House and Garden 
UNION 
THE OLD CHARTER STREET BURIAL-GROUND Salem, Massachusetts 
rearing; a crenelated tower into view above a 
grove of yews or street ot elms, a center 
from which flights of rooks make forays into 
fields and gardens. So in New England it 
was, till recentlv, a common thing to see, on 
commanding hills, the serious white church 
with pointed spire and Ionic portico, facing 
the lands of plenty and standing tor the 
faith, the hope, that had rescued them from 
a wilderness, while in its shadow, each sleeper 
marked by a mossy slab, lie the sturdy men 
and earnest women who parented the Yankee 
race. Let us keep their memories green and 
keep the shelter ot the church above them. 
I N Mr. Price’s answer to Mr. Adams in 
the last number of “ House and Garden ” 
he appears to have neglected a powerful 
weapon which Mr. Adams had practically 
conceded him. Mr. Adams admits con¬ 
cerning ornament, “ It is this variety in 
myriad repetitions, like the tree before my 
window, which makes hand-work interest¬ 
ing. Though the hand can never repeat, 
the machine can never vary. It cuts the 
same form thousands of times without the 
slightest change or shadow of variation, 
and this gives unpleasant stiffness to the 
whole.” This is true of the fundamental 
lines as well as of ornament. Grant that 
a group of the simplest hand-made pot¬ 
tery, with no other ornament than an irreg¬ 
ular coat of salt-glaze, wearies the eye less 
than a dozen mathematically perfect moulded 
dinner plates, each of which has robbed the 
next of its power to interest, and the point 
is made. It is not only because we crave 
the personal touch, as such, that handwork 
interests where machine work wearies, but 
because the machine can, and indeed insists 
upon cutting a line “ as straight as a die.” 
Every inch of such a line beats on the same 
nerves with the same monotonous and inev¬ 
itable touch. In art the appeal to the intel¬ 
ligence is through the senses, and the full 
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