhappiness of these valuable beings.Isnt i t worth while to study systematically about hygiene, food, home, management., children? Worth whilto know the ounce of preventlon more valuable thamany pounds of cure? And do you realize whatfascinating, inspiring subject the new profession chome-making is-and that it may be studied in yocown home under eminent teal hers at small expenseThe illustrated IO-page Bulletin of the American School of HoeEconomics. Home-making aa a Profession is free. Ah home-atwdomestic science cour8c1 for teacbcrs and well-paid positions. Addrcpostal A. S. H. E.. 604 W. 69th St.. Chicago.

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.Awarded International Silver Medal. St. Louis. 1904

Design,odeling,ood-Carving,ast ndLife rawing, ater Color,rt Embroid-ery. Evening lass n ostume rawing.lonng Woman'sChristianAssociation&*:2SCHOOLf NDUSTRIALRT

OF THE PENNSYLVANIA MUSEUMBROAD AND PINE STREETS, PHILADELPHIAThorough work under trained specialistsin all branches of Fine and lndustrlal Art

Special provwon for classes m Illustratmn. Architecture.Decorative Pamimg and Sculpture. Pottery. Metal Work.Industnal Design, Textile Design and Manufacture.1.. W. MILLER, Principal.

Teachers (colege ; ART ACADEMI(aolumbla Ulnloereltk?) II OF CINCINNATI

the van RydngmdrdSchoo of &t &oodQarving 9 IGaet Seventeenth St.,Mew Pork altp

ENDOWED. Complete Training in Art. SCHOLARSHI#ew lp0rl-iOffers 185 courses of instruction, including the Theoryand Practice of Teaching Art-Principles of Design-Drawing, Painting and Illustration-Clay Modeling-Design in Construction and Decoration-Interior Dec-oration-the History and Appreciation of Art.

Announcement for 1908-09 now ready.JAMES E. RUSSELL, LL.D., Dean

ARTHUR W. DOW. Director. Deprnmenr of Fnne AmTHENEWYORKSCHOOLOFART2237 Broadway Corner 80th Street

WINTER TERMSEPTEMBER 7th. 1908, TO JUNE 1st. 1909Comprehensive Courses in the Fine and Ap,hed Arts. LifePortrait, Composltmn. Illustration. Norma IIntenor Decoratmn and the Crafts. Address Art. Design.SUSAN F. BISSELL, Secretary

ADELPHI COLLEGELafnyetteAve.,Clifton and St. JamesPlace.Brooklpn,N.Y.

ART DEPARTMENTSix of the best equipped class-rooms in Greater NewYork.Antique, Still Life, Portrait and Figure Clesses. Work in ellMediums. Individual Instruction.l-ems: $25.00 for 20 weeks-all day-commencing at anytime in the seeson. Prof. J . B. WHITTAKER, Dlrsctor

DHAWING. PnnnuG;. MOIxa.r~-c. COMPOSITION . Ah.ATOI\IY ,WOOD Cawrx


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I WOOD CARVI jVGTOOLSI We are agents for the GENUI NE S. J . ADDI SLONDON MADE TOOLS, recognized the world overas TH E BEST. Send for il lustrated catalog No. 2531;contains B chart showing full size cuts of all tools.DRAWING INKSETERNAL WRITING INKBNGROSSING IN KHIGGINS ~k%;;iF$$t%n;

iLIQUID ASTEOFFICE ASTEVEGETABLE GLUE, ETC.

Are the Finest andBest Inks and AdhesivesEmancipate yourself rom the use of the corrosive andill-smelling kinds and adopt the Higgins Inks8nd Adhesives. They will be a revelation toyou. they are aa sweet. clean and well put up.At Dealers Generally

CHAS. M. HI GGINS & CO., Mfrs.271 IUnth Street Brooklyn, If. Y.Branches: Chicano. London

-

Send to us for any size piece ofleather for fancy work, pyrography,wall decoration or table cover.

We sell whole skins or cut to suit. Samples of 45s!~ades of fancy lrather and our hook of FancyLeather Suggestions mauled for 6 cents postage.Our prices cannot he duplicated for the samequality goods.MARSHALL, SON & CO.

232 Purchase St., Boston, Mass. D&K.L--

COPPER WORK TOOLSIt you are contemplafmp introducinp Copper Work or any otherbranch of Manual Traminp let UI quote prices. Small orden rseiv ed

and eiven prompt artenuon.ANV1l.S AND HAMMERS IN SETSdolened by Ros.& aut!ior of COPP ER WORK. WC a,aOcarry .complete line of supplies. includjng enamelh llluaMed catalog ue senton application.BELCRER & LOOMIS HARDWARE CO.ders in Hip.h Gndc To-ala 89-91 eJboaset St.. Provldencc. R. I.

MOST COMPLETEARTISTSMATERIALSHOP in New York City

----Liberal Professional DiscountSend for Catalogue and Sample Books ofIllustration and Bristol BoardsL. F. HIGINBOTHAM CO.Sixt y-one H est lhi rt y-Seventh Str eet

:: New York

THEPERFECT PENCILWITH LEAD WHICH IS

ABSOLUTE LY GRITLESS; OF FIRM,EVEN TEXTURE AND EXTREMELYDURABLEBEARS THE IMPRINT

SOLD BY ALL DFXLERS

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ARTSANDCRAFTSIN THE MIDDLE GESA description of medizval workmanship in c .eral

of the departments of applied art. together withsome account of special artisans in the early ren-aissance.By JULIA DE WOLF ADDISON

Author of The Art of the National Gallery; etc.

M S. ADDISONS new book deals with theminor arts as practised during the MiddleAges, and is of especial interest at the

present time in connection with the very generaland keen interest in the revival of arts and craftsin America. For it is to the Middle Ages that th emodern movement looks back for its inspiration asto the golden age of handicraft.

In addition to being a beautifully illustrated giftbook, I4 Arts and Crafts is a valuable work, de+tined to fill a special niche in the library of booksworth while.5 N z 8 %, cloth, decorati ve cozier, boxed, $3.00; thr ee

quarters ?nOIOCCO, 7.00.

L. C. Page & Company, PublishersBOSTON

A Most Useful and Practical Christmas Gift.Styles of OrnamentExhibited in designs and arranged in historical orderwith descriptive text.AHandbookfor designers, wood carvers. chasers, cabinet makers,66 well 88 also for general use.

By Alex. Speltz400 full page ilhutrations with illustrated descriptivetext. One volume (656 pages) 8~0. Cloth. $6.70.Descriptive and illustrated circular on request.Bruno Hessling Co., Ltd.

64 E-t 12th Street, New York. N. Y.

CHAIN NOVELTIESBeads, Bags

Working Designs inWater Colors. allMaterials for makindBa& and Purses

Send for Booklet giving instruction:for Beadwork. Price, 10~. per copy.

Emma A. Sylvester3 Winter Street, Room 32-A BOSTON

MISS LEWISMRS. MUCHMOREINTERIOR URNISHERSThe Cd&a AND DECORATORS-TEXTILES,%!%%s" WALL PAPERS, URNITURERobert Burlen, BOOK BINDER

LONDOIY OSAKA KYOTO BOSTONYAMANAKA AND COMPANY254 Fifth Avenue, New York

II ANTIQUE MODERN RT WORKS ROM THE AR EASTIIRich assortment of quaint little things suitable for Holiday Gifts

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OUR HOLIDAY OFFERING0 NE of the meet perplexing prob-lems of the holiday season is theselection of gifts that will be bothpleasing and appropriate. The solutionof this problem, by giving to our friendsa years subscription to some choicemagazine or a beautiful book, is becom-ing more and more the custom.

THE CRAFTSMAN has so arrangedwith several of the leading book publish-ers that we are able to make the follow-ing most liberal offer:The three really big novels of theseason areThe Trail of the Lonesome Pine,a powerful story of life in the fued beltof the Kentucky mountains. By JohnFox, Jr., author of The Little Shepherdof Kingdom Come. Illustrat ions byF. C. Yohn.Peter, by F. Hopkinson Smith,with illustrations by A. I. Keller. Thisis a wholesome optimistic novel that eas-ily takes rank as the best and most am-bitious of all Mr. Smiths stories.Kincaids Battery, by George W.Cable. This is a vivid story of life inNew Orleans during the Civil War, dra-matically told by one who knew theplace, the period and the people. Illus-trations by Alonzo Kimball.

