AMERICAN HOMES -AND GARD ENS 
May, 1906 
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The Metropolitan Magazine 12 Months, and 
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1 The Long Arm Samuel M. Gardenhire || 12 
2 The Dawn of a Tomorrow | 13 
Frances Hodgson Burnett 14 
3 The Wheel of Life Ellen Glasgow || 15 
4 The Truth About Tolna Bertha Runkle || 16 
5 The House of a Thousand Candles || 17 
Meredith Nicholson | 18 
6 The Lake z George Moore || 
7 The Great Refusal Maxwell Gray || 19 
8 Carolina Lee : Lilian Bell || 20 
9 The Shadow of Life Anne Doug: is Sedgwick 
0 
The Lawbreakers 
11 The Last Spike 
Robert Grant 
Cy Warman | 
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Arthur Grifhths 
Elizabeth Ellis 
Bettina von Hutton 
Geo. Barr McCutcheon 
The Patriots Cyrus Townsend Brady 
A Motor Car Divorce Louise Closser Hale 
The Girl with the Blue Sailor 
Burton E. Stevenson 
The Angel of Pain : E. F. Benson 
My Sword for Lafayette Max Pemberton 
A Maker of History Oppenheim 
The Arncliffe Puzzle Gordon Holmes 
For the White Christ 5 R. A. Bennet 
The Passenger from Calais 
Barbara Winslow—Rebel 
Pam Decides 
Cowardice Court 
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i ae 
terials secured in Alaska may be technically 
sketched in a few words. He modelled in 
clay, from which a plaster cast was made for 
security in transportation. After this, the re- 
touching, and then the plaster model was de- 
livered to the foundry for casting in bronze. 
The element of distinction is in Mr. Potter’s 
work. It is bound to be an artistic topic of the 
hour and welcomed as an evidence that there 
is to be no widespread constriction in the sub- 
ject matter of sculpturing. Neither is any- 
thing likely to be able to inevitably bafHle the 
pains and persistence of an artist who has mas- 
tered racial differences as far apart as North 
Africa and North America. Among the 
bronzes, distinct and separated from the Alas- 
kan group, at this great establishment may be 
seen an important example of the skill of the 
late Carl Rohl-Smith, of Washington, D. C., 
a Bacchante group, modelled very large and 
representing the God and Goddess of Wine. 
Bacchante holds in each uplifted hand a bunch 
of grapes, but is not quite primed to unload all 
to his mate, who is in close touch in the hi- 
larious chase. Exquisite expression and action 
are fashioned in a way that shows this sculptor 
intended no listless loyalty of these intoxicated 
ones to the luscious fruit. The piece is the only 
one ever cast from the original model, and this 
fact gives it a significant value. The com- 
pany’s bronze rooms are in Fifth Avenue, 
corner of Thirty-sixth Street, New York, N. Y. 
The Routine Paint Specification 
HY is it that architects who are in 
the van of progress in the engineer- 
ing and constructing branches of 
their profession are still in the dark ages when 
it comes to paint? We find architects who are 
thoroughly up to date in the details of steel, 
concrete, slow combustion, etc., reproducing lit- 
erally the paint specifications of their prede- 
cessors of the seventies. One reason, of course, 
is that paint is less important than material and 
form, and that the more important matters de- 
mand first attention, but this does not fully 
explain the practical identity of painting speci- 
fications. 
An architect, to whom I put this question 
recently, shed a bright light on the subject 
when he said: “They are all the same because 
they are obtained in the same way. When the 
young architect leaves his preceptor’s office to 
set up for himself the one thing he is sure to 
copy and carry away with him is a set of 
specifications, including specifications for paint- 
ing, and some of these specifications may have 
been handed down in a direct line, for all I 
know, from the office of Hiram of Tyre.” 
If any one will take the trouble to examine 
the successive specifications issued during the 
past thirty years of any important railway, gov- 
ernment department, wagon works, implement 
works, etc., he will find that practice has kept 
pace with technical progress, and that specifica- 
tion has gone hand in hand with investigation. 
But in architectural practice any deviation 
from the venerable formula beginning, “All 
exterior woodwork shall have a priming coat 
of pure lead and oil,” etc., is so exceptional as 
to be startling. 
Supposing, or even asserting, that this prac- 
tice was the best possible at the time it was in- 
stituted, certain changes in materials and con- 
ditions have intervened which make it advis- 
able at least to review the subject. The prin- 
cipal structural woods are no longer, as for- 
merly, white pine, oak and hemlock. Yellow 
pine, cypress, yellow poplar, cottonwood, bass- 
wood, white cedar and redwood, owing to the 
exhaustion of the more desirable timbers, have 
largely replaced them. It is evident to any one 
who gives the subject a thought that white pine 
and yellow pine will probably require different 
