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!NVE.NTION DCEEDINGS

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AMERICAN FEDERATION

OF ARTS

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PUBLISHED BY

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PROCEEDINGS

OF THE

CONVENTION

AT WHICH

THE AMERICAN FEDERATION OF ARTS

WAS FORMED

Held at WASHINGTON, D. C. MAY 11th, 12tk and 13tli, 1909

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HMAA/NPG LIBRARY

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SMITHSONIAfv IKSTITUTiON

1909

PRESS OF BYRON S. ADAMS

Washington, D. C.

PROCLLDING5

OF THE

CONVENTION AT WHICH THE AMERICAN FEDERATION OF ART5 WAS FORMED

FIRST SESSION. Tuesday Morning, May 11, 1909.

The convention met in the Red Parlor of the New Willard Hotel, at 10.05 o'clock, Mr. Charles L. Hutchinson of Chicago, 1st Vice-President of the National Academy of Art, in the chair.

The Chairman : Ladies and Gentlemen : The Regents of the National Academy of Art have called this convention, and in the absence of its President, it is my duty, and my privilege, to preside, and the Secretary of the National Academy of Art, Mr. Glenn Brown, will act as Secretary until the per- manent organization shall be effected.

Before we proceed to carry out the programme in your hands, I will announce a Committee on Credentials : Marvin F. Scaife of Pittsburg, Chairman ; William M. ElHcott of Bal- timore, and W. L. Harris of New York. That Committee can be found in the rear of the room and we will ask all delegates to present their names and credentials to that Com- mittee.

It is seldom that a Chairman is called upon to preside at a meeting where the duty is made so easy as it is this morning. Nearly every one who is to address us has a national reputa- tion, so that any introduction on the part of the Chairman would perhaps be a presumption. It was suggested, before the opening of the meeting, that the session of this morning was essentially a Vice-Presidents' meeting, since the Vice- President of the National Academy of Art presides, and the Vice-President of the United States is to bid us welcome.

I have the honor of presenting the Vice-President of the United States. (Applause.)

address of

Hon. James Schoolcraft Sherman,

Vice-President of the United States.

Mr. Chairman, and Delegates to this Federation Meeting: I am deHghted to see ladies are more numerously represented than the men. That augurs well for the success of the meet- ing, because when the ladies, if I may use that expression, "put their hand to the plow the sod turns over." (Laughter.)

I congratulate you upon the purposes for which you have met. Having said that much, I am to stop on that line, be- cause the distinguished former Secretary of State and now the great Senator from the State of New York, will enlighten you, if you do not already know, upon the purposes for which this meeting is held. I am not to make an address, as the Chairman has said, but simply to bid you welcome, and that I am delighted to do.

I congratulate you upon choosing this beautiful Capital City,, of this great, progressive nation of ours as the place for that meeting; I congratulate you on choosing this season of the year, when all Nature smiles ; when we have here in Wash- ington our bridal gown on in which to bid you welcome.

I sincerely trust that the objects for which you have come together will be distinctly furthered by this gathering. I bid you welcome, not simply as an individual, but on behalf of the Government, of which I am a small part mentally, not physically. (Laughter.) This is a great and splendid Gov- ernment of ours, and well are we proud of it. We have al- ways been foremost in everything that we have undertaken. We started in arms, and from 1776 down to now, our beau- tiful starry banner has never been lowered to any colors on the face of the earth. (Applause.) We pride ourselves most, however, in our history, not of arms, but of peace. Despite the carping of the critics, we have devoted much attention to our progress in material things — aye, and we have devoted it for a purpose, too, because that devotion has put us in the forefront of the commercial nations of the world. We stand today foremost as a commercial nation, foremost as an ex-

porting nation, foremost as a manufacturing nation, foremost in railroad mileage, foremost in all practical pursuits, of all the peoples of the civilized world. It is not just today that we have began to devote our attention in a measure to the arts and sciences. We have been doing that for some little time, and for the last decade, at least, yes, nearer two decades, we have witnessed material progress in our appreciation of all that is artistic and beautiful, and, as you know, what we desire to do now is amalgamate the interests which tend to promote, here in our midst, all that is beautiful, not merely in painting, nor in sculpture, but in all matters of landscape, of flowers and of trees and of streets, and of parks, all, in fact, that tends to make our surroundings beautiful and bright and pure and healthful. That, I understand, is what this convention is pur- posing to do, and my heart is in sympathy with it and with every organization and individual that is struggling to better our condition, either in material things or in that which is ar- tistic and beautiful.

I trust, my friends, that assembling here will bring to you all, and to each, much pleasure and much profit. I am sure that the meeting will differ materially from the last meeting which I addressed in this city, because I know there will be no bickerings in your midst ; I know there will be no ambi- tions to gratify, other than the one ambition — ^to do that which betters humanity in general, and which improves our con- dition locally — locally, not simply applied to Washington, but locally as applied to the home city, to the home town of each citizen in our country. I trust that when you have concluded your deliberations that you will return in health, in comfort, and in ease to your several homes, carrying with you pleasant recollections of your stay here, enthusiasm for the beauty and the cleanliness of your national city, increased patriotism, increased love of country, and an earnest desire to assist in every way, which comes within your power, in the preservation of all that is beautiful, and the development of that which is artistic, in America. (Applause.)

The Chairman. In seeking a title for the next speaker, I find mvself somewhat embarrassed. It is difficult to think of

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Mr. Root as attached to New York as a Senator, for he belongs to the whole country, and we know him as "Secre- tary." So, I am going to introduce him as a man fond of the beautiful, who lends his aid for the support of every good cause, for the betterment and the culture of the community. (Applause.) I take great pleasure in introducing Mr. Root. (Applause.)

address of Hon. Elihu Root^

Senator from New York.

Mr. Chairman, Ladies and Gentlemen: The Vice-Presi- dent's agricultural simile, in which he puts the women's hands to the plow, reminds me of the old proverb : "He who would by farming thrive, himself must hold the plow, or drive," and I suggest that the distribution of labor should be that the men should put their hands to the plow and the women should drive. (Laughter and applause.)

I have been asked to state the purpose of this meeting, because I was one of a little group of men who for a long period, from time to time, met at the home of our lamented friend, Mr. Ffoulke, for the purpose of working out a means to utilize the charter that has been granted by Congress for the National Academy of Art, in such a way as to accomplish what we felt here, from our rather central point of view, in the national capital, was a very important object, and was an object for which the time was ripe in the United States.

The object of this convention is to organize a federation of all institutions, societies, city and village improvement asso- ciations, and school and other organizations in the United States, whose purpose is to promote the study of art, the cul- tivation of the public taste, and the application of art to the development of material conditions in our country. This is the age of concentration, co-operation and combination, and it is not necessary to explain the advantages of team-work over individual effort. All of the leading professions have national organizations, except those that are interested in such

objects as I have mentioned. The lawyers have the American Bar Association, the doctors have the American Medical As- sociation, the historians the American Historical Association, and the scientists the American Association for the Advance- ment of Science.

It has been suggested that we can do no better than to fol- low the example of the Fine Arts Federation of New York City, a co-operative association that has accomplished results in that city which could not have been attained by the con- stituent societies working independently. The American In- stitute of Architects furnishes another admirable example of the powerful and consistent influence upon the national de- velopment in artistic direction that can be exercised by separate associations and societies working in co-operation. It is pro- posed to organize those who are interested in the fine arts in a similar manner under the auspices of the National Academy of Art, which was incorporated by Congress in 1892 with wide corporate powers, and has its headquarters in this city, with Mr. J. Pierpont Morgan of New York, that most liberal patron of fine arts, as its President.

There are two hundred and twenty-two schools and public art galleries in one hundred and sixty-two different cities and towns in the United States. Sixty-eight of these schools offer money prizes to their students for meritorious work, ranging from $100 to $3,000. Seven million dollars were given last year in the United States in the form of endowments, bequests, and other financial contributions to the promotion of art in the United States.

More than fifty cities have municipal art leagues or associa- tions for the improvement of appearances, for extending their park systems, widening their streets, improving their pave- ments, setting out trees, securing public buildings of higher architectural merit, better school houses, lecture courses and public exhibitions under municipal control, and for a general betterment and the education of the public taste and public opinion on artistic lines. There are hundreds of village im- provement associations for similar purposes, the first of which was organized more than fifty years ago.

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There is a general movement throughout the entire country to preserve the beauty of our natural scenery and to secure an improvement in the looks of things, both natural and arti- ficial, and it is spreading rapidly. It is believed that this movement may be promoted and public sentiment developed in favor of its purpose by uniting the many local organiza- tions scattered throughout the country in a National Federa- tion for mutual encouragement and co-operation.

The specific objects of such a federation as we propose may be enumerated as follows :

1. To encourage the organization of art societies; the estab- lishment of art schools and art galleries ; to encourage the exhibition of private art collections for the benefit of the public; to encourage American artists, and to aid in securing higher recognition for merit.

2. To encourage the study of art in the public schools, par- ticularly in the towns and villages; to encourage boards of education, school superintendents, and the faculties of semi- naries, academies, colleges and universities, to pay more at- tention to the cultivation of the taste of their students and to teach them correct ideas in art and the advantage of making things beautiful.

3. To encourage the appointment of competent commissions in municipalities and States to supervise public architecture, monuments, parks, plans, and other improvements in order that they may be in accordance with the best rules of art.

4. To improve the standard of private architecture; to en- courage the planting of trees, shrubbery, hedges in the farms and door yards, and whatever may be done to embellish the public streets of cities, towns, and villages.

5. To support the plan of the Park Commission for beauti- fying the City of Washington, and to aid in persuading Con- gress to follow its suggestions in the location of future public buildings, monuments, and other improvements at the Na- tional Capital.

6. To assist in preserving natural scenery from destruction and desecration ; to extend the National Park system, the for- est reserves, and preservation of historic and natural land- marks.

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7. To promote the movement for public playgrounds, school gardens, and other efforts to cultivate the love of nature and of art in the minds of children.

8. To support the movement for the enlargement of the jurisdiction of the Supervising Architect of the Treasury, and the organization of a Bureau of Arts which shall have super- vision of all public buildings, monuments, and other improve- ments ordered by Congress throughout the United States ; and the appointment, pursuant to legislation, of an advisory coun- cil of experts to advance the standard of public architecture.

9. To support and advance the National Gallery of Art, which has already been established under the Smithsonian In- stitution by gifts and bequests of important collections from the late Harriet Jane Johnston of Washington, Mr. Wm. T. Evans of New York, and Mr. Charles L. Freer of Detroit.

10. To assist in securing the erection of an appropriate building for the National Gallery at Washington correspond- ing to the Congressional Library and the National Museum.

11. To afford an organization through which the general opinion of all Americans who are lovers of beauty in art and in nature may find expression and be made effective as from time to time public questions shall arise which ought to be determined by the highest standards of taste.

It is expected that the delegates here assembled, if they ap- prove the purpose and plan of the National Academy of Art, will organize a Federation, adopt a constitution and by-laws, elect officers, and appoint a place and a time for another meeting.

We have arranged a program of addresses upon topics bear- ing upon the purpose of the organization by speakers eminent in their professions, and we hope that the discussions which are expected to follow them will be freely participated in by all of the delegates.

We hope that from the development of this movement, draw- ing into its stream the multitudes of smaller streams of pur- pose and of effort which already exist in our country, will come, for the people of America in a high degree, that increase of happiness that is to be found in the cultivation of taste and the opportunity for its enjoyment. (Prolonged applause.)

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The Chairman. As announced in the programme, it is your privilege to ask, after any address, any questions you may desire, or make any suggestions you wish. If you care to address any questions to Senator Root, he will be glad to answer them.

Mr. Root. Excluding the tariff!

The Chairman. He excludes the tariff from the fine arts. My idea is that there is much fine art in 'the tariff. (Laughter.) The task he has set for this organization is a noble and a great one, but, as he said, it is not impossible with proper organization and with proper spirit inspiring such organiza- tion.

We are under great obligations. Senator, for your very able address. (Applause.).

On motion of Mr. Frank C. Baldwin, of Detroit, that the committees on framing a constitution and on the selection of place and date for the next convention be appointed on the first, instead of the second, day of the convention, it was so ordered, after which the Chairman introduced the Hon. Francis S. Newlands, Senator from Nevada.

The Chairman. As a Western man it is with consider- able pride that I announce the next speaker. We all know the need of a greater and perhaps a more sane supervision of everything pertaining to the fine arts that come under the con- trol of our National Government, and to find a man from the far West as the champion of such a move in Congress is a. matter of pride to every Westerner.

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A GOVERNMENT BUREAU OF FINE ARTS.

address of

Hon. Francis S. Newlands,

Senator from Nevada.

Mr. Chairman, Ladies and Gentlemen: I was quite sur- prised when I received a telephone message from my secretary this morning that I was expected to be present at this gather- ing today, for I had supposed that the meeting was to be tomorrow, and I have been so engaged in the confusion of the tariff discussion that I have not been able to gather to- gether even the few thoughts which I have upon this subject. I presume that I owe the honor of addressing this gathering to the fact that at the last session of Congress I introduced a bill enlarging the scope and power and authority of the office of the Supervising Architect of the Treasury, expanding it into a Bureau of Architecture and the Fine Arts ; and organiz- ing in connection with it a Council of the Fine Arts, such as Senator Root has referred to. That bill has not yet been con- sidered by any committee, and it is not probable that it will come up for consideration until the next session of Congress.

I regret to say that in the very early stages of this legisla- tion the whole question became somewhat complicated by rea- son of the action — the very worthy action — of President Roose- velt, who, eager as he is always, to' do good things — himself, without the authority of Congress, appointed a Council of Fine Arts. I have no doubt, myself, that he had the power to call into conference with himself and other executive offi- cers, experts in architecture and the fine arts, to advise with him, and with them, regarding contemplated Government structures. But he went a little bit farther than this, and it is claimed by Congress that he trenched upon legislative author- ity, and you know Congress is rather jealous of its legislative authority and disposed to resent any intrusion upon it. So this Council of Arts, an admirable body of men, composed of dis- tinguished artists of the country, whilst it was called into being did not exist for a great length of time, though I must say that in the short session which they held here they per-

12

formed distinguished service for the country in creating and forming public opinion with reference to the importance of preserving the Burnham Plan, so far as it related to the Lin- coln Memorial. (Applause.)

National work in the line of art involves, ultimately, it seems to me, the creation of a Ministry of Arts, such as they have in other countries, such as they have in France, in Ger- many, in Italy and Austria, where the chief officer is one of the Cabinet, so to speak, of the ministry, one of the leading advisers of the Government. I would have been glad to have introduced a bill organizing a Ministry of the Fine Arts in the United States, but I felt that the mind of the average legislator was hardly prepared for that, for art is oftentimes regarded as a dangerous thing, conducing to extravagance in administration. We have not as yet realized that art is really a thing of utility, that it is a thing of prac- tical commercial value, a thing which enters into the hap- piness and the well being of everyone and every occupation, and that our highest purpose should be to make the useful things beautiful.

The Government of the United States has been engaged in a great constructive work; it is engaged in work — construc- tive work — in public buildings. It is now engaged in the con- structive work of irrigation ; it is engaged in the constructive work of building the Panama Canal. It has been, in a sporadic kind of a way, engaged in improving our rivers and harbors. The time doubtless will come, and before long, when all of the great constructive work of the country will be thor- oughly organized, under a great Board of Public Works, in which and connected with which will be the best engineers of the country, the great architects of the country, and with which will be identified the great artists of the country, for in the improvement particularly of our rivers and harbors, we should have in view the artistic development of the water fronts of every town upon a harbor (Applause) ; and of every city upon a harbor (Applause) ; and if this work of artistic development is pursued contemporaneously with the structural work we will have a union of art and of utility.

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In this great work the United States, it seems to me, should lead, and the States should follow; and we should have, so far as the organization of this movement is concerned, an organization similar to that of the general government and the State governments. You will observe that in all the organi- zations that are now in existence in the country — the law organization, to which Senator Root has referred, the archi- tects' organization — that they have local organizations in each State in which are represented the various local organiza- tions of the villages, cities and towns — and then we have the national organization, to which the State organizations send their representatives. If we can accomplish something of that kind regarding art, and incorporate together in some organized movement all the various societies that have ref- erence to art, including not only sculpture and painting, but music, in which so many are interested (Applause), we will form a public sentiment that will have a powerful influence upon Congress itself. You all realize that Congress rarely leads in the creation of public opinion — it follows public opinion — and it is necessary that we should have outside of Congress organizations of people devoted to some great purpose, with a view to impressing Congress with the importance of that public opinion and its powerful influence and interest in affairs.

The United States has entered already upon some work of education — practical education, it is true. We organized the Bureau of Agriculture, in the first instance, and then we ex- panded it into a Department of Agriculture, and that Depart- ment has had a great and powerful influence in every State in the Union in the advancement of Agriculture. Congress very wisely, in connection with the establishment of the Bu- reau, and, subsequently. Department of Agriculture, organized Agricultural Schools in every State in the Union. These schools, as a rule, are connected with the State Universities,^ the money supplied by Congress for their support amounting, I believe, in each instance to about $40,000 or $50,000 per annum, which aid greatly in the maintenance of struggling universities in small States and Territories. These schools have been the center of dissemination of the experience and*

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the instruction of the central Department of Agriculture, and have been in close communication with the Department of Agriculture, their professors, for instance, coming on here and accepting details in particular service in the Department of Agriculture, so that when they return to their respective schools they return there with a broad influence and culture arising from being brought into contact with national interests and affairs.

Congress went further in that — it added to these schools of agriculture the mechanic arts, so that these schools are now called Schools of Agriculture and the Mechanic Arts ; and it is proposed, and I have no doubt the project will be carried through, to add to the jurisdiction of these schools mining, so that we w^ill have Schools of Agriculture, Mining and the Mechanic Arts. It seems to me that the existing organiza- tion furnishes an opportunity for adding the Fine Arts in these various schools of the various States, and if a move- ment were inaugurated by this association calling upon Con- gress to add the fine arts to the jurisdiction of these schools now devoted to agriculture, mining, and the mechanic arts that we would build up in every State in the Union an organ- ization that will be a powerful aid in the national movement. It might probably result later on in the organization — in the development of a Ministry or Department of Architecture and Fine Arts here, and in connection with it we would probably have a School of the Fine Arts, a school devoted to Sculp- ture, Painting and Music, as well as to Architecture. We would have here a great conservatory devoted to the Fine Arts, having its branches in every State in the Union, and receiving its support from these local organizations.

Our Government is so complex with its State and National administration that it is important in many of these matters that we should have a more effective co-operation between the States and the general government than is now enjoyed, for there are many powers that the States have which the National Government has not, and there are powers that the National Government has which the States have not ; and it is only by the union of these powers through some recognized system of co-operation that we can accomplish all that we

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want in the desired direction. In this scheme of organiza- tion, with the nation at the head, and the States following, it is quite probable that we will have in time, as a result of this process of evolution, a great National University, such as Washington contemplated — a university intended to bring the young people of all parts of the country into contact with each other, and destroy that sectionalism and provincialism which are likely to exist, unless the people of all parts of the country come into immediate association with each other. Such a National University, devoted largely, perhaps, to sub- jects not now covered by the State Universities, would be an immense factor in the general development of the country — the general development of the culture and the artistic taste of the country.