You may have any one of these books(retail price $1.50) with one years sub-scription to THE CRAFTSMAN forthe subscription price of the magazinealone. . . . . . . . . . . . . . . . . . . $3.00Or, if you prefer a book of particularvalue to one interested in the great Artsand Crafts movement, you can substitute

that excellent work of Frank G. Sanford The Art Craft for Begin-ners. This book and THE CRAFTSMAN for one year for $3.00.The two most beautiful Gift Books of the year are The HenryHutt Picture Book, A Dream of Fair Women and The Harri.onFisher Book for 1908, Bachelor Belles.The price of these books is $3.00 net.Either one of these will be sent with THE CRAFTSMAN for

one year for $4.511. We will send THE CRAFTSMAN and thebook you select to any addresses you desire.This offer is for a limited time and is for

NEW SUBSCRIPTIONS ONLY. It will bewithdrawn with the issuing of the Januarynumber. Ibl~tLallmr,m, 1r.miTHE CRAFTSMAN, 41 West 34th Street, New York

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THE BAKER & TAYLOR CO. Z;&E; HvTk=ZT;dZ::

Christmas Gifts for CraftsmenINEXPENSIVE AUTHORITATIVE PRACTICAL

By mail, 50 cents each, in cloth binding. Fascinating volumes of permanent value.-. ~~.Wood FinishingComprising Staming, Varnishing, end Pal- Decorative Designs of All Ages forishing. With Engravings and Diagrams. all Pur osesRustic Carpentry 4ith 77 Illustrations.With 172 Illustrations. Bent Iron WorkBamboo Work With 269 Illustrations.With 177 Illustrations. / Terra Cotta Work : Modeling,Basket Work I Moulding and FiringWith 189 Illustrations. I With 245 Illustrations.Leather Working ~ How to Write Signs, Tickets andWith 152 Illustrations.Book Binding pos%F170 Illustrations.With 125 Illustrations.Mounting and Framing Pictures House Decoration : Whitewashing,With 240 Illustrations. Painting, etc.With 79 Illustrations.: ~~ _.-.

Equally good for the boy or girl. They create hobbies which are not only enter-taining but PROFITABLE. Address the publishersCASSELL & COMPANY, 43-45 EAST 19th STREET, NEW YORK

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The Collectors Series New Volum es inDELFTWARE MASTERPIECESBY S. HUDS0i-G MOORE IN COLOR

i lxthor rf The Old China Bo-k. OldPew!cr, The Collec~~r~ A4anu al; etc.This initial volume in a new series of

practical value to collectors is a guide tothe many styles of Delftware. It con-tains full and accurate descriptions,abun(lanc~ of photograph;, fat-similes ofmarkings and other means of distinguish.ing the genuine from the false. Cloth,8~. 51.00 net; Poztfmd, $1.08.

Franz Hals TintorettoLuini CainsboroughMillais Carlo DolclVolumes on fourteen other pamters alsready

Each volume contains eight reproductions of pamtmgs m the exact c olor of thonginals, and an account of the paintcand his work., Send 2c stamp f or sam~lrqmduction ,a full c&v.Each, 6x8 . boards, 65cnct. Limpleathegilt top, boxed, $1.50 net; postage. 8~.

CHATS ON MINIATURES CHATS ON ORIENTAL CHINACHATS ON OLD LACE AND NEEDLEWORK

Though entitled Chats, these hooks cover their subjects wry fully and with the hlghrst authority. They arewell suited to th- general re~dcr, an11 are vrry fullv illustrated and hanrlsomely made.WY rl lusl rafed, $2.00 net; $4 letnnt, $5.00 wet; patage, 18c. Euch, cloth, 82~0, gzlt top.

PICTURES AND CALENDARS FOR CHRISTMAS-- -. _- -. - ,-

4 cotRIGHT,Yll8, * 6TOIEw WlLL Skipper and Mate. by Underwood

The Red Feather. by Will Gref6Bv CLARENCE F. UNDERWOOD :

LESSONS IN LOVE. Four reproductions in color of oil paintings: A Lesson in Motoring;SkIpper and hIate; and two others. Each mounted. 19 %x24 znchcs. $1.50; ret in box, $5.00.,E2KcfcCEN!ENT. DAYS.\ , $1 30, .k?t w 2IT, 95.00. Four reproductions 1x1color of oil paintings. Each momted 19 5 F. A. Stokes Co.855Fourt A., N.By J OHN RAE: Foreuekme.3tamp*OLD SONCS, Four reproductions in color of 011 paintings: Auld Lang Sync: Drink to Me tar each, eelId me boamarl ied belowOnly With Thme byes; 1 he Last Rose of Summer; Home, Sweet Home.,,I 11 tt, 16220 inches, 51.00; sat ztz box. $3.50. Each, on imr tatim oak 1. mew Holiday Pub1C 1 R L Am D DOG . Four reproductions in c&r of oil paintings. Each, unmoun2cd. cations. (48 pp.)16~20 in ches. 50 cents; ~ef in boz, 52.00. 2. Books of Permane~Fy WILL GREF6:HEADS. Four reproductions in color. Each. 16220 in ches. 50 cenfs: set & box. $2.00.CARTOONS. Four reproductions in color. Each. 16~20 zn~hes. 50 cetald; set m box, $2.00. Name. . . . . . . . .- = iR T CALE .\ D ARS FOR CHK I STZAS G I FTSI,8 w& tjesfronr got lo $5 oo deswibed k 249. iU uslratcd&zmglr l (No. 3 on co& m) Semrcsta,~~ Address. . . . . . . . . ..I-FREDERICK A. STOKES COMPANY, Publishers, NEW YORE

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I m p o r t a n t Book s f o r Ar t L ot i er sGi f t s f o r Ever y Ta st e an d Ever y Pu r se

THE BOOK OF THE PEARL (Just Issued)By Dr. Georae Frvderiok Konz and Dr. Charles Ho& Stevenam. both notable authorities

One hund red 1~11.page & es-three flh otograuur cs. seventeen #ages in ful l color. and eight y in trnt and inblack-& showzng some rr ch or unusual phase of pearl l zfe or roman ce. Royal quar to. cover m blue andthr ee shades of gold . 600 jxzges. $12.50 net; by ez~ress, a id , $12.90.The ISook of the Pearl is for those who own pearls, and or those usho love pearls. and for thosewhouant 10 know anvthmp there is to know about pearls. It is a complete and absolutely authoritatwe cyclo-wdm. a volume of romance. and of rare and sumptuous beauty.As an exquisite Fnft book. it seems as if the art of the book-maker could go no further. With its richcover, Its magnificent Illustrations. its heavy, broad-margined pages,delight to every love r of beautiful books. The Book of the Pearl is a mine of

EGYPT AND ITS MONUMENTS (just Issued)The text by Robert Hichens, author of The Garden of Allah, illastlntlons in fall color from

paintinm by Jules G&in. and photographsKoyol octave, 2 51 fiages, beuutif tdl y boztnd, beautifu ll y fir iated. Pric@, $6.00 net; @dzge, 38 cents.Nowhere in literature is there to be read a more exquisite and sympathetic description of the wonders to beseen upon the Nile journey than in this book. Mr. Gubrins pictures. in full color,yet has, the immensity and the color impressions of these wonders of the past. convey as nothing else

WITH WHISTLER IN VENICE (Just Issued)

ITALIAN VILLAS ANDTHEIR GARDENS HOW TO STUDYPICTURESText by 3Gdith Wharton, in two colors on By Charles Ii. Cl~ffln*lwcinl plate paper

All travelers to and sojourners in Italy, all am-bitious American gardeners. all lovers of a reallybeautiful book will want this volume.

Fzffy-sir Zll iLw atimr b from welLknown paintings,wath complete zndex and glossary of temzs. $2.00net; postage, 19 ce7ct.P.Because nowhere else has the gist of art-study beenpre\ented in a form $0 mteresting. comprehensive,and suggestive as in this admirable. hook, it is n-dispensable for art lovers, students and travelers.THE CHATEAUX OF J OAN OF ARCTOURAINE Text by Bout& de MonvelText by 3Ieria Hornor Lansdale, in two aolorsen sprcia1 plate paper

Sirtv ill mrr ations in color bv Jul es Gut+in. andironi photogmghs z+z tznt dnd black. Sump-tuously bound in colors and gold. $6.00 n et;postagt?. 27 rmis.

Forty-th ree charnc!eristic dlu strati as by the at& m-artist. exquisitely p& red in color by Boussod. Val-ado? & Co., ofIarzs. Roundin h

An accurate and authentic work, and one of vividInterest. with pictures and text of equal delight.

1 mender cloth,ierith decorarwn sin green nndgold. $3.00 net,postage. 17 centsTHE ART CRAFTS FOR BEGINNERSBy Frank G. Sanford

Afanny helpful i l lustrati ons by the author. $1.20 net; fiostoge, 9 cents.The instructio?. henmmnn with the simplest work. is arranged in progres-sive lessons ot inrreasmg difficulty, so that mastery means adeptshIp incraft workWe have ]uv ~swcd a very handsome pamphlet entitled Books to Buy,illustrated wth charming marginal drawmg? by Mr. John Wolcott Adamson every page. the cover an exquwte draamg in color of an old chap-bookseller. May we send x ou a copy It contains our classified list of ch~ldrenshooks (by ages and R ether for boys or girls),-invaluable at Christmas.

