Craftsmanship at an English School 
which have helped place the name of How¬ 
ard Greenley among the most able and ver¬ 
satile Beaux Arts men only one has been 
secured. His “ Decorative Vaulting of a 
Loggia ” shows a fine feeling for rich har¬ 
mony in color, etc. 
As a further representative of student’s 
work at the French School may be men¬ 
tioned James G. Rogers’ “Sketch for a 
Band Stand,” exquisite in drawing and color 
and loaned to the T-Square Club for this ex¬ 
hibition by the School of Architecture of the 
University of Pennsylvania. Paul A. Davis, 
jd, is represented by a single sketch—“ A 
Gate Lodge to an Estate.” Somewhat more 
careful in drawing than the majority of 
esquisses, its thorough conscientiousness gives 
it almost the quality of a tinv projet. This, 
as well as Mr. Aldrich’s design for the same 
programme which hangs on the wall directly 
opposite, seems somewhat lacking in imagin¬ 
ative quality. Edgar V. Seeler sends two 
drawings less recent than those heretofore 
mentioned. One cannot fail to notice by 
comparison the significant revolution which 
has taken place within a very few years, in 
the manner of presenting sketch designs. 
Until quite recently the typical esquisse was 
a delicate pencil drawing—at small scale— 
on Whatman paper. It is now, almost 
without exception, an indirect impression 
with transfer paper, on mat-surfaced Bristol 
board, the scale having been uniformly 
increased. A more prodigal use of color is 
also marked in the sketches of to-day. 
A pleasing little studv is that for a Pavilion 
d' Ete —by M. Gaspard Andre, the drawing 
having been loaned by Mr. Seeler. Because 
of its size, no doubt, it will often be over¬ 
looked—to the considerable profit of its near 
neighbors. Badly hung, on a wall apart 
from all others, is a delicate but effective 
sketch for a Monumental Doorway, the 
work of another well known Frenchman, M. 
Paul de Monclos. 
In these drawings can be seen the sort of 
training which is rapidlv ranking America in 
the enviable architectural place which France 
holds to-day because the best American 
pupils of the Parisian masters are learning to 
apply the French rationale of design to 
modern American conditions. 
A TEA SET OF HAMMERED SILVER 
By A. F. Ulmer. Awarded a prize scholarship by the Technical Education Board of the London County Council, and a medal by the Silversmiths' 
Examination. 
CRAFTSMANSHIP AT AN ENGLISH SCHOOL 
I T cannot be said too often that the future 
of Art depends on the arrangements we 
make for its teaching in the elementary and 
technical public schools, and the writer of 
these notes loses no opportunity of learn¬ 
ing how these institutions are managed. 
There may be larger ones making provision 
for Art in the United States, but none at 
present better placed in London, with regard 
to its position in the center of a district as 
crowded as it is poor, than the Northampton 
Institute, whose master, Mr. John Williams, 
sends these illustrations of his students’ work. 
I notice that three out of five have won for 
their makers the studentships which are 
truly a godsend to those most deserving 
of help, and that reproductions of the work 
have elsewhere won appropriate praise. 
35 6 