I venture these few practical remarks with reference to this matter, and I trust that you will find the opportunity, during your discussions here, to formulate some method of action that will bring about co-operation between the States and the Na- tional Government in this great work, and will, above all things, create a strong and powerful public opinion that will force action from a reluctant Congress. (Prolonged ap- plause.)

The Chairman. The next speaker upon our programme is a lady, and it is, therefore, a fitting time to pay a tribute to Kate Field, who was chiefly instrumental in obtaining from Congress the charter of the National Academy of Art, the Regents of which have called us together. You all know her devotion to the Fine Arts. We lament her loss, but she has noble followers, and competent successors, among whom, per- haps, there is none more competent to address us upon the "Relation of the Government to the Fine Arts" than Miss Leila Mechlin.

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THE GOVERNMENT AND THE FINE ARTS.

address of Miss Leila Mechlin.

Mr. Chairman and Fellow Delegates : Despite the fact that the Government has expended over five hundred million dol- lars, since its establishment, on buildings and other works of art, such as statues and paintings, it cannot be said to have deliberately patronized the fine arts, as it is quite easy to divorce art from its hypothetical manifestations, and the fact of buying largely by no means validates a claim to connoisseur- ship. To an extent the incidence of the tariff is illustrative of the attitude assumed, throughout, by the Government in regard to all matters pertaining to the fine arts. Not only, as we all know, has the duty been retained for years upon works of art which would have had a highly educational value, serving to develop taste and stimulate artistic mechantile production, but, through lack of expert knowledge on the part of those appointed to adjudicate claims, forgeries have been unwittingly authenticated and foolish discriminations made. In like man- ner, to be brief, the Government has failed to encourage ac- tively the development of native art, has placed a premium on mediocrity, and has made expenditures in this particular field in a manner which in private enterprise would be condemned as unbusinesslike and improvident.

It is not my intention, however, to deal in generalities, but rather to give concrete examples — instances which have come come under my personal observation during the past nine years in my capacity as art writer for one of the Washington papers.

Mrs. Harriet Lane Johnston, the niece of President Buch- anan, died in July, 1903, bequeathing to the Corcoran Gallery of Art her collection of paintings, historical documents, and so forth, with the provision that if at any time a National Gal- lery should be established the bequest should be given into its custody. Now it so happened when the Smithsonian Institute was established in 1846 it was made the custodian of all works of art belonging to the nation, and steps were taken, by the

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regents, to procure and maintain a gallery; plans for exhibi- tions and a school were considered ; and, in 1849, with excellent judgment, the sum of $4,000 was expended for the Marsh col- lection of prints. But that is as far as the matter was carried and as the years passed the project was lost sight of and even- tually forgotten. Fortunately, however, the Corcoran Gallery declined Mrs. Johnston's bequest, and the heirs being desirous that the collection should not be disbursed, the nation set about discovering a way to rightfully claim it, and unearthed a slum- bering institution. A decree of the Supreme Court of the Dis- trict of Columbia, issued in July, 1906, declared that the United States possessed a National Gallery. Mrs. Johnston's collection was turned over to the Smithsonian Institution and temporary accommodations were provided for it by the Na- tional Museum. Since then Mr. WilHam T. Evans, of New York, has presented to the Nation a collection of paintings by American artists — a collection of very considerable value and one which a few years hence, in all probability, could not be assembled — which is now set forth in the atrium of the Cor- coran Gallery of Art, where more than two years ago it was placed as a loan. Meanwhile Congress has been asked to pro- vide a home for these collections, the appropriation of a com- paratively small sum which would permit the remodeling of a hall in the Smithsonian building being requested. No re- sponse, however, has been made. Not one cent has been given by Congress toward the establishment, maintenance, or devel- opment of a national gallery, and the present situation is de- plorable. The Johnston pictures in the Museum Hall are seen to poor advantage, the Evans pictures at the Corcoran Gallery are not only cramped for space, but occupying walls which the Corcoran Gallery can ill spare, being obliged on this account to store some of its own exhibits. Mr. Evans has said that as there is no place to exhibit more paintings he will be unable for the present to make further accessions, and there is little doubt that other persons are being deterred from making gifts by the same reason.

To go back, however. While the settlement of Mrs. John- ston's estate was pending, Mr. Charles L. Freer, of Detroit, offered to give his collection of paintings, prints, potteries, and

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other art objects, valued at $600,000, to the nation, in the sponsorship of the Smithsonian Institution, promising to be- queath, in addition, the sum of $500,000, for the erection of a building in which it should be housed. In making this offer, Mr. Freer requested that experts be sent to his home to inspect and appraise the collection. Here was indeed a princely offer made in a manner eminently fair, but it aroused no enthusiasm on the part of the Government. There was fear expressed that Mr. Freer might be building a monument to himself which the Government should be obliged to maintain ; experts were not called upon to testify as to the worth of the collection; and the value of Whistler's productions, in which it was especially rich, was amiably discussed by those who laid no claim to connoisseurship in art though learned in sci- ence. *'Was he really great or merely eccentric?" "Would his pictures be reckoned masterly two centuries hence?" were among the questions which proved stumbling blocks to ready acceptance. Finally when it began to look as though further delay would mean eventual loss the matter was brought to the attention of the President and a meeting was called at the White House, at which the subject was warmly discussed and a decision arrived at. Now it is possible that if Mr. Roosevelt had not interfered the result would have been the same, but the situation at the time he took hold of it was to all appear- ances dubious. Of course, no one can say positively what might have happened under other conditions — I am only tell- ing what really did happen.

Every Government Department has a portrait gallery of its own, it being customary for every out-going secretary to sit for his portrait to a painter whom he or his successor may se- lect. This gives opportunity for ample patronage and the accession of some valuable works, but a glance at the collec- tions will show it, for the most part, to have been wasted. More than a few commissions within the past nine years have gone to a commercial photographer who has let them out to painters willing to accept work from any source, much as a contractor would sub-let a piece of brick-laying. (Laughter.) The wonder is not that the majority are so bad but so good.

And whenever an exposition is held the Government is

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obliged to seek the aid of artists. Each Department makes an exhibit, a portion of which is ofttimes pictorial. In one in- stance it was thought desirable to have pictures of all the bat- tleships painted, and the commission was given to a draftsman at the Navy Yard who was essentially an amateur in this field. The results were commendable but photographic, clever but not works of art, accurate but not pictorial, and to make things worse, real rope, gilded, was utilized in part, for the frames. (Laughter.) Doubtless they were worth all they cost, but that is not the question. (Laughter.)

It is possible that one may point to the Library of Congress in confutation of the statement that the Government has not deliberately patronized art as art. But let us look into this matter. A surplus was left from the original appropriation for the building and this, with permission, was utilized for the mural paintings which serve as decorations. The amount was altogether inadequate to recompense the artists for their work but as an opportunity to prove what might be done it was accepted and the unpaid-for labor cheerfully donated. These decorations are not all as good as the painters themselves now wish they might be, but they have lent impetus to mural paint- ing and had a far-reaching effect.

A parallel case -is to be cited in the Custom House at Balti- more. The architects through care and justifiable economy were able to save out of the appropriation a sufficient sum to permit the employment of a mural painter of distinction, into whose hands, it was their desire to intrust the decoration of the entire building. When this was made known to the Secretary of the Treasury, under whose authority the work was being done, he refused permission, saying that he would sanction money being spent for marble and wood but not for paintings, and he only finally yielded when the architects pre- sented their plea in person and proved its logic. To their per- sistence, rather than his good judgment, is due the existence today of one of the most perfectly decorated buildings in the United States. (Applause.)

Since the passage of the Tarsney Act, permitting the em- ployment of architects not in Government service, and the reorganization of the Supervising Architect's office under Mr.

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James Knox Taylor, there has been a marked improvement in the type of buildings which the Government has erected. In the early days of the Republic excellent taste was mani~ fested and the best talent employed for this purpose. Then came a long period of Stygian darkness from which we are but just emerging, and from which some of our law-makers have not yet emerged. Very recently it was proposed to erect a building for the Census Office which should be so plain and homely in appearance, for the sake of economy, that it was thought advisable to suggest that it be erected in an out-of- the-way place — a proposal against which, I believe, but one Senator made vigorous protest. And on the twenty-second of February when the question of the Fine Arts Council, ap- pointed by President Roosevelt, was being debated in the House of Representatives, a member, drifting away from the matter under discussion, asked, in all seriousness, if the in- sistence upon new plans and specifications for each new build- ing erected was not a subterfuge to keep certain draftsmen employed? advocating, to prevent this extravagance, the "keeping in stock" of sets of specifications and plans for, say, $30,000, $40,000, $50,000, and $60,000 buildings. (Laughter and applause.)

A little town in Texas is to have a new church, the plans for which have been prepared by one of the leading firms of Amer- ican architects — a firm especially eminent for their ecclesiastical designs — and a resident of that town, who is especially inter- ested, wrote me, that it had been a liberal education to the citizens to discover that good art of this type commanded so- good a price- — was worth so much in hard cash. This is, unhappily, not often the case. The feeling which seems to prevail on the part of the Government — or those who represent it — is that artists may be over-paid. More than once I have been asked how many hours it must have taken a sculptor, an architect, or a painter, to execute a certain work, how much his material cost, and then, if his profits did not seem enormous ,*• the years of labor spent in apprenticeship to gain the ability to accomplish such a result being entirely overlooked.

There is, undoubtedly, such a thing as extravagant economy, and in many instances, especially where art is concerned, it is-

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practiced by the Government. The chief charge brought against the Park Commission's plan for the future artistic de- velopment of Washington was that it was too costly, though in fact it is no more expensive to follow a good plan than a poor one, and while a large total would have eventually been reached, it would have extended over so many years that at no time would it have proved appreciably burdensome. It seems exceedingly remarkable that this plan, secured through the foresight and wisdom of a few, which has been endorsed by experts in all parts of the world, and has stimulated artistic city building in every part of our country, has never been ac- cepted or authorized by the National Government, and that while certain features of it have been developed it has only been on account of powerful outside intervention and against violent protests. That this plan had to be "slipped on at one time and in at another," to use President Taft's words, is, in itself, a commentary upon the art sense of the Government. For it is not only artists and architects who this plan im- pressed favorably, but such men of affairs as the late Mr. Cassatt, president of the Pennsylvania Railroad, who was will- ing to sacrifice money interests for it, and the members of the Chambers of Commerce of such practical, hustling cities as Buffalo and Chicago. The American Institute of Architects has stood sponsor to this plan from the beginning, and has prevented, by eternal vigilance, its final operation being per- petually blocked. For this it is entitled to the gratitude of the nation but because of it, it has come to be regarded in certain quarters with distinct disfavor. Nor is the battle by any means won. Riverside Park is to be developed, Rock Creek Valley to be opened up and parked, the Anacostia flats turned into a pleasure ground, and the water front improved — all large projects requiring years for execution. We may all feel, with President Taft, that this plan will be followed, but we have only our confidence in its intrinsic merit as a reason for our faith.

Turning, however, to the subject of sculpture. Within the last nine years the Government has awarded commissions for nine statues to be erected in Washington, a pair of bronze doors, and a pediment for the Capitol. Seven of the statue

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commissions were given through competition — a method which it is well known rarely brings forth the best results. Not that I would say that all these nine statues are, or are going to be, poor, from the standpoint of art, but I do say that they will not be the best which might have been secured. Too often it seems that the Government, like Cadet Derby, having the choice of a good and a bad apple, voluntarily takes the latter, but with less excuse. Scrutinizing carefully the statues in Washington commemorating our military heroes, one is forced to conclude that Mr. Mabie was right in merely "cherishing the hope that posterity might realize they were erected through ignorance and not in malice." (Applause.) To be sure there are exceptions, some striking ones, but it will only be necessary to compare the Sherman statue south of the Treasury with the Sherman statue on the Plaza, New York, to appreciate my meaning. (Applause.)

Last of all, attention may be called to the proposal concern- ing a Lincoln memorial which was so strongly agitated last winter ; a proposal to utilize the sentiment attached to a memo- rial of Lincoln, and aroused by the celebration of the centenary of his birth, to get an appropriation through Congress for the purchase of the land lying between the Capitol and the Union Station. Twenty-five thousand dollars was appropriated by Congress seven years ago in order that a committee might look into the subject of a suitable memorial to Lincoln and secure plans. A member of this committee went abroad and made an exhaustive study of memorials, collected data, and, about the time the bill for the memorial adjacent to the Union Station was introduced into Congress, made a report, advising the construction of a roadway from Washington to Get- tysburg, one of the features of which should be the sculpture along its length, presented and erected by each of the States. Shortly after this a third bill was introduced authorizing the site selected by the Burnham Park Commission on the river front at the Washington terminus of the proposed Memorial Bridge to Arlington — a site already belonging to the Govern- ment and endorsed by experts. Nothing is to be said against the acquisition of the land adjacent to the Capitol — unques- tionably it should be purchased by the Government — and only

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commendation can be given the really beautiful design for a semi-circular peristyle on the plaza of the Station which was proposed as the memorial, but it is plain that neither should have been contingent upon an appeal to sentiment, nor enter- tained when they did not accomplish the declared object.

I do not wish to give the impression that everything pertain- ing to the fine arts is done hopelessly in the dark — that nothing is good — that no progress is being made. If, indeed, the case were as bad as that, there would be little encouragement for effort. More and more frequently now expert advice is sought, and though not always followed, better results are being attained. This, however, is invariably through indivi- dual intervention — the wisdom of those who chance to hold office, and must not be mistaken as an evidence of permanent progress. It is not Governmental.

In spite of certain enlightenment the impression still pre- vails that art is an effeminate luxury, a token of decadent aris- tocracy, a veneer costly and unnecessary. We are still prone to pride ourselves over-much on being plain citizens and on having commonsense — mistaking crudity for simplicity and ignorance for logic. This is partly through ignorance and partly through lack of confidence on the part of laymen in artists. It is difficult, I admit, for the average lay mind to comprehend the vagaries of the artistic temperament — to avoid confusion through the diversity of opinion regarding matters artistic, and to understand the way in which artists attain pro- fessional standing. But this can be remedied. Members of Congress, Cabinet officers, and Army engineers cannot be re- quired to be connoisseurs in art — to have trained knowledge along this line, but it is possible for the Government to place the administration of the fine arts, not arbitrarily but regu- larly, in the hands of art experts, men who have given years of study to the subjects and are specially qualified for the trust. This, as Senator Newlands has just explained, would be the purpose of a National Bureau of Fine Arts.

The question is, how can the present conditions be remedied and this result be attained? And I answer, not by the effort of any one, nor of a few, but through the co-operation of all. If the farmer in North Dakota, the fruit grower in California,

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the mill owner in Massachusetts, the miner in Colorado, the cattle raiser in Texas, can be convinced that the wise adminis- tration of the fine arts by the Government would mean some- thing to them, something to their children, something tangible and practical, the thing would be half accomplished, yes, more than half. For though we talk a good deal about autocracies, ours is, in fact, a government of the people. The great trouble is that the majority of the people do not care, and what is everybody's business is nobody's business. And here it is that such a Federation as it is proposed to organize at this conven- tion should be able to lend valuable aid — not by passing reso- lutions and offering petitions but by carrying through its fed- erated associations the message home and inducing active interest in all sections.

It is true that we are a young nation, that we have been busy developing our industries and opening up a vast territory ; but we have grown rich and prosperous and come in a measure to maturity. It is now we must decide, whether, henceforth, we shall buy gold or tinsel — whether we shall build monuments which will testify to the most, or to the least, enlightenment we have attained — whether, as the President of Columbia Uni- versity has said, we shall cultivate the public taste up or down. (Applause.)

At the conclusion of Miss Mechlin's address, the Chairman, seeing the British Ambassador enter the room, invited him to take a seat on the platform, after which he announced the appointment of the following committees :

On Constitution and By-Laws. — Frank D. Millet, Chairman ; Geo. W. Cable, Daniel C. French, Allan Marquand, Mrs. F. O. Lowden, Arthur Jeffrey Parsons and Henry Read.

On Nominations. — Dr. Chas. W. Needham, Chairman ; Wm. M. R. French, C. Grant La Farge, Florence N. Levy, Theodore Marburg, Leila Mechlin, and Hennen Jennings.

The Chairman then introduced the British Ambassador, who had consented to speak.

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address of

Right Hon. James Bryce, O. M.,

Ambassador from Great Britain.

Mr. Chairman, Ladies and Gentlemen : I find myself called upon, very unexpectedly indeed, to say a few words to you, and I have the more regret that I was not able to hear the part of the proceedings which have already passed this morn- ing, from which I might at least have derived some suggestions as to topics to which it would be suitable to offer some remarks. However, as I am called upon thus, and as I understand this is a meeting open for free discussion, I will obey your Chair- man and say what comes into my mind, suggested by the purposes which bring you together.

I was asked by Mr. WiUiam E. Curtis, some days ago, to tell you what has been done in Great Britain, in the way of bringing general canons of architectural taste to bear upon public buildings, and especially what statutes, or local regula- tions, existed preventing the unfortunate results which arise from erecting side by side buildings in different styles and of different heights, each marring the effect of the other. There was very little time to ascertain what our laws in Great Britain were on the subject. However, I wrote at once to a friend there, and I received, by cable, the answer which I expected, namely, that we have not got those statutes and regulations. This is very melancholy, because I should have been in a very strong position if I had been able to come before you and tell you what we had done in England, holding it up as a model for you! It would have been a beautiful thing for the old country, which claims to have done something in originating institutions which have been developed further in this country, if it had been able to pose as a leader and standard bearer in the cultivation of art in its public aspects and in the bringing of legal weight to bear upon the artistic growth of cities ! Un- fortunately, that is not so.

I will tell you, Mr. President, as far as my recollection goes, what are the only ways in which we do incidentally prevent

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the disfiguring of cities by improper buildings, but, mean- time, let me tell you that those who love art and taste in Eng- land, and in particular the organizations of architects them- selves have for a long time past been endeavoring to obtain some public regulation of streets and buildings. So far they have failed. They have failed for an obvious reason, which no doubt would be operative here also. They have supposed that regulations by public authority would infringe what are called the sacred rights of property. Now, property is a very good thing in its way, but property sometimes carries its de- mands a little too far, and that because the right of owner- ship of a piece of land is vested in an individual, he should therefore have the right to put up buildings which may not only destroy the general beauty of a street or square, but may also destroy the beauty and effectiveness of buildings directly adjoining them which some man of better taste and higher public spirit has erected, with a view to the public enjoyment, as well as his own, would seem to be going a little too far. You may recall the words of Madame Roland at the time of the French Revolution, who said, "O, Liberty, what crimes are committed in thy name !" And I feel sometimes in- clined, when I see the extravagant demands that are made in the name of property, to say, "O, property, what atrocities are justified in thy name!" (Laughter and applause.)

