Evening star., 1924-01-31
The North Window
BY LEILA MECHLIN

sculpture and architecture, In the
public mind at least, abode in aris-
tocratfc isolation. As the "fne arts
they were dissociated from the
crafts or from the simpler arts of
wall built that it was hard to look
over from either side. The result
was deterioration on both sides; the
fine arts became less hne and their
humble relatives grew distinctly in
ferior
This was the state oe things in
1876. when the great centennial ex-
position was held in Philadelphia.
In every. line of manufacture in
which design was an important ele-
ment evidence of bad taste prevailed.
Not much Improvement was noticea-
Bile up to 1900, but since then the
boundary wall which cut off inter
course between artists and artisans,
the fine and the applied arts. has
been steadily lowered. until today IT
Is question in which field the
aristocrats dwell. Indeed, so promi-
nent!y have tho Industrial arts come
70 the fore that one may now hnd
in exhibitions OF contemporary Amer
lean painting pictures which would
seem to initiate textiles and which
doubtless could be better done and
more acceptable even as decora-
tions. II wrought through the medium
of weaving.
To a great extent. this close rela-
tfonship of the fine and applied arts
is hopeful sign. for in every great
art period this relationship has been
pronounced. The golden era Of the
Renaissance in Italy is marked not
merely by masterpieces OF painting,
but exquisite productions in the
crafts. productions in which the
greatest artists of the day thought
II not beneath their dignity to have
hand. So. also. in France, when
great paintings and noble works in
sculpture were being produced. mag
nificent tapestries were woven, fine
porcelain manufactured. furniture
ana clocks OF exquisite design turned
out, Iaces OF the loveliest patterns
threa AIDED.
And in England, when Reynolds.
We're painting their superb portraits.
there was an era of good taste in
furniture. in fabrics, in pottery and
the like. How absurd and incon-
Sruous a portrait by Titan or a
painting by Reynolds would appear
in room filed with such furniture
as belonged to the golden oak era,
or course. 1t is not easy to have
Quantitatire production compare in
merit with craftsman make AS Frank
Alvah Parsons said in an address at
the Arts Club a couple Of weeks ago.
when chairiegs are turned out by the
thousands through the medium Of a
feeder and machine, and chairs come
INTO existence through the rapid as
semDllng of such machine-made parts,
they could scarcely be expected to
bear comparison with the work Of a
cabinetmaker. But even such chairs
have to be designed. and the design.
all VIII admit. is more carefully
chosen and better today than it was
some years ago.
good deal to contend with in over
coming the prejudice that things
from abroad are more desirable than
the homemade. and many fine prod
ucts manufactured In the United
States have been sold as imported
goods. Up to the time of the great
war American manufacturers went
TO Europe to great extent for their
designs. but when that source was
cut off it was discovered that we had
designers in the United States COM
parable with the best in Europe: and
country brought out the fact that
for such designers OF ability there is
abundant opportunity and large re-
ward.
The Metropolitan Museum Of Art Of
New York at the present time is hold
sing an exhibition of American indus
trial art. a manufacturers exhibit
tion including furniture. rugs, drap-
cry materials. jewelry, wall paper.
pottery-in fact. all sorts of objects
in the manufacture Of which design
is a leading factor For some years
the great Metropolitan has opened its
doors to the works of American man.
ufacturers. but heretofore il has
shown only objects the design of
which. was derived from a study of
exhibits in the museum. Wisely this
restriction has been done away with
now. for. after all. why should a pre-
MUM be put on the reproduction of
the work of previous generations?
In 1925 a great exposition of deco
rative and industrial arts is to be held
in Paris. and the question is. shall the
United States participate? Are the
products of our leading manufacture
technically that they. will reflect
credit upon the United States when
shown in conjunction with those of
'ther nations: will such exhibition re-
dound to our credit and advance
American interests?
Technically there is no question
that American manufactures may be
reckoned among the best. but in the
matter of design we shall have to adj
NIT that our finest work shows still
rugs of superlative quality, beautiful
in design, but in most instances re-
productions of oriental patterns. We
are producing silks and fabrics of the
most lovely quality and in some in
stances of designs distinctly original.
have at least one porcelain manufac-
turer whose product compares with
the best of that OF England or France.
In the matter Of craft work we can
make perhaps more nationalistic
showing. but even in this restricted
field the effort is more or less spo-
radio. We are copying rather than
originating, but we are copying good
things.
The museums of the country un-
doubtedly are strongly influencing
the development Of design, directing
attention to fine examples OF past eras
and opening their doors to cotem-
porary work. A we'll known author
ity has stated that. we are doing as
fine printing in the United States to-
day as was ever done in the world.
which is saying a good deal. There
are others who claim that our silks
vie with those Of France and Italy.
x X X X
John NJ Glenn. secretary Of the Illi-
nois Manufacturers Association, re-
Gently remarked: art has come to be
as necessary to the manufacturers
from a dollar-and-cents standpoint as
nails and paint" adding, cit is the
initial design applied on the first