Para los efectos de los presentes lineamientos se emplearán las definiciones siguientes:

WHEN

In the aecac1e of 1870-1880, Oriental an began to recePoe cwiae-sp,.eaa affention in France, ana became a fa�oNte topic of concve,.saf{on in fashionable salons, there we,.e many connoisseu,.s who aenied its claims to consiaet:ation. Then it was tnat M. Thle,.s, the p,.esiaent of the F,.ench RepublIc, summea up in a single pithy sentence tne ,.easons for tne. nafflJCW p,.ejuaice whicn. ,.efusea cu,.,.ency

to ideas other tnan those consec,.atea by long familiarity.

Re aecla,.ed: " One snoula not go to Japan cwlth the Partnenon in one's mlna. "

.A similar prejuaice nas establlsnea itself in

this country ,.egarcllng the use of manogany in the fine,. pieces of

househola furnishings. The prefe,.ence fo,. this 'Wooa, founaea

partially upon its beauty, recekJea a 'Pery strong impetus f,.om the connedion of tne wood ana of certain famous cabInet make,.s with ou,. colonial nistory, which of late has heen so tno,.ougnly treatea by American autnors, and so tho,.oughly stuaiea hy ou,. patriotic clubs. Consequently, ou,. nati'Pe p,.oauds hacve heen negleded ana their possi­ hilities o'Perlookea. But It is true tnat oaft, ash ana elm, properly treated, possess aff,.adlons tnat yiela to tnose of no othe,. cwoods. Tne undulations of thei,. g,.a{n, tne soft, unohtruskJe tones wnich

tney a,$sume through sk{llful polish, tne color-play which runs OCDe,.

tlteir smooth surfa.ce are qua.lities whicn to be app,.eciafea neea only

to he fairly ohser'bed. The intelligent cra{fsman in ou,. country is

flOW raIsing our northern woods to a place besiae tfta.t occupied

by

Onondaga Golf Club,

STYLE AND ITS REQUISITES

THE

most exquisite things In nafure and In art are tltose ewhlch possess

. an Indefinahle qualify called sfyle. Tlte piece of llterafure, tlte architectural ework, fhe heautiful ewoman, the flower ewanting In this last nameless grace �re alilte unfortunafe. For In order to gain recognition and appreciation In a highly ci'Pllized age, distinction, thaf Is to say : separa­ Hon from one's kind Is necessary. But this distindlon musf he natural anti Inherent : n�er soughf affer, assumed, or forced. In fhe case of objeds createa hy tne artlsf, sfyle musf he a part of tlte �ery concepflon ; anti not something consaously added In the' mecltanlcal execution.

Tlte masfers of sfyle, the chiefs of tlte great schools 'Wrought In ohedlence fo Impulse, hecause fltey ewere foreetl from 'WIthin ; hecause the tltlng seen In their menfal �/slon cried out to he horn, fo become materialized. Tlte linfel, flte column, fhe arclt ewere not In­ corporated info fhe huildlng arf hy deliherafe seledlon, by critics anti

learnetl experimenfallsts. Tlte strudural elemenf ewas seized hy tne

and fell Info place heneatlt Itls pocwerful grasp : fhe resulf represent­ Ing what ewe recognize noew as Greek, or Roman, or mealae'Pal. Nor did the wo great Italians, Rapltael and Michelangelo, sfri'Pe after flteir dis­

tlngulsning fralts. Tne Itarmonlc composition of flte one, the Inflnife

linear �ariefy of fhe other ewere sponfaneous, constant forces ewltlclt needed not to be fed or fostered hy tltelr possessors, of ewniclt they ewere a �/tal pari; l{blng ewlth them, anti passing aeway af fhe deafh of the masters,

nt'Oer again fo he repeafed. .

Sfyle Is therefore fhe qualify ana rightful posses­ sion of one Indlcoldual, or class of inait:CJlduals. Oufslde of fltese limits, it is a false and unjustifiable assumpfion. We feel tnls statement ,to be true 'Wnen 'We pause fo analyse the impressions thaf offen fall like discords upon our senses, as ewe go upon our ways of eworR. or pleasure. For ex­ ample, fhe sixteentlt century Frenclt castle arcltitedure Is � , sui generis. "

vi TH E CRAFTS MAN

cwlfh his court from chateau to cnateau ; af{)oialng his hurgher-c�pltal,

Paris, lest Itls cwaste of ?bealtlt should Incite tlte honest ani sans

anti

snop-

•

keepers to alscontent ana Insun-edlon.