It seems unlikely that for sometime to come we can, at any rate by public authority, secure that which we may call the censorship, or supervision of the erection, style, design, and size, of buildings to be erected in streets and squares, which I understand the members of this association desire. But, one must not despair of the future. After all, there is some prog- ress marked by this mere fact that many more people desire the thing now than desired it formerly. There is furthermore this consolation, which we may apply to our minds, when we regret the absence of legal regulation — that if legal regula- tion had existed in former times we might have had things done which we should now regret. We might have had whole lines of streets, or large squares and circles built in styles which we should now think uninteresting and monotonous, merely because they represented the particular dominant taste

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and tendency of a particular time. Note, for instance, what was done by Baron Haussmann, when he built so large a part of the great thoroughfares of Paris in the day of Louis Napo- leon. Most of us would now feel that those long lines of boulevards are monotonous and, indeed, many people would call them dull and soulless. Certainly there is far too much of that sort of thing in Paris. That was the style of the time. Haussmann was able to carry out the ideas which he, or somebody else for him, endeavored to apply, and the con- sequence was that the picturesqueness and charm of old Paris vanished. A great many of its quaint, windmg streets, which carried one back to the days of the Renaissance, and which we would gladly have preserved, then made way for the tame and conventionally ornate, but essentially wearisome style which Haussmann applied to those great Parisian thorough- fares.

We cannot be too sure that something of the same kind would not happen again ; and, therefore, perhaps, we must not too much lament the unchartered freedom, the unqualified and absolute license which is now enjoyed, because it, at any rate, does preserve a certain measure of variety. And when taste grows better it may be that everyone putting up a building in a street will think a little more than he has hitherto thought of its harmony with the adjoining buildings.

As you know, there is one difference between the condition in London and the condition here. In your American cities, as a rule, the man owns his own land and puts his own house upon it; or even if the builder builds the house upon specula- tion and afterwards sells it, it is generally not done in large stretches of houses. In London, on the other hand, the exist- ence of large estates, each owned by a great landlord, has led to the erection of long stretches of houses, sometimes perhaps half a quarter of a mile or even a quarter of a mile, all upon some uniform plan. The architect of the estate controls the whole affair, and what is erected follows the designs he sug- gests or approves. You have not that here, and therefore you see the results in the fact that in London many of our streets belonging to these large estates are exceedingly mo- notonous, and such streets as Gower Street or Hurley Street,

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for instance, are as dull as can be. Here, and in Washington, in particular, on the other hand, you have the very opposite extreme. Everybody does what is right in his own eyes. He builds his own house in his own way, and you very often have the most incongruous styles or sizes close together. At the same time you have a certain amount of variety, which on the whole, is better than the dreary uniformity of such a dream of ugliness as Gower Street.

This further thought occurs to me as bearing on the subject, namely, that so far as I know (I hesitate to assert anything positively in the presence of so many specialists and experts) there was never any age until the nineteenth century when people built in so many different styles, side by side. (Ap- plause and laughter.) If you go back to the end of the Middle Ages (for, of course, we have not very many private houses left from the Middle Ages, and comparatively few in England, even from the sixteenth century), it was otherwise. It was ^otherwise even in the seventeenth and eighteenth centuries. Should I be wrong in saying that in all previous ages of the world, down till about 100 years ago, pretty nearly all the liouses erected at the same time were built in something like the same general style? Whether you took the fifteenth, six- teenth, or the seventeenth and first half of the eighteenth cen- tury, you would find that the houses that were built about the same time usually followed the same general design and were marked by similar architectural details. I hope this broad statement is not wrong. If it is, I would like to be corrected at once, in order that I may not get any deeper in the mire.

But, speaking as an amateur who has wandered through a great many cities of Europe and Western Asia, that is the general impression a study of the past produces. About the middle, or rather before the middle, of the nineteenth century we began to be interested in older styles and to attempt to reproduce them. There was a revival of the Pointed Gothic and also of the Romanesque. One architect fancied one style, another another. So men got to building in all sorts of styles, so that you may now see in modern English or American •cities houses, or churches, side by side whose architecture em-

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bodies styles of the fourteenth, fifteenth, sixteenth, seventeenth or eighteenth centuries. You may see a City Hall, or a private mansion, in the Colonial, or Georgian style, side by side with a bank imitating the Tudor architecture, or a church in Fif- teenth Century Perpendicular Gothic. In the streets of Wash- ington. Twelfth Century Romanesque and Eighteenth Cen- tury Georgian are constantly challenging one another. Thus we. have a certain grotesqueness and strangeness of effect which did not belong to any preceding architectural age. Now this may pass. It may be that in the twentieth century people will either hit upon a style which is new, or will manage in some way or other so to adjoin buildings to one another as not to make the contrast too startling. It is a common error, to which we are all liable, to assume that the particular merits or faults we observe in our own times are necessarily likely to last. It may be that just as we passed into a new phase in the middle of the nineteenth century, so we should pass out of our present phase into some other in another fifty years. Therefore we need not despair. What we have got to do is to each of us try to cultivate good taste and endeavor to edu- cate the public.

One remark, however, I must make about our English build- ing laws, such as they are, to note a point in which they may deserve to be copied by you. We have laws which prevent the erection of buildings of great height, out of proportion to the width of the street in which they stand. (Applause.) It would not be possible with us to have such skyscrapers as adorn the southern end of Manhattan Island' — I say *'adorn" because they seem to me to be the most striking as well as novel feature of modern city architecture. If you sail around the south end of Manhattan Island late in the afternoon, when the lights are falling athwart these tremendous piles, and look up at them from about one-fourth or half a mile off to the south, they do constitute one of the most tremendous and awful things that human imagination, or human wealth, or ingenuity, has ever succeeded in planning. You may say it is hideous, but there is a certain grandeur in the hideousness. They seem to me to be fitted to suggest to an imagination like Dante's some gigantic simile, with which might be compared something

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that is outside our own earth. (Laughter and applause.) Let us, therefore, even in the midst of our horror, admit that they give us a new idea of what architecture might be capable of in the hands of some one who was able to combine these gigantic dimensions with those lines of beauty which at present are wanting in the skyscrapers.

Now, in the interest not so much of beauty as of sanitary requirements, it is not lawful with us, at any rate in London, and I believe the same is true of our other great cities, to erect a building disproportionate to the width of the street in which it stands ; and that is a rule which should surely commend itself not only to good taste, but also to considera- tions of health. It cannot be for anyone's advantage to be obliged to live in a comparatively narrow street, at the bottom of a deep well, from which fresh air and sunlight are so en- tirely excluded as they are from some streets in New York and Chicago. That surely is a subject to which this Federation might very well direct its attention, and in which you will have a great deal of sympathy even from those who have not yet been educated up to the highest aesthetic standard.

One word more I would like to say upon another subject, in connection, however, with the question of building regulations — it is the use that may be made of beautiful sites. Every traveler through this country must be struck by the fact — he is struck by it, of course, in Europe, too, but I want to give you American illustrations — that there are sometimes sites of great natural beauty which are not turned to proper account. (Applause.) Let me begin by frankly confessing the sins of my own country in this matter, in order that you may not think I am too censorious about your country. There is hardly any spot in Europe which is more picturesque and striking, and which is more ennobled by historical associa- tions, than the Castle Rock of Edinburgh. Probably most of you have seen that Castle Rock and you know how from the early days, when the Saxon monarch is said to have erected a rude fortification upon the top of it, down almost to our own time, it has been one of the centers of Scottish history, and you know of how many striking events it was the thea- ter in the sixteenth and seventeenth centuries in Scotland.

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It is the scenic glory of Edinburgh, which is one of the tnost picturesque capitals of Europe, and one with which many literary memories, as well as historic memories, are inter- twined. Now upon the top of Castle Rock there stands one of the ugliest buildings that the wit of man ever devised. It is a marvel to me how it has been possible to allow that hideous erection to stand all this time. It was built as a sort of barracks, and I think at the end of the eighteenth or begin- ning of the nineteenth century ; and it immediately overshadows and dwarfs one of the most delightful, tiny specimens of Romanesque architecture in Scotland — the Chapel of Queen Margaret. This odious structure completely destroys the ar- chitectural effect of the top of Castle Rock ; and it does seem a tragic thing that it should be allowed to remain there. I suppose the only good reason that can be given is that it would have to be replaced by something else, and the con- troversial spirit of the Scotch would be occupied in discuss- ing what style of building should be put in its place and the discussion would never come to an end. Far better destroy it altogether.

Well, there is an instance in order to show that I do not come before you and tell you that we have found perfection and that you ought to follow, because we in Britain ourselves have a great deal to correct and a great deal to regret.

Many years ago I happened to visit the city of St. Paul, Minnesota. There was then a street running along the edge of the great bluff which overlooks the Mississippi River. The street was nothing in itself, the houses were neither better nor worse than the other houses of a western city. What was delightful was the view from the street. Nothing could be imagined more beautiful and effective than its site made it, to those who walked in that street. For something like half a mile the houses had been built upon one side only, leaving the other side open; and you looked from the edge of the bluff over the broad, smiling flood of the Mississippi River beneath, winding in graceful curves through the valley. A mile or two off you saw the opposite bluff, covered with woods, stretching away down to the south ; again, with those lovely curves, again with those exquisite woods fringing the water, and with the

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illimitable prairies stretching off beyond the bluff's edge far away to the West. It was worth going hundreds of miles to see that view from the street along the bluff of St. Paul.

The next time I went to the city I found they had built up the other side of that street, and the view from the bluff was entirely gone. Nobody could see the view except the people who looked out of the back windows of the houses on that side of the street ; and the main street of St. Paul, instead of being a fascinating and romantic street, with this exquisite view all along it, had become like any other street in any other western city. And yet how small the value of the houses on the side towards the river would have been, and how well worth the while of the city it would have been to have bought up that edge of the bluff and kept the bluff view open for all generations, to be a joy alike to the people of the city and its visitors. (Applause.)

The other day I saw something of the same kind in San Francisco. Nobody who inhabits any other city, I hope, will be offended if I venture to say that the city of San Francisco has got the grandest and noblest site of any city on the North American continent. Many people talk of Quebec and New York, and there are many other picturesque spots, such as Detroit and Kansas City, but I cannot believe there is any other city which deserves to be compared with the city of San Francisco for situation. Look at the magnificent bay, stretching many, many miles inland, bordered by mountains and studded with islands. Look at noble Tamalpais and its fellows, that rise to the north of the Golden Gate, or at the Golden Gate itself and the immense expanse of the Pacific beyond.

Bombay and Constantinople, Rio de Janeiro and Naples, have been compared with it, but there is really hardly a city in the world fit to be compared with it. Certainly no city is either more finely placed, or has a more delicious air, and surely none more enthrals the imagination than does the city of San Fran- cisco. Now, San Francisco has latterly been spreading north and west. Its people have no doubt done a very admirable thing in taking the large stretch of sandy and waste ground to the west and turning it into a garden and park. But as the

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city spreads northward it has come onto a group of bold, nearly isolated, hills, which look down, on the east to the Bay, and on the north to the Golden Gate, and to the northwest out through the Golden Gate to the Pacific. They rise from the water's edge pretty steeply, to a height of from, speaking roundly, two hundred to three hundred feet. They offer the most superb position that can be imagined for architectural decoration, for fine public buildings, such as a City Hall, a Court House, or for churches, to crown the tops of the hills, while rows of great mercantile offices, or fine private resi- dences, might run in terraces around the slopes, sinking one after another down to the level of the sea. There would be beautiful promenades commanding these views ; superb sea and mountain views ; and the aspect of the city from the Golden Gate and the Bay and the opposite shores would be altogether noble.

The recent earthquake at San Francisco seemed to give opportunity for taking this land and laying it properly out, and so handling it as to secure the maximum of architectural ef- fect, and to the maximum of beauty to the landscape. Nature had done all she could ; Nature had invited the people of San Francisco to make their city worthy of the site she had pro- vided for them. Was it that the people of San Francisco were especially wanting in local or municipal pride ? Certainly not. But, somehow or other, nobody stepped forward to do what was needed. The business men of San Francisco were in a great hurry. They had suffered terrible losses and wanted to repair these losses at once. So they ran up buildings in a rough, sudden, hasty way; they lost the opportunity of laying out streets, and, above all, they lost the opportunity of making this wonderful group of hills worthy of the opportunities which Nature had provided for them. I do not know whether this omission can ever be repaired. Perhaps it will not, because the larger the city grows the greater the value of the land and the greater the difficulty of purchasing the land and laying it out for architectural purposes.

One cannot exactly complain of the people — they were suf- fering from the effects of a great natural catastrophe ; they had lost so much money that they were little disposed to incur the cost of great improvement. There was no directing mind to

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say what had ought to be done. I found the most intelHgent people deploring what had happened, but they said it was un- avoidable. I will do no more than to express the regret which whoever visits the city hereafter will feel. Here there seems to be a subject fit for the deliberation of such a body as this, and one to which you may direct the attention of the American public, in the hope that by familiarizing the body of the people with the ideas you hold, you may at last succeed in bringing about better appreciation of the value of beauty in this land. That is surely the main aim for which your association exists.

You want to make people understand that we are not living here merely for the purposes of commerce and material devel- opment; we are living for the purpose of enjoyment, and that among the sources of enjoyment there is none which we ought more to cultivate than the preservation of such beauties as Nature has deigned to give, as even in and around those huge cities which we are unfortunately forced to inhabit. We are laboring in the same cause in England. We have formed societies for the sake of preserving places of natural beauty and historical interest ; and also for the sake of endeavoring to improve the architecture of our cities. We have a partic- ular society which I dare say is known to some of you, which has been working assiduously to prevent the defacement of the beauty of the city by advertisements, a form of defacement which is the shame of the nineteenth century to have in- vented, but which I hope it will have been the glory of the twentieth century to have abolished. (Applause.)

These are things, ladies and gentlemen, after all, which can only be done by permeating the public mind. It is often said, and with truth, "There is no use trying to get legislation in advance of public opinion." You have got to create here, as we have also to create in England, an enlightened public opin- ion in these matters. It will be a slow business, but many of you will live, no doubt, to see the cause advanced much farther than it is now ; and when you have educated public opinion you will succeed in getting legislatures and city councils to adopt regulations which will secure the objects you have at heart. In all your work, let me say once more, you have the very warmest sympathy from those who are laboring for like ends in European countries and especially in Britain. (Applause.)

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Mr. Glenn Brown, acting secretary, then announced that the Cosmos Club extended to the delegates of the Convention the privilege of its Club house for the period of three days, ex- plaining that the male delegates only were referred to — the club being devoted exclusively to men.

The Chairman next called attention to the fact that the President and Mrs. Taft were to receive the delegates and their families in the East Room of the White House at half past two o'clock, and then said:

The Chairman. For the fine programme of the morning, or for the arrangement of this programme, we are greatly indebted to Mr. William E. Curtis, Mr. A. J. Parsons, Mr. F. D. Millet, and Mr. Glenn Brown, and I feel that we ought to thank them for the work that they have done in arranging so successful a meeting. (Applause.)

There will be a session of the Convention this afternoon at half-past three o'clock in the large hall up-stairs at the top of the hotel.

Is there anything more to come before the meeting?

Mr. Ellicott. In connection with the admirable remarks of the British Ambassador I should like to show a little dia- gram, which I made — a thing that occurred to me many years ago — the idea of creating a vista in front of St. Peter's in Rome. Everybody probably knows that St. Peter's Church in Rome is approached only through two very miserable streets, but it is quite evident that the great architect who laid out the plan of the church and the peristyle meant something better for the approach to that church. (Holding up diagram.) You will see that these two streets converge and come pretty nearly to a point. There are about three or four small blocks of buildings, of very minor importance, I think, which I have indicated in red, and if these buildings were taken down there would probably be one of the most splendid approaches to one of the greatest buildings in the world, and I think it would be interesting and suitable to suggest to the American Academy in Rome that some little study and thought be given to that object.

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Mr. Marburg. It seems to me that so valuable a sugges- tion as that of Mr. Ellicott's ought not to be neglected and that it would be well to refer it to a committee of gentlemen, if there is no Committee on Resolutions, with the idea that the society might act upon it later on.

This motion was seconded and carried. The Convention then adjourned until afternoon.

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SECOND SESSION. Tuesday Afternoon, May U, 1909.

In the Banquet Hall, New Willard Hotel, at 3.30 o'clock, Mr. Charles L. Hutchinson in the chair.

The Chairman. It is our intention to begin the sessions of the Convention promptly at the hours named upon the pro- gramme. We are a little late this afternoon on account of the delay at the White House. President Taft explained that he was unavoidably detained by a call of the Russian Ambassador.

The Chairman has appointed as members of the Committee on Resolutions : Theodore Marburg, Chairman ; H. W. Cor- bett and Mitchell Carroll, and will ask Mr. Ellicott to kindly refer his matter to that Committee.

This afternoon we are to have a programme as interesting as that of the morning, and when I say as ably handled I am set- ting a very high standard. The first subject for our considera- tion is the "Cultivation of Public Taste," and anyone who is interested in the Fine Arts knows Miss Levy, another of those devoted, able women who are doing more than we can tell for the upbuilding of the love of the fine arts in our country — Miss Levy! (Applause.)

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THE CULTIVATION OF THE PUBLIC TASTE.

address of Miss Florence N. Levy.

Mr. Chairman, Ladies and Gentlemen: It is quite out of place for me to mention, before this audience, the need of cul- tivating taste or the importance of good taste. It is my pur- pose to outline briefly what has been done in Europe for the cultivation of taste ; to tell you, also, very briefly, some of the work that has been done and is being done in the United States for the cultivation of taste, and then to suggest some of the things that an American Federation of Arts might do to help this movement.

At Mannheim, in September, 1903, there was held a con- ference of museum authorities, possibly the first of its kind ever held, and certainly the first one that was held in Germany. The purpose of this conference was to discuss ways by which museums might be brought into touch with the working peo- ple. The following notes will give some idea of the subjects touched upon at that Congress. The representative from Bremen spoke of the fact that in that city visits to the museums were obligatory on the children of the public schools, and that the children were required to write about what they had seen. From Vienna collections are circulated through the towns of Austria that have no museums, and lectures, in connection with these exhibitions, are given by teachers at the high schools. The Kingdom of Bavaria encourages the formation of small local museums of art, connected with the life of the people. In Paris there is a Musee Pedegogique which circulates an- nually 40,000 lectures, with lantern slides. In London the Victoria and Albert Museum, better known as the South Ken- sington, is the center of that wonderful system of circulating exhibitions, chiefly of industrial art, which goes to some 350- art schools and some 90 county museums. Munich prides it- self on its industrial schools and its industrial museums.

Coming to our country I would call your attention first to the marvelous growth of interest in art during the past fifteen years, that is, since the World's Fair in Chicago, in 1893.

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It is true that the Pennsylvania Academy of Fine Arts has already celebrated its centennial, and that the National Acad- emy of Design is only within ten years of its hundredth an- niversary, but it is only recently that there has been this wide interest in the training of taste. We have had good artists — we have them today, but not a sufficiently large, appreciative public. This very meeting shows the interest that is being taken. At the present time there is being held in Philadel- phia a three days' convention of the museums of the country — the American Association of Museums ; and the Art Museums are federated through that association, although the art sec- tion has done no active work. The art teachers have their federation — there is the Eastern Art and Manual Training Teachers Association, that has just closed its two days' con- vention in Pittsburgh ; and the Western Art and Manual Training Teachers Association, which will hold its convention shortly in Los Angeles.

All this is simply to show that we have passed the stage when art meant only the easel picture in the gilt frame; we have come to the time when art in life — art and life closely related — mean very much more to us. There is the keener appreciation of beauty on all sides, keener appreciation of nature which comes very often through training in art. It lends itself to producing better citizenship — better men and women and happier lives.

