the most dominant note in connection with this same exhibition is that on remarkably short notice this same organization created and displayed a collection of wares especially designed to compete with the celebrated English "plain" ware, and in this field was again brilliantly successful, winning for the American silversmith every honor in sight. While all of this is, of course, most praiseworthy and encouraging, and should inspire in the minds. of our art-lovers and patrons a desire to

uphold such a splendid beginning, there is, on the other hand, one point that should make those who are truly awake to the wonderful possibilities for America of this perfect mingling of the "fine" and "industrial" in art pause and question. And the question that comes is this: Is it right, after all, that all of this success-justly creditable as may be, satis

factory as it doubtless COMPLETE HAND-WROUGHT DRESSING-TABLE AND TOILET SERVICE INTO is-all this perfect

WHICH NO MECHANICAL PROCESS ENTERED

development by the examples and teachings of the foreign One must school? question whether it is not time now that in this field as well as in those other branches of decoration and art, we should not gain our inspiration for our work from our own country. Is it not time we forgot some of the old traditions-beautiful and sound though they may be - and looked about us for inspiration from our own soil, our own people, history?

our

own

The surface of the rich mines of inspiration suggested by the American Indian, and the inexhaustible

store of relics which he has left us, the plants and flowers of our own fields, gardens, and forests, the various struggles and crises through which we, in our development, have passed have only been scratched. May we not hope that founded on our own sources of suggestion there may spring up in this country a school of industrial design-in

of

silversmithing as well as in other crafts-that shall be not only fresh, virile, and filled with new interest, but our very own, so that in the ages to come we shall have made our own peculiar and individual impression on the art history of the world? Those whose judgment is is worthy respect are convinced that this can be true, and that it shall be true, and that then only shall the American artist-artisan honestly come into his own, and reap the full benefit of the rich heritage which is rightly his. Our industrial products, as our finer arts, must not only be valued for their pure artistic conception, but for the source of that conception. Then only shall we have fulfilled our artistic destiny, and then only shall we have demonstrated that true art in democracy which shall not only make every utensil beautiful in itself and perfectly fitted for its purpose, but ideally representative of that art which shall picture our own country and tell our story to posterity. The importance of industrial art in the commercial welfare of the United States has long been preached by a few. Many now realize that we are far behind

European nations in industrial art education. The number of industrial art schools in this country can be counted on one's hands; whereas in Europe, before the War, such schools were as numerous as the cities that dot the map. So in this country it is our patriotic duty to strengthen the industrial art movement.

There is no reason why the American boy and girl with talent for design and color should not be trained in American schools and present conditions most certainly point to the furthering of industrial art education in this country. People have been thinking that no good thing in art could come out of America, but now the best students of Art History express the firm belief that the greatest art of the world will be American. For the first time this country is thrown upon its own resources and inventiveness, to its own great good, and therefore, this is America's great art opportunity. Surely nothing can be more in keeping with our national character and with the accomplishments made by us in the past than that this art should manifest itself in industrial art supremacy.

F

RONT doorways afford a most interesting study. Mutely expressive of attributes, variously shaded, ranging from whole-hearted hospitality to cold reserve or dignified aloofness, their influence upon the home, particularly because of the position occupied, is invariably most potent, and hence, in their designing, they especially deserve the maximum of thoughtful consideration.

The doorway, or entrance feature, of a home must naturally correspond with the architectural style employed for the house in general. However, various modifications are always possible, and a proper handling of these modifications will nearly always result in successfully accomplishing the expression of the attribute or quality desired. To so interpret a particular type of doorway as to make it expressive of either warmth or coldness, old-fashioned hospitality or formal aloofness, of variously shaded plebeian informality or refined dignity, and so forth, and to have it at the same time fully conform architecturally with the remainder of the house, therefore, should always comprise the builder's aim.

The matter of floral treatment for the front entrance also deserves more or less careful study.

Many charming possibilities are afforded by it in this respect, and it is very often possible, by the mere use of flowers, vines and other foliage, to change the character of a doorway entirely. The strictly formal entrance, of course, requires but little more than an evenly balanced arrangement of either bay trees or arbor-vitæ in pots or urns, and perhaps one or more pairs of Italian cypress, but for informal schemes the planting may be more profuse and irregular. However, in either case, a proper regard must be shown for the general character of the street vista, the style of the house individually, the particular quality that it is desired the entrance shall radiate, and so forth.

In present-day home-building the broad, sweeping veranda or front porch is by no means so common as it was a few years ago. Instead, the out-door lounging retreat, which it was intended to comprise, is now more often relegated to some place either on one side or in the rear of the house, where greater privacy may be enjoyed. As a result, the type of entrance that represents an entrance feature only is quite the vogue, and hence entrance designing is beginning to constitute a considerable art, for it must now receive undi

FRONT

Ivided attention. In our adaptations from the architectural styles of foreign countries, particularly from Italy, Spain and France, the entrance is especially susceptible to interesting interpretation. The various so-called Colonial styles are also exerting a considerable influence upon modern home architecture, and the Colonial entrance is invariably attractive, if consistently and otherwise properly handled. With it there has naturally been returned to favor the old-fashioned knocker, of charming possibilities, and not infrequently in such types of entrances are likewise found inviting doorway seats, variously designed.

Herewith are reproduced photographs of several doorways and entrances that will be found especially worthy of close study. Not only are they of widely different styles, but they also afford suggestions for floral treatments, the arranging of doorway seats, the planning of possible terraces, and many other auxiliary things.