Nocw, let a reproaudion of this style he aftemptetl In tne nean of our American metropolis, as has heen aone in s�er�l notahle instances. Cffte result Is no longer eitlter pleasing to tne student a.na connoisseur, or satisfying to the masses. The feudal arcnltedare Is hy centuries out of place In a modem clf)), presumahly the home of ckJlc law and order. Tne "hroad acoenues, teemln,,! witlt tlte life, mOf{)ement ana Ineventlons of a scientific age, form an Incongruous setting for tltese 0[0- time jewels of art. The fantastic ornament, the gargoyles and griffons 'Wltlclt oever-run tlte wltole and cut tlte sky-line in a hune/red curious 'Ways naeve no longer a reason for existence. Cfht)) Itaeve lost the sense of mystery witlt wlticlt tltey were once incoested. Cfftelr meaning has passea from tlte cvital state Into tlte domain of Itlstorical Interest. In the ecvolution of art, tltelr place has long heen supplanted.

We can titus go on seleding examples at �ill, anti sure always of arrit:tJlng a.t tne same conclusion. As we pass tnrough tne Place Vendome, Paris, we are at once impressed hy tne formal, stately grandeur of tlte surrounding arcltitedure. Cffte eager sltopper with. Itls eyes still duzlea hy tne glittering fricoollties of tne rue de la Paix is unconsaous[y sohered hy confronting tlte gra'Pe huildings of tlte nistoric square; �ltile tne student delights to Imagine the space as it must Itacoe a.ppeared under Louis Ie

Grand: animated hy lumherlng coacltes and gllded sedan-chairs, '}J,lth tltelr freight of pompous gentlemen in flowing wigs, a.nd of ladies in Itea"y 'fJe[f{)et and hrocade go?bns.

Again, as in the first case cited, let tlte e:dernals of tltis style he copied in America. The result wlll he a spb1fless, litera.[ translation, wanting tlte life and soul of tne original. A sense of unfitness and unreallty will fore'Per percoade and 1ta.unt tne imitation '}J,nich, througn the lack of spontaneity, has no justification for heing ; wnich has no huis of artistic frutn, and wlticlt represents no dominant thought of tne period.

So, adcoanang from instance to instance, '}J,e reacn tne conclusion t1ta.t any art wortny of tne name must strike its roots deep Into tne llfe of tne people, ana must produce as freely and naturally as does tne plant in sumtner.

TH E CRAFTSMAN vii

anti our successors are to he true citizens a.nd integral pans of the Common­ ealthl flVe must choose carefully the ohjeds hy which �e surrountl our­

�e[Cf)es ; hrlnging our judgment to hear upon tltem as fully as 'We tlo upon

,. hOORsI oar studies and our companions. We must support an art creafed hy the people for tlte people : sfmplel sincere and stradural; an

11 flVnerein the designer and the craftsman sltall he one and the same indi­ 'Pldual, creafi'lg for his own pleasure and unassalled hy commercialism.

It is in this spirit that the Master and Associates of the United Crafts produce tneir work and await results.

Tlte artistic quallty of the Rush or Reed nas heen generally ignored hy the cahinet-maker. 'lite strength and durability of its fibre na�e largely caused its employment. But it lends itself easily to aesthetic color and textile schemes. Made soft and plia.hle I �nd retaining

its natural 'Par/egafions, it gicves a whole gamut of greensl with occasional

1'flsly glints punduating wnat otherwise were a too spiritless mass of color.

It is then often combined with the mellow tones of � � fumed oahl ll as 'We

find it in certain cnairs and seats recently prcduced in the workshops of the Unlfed Crafts. Tne combination cannot he other'Wise titan a perfed one,

u it Is hased upon Nature as displayed in the autumn woodsf}

The examples of cabz'net-making sfu>cwn in this

magazine are frOln the workshops of the

In the Middle Ages, that golden period of the arts and each master-workman adopted some device or legend which,

upon every object of his creation, came finally to individuality as completely as did his face, or his voice ;

him

known beyond the burgher circle in which he passed

his

and, after

his

death, a magic formula, by which to

jure up his memory, even the years had multiplied

centuries.

mong the so employed, the one assumed by

van Eyck, the early painter, has retained its force and

down to our own day.

Als {ch kanne (if

I

can)

appears

across the canvases of this fourteenth

chef c/' ecole,

there, without doubt, as an inspiration excenence in

wherein van became an epoch maker.

in

of masterful portraits, it has of def '

and as

if

offering a covert challenge to less

The

Als {ch kanne

of van Eyck, hke the

Quancf

of Sarah Bernhardt, reflects that sentiment of courage, boldness which appeals to all truly virile natures. Thus w

in his early manhood, visited the Low Coun and there grew fired with enthusiasm for the decorative arts, I found this legend and made it his own. He used it, in Fr translation, first in tapestries designed for his own dwelling, it became identified with

liim ;

so that the

S{ je puis

his

memory as vividly as do the designs which

speak

to from the hangings of our waIls, the tiles of our floors, or the

of the books which lie our tables.

The same

in

its modem Flemish fonn,

Als

lit A.1

has been adopted by the Master of the United Crafts. It fonns an interesting device with a joiner's compass, which is most primitive and distinctive tool of the worker in wood.

In document INDICE PRIMERA SECCION PODER LEGISLATIVO PODER EJECUTIVO (página 98-101)