davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1919-06-05
200 Teuton Magistrates
Appeal to americans

RERLlN, June 4 (by The Associat-
ed Press).-The magistrates of
200 German municipalities, with pop
ulations totallng 3o,ooo,ooo, have
signed an appeal on behalf of the
German cities to the American peo-
Pile, protesting against the peace
terms and demanding "a peace of
justice" such as was promised on
the basis Of President Wilson's prin-
ciples.
A number of American born wom-
en-, who have become German sub
Jects by marriage, are signing a SIM
liar appeal to the women of America
This appeal protests also against the
continuance of the blockade.
New-York tribune., 1919-06-05

of ]. P. Morgan & Co., that firm
would probably have won had the ques-
tion been put to vote. of course,
the Guaranty Trust Company, the Ma
tional City Bank, Kuhn, Loeb & Co.,
The National Bank of Commerce and
the Equitable Trust Company were fire.
quently mentioned, all being keepers of
the Wall Street toll gate. But while
many persons were sure that copies
of the document could be located in
one or more of these institutions, no
one could be found who had definite
information.
The bankers themselves professed
ignorance
New-York tribune., 1919-06-05
Germany Is Circulating
Treaty Among NeutraIs

COPENHAGEN, June 4.-The Ger
man government is circulating the full
text of the peace terms throughout
the adjoining neutral countries. The
volumes, carrying the text in German,
English and French, are prominently
displayed in Scandinavian bookstores.
They were issued by the German Ad-
miralty printing establishment
The text is carried also in an exact
copy by photolthographic process of
the original received by the German
delegates.
The book makes a volume of AIS
pages
New-York tribune., 1919-06-05

ing 81 per printed page, to report
such hearings as may be~ held in
connection with the same, the ex-
penses thereof, including the cost
OF travel, to be paid out of the con-
tingent funds Of the Senate. and
that the committee, or any subcom-
mittee thereof, may sit during the
sessions or recesses of the Senate"
New-York tribune., 1919-06-05
Children Find Suicides Body

Children playing in the street in
front of so Weldon Street, Brooklyn.
yesterday saw through the first floor
window the body Of Charles Defain
with a gas tube III Ms mouth. Investi-
cation showed he had committed sui
eide. He mad been respondent for
some time because of the loss of his
wife and child. He was a retired
builder and was fifty-seven years old
New-York tribune., 1919-06-05
admiral Benson Coming
Home From, Paris P0rLey

PARIS, June a (by The Associated
Press) The American experts, who
have completed their labors in con-
nection with the peace terms and are
proceeding home, include Admiral
William S. Benson, naval adviser to
the American delegation. All naval
questions have been concluded except
the final decision by the political
chiefs.
New-York tribune., 1919-06-05
Turks Are Being Urged
To Massacre Creeks

GALONICA, June "A proclama-
ton inviting the Turks to massa-
ere the Greeks in Thrace has been
distributed at Adrianople. The text
of the proclamation is published here.
General Herbert, commanding the
Third French army, has arrived here
on a special mission. He has con-
ferred at length with General Paras-
kevopoulcs, the Greek commander
in-chief.
The sun., 1919-09-21