A practical example of the way this influence is felt will be shown by some of the experiences of a little group of students in the Technical School for Girls which I was in- terested in last summer. On one occasion Dr. John Quincy Adams, the secretary of the Art Commission of New York, spoke to them on "Art and Life." He had a Chippendale chair on the platform, and a modern gilt one. He compared and contrasted these chairs with personal characteristics — showed the sterling qualities of the Chippendale chairs and the deceit of the veneer, the paint and the lack of strength in the gilt chair. About three hundred girls heard this talk; I could not manage quite as many as that out of doors — but about twelve or fifteen went with me each Wednesday to see some points of artistic interest in New York. One day one

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of the girls suddenly remarked, "O, there goes a gilt chair!" It was just the type of woman that corresponded to the gilt chair. (Laughter.) Another day this same group of girls, was with me in Union Square, and we were looking at the statue of Lafayette. Those of you who know Union Square, know that there are other statues there, and also that it is a great center for the little newsboys. A tiny little one, just a bit taller than this desk, joined us. He was very much in- terested. After we had walked around and tried to see which was the best point of view, I asked him whether he had ever noticed that statue before. "No, but I know the Washington and the Lincoln, and now I have three friends here," he replied.

Just one more of these experiences of the girls. We were on our way down town to Battery Park and took the subway. When we got out of the subway I made them stop suddenly and look up at the sky. One of the girls said, "I never knew that it was so beautiful, I never knew it was so blue." Now, if we can give them that which will help to make their lives happier we shall have accomplished much — if when they come out from the subway they can see a bit of beauty in the sky, surely they will be in better condition for their day's work.

Twenty years ago George Brown Goode, speaking at the Brooklyn Institute of Arts and Sciences, predicted that in 1914 the United States would lead the world in the educa- tional value of its museums. He reasoned that the first great exposition was held in London in 1851 and that in thirty-eight years the South Kensington Museum had reached its won- derful development. Taking, therefore, the first exposition in this country, the Philadelphia Centennial of 1876, he allowed the same number of years for our development along these lines. "The Museum of the Past," said Mr. Goode, "must be transformed from a cemetery of bric-a-brac into a nursery of living thought. The museum of the future must stand side by side with the library and the laboratory as a part of the teaching equipment of the college and the university, and co- operate with the public library as one of the principal agen- cies for the enlightenment of the people."

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The value of a museum's collection should not be estimated by the money spent nor by the size of its catalogue, but by the aesthetic growth of the community, and while some of our museums have been little more than storage warehouses, they are beginning to realize that they need an active propaganda — they have work to do in teaching the teachers first, in order that, in turn, these teachers may carry it to our young people in the schools.

Without reference, then, to the actual value of the collections in any of our museums, I would like to summarize what these museums are doing. Boston's Museum of Fine Arts was the first to give active and systematic instruction to grade teachers, and it is constantly increasing its work along that line; lec- tures in the galleries — direct help to the teachers; and it has the largest collection of photographs for reference.

Chicago's Art Institute has the best lecture hall, the finest library building, and the only library class room. I am leav- ing out of consideration altogether the question of conduct of the art schools in connection with the museums. That is another phase. That is the training of the artist, and I am trying to touch merely on what our museums are doing to cultivate taste in the general public.

Detroit has the largest collection of lantern slides, and has conducted the most successful course of lectures for the public.

Toledo has been most successful in carrying out a system- atic plan of co-operation between the public schools and the museum. Every child in the elementary public schools of Toledo visited the museums last winter, and heard a talk on "Egyptian Art," and handled objects some 3,000 years old. That was made possible by the fact that the Director gave a twenty-minute talk in the Egyptian Gallery at 2 o'clock every day of the school term, and twenty-two thousand children heard that talk. This year he has taken up Greek Art in the same way, and every child in Toledo's public schools will know from direct contact with objects of Greek Art some- thing about that phase of art development.

Pittsburg is the only city which has systematically cir- culated large photographs of pictures in its collections. There the Art Department of the Carnegie Institute has framed three sets of large carbon reproductions of the best paintings

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in its permanent collection, and these go from school to- school, remaining about a month at each school.

New York, we will have to acknowledge, has been asleep, but when New York wakes up it generally gets far ahead of the other cities. The Metropolitan Museum of Art has been undergoing changes for the last three years. It has recently started the educational work by having a small class room. It is lending lantern slides, and it has a guide who is kept very busy taking people through the museum. But there is more coming. The new lecture hall is completed and will be^ opened for use next winter, the new library is almost finished,, and there are other innovations under consideration.

The Brooklyn Institute of Arts and Sciences has the best organized courses of lectures and its weekly bulletins keep its. thousands of members in touch with its many activities. This- does not by any means include all that has been done for the cultivation of taste in the United States. It would take up^ a great deal more time than you would give me to cover that, field.

The various societies of artists are, we must acknowledge,, organized chiefly to show the work of members, but, at the same time, they have been a great power for training in taste.

One of the strongest influences along this line is the mu- nicipal art society or municipal art league, or civic art league, where the combination of layman and artists working together for the good of their city, for the beautifying of their home surroundings, has done so much to cultivate public taste. The Women's Clubs dot this country very thickly. They are well' federated in city federations. State federations and a national federation. The art societies could well use them as models. From the first they studied the history of art and some years ago this was considered all that was necessary. When they had an art day, a member would be asked to write about Raphael, or some other artist, would look it up in an encyclopedia, and read what had been copied. It meant nothing to them; they had never seen a painting by Raphael ; they could not understand or appreciate. But lately more practical work has been done. They have circulated

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groups of paintings by some of our best American artists, and they have also circulated good copies of noted paintings. There are, I believe, at present three groups traveling. They are in such demand in the smaller cities that although the exhibition can remain only three days in a town before it is sent on to the next nearest point, there was, a short time ago, a waiting list of 122 towns asking for collections of this kind. The full credit for carrying on this work is due to Mrs. John Sherwood, of Chicago.

The artists also have circulating exhibitions. The Society of Western Artists sends one regularly to the museums of Chicago, St. Louis, Cincinnati, Columbus and Indianapolis. There is also what is known as the Mid- West Circuit, which sends pictures to Lincoln, Kansas City and Lawrence, Kansas. The New York Water Color Club and the American Water Color Society also send out groups of their work.

Then there are State art societies. Perhaps some of you will be surprised to hear that the first State art society was founded eight years ago in Utah. Minnesota followed next, and Washington was the third State. Each of these State art societies circulates pictures, and the industrial art crafts in its own State, awards prizes and makes purchases for a State Art Gallery.

The Craft Societies for the development of the arts and crafts and for manual training have grown wonderfully in number in the past few years. I saw a statement in print a few days ago that there was something like two thousand craft societies in the United States. I have been unable to locate even one-tenth of that number, that is, to get actual data and the names of officers from them ; but there are very, very many, and they are exerting a great influence. Some of this influence is not quite in the right direction. It is not necessary that we should have hand-made jewelry, poor in design and rather clumsy in execution. It is necessary that we should have well-trained cabinet makers, wall paper de- signers, potters, etc., and it is along the practical side that we need a great deal of help.

Of all the influences now being exerted, however, the strongest is through the public schools. There you get in

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touch with thousands of children at the age when they can be most easily influenced. Do you realize that in New York city there are 604 elementary schools, with over half a million children, and those children are under the influence of the school every day for ten months of the year. Results depend practically upon the individual teachers here, and it devolves upon organizations such as this to help the teachers. Art is only one phase of their work, but they grasp eagerly every little bit of assistance that is given to them. The co-relation of the departments of art and manual training in the public schools has led to much better work, because designing is done for a specific and direct purpose, and when good forms have been made in the shops they are decorated appropriately — not ruined by the decoration.

School Art Leagues have been organized in many cities, their chief purpose being to aid in the decoration of the school buildings by presenting pictures and casts. The Art League of the Public Education Association of New York has gone a step further and awards a bronze medal for "Fine Crafts- manship" in each of the workshops of the elementary public schools.

An art class was formed a few years ago at the Young Men's Christian Association for instruction to the salesmen of the New York department stores. At first this was rather an experiment, but it has proved a great success. These men vary in age from sixteen to sixty, and they are a most interested and interesting group. Out of this class has grown what is known as the "Art in Trades Club." As an example of the influence of this training, suppose that you go to a shop and want to buy wall paper. You have a sample of carpet, and say, *T want something that will go with this carpet" — you do not say "harmonize" — for in the past the salesman knew nothing about that. Once upon a time he would have pulled out the first roll of wall paper that came to hand. If, however, he knows something about color and harmony and fitness he will bring out the right thing. It then becomes simply a choice between two or three, any one of which would be good. You see the enormous influence that can

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thus be brought directly into the homes of the people through such training in taste.

And now, what can an American Federation of Art societies do to help this ? First and foremost it can serve as a clearing- house, where the experience of one organization can be handed on to the next. A new organization, the one that is struggling and feeling its way will not have to go through all the trials and tribulations that some other society has had when it began its work. It can have expert advice from those who have gone through these same trials. It can have a lecture bureau that would furnish typewritten lectures and lantern slides, or would recommend available lecturers. And here let me dwell once more on the need, not of history of art, but helping to see, and for that no written work can help. It must be the personal contact (Applause) ; and it is the "helping to see" that will in the end create that appreciative audience which we lack so much at present.

The circulation of exhibitions of the Fine and the Applied Arts in the smaller towns — not where they have museums, but where the library can serve as the center, or the high school. This has been tried successfully in Newark, where the library was the art center of the city until within a month, when an art gallery was incorporated.

In Richmond, Indiana, for ten years the school board has given the use of the high school room for the first week in June, and the school board has annually appropriated $100 towards the expense of the exhibition. The quality of this exhibition has during the last few years been equal to any in New York, Philadelphia or Washington.

In Watertown, N. Y., the library has served as the center, and there a new plan was tried and successfully worked out. An admission fee was charged of ten cents. This admission entitled the visitor to a vote, and the picture that received the highest number of votes was purchased, and became a part of the municipal art gallery. Now that has a two-fold pur- pose : First, it makes each one that comes to the exhibition study the pictures, look around and compare and make up his mind which picture he considered the best before he casts his vote. And second, it keeps the picture in the city and

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makes each visitor feel that he has a personal interest in it, for his vote helped to buy it.

The Federation's central bureau would be of the greatest help in preparing for international expositions. The artists who have worked on committees of that kind know what it means to start right from the beginning and collect all the data; and that is done every time, because there is always a new group. Anybody who has gone through it once never wants to do it again! In France there is a permanent or- ganization. It is true that they know that they are going to have an exposition there every eleven years, and as soon as one is over they begin preparations for the next. We need something of that kind here ; it would save time and money, and it would be done very much better.

But, above all, we need more industrial art schools and in- dustrial art museums. There you come to the practical side. Why is it we have to get our most beautiful objects from abroad? Because we have not the workers here. The only well-organized industrial art school that we have is the school in Philadelphia. Beyond that we have a few, but they are not up to the standard that we would wish to see. In New York, Cooper Union is the nearest approach, and yet is far from being a real industrial art school. Yet Cooper Union has a long waiting list. That in itself again proves the need. A young Italian who wanted to learn modeling waited years before he could have his application accepted at Cooper Union. As soon as he was registered as a student he put the names of his two brothers, eight and ten years of age, on the waiting list, in order that, as he said, "they need not lose their best years."

If art, is doing a thing well, then the training in taste is the appreciation of work well done, and really it is time that we combine the industrial spirit of the age with that idealism which is in the American character. We are usually consid- ered a purely commercial people, but there is an idealism in the American character that tries to express itself and that should be recognized and combined with the utilitarian.

The country's art to develop needs the right soil and it needs the right cultivation, and just as Burbank works out his

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theories with plants, so can good taste be cultivated through- out the United States. (Applause.)

Being asked to give an account of the exhibition of Spanish paintings held in New York last winter, the popularity of which had been a surprise to all. Miss Levy said:

There was in that exhibition of Spanish art a freedom and fullness of life that attracted attention, because it was very different from many of the exhibitions to which our public was accustomed. But I think that the crowds were due a great deal to the human inclination to follow. I was there the first day, and the second day, and I assure you there were very few people, but it became rather a fad, and when people realized that they had to stand in line and take their turn many went out of curiosity. The pictures were beautiful, but there are four of them now in the Metropolitan Museum, and I do not think four people a day go to see them.

The Chairman. The largest attendance that we ever had at the Art Institute at Chicago was occasioned by a regiment of United States soldiers camping upon the Lake Front ad- joining our building to suppress a riot. (Laughter.) If Mr. French, the director of the Art Museum, were here — he will be tomorrow — I think he would be on his feet to tell Miss Levy that last year in the schools of the Art Institute 1,100 of the teachers of our public schools took a course in drawing and painting.

Miss Levy's paper has suggested a great many things to me, and among other things it suggested the fact that there is a commercial value to art that we might possibly bring to the attention of those who are sordid minded. And it reminds me of a story that I have told so many times in Chicago that I dare not tell it there again, but possibly I may venture to tell it here, — a story illustrating the value of an art museum m a city so commercial as Chicago. When we were occupying the old building Mr. French happened one day to be passing the doorkeeper, when he heard some one say, "Have you got Niobe here?" Attracted by the question, Mr. French went up and

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said, *'What did you say?" The man replied, "I said, have you got Niobe here?" Well it happened that we had just received three or four casts of a number of groups, and Mr. French said, ''Yes." The fellow then said, *T want to see her." Mr. French said, "Are you interested in art?" ''No, have I got to say why I want to see her to get in?" Mr. French said, "Not at all, by paying twenty-five cents admission you may come and go as you please, but I thought if you were especially interested in the study of art that I should be glad to admit you free." The man pulled up a box, and taking out a bottle, said, "I am about to peddle this celebrated Niobe wash for remov- ing stains, and before I set about my business I thought I would like to know something about Niobe." (Laughter.) Mr. French took him in and introduced him to one or two of our custodians and then asked him if he would be interested to read something in reference to Niobe. He said he would, so Mr. French took the man to the library and gave him two or three books. He spent an hour there and on his way out stopped to thank Mr. French, who said, "Have you found what you wanted?" The man replied, "Yes, but I do not know what they wanted to kill Niobe for — do you know ?" We had to admit our ignorance. (Laughter.) The sequel is even funnier than the original story. I told that story soon afterwards at a public dinner in Chicago, where I was trying to establish the fact that even in a commercial city the Art Museum might be of interest, and the story was reported and copied quite extensively throughout the country.

Two years afterwards a man came into my office and said, "Are you Mr. Hutchinson — are you the president of the Art Institute?" I admitted I was. He said, "I am the man that you told the Niobe story about." I thought I was going to be called to account, but instead he said, "Well, I came in to thank you. You do not know how much good that story has done me. It is the best advertising I ever had." (Laughter.) That was just before Christmas, and he added, "I would like to show my appreciation. Would you accept as a token of my esteem and obligation a couple of bottles of the wash?" (Laughter.) Those are the only gratuities that I have ever re- ceived on account of my connection with the Art Institute of

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Chicago. (Renewed laughter.) So, you see, there are rea- sons why an Art Museum should be maintained from a purely commercial standpoint.

We are to listen now to a paper on ''Art in the Public Schools," a most important phase of our subject, and we are very fortunate in having the United States Commissioner of Education, the Hon. Elmer Ellsworth Brown, to address us upon this very interesting topic. (Applause.)

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ART IN THE PUBLIC SCHOOLS.

address of

Hon. Elmer Ellsworth Brown,

United States Commissioner of Education.

Mr. Chairman, Ladies and Gentlemen: I am very much indebted to Miss Levy for the delightful way in which she has told some part of the story of the relationship of the pub- lic schools to Art, or the relationship of Art to the public schools. I have listened with the greatest interest to the ac- counts that she has given, touching here and there upon some of the beginnings that have been made in the way of bringing the public schools into some sort of sympathetic relation with the art museums and the workers in the fine arts.

In addition to those things that she has spoken of, we com- monly think, in connection with this topic, of such matters as the placing of works of art in the public schools, which has been done, as all of you know, very extensively in recent years ; a movement that began back in the seventies and eighties, and has come to be of real significance in our educa- tion; or we think of the work that has been done in drawing and design, in the use of colors and in modeling, in connec- tion with systematic instruction in art, especially in our ele- mentary schools. All of that is significant of a real move- ment, a movement that has made certainly significant progress within the past twenty years — within the past ten years, we may say, in particular. But I should like to speak, this after- noon, of the case of art in its relation to our public education, where it finds its deeper grounding — the real, significant cen- ter, as it seems to me, of our consideration of this whole subject.

It is evident that our modern education is in a definite and conscious alliance with natural science. There is nothing more characteristic of modern education than this fact. It is a significant fact. It means that there is a difference be- tween the education of this present time and the education of earlier times. It means a change in our civilization. Our

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schools are in a positive alliance with the natural science of this age, and a large part of the significance of modern educa- tion is found in this fact — a large part of its difference from the education of earlier times, a large part of its adaptation to the actual needs of our own time. The thing that I wish to say is simply this, that we are coming to see with some degree of clearness that for the very safety of this alliance between science and education, there must be another alliance, equally definite, equally profound — an alliance between our modern education and modern art.

The education of any time is largely made by the institu- tions and the movements with which it comes into working connection. You know how in the history of education that working connection between the schools and the institutions of religion was the significant and dominant fact for so many generations. It is not to be supposed that that alliance has wholly lost its significance for the present and the future. But the time came when it was absolutely necessary that the schools should come into definite and positive alliance with the scientific movement, if they were to fill their place in the modern world. It is equally clear that a time is coming, if the time has not already come, when an equally definite, posi- tive, frank, and open alliance between education and art must be a significant fact of our educational life.

This is a generality, of course, but I do not think it exag- gerates, and I think that it is significant for the actual work-a- day life of the schools. I should like to invite you to look into it a little further and see the significance of it as it appeals to me. Let us take the alliance of the schools with modern science, and see what it has done for our education. It has given to our education a certain concreteness, a certain tangible and practical character, which it lacked before. It has given a certain objective sincerity to the work of education that could not be got in the same way from any other connection. It has brought into the thought of our time some sort of appreciation of the organization of the external world. It has given us a hold upon the things that make for human comfort and make for human convenience.

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The alliance of education with science works for other things besides comfort and convenience. To those who go deeply into that relationship, it works for the highest things in the intellectual Hfe ; and it has tremendous significance for the moral life.

The most obvious thing to the great majority of our people is the fact that scientific education has to do with the increase of human convenience and human comfort. For that very reason this thing that is so absolutely essential and is, in some respects, the highest and the finest thing in our modern educa- tion, may frankly be admitted to be a thing that is attended with danger. It is attended with a danger of the subtlest ma- terialism. There can be no doubt that this science must be supplemented by something else, if it is to escape that subtle danger of materialism, a danger that is perhaps more serious in the case of those whom it affects least grossly — in the case of those whom it affects upon the most spiritual side.

Our science, as we teach it in the schools, lays stress such as no earlier education could lay, upon the ability of the pres- ent age and the ability of the single individual to put things to the test. Our knowledge is to be verified now and here, not by a slow process, but by an immediate process. It is to be verified on the spot. We come, accordingly, to have only in- cidental care for the slow making of human thought and human character, through the ages, because we have so much greater interest in the discovery of natural laws which can be worked out right here in this laboratory, by this single man. We need, for the sake of our common humanity, to have a new emphasis upon those things that cannot be done on the spot. (Applause.)

