The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1903-08-12

n meath was written by Mary e.
Tillinghast. But the lady her
self is so modest that not everybody
knows the name for that of one of the
most skillful and gifted artists in
stained glass work this or any other
country has produced in modern times
Indeed her work is likened to that of
the masters of the craft when the
stained glass art was in its glory, more
than seven centuries ago American
stained glass work is superior to that of
modern artists in this field in Europe.
The reason is found largely in the diff
ferent methods employed here. and in
Europe. There the glass is painted
with the colors it is to display. Here
the colors are mixed with the molten
glass and become a part of it This
beautiful, wonderful opalescent glass
fabrication was revived from the medi-
eval time by the American John La
Fargo, and Mary Tillinghast was John
La Farge's pupil and assistant
In truth there is now considerable
export trade of stained glass from
America to England. That this is true
is due in no small measure to Miss Til
linghast herself. She has now in her
Washington square studio, New York,
copy of a stained glass window
portrait of Mrs. James Brown-Potter
which adorns that fady's mansion on
the Thames. 1t represents the actress
in her character of Charlotte Corday in
thas garden, a rose in her hand, medi-
tating the Staying of Marat.
The clipping, What Shall I Do to
Succeed?" reveals between its lines
how Mary Tillinghast comes to stand
at the top of her craft. There is no
luck about it. She began her profess
sional life as a decorative artist and in
the article she tells other young women
what they shall do to be successful in
this attractive field. which she declares
to be practically unlimited and to pre-
sent noble possibilities for the future.
The article begins with the injunction,
BE thorough" The decorator must
learn architecture and drawing first,
learn drawing from beginning to end
Eight hours a day for two years in an
| architects office or course in a good
school of design lis the price paid for
| the fundamental training" Above all
I and beyond all it must be a part of her
/ very life. How does that sound for a
beginning? Then Immediately follow
ing this gifted and famous woman art
list lays bare the very weakest, insight
Hest spot in the arm of preparation of
the American woman who pretends
that she wants to work Hear yel
! '.Unwillingness to go to the bottom
of things is. / find. one of the many
causes for failure among women. They
are unwilling to give of themselves and
hope to attain success without the price
of hard work"
Art has no rewards for the woman
smatterer and dabbler
Architecture and drawing are the first
steps to success as decorative artist
I The woman must have to begin a nat
ural sense of form. a natural love of
! color. She must feel to her finger tips
] the vibrations that float to her from
beautiful and harmonious colors. Then
she will know how to make combina-
! lions of the right tints. Miss Tilling-
hast although she keeps constantly on
hand tons of stained glass in her work
/ shop, sometimes fails to find exactly
/ the tint she needs, so exquisite is her
/ color sense. Then, rather than offend
Z that sense, she sends to a factory and
/ has the glass made. delaying her work
/ till it is at hand.
! Meantime, while the would be deco
rative artist is putting in eight hours
a day for two years in an architect s
office learning to draw and plan houses
and rooms. she should be spending her
/ off time studying the various woods
and all kinds of textile fabrics and
draperies. In her studio one day Miss
Tillinghast desired greatly to get GER
/ tain light and color effect that was in