THE CENTURY CO.UNION SQUARE : : : NEW YORKKindly mention The Craftsman

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SCRIBNERS HOLI DA Y BOOKSOut-of-Doors F I C T IONin the Holy LandBy HENRY VAN DYKE J OHN FOX, Jr.%

RVth 112 illustrations in color.$1.50 net; postpaid, $1.60 The Trail of the

(The best of his out-of-door books)The deeply interesting account of a trip Lonesome Pineby caravan through Palestine to many out-of-the-way places, and with many out-of- Illustrated. ,R1.5 0door adventures. Mr. Fox has written one of theA Chronicle IlXt chvm ng stories in theworld.--l\ i. Y. Timcu.of Friendships GEORGE W. CABLES

BY WILL H. LOW K&-aids Bat-Illustrated by tkc Author.$3.00 net; postpaid, $3.30 teryDelishtful reminiscences of the li fe oithe artists and art students in Par is and Illustrated. $ t.50Barbizon and in this country. but especially telli ng of Robert Louis Stevenson.

his cousin, R. A. M. Stevenson. St. Gauaens, Mi llet, and others.A thrill ing story of life and

Chateau and Country Life in France ad urlnnhev1&love i n ,New Orl erqns ust beforeBy MARY KING WADDINGTON F. HOPKINSON SMITHS

Finely Illustrated. $2.50 wet; postpaid, $2.75Pleasant as were Madame Waddingtons Recollections, this book sur- Peterpasses them in interest.-&. Y. Sun. 2d Edition.

A Motor Flight Through France Illustrated. $1.50Nobody could read this sweet,By EDITH WHARTON well written, showery, sunshinybook without being the better.-

With 48 illustrations. $2.00 net; postpaid, $2.20 Kecord-Herald.A trip through many parts of France. not to the larger cities, but to thesmaller and out-of-the-way towns not often visited and li ttle known. and aboveall through the country itself. KENNETH GRAHAMESWith grace and lightness of touch, Mrs. Whar-ton gives an impression of a town, a castle, a church. suggesting its charm, itsstory, and its look today with inimitable skil l. The WindCamp Fires on in the Willows

Desert and Lava $1.50By Dr. W. T. HORNADAY Thoroughly delightful frombeginning to end. There is some-Projusely illustrated (8 pictures in thing of everything in the bookcolor). $3.00 net; postjmid, $3.30 from broad farce to beautifulpoetry.-A. Y. Sun.

The exciting and interesting arcount of atrip through unknown regions of l\ lexico andAri zona, hunting and collecting. EDITH WHARTONSRichard Mansfield- The HermitThe Man and the Actor and the

Mansfield as Drums

By PAUL WILSTACH Wild womanWith 48 illustratiom.8v0, $3.50 net; postpaid, $3.85 $1.50

A most important biography and study ofone of the great theatrical figures of our time, *A new book by Mrs. Whartonis a lit erary event. In these stor-writ ten with ful l knowledge from intimateacquaintance and abounding in delightful ies she shows unimpaired all thestoriesand able criti cismsoftheatrical matters. qualiti es her admirers appreciate.-.\ . Y. Sun.

Ch a r l es Sc r i bner s Son s ~~$ f t h ~A~~~Kindly mention The Craftsman

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AUTHORIZED BY MR. WHISTLERThe Life of

J ames McNeil1 WhistlerBy E. R. and J OSEPH PENNELL

This is the Life authorized and plnnned hy Whistler himwlf.and it is based on marer~al furmshed by himself and by hi%family.Mr..and Mrs. Pennell speak with authority of Whistler a>a man, as well as wth full npprcclation of him as an artist,and it is not too much lo clam that this hook has artisticand human interest such its few other biographies could have.In two volumas. with ovox 160 plates in half-toneand Dhotogrsvure

Crown qusrto. Half Cloth. $10.00 net. Do* sot

CHRISTMAS FICTIONOne of the Best-Selling NovelsThe Princess Dehra

By J OHN REED SCOTTAs& or of The- Colonel of ihe Red Hum ors and

Beorrix oj CladHere is a new story to set the pulses tingling.Philadelphia Press.A fine story indeed, told with a vigor and dash that carrythe reader right along as in a torrent.-&If Lake Tribune.

Thr Princess and Curdle. BY George 3lcConaldT~elvc full-page illustrations in color by hfnrin I,. I


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CRANESChr i ecf ocdSta t i oney

and at the same time is more acceptable thanCranes Linen Lawn. It is readily identifiedby the water-mark.writing paper is an even moreChristmas gift when put updecorated in the Christmascan afterwards be usedas a glove or handkerchief box. In all storeswhere good stationery is sold you will findthe Eaton, Crane & Pike Companys holidayand decorative boxes. These are filled withexcellent writing papers, are decorated in ex-quisite designs to suit all tastes, and are foundat prices to suit all purses, from 50~. to $15.

stock used in Cranes Callingis so free from any blemish orso perfect in the finishedthat it takes the impressionfrom the engraved plate more beautifully thanany other card stock. This is why it is sopopular with the best stationers and with theirbest customers. If you ask for Cranes noreputable dealer will offer you anything else.

Samples of all these papers and cards sent on request.EATON, CRANE & PIKE CO., Pittsfield, Mass.

Kindly mention The Craftsmanxiv



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JamescCreeryCo,RUGS

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TEE MOST VALUABLE AID TO ARTISTIC HOMEBUILDING EVER IS-SUEDThe new edition is carefully revised, entirely rearraned and indexed, and much enlarged, showing near y-twice as many plans as the second edition. It is beauti-fully printed on coated paper in tints. This is the onlypood practical book of Bungalow plans. Page 8x11Inches, and plans large enough for easy comprehensionand practical utility. Descriptions and prices of eachhouse given.have a copy. Every prospective homebuilder shouldReal pictures of real houses. Wilsonsbungalows are the result ofperience, and reduce the prob em of house and homeears of study and ex-building almost to an exact science.

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.Kindly mention The Craftsman

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As the piano best adapted forexpression of musical thought,Mme, C&le Chaminade has,for her first American recitaltQur, chosen

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Owners of The Everett Piano Co., Boston, MamKindly mention The Craftsman

xvi



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See #age 267.

VASILISSA HURRYI NG HOME FROM BABA YAGASHUT WITH A SKELETON HEAD FOR A TORCH.



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-#&THERAFTSMANvT USTAV STICKLEY. EDITOR AND PUBLISHERVOLUME XV DECEMBER, 1908 NUMBER 3RUSSIAN FOLK-TALES AS THEY ARE TOLDIN PICTURES FOR THE CHILDREN OF THECZAR: BY GARDNER TEALL

USSIA is particularly rich in her folk-lore,-thosesongs and stories of the people which they themselveshave handed down from enerationby word of mouth, to be c%erished to generationin the hearts ofchildren, and in turn told by them to their own chil-dren. Perha s no form of literature bears the markof national c it aracteristics more strongly than do thetales of popular fancy that come to be recorded by the pen of anappreciative writer. Often the salient points of a folk-tale are heldin common by the lore of different peoples, just as the story of Cin-derella is related in every country, but each peoples version is clothedwith the atmosphere of its peculiar national customs, observances,points of view and trend of thought, tinged with buoyancy, if theyare dwellers of the South, or with mystic moroseness if they are ofthe North.In common with the folk-lore of Tndo-European nations, thatof Russia concerns itself with enchantments of mortals, and the ad-ventures of princes and princesses. The Russian easant has alwayshad a remarkable talent for narrative, and, as witK poetry, the Rus-sian language lends itself admirably to these skazk$ as the Russianfolk-tales are termed. Moreover, Russians are born actors, hencetheir skazki teem with dramatic incident. Into the folk-lore ofother countries, religion, whatever may be its form, has entered toan extent that marks its influence ; not so with the Russian skaxki;nor can the historian turn to them, as to the tales of the Spanishpeasantry, or to the Mii rchen of the Germans, for information as tothe relationship existing between social classes. On the other hand,the Russian skazka often presents a faithful picture of a simple con-dition,-the aspect of a familys dail routine, for instance. Amongother things we are struck with the requent descriinteriors, as though the chill winds of the Northlan 1 tions of cottage-teller by his fireside dwell lovin

made the story-No wonder the hard lot of t%ly on the shelter given him.e Russian peasant in his stolid world

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RUSSIAN FOLK-TALEShas led him to break throu h the prison of his circumstances to theone sort of harmless menta freedom possible; that is to say, to thefreedom these slcuzki offer his imagination without the risk of theirbringing harm to him. A fair story in Little Russia, or in WhiteRussia, is quite a safe outlet or the peasants yearning mentality;another sort of expression might not be,-for him. And perhapsthe ever-present sense of supto be content with a picture oF ression leads the Russian story-tellerthin s that stands vividly in the mindfor themselves and not by reason o contrasts. The Russian skaxkatells us nothing, or little, about conditions between master and man,lord and serf, even when it departs from magical or mythologicalfields for those more prosaic ones.

