Full text of "Devotees and their shrines; a hand book of Utah art"

See other formats

BANCROFT
LIBRARY

THE LIBRARY

THE UNIVERSITY

OF CALIFORNIA

Z?'^

LEE GREENE RICHARDS. PORTRAIT OF HIS WIFE.

DEVOTEES AND
THEIR SHRINES

A Hand Book of Utah Art

Alice Merrill Home

HE DESERET NENA/!

SALT LAKE CITV

1914-

^o Pate ®I|0nia0.

Digitized by the Internet Archive

in 2007 with funding from

IVIicrosoft Corporation

http://www.archive.org/details/devoteestheirshrOOhornrich

Foreword.

Every spirit which enters mortality comes stamped with Infinity —
with a power to reach out and grow inimitably. This heaven-given
possibility is intensely individual in character ; since that identity comes
from the fact that each soul has within it a gift, a possibility, a power,
a characteristic, what you will, which distinguishes it from any other
soul. Who can conceive of a nobler effect of higher law than the indi-
viduality of soul ? As a people we build upon the belief that soul iden-
tity will in its very nature survive even through the ages of eternity.
Actual experience demonstrates that each one of our friends is superior
in some particular way, not only to us but to all our other friends.

The insight to recognize the capabilities of those among whom one
moves, marks the degree of greatness in leadership. And the true
leader organizes these forces to advance his own high purposes, feeling
a double joy in the knowledge that his comrades grow with him by
using their gifts. However, it is not sufficient that others are helped
to a realization of themselves. Each soul has a higher duty : to dis-
cover his own infinity. In the secret moments, something will whisper,
''You can; you iniist." Though it necessitate devotion and sacrifice,
listen to the infinite of vour soul when it calls !

LEONARDO DA VINCI. THE LAST SUPPER.

Milan.

Introductory.

Poverty is a poor excuse for ugliness and wealth can never get
rich enough to purchase good taste. But God has created gifts, and
men work so that we are not without poets, painters, sculptors, arch-
itects, craftsmen, gardeners and home makers. So long as talent and
indu.stry unite there will be art — original, spontaneous, inspirational —
the kind that lives.

We are all artists to a degree, or at least let us believe that Provi-
dence so intended. There are those who wall themselves away from
the beautiful. The Idolater of Gold, pursuing the problem that
one and one make 57, reaching past the flower for the glittering dollar,
will gradually lose himself in 'the narrowing, tightening, deadly mesh
of the ugly. And that thing sometimes called an educated man — but
wrongly — (because his study, his thoughts, his inspirations and aspira-
tions, all begin on the printed page instead of springing from his inner-
self), is equally barren of power to recognize or think beauty.

A Handbook of Utah Art. 9

But for ''him who holds communion witli nature" hfe has a meas-
ure of sweetness; no matter whetlier lie escapes from the sweat-shop or
the stuffy office or the school-room into the green pastures, or under
the grateful shade of the mountain pine, he pauses transfixed with joy
at the call of the lark. The touch of nature's carpet soothes the ache
of his board-born feet. The pungent pine awakens and greets his
dulled senses. The bigness of the starry vault relieves tlie weight of
the dingy office that has pressed upon his brain seemingly to crowd out
the dear light of heaven.

Have you read C. C. Goodwin's description of the Shoshone Falls?
In a life-time the painter's brush could not repeat that story. All

The Aprodite of Melos (Venus de Milo), goddess of love and beauty. The
most beautiful woman in marble — a type of grace and physical perfection. The
most choice work of art in the Louvre. It stands in a room by itself at
the end of a long gallery. One could weep at the first distant view. No matter
from what view it is studied, it brings some sweet and wonderful surprise.

10 Drcotees and their Shrines.

vehicles of art expression have their limitations. The artist must
select a subject that he can make more beautiful in the telling. A
painter reveals beauties of which you had scarcely dreamed when he
chooses well his theme.

Such as the Shoshone Falls is too tremendous to be put upon a
canvas. Mr. Goodwin has shown the suitability of such themes to the
poet and writer. The author can in the same sentence fly from the

Nike, the goddess of victory, also in the Louvre, was conceived as a winged
being attendant upon Zeus and Athena who, controlled the destinies of war — a
tribute to the wonderful success of Demetrius over Ptolemy's fleet before
Salaniis. The statue was erected at Samothrace and represented Nike standing
on the prow of a vessel as if leading the fleet to success. The figure is in an
erect poise with the chest held high. The attitude expresses exhilaration from
the rush of wind in the face of one borne rapidly along by a boat.

