The Montgomery advertiser., 1904-09-15

l must design his own ornaments It is
 no longer possible for an architect to
 plan the main part of his structure and l then go to the sculptor or iron worker TOT the designs necessary to make 1t 1 beautiful as well as useful. Such a di-
 vision of labor produced, naturally, an | inharmonious result and the modern
 growth of architecture demands that every important structure shall be A
 complete and harmonious whole, con- ceived even to its smallest details by
 the undivided mind of a trained archi-
 tect working either by himself or with l a corps of assistants And to do this successfully the architect must have no little personal skill both as draughts- man and sculptor
 In the Tech" art school, which YOU would find in the Technology catalogue
 not as an art school but simply as an
 Important part of the department of
 architecture, the student follows the
 same path as would be followed by a future painter sculptor or illustrator, beginning with the drawing of plas-
 ter casts and ending with the study of
 the altogether as drawing from the
 nude figure has been popularly called since Du Murrier's story of "Trilby'
 initiated the reading public into the
 secrets of the Paris studios. This study
 from the nude figures is really simply
 continuation of the practice in drawing acquired by reproducing In charcoal
 the lines and shadows of given speci-
 men of ancient statuary or sculptured ornament which has survived through
 centuries of art study as the most effec-
 tive method of training the eye and
 hand to reproduce likeness of any ob-
 ject that may be set before 1t. The un- draped human figure is the most difi- cult object imaginable for the eye of
 the student to follow because, however sktllful he model, a certain amount of movement Is absolutely unavoidable.
 At the same time the simplicity of Its lines makes 1t the easiest model in
 which to point out to the student the errors that have crept Into the work.
 From the point of view of the future architect the art school training has double purpose for it not only teaches
 him to express his own ideas through
 the medium of drawing but 1t gives him close. first hand acquaintance with the
 best that the world has yet produced In architectural ornament. Before en-
 tering the life class he must needs have applied himself closely to the study of
 the most beautiful art productions of preceding ages learning not only how
 10 reproduce them In ink. pencil or craYon, but familiarising himself with tho underlying principles that have
 made thNm beautiful And In doing so
 n" Is storing his mind with splendid
 examples of architectural adormeHt and preparing a way for the expression Of his own originality. These classes of architect artists are therefore very much like the classes in any Paris or American school of art. put there is ole important difference directly traoeable to the fact that the
 school is not simply an art school but necessary part of a big technological institution The typical art school, ei- ther Tn France or America. contains in- evtaoly certain proportion of idlers or young men who are either too lazy | or 100 coneeited to take the work seri- ously and devote more time to wine.
 topacco and Ia vie de Boheme" in gem eral than to their work in the studios.
 But In this particular Boston life class
 such ldlers are not in evidence There
 IS no place for them in a group of men
 each Of whom is working toward a spe-
 cine standard of excellence which must | De attained before he can enter a pro-