IV.--WORK OF CINCINNATI CARVING SCHOOL SHOWN AT THE CENTENNIAL.

The following interesting and critical account of one of the main collections shown at the Centennial, an exhibit which attracted great attention as illustrating a new departure in women's work, is from the columns of "The American Architect and Building News," published in Boston, Mass., March 31, 1877:

"WOMEN AS WOOD CARVERS.-THE MOVEMENT IN CINCINNATI."

Visitors to the Women's Pavilion at the Centennial Exhibition were generally sur prised to find there, among many other surprising things, a large collection of furni ture. This was in the pleasant Cincinnati corner. The question was naturally asked, "Have women turned cabinet makers?" It could be answered in the affirmative, for several of these pieces were entirely made by women. But these were exceptional. The object of the exhibition was to show the progress made during the last few years in the art of wood carving as practiced by women. Cincinnati is the centre of this industry, and the extent to which it has been carried is surprising. The works of this kind thus far produced are those of a school as distinctive and individual in its character as those of any other school of art that has ever existed. The exhibition was made up from the contributions from two classes of artists, those from the school of carving, conducted by Henry L. Fry and his son, William H. Fry, and from the McMicken school of art conducted by Mr. Pitman. Their methods are so similar, however, that it is impossible to distinguish between them from the style of the work; and in aim and motive they are practically one, moving together in perfect harmony and good fellowship.

It has been an interesting task to trace out the origin and organization of this remarkable movement. The master spirit and originator of the whole is Henry L. Fry, an English workman. We are indebted to him for much of the information received. But he has had able and enthusiastic coadjutors, and what is more remarkable, the movement has received such financial support that its permanence and future development are assured; for what has been done thus far can hardly be considered as more than trial work, that is, so far as the education of women is concerned and a foundation for better things to come as opportunities offer.

HENRY L. FRY, ART CARVER.

Mr. Fry is a native of Bath, England. He worked on the famous Fonthill Abbey, built by William Beckford, and thus became initiated into what was then considered as the Gothic revival. He worked also on the screen of Westminster Abbey under G. G. Scott, and the House of Parliament under Charles Barry and Pugin. He left London in 1849, before the Gothic revival had taken that shape in which the present generation have watched its progress; but he has not failed to follow its developments and fortunes to the present day. He did some work on the Ohio state-house at Columbus, but has resided mostly in Cincinnati. His work in that city has been extensive, and may be found in the houses of Edmund Dexter, Judge Estes, Mr. Probasco, Mr. Shillito, and Mr. Nichols. Any one who has seen the interior of the house of Mr. Probasco, designed by Mr. Tinsley, of Cincinnati, could not fail to have observed the rich carvings of the staircase, so varied that each baluster is a study by itself. Designing his own carving, and impressing upon it his own individuality, in a time when such work throughout our whole country was of a character as debased as it would seem possible to be, his work did not fail to receive just and due recognition from a few architects and appreciative amateurs. It was the work done by his son, William H. Fry, in the house of Mr. Nichols, which excited such general interest in the art that many persons sought instruction from him. Mr. Nicholas Longworth, jr., was one of the first to take to it.

CARVING INTRODUCED IN THE SCHOOL OF DESIGN.

Mr. T. S. Noble, the painter, and principal of the McMicken School of Design, became interested, and formed the project of introducing the study of wood-carving into that institution, and finally succeeded. Mr. Benjamin Pitman, well known as an authority in phonography, was one of the champions. The introduction of the study of wood-carving in the School of Design in 1873 was largely due to the influence and indefatigable exertions of Mr. Pitman, who exhibited some fine specimens of his own work, and that of members of his own family, to the committee having the school in charge. He volunteered to give three lessons a week to such of the members of the school as chose to take up the new study; and no less than eighty-eight members were enrolled in his class, nearly all being women. At the end of three months an exhibition of the results was given, which astonished all beholders. Recognizing the fact that a more liberal expenditure of money would greatly increase the usefulness of the school, Mr. Joseph Longworth made two gifts of $50,000 each, the interest of which should be devoted to the support and improvement of the school of design. He said in making the gift that "some employment ought to be provided for the idle rich as well as the industrious poor." The carving school has shared in the benefits of this contribution.

A Cincinnati correspondent of the New Century for Women, a paper published at the Centennial Exhibition, speaking of the work done in Cincinnati, says:

"Much of the work thus far has been done by those who desired some special article of furniture for the decoration of their own rooms, or who wished to make a gift doubly precious to a friend by offering the work of their own hands; but there are also some who propose to make this work a profession, and who are willing to execute orders."

MR. FRY'S SCHOOL.

The class in the McMicken School of Design became so large after a while that several ladies who were desirous of more special instruction than could there be obtained went to Mr. Fry's workshop, and studied where they had the advantage of seeing his own and his son's work in progress. They soon requested him to form a private class, charging pupils for instructions, which he did in 1874; and now he has a regularly organized school. The work of his pupils formed a considerable part of that sent to the Centennial Exhibition.