We need a new insistence upon those things which can be tested and verified and determined only in the long course of human experience, of racial experience, otherwise we tend to isolate ourselves and become simply crumbling units, having only a loose connection one with another in an intense individ- ualism. We need to acquire a new respect for those values that only time can reveal, and that is what art has to give to us. It is to give to us a new appreciation of things that are old, of things that are capable of standing the test of time.

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It is to correct that modern clanger of valuing things in pro- portion as they are new.

This is only the slightest intimation of the nature of this new alliance, which I am convinced our modern education must enter into. It is the alliance that is immediately before us. There are only one or two things more that I should like to suggest concerning it.

The first thing of all, to accomplish, apparently, is that we shall learn to take art more seriously. We still treat it as a trivial thing. Our people as a whole regard it as a bit of embroidery upon the real garment of our civilization, as having nothing to do with the substance of our civilization. It is an appendage ; it is a something that can be sufficiently considered at odd times. In our institutions of education we have not yet begun to treat the subject of art, or, let us say, the subject of the arts, with that seriousness which is characteristic of our treatment of the sciences. We must not be satisfied to have the arts appear simply as ornaments upon our educational programme. We must look for that close concatenation, that close organization of the art side of our courses of instruc- tion, which we know to be absolutely indispensable upon the science side.

At the present time we have in our lower schools, in our secondary schools, in our universities, some teaching of music. But music is one of the arts that becomes most easily isolated, or that overcomes its isolation with the greatest difficulty. We need to have our teaching of music brought into closer rela- tion with our teaching of literature, — our teaching of litera- ture as a fine art, — we shall have to take it with more serious- ness. The tendency of the present time, let it be said, in all frankness — not an exclusive but a dominant tendency, — is to take our studies of literature seriously only when they can be put into the form of a science. We shall learn to take our study of literary art seriously as an art.

We shall learn to take with equal seriousness our study of the plastic arts ; our study of the arts of color, of design. And these too are to be worked out into their consecutive courses of study, as if they were of equal importance with the sciences.

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There has been some reference made to the fact that the studjr of art has commercial value. It is important that it has such value, because that fact renders it possible for us to get some consideration of its claims in quarters where it would not otherwise be considered. The time is coming, I take it, when that commercial value of art will become much more clear and important in the minds of men. The objects of con- venience and comfort that our science has taught us to make — the things that we have patented in our Patent Office — these objects we are making for ourselves and are selling to all of the world. But with every decade it becomes more difficult to sell them to the rest of the world, simply because of comfort and convenience, if, at the same time, they offend against the sense of fitness and beauty. This tendency is certain to go on increasing until it will become absolutely necessary, for our success in the markets of the world, that we shall pay thought to the side of beauty, that is, that we pay thought to the spiritual side of the things that we wish to sell. We shall be forced to take such an interest in the spiritual side of things. If there were no other point of view from which this new alliance of education with art were to be urged, it might be urged from this point of view, that the tendency of the modern times is to discount any catering to our comfort and convenience which does not at the same time recognize the fact that we have spiritual tastes. (Ap- plause.)

The Chairman. There is in Chicago, and I wish it were represented here, a society of ladies called The PubHc School Art Society. Most of its members are ladies of society, and it has been taking one, two or three of our public schools each year and converting some of them from barracks to homes. The board of education, I won't say generously, because they get much more than value received — agrees to tint the walls — allows the ladies to have the rooms decorated simply, as they desire — the board of education pays for this part of the work. Then the ladies raise money by voluntary contribution and hang the walls with pictures, selected with rare taste, and put in casts, or sculptures, or other works of art, and the amount

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of good that that little society has done in Chicago during the ten years of its existence can scarcely be estimated. I wish it were here to make a report, for it has done wonderful work in an exceedingly practical way, in bringing good things to the daily attention of these particular school children.

Mr. W. L. Harris. Mr. Chairman, I have in my hand here, as we are giving personal experiences, a medal which is being given in the crafts shops of the public schools of New York. Possibly Miss Levy, who has a fund of information on such subjects, might be able to tell us more about it (handing the medal to the Chairman).

The Chairman. Who designed it?

Mr. Harris. Victor D. Brenner.

The Chairman. How is it given, Miss Levy?

Miss Levy. It is given in the work shops — the craft work shops of the public schools ; one in each of the 164 work shops of the New York public schools, each term, to the best piece of work turned out.

The Chairman (examining it). I think Mr. Brenner must have been inspired by the occasion, for it is one of the best pieces of work I think he has ever done.

Miss Levy. We have just had a request from the shop teachers to have large plaster casts of this medal put in each shop as an incentive.

The Chairman. I think you will have a request from the Public School Art Society of Chicago for several of those casts.

Mrs. Robert T. Hill. Might I say that in Washington, under the inspiration of Mrs. Sherwood, of Chicago, a League for the Decoration of the Public Schools has been founded, and the President, Mrs. Chas. W. Richardson, is here, willing, I am sure, to answer any questions.

The Chairman. We will be very glad to hear anything you have to say on the subject, Mrs. Richardson.

Mrs. Chas. W. Richardson. Our society has been in ex- istence such a short time that I have not very much to tell.

Last fall we had a meeting of a few ladies, and we decided to organize a League along the same lines as those in other cities. In February we issued an appeal, in response to which

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we have received over $500. We have now 212 Associate Members, contributing a dollar annually; 10 life members, giving $25 each, and five contributing chapters, giving $10 annually. During the coming summer two schools are to be decorated, one wholly and one partially, but Miss Temple, the chairman of the decoration committee, is here and will tell you of that part of the work.

The Chairman. Will Miss Temple say a word to us?

Miss Grace Lincoln Temple. I can only say that as Mrs. Richardson has told you, we have this spring selected one school in which we will confine our main interest, and that we hope to give a little attention to one other. We thought it better to concentrate our interest in these rather than spread it over several, at the outset — ^that they might serve as exam- ples. We hope that by another year there will be more to tell at a Convention of this kind.

Mr. a. E. Albright. I think perhaps it might be of in- terest to you if I were to unfold a litle plan that we have put into operation in Chicago — a plan for exhibiting original paintings in the public schools. We asked the school board of Chicago, last summer, if it would consider a proposition to exhibit in the public schools of Chicago a hundred pictures by Chicago artists, and we asked if it would bear the expense of conveying them from one school to another, hanging them in the schools and taking care of the clerical part that would be necessary to manage such an exhibition ; and to our surprise the board consented. We collected a hundred pictures and we divided them into five groups of twenty each. These little groups were made to represent as many painters as possible, there being one picture by one artist in each group ; therefore, one person might send five, if he or she chose, and be repre- sented in five divisions. We called these divisions A, B, C, D, and E, and the school board of Chicago packed them in their wagon, hauled them to the schools and hung them on the walls, each school keeping a group for four weeks.

So we have with this collection of a hundred pictures five exhibitions a month, fifty exhibitions in ten months, and an average daily attendance of five thousand people of Chicago,

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besides the number of teachers in the schools, which would probably average twenty, at least. We have heard from the different schools about these exhibitions, and they have been wonderfully well received. The pupils have learned to know the names of the artists, and they have gone to the Art In- stitute and looked through the galleries to find the picture by the artists that were represented in these exhibitions. I want to say that we made the standard of the exhibition as high as we could, by requiring that each picture submitted should have been received for some standard exhibition by a jury. There- fore, the pictures were as good as could be had, and we en- deavored in each group to have landscapes, figure paintings and portraits, as far as it was possible. It would take five years for this little collection of a hundred pictures to make the complete rounds of the Chicago public schools. Should the different schools ask for one division after the other, A, B, C, D, and E, it would take twenty-five years to cover the public schools of Chicago alone. (Applause.)

Miss Levy. May I ask one question of Mr. Albright? All of our ideas on school room work in New York — or at least many of them — have come from Chicago, and I should like one more, please. Where do you hang your pictu-res in the schools ?

Mr. Albright. First in the class rooms, changing them from week to week, even sometimes from day to day, and fi- nally in the hall, the last week, when the parents are invited to see them. (Applause.)

The Chairman. I have here a letter which reads: ''Through you, Mrs. Vinnie Ream Hoxie invites the officers of the Art Convention, and members, to visit her studio and inspect a statue that she is making for the State of Iowa." The studio is 1632 K Street.

I also wish to remind you that tonight we are invited to a reception which is tendered the delegates and their families by Mr. Hennen Jennings, the vice-president of the National Society of the Fine Arts, at his residence, 2221 Massachusetts Avenue, from 9.30 to 11.30 o'clock.

Is there any other business to come before us?

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Mr. Henry Read. Mr. Chairman: I would like to make a few remarks, suggested by Miss Levy's paper. At first I hesitated, but the address by the Commissioner of Education has given me courage.

With reference to the revival of interest in art-craftsman- ship, and also with reference to the position of art in educa- tion, it seems to me our attention might well be directed to tendencies that are not altogether in the right direction. In both cases they might be classed under the head of an inclina- tion to dilettante treatment of art. If there is one thing for which art stands, or ought to stand, it is simplicity and honesty of purpose. Let me illustrate what I mean. In the course of my professional life I have been brought in contact with so many phases of the relation existing between art and life that I have had, perhaps, unusual opportunities for observation and reflection. In the matter of craftsmanship I have been closely associated with skilled workmen able to distinguish between intelligent labor and the mere machine work that crushes the life out of so many, and among them I find an amused con- tempt for art-craftsmanship. It is looked upon as a society fad. We all know that art, like every other activity of life, has its fads, but it is most unfortunate that this movement should touch so lightly the men it should influence the most. If I go to an exhibition I see few of our actual workers repre- sented there. They say it is not worth while — it will not last — that modern commercial and technical methods are hostile to personal individuality. Surely this is a serious outlook. The tendency is to regard art-craftsmanship as a harmless amuse- ment, good in its way, to be encouraged as far as possible, but to be passed by when it comes to business.

Let me go on to speak of education. In this I have had considerable experience, both here and in Europe. During the past fifteen years I have been director of an art school, and, let me tell you frankly, I would rather have an untrained child enter that school than one who has received the present aver- age training of the public schools. This is a sweeping state- ment, and, of course, like all sweeping statements, is apt to be very unjust. Let me see if I can explain it. I once examined carefully examples of public school work from one of the great cities of this country. It was graded work, be-

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ginning with the kindergarten and ending with the high school. I tried to analyze and understand it. The conclusion I came to was this : that other things being equal, the work in propor- tion to the powers of the pupil deteriorated from the primary grades to the end of the school education. Of course, I do not mean that there was no progress so far as actual examples of work were concerned — I do mean that the development of art power did not correspond with the growing capacity of the child. In the early years of life, expression by means of speech, and expression by means of drawing, are more nearly on the same level. Although conditions which need not be discussed here, tend to develop the one and hinder the other, education emphasizes the difference. This I think is due to two causes. One is, that no sufficient distinction is recognized between the definite aim of cultivating the power of drawing by training the eye and the hand, and the subsequent use of that power in nature study, history, illustration, and some other subjects. We know that with increase of pressure upon the school curriculum, thoroughness is too often sacrificed to superficiality, and one result is that a child's mind, after a few years of current public school art education, is left in a state of chaos. It has a few ideas about decoration, a few ideas about illustration, a few ideas about the history of art; it has caught hold of a few art expressions, but for any practical purpose in the battle of life its powers are nil.

Let me speak of the second cause. I will make another sweeping assertion, and although there are brilliant exceptions to the rule, I will say that the average public school teacher has received no adequate training in art, or proper conception of what art teaching should be in the training of the child. It may seem a harsh thing to say, but I look with misgiving upon a public school teacher who comes into my school for further art training.

These are not pleasant matters to dwell upon, but I believe that outspoken words are the best, and we are far more likely to remedy an evil by acknowledging it, than by crying, "Peace,, peace ; when there is no peace."

The Convention then adjourned until the following morn- ing.

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THIRD SESSION. Wednesday Morning, May 12, 1909.

At 10.11 o'clock the Convention was called to order by Mr. Charles L. Hutchinson, in the Banquet Hall of the New Willard Hotel.

The Chairman. We open the meeting today by consid- ering "Common Sense in Decoration and Craftsmanship," upon which subject Mr. Royal Cortissoz, who needs no introduction to this audience, will address us.

COMMON SENSE IN DECORATION AND CRAFTS- MANSHIP.

address of Mr. Royal Cortissoz.

Mr. Chairman, Ladies and Gentlemen : The purpose of this convention is nothing if not practical. A national federation of art societies is useless if it does not increase the every-day effectiveness of those societies. The whole point of these pro- ceedings, I take it, is that we want more art in this country and we want it to be better and better art every year. Will we get it by dreaming dreams? Yes, but we'll get it quicker if we also use common sense. We are supposed to have a lot of that in our national makeup, but are we not disposed to confine its exercise to what we call the practical affairs of life, and to think of the artist as a person dwelling in an ivory tower, creating beautiful things and leaving common sense to the business folk outside? We go further than that. When we talk of giving the artist something to do, something apart from the painting of an easel picture, in nine cases out of ten we talk of his doing something "monumental," and, on the whole, rather costly. We are building a new State house or a new city hall and we decide to decorate it on an heroic scale.

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We go to one of our noted mural painters and we pay him a round sum to produce a large allegorical composition, which the public then comes in to admire. Surely this is all very fine and desirable. No one in his senses could regret this movement, which is doing so much to adorn our public build- ings; no one could wish it to stop. But does not common sense suggest that if we cannot afford an heroic decoration — and that is often the case — we should compromise on one less ambitious? We do not do so half often enough, and the re- sult is that hundreds of our buildings lack the beauty that painters might add to them, and a large number of our artists lack the work which they need and which they are competent to do.

It is worth while to reflect for a moment on the lesson to be drawn here from the past. In the ItaHan Renaissance, the period which, perhaps, more than any other, is rich in lessons for us, the artists and the public or private persons who em- ployed them were intensely practical. They did not regard mural decoration as necessarily an affair of composition on the grand scale. They knew that very often it was wisest to let it mean nothing more than a small panel, and often, too, they dismissed altogether from their minds the idea of filling a given space with a strictly pictorial decoration. They filled it, instead, with dainty arabesques, with floral motives, with con- ventionalized ornament. And the greatest artists of those days were content, on occasion, to design such formal schemes. Raphael, who made those stupendous decorations in the Vati- can, designed also the arabesques which made the famous loggia in the same building one of the most beautiful things in the world. Leonardo, who could paint the Mona Lisa, could also design a pattern of interlacing leafage for a ceiling in the Castello at Milan. Now, why do we not more frequently follow the example of that time ? We have, happily, begun to do so, and there is one artist in this country, James Wall Finn, who is doing very important work in this direction.

But there still remains much to be done in demonstrating to the people of the United States that this kind of decoration is as desirable, because it is as artistic, as the monumental kind. That is where our common sense should come in. If we cannot

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spend $5,000 on a large symbolical decoration to fill the arch over the judges' bench in our court room, let us spend $500 on the simple decoration of the room in flat tints and with a few arabesques here and there, and let us make that decoration worth while by getting an artist to do it, not the house painter whom we ordinarily think is the man for the job. We have got into a queer way of thinking that there is nothing between the full-dress performance of the stately mural decorator and the commonplace stencil of the journeyman who will put a room in shape by day's work. There are, of course, any num- ber of interesting and charming effects to be developed between those two extremes, if only we would use common sense and make practical use of the modest opportunities that lie all around us, and employ the talent that is everywhere to be found.

As it is with painting so it is with sculpture. We are fond of erecting statues in our public squares. We set a good many of them every year in front of our public buildings or on the buildings themselves. It is a splendid thing that we should do this, but what of our architectural sculpture generally, the ornamental details in stone or terra cotta which may not be individually so conspicuous as a statue but which are actually of immense importance to the beauty of a building? Look around you in any city and you will see that even on the fagades of some of our most imposing edifices this work is without any special character, without any artistic value. Why is it? Because we do not use common sense. Our greatest sculptors are rightly kept busy on statues. Why does it not occur to us to occupy their clever juniors on these details? In the Renaissance such work was not always left to the jour- neyman. Go into the old palace at Urbino, into the Certosa at Pavia, or into any other of a hundred buildings in Italy. You will see door frames and mantelpieces that were carved by sculptors, by artists in the fullest sense of the term.

Now and then, happily, we do secure something of this sort. I recall that not long ago an architect with whom I am ac- quainted decided that a decorative detail, a wreath, which he wished to have executed in stone, would be the more effective if it were made in itself beautiful and distinguished. So in- stead of leaving it to the journeyman modeller he made a

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special commission of it for a young sculptor and that indi- vidual, content to do it for a very reasonable price, produced a really fine thing. It is not a solitary instance, but I main- tain that it is not by any means a representative one, either; such occurrences are decidedly not as common as they ought to be.

The American who is building a gorgeous house for him- self thinks nothing of paying a large sum for a mantelpiece extracted from one of those old palaces. Why has he not the courage to tell his architect to get hold of some young sculptor and for the two of them to put their heads together and make him a work of art in the shape of a mantelpiece or a door frame? And here, again, I would point out that there are many opportunities for the use of sculpture lying between the great statue and decorative architectural carving. In the Piazza of St. Mark, at Venice, there are three flagstaffs set upon bronze pedestals, and in all Venice there is nothing more artistic than those very pedestals, which a sculptor, Alessandro Leopardi, modeled. What village in the United States is with- out its flagstaff, and how often is that flagstaff enhanced by even a hint of beauty? Wouldn't it be wise, wouldn't it be the part of common sense, to spend a comparatively small sum of money on a handsome pedestal in lasting bronze? Nay, if you could not afford even that, could you not take pains over something in a cheaper material? An artist can do wonderful things in wood if only he will give his mind to it, and if only we will all get into the habit of valuing beauty for its own sake and not make a fetish of its cost.

In that Renaissance to which I am always coming back artists designed lanterns and door knockers, andirons and salt cellars. These things that they did are preserved today as treasures in the museums of Europe. I do not think that we have learned as much from that lesson as we might learn, and this brings me to a closing word on common sense in crafts- manship. I have studied very carefully the results of the "arts and crafts" movement in this country. It has been productive of much good. But a great number of our "artistic craftsmen" seem to me to be moving about, as the saying goes, in worlds not realized. They have a vague feeling that the thing for them to do is to make a useful

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thing beautiful, so they sail in to spoil a good piece of wood, drawing a pattern on it with a hot poker, or they make you a fearful and wonderful design which they call a wall paper, or they fabricate absolutely unwearable ornaments and offer them to you as jewelry. Their exhibitions are amusing, no doubt. But they spell misdirected energy. These craftsmen begin at the wrong end. They try to walk before they can creep. They do not first make themselves thoroughly ac- quainted with the characteristics of the material in which they mean to deal, learning wood as a cabinet maker learns it ; know- ing metal as a blacksmith knows it. They make their designs from the outside, as dilettante, and not practical workers, as men of common sense. And the important point is that this is not altogether their fault. They are left too much to them- selves; they are left to produce their little objects, and then to offer them for sale in an exhibition. They will get their real chance, and be stimulated to prepare themselves for it, when America demands the fruits of craftsmanship as it now demands paintings and statues, when the community that lacks the funds for "monumental" embellishments will cut its suit according to its cloth and take the small thing seriously.

The National Art Federation will render a practical service to the country if it will help to bring about this development of common sense.