TE Czar of Russia has ever had a warm spot in his heart forthe fairy stories that were told him by hrs old nurse. Andhis own mother (with the skill acquired when a child in theroyal nursery of Denmark), was wont to draw little pictures to illus-trate his favorite tales.to the heart of a child! Indeed, what are fairy stories without picturesIt is little wonder, then, that his children should have becomethe inheritors of his own love for their skaxki. For them he had aselection made into a beautiful book, illuminated in water-color byone of Russias most remarkable original artists, Ivan A. Bilibina,who, better than any other Russian artist, has claim to being theillustrator paramount of Russian folk-tales, since his art grasps everysubtlety of the story-tellers theme, and any grotesqueness in concep-tion is tempered by that sense of mystic spirituality that serves bestto inte ret the skazkas intention. We might imagine that the

fierce ussian3 we have always pictured to ourselves would fillhis skazka with terrifying things, but even that note, which is socommon with the French artists of Breton, Norman, and Picardinefolk-tales, is absent from Bilibinas work.Bilibina has lent such skuzki as The Phantasy of SweetDreams, The Fire Bird, Kin Frost, The Forest Witch,and Ivan Czarovitch, an ineffab e charm of mystery and color,vin to the student a revelation of originality in modern design.!s fse zar was so delighted with Bilibinas success,-for the Imperialchildren were overjoyed with so beautiful a book of their best lovedfairy stories, -that he declared others should have the rare privile eof seeing such work. So from his privy purse he ordered set asi8ean amount to defray the expense of reproducing faithfully in fullcolors, by lithographic process,itself for private hstribution. each skaxku in a separate part byThus the volumes bear the imprint260



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RUSSIAN FOLK-TALESPublished for the Czars Personal Use, and fortunate indeed is heto whom a set is given. The illustrations here reproduced for thefirst time from the set in the writers possession give a very in-teresting idea of the whole series, and are taken from The Fair Vasi-lissa, Dear Sister Alenushka and Dear Brother Ivanushka and The White Duckling,in verse. these latter containing much of the storyFrom the skazka of Vasilissa we have the picture of fair Vati-Zissa meeting the Knight in White, and that wonderful picture of thebrave girl again, as she picks her way out through the dreadful thicket,her hurrying steeyes of fire, whitKs lighted by that ghastly lantern of the skull withdie out at morn when she reaches home, after heradventure at the house of the Baba Yaga, a title somewhat synony-mous with the Lamia, Striga, or Ogress in the folk-lore of otherlands, the Russian term for a witch, as our people conceive it, beingVyedm, corresponding to the German Hexe, though, perhaps, morein the order of a Forest Mother. This story is one of a class in whicha doll (,kukZa), or puppet, enters as an important feature.0 CE upon a time there lived in a certain kin dom a merchantin whose twenty years of wedded life there Pad been born tohis house but one daughter, the fair Vasilissa. Her motherdied when she was but eight years old, and as she lay upon her death-bed she called Vasilissa to her, drawing from under the covers a doll,which she handed to her saying, Listen, dear Vasilissa; do what Ibid you. I am about to die.this doll. With my blessing I place in your handsNever allow it to leave your keeping, nor show it to any-one, and should misfortune befall you, feed it, and it will advise you.After the doll has eaten it will tell you how to meet your dilemmas.So saying the mother kissed Vasihsa, and closed her eyes to theworld forever.Like the traditional widower of other tales, Vua&!issus fathermarries again. This time a widow, who had two haughty, ugly,arrogant daughters, cruel and wicked like herself, and all were jealousof Vasdiasa, who was the most beautiful girl in the village. Shewas forced by the newcomers to do all the hard work and drudgery,tasks she accepted with resignation, though sorrowful. However,the good doll came often to her assistance. She fed it from morselsshe denied herself and often would say to it, when alone with thekukla in her own tiny chamber:

Dolly mine, taste thou of this food, and harken to my woes.In my fathers house I dwell, but no joy is here, and my wicked step261



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RUSSIAN FOLK-TALESmother seeks to drive me from the brightness of the world. Tellme how I shall live and what I am to do?After eating, the doll would advise and comfort her; so Vadissacontinued to grow beautiful and strong.Years passed and she grew ever more beautiful, so many suitorsbegged her hand while they refused to look at her ugly ste sisters,whose mother declared the youngest should not marry be ore herelders had become brides.Now it happened that VasiZiasas father was obliged to o awayon a long journey, during which time the stepmother moved t% e fam-ily to another house on the edge of a gloomy forest, in which forestthere dwelt a wicked ogress. The stepmother so hated VasiZtisathat on one pretext or another she would send her into the forest inthe ho e that Vadtisa would fall in this Baba Yagas power. How-ever, t Be doll permitted no harm to befall her.The season approached autumn, when one evening the step-mother allotted their work to the three girls. To one was given cro-cheting, to another knitting stockings, and to Vasilissa the task ofweaving; and each had her work to cornPlete. Extinguishin all thecandles except the one by which the gir s worked, she retire% to hernights rest. They worked away. At last the candle became so dimthat one of the stepdaughters got up on the pretext of snuffing it, butinstead (obeying orders her mother had given in secret), extinguishedthe li ht as rf by accident.T% two stepdau hters affected consternation at this, and declaredthat Vasilissa woulf have to hurry to the Baba Yagas and borrowa light, as there was not a single s ark of fire in the house, and theirtasks must be completed. Force B to obey, Vasilissa sought out herdoll, and, as she had done many times before, fed it and besoughtits aid.Thereupon the dolls eyes began to glow like candles and it badeher have no fear, but to do as she had been directed by her step-sisters, adding, So long as you do not part with me no harm cancome to you in the house of the Baba Yaga.With the kukla in her pocket she set forth on her way. Before shehad gone many aces within the forest a horseman all in white mountedon a white stee 6) galloped by ;-and the day began to break.A ITTLE farther on another, all in red, mounted on a redchargernight an f alloped by ;-and the sun rose. After walking aa day it was eveninwhere stood the Baba Yagas hut. !I

before she reached the clear1t was fenced around with deamens bones, and on the post-tops were stuck human skulls with eyes

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VASILISSA MEETING THE WHITE KNIGHTON HER WAY TO BACA YAGAS HUT



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From a book of R~tssinn Fairy Stories,omfiilcd forhe Cows child ren.

DEAR SISTER ALENUSHKA ANDDEAR BROTHER IVANUSHKA.



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From a book of Russian Fairy Stories.ompiled for the Cxrs children.OTHER SCENES P ROM THE FAIRY STORYOF ALENC SHKA AND IVANUSHKA.



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V\,i

:

n -

From a book of Russian Fairy Stories, compiled for the Caws ckil dren.

THE WITCHS GARDEN IN THE STORYOF THE WHITE DUCKLING.



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RUSSIAN FOLK-TALESin them. Instead of gate-posts there were lewere arm bones, while the lock was a sharp-toot %bones, and the boltsed mouth. Vasilissastood rooted with fright. At that moment a third horseman, thistime all in black on a black horse, gallo ed up to the gate and van-ished;-ni ht had come. But the dar ness was dis elled by the:light whit %the now shone from the eyes of the ghastly s ilace like day. ulls, making8 oon, amidst a terrific rumblin which shook the forest, theBaba Yaga, riding on a mortar, urge 8 on by a pestle, sweeping tracesof her flight away with her broom of twigs, flew up to the gate crying, Faw, fum ! I smell the blood of a Russian one! Who 1s there ?Answering her, Vasilissa ex lained that she had been sent tofetch fire for li hts.i? The Baba 5would stop an aga promised her the light if sheperform some tasks for her. There was no alter-native, for she threatened to eat Vadissa if the poor child refused tocomply. So turning to the gates the ogress cried,: Ho, strong bar-rier of mine, part! And open wide1they entered, and the gates closed P thou, my gates! Whereupona ter them.Vtilissa was bidden to do many things, and to cook the meals,fetching fire for the ovens from the blazing eyes of the skulls outside.The next day there were like tasks performed so faithfully in the BabaYu%as absence that when the ogress returned she was vexed to findnot ng of which to corn lain.Presently the Baba s aga asked Vasihha to tell her how she hadmanaged to perform the difficult tasks so thoroughly and successfully,V/asilwsa nswered, the ogress, turning Because of my mothers blessing. Thereuponnone of the blesse crale, pushed her out of the hut, saying, I wantaround me.Return with it to your ste mother

Here is the light you came for.Yaga pressed into her han % and her daughters, and the BabaVasilissa hurried a stick with a gleaming-eawaWhen she reached K, overjoyed to escape from tK

ed skull atop, ande dreadful place.ome her stepmother and the daughters greetedher oyfully, to her surprise, as they never before had spoken a kindwor A to her. But she soon found out that they welcomed her solelybecause not a particle of light or of fire had they been able to get sinceVasiZissa had been away. When they borrowed it from the neibors it would be extinguished before they could get it home. r$ h-owthey imagined that the fiery-eyed skull Vasilissa brought back wouldrestore both to them. Alas for their selfish hopes! No sooner wasthe skull brought in than it turned its scorching eyes upon the stepmother and her daughters, burning them to a cinder, leaving Vasilissaonly unharmed and free.The next morning when the eyes ceased to gleam at dawn Vasilissa

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RUSSIAN FOLK-TALESburied the skull, closed the house, and went to live with her grand-mother in a neighboring town, where, with the help of her doll, sheset up a wonderful loom, and by her industry wove such marvelouslyfine fabrics that these were brought to the notice of the Czar, whocommanded her to appear at court. When the Czar beheld herbeautiful face he fell deeply in love with her, and made her his wife.