there, although the difficulty has from
year to year increased.
But the outlook now is all but hope
less. He has recorded his experience
as well as his conviction of an unpro.
ductive future in the current number
of Good Furniture.
In the economic and social cataclysms
which have been affecting all the ma
tons OF the earth the rug weaving
tribes OF the Near East have suffered
perhaps more desperately than any
other race.
When the writer was recently at
Tabriz. in Persia, thousand people a
week were dying of starvation, and all
the peaceful arts and trades were
paralyzed by war time troubles. Riots
and disorder appeared on every hand,
while raiding parties of hostile Turks
and Kurds stormed the more distant
villages of western Persia.
While the world war was on the
much harried weavers OF this once pro-
ductive country could find no place to
work at their hereditary handicrafts.
Marauding parties Of Kurds might ap-
pear at any moment to wreck their
villages, pillage their farms and store
houses and maltreat or murder the I'M
fortunate Inhabitants.
Had the Persians and kindred races.
who for centuries have made the most
wonderful of all floor coverings.
wished to work at making rugs dur
ing the war, the necessary raw ma
terials were lacking because the usual
avenues of trade were interrupted by
marching armies. Dark fears and a
heart breaking foreboding that were,
alas, only too well founded, paralyzed
the energy and sapped the courage OF
the skilful rug making tribes, while
their financial and social situation was
appalling. The justice OF man was a
mockery TO them the power of their
faith was waning and the holy Tails
manic hand of All fading before their
eyes
Why should I Eisit such a soreiy
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ings. and instantly appear modern to
an eye accustomed TO ancient ex-
amples.
The explanation of the matter in
both Greek and medieval art is found
In craftsmanship. Medieval figures
were carved out OF a block of stone
| lying horizontally. and the conception
was governed partly by the practice
of carving from the block and partly
| by architectural association. For
architecture was then itself stone
craft, carried ON by masons.
A parallel is found in the fresco
painting used as a vehicle for decora-
ton. In this 1t was not until the late
fifteenth century that an ATTEMPT was
| made to treat decoration realistically.
Early medieval sculptors and painters
were in contact with Carlovingian
worries, illuminated manuscripts and
Byzantine silks and textiles, so, both
by their experience as craftsmen and
| by education, they conceived their
work on the decorative basis of de-
sign and color, with but slight sug-
gestion of natural fact. The early
| Quattrocento painters, including
Giotto, had the same habit of mind,
and, as Ruskin showed. never de-
scended to the imitation of the obvious,
but designed their work in manner
suitable to their material and to the
position the work was to occupy.
But how was such work regarded
| in later times? Both in Italy and
now valued "primitives' were looked
| 1s-E-
OF Botticelli were left in the dust of
an attic in Florence till they were
discovered and brought down to the
gallery they now honor. Precious
works Of the early masters were also
long neglected in the Louvre as not
being considered worth the expense
of carriage! The superb sculptures
Of the Parthenon when they were first
brought to London were spurned as
inferior copies of Roman work and
left In a wooden shed till at last they
were permitted to enter the British
Museum.
| In view of such startling facts the
idea Of "conventionalism' as opposed
to "naturalism" seems due to a preju-
dice OF our forefathers and indicates a
state of mind in which all that was
characterized by the ornamental,
decorative quality of ancient art was
looked upon with disfavor. In the
second half of the nineteenth century
| the painter, Burne-Jones, was laughed
at for making drapery as II "cut out
of tin" The fact that untold genera
tons had worked on a decorative basis
in a large part Of the civilized world
was ignored.
In such an atmosphere 1t came about
naturally enough that conventional art
meant inferior art. If such work was
necessary in order to restore churches
| Of medieval character, with stained
glass windows or carving. for. instance,
1t could be done ''industrially."
| Yet kings and princes, bishops and
abbots, had, for many a century,
lavished wealth and time upon the
very work which was now flung out
as barbaric and worthless! This they
had done in the belief that 1t was
| precious and desirable. But a new
ideal had now been set up, which
The sun., 1919-09-21

empire that the mind of man has vat
conceived At that superb period Of
the worlds history the arts Of many
featuring rugs and other floor cover.
ings were carried to the highest stage,
OF perfection. But the great and ever
varying craftsmanship of ancient day,
IL now rapidly disappearing. Samar-
cand, the Caucasus and Turkestan an
pear to have been the birthplace Of
our race and the homeland of our art,
and learning. The inspiration for the
greatest masterpieces Of all time an.
ptars to have taken root among the
devoted prehistoric craftsmen OF the
Sartes and Sogdianians in that won
derful old metropolis by the Zeraf.
shan.
This glorious centre Of anciena
culture Is falling into hopeless decay
and its ancient handicrafts are dying.
To-day its splendid monuments are
falling, or have fallen, into ruins. and
the matchless beauty of ancient dayv
is rapidly departing and may be for,
The superb floor coverings that once
gratified the pride and ambition Of
lordly and autocratio rulers are now
scattered throughout the length and
breadth OF the modern world and are
rapidly being worn out by unapprs-
ciative people. Some of the finest
rugs OF Asia will soon become litts
better than a memory or legend.
Samarcand was, perhaps the first
stronghold of the decorative aSts az
applied to floor coverings in the ifM
and forgotten periods of prehistoric
times. And to-day, in the twentieth
century. this same homeland Of the
Caucasian race has become the last
refuge OF highly specialized and In
The sun., 1919-09-21