The Chairman. I will call attention again to the fact that the delegates are expected to discuss the papers which are de- livered, or to give utterance to any thoughts that these papers suggest.

Miss Levy. Will Mr. Cortissoz tell us, perhaps, of some things which have already been done along these lines as an encouragement to others to do more ?

Mr. Cortissoz. I have not seen very many. The little wreath I spoke of is one. I have known of an Italian who has brought to this country a few bronze knockers that he has designed, and here and there in different exhibitions I have encountered pieces of craftsmanship that seem to me to give promise in the right direction, but I am not aware of any serious tendency of the people at large and of societies defi- nitely to employ a craftsman, instead of leaving him to

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produce some little item, and then take it out and offer to sell it. What I am insisting on is that the craftsman should be employed just as the painter or sculptor is ; that in small ways we should take him very seriously; go to him for knockers or andirons precisely as to an architect for a house. I do not know that that is now done. Possibly some one does know. If he does we would be greatly interested to hear.

Miss Levy. How about the electrolier that was erected by the Municipal Art Society at 23d Street?

Mr. Cortissoz. That I think is a step in the right direc- tion.

Miss Levy. Also the competition for the flagstaff in front of the City Hall ?

Mr. Cortissoz. I do not recall that.

Miss Levy. Unfortunately, the city did not provide the funds for doing the work.

Mr. Cortissoz. In the Architectural League, too, a great many of such competitions have been held, you know, from year to year and medals have been given. The Avery medal, I believe, goes to such purposes.

Miss Levy. The designing of those medals and the com- petitions for the catalogue covers would come in that class, would they not ?

Mr. Cortissoz. Yes, but that seems to be very slight.

Miss Levy. But, still, there is a movement that is being carried out in the matter of the memorial tablets in — ^fr. Harris, will you please tell us about that?

Mr. Harris. There is now being executed, under the aus- pices of the Municipal Art Societ}^, two tablets for the Police Headquarters in New York. One is to be placed on either side of the main stairway, leading up to the upper story, and on these is to be inscribed the names of the heroes who died in the performance of their duty as policemen ; thus they are to be called ''Hero Tablets for the City of New York."

Mr. Cortissoz. All of which seems to me a very splendid recognition of our heroes, but none of these things, or all of them, taken together, seem to me to spell quite enough energy or quite as much organization as is necessary.

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Mr. Harris. I agree perfectly, and I merely supplied the information asked for by Miss Levy, the Municipal Art Society of New York had devoted money to this purpose rather than to a statue or something of that kind.

Mr. Townsend. It seems to me that the question that has been so ably presented by Mr. Cortissoz borders very closely on that old and always debatable question of where you are going to draw the line between the artist and the artisan. There is no question either of morality or moral in the minds of those who had to study or visit the so-called Arts and Crafts exhibitions in New York, the past ten or eleven years. The art tendency of the country has for many years manifested itself generically through what might be called an Arts and Crafts movement. Agricultural Fairs of our youth, with their dozens of doilies and tidies, the best needle work, and so on, were in a certain sense an Arts and Crafts movement. The trouble is that now too many go into the Arts and Crafts who are not artists in the true sense of the word. They may have artistic feeling and artistic temperament, and perhaps a few might develop into artists, but the majority are artisans, and if they would be willing to work as artisans in a common- sense way, and try to obtain employment for the manufacturing of ornamental and useful goods many of them would be earning a livelihood instead of, as at present, passing their lives in despair. That is the crux of the question, I think. An instance of the practicability of these principles is given in the New York School of Applied Design for Women, built up by Mrs. Dunlap Hopkins. There the students do not pre- tend, nor aspire, to be artists, but bend all their energies to- ward becoming artisans, and, as a result, when they graduate they almost always find excellent positions open to them in large wall paper, carpet and other manufactories. These young women are trained artisans. Here is the common sense Mr. Cortissoz recommends actively brought into practice, for these young women with artistic tendencies and temperament are taught to do useful, practical and beautiful work. It is along these lines that the arts and crafts movement might prove really serviceable. But take one of the usual arts and crafts exhibitions and what have you ? A hodge-podge of ill-

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formed productions, manifesting a striving for something, but. no more. The exhibitors call themselves artists and would reject the idea that they should be employed as artisans. The movement itself is laudable, but it must be developed with more common sense. A standard must be established and en- forced by the managers of the exhibitions, which will keep the work in the hands not of artists who may wish to experi- ment, but of artisans who are trained to it as a profession.

Mr. E. C. Messer. It would seem to me that common sense would lead us not to try to draw a line, as the gentleman does who has just spoken, between the work of artists and the artisans, but rather rid ourselves of any idea of caste. There is good art, and bad art, and that should be the only distinc- tion made ; and if that idea of caste is removed, then the artist, I really believe, will not sulk in his tent, waiting for some big commission, when he might model the pedestal of a flagstaff.

Mr. E. J. Parker. Mr. Cortissoz's statement prompts me to say that I come from a city which manufactures perhaps more stoves that any city west of the Hudson River. We like to sit around our open grate fires and let the imagination take its flight, and we go over the country for the best andirons we can select, and all that, but I want to center your thoughts on the cooking stove, the range, the family heater. We send our stoves from Alaska to Mexico. Why cannot some of the young artisans design arabesques — to use a large word for a small matter — to embellish the family cooking stove? There is a chance! For every cook, every housekeeper, every boy and girl, and the man who provides for the family have got to look at those stoves. You can center your line of vision from the Atlantic to Louisiana on cooking stoves, ranges and heaters — a good place, using Mr. Cortissoz's words again, for common-sense in artistic design- ing. (Applause.)

Mr. Hennen Jennings. I am not an artist. My work is in the engineering line, but one thing impresses me that artists have to meet. They have to meet an invention of the age which did not exist in the past — the camera. The camera has brought all the art of the different parts of the world together,

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and caused the artisan to lose his individuality. We have also got a new material which did not exist in the past — steel, and its wonderful power of being molded to gigantic forms and small forms gives more problems. These are two new factors in art, which common sense cannot ignore, and I think these are the problems that the artist has to meet today without going back to the past for inspiration ; to meet squarely, in the spirit of the time, and conquer.

The Chairman. There is no organization in our country that has done more for the development of its city than the Metropolitan Improvement League of Boston, and no man has done so much to inspire that work and make it possible by his constant devotion and enthusiasm than has Mr. Sylvester Baxter, its Secretary, whom I now introduce. (Applause.)

09

THE METROPOLITAN IMPROVEMENT LEAGUE

OF BOSTON.

address of

Mr. Sylvester Baxter.

Mr. Chairman, Ladies and Gentlemen : What I have to tell about is the brief history of a simple organization that aims to work along practical lines in promoting civic improvements, The Metropolitan Improvement League of Boston. It is still in its youth, but it already has a record for admirable work. In the first place, I should say that prior to the organization of the Metropolitan Improvement League many excellent things had already been accomplished, as well as many other most desirable things left undone. It has all been a sort of natural development out of established conditions. For in- stance, from early days Boston has been the chief center for the Horticultural and Floricultural interests of the United States. This naturally led to the formation of the Massachusetts Hor- ticultural Society. An early activity of this society was the inception of the rural cemetery movement. Mount Auburn Cemetery in Cambridge was the prototype of the rural ceme- tery of the United States — something, in view of subsequent development, perhaps not altogether to be proud of, but in those days, early in the nineteenth century, the rural ceme- teries were the principal show places of the suburbs ; strangers visiting in Boston were almost invariably taken there to drive and to see the handsome monuments in the landscape environ- ment whose charm they ruined completely, just as today they are taken to drive through the parks. Mount Auburn was estab- lished by the Horticultural Society as a public-spirited under- taking, but the sale of lots resulted in an immensely profitable real estate operation. This made the Massachusetts Horticul- tural Society the richest organization of the sort in the world. In view of the good which it has done with the funds thus acquired much may, therefore, be forgiven it. In one of its annual reports, about thirty years ago, the Horticultural So- ciety congratulated its members upon "the prosperous year at Mt. Auburn." Apart from the funereal suggestions, the

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public had also reason to join in the congratulations, for this society has led in many admirable undertakings for the im- provement of outdoor art, one of the principal being the agita- tion for the establishment of Boston's unrivaled park system. Other important factors in these directions have been the Ap- palachian Mountain Club and the Trustees of Public Reser- vations.

A few years ago some of us felt the need of some organized activity which would keep a constant lookout for matters of this sort. Not only to prevent bad things from being done and to cause good things to be done, but to prevent many things goings by default when once undertaken, because what was everybody's business was nobody's business, and things were not looked after until too late. Too frequently had it happened that we did not think of locking the barn door until the horse had been stolen.

The organization as finally determined took the simple form embodied in the structure of the Metropolitan Improvement League. Our first thought was to have a federation of all the societies represented in public work and public improve- ment, such as the Boston Society of Architects. But in this particular sense it was concluded that it would not work well ; it would not be quick enough in its operations ; there would be too much reporting back to the various organizations for getting authority to act, and all that sort of thing. So, the organization that finally resulted, after much conference, was very simple. Here I have given the purposes and the or- ganization of the League as follows:

The League was organized —

To encourage and safeguard the physical growth of Bostoa as a metropolitan community along well-considered and well- planned lines, that should assure the largest possible measure of convenient and artistic development.

To see that all matters that materially related to the proper planning, constructing and beautifying of things in which the public had legitimate concern were rightly considered and rightly attended to.

To see that new projects that involved material changes, such as are constantly being brought forward in this growing

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metropolitan community, should, if decided upon, be carried out with the greatest possible effectiveness.

To see that the public was kept duly informed and its in- terest awakened in regard to matters that thus affected it.

To focus the efforts of the various other organizations throughout the metropolitan district, which, in one way or another, may be concerned, in kindred lines or public-spirited work, and serve as a clearing-house for the promotion of ends that they may commonly have at heart.

Then in the second clause of the constitution the name and object: ''The object of this League shall be to further the physical betterment of Boston and its surroundings by endeav- oring to bring about effective co-operation and stimulate in- creased activity among those who are working to make the Boston district more beautiful, convenient and economical as a place of residence and work, and by advocating or opposing propositions for public works as they may seem to further or impede those ends."

I would say that the League does not concern itself alone with what is known as the city of Boston. The city of Boston has about 600,000 inhabitants ; the real city — the metropolitan community, which is partially organized, known as Greater Boston — has a population of a million and a quarter and more, and that is the field of our League. It is composed of some- thing like forty different municipalities — clusters of cities and towns surrounding the central city. We have in our organiza- tion the usual President and Executive Committee, and then a Membership Committee, a Legislative Committee, a Commit- tee on Public Monuments and Decorations, and a Committee on Civic Appreciation. The present President is well known to many of you here, Mr. C. Howard Walker, the architect, who designed the Omaha Exposition and had much to do with other expositions, including that at St. Louis. The Secretary is before you. The others of the Executive Committee are Dr. Henry Lefavour, President of Simmons College ; George Howland Cox, who is the Chairman of the Cambridge Park Commission ; F. L. Olmsted, Jr., Professor of Landscape Ar- chitecture at Harvard ; whom you all know by his magnificent work as one of the Park Commission of the District of Colum-

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bia in devising the memorable plan for the improvement of the capital; James B. Noyes, a prominent business man; and William W. Churchill, one of the first to suggest our league, and a prominent painter.

The membership fee is $5 a year, and we have many leading citizens as members ; while the fund thus obtained is not large, it enables us to do, with due economy, considerable practical work. We employ legislative counsel, and in this way have been able to secure some important things. The first thing we set ourselves about doing will here be considered last, be- cause it was the most important. Although at the very first we set out to do this thing, it has been one of the last things accomplished. The Chairman of our Legislative Com- mittee has been Mr. J. Randolph Coolidge, Jr., another very prominent architect, and who has been President of the Boston Society of Architects, and who has such an admirable way of presenting things that he has been very successful in enlisting the interest of Legislative Committees.

We have taken great interest in tree-planting for our streets. We secured the transfer of the extension of Commonwealth Avenue — one of the celebrated thoroughfares of the world. An extension of Commonwealth Avenue runs far out into the suburbs, and we secured the transfer of that part of the Avenue to park development, under the law which was secured by the preliminary Metropolitan Park Commission. That was for the purpose of causing trees to be planted there, a duty that had been neglected by the city greatly to the detriment of public interests. Then a rad- ical change had been made in the tree-planting scheme of the Avenue in its original part — a substitution of a two-row plan for the original four-rows, involving the cutting down of many fine old trees — something that was very much like vandalism, although advocated very sincerely by some of our best citizens. Our exertions secured a return to the original four-row plan, which was in consonance with the design of the Avenue. The latest tree-planting activity is a very interesting movement on the part of residents of Beacon Street, which is almost entirely treeless. The citizens have come together and asked the Metropolitan Improvement League to submit a plan for the

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comprehensive planting of that thoroughfare. We are about to do that.

The protection and improvement of parks and open spaces has been an important phase in our activities. The Charles River bank — the pioneer playground in the modern play- ground movement for the United States — had been greatly neglected for various reasons, partly through lack of appro- priations, partly because of political influences, and we have moved to secure a better appearance of things there. Soon after the city of Chelsea was nearly destroyed by fire, a little over a year ago; as a sort of consolation Congress made an appropriation for a new Post Office building. We endeavored to see that the post office was properly located. The Board of Control proposed to locate it in the center of Winnisimmet Square, greatly to the injury of one of the best designed public open spaces in the Metropolitan District. After our consulta- tion and remonstrances with the Board of Control there was a public meeting and the citizens almost unanimously voted against having the Post Office in the square. A better loca- tion was selected for it, making it a feature of a new civic center that included the City Hall, PubHc Library, and the Armory.

We also moved towards preventing the occupation of an open space for building purposes — an open space in front of the Sears Chapel, on the beautiful parkway between Boston and Brookline. Sears Chapel is one of the most picturesque objects in the suburbs, and contributes to the beautiful rural English effect of the Riverway — a charming portion of our Park system.

Another very important activity was in inducing a better policy on the part of the Boston Elevated Railway in the way of civic design. Here in Washington you have had an instance that, of course, is very important. The action of the late president of the Pennsylvania Railroad Company in re- moving the station from Pennsylvania Avenue and establish- ing the present Union Station, shows how great public cor- porations may be induced to do things in the right way when they are rightly brought to their atention. The Boston Ele- vated had secured the right to build an extension of its line

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from Dudley Street, its present terminus, out to Forest Hills, running along one of the great thoroughfares. Near its new terminus it was to cross the great parkway which is already crossed by the New York, New Haven and Hartford Railroad — over a handsome stone viaduct, beautifully designed in con- sultation with the Park Department. In the legislation au- thorizing the extension no precaution whatever had been taken to protect the public interests there. The Elevated had the right to run its steel strucure across the parkway, making an ugly blemish at this point. The League took the matter up and went to the Mayor. The Mayor reported that he had no authority to do anything, but was very sympathetic, and he said he would exert his influence so far as possible. Then we went to the management of the Boston Elevated. The Presi- dent was a member of our League. Our Committee consulted with him and he referred us to their chief engineer. The chief engineer looked over the matter and the result was that the Elevated authorities said that they would do whatever possible there as desired by the public. In consequence a Com- mittee of Consulting Architects, selected by the Boston So- ciety of Architects at the request of the Boston Elevated Rail- road Company, was appointed by the company to look after all matters of design where their construction in places was con- templated. A vast improvement has resulted. This crossing of the parkway is to be a very handsome structure of rein- forced concrete. Messrs. Wheelwright and Haven designed the new station at Forest Hill and made a pleasing effect by enclosing the steel support of the elevated structure in con- crete piers.

A still more important outcome has been the design of the viaduct which is to close the prospect looking down the new Charles River Basin — "Charlesmere," as it is now appropri- ately called. This great basin of fresh water has been changed from a tidal basin, and a dam and causeway are under con- struction at the lower end of this basin. It was proposed to run the elevated structure in the ordinary fashion, adjoining this causeway. But Mr. Robert S. Peabody was appointed the architect, and he has designed a very handsome structure — a viaduct of reinforced concrete arches.

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In various ways in the design of our new subway — our new Washington Street tunnel — in the decorations — the influence of the League has been felt.

In the matter of ancient landmarks — the old houses, the public buildings of Boston, are one of the greatest assets, both historically and even commercially, as an attraction of the city. We moved to secure the preservation of the ancient Royall House, the old homestead of Governor Winthrop in Medford ; and prevented the demolition of the old West Church, now the Branch Public Library of the West End, one of our his- toric structures.

In street improvement we were active in securing the laying out of the New Avenue, constructed on the axis of the central group of the Harvard Medical School, a very beautiful group of marble buildings, at the Avenue Louis Pasteur, as it is called.

Boston harbor is filled with many islands, but from the early^ Colonial days they have been destitute — most of them — of the original tree covering, and are consequently bald and repellent in appearance. A very slight outlay for the planting of trees- will cause almost an immediate change in their appearance. The moment that leafage appears there the new surface texture will greatly improve the looks of these islands. Therefore, we have revived a movement which was instituted something- like 30 years ago to do this thing, and which was unfortunately blocked by the action of the Mayor at that time. We are now organizing to have that done, getting various interests together — the various organizations interested in such things,, like the Appalachian Mountain Club, the Massachusetts For- estry Association, etc., — to secure that action.

Another thing, we lately caused the Mayor to request of the Art Commission a report upon the advisability of making- changes in the arrangement and the location of monuments, statues, fountains, etc., upon the Common, Public Garden, and other public open spaces. Many of these are very badly placed, and some of them are very bad, indeed, in themselves. Most of the monuments of a more early period, and even some of a very recent date, are bad, and — speaking in all . confidence, of course ! — our purpose is.

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to get some of these out of the way, and have them discreetly screened by trees and shrubbery, so that they will not be so conspicuous. Possibly some of them may be removed altogether, as they ought to be. The Mayor has re- quested the Art Commission to make a report. The Art Com- mission in turn has requested the Metropolitan Improvement League to consider the subject, and a Committee has been appointed — a Committee of Architects and Landscape Ar- chitects.

These are some of the things we have done. We have en- deavored to secure proper utilization of the Parkman fund — a bequest recently made to the city of Boston for the mainte- nance and the improvement of public parks. It amounts to about $5,500,000, the income to be devoted to these purposes, making the greatest fund of the sort ever left to any city in this country, and, I believe, the second largest fund of the kind left to any city in the world. The bequest of the Duke of Brunswick, to the city of Geneva, in Switzerland, I believe is the largest. We are hoping to secure a proper utilization of that income.