A Handbook of Utah Art. 11

flower on the river bank to the most distant peak, from one side of the
canyon to many cascades in the opposite direction. Sunshine and
cloud effects, rainbows and Hghtning's flash, may be mentioned in one
breath. Not so the painted picture. Its story is the harmony of a
single moment of time. The great artist chooses that subject and that
moment best suited to his vehicle of self expression. Such choice is
known as the pon'cr of selection. The Last Supper inspires greater
adoration than would the world's crowned heads with all their mag-
nificent retinues added. The Venus de Milo is more beautiful than
any woman. Nike, the Winged Goddess of Victory, furnishes more for
man's imagination than a canvas covered with mountains. And Mona
Lisa awakens more questionings than the Niagara Falls, when confined
to a canvas six by nine.

At a recent exhibition a very intelligent lady said, "I should hke
to go more often to the exhibitions but I don't know how to criticize
the pictures." When you go to hear the best music it is to listen and
enjoy. You attend a lecture to be taught. You should go to the art
gallery to use your eyes, to learn from the artist, to try to understand
what he has to say. But if you will go looking for faults, behold them ;
they are there ! In the best picture ever painted a fault could be found.
We must put ourselves in sympathy .with the picture. Is it painted to
express beauty of line, or tone, or color, or mass ? Study to find the
motive. The artist may have painted it to express vibration of light ;
he may be reproducing a low-keyed evening effect, or seeking to express
repose or its opposite, animation, in a portrait, or perhaps only a beau-
tiful arrangement of color expressed through flowers. The same
subject can be painted in a dozen different ways to express a different
manner of vision.

W^hen you go to an exhibition study each picture carefully, look-
ing for good color, simplicity, good composition, drawing, tone, feeling,
agreeable proportions, rhythm and balance. You will find one or
more of these great qualities. To incorporate all would be impossible.
The charm of the Anonymous Old Master is its absolute simplicity.
On the other hand Raphael's wonderful Sistine Madonna is a com-
bination of many details. Its pozver is in its pattern made by careful
balancing of spaces and of masses, arrangement of line and color, pro-
ducing a beauty so deep that it creates the most profound emotion.
Elimination and arrangement are very important features in a picture.
Study this Raphael's masterpiece and you will discover that nothing
could be left out without destroying the beauty of the picture. Every
line swings and leads to the dominant subject — "Mother and Child."
It becomes the very essence of divine motherhood, which is the culmina-
tion of mortal joy !

LEONARDO DA VINCI. MONA LISA. LOUVRE, PARIS.

ANONYMOUS OLD MASTER.

RAPHAEL. SISTINE MADONNA. DRESDEN.

Devotees and their Shrines.

The painter who resorts to mechanical methods, such as sun print
and reflectoscope, should not charge more than the photographer. I
have respect for the honest photograph but the photographic painting
is a sham. The camera and the artist have widely differing fields.
The photographer approaches nature with a machine. A similar con-
trivance could repeat the result. The artist brings brains, feelings,
emotions. James McNiel Whistler's painting of his mother is the very
antithesis of the photograph. It is the rendition of a soul. Whistler
did more than paint his mother's portrait. He painted all our mothers.

This portrart bust of
Alfred Lambourne by
Mahonri M, Young is
not great because of its
faithful facial resem-
blance but because it
reveals the gifted man
at his most exalted mo-
ment and because the
sculptor shows his own
wonderful sympathy for
his model, the artist
poet

Devotees and their Shrines

Historic.

There never was an artistic period.
There never was an art-loving nation.

In the beginning-, men went forth each day — some to do battle, some
to the chase; others, again, to dig and to delve in the field — all that they
might gain and live, or lose and die. Until there was found among
them one, differing from the rest, whose pursuits attracted him not,
and so he stayed by the tents with the women, and traced strange
devices with a burnt stick upon a gourd. This man, who took no joy
in the way of his brethren — who cared not for conquest, and fretted in

18 Dei'otecs and their Shrines.

the field — this designer of quaint patterns — this deviser of the beautiful
— who perceived in Nature about him curious carvings, as faces are
seen in the fire — this dreamer apart was the first artist.