expression is generally to commend
what is right, and his further remarks
arc sympathetically directed to COM
pleting the artists intention. He does
not insist on faults in exactitude in
initiating nature, nor on trivial, eX-
traneous points, and the contrast be-
tween the two methods of criticism is
striking.
By craftsmanship I do not mean the
modern practice of one person volun-
tarily working as an artist in isolation
az other things than painting or sculp-
ture. This may be the only course
possible at the present time. but it is
not what existed in Rome, Byzantium
or medieval Paris. 1t was once uni
versally the practice for workers to be
trained by oral communication in a
living tradition. and to gain experience
through actual workmanship, includ-
ing design. Work for the public was
undertaken exclusively by men so
trained. who had received the appro-
baton Of their predecessors and who
by their familiarity with everything
connected with their calling were able
to bring to the problem knowledge
both theoretic and practical. The older
men OF repute were charged to elabo-
rate plans and working drawings for
large and complex works. which they
afterward help to direct and in part
execute. Till about the sixteenth CEN
fury men did not attempt to design
what they could not execute. though
large groups of men might be drawn
together to work with and to carry out
the ideas OF the head craftsman, the
"maitre de leuvre," or course there
has always been a considerable ele-
ment of labor connected with art, such
az the hewing OF stone and wood, the
saving of which was done for the
craftsman. But this does not so much
apply to the decorative art OF painting
and as work becomes more intellectual
the more necessary is It that mind and
hsnd be united.
BY this once universally recognized
system OF cooperation all ancient art
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, is beginning to make itself felt, Ex-
amples of ancient art are being
brought here, purchased at large
prices and treasured in homes. The
once despised Gothic figures and orien-
tai decorations are now sought for by
amateurs. This may prove to be a
passing phase. but the Indications are
it is something more. Though some
may buy such things to be in the
fashion, others buy them because they
love and enjoy them. Is not the rea-
son found in the artistic quality of
design and material? Is not the spell
which has existed so long being
broken and something like an anti
Renaissance growing up? That is to
say, the fundamental philosophy OF
the Renaissance is being discovered to
| be an error.
Michelangelo no longer dominates
the mind as once he did when he said
that "art is great in proportion to the
nobility of what is represented" and
that "the better the imitation the bet
| ter the art" Another spirit Is in the
air, and in every country people Of
taste and education. who are no longer
beSuiled by Elusive catch words, see
that any motif can be made beautiful
by right design and suitable execution.
There Is a new appreciation of and a
development in skill in craftsmanship.
Though the novelty of this has had
| its day, and the impossibility of re-
viving ancient arts in the way they
| used to be carried on is recognized,
there Is a growing desire for such
craftsmanship as may be possible in
our time.
Previous to the sixteenth century
the stone mason and the carpenter
designed their buildings in stone or
wood; works in gold and enamel were
designed by the goldsmith; statues
were conceived by those who carved
| them in the block; the designer of
stained glass was the glazier painters
worked from the scaffold on the wet
plaster on the wall; the mosaic worker
planned his figures and laid his cubes
in the mortar himself. The word
artist" had not been invented and
| every one who worked was named
from the craft in which he excelled.
Design was therefore understood be-
cause every craftsman had to think
out what he wanted in his own mate
rial and had to carry 1t out in proc
ess with which he was familiar. For
the sake of clcarness I define design
as the aim OF making work of art
interesting and attractive by the eff
fects of unity. contrast, variety and
other means which affect the mind
through the eye. apart from what is
portrayed and independently of the
subjective content A picture, win
dow or a carving can be made as
usually agreeable as a good textile. II
necessary figures even may be arbi-
trarily dealt with. according to circum-
stances, in the way that textile de-
signs are dealt with. so far as 1t is
desirable to give decorative orna-
mental appearance to the figure de-
sign. Exact imitation of life has no
advantage in design as such, whereas
The sun., 1919-09-21

rapidly became the "folkway." What
formerly was right" was now
wrong" The Italian version of 'the
antique" was alone recognized, and
under this cloak the initiative quality
was inculcated In academies and
schools Of art, and Northern decorative
design was utterly despised.
And all the time the sixteenth CEN
fury philosophy of italian art was
fundamentally wrong, To-day, with
existing means of study, we know
what ancient classic art really was,
but at the time of the Renaissance
there was hardly an elementary ac-
quaintance with the art of the Greeks
With all their great initiative skill, the
Greeks never abandoned the principles
OF ornamental design or worked other
than as craftsmen. By them imita-
ton of nature was not allowed to over
leap the bounds of propriety, and In
their delicate ceramic paintings We see
that the Greek artists had ornamental
The sun., 1919-09-21