There remains to be considered the first activity of the League : the remarkable interest aroused throughout the country by the plan for the improvement of Washington, pre- pared by the Art Commission of the District of Columbia, led our League to decide that our first activity should be to secure the organization of a plan for the Metropolitan District. It makes a long story — altogether too long to go into here. To sum it up: after having secured in the message of the Gov- ernor a strong recommendation of this project and favorable action by the Legislative Committee on Metropolitan Affairs it was reported upon adversely by the Committee on Ways and Means, for fear it might commit the Metropolitan District to some expenditures large and indefinite, involved in carry- ing out whatever plans might be agreed upon. Four years later, when it became more opportune, it was brought up again, and the Commission on Metropolitan Improvements was constituted. The term of that Commission, of which I have the honor of being Secretary, expires this week, and it has some very important plans for Metropolitan Improvement

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dealing with questions of transportation, of local transit, of railroad terminals, and of Metropolitan highways. They all dovetail together in a large ensemble, significant of an in- telligent and scientific development. While we were requested, among other things, to consider matters of embellishment, we felt that embellishment should be an outgrowth of the prac- tical, and expression of the useful in terms of art, and that side of it would take care of itself as the occasion arose. Our plan in Boston, of course, must be a very different plan from that of Washington. In Washington the dominant note is elegance — that is the fundamental idea. In Boston it is the picturesque, the spontaneous expression of the logical development of an old community from Colonial days upwards, and the sort of plan we hope to achieve should be characterized by that quality, as a natural growth of any kind tells of the soil it springs from in the individuality thus determined. Then another thing that I should mention is the Local Improvement Organizations, similar to the Village Improvement Societies of which you will doubtless hear in the course of this meeting. The Village Improvement Societies, some of them organized fifty years ago in New England, and the Ward Improvement Associations and the Local District Improvement Associations have done a great deal of good for their own communities. But in the atmosphere of a great city the latter have also in many respects exerted a baneful political influence. Hence the log-rolling tendencies and the extravagant expenditures which they have encouraged, and they have been sort of hot-beds for ward politics, some of them. The idea has occurred to some of our leading citizens that there was a great field for use- fulness in these organizations; that if they could be got to work together they could do a great deal of good, not only for their own localities, but for the city at large. And so they have organized the United Improvement Associations — a strong organization which promises to do much good and to bring about a new way of doing things, for the general as well as the local welfare.

Then, finally, we have in Boston, the very interesting move- ment called the ''19LS Movement," which sets an ideal in va- rious respects for things to be accomplished six years hence

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— that is, by 1915. Fundamentally, it is a very simple idea; that is, to have the various public-spirited interests, each of which desires something, in the way of better housing and of better streets and of better financial conditions, etc. — have them each formulate what it wishes to have accomplished, and then all work together unitedly for the accomplishment of these things, one helping the other. Many of us hope this will result in something very fine being accomplished — and then by 1915 we can invite the rest of the country to come and see us. (Applause.)

The Chairman. The Secretary has an announcement that he wishes to make.

The Secretary. We wish to call attention to an occurrence in Washington last week which deserves our hearty com- mendation. In a speech before the Washington Chamber of Commerce and the Washington Board of Trade, President Taft devoted half of his address to the systematic develop- ment of the Capital City, and his intelligent interest and appreciation of the original plans designed by L'Enfant, and the principal artistic legacy left us by George Washington, his hearty approval of the future development of the city on the Park Commission plan, his feeling that the city will develop on these lines, his expressed intention of throwing the weight of his influence towards this end, should delight all interested in art.

Therefore, I move that the Delegates to this Convention, representing over eighty organizations in all parts of the United States, heartily approve and thank the President of the United States for his expressed intention of aiding this most important movement in the development of the Capital City. I would also feel, myself, like suggesting three cheers for President Taft. (Prolonged applause;)

The following resolution was then presented, duly sec- onded, and unanimously adopted :

Whereas, William Howard Taft, the President of the United States, in an address before the business men of Washington has shown his intelligent interest and appreciation of the plan

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of the city drawn by L'Enfant, the principal artistic legacy left us by George Washington, has given his hearty approval of the future development of the city on the Park Commission's plan, has expressed his opinion that the city will be developed on these harmonious lines, and has intimated his intention of aiding in this rational development of the Capital City, there- fore, be it

Resolved, That the delegates in this Convention representing more than eighty art societies from the North, South, East and West, heartily appreciate and thank the President for his sym- pathy and assistance in this important movement for securing beauty, grandeur, and harmony in the future development of the Capital City.

The Secretary was instructed to send a copy of this resolu- tion to President Taft.

The Chairman. Mr. Baxter referred to the late Mr. Cas- satt, the President of the Pennsylvania Railroad. I fear there are very few men at the head of the great corporations of our country who are as public spirited as was he, and I think this whole country owes him a debt of gratitude for what he did for Washington. (Applause.)

Mr. Albert Kelsey. I wish to extend a little, if I may, the remarks of Mr. Sylvester Baxter, than whom no one in Boston has done more to bring about a new type of city- making, by pointing out that this subject of city-making is one of far-reaching importance to this organization.

I take it that of those present here the great majority are ur- ban or at least suburban dwellers, and that art must necessarily prosper best where there are most people.

In the address we listened to with so much pleasure by Senator Root only yesterday, he made it very clear that he had some very broad and comprehensive views on the subject of art organization, and what an organization might do if it ap- pHed itself in a vigorous manner to enlist the support of our people, not only in municipal but in state and national affairs. We are gradually evolving a type of city in spite of all kinds of mushroom enterprises and much blundering, which is going

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to be a great advance, I believe, on any city-making that has yet been brought forth in Europe. On the other hand, we are way, way behind in understanding the economic develop- ment of closely built up districts of our cities, and it seems to me that this organization should take into consideration what has l3een slowly evolved in Europe. Modern city-making started in France; it is being perfected in Germany. Cities of the first, second and third class in Germany have a regular department of Municipal Extension; stampedes in real estate values by private individuals are averted; franchises of all kinds of public utilities controlled, and the city expands ra- tionally and in a very decent way. The consequence is that the Presidents of all kinds of Art Societies, like those repre- sented here, interested in all kinds of phases of art, can apply self-perpetuating development to the members of these De- partments of Municipal Extension — and thus can be assured of a continuous development, and that any effort set forth by any organization for the benefit of a neighborhood, such, for instance, as the Neighborhood Improvement Work which is being done so well in Chicago, will be carried on systemati- cally, and that a great overlapping and waste of money and energy avoided, and I trust that before we go much farther with our deliberations here, that we will try to carry our work on in such a way that there will not be an overlapping of effort and obscurity as to what the organization is for.

It has been my privilege to come in contact with Senator Root in business very frequently, and he is most anxious to see organizations grow up in the various states, and a National organization which will be of real power, and, speak- ing for some of the architects present, I feel sure that we are destined to accomplish something, if we can only constant- ly keep in mind this broad work which is before us. The work of the Metropolitan Commission in Boston, which has been imitated in many cities, represents a totally different phase of city development from anything that Haussmann ever dreamed of. The European idea, or the Continental idea, of city-mak- ing is perfecting physical development within narrow bound- aries ; it is a purely municipal project. Boston has swept that idea away completely. The twentieth century idea is for

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a federation of cities and suburban communities as Mr. Baxter has told you, within the work of the MetropoHtan Commission with the various Commissions around Boston, where forty, more or less jealous communities, are working in perfect har- mony. It is a marvelous thing, and a matter which is full of great encouragement for us all, to think that it was possi- ble to conciliate the rivalries and the jealousies of thirty or forty different communities, and to get them to work in per- fect harmony for a result which has already born fruit that was beyond the expectations of Mr. Baxter and Mr. Eliot, who brought this feature into being.

Now, if under our system of ever-changing administra- tions, and with such an intricate body politic to handl-e as thirty different town governments — it has been possible in so few years to gain possession of the water fronts along the seas and along the bays and rivers in and about Boston, to control the entire water shed of the eastern slope of Massa- chusetts, to have parks and parkways link up all these differ- ent towns, it is possible for us to do almost anything if we get right down to modern trust methods and organize a strong national body with a very distinct object in mind.

I do not think that I want to take up any more of your time, but it is this idea of centralization that I wanted to bring to your attention. (Applause.)

The Committee on Constitution then presented a rough draft of its report which was discussed, section by section, at considerable length, several paragraphs being referred back to the Committee for reconsideration.

After which the Convention adjourned to reassemble at 2.30 o'clock.

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FOURTH SESSION. Wednesday Afternoon, May 13, 1909.

In the Ball Room, the New Willard Hotel. Mr. H. Winthrop Peirce, 3rd Vice-President of the National Acad- emy of Art, in the Chair.

The Chairman. It gives me great pleasure to introduce to you, ladies and gentlemen. Dr. John Quincy Adams, the As- sistant Secretary of the Art Commission of the city of New York, who will speak on the work of that Commission.

THE WORK OF THE ART COMMISSION OF THE CITY OF NEW YORK.

address of Dr. John Quincy Adams.

Mr. Chairman, Ladies and Gentlemen: Shakespeare has said, "Some are born great, some achieve greatness, and some have greatness thrust upon them." However true this may be in regard to individuals, institutions seem often to be made by all three factors working together and this was the case with the Art Commission of the City of New York. It was brought into existence, as you know, on January 1, 1898, by provisions in the Charter of Greater New York. Those who drafted the Charter provisions were able and wise men, consist- ing of Messrs. John M. Carrere, Chairman, Russel Sturgis, Walter Cook, Frederic Crowninshield and Henry Rutgers Marshall. These gentlemen in consultation with able lawyers, after drafting this section of the Charter, presented it to Mr. Elihu Root who was a member of the Charter Com- mission. Senator Root gave them a number of valuable sug- gestions which were incorporated and this draft was finally adopted verbatim by the Charter Commission.

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The membership of our Commission consists of three classes: First, the ex officio members, consisting of the Mayor, the President of the Metropolitan Museum of Art, the President of the New York Public Library, and the President of the Brooklyn Institute of Arts and Sciences. Second, the appointees — ^^each of these is appointed by the Mayor from a list of three furnished him by the Fine Arts Federation of New York. Then the third class may be called temporary members. The Charter provides that when any plans are being considered which come under the jurisdiction of some department of the city, the head of that department is a member of the Commission during the consideration of these plans. He has all the rights of the other members. Too much praise could not be given this last provision of the Charter, because when it happens as, of course, it frequently does, that plans must be disapproved, the head of the department who has sub- mitted these plans may be present and hear the reasons given for their disapproval. Now, as you will at once see, this main- tains cordial relations between the Commission and the vari- ous city departments and has undoubtedly done much to foster mutual confidence and respect. During the consideration of designs for important structures, not only the head of the department, but his engineer and technical assistant often appear before the Commission. The Art Commission refuses to consider designs until they have the certified approval of the head of the department under whose jurisdiction the struc- ture is to be erected.

So much for the birth of the Commission and now in regard to its achievements. I may say that it has exercised its power with great wisdom and discretion. The Commission does not expect nor attempt to get masterpieces in every case. Its decisions are not based solely on artistic and ideal qualities, for with the City, as with the private individual, many practical questions must be taken into account. What the Commission persistently does, is to prevent the erection of the ugly and unsuitable, and in each case to secure the best possible structure under the circumstances. Consequently, its achievements are not to be found so much by comparing the structures it approves with an ideal standard, as by an ex-

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amination of the records on file in its office. Only by compar- ing a "disapproved" design with its improved and "approved" successor can one form a just appreciation of how much the Commission has done for public art and architecture.

From the beginning the Commission has shown great vital- ity. It has accepted its full responsibilities and conscientiously performed its functions. At the same time it has always had a clear conception of its jurisdiction and has rigidly kept within its own domain. One of the best testimonials to the discretion and wisdom shown in the exercise of its powers, lies in the fact that by various enactments its jurisdiction has been gradually extended. During the first four years of its existence it had jurisdiction only over works of art. It passed upon the designs of public structures solely when re- quested to do so by the Mayor or the Board of Aldermen. At the present time, the law requires it not only to pass upon all works of art, but upon all public structures and all private structures built wholly or in part upon public land; also upon the lines, grades and plotting of public ways and grounds. The only exception to such jurisdiction is that when a structure is to be erected costing $250,000 or less, the Com- mission shall not act if requested not to do so by the Mayor or the Board of Aldermen. Such a request has never been made.

These extensions of its authority have not been in any sense academic innovations. They have grown out of practical experience. As the Commission showed its willingness and ability to cope with the problems of city architecture; as the great benefits of its criticism and decisions became manifest, it became gradually the custom for the Mayor to refer to it, at first, all important structures, and, later, nearly all structures. Hence the various enactments have merely put into legal form what had already become a common practice ; thus doing away with much confusion and all uncertainty. Now every de- partment knows that the designs and location of its structures must be approved by the Commission.

The story of the growth and importance of its w^ork is fur- ther told by the number of submissions. During the first four years of its life, the Commission passed upon an average of six submissions yearly. During the year 1908, it passed upon

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200 submissions, having an approximate value of $30,000,000.

Now in regard to the power of the Commission. Its de- cisions have always been final. I want to say a word in re- gard to the manner in which the Commissioners perform their functions, as I have often heard it said that their action is mere- ly perfunctory. This is a totally erroneous notion. Not only are designs given careful consideration before action is taken but when necessary the sites of the proposed structure or mon- uments are visited by the Committee and carefully studied with the designs before them. It frequently happens that the Commission goes out, spending many hours visiting sites and carefully studying the whole question as to the fitness of the proposed structure for the intended location.

If you will look at our report for 1907 you will see there in illustrated form what the Commission has actually accom- plished in a few instances. Take the matter of drinking foun- tains, those horrible things that have been scattered through the United States, made of cast iron without form or void, by different iron works. To have sounded the death knell of cast iron drinking fountains in New York City is no small accomplishment. Only once, I think, during the past year have we had an iron drinking fountain submitted, and that after an improved design. Now in place of these, there are being put up all over the city beautiful bronze fountains, or if just a trough is wanted, a very beautiful and simple granite trough. I think I may say that the Commission has won the sympathy and co-operation of the Society for the Prevention of Cruelty to Animals, which is the chief organi- zation in putting up drinking fountains for horses.

Now, in closing, let me mention two or three directions in which the influence of the Art Commission is most decidedly felt, in addition to its securing better designs for structures as well as better designs and more suitable locations for monu- ments. First I may mention that the Art Commission of New York stands for training in architecture, in sculpture and in painting. It is rare now for an architect to submit de- signs for public buildings. The departments in general select trained men because they must get the approval of the Art Commission. Otherwise, the money for the building cannot

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be legally paid out of the City Treasury. I think it may be said without contradiction that there has been a steady im- provement in the character and ability of men employed in designing buildings for New York City. Secondly, the Art Commission stands for good city government. There has never been a suspicion of such a thing as graft or pull in our department. Every Commissioner must be like Caesar's wife, above suspicion. The Commission gives the same considera- tion to a Saint Gaudens, an Adams, French or Bitter design that they do to that of a young sculptor. In other words, all desigTis are considered in an entirely impersonal manner and are dealt with strictly according to their merits. (Applause.)

Mr. Eli Harvey. Mr. Chairman, I should like to ask Dr. Adams a question.

The Chairman. He would be very glad to answer, I am sure.

Mr. Harvey. I heard it said, yesterday, by an ex-member of the Commission, that it is possible for work in sculpture,, or architecture, to be perpetrated upon the city, in their ignorance of it, and after put up once it is a very difficult matter to have it taken down. Is that a fact?

Dr. Adams. Yes, sir, it is a fact. There is one public building today in New York City where the sculpture was put up some years ago and that sculpture, I suppose, will be paid for out of the Cit}^ Treasury. It never has come be- fore the Art Commission. In the early years, perhaps the first four or five years, the Commission was feeling its way, and did not want to be too assertive. It was getting the con- fidence of the public. Many architects did not know that their designs had to be submitted to the Commission, and the Commission does not like to disapprove of a piece of sculpture after it is on the building and can not easily be removed. It would make a very embarrassing situation ; but it is a fact that it has been only in the case of one building.

Mr. Harvey. I had reference to a large monument on, 72nd Street, I believe it is, and Boulevard or Broadway.

Dr. Adams. No, sir, that was approved by the Commission. You refer, probably, to the monument to Verdi?

8T

Mr. Harvey. Yes, sir.

Dr. Adams. Yes, that was approved by the Commission. Of course, what we try to do, if I may just say one word more, is to get the sculptor to submit his sketches first. They do not always know the method of procedure, and just at the pres- ent time the Commission is preparing a circular to be sent to all the sculptors and architects telling them exactly the best way to get things before the Commission. A committee, you know, anxious to put up a monument will hurry the thing along, and once in awhile the statue is cast in bronze before it is submitted to the Commission. You can see that this makes an embarrassing situation. If the Commission does not like a thing, it must disapprove, and I may say the Commission shows a very rigid back bone when it does dislike a thing. I have seen things submitted four or five times, and each time turned down, and it is surprising how rigid the Com- mission is when it really feels that the work is unworthy of a place.

The next speaker was Mr. George Oakley Totten, Jr., who had kindly consented to give his illustrated lecture, delivered originally before the American Institute of Architects, on the International Congress of Architects, held in the summer of 1908 at Vienna, at which he represented the United States. Mr. Totten's address being printed in full in the proceedings of the American Institute of Architects' last Convention is here omitted.

The Committee on Constitution then presented its revised report which was again generally discussed and carefully con- sidered. Each article being voted upon separately, the Con- stitution as a whole was finally adopted. It is as follows:

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Article I.

Name.

The Corporate name of this organization shall be "The American Federation of Arts."

Article II.

Objects.

The objects of this Federation are to unite in fellowship all institutions and organizations, interested in architecture, sculpture, painting, landscape, craftsmanship, collections of art, and village and city development; to harmonize and na- tionalize the art interests of the country ; to stimulate the love of beauty and to cultivate public taste.

Article III.

Membership.

Section 1. This Federation is an association of institutions and organizations, each of which shall constitute a chapter.

Sec. 2. All institutions and organizations interested in the objects of this Federation shall be entitled to representation in its conventions as follows : One delegate for the body as a whole, one delegate for any number of members, whether of faculties or organizations, not exceeding twenty, and one dele- gate for every twenty members exceeding twenty.

Sec. 3. No chapter shall be allowed more than ten delegates.

Sec. 4. No student of any institution or organization shall be counted a member of the chapter.

Sec. 5. Any person interested in the objects of this Federa- tion may, on approval of the Committee of Admissions and the Board of Directors, become an Associate upon application and the payment of two dollars a year ; but only delegates shall have the right to vote at conventions.

Sec. 6. The President and Board of Directors shall have the power to confer the title of Honorary Member upon any

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person who, in their judgment, has rendered distinguished ser- vice in the promotion of any object for which this Federation exists.

Sec. 7 . Any person may, on approval of the Committee on Admissions and the Board of Directors, become a Life Mem- ber on the payment of one hundred dollars.

Sec. 8. Any person may, on approval of the Committee on Admissions and the Board of Directors, become a Patron on payment of one thousand dollars or more.

Sec. 9. No institution or organization shall be eligible to membership any part of whose monies is applied to private gain.

Article IV.

Office and Officers.

Section 1. The head office of this Federation shall be at Washington, D. C.

Sec. 2. The officers of this Federation shall be a President, three Vice-Presidents, a Secretary, an Assistant Secretary, and a Treasurer, who shall serve for two years, and shall be elected by ballot at the convention.

Sec. 3. The Assistant Secretary shall receive an annual compensation for services.

Sec. 4. There shall be a Board of Directors consisting of the President and Secretary ex officio and nineteen members of the different chapters belonging to this Federation, to be chosen by ballot at the conventions. Three directors shall be retired each year in order of seniority and three new ones elected.

Sec. 5. The Board of Directors may, by formal vote, delegate its powers, wholly or in part, to an Executive Com- mittee consisting of the President and Secretary ex officio and five others chosen by it from its membership.

90 Article V.

Government.

The government of this Federation shall be vested in its Officers and Board of Directors and by delegates from the chapters in convention assembled.

Article VI. Committees.