A OTHER picture from Dear Sister Alenushka and DearBrother Ivanushka, given in our illustrations shows Alen-ushka and Iwanushka, the two orphans, as they walked throughdistant woods and over broad fields with the sun hot above them.Iwanushka becomes thirsty, but his sister withholds him fora while from drinking of the river-water, as she knows it to be en-chanted. Finally, unable to endure the thirst of his parching throatany longer, he rushes from his sister and stoops down to drink.No sooner had the first drop passed his lips than it changed him intoa white kid, and he came to the sister, crying, M ekekel M ekeke!Alenuahlca wept. Then sheneck and led it along for a way. put a silken cord about the animalsThe garden belonging to the Czarhappened to be nearby, and the K id rushed into the enclosure, drag-f ng Alenushka after him. When the gardeners asked her why sheappened to be there, she told her story, and straightway they carriedit to the Czar, who, when he beheld her, decked her in silk and cloth-of-gold and made her his wife, to the joy of the good people and theenvy of the bad. The Whi te KG! was always near them.Now it happened that while the Czar was huntin , a wicked witchcast a spell on Alenwhku, who grew ill, and her B rother likewise,while the Czars garden dried up and all things withered. The witchthen sought out Alenmhka and said, If thou wouldst re ain healthdrink of the waters of the sea nearby. When Alenush a stoopedto drink as she was bidden, the wicked witch tumbled her into thesea, just as the Whi te Kid came up, too late to help. Thereupon thewitch turned herself into one who looked just like Alenuahka, andthe Czar, believing her to be his wife, listens as she begs him to havethe enchanted brother killed.Thrice, as a servant is about to plunge a knife into the Kid sthroat, the enchanted one begs to be allowed to run to the shore, andeach time he calls out.Alenushka, sister dear,

Swim thou hither, hear myBehold, they light the fires itrayer !ot,268



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RUSSIAN FOLK-TALESTo plunge me in the boiling pot.Their knives are whetted ; great my fear,For they do seek me everywhere!

To this Alenushka replied. Ivanushka, brother dear,A heavy stone doth hold me here.A serpent coils itself about,And will not let me strug le out.The last time Alenushlca answers, the 8 zar, who had followed theWhite Kid to the waters edge, havinin time to snatch his beloved Alenus 8, heard Iwanushkas plea, is justka from the waves as she risesto answer her brother. He hurries with her back to the palace,learning of the deception of the wicked witch, whom he now ordersburned at the stake.In The White Ducklin !t we have a story that suggests, bare1 ,by its theme, Brownings he Lost Duchess, in that here is to dthe tale of a Duchess who was fascinated by the alluring tales of anold crone, who, turning out to be an old witch, changes the Duchessb3 wicked magic into a white duckling, herself taking the Duchesssp ace, deceiving the Duke when he returns home from a long ourneyacross the seas. Marvelous to relate, two beautiful boys are i atchedfrom eg swith ten3 laid by the white duckling, who rears the childrener care. One day hainto the Dukes garden the two 1 Ppenin to stray with a companionseen and reco oys o the enchanted Duchess wereing to order tr ized by the witch, who had them imprisoned, intend-eir death. However, they were protected by amuletswhich they wore, until the witch cast a spell upon them, which madethem appear as though dead. The White Duckling missed her sons,and flymg into the garden in search of them there beheld the twobrothers as they lay on the ground white as linen and cold as marble.Pitifully she cackled :Keja, Keja, children mineThrough sorrow have I cared for you.The Duke haKpening to apB ear at that moment discovered theduckling, caught er in his han ,he pulled out two tail feathers. and as she struggled to free herselfWhen one of these fell before him,there stood restored his beloved true wife, and where the other fellbehind him, there departed a cackling white duckling. By a charmknown to her, the Duchess then restored her children to life and thewitch was caught as she sle t, and burned at the stake. Thusends the skazka of The White !D uckling, the spirit of which Bilibinahas caught so perfectly in his illustrations for the little ImperialRomanoff Holsteins.



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GEORGE GRAY BARNARD: THE SPIRITOF THE NEW WORLD IN SCULPTURE: BYKATHARINE METCALF ROOF

N THE collection of George Gray Barnards workon exhibition this autumn in Boston, Pittsburghand Philadelphia, there are twoStfugglin oups called Manpnmhve % wrth Chaos. Both sein , ow the figure of aa dumb imperfectly evolved creature,m combat wit terrific forces ,-su gestions of lowerforms of life fiercely resistant,-w Elch, half blindly,he strangles, tram les, conquers. The observer with more sophis-tication than insig%. standing before them may glibly recite, In-fluenced by Rodin, for the nude figures are hewn out, not entirelyfree, from the marble in the manner adapted by the Frenchmanfrom Michael Angelo. But in point of fact thesework of an American boy twenty-three years old, rom the Middleroups were theWest, practically unacquainted with the worlds art. His conceptionworking within him, hrs chisel scarcely a familiar instrument in hishand,-yet, one imagines, almost overwhelming him with its possi-bilities-he carved into the unknown. The struggle of his s iritfor eof the lfression is recorded in these groue of the new world in which he f s, a spirit part and a pro iiuctad grown up.Art appreciation-art sophistication even-is a thin that ourcountry as a whole does not possess. Such understan nl B is un-fortunately con&red to individuals orideal of the average American citizen- %?loups of individua s. Thes ethics aside-is commer-cial success. This standard is not confined to America, needless tostate, and the most crude and exaggerated examples of money greedare often furnished by the trans lanted forei ner. But the Americanworshiper of the practical and t e material fl ffers from the Europeanin that he is either contemptuous of the word art, or feels himselffully as cornevitable resu t of conditions thatetent as anyone to udge its results.il All this is an in-ave come about, naturally enough,in a new country that has suffered from a constant influx of raw andwaste material and an abnormal mushroom growth in materialprosperity. It is a characteristic result of the quality and nature ofour civilization that, in spite of this widesnature of art, America is always looking or the great American inread mnocence of the truea&-commonly in the form of the great American novel or the reat American play, an attitude strongly suggestive of Fourthof July, as if a lively braggart schoolboy approached with loudwhoops the silent white temple where the imperishable names ofthe worlds art are inscribed. Yet in all this naive provincially270



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R>l vvrnission f W. A. Coofer, New York .

GEORGE GRAY BARNARD:AMERICAN SCULPTOR.



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THE PRODIG AL SON : DETAIL FROM ONEOF THE HARRISBURG GROUPS: GEORGE GRAYBARNARD, SCULPTOR.



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BY fiermissionf W. A. Cooper, hew York

THE MYSTERY OF LIFE": DETAIL FROM TEEURN OF LIFE": GEORGE GRAY BARNARD, SCULPTOR.



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SOLITUDE": DETAIL FROM THE URN OFLIFE": GEORGE GRAY BARNARD, SCULPTOR.



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-- V.,,h.,BY hwni ssiol a of W. A. Goofier, New York.

THE HE WER: GEORGE GRAYBARNARD, SCULPTOR.



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THE BROTHERS : DETAIL FROM ONEOF TEE HARRISBURG GROUPS : GEORGE GRAYBARNARD. SCULPTOR.



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SPIRIT OF THE NEW WORLD IN SCULPTURE

Etriotic search for the Preatkely as ever to be American in art, the real thing is asover ooked, or, if not overlooked, incompletelyunderstood and realized only by the few in the generation of itscreator.Sculpture, however, is the most easily understood, the most directin its appeal, of all the arts. In its exact reproduction of the humanform it does not demand of the layman the translation involved inreceiving the impression of a picture. The idea it contains may notbe perceptible to the unthinkmg-such an idea as that contained inBarnard s Brotherly Love or Solitude, for example-but themost elementary mind, the child even, could understand the mean-ing of The Prodigal, or The Hewer, which in Boston was setout on the green in Copley Square and daily surrounded by groupsof the passersby.

T E work of George Gray Barnard is receiving a constant1 in-creasing tribute m his own country,-a fact sufficiently i em-onstrated by the organization among his appreciators of thedifficult undertaking of thrs exhibit in three Amencan cities, and byhis having received the important commission-the most importantever given to a sculptor in this country-of the heroicis to stand at the entrance of the Harrisbur ca itol. roup whichborn in Pennsylvania, but lived from chil d%B i arnard wasoo to boyhood in theMiddle West, where civilization was in the making. He grew upintimate with Nature, unac uainted with art. So remote was hislife from the atmosphere 7 art and aesthetics that he describeshimself as feeling as a boy a certain sense of reverence for marble initself, and recalls kee in broken ieces of it as a thin beautiful andworth treasuring. J% t t at, like Eli chael Angelo, he elt in the stonethe im0 risonedwhite angel waiting to be set free, but ust the spell of theelicate thing itself, wrth its suggestion of t1 ngs removed fromthe world of the immediate and the commonplace. Barnard livedon the edge of the vast spaces of the plains, close to the primitive.Tracts of the still unconquered land lay beyond. The travail of lifewas in the air about him, but practically no consciousness of theexistence of art. Yet he worked with wax and clay and pencil out ofthe necessity of his own nature for that form of expression. Laterhe went for a year to the Art Institute in Chicago, and after that tothe Beaux Arts. He worked then for several years in Paris, but itwas, as has already been said, at the very beginning of his career thathe did the two extraordinary Brotherly Love. The scu B

roups mentioned, as well as his inspiredptor now feels the Man Struggling withChaos groups unsatisfactory, in that they lack that repose which is

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SPIRIT OF THE NEW WORLD IN SCULPTUREperhaps an essential quality of the enduring expression of art. Re-pose certainly they do notpression of the spirit of the KTossess, yet they stand as a powerful ex-ew World in its birth throes.