In a private letter written in July last, and published in the Cincinnati Gazette, Mr. Fry speaks thus:

"We were very fortunate in our pupils. My son gave them particular attention, and they responded by faithful and diligent application, and I know that it would be a difficult matter for us to get such excellent work from the ordinary skilled workmen who make ornamentation. Most of our pupils, of course, have the culture, taste, and refinement that are needed for such work, and their delicacy of manipulation and their leisure must be taken into account. Besides, the hand of woman is better adapted and admirably organized for some of our work, better fitted for the development of the beautiful in art."

Mr. Fry not only had his class in Cincinnati, but was induced to form another in Dayton, only a year ago. Here he nad sixteen lady pupils, to whom he gave twentyfive lessons; some of their work also went to the Centennial.

While writing we have before us a photograph of a corner cabinet from the house of Nicholas Longworth, carved by William H. Fry. It is a remarkably fine specimen of the art work of one whose example has had such a potent influence upon this new school of carving. The motive is evidently English Gothic of the fourteenth century, but it is such as a son who had never seen the old work might inherit from a father perfectly conversant with it. The carving is treated throughout with freedom from the restraint always imposed by an attempt to work in a style. The wardrobe has two doors, each door has a rail in the center, the lower space being divided into two upright panels with elaborate linen panels, while the upper space contains one large carved panel. The treatment of the upper panels is somewhat after the manner of monumental brasses. The left-hand door represents Freya, goddess of love (?), and on the right Thor, god of strength, from the Norse mythology. The drawing of each figure is given mostly in lines and slightly indented work, while the ground work is cut away to a greater depth. The border around each panel, which is richly covered with rosettes in circles, is again on the same level with the surface of the figure. All the moulded work on the wardrobe is carved, and the sloping top is covered with carved scales. In fact, very little plain work is visible, the framework of the doors even being carved with intaglio work. Herein is a fault which Mr. Fry's pupils have not failed to copy, and which destroys all repose in the work. It was noticeable in the women's work at the Exhibition that there was an evident disposition to cover all plain surfaces with niggling ornament, thereby detracting attention from the really fine carving with which the more important parts of the articles were wrought.

This would hardly be worth mentioning here were it not for the unfortunate example of the younger Mr. Fry. But aside from this, his work has real artistic merit. The hinges and other metal work of this piece are especially noticeable, being original in design, and skillfully wrought.

It seems but a short step from the work of Mr. Fry to that of his lady pupils. Of the great number exhibited at Philadelphia, some were well worth attentive study. The panel carvings in relief by some of the ladies were careful studies of natural form, handled with great vigor and precision, while others attempted figure — subjects in low relief. Conventional ornamentation of mouldings and shafts in low relief was generally well handled; but the prevalent error of introducing fine incised ornament where surfaces should have been left plain, was everywhere to be seen. It was notice

able that but few attempts had been made to reproduce undercut work; but this is not surprising, considering the short experience of the practitioners. It may also be ascribed to the natural inability of women to perform the muscular part of the work. The degree in which they accomplished even this is surprising; but an explanation offered by Mr. Fry will tend to make it clear. In answer to an inquiry as to how women could drive the carving-tool by blows from the flat hand, as is common with all carvers, he said that they used wooden mallets very extensively, and became remarkably expert with them. Among the examples of work by pupils of the Fry's we noticed especially the carved panels in a corner cupboard by the wife of Judge Force, of Cincinnati, which were of birds and flowers carved in relief, and nearly covering the two large panels.

The bedstead designed by Mr. Fry, and carved by Mrs. Dr. Williams of Cincinnati, was a fine piece of furniture both in its design and decoration, and decidedly the best designed of any in the women's exhibit. The headboard had an appropriate inscription in the German language, "Morgenstunde hat gold im munde," of which the translation was given, "the morning hour hath gold in its mouth." All the raised panels were treated with figure-subjects of personal interest to the owner of the article.

There were also an elaborate Gothic table by Mrs. W. Dodd, of Cincinnati, with a finely wrought vine on the flat smooth top treated in the Japanese manner, and a carved easel by the same lady.

One of the finest exhibits was a hanging cabinet by Miss Louise McLaughlin, of Cincinnati, entirely of her own design, all the carving and decoration being wrought by her own hands. The cabinet was designed in the style of B. J. Talbert. In the doors were hand-painted tiles, with gold ground, representing ladies in the costumes of 1776 and 1876. The hinges, modelled by Miss McLaughlin in wax, were cast in bronze and finely chased. This piece was filled with paintings on porcelain and pottery by the same artist.

Coming to the work of Mr. Pitman's school, we found many examples of his daughter's work. On a chest of drawers was represented a summer poem in six verses. Here were for April, a crocus and snow drop; for May, ferns unrolling their leaves; for June, honeysuckle and jasmine; for July, convolvulus and balloon vine; for August, poppy; and for September, gladiolus. The handles and escutcheons of these drawers were modelled by Miss Pitman, cast in brass and nickle plated.

There were also two oak doors from Mr. Pitman's own house, carved and inlaid with ebony by his daughter.