constructive design in view, along
with all their wonderful freedom of
touch and inspiration gained from
close study of life.
The fact is therefore that the
academic propaganda. spread through
out Europe In the sixteenth century,
broke up a tradition not merely
medieval but one which had its origin
far earlier. Contempt of craftsman
ship and admiration for imitation in
art very soon resulted in the loss of
the once general facility and delight
in pure design. Degradation of crafts
manship ensued, the craftsman him.
self was called "a vile artisan" by
Testalin of the Paris Academy. All
art of the old regime fell under o
stigman of reproach. Popular art sc
long cultivated in England and
France, was regarded ,as vulgar" /;
and people. discardingf every tradi-
The sun., 1919-09-21

To secure the maximum of har-
mony and distinction in the set
ting of art advertising, and there
by place all dealers on an impair
tial basis, no heavy gothic or
block type will be used, nor any
eccentric typography; no white
lettering on solid black back.
ground, nor thick or whimsical
sNorders for any advertisement on
the Art page of The Sunday Sun.
For small announc ements, in
GLIDING those for the minimum
space of twenty lines, the borders
used are single one point rules
with alternating square and
curved edges. Single two point
borders can only be used for ad-
vertisements of forty or more
lines; parallel one point borders
for thirty or more lines. All
light, fanciful borders are subject
to Individual rulings. Besides the
oveTtaxed Cheltenham. there are
many desirable type faces, includ'
ing Caslon, Bodoni, Schoeffer De
Winnie, Century. Della Robbia and
Bookman. The underlying prin'
ciple of correct typographical ar.
chitecture is one face for display,
and if one other be added, this is
to apply to small and body type
only.
All Art page advertising must
be set within these well known
Limitations.
q, Minimum space, 20 lines maxi
4pum, 100 lines. Present rate, 500
per agate line. No rebates; no
transfers of direct orders.
The sun., 1919-09-21

ton they had, sought enjoyment else
where. They lost their taste for folk
song and dance; for decorative interi-
ors: they ceased to care for art OF
any description. They ceased also to
find enjoyment in country life. Life"
was henceforth to be had only in
cities, in the lurid light OF the music
hall, where scantily dressed dancers
gave novelties. flavoring of obscenity,
in an atmosphere of smoke. Men In
out of the way country places were
drawn to this life like moths to a
flame, whereas in earlier days the
pageant, the dance, the song. the
warm interior, with few loved pieces
OF furniture. and ON feast days gath
erings around the monuments of the
town, made multiple centres. Con-
tempt for vulgar" art changed all
that, and now amid a hundred artistic
fads no one knows surely where the
right path lies.
Happily. however. another tendency
The sun., 1919-09-21

monotony, repetition, redundance.
weakness, the use of improper mate
rial and so on are inexcusable, and
are not redeemed by exact represen-
tation.
In practice at the present time the
reverse of this is expected. Since edu-
cation in design does not generally ex-
list. people leave this element out Of
consideration and insist on exactitude
in representation, or on trivial, ex-
traneous or subjective matter. They
mainly criticise the rendering of the
figure. Occasionally one meets a per-
son who understands design. His first
The sun., 1919-09-21

In his lecture on the pervading
topic of craftsmanship. Clement
Heaton says in the Brooklyn Museum
Quarterly Report that in medieval
and other ancient art, as a whole,
there seems to have been no desire for
q purely realistic treatment.
We may therefore ask, what then
rs progress? The common notion
seems to be that there is difficulty in
representing nature exactly. 1t takes
a good deal Of time to attain skill to
do so. and all people have not the
natural aptitude requisite, so, when it
is achieved. it is looked upon as evil
dence of superior artistic faculty.
Modern thought is so impregnated
with this idea that even explorers
speak of their finds as Prof. Petrie
does above; he extols work as mag
nificent" and fine" because 1t is nat
uralistic. The modern position has
made the "fine arts" to be initiative
art. The conventional or ornamental
arts are dubbed industrial art"
decorative art or applied art"
and while fine art has been highly
valued, the rest has been regarded as
of no particular merit or importance.
So general was this point of view in
the nineteenth century, that even the
great apalogist of medieval architec-
ture. Viollet-le-Duc, had views 50
tinctured. He speaks of a radical
revolution" in the thirteenth century
when sculpture abandoned the errors
of the Byzantine school," He talks of
artists having left the "superannuated
methods: of their chisel becoming
freer," and of observation of nature
making unexpected progress" From
such teaching 1t results that, when
modern figures are required to I'LL an
empty niche in an old Gothic building,
the sculptor generally portrays them
with so much realism that they are
out Of keeping with their surround
The sun., 1919-09-21