Students schooled in the art of the past, familiar with all its re-cent developments, skimming, as it were, the cream from the surfaceof achievement, may, iffacility, accom lish stri Lossessed of the gift of easily acquired technicalas indicative 0Bgenius. ng results which are not infrequently hailedBut the work of Barnard is something utterlyremote from this brilliant imitative facility which is more or less com-mon at the present period. The conception of these early sculpturesof his was worked out of the innermost nature of a boy untrainedin the art of the past. This divination is the thing we call genius,yet the sculptor says that when we understand these things rightly,when the secret is a secret no longer and all men hold the key, theexpression of mans vision will no longer be called genius or ins ireawe as the mysterious gift of a few favored individuals. It will t%enbe just the universal understanding of the thing we call life.dream or a prophets vision, A poets-but that day is assuredly not yet!The memorial design, Brotherly Love, seems to express thestruggle of two souls to meet through the impenetrable wall thatinexorably divides one soul from another. The two figures are im-bedded in the block of marble of which they are a part as the individ-ual is a part of life ; their hands touch incompletely in a way neverto be able to grasp, only to give a sense of the desire to meet. A moreintimate expression of the same truth is in Solitude, a detail froma decoration for an urn, (The Urn of Life). Here the figures donot sBmbolize mankind in the abstract. They are man and woman,toget er yet alone, divided by that same barrier that even the closestof earthly love is powerless to break down entirely.ISOME of Barnards heroic fiquestion of their size-a %ures we may feel-aside from thetout of heaviness, literalness in theexecution, a lack of the artists complete escape from the model.But in his greatest work the idea is supreme, and one is conscious ofno insistence upon the individual human form, because form has beentranscended and become the abstraction of humanity. This qualityis wonderfully revealed in the symbolism of the Harrisburwhich are supposed to ty groupsP %vania. But as the life o ify the life and development ofthe individual may c ennsyl-27stallize the life ofmankind, Barnards creation contains above anbolism of the history of a sin beyond the sym-of life itself. The fi re of

le State a reflection of the very pageantf7-l % outh, drawn by the lure of life, strain-ing with outstretche arm toward the Gleam, is the very essence of the

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SPIRIT OF THE NEW WORLD IN SCULPTUREs1 irit of youth, as The Prodigal is that of paternal love, symbol oft e divine love, the basis of our idea of God. In Brothers theidea, perhaps more concrete, less idealized than in the other two, isthat of the strong bearing the burden of the weak. It must be re-membered in considerinfrom a group and that t% all of these figures that they are detailssingly, as somethin ey cannot therefore be judged adequately7 of their significance is necessarily lost.A crucition a so exhibited is an extraordinary thing. Thewild scene has the horror of a thing doomed to consequences. Itis utterly remote from the divine apotheosis of the old masters. Acold wind from the supernatural seems to blow across it. There isa sense of awe, terror, strangeness.it is compelling. It is only a sketch in wax, butBarnards work is an outgrowth of the development of scul turefrom the cold, finished perfection of the art of Greece througB therealism of the Renaissance to its present-day manner, which has be-come largely that of the portrait record of life.ture was conventionalized. Classic Greek scul Archaic sculp-perfection; from finger to toe the form was Bture had a polishedawless. The statuestood upon a polished marble pedestal. In the Mediaeval periodforms be an to assume more likeness to life and the grotesque wasdevelope .i Beginning with the Renaissance, the breath of lifebegan to stir in the stone. Figures began to assume more and morethe semblance of the imperfect living man. Individual character-istics were recorded. The culmination came with the titanic eniusof Michael Angelo, who created beings human, heroic, divine. % atercame the inevitable decadence, the not of emotional sculpture; then,from the latter part of the eighteenth to the nineteenth century, amore or less ansemic revival of classicism.The period immediately preceding our own was notable for reach-ing the acme of lack of characterization and insipid prettiness. Nowrealism has again become the ideal. As Mr. Barnard has e? ressedit ,-sculpture has descended from its marble pedestal an walksamong men. Pagan perfection wasI! erfectionit left nothing to the imagination. of the physical, andven Rodin, genius of our ownday, has in a sense not risen above the plane of the physical. He hasdepicted the play of emotional forces. His figures have drama,passion, but he has not touched the note of spiritual aspiration, andthe idea in much of his work is a degradation of his gemus, the crea-tion of a diseased imagination. It is this sense of spiritual aspirationin Barnards work that gives one the surest conviction of his genius.For the sculptor, the painter, the novelist, may be a great portraitartist, but so long as his work remains only a portrait it is scarcely



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SPIRIT OF THE NEW WORLD IN SCULPTUREthat which we call a work of genius.lifts the thin Genius is that quality whichf above the copy of the individual to the sr bolism ofhumanity. n rare instances the portrait of the indivi ual may dothis. But it often happens that a sculptor who has many distin-guished portraits to his credit reveals himself as little more than anaccomphshed technician when he comes to work upon a subject re-moved from the literal and realistic. The abstraction, in short, thething snatched from the clouds, is something on a very different planefrom the vi orousIf one shoul% portrait-bust or bas relief, however successful.care to compare Barnard with others on this ground,the exhibition contains a few portraits that can challenge comparisonwith the best. And in dealing with another phase of his art, delicacrace!3 and unconventional beauty such as wms approval in the year y

,alon, is shown in his Girl and Cu id.It has not been the intention of t s article to enter into the detailslof Mr. Barnards life. It is enough to say that he has suffered thatdeprivation, struggle and despair which is most often the portion ofgenius. He did not even have money enough to have his first figurecast,- a St. John described by his fellow pupils as a work of com-pelling beauty. He was rescued from the very lowest ebb of povertywhich was almost starvation by the appreciation of a man who inhis lifetime did much for artists both m sympathy and unobtrusive

J;ractical assistance,-Alfred Corning Clark. Mr. Clark discoveredarnard in Paris and sent him a note invitin him to dine with himat his hotel. Barnard went-it was the B rst real dinner he hadhad for months and his host not only purchased his statue of TheBoin hI (shown also in this exhibition) but sent him home with the moneys possession. The Boy was the first of Barnards figures to becorn leted in marble.B ne feels in leaving the collection that the sculhampered must accomplish even further, great as %tors genius un-as already beenhis contribution-an actual contribution of the new world-to art.He is, one feels, destined to scale greater heights upon that pathwayup the exceeding high mountain of art from whose summit IS beheldnot the kiof the worl !fdoms of the world and the glory of them, but the visionand the wonder that will be.

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EMMELINE: A STORY: BY LUCRETIA D. CLAPP ER mereMe wit i sakes, Emmeline, do put thet curtaindown!the headache Ive got an them winders aglare o light ! Pull it further n thet. First thing

you know this car et 11all be faded out.standing beside ii Emmelinet e east window pulled the curtaindown as far as it would go. In the half-li ht hermothers thin fretful face looked forth from %e bed.The room was large and square, li htedwhich looked out upon the yard in 9 by three windows, two ofront. There was a ron the floor and a braided oval rug at the side of the bed. Fil carpete uilthad been thrown back, and Mrs. Bartletts figure beneath the sl eetshowed thin and angular. Her ray hair was drawn tightly backfrom her temples until it gave to %er features a strained, sharpenedlook. A lass of water and some boxes of ills stood on the dresser.Emme ne crossed the room and stood fwindow. The July day was still you ooking out at the front, and the breeze that liftedthe white curtains brought with it all t e scents and sounds of thesummer morning. The garden was all a soft bloom of rose-pinkhollyhocks and sweet peas, tall spears of purple larksand mignonette. On either side of the walk was a ur, heliotropeg order of box,and down by the front gate, clamberinwas a bush of late-flowering roses. 8 over the fence in a pink riot,ale butterflies floated in andout in the sunlight, and bees drunk with nectar went droning fromflower to flower. A woodpecker was drilling in a nearb tree.Emmeline caught the flash of his crimson crest now and then t% ou hthe leaf- reen openings.c% !3he harsh scolding cry of a blue jay ma ethe one scordant note in the sweetness and calm of the early morning.Emmeline stood idly playin7

with the tassel on the curtain. Shewas a slim delicate lookinof a wild rose. Her light % @r with a beauty of coloring like thatair curled ust a little about her templesand was done in a soft coil at the bat k of her neck.were heavily lashed. Her blue eyesThe sleeves of her dress fell away, displaymgher delicate rounded wrists.The quiet village street was shadowed by great over-archingtrees. In a yard, a little farther down on the opposite side, a younggirl was clipping roses. It was Alma Day. Emmeline watched heruntil her mothers voice recalled her.Aint it mos time fer my medicine, Emmeline ? Not quite, mother. The girls soft voice was in contrast tothe others shrill nervous tones. It hasnt been an hour yet sinceyou took the last dose.

