ML\^JJi'M J)(J(rMJ-:\TS AM) MODEUS COSTUME 



20 r 



of exeollenee. All rMir-niiiidod ])c()|)l(' 

 will a^iTCO with me that tlu' intrinsic 

 merit of tlir ])r()(hict imis t hciiisclvcs 

 should bi' eoiisidci'cil. i-allicr than the 

 >:voti-ra])liieal location of mann fact urc 

 It' the professional rc|Mitalion ihal these 

 two ii'entlenicn onjoy \\a> pas^'d on to 

 the ]iuhlic. it would lie iioi didy a lit- 

 tiii,i;' I'ewafd for I heir years of patient 

 ert'oi't. lull al-o an encouraii'enient to 

 otiier art ists in the same Held. 



In all forms of decorative art today, 

 there is I'videnco of hiii'lier standards. 

 The puhlie taste has advam-ed diirinii- 

 the ]iast di'caik' in an iiiimistakahle 

 manner. \o doubt the great prosper- 

 ity in .\merica, the more settled eco- 

 nomic conditions, the diffusion of art 

 education among the people, have all 

 contributed to this condition. The in- 

 thieiice of art schools all over the coun- 

 try is making itself felt in the public's 

 heightened appreciation of what is 

 really fine in decoration. That there is 

 still a great work ahead of us — that 

 many of the methods of teaching need 

 modification and amplification — does 

 not alter the fact that propaganda of a 

 highly important character has been 

 spread abroad. We should lay more 

 stress on practical craft work ; we must 

 accord to our native talent the recogni- 

 tion w'e so freely yield to foreign ar- 

 tists; and, lastly, we must make ample 

 provision for training artists to our 

 industrial problems and ensure to them 

 legal protection for their ideas. 



The Museum's share in this broad 

 ]U'oblem is a very important one. Its 

 public halls are a constant influence 

 toward good taste; and the facilities it 

 offers to specialists for research, enrich 

 bevond estimate our industrial arts. 



Space does not ])ernnt a detailed discus- 

 sion of this latter phase, but perhaps a 

 condensed statement of some remarks 

 that are ciuistantly connng to my ears 

 nia\' not lie out of plai-e. l-'abi'ic de- 

 signei's and eosluniei's of prominence 

 are simply astounded at the wealth of 

 suggestion that the collections offer to 

 them. I (piote from a letter recently 

 i'ecei\cd fi'om Mr. Edward L. Mayer: 

 ■■\\'e ha\(' fiumd its collections full of 

 inspiration, and it a storehouse of deco- 

 rative detail. .\ sympathetic apprecia- 

 tion backed l)y an adequate technique 

 should make it an active influence in 

 ours as in all the arts and crafts." This 

 is but one example of many I might 

 (|Uote. Secoiul oidy to the artistic value 

 of the documents themsodves is their 

 accessibility. The freedom from red 

 tape, the constant interest and assis- 

 tance of the scientific staff of the in- 

 stitution, are matters of the highest 

 praise. 



The problems of the fabric and cos- 

 tume designer are many-sided. Success 

 in either of these professions requires 

 special training and a special view- 

 point. But however intricate the ques- 

 tion becomes, each fresh creation must 

 be based on some suggestion or idea, 

 and the Museum collections (open as 

 they are and free from all unnecessary 

 restrictions) offer a wonderful field for 

 research of thi.s character. The Avork 

 has grown so rapidly and has entered 

 into so many different phases that it 

 is impossible to keep trace of the results 

 any longer. But it is not too much to 

 say that the American Museum is a 

 full generation ahead of the other 

 forces that are working for good deco- 

 ration in this country. 