was produced. 1t now fingers only in
few out of the way spots, in the Alps
OF Europe and in the East. 1t will be
evident on reflection that the more
subtle and complicated points to be
observed in any good work demand the
care of one able to deal with them and
able to devise the means to carry
Il EN- out properly.
Quill Jones. the collector of Oriental
carpets. has returned to New York
after a long and stormy journey to the
East in search of the treasures which
were in the past ALWAYS to be found
The sun., 1919-09-21

dividual efforts In rug making. Even
to-day there are no rug factories In
Sogda or in Turkestan. The talents
and skill of the discouraged weavers
have declined from year to year, and
the exquisite beauty of Oriental rugs
Is departing never to return. Before
1t Is too late the leaders of democracy
should gather these precious MASTER
pieces of other days into our great
museums, where their superb and sat-
isfying beauty may exert a powerful
influence on our workers in the varied
crafts.
The sun., 1919-09-21
PORTRAIT Of benjamin Frank

A PORTRAIT OF benjamin Frank
"A lin. painted by Joseph Sifrede
4 \ Duplessis. purchased In Paris
by Col. Michael Ft1edsam, has just
arrived in this country. This interest
ing painting was done while Franklin
was serving as American Ambassador
and dates from the year ITS. When
be finished his term as Ambassador
in Paris, Franklin presented this pic
The sun., 1919-09-21

To THE ART EDITOR OF THE SUN-Sir
The first painting of America "in the
war" representing the Seventh Regi-
ment, N. Y. N. G.. parading for Marshal
Joffre and the French War Commission
and American authorities at Grants
Tomb, May 10. 1917. painted by Gustav
Brock, the Danish artist born in San
Francisco. u. S. A, has been acquired
by the French Government through
lie Ministere de INSTRUCTION PubliGue
ct des Beaux Arts" for lie Bibliotheque
ct Musee de la Guerre a Paris" where
it will remain permanently as a
memorial of the great reunion of
France and the United States, and
as memorial Of the Seventh Regi-
ment, which was the regiment that
Lafayette formed as the LIST Battalion.
N. Y. N. G.
It was first after I had tried for
two years to interest every personality
and institution interested and con-
nected with the Seventh Regiment or
the French War Commission to the
United States to acquire the painting
and in this way keep it in this country
that / gave up and offered it to
France; whereupon ! got the answer:
all presente en- effet pour notre institu-
ton, lie plus grand interet."
GUSTAV Brock.
The Laurens advertiser. (Laurens, S.C.) 1885-1973, 1919-10-22
Local and Personal Mention.

Miss Eleanor Miller returned home
Monday after spending the week end
with relatives in Grcenville.
Misses Sarah Bolt, Annie Childrcss
and Lola McPhail, who are teaching
at Gray Court-Owings school, spent
the weekend in the city with home
folks
Mr.. II. b. Mcdaniel who has been
with an engineering party at Bridge
water, n. c., is at home again, the
work OF the party having been about
completed.
Mr.. Fred w. Wham, service man for
the Palmetto Auto & Accessory Com
pany, leaves November 3rd for Lam
sing, Mich, to take Il special course
in The Dodge and Oldsmobilc factories.
Mr.. w. T.. Blakcly, Of Wrcns, Ga,
vino has been visiting relatives in Ora
for several days, was Il visitor in the
city Monday Mr. Blakcly holds re-
Sponsibc position with large lum-
Der concern at his present abode.
Miss sue Dean. who had decided 10
siyc up her position with tho Western
Union Telegraph Company here, re-
ccivcd a flattcring oficr to take up the
work again and returned to The city
Sunday 10 resume her duties.
Mr. and Mrs. Frank Cainc moved
into their beautiful new home on