Well, I guess Id better be havin some more, anyway. Mheads turrible bad this mornin. I shouldnt wonder a mite ef r281



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EMMELINEdidnt las much lon er, Emmeline. Youd better hand me anothero them pills. %y, t eyre mos gone, aint they ?Wouldnt you like to sit ureal comfortable there by the ront window. Emmeline stood by

a while, mother? I can make youwhile her mother swallowed the pill with evident relish.Emmeline Bartlett, you mus be crazy! Me with the headIve got an my feet not touchin the floor for mos three weeks! Youmus be crazy, Emmeline !Emmeline took up her sewing and sat down by the window.She and her mother lived alone in the old Bartlett house. It was aplain square structure of comfortable proportions, but now badlyrun down and in need of repairs. There was a small arch in frontsupported by two slender posts. The great trees, t e wealth of,flowers, gave to the wholeEmmelines father ha crlace an air of dignity as well as of comfort.been dead a number of years. Like hiswife, he was of New England soil, of that type that is the result ofgeneration after generation of Puritan ancestry. But the hardness,the narrowness, the contradictions; they were an alien element inthe daughter. With her innate refinement, her delicate reserve andsensitiveness, the girl was almost an anomaly.Some three weeks ago Mrs. Bartlett had been taken with what shewas pleased to term one of her heads. Emmeline had beenthrough these periods before, but she was uite unprepared for theunusual duration of time that accompanie 8 this last attack. Hermother had taken to her bed and had remained there ever since.All Emmelines efforts to rouse her had been in vain. The girl didall the work and the waiting on her mother, and the confinement wastellin on her.

T!i s morning as she sat sewing she lanced longingly every nowand then out of the window. Once as s% e looked out a young man%assed on the opposite side of the street, and seei?!I her, lifted hisat. The color flashed into her face as she nodded er head.Whos thet youre speakin to, Emmeline 3 Mrs. Bartlettsvoice had in it a sharp in uiry.Emmeline bent her hea over her work. It was Roger Home,she answered, briefly, and again the quick color surged into her face.Her mother looked at her sharply, but she said nothing.The morninadvanced and t% wore slowly away. It grew warmer as the daye sun lay in hot patches on the dusty road. Atnoon, Emmeline folded up her work and went downstairs to get thedinner. She made a cup of tea and toasted some bread for hermother. For herself, she ate some vegetables left over from theday before and drank a cup of tea.282



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EMMELINEThe hot July afternoon went by on leaden wings. Mrs. Bartlettdozed and Emmeline in her lace beside the window sewed on stead-ily. Once she let her work fa r1 in her lap, and, resting her head a g a i n s t

the back of her chair, closed her eyes.mouth drooped at the corners. Her face was pale and herA movement from the bed rousedher, and she picked up her work again.After their early supper Emmeline gave her mother her medicineand shook up her pillows for the night. Then she went across thehall into her own little room. She was gone some time. When shecame out again, she stood a moment in the door of her mothers room.I guess Ill sit out on the front step a while, she said, slowly.There was no answer, and the girl went on downstairs. She had ona light pink dress open at the throat. Her hair was tied back with ablack velvet ribbon. The color in her cheeks was as delicate asthat of a flower. She went down to the rose-bush beside the frontgate and picked a tiny bud. It was like fluted ivor , its petals justtinan iied with pink. She tucked it in among the rud es of her waist,sitting down on the steps leaned her head against one of the posts.Over in the west she could see the hills etched in violet against thesunset sky. It was very still down the dusky village street. Thescent of roses and of heliotrope rose like incense. A steB sounded onthe walk; the gate opened, and Roger Home came up the ox-borderedpath. Good evening, he said, and his voice was very pleasant as hesat down beside her. He had a frank boyish face, with fine dark eyes,but there was a determined line about his mouth. Emmelines blueeyes smiled their welcome. She was tootoo untutored, to feign an indifference %enuinely glad to see him,s e did not feel. She satbeside him and listened quiet1hap e y curves. Once he leane K as he talked. Her mouth was alltoward her and took the rose fromher reast.The night came down in almost unbroken silence. The lightwind lifted the girls hair and blew it about her forehead in littletendrils. Suddenly a harsh voice jarred upon the stillness.Emmeline, Emmeline! The girl started up.Dont go. Roger Home spoke in a low voice. He laid a firmhand on her slender wrist. Dont go, he repeated. Emmeline ! This time there was an insistent note, and thegirl rose hastily. Youll come back ? Roger Home still held a firm hold uponher wrist.

Yes, she whispered, and breaking away from him ran into thehouse and upstairs.283



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EMMELINEMrs. Bartlett was sitting up in bed, both hands pressed to her head.Where on earth hev you been, Emmeline ? The tones ofher voice struck theWhy, I havent r

rls sensitive nerves, making them quiver.een any place, mother, only sitting on the frontdoor-step. Did you want anything?Emmeline stood hesitatingly on the threshold. Her motherpeered at her in the half-liCome here, she saif ht.,stood beside the bed. abruptly, and the girl crossed over andWhat on earth hev Tou got on, Emmeline Bartlett T Mrs.Bartlett was sitting now bo t upriIts ust my pink lawn, mot %ht.er. Welll, Id like to know what in the name o sense- Shebroke off suddenly. Whos downstairs, Emmeline Bartlett ?For an instant the girl hesitated. Its no one, mother, but RogerHome. Shant I fix your

pillows again and bring you some freshwater? Then erha s you 1 go to sleep again. Sleep ! dll, P should think not! You go right into ourbedroom an take off thet pink dress. Then you can come back Eerean rub my head. I shouldnt wonder a mite ef I didnt las thenight through. You hur 1 , too. My heads mos killin me.Without a word Emme ne turned and went out of the room. Asshe reached the head of the stairs she paused and listened a moment.Then she ran lightly down and out onto the steps.I-I guess oud better be going now, Roger. She paused infront of him. %!Iother needs me.The youn% man rose to his feet. The line about his mouthtightened. T e rose dro

Bped to the round.

Very well, he sai , coldly. 4 mmeline stood watching himas he went down the walk. Just before he reached the gate he turnedand came back. See here, Enameline, he came close to her, Iwant you to go to the picnic with me tomorrow. Well drive out inthe afternoon and come home by moonlight.A wave of happiness swe t over the girls face, then receded assuddenly as it came. I-I f!i nt believe I can, Roger.Yes, you can, too, Emmeline. Its a holiday tomorrow aneve?Kbodys goin. Ill come b11 the rest of the evenin!? %for you bout three.mmelineher mothers head. Th d sat by the bedside rubbinge ar ness deepened and the stars came out.The girls cool fingers passed back and forth gently, almost uncon-sciously. Her thoughts were crowding, tumultuous. Underneath all her

disappointment was a certain joyous sense of something new-a hap-piness as yet vague and elusive. Her whole slender body thrilled at



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EMMELINEthe remembrance of that firm hand laid for an instant on her wrist.After her mother had fallen asleep Emmeline still sat beside thebed. She arose at last and stepped softly across into her own room.She undressed in the bar of white moonlight that lay across the floor.Through the omer. Out uncf en window came all the sounds of night and of sum-er the trees the shadows crouched deep, And still inthe happy quiet of her own thoughts she lay down on the bed and slept.The next morning she awoke with the dull boom of cannon in herears. A sudden reahzation of the day came over her. She went intoher mothers room.Is your head better today, mother ? The girl spoke with ahopeful eagerness. Mrs. Bartlett took her hands from her headand looked at her daughter. Emmeline, what day is this ?Its the Fourth o July, mother. Lord o mercy !Another boom of cannon shook the house.both hands to her head and groaned. Mrs. Bartlett clappedYou hand me a couple o them pills, Emmeline. I guess Ishant las through this day.Emmeline obeyed without a word. Then she went downstairsto get the breakfast. She stood in the kitchen door a moment, look-ing out at the beauty of the mornin . The air was fresh from thecool night dews. The sunli ht on tfrom a thousand prisms. Tf %e grass was reflected back, ashere were light mists on the hills, andthe breeze that came over the fields was sweet with the warm breathof clover. The girl saw it all with a feeling of bitterness that wasalmost a revolt. She stood alone in her hsappointment, while allthe reat world of youth and joy beckoned.B s she carried her mothers breakfast u stairs she knew that itwould be useless to ask to go to the picnic. S%e could not refrain froms eaking% about it, however, and a little spot of color came into eachc eek as she stood beside the window whrle her mother ate.Theyre goin to have a picnic today over in the north woods.Emmelines voice was scarcely audible. Whatd you say, Emmeline TI said thetoday. Its a iTre goin to have a picnic over in the north woodsoliday.A picnic! Mrs.Her voice was full Bartlektof scorn. broke off a piece of toast pith a snap.I guess there wont be no pmmc roundhere. A pretty kind o holiday this is. Jest listen to thet! Allthe young uns thet aint blowed up now will be afore night. Ishouldnt wonder a mite ef I didnt last the day through. Ive et

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EMMELINEall the breakfast Im goin to, Emmeline, so you better take it backdownstairs. You can pull down them curtains, too, but I dontspose Ill sleep a wink.

