22 
RERAMIC STUDIO 
Chased silver locket designed and executed by 
ElladeNeergard. 
the opening of a permanent exhibition of objects of the 
arts and crafts. 
Mr. Frederick S. Lamb advocated a permanent ex- 
hibition for objects of industrial art, calling attention to 
the fact that exhibitions held by societies of painters are 
arranged to include the sale of paintings. He saw no reason 
why men and women who make their living by work apart 
from easel paintings and sculpture should pretend to 
ignore the necessity of selling their wares. As to a school 
of arts and crafts, he was not prepared to say that this 
would be feasible without a proper endowment. 
Mr. Arthur Dow of the Teachers' College, Columbia 
University, protested against the false impression made 
by the use of the terms fine arts and arts and crafts, a divi- 
sion which confused the public, seeing that all art works 
are the product of craftsmen, while the superiority of fine 
art implied by that mode of expression did not necessarily 
exist. Painting and sculpture when poor are not fine art, 
while industrial art works, when good, are as fine as any- 
thing on canvas or in bronze. 
Mrs. Anna B. Leonard, President of the New York 
Society of Keramic Arts, spoke for the decorators, and a 
letter was read from Mr. Chas. Volkmar as a representative 
of the art potters. Miss Amy Hicks spoke briefly as the 
No. 3. Altar Candlestick in sit 
leading spirit in the New York Guild of Arts and Crafts, 
and from Cincinnati Mr. William Watts Taylor, President 
of the Rookwood Pottery, sent greetings by letter. Mrs. 
Johnston of Richmond, Ind., described the progress of an 
organization of art workers in her town, showing how they 
had enlisted the interest of the Common Council of Rich- 
mond through the educational side of such efforts as her 
society had been able to make, so that it now receives 
financial aid from the city. The work of Berea College, 
Kentucky, was described by one speaker. William Taber 
Sears spoke of the Arts and Crafts Society of Boston and 
the textile handicraft pursued by ladies in Deerfield, Mass. 
Mr. John Ward Stimson reviewed the efforts once 
made by the Metropolitan Museum to conduct a school 
of the arts and crafts, spoke of the Artist-Artisan Institute, 
Cloak clasp in silver and amethysts designed and executed by Harry S, Whilbcck. 
now merged in the New York School of Art, and of the 
school established by him at Trenton, N, J,, ending with a 
fiery exhortation to those present not to let the matter drop. 
Charles de Kay reviewed the situation in New York, 
maintaining that the local art world was like a pyramid 
poised on its apex, because everthing had been done for 
the fine arts, so called, while the fruitful industrial arts, 
out of which the fine arts should grow, had been neglected. 
The Arts Club is a product of the twentieth century, and 
should stand for modern ideas. It should do what is pos- 
sible to reverse the pyramid and stand it on its base, us- 
ing the widest possible spread of art crafts as an education 
for the people in order to prepare the ground for a greater 
and better-founded taste in the arts. 
Other speakers considered the two questions of a 
school and a permanent exhibition, the majority favoring 
a permanent salesroom and rejecting, at least for the present, 
the establishment of a school. It appeared to be generally 
conceded, however, that these matters should be left to 
the committee of art workers to be appointed by the Chair. 
Laymen who spoke or sent letters included John J. Murphy, 
John DeWitt Warner, and Walter S. Logan. 
