, 1917-11-01
I'm organization is
being Huined in the
science Of ambush
al Ame,1can Uni
UerSity :: Ills their
business to hide gums
andmate,zalgwar
frOW II enemies
trOW N enemies

Westinghouse the novel units
which are being organized for the first
time in the military history of the
United States, probably the company
of "camoufieurs" now in training at
Camp American University will create
the greatest popular interest; partly
because it is composed of the Leading
artists, sculptors and architects in the
country, but more from the unique ask
which the 'camoufleurs" have set
themselves. Camouflage is not a new
military term developed by the war.
On the contrary, it is an old slang
word of the French stage, intended to
be descriptive of the makeup of the
actors. In its military sense, in which
1t is now popularity known, the term
refers to the art of so concealing or
Disgusting an object that the enemy
cannot recognize it for what it is. A
peaceful rock is discovered when too
late to be n death-dealing gun. A
mound of earth heaped above a trench
shows no sign of human occupancy,
when the i%ncautious enemy learns to
his cost that the seeming mound was
ii row of invisible helmets with n rifle
man behind each. A hedge ~cOnceals
a regiment, and the Onrushing German
finds death lurking behind the ~cleverly
contrived nest of shrubbery whose Sc
cret even his airplanes and his cameras
nae failed to reveal.
1t is not surprising that the fasci-
nation of Outwitting the enemy by
means of brush, color and ingenious
design should appeal to the artistic
sense of III painters, sculptors and
engineers. 1t vas this appeal which
caused Barry Faulkner, the artist, and
Sherry e. Fry, h sculptor, on an
evening some months ago, to call to-
gether in New York as many of their
artist friends as they could assemble
with the idea of organizing and offer
ing to the government the services
of the artists of America to aid the
American troops in France to ambush
the Germans. Camouflage, by the way,
is only another name for ambush. 1t
was first employed by the American
Indian perhaps not consciously, but
with such instructive ~naturalneSS, that
the Indian of history always appears
to have bee merged with the rock and
the forest in which he fought. Opin-
Ion is divided as to whether the In
dian realized the effectiveness of his
own scheme of costume colors. How
eve that may be, ambush always has
been more than half the art of the
fighting Indian, and the modern ca
mouflage was his natural resort. When
the white man came with the shotgun
the Indian at first had the advantage,
for he so blended with the landscape
that the superior marksman could not
distinguish him, and the bow and ar
row won many bloody triumphs over
che gun. In the day Of the short-range
musket with which our early armies
were equipped the necessity of con
cealment was as great as in the days
of the pioneer, and the woodsmen who
fought In the Continental army and
who picked off the British in 1912 had
learned better than expose themselves
to the enemy in red coats. Then came
the long-range rifle, and the art of
-concealment and disguise became less
serviceable. With the Invention of the
alrplaHe, however, the need of inge-
NOUS devices for hiding troops and
equipment from the enemy again be-
came vital, and the French developed
1t until 1t ranks with the best of their
military achievements.
1t vas knowledge of his need and
OF the new problems injected into the
science of war by the airplane that
drew these artists together in New
York. Nineteen responded to the first