Emmeline went back downstairs. All the morning she workedhard. She swept and dusted, and waited on her mother in between.Just about noon she heard a quick step on the sidewalk. She ranhurriedly down to the front gate. Roger Home had just gone b .Emmeline called to him softly. He heard her and turned bat .I cant go to the picnic this afternoon, Roger. She pressedboth hands tlghtlthroat, almost choh on the gate-post. A pulse was beating in herng her.Id like to know whats the reason you cant go.mans face flushed angrily. The youngI cant go, Roger. He did not see the little quiver in her lip.I cant leave mother. She aint near so welltod:T an shell be needing me. I couldnt Po way an leave her.Now see here, Emmehne, Roger came c oser to her. His voicewas authoritative. There aint no sense in your goin on this way.You can leave her just as well as not. Mebbe itd rouse her someto be left alone. Shes no riaint been anywheres for a ht to keep you shut up like that. Youwee s. Come!me, Emmeline. I want you should go withHis voice had changed to a tender persuasiveness.flushed, then paled. The girls faceIts no use, Roger. I cant go. I cant leave her here in bedall alone.Well, I guess she could get up if she was a mind to. All Ive gotto sa is, Emmeline, if your mother d stop thinkin about herselfa lit9 e an-Dont, Roger!Well, I spose if you wont, you wont, then.Oh, it isnt that I dont want to go, Roger. He turned away.You know I wantto 0.!I? Her voice trembled.he line about Roger Homes mouth emphasized itself. Heturned away.Well, good-bye, he said, coldl . Ive got to be goin on.Emmeline watched him down t e street. Then she went intoithe house and up to her mothers room.sat down by the front window. She took up her sewing andHer needle trembled as she drew itin and out. The afternoon was very warm. Clouds of dust blewup from the street. Farm wagons rumbled past, their occupantsdressed in their best clothes, coming into town for the holiday. About

three oclock Emmeline heard the sound of light wheels coming upthe street. She looked out just as a buggy went by with a young man286



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and a girlcoloring of in it. The rl had flashing dark eyes and the brilliantan exotic. f he had a bunch of crimson roses at her belt.It was Ro er Home and Alma Day goinEmme me shrank back from the win2

to the picnic.ow.I wish youd pull thet curtain down, Emmeline. The girl rosemechanically at the sound of her mothers voice. I guess youdbetter git the camphor bottle, too, an rub my head. Its mos killinme.

EMMELINE

Emmeline groped her way to the bed and sat down beside it.She rubbed until her arms ached. The room was dark and closeand filled with the odor of camphor. Mrs. Bartlett groaned as therecame to her ears every now and then the sound of a far-off firecracker.All through the long afternoon Emmeline sat there in the dark-ened room. It was very still.winged life in the trees. There was scarcely a stir, even ofsome outside force. Her fingers moved as though impelled byShe thought of the scented country lanes; thecool deeps of the woods ; the dnve homeward in the evenin alon themoonlit shadowy road. The pulse in her throat throb % shed.stillness was almost a physical pain.The day wore away at last, and it was hours later that Emmelinelying wide awake in her own bed heard the sounds of wheels. Theywent past the house and stopped a few doors farther down the street.For a long time she lay listening, wide-eyed, her slender little bodydrawn tense. The moonlight fell quivering across the floor. Thenight wind was sweet with the breath of the flowers in the frontyard. An hour passed before the wheels went by once more, thistime in the opposite direction.The followmg week was unusually warm.a dull monotony.

The days went by inMrs. Bartlett, contrary to her own expectations,was still able to sit up in bed, her head tied ueat her three meals a day. Emmeline went a\ in a damp cloth, andout her work quietly.There had been one last night, and after that she had accepted eachday as it came with a sort ofafter the Fourth. Emmeline tilassive hopelessness. It was the nightad dressed herself in the pink gown,her slim fingers trembling as she fastened it. Then she had cre tsoftly downstairs and out into the front yard. She went down ti epath, a little figure alone in the flower-scented dusk. The ni ht wasshadowy and still. The flowers hung heavy with dew. fv aitingthere beside the gate with all the beauty of young love and hope uponher, the girl seemed an incarnation of the night itself.Sudden steps broke the stillness. Emmeline, her heart beating

almost to suffocation, stepped back into the shadow of the rose-bush.Nearer and nearer they came, a mans quick decided steps. They



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EMMELINEcame opon the otTlosite the gate. Only an instant, then they went on downer side of the street.Trembling as from a blow, the girl shrank back. arted,but she did not cry.

Her lipsShe only crouched there amon% the Powers,quivering like some hunted thintouched a rose whose pale pink olded petals lay against her breast.. Once she put up er hand andFor a long time she lay there, the niPht wind damp and cool upon herforehead, until the sky was all a so t glimmer of stars and the moonrose above the dark rim of the trees.After that niwork as alwa %ht she had waited on her mother, goins, if about herut the faint rose flush in her cheeks fa ed and hermouth curve B pathetically. Evemothers room. Often she heard t3: evening she sat quietly in here sound of wheels and knew thatRoger Home was going by with Alma Da .lyin And again in her ownroom,flun f!i wide awake in her bed, a gir s voice would reach her,outhad % auntingleard the soun CT into the night air. Once Mrs. Bartlett, too,of the wheels.Whos thet T she asked, shazAnd the rl answered her. Ply.Id? ts Romother. rs. Bartlett looked keenly at %er Home and Alma Day,nothing. er daughter, but she saidOne afternoon Emmeline sat as usual beside the front windowsewin .looke 8 Mrs. Bartlett was lying propped up with pillows. Sheat thenot see her. r-1 rom time to time when she thought the latter did!i!mmeline drew her needle in and out, listlessly. Shewas%ale and there were drops of pers iration on her forehead.adnt you better take one o t I!Why, no, mother; what for ? em pills o mine, Emmeline?

Oh, I dunno, I thought mebbe theyd be good fer you this hotweather.The front gate clicked. Whos thet comin, Emmeline ?The rl bent forward. Its %!Iartha Crane. Fer the land sakes! Marthy Crane! What on earths shea-comin fer today? Red up this bed a little, Emmeline, an showher ri ht u here.Emme ne. p I aint seen her sence I took to bed. Hurry,Mrs. Bartlett had just settled herself complacently back on herpillows when Martha Crane entered the room. She was about Mrs.Bartletts age, a small thin woman with a sharp pointed face, a ratheraggressive chin and mild blue eyes. She lived all alone in a littlehouse almost at the end of the village. It was to Martha Crane that288



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EMMELINEthe village people looked for the latest styles in dressmaking, as wellas for the latest bit of ossip.Come right in, ilf arthy, an lay off your bunnit. Im reel gladto see you. Hot, aint it 3 No, I aint much better. I shouldntwonder a mite ef-Youd better take this chair, Martha; its cooler nearer thewindow. Emmelines voice broke softly in.No, Ill est set down here. I cant stop but a minute. I wasgoin by an t l ought Id jest drop in. I aint seen you out fer sometime.She looked sharply at the girl.Seems to me you look kind o pindlin, Emmeline.The color flared into Emmelines face for a moment, then leftit paler than before.I dont knows she looks any differunt n she allays has.Mrs. Bartlett spoke up and her voice had a defending quality.Is anybody grttin anythin new, Marthy ?Well, no, I cant say s Im over busy now. Wont be muchfore fall. I didnt see you to the picnic las week, Emmeline?Martha Crane never allowed herself to be drawn very far off thebeaten track.Well, I guess Emmeline aint hed no time fer picnics with mea-lyin here day in an day out.No, I should think not. The shade of meaning in her visitorsvoice was lost on Mrs. Bartlett.Martha was rubbing her thumbnail over the skirt of her blackalpaca, making a nice smooth little crease.I see Roger Home an Alma Day as I was comin along thisafternoon, ri&n behind thet high-steppin horse o his. My, hercheeks was mos s red s winter apples. Well, theres some folkss prefers red faces. I cant sayshow I do.Mrs. Bartlett spoke with some asperity. She looked at herdau hter.% Emmeline was moving about, straighteni T the thingson t e dresser. Her whole body seemed to droop li e a brokenflower.Roger Home hed Alma Day to the picnic, Martha continued.He seems to be a reel nice young man. I seen Mis Day a-callinon his mother the other day. Im on my way to Mis Days now.She wants to see bout engagin time. Emmeline, you goin to hevanythin new this fall 3

What on earths Mis Day goin to hev made in July 3 Mrs.Bartlett interrupted.289



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EMMELINE Taint fer Mis Day, its fer Alma.bed, suddenly straight and defiant. Mrs. Bartlett sat up in Emmeline, you open thet lower bureau drawer an han me out

thet % ackage there on top. Emmeline stooped down and openedthe rawer.Thet one lay-in there a-top o your fathers things. Give it here.Mrs. Bartlett undid the wrappings with nervous erks.There, she exclaimed, triumfolds of a pale pink silk. The Phantly, as she he d up to view thea ternoon sunlight catching it hereand there gave it a sheen and shimmer as of satin. My land! Martha Crane fairly gasped.Emmeline stood looking on in an ever-dee Why, mother, she began, but

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The Craftsman - 1908 - 12 - December.pdf