The Misses Johnson exhibited several pieces, among them a bedstead carved to commemorate the vines growing on the porch of their own house, a bit of appropriate sentiment in view of the fact that the vines proved to be excellent motives for decoration. The work was done in black walnut and ebony, and a panel was introduced with painted decoration on a slab of slate. The inside of the footboard had the most beautiful and delicate piece of carving we have ever seen, representing a convolvulus in intaglio. The last mentioned ladies have adopted carving as a profession.

Besides the above were good examples by Miss F. M. Banks, of Cincinnati, and Miss M. L. Pack. A cabinet organ carved by Miss Banks was inscribed with these words from Moore:

"She sang of love, as flowers would sing,

If love could lend their leaves a tongue."

Besides furniture there were brackets and shelves in profusion; but among the most useful application of women's work were noticed a number of alms basins and book covers, and especially a prayer book by Miss Helen Collard.

It seems invidious to criticise these works, in view of the fact that none of them are the results of more than three years of study and practice, and it is not yet time to see what will be the practical results of the movement. So far as the amateurs are concerned, it may prove to be only a temporary burst of enthusiasm, like that which follows every novelty. But, though refined ladies may get tired of the selfimposed drudgery necessarily connected with much of the work, the knowledge gained by them of an art which is generally so little appreciated will ever serve them, not only in their ability to judge of the works of others, but in doing good

missionary work wherever they go. It is the want of just such knowledge as this that deprives good artistic work of the patronage so essential to its encouragement. Those women who undertake it for a livelihood will doubtless go on and improve in the quality of their work; but, as has been said, the range of it will always be limited. With these two things are necessary to make the movement a permanent success: First in order is the encouragement of those who have employment to bestow and the intelligence to guide it into useful channels; for this we must look to the able architects of Cincinnati. Second, it is essential that the carvers receive that higher instruction in art-workmanship which can only be obtained from the study of the best models. It is also important that they be employed to work on things which are beautiful in themselves. The absence of any furniture of good design in the exhibition except that made by Mr. Fry and Miss McLaughlin was noticeable. The work from the McMicken school showed that the art of carving had been better cultivated in that institution than the designing of furniture. When the influence of scholarly and educated designers, in full accord with the latest developments of decorative art in England and America, is felt in the school which has had its inception in Cincinnati, we may eafely look for the best results of the labors of these "idle rich," as well as "industrious poor," women of America."

V.-REPORT OF COMMITTEE ON DRAWING.*

Prof. L. S. THOMPSON,

President of the Department of Art, National Educational Association:

Your committee, appointed at the meeting of the Department of Art Education of the National Educational Association, held at Saratoga, 1883, to report at this meeting on a course of study in industrial drawing for public schools, beg to submit

1. The educational and practical considerations on which the course of study presented by your committee is based.

2. The character of the existing instruction in drawing in public schools, normal schools, and technical schools.

3. Suggestions of a thoroughly graded course of study in industrial drawing for public schools.

4. Suggestions of a graded course for normal schools.

5. Recommendations and suggestions of the committee for efficiently carrying out these courses in all grades of public and normal schools.

DRAWING EDUCATIONALLY AND PRACTICALLY CONSIDERED).

As preliminary to the task assigned to your committee, it was deemed advisable to formulate the views of the committee as to the educational and definite character of drawing, as well as to what may be considered sound methods of instruction.

There are three successive stages in mental development-perception, thought, expression. Elementary education must reach these powers primarily through the senses. No single study deals more directly with sense perception than drawing, and it should, therefore, have a recognized educational rank in any scheme of elementary instruction. The training afforded by drawing should begin with the first grades of primary schools, and continue in progressive order throughout the entire school life like any other study. A course of study in drawing should, therefore, provide for continuous instruction throughout the whole school period. Drawing, educationally considered, has two aspects:

(1) It is a means of studying form, that inseparable characteristic of all that goes to make up the visible world.

(2) It is a graphic language for expressing thought in regard to form in nature, art, science, and industry.

The study of form should be presented by objects, and according to sound principles of mental development, which require first perception, then absorption, then expression and creation, no one of these powers being neglected. Children should be led first to perceive forms through the senses of sight and touch. When this training has been provided pupils should be led to express by making and drawing (1) what they see, (2) what they know, and (3) what they conceive, thus developing from perception to expression and creation. In a course of study in drawing the continuous element should be the study of form from models and objects, geometric solids being given first as the simplest forms.

As education should proceed regularly from the simple to the complex, a course of study in drawing should be carefully graded, both on the perceiving and expressing

side.

As drawing involves a study of form and of objects, and the expression of ideas derived from such study, its grading and classification should be with regard to the manner of studying the models and objects, and the thoughts to be expressed. The chief educational points to be observed in the study of the forms of objects, and the thought to be expressed in regard to them are (1) the actual forms of objects and how to represent them; (2) the appearance of the objects to the eye and how to represent their appearance; (3) the enrichment of objects by ornamentation and the principles relating thereto.

All other divisions of drawing range themselves readily under these three heads, according to the nature of the work. A comprehensive course of study should make * Made to the National Educational Association at Madison, Wis., July, 1884.