Section 1. With the approval of the Board of Directors^ the President shall appoint, to serve for terms of not less than two years, standing committees of five on Admissions, Finance, and such other matters as Architecture, Sculpture, Painting, Landscape, Craftsmanship, Art Museums and Gal- leries, Education, Exhibitions, Publication, Municipal Art Commissions, Village Planning and Improvement, Free Art, Government Art, Legislation, etc.

Sec. 2. The Committee on Admissions shall consider the eligibility of any institution and organization wishing to join this Federation, and shall report to the Board of Directors their recommendations. The Board shall have the power to accept or reject the applications.

Article VII. Dues and Penalties.

Each chapter shall contribute to this Federation ten dollars per delegate annually. In default of payment the chapter shall not be entitled to be represented in convention, and after six months may forfeit its membership at the discretion of the Board of Directors.

Article VIII.

Introduction of Subjects.

Upon request of members of at least five chapters, made in writing to the Board of Directors, the Board shall submit

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to the annual convention any subject kindred to the objects of this Federation.

Article IX.

By-Laws.

The Board of Directors shall have the power to adopt all necessary By-laws.

Article X.

Amendments.

This constitution may be amended only by a two- thirds vote of the delegates present at the meeting, after notice of amend- ment to each chapter at least two months before the conven- tion is held.

The report of the Nominating Committee was presented by Dr. Charles W. Needham, Chairman.

Dr. Needham. Mr. Chairman, the Committee on Nomina- tions makes a report in two parts. First, with reference to the officers, and second with reference to the nineteen directors, who are to be selected. I will present the first part of the report. We nominate for President, Mr. Charles L. Hutch- inson, of Chicago; for Vice-Presidents, Mr. Herbert Adams, Sculptor, of New York; Mr. John W. Alexander, of Penn- sylvania, Painter; Mr. Ralph Adams Cram, Architect, of Bos- ton; for Secretary, Mr. Frank D. Millet. The office of As- sistant Secretary is left for this meeting to determine. For Treasurer, Mr. J. P. Morgan, Jr., of New York.

These officers being elected, their nominations having been duly seconded, Mr. Albert Kelsey nominated Miss Leila Mech- lin as Assistant Secretary, and she was unanimously elected by a standing vote.

Dr. Needham, then proceeding to the second portion of the report, explained that the Committee feeling it impossible in the brief time at its command, and under existing circum- stances, to make a fitting choice of persons who would repre- sent all sections and serve most acceptably, recommended

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that the President, Vice-Presidents, Secretary and Treasurer be constituted a committee on organization with power to ap- point nineteen directors to serve for one year, which, being put in the form of a motion, duly seconded, was so ordered.

The business before the Convention being concluded, the chairman introduced Mr. William Woodward, Senior Pro- fessor of Drawing and Painting, Tulane University of Louisi- ana, who spoke on the "Progress of Art in the Gulf States."

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PROGRESS OF ART IN THE GULF STATES.

address by Mr. William Woodward.

Mr. President and Members of the Convention : We of the far South desire to take part in the councils of this national movement to forward the interests of art, and I have gladly accepted the cordial invitation to address you, overcoming the barrier of distance which has so long delayed the intercourse which would be very helpful to us at this time when we have, as we think, achieved a position in the art world by the merits of our work in some directions.

What I have to say will be from the point of view of an adopted son of Louisiana for a quarter of a century, one who has been continuously identified with the slow awakening which is now reaching the point when a decisive advance may be expected in common with other sections represented here in convention at our national Capital.

I come to bring what message I can to you, but more than that, to link the Gulf States with the other States represented in plans for active co-operation in practical ways for mutual help and to nationalize our art. At this point I beg that you will allow me to refer to the great success of the International Congress of Art Teachers held last August in London, where about 200 American delegates joined with about 1,600 others from about 40 countries to consider modern problems in Art Education. The utmost cordiality was shown the American committee in charge and every facility was afforded that was humanly possible, the incomplete condition of the new build- ings, of the Victoria and Albert Museum being the only un- fortunate phase, as it crowded the exhibit too much. But even here it proved a blessing in disguise, as the exhibits were so extensive as to have become wearisome had they been spread out as originally planned.

The work of the public schools of this country was shown only in a composite exhibit from about 60 cities, each grade from the first through the high school on a screen by itself. This arrangement won the most favorable comment, and it may

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be claimed that in this exhibit we excelled. Another triumph was scored by the exhibit sent from the Boston Museum school which had been placed by the committee in a central, top- lighted gallery, which was equally shared by the exhibit of the £cole des Beaux Arts of Paris. The oil paintings from the nude figure showed a higher grade of excellence than that of the £:cole, judged by latest standards. I do not claim that the ficole is outclassed by the Museum school, but I do claim that the latter made a better exhibit in London.

Many of our best schools of art sent splendid exhibits, but I cannot mention more by name, only adding the comment that all exhibits there emphasized the equal importance of what was formerly termed industrial art.

When the Princess Louise, Duchess of Argyde, formally opened the exhibition at the South Kensington Museum, all delegates there at the time were presented to Her Royal High- ness, and the Americans before any other nation, even, al- though, we were not representing our government which took no part in the Congress. Our reception by the English could not have been more appreciative nor cordial and I take this opportunity to acknowledge it. The entertainments included a dinner to hundreds of delegates by Lords Carlisle and Stan- ley, the president and treasurer, given at the banquet hall of the Franco-British Exposition, then in progress ; a reception by her Grace the Duchess of Sutherland, to all delegates and their families in Stafford House, to which she returned from Scotland with forty servants expressly for that event ; a recep- tion by the Duke and Duchess of Wellington and their daugh- ter in Apsley House, Hyde Park Corner, and unusual privi- leges extended by the King at Windsor Castle, besides many other charming occasions, making this Art Congress one to be long remembered.

An important contribution to this Congress was the book, "Art Education in the Public Schools of the United States," written and published under the auspices of the American Committee, to furnish a correct idea of the history, philosophy and practice of art education in the United States.

All this is pertinent to my theme, as Louisiana furnished a

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member of the official committee of three and the author of the chapter in the book, "Art Education in the Colleges."

There is increasing interest in Art Education throughout the Gulf States and much, for instance, may be expected from the Rice Foundation at Houston, Texas, which has several millions endowment, but Louisiana is so far in the lead as to warrant more being said about her position. A department of drawing was first added to the Southern Educational Asso- ciation when it met in New Orleans.

The law now requires the public schools of Louisiana to furnish instruction in drawing and manual training, as well as music and usual subjects. The city of New Orleans em- ploys seven supervisors of drawing and manual training.

A devoted band of professional and amateur artists has advanced art in New Orleans for over 25 years with varying success and the Art Association of New Orleans^ which now attends to the exhibiting of works of art is, as you know, represented on your Board of Regents by our Vice-President Mr. S. W. Weis. One of our strongest artists, Mr. B. A. Wikstrom, has just died in New York where he was called to design the "floats" for the street parade of the Hendrik Hud- son Tercentenary. He had for a quarter of a century been engaged in designing New Orleans Mardi Gras parades. His marine painting is an important contribution to the easel art of the country and will hold its reputation.

The standard of our annual exhibitions is fully up to the usual American standard and some twenty or thirty local artists gain admission. A large majority of these have re- ceived the benefits of travel and education in Europe and Northern centres. A gold and silver medal are annually given for the best work of local artists. R. B. Mayfield and A. J. Drysdale are holders of the gold medal, both for landscapes.

The leading force in Art Education in the Gulf States is the Tulane University of Louisiana, New Orleans, which included art instruction in its curriculum from the time of its establishment as the reorganized University of Louisiana in 1884. A very liberal policy in giving free instruction at that time made it one of the first wide fields for extension work, now so generally recognized in college activities. The later

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establishment of the H. Sophie Newcomb Memorial College for Women furnished a home for what has grown to be one of the most important college art departments in the country, in many ways. One limitation, that of excluding study of the nude, shows the state of thought as to education of women obtaining in a largely Catholic community remote from the currents of creative art. No doubt, however, this feeling will wear off, even although in a way creditable to the community, which shrinks from some of the liberties being accorded mod- ern women. Medical education has so far been denied women in Louisiana. However, one of the professors of art has supplied the demand for instruction from the nude in his own studio for years, and as the Women's College is to be entirely rebuilt, it will soon arrive at a point where full facilities will be given, but it is to be hoped that a certain delicacy charac- teristic of the South will be long preserved. A faculty of seventeen professors and instructors in art, drawmg and handwork, is employed by the Tulane University and 66 per cent of the students of Newcomb College attend art instruc- tion.

This College has, as is well known, taken a position in advance, in that it has established a manufacturing pottery in which the graduates and students of the school produce the wares, and it also maintains agencies in large cities, doing the business of selling in the absence of any art industries in the locality which could furnish suitable employment or op- portunity for art development. This pottery has been in operation nearly twenty years, and its success has won recog- nition at expositions, in bronze, silver and gold medals granted.

Its department of embroidery, more recently established, is important and shows a firm artistic handling of units of design. All of the art-craft work depends on Southern flora for its inspiration, and flowers can be had every day in the year.

The new department of architecture in Tulane University is expected to exercise a strong influence in art development, and special attention will be given to the local Colonial build- ings of Louisiana which are strong in picturesque qualities as is indicated in the writings of Mr. George W. Cable, and in Mr.

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Joseph Pennell's illustrations for the same, not to mention the recent work of other artists.

The last few years have seen a great improvement in the architecture of the buildings erected in the South, as the taste displayed in the period following the civil war was not of a high order. There were a few buildings of a scholarly type erected in New Orleans by James Gallier just before the civil war, notably the City Hall, a fine classic design in marble following the order of the Erectheum at Athens.

We must now mention some of our deficiencies. We have no sculptor established in the Gulf States and there is not a single important example of mural decoration as yet. A few days ago I saw men painting the bronze statue in front of the City Hall and the glistening surface seemed to give the painter a feeling of satisfaction. The old Cabildo had its sculptured flag in the pediment group, picked out in stripes by the Commissioner of Public Works, who affixed his name to the pediment, which dates back to French and Spanish occupation, in block letters which can be plainly read from the street.

I do not think New Orleans the only city, however, where such poor taste and judgment is displayed. The city which calls itself the Winter Capital of America, and not without proper claim, is richly endowed with hospitals and libraries, but has as yet no public art gallery, although the small gal- leries of Tulane and Newcomb Colleges are open to the public freely, and in them the annual exhibitions of art are often held. There is then a splendid opportunity for a memorial endow- ment, and also for the school of architecture which is not yet properly endowed, although struggling hard for recognition and doing good work.

It is significant that the Cotton Centennial Exposition of 1884-5 left the city an Horticultural Hall, where other expo- sitions have left art galleries. The lawns there are green with winter grass and the palms and live oaks render the streets so attractive as to lessen the importance of art collections in the judgment of the people.

The Louisiana Art Teachers' Association has been in active work some fifteen years and circulates an exhibition of work

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throughout the state on request, besides holding monthly meet- ings. A chapter of the American Institute of Architects is being organized, and a Tree Society is actively at work. A City Beautifying Committee of the Progressive Union has begun meetings to consider enlarged plans for the city and several committees are engaged in furnishing statues in memory of southern men of note, including Jeiferson Davis.

It remains then to be said that we of New Orleans will wel- come any plan to help us secure important art exhibitions for a southern circuit, and we will be glad to serve the nation at its Capital, if opportunity offers.

As a direct result of the London Congress, I have arranged for an exhibit of sketch designs in figure compositions from the students of Professor Moira, Royal College of Art, South Kensington, which will make a circuit of leading art schools at small expense. (Applause.)

At the conclusion of his address Mr. Woodward exhibited rapidly a number of paintings which he had made of buildings in New Orleans, purposed as historical records. After which the convention adjourned until the following morning.

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FIFTH SESSION. Thursday Morning, May 13, 1909.

The Convention met Thursday morning at 10.30 o'clock in the Red Parlor of the New Willard Hotel. Mr. F. D. Millet, Secretary of the American Federation of Arts, in the chair.

The Chairman. It devolves upon me, in the absence of the president and vice-presidents, to preside. The regular order of business is, I understand, the report of the Committee on resolutions, of which Prof. Mitchell Carroll is chairman.

Prof. Carroll. Mr. Chairman, I have four resolutions to report. The first two are as follows :

Resolution in Favor of the Adoption of a Systematic Plan for the Development of Washington City.

The American Federation of Arts, appreciating the fact that the plan for Washington City was the greatest artistic legacy left the country by George Washington, that the beauty, fitness and harmony of this plan had no precedent in an exist- ing city, that the harmonious grouping of buildings, treatment of parks, and location of statuary, as indicated on this plan, forgotten and ignored for seventy-five years, would have made our capital the most notable city of the world in artistic beauty and harmony, therefore.

The American Federation of Arts considers it the duty of our people and of our Congress, as a legacy to future genera- tions, to assure the development of the city as suggested in the map of L'Enfant, and to secure in all and future additions harmony with the original plan, to parks and streets and the grouping and design of all buildings and monuments, there- fore, be it

Resolved, That the American Federation of Arts urgently requests Congress to adopt a systematic plan after the best expert advice, for the future development of the District of

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Columbia, and to direct all future park treatment, location of statuary and buildings to be executed in harmony therewith.

Resolution in Favor of a National Bureau of Fine Arts.

The American Federation of Arts, appreciating the fact that all the civilized nations of Europe have systematic methods, under expert guidance, for acquiring and executing matters pertaining to the fine arts, and have a continuous policy to obtain harmonious, lasting and beautiful effects; and as the civilization of a nation, its education and refinement are measured by its art expression, and as our government has no system by which this expression of the people may be guided or have a proper growth, therefore, be it

Resolved, That the American Federation of Arts respectfully urge Congress to approve a bill for a Bureau of Fine Arts, controlled by a Council composed of experts and laymen.

Each of these resolutions being taken up separately and unanimously adopted. Prof. Carroll proceeded:

Prof. Carroll. In the adoption of the Constitution yester- day, we voted that Washington should be the headquarters of the American Federation of Arts. Fortunately for us and the other great national bodies of the country, there is a body of patriotic women who have it in mind to provide a home for the artistic and scientific societies of Washington, and I de- sire to read a resolution of the Board with reference to that.

Whereas, the George Washington Memorial Association, in- corporated in the city of Washington in 1898, is raising a fund for the erection of a building to be known as the George Washington Memorial Building which, as its circular states, "will be dedicated to the diffusion of knowledge in all lines of human activity that will conduce to the advancement of the welfare of mankind," and

Whereas, this Memorial Building "is to be planned so as to furnish a home and gathering place for National, Patriotic, Scientific, Educational, Literary and Art organizations that may need such accommodations, including the Washington. Academy of Sciences and its sixteen affiliated societies,"

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Resolved, That the American Federation of Arts join with the National Academy of Sciences, the Washington Academy of Sciences, the Association of American Physicians and other national bodies in commending to its federated organizations the noble and patriotic object the George Washington Memo- rial Association is promoting and pledges its hearty co-opera- tion.

Resolved, That the officers of the National Art Federation be asked to adopt a definite plan to bring the aims and purposes of the George Washington Memorial Association to the at- tention of the members of the National Academy of Art and other organizations represented in this Federation, and re- quest their support.

Prof. Carroll (continuing). Mr. Chairman, I move the adoption of this resolution, and we have present with us the Vice-President of the George Washington Memorial Asso- ciation, and I am sure that all should be very happy to have a word from her.

The resolution having been seconded the Chairman called upon Mrs. Walcott for remarks.

Mrs. Walcott. I only ask for the support and interest of the members of the Association in our work, and I hope later, as this Federation of Art grows, and you have here in Wash- ington your conventions — national conventions and also inter- national conventions — you will feel the need of a large per- manent home, and that is what we are earnestly hoping to erect. Mrs. Dimock is our recently elected President, and is full of enthusiasm and zeal as to co-operation. (Applause.)

The resolution was then voted upon and adopted.

Prof. Carroll. I have one more resolution which I present at the request of Mr. Ellicott:

Resolved, That it is the sense of this Convention that the opening of the Vista bounded by the Via Nuova and the Burgo approaching the Church of St. Peter's at Rome from the Ponte St. Angelo, as illustrated by the diagram herewith submitted, is an object worthy of the support and advocacy of art societies throughout the world, and that we recommend the formation of committees who shall co-operate in trying to bring it about.

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After a brief discussion this resolution was set aside for the consideration of a committee, to be appointed later.

Mr. Henry Read then presented the following resolutions which were duly seconded and adopted:

Resolved, That the American Federation of Arts respect- fully tender its thanks to the President of the United States and Mrs. Taft, Mr. and Mrs. Hennen Jennings, and the Board of Trustees of the Corroran Gallery of Art, for generous hos- pitality extended to its members while assembled in conven- tion at Washington, and give expression to its appreciation thereof.

Resolved, That the Secretary be requested to send copies of this resolution to the President of the United States and Mrs. Taft, Mr. and Mrs. Hennen Jennings, and the Board of Trustees of the Corcoran Gallery of Art.

Prof. Carroll. There is one more resolution which will be presented by Dr. Needham.

Dr. Needham. Mr. President, those of us who have been in this city for some time, connected with this movement, leading up to this meeting, remember with great affection and admira- tion the life and efforts of Mr. Charles M. Ffoulke. It was at his house that the bill for the Academy of Arts was presented, referred to by Senator Root in his address ; it was in his house that the preliminary meetings were held that have led up to this meeting and to this Federation — they were held in his house, because for many years he was a great sufferer, unable to leave his house without being carried, but all the time interested and devoted to the development of art and ar- tistic taste. These meetings, therefore, were held at his house and this meeting was planned there. On the 23d of April we laid him away to rest in Rock Creek — a man of wonderful patience and heroism in the bearing of pain and trials, but with it all a cheerful, patient lover of art and a man who looked out upon the world with pure affection. It seems to me, therefore, proper, Mr. Chairman, that I may offer this resolution, to be spread upon the records of the meeting:

Resolved, That the American Federation of Arts receives with profound sorrow the announcement of the death of Charles M. Ffoulke, and desires to express, upon the records of this

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meeting, its high estimate of his character, and his knowledge and interest in art productions. Mr. Ffoulke was one of the regents of the American Academy of Arts, which originated and planned for this meeting and this organization. He exerted a wide and beneficial influence for the promotion of the fine arts and devoted much of his energies to the collection of works of art of exceptional beauty and worth. With all he was mar- velously patient and cheerful, bearing his bodily ills with true heroism while actively exerting his influence and using his talents for the development of a true artistic taste in home and civic life.

Resolved, That in Mr. Ffoulke's death this Society has lost an esteemed and useful member, and the City of Washington a citizen who was actively interested in its beautification along- comprehensive and artistic lines.

Resolved, That the Secretary is hereby requested to send a copy of these resolutions to Mrs. Ffoulke and to the press.

Following the adoption of these resolutions, the Chairman introduced Mr. E. J, Parker, president of the Quincy (III.) Boulevard and Park Association, who spoke on "What Can Be Done by Co-operation for Outdoor Art."

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WHAT CAN BE DONE BY CO-OPERATION FOR OUT-DOOR ART.

ADDRESS OF

Mr. E. J. Parker.

Mr. Chairman, Ladies and Gentlemen: When my friend, Mr. WilHam E. Curtis, asked me to come to Washington to speak, I