And when, from the field and afar, there came back the people,
they took the gourd — and drank from out of it. And presently there
came to this man another — and, in time, others — of like nature, chosen
by the gods — and so they worked together; and soon they fashioned,
from the moistened earth, forms resembling the gourd. And with the
power of creation, the heirloom of the artist, presently they went be-
yond the slovenly suggestion of Nature, and the first vase was born, in
beautiful proportion.

And the Amateur was unknown — and the Dilettante undreamed of.

And history wrote on, and conquest accompanied, civilization, and
Art spread, or rather its products were carried by the victors among
the vanquished from one country to another. And the customs of
Cultivation covered the face of the earth, so that all peoples continued
to use what the artist alone produced. And centuries passed in this
using, and the world was flooded with all that was beautiful, until there
arose a new class, who discovered the cheap, and foresaw a fortune in,
the facture of the sham.

Then sprang into existence the tawdry, the common, the gewgaw.

The taste of the tradesman supplanted the science of the artist, and
what was born of the million went back to them, and charmed them,
for it was after their own heart ; and the great and the small, the states-
man and the slave, took to themselves the abomination that was ten-
dered, and preferred it — and have lived with it ever since. And the
artist's occupation was gone, and the manufacturer and the huckster
took his place.

And now the heroes filled from the jugs and drank from the bowls
— with understanding — noting the glare of their new bravery, and tak-
ing pride in its worth. And the people — this time — had much to say
in the matter — and all were satisfied. And Birmingham and Man-
chester arose in their might, and Art was relegated to the curiosity shop.
—Whistler's "Ten O'clock" Lecture.

These are specimens of the industrial art of the ancient "Cliff
Dwellers," the primitive American Indians, the ancestors of the Pueblo
Indians of our great southwest. When you examine them closely and
note that each piece of pottery has been built up by hand by coiling one
strip of carefully prepared clay upon another and then all patiently

A Handbook of Utah Art,

smoothed, polished, dried, decorated and fired, you begin to reahze the
wonderful industry and artistic ideals manifested. These were no
blind workers of a day, mechanically following instinct, but immortal
souls with a divine appreciation of the beauties in God's world about
them slowly groping their way toward a nobler understanding of the
Great Father. — Byron Cummings.

Devotees and their Shrines.

ARCHITECTURE IN THE EARLY FIFTIES.

With a strong feeling for art and architecture inspiring Brigham
Young, it is a matter of little surprise that the beginnings of things in
Salt Lake Valley should have been so artistic.

In the early fifties a distinctive group of structures appeared — the
Lion House, President's Office, Bee-hive House, Eagle Gate, Eigh-
teenth ward school house and the White House on the hill. These
were held together by the pleasing lines of strong, thick, high, cobble-
stone walls intersected with but-
tresses and with doors both large and
small. A row oi hitching posts con-
nected with draped chains flanked the
sidewalk, agreeably repeating the
wall spacing, and altogether lend-
ing dignity and privacy to the
whole scheme. The design is ex-
cellently shown in cut (a) from a
photograph by M. Cannon in 1861.
Truman O. Angell and William
AVard, associate architects of the
Salt Lake Temple, w^ere the de-
signers of these buildings. Ward
cut the lion for the Lion .House
and Ralph Ramsey carved the bee-
hive and also the first eagle that
adorned the original Eagle Gate.
The Eighteenth Ward school
house, where President Young's
children attended school, is now
replaced by the "Bransford." The
White House still stands, and is
owned by Mrs. Julia P. AI. Farns-
worth.

(b) Shows Lincoln's inaugural
procession draw^n up before tliC
^'President's Office," March 4,
1865. The procession is headed
by the "Overland Route" stage

(a) Presidents Office. COaCh.

(b) Lincoln's Inaugural Procession. (c) 'The Salt Lake Theatre, pho-

(d) Tabernacle. tographcd in 1865, by Savage t^

A Handbook of Utah Art.

(f) Residence of D. H. Wells.

(e) Residence of Geo. A. Smith.

Ottinger. In this building a few months later, Julia Dean Hayne read
Sarah Carmichael's poem, "Toll Slowly," to a great memorial assem-
bly for the martyred president — Abraham Lincoln.

(d) The Tabernacle during course of erection.

(e) President George A. Smith's residence — the Historian's
Office, still standing — the birthplace of Clarissa S. Williams, first vice-
president of the Relief Societies in all the world.

(f) President Daniel H. Wells' fine old colonial residence, long
since replaced by the Templeton Building.

THE FIRST ART SCHOOL.

The year 1863 marks the organization, in Great Salt Lake City, of
the first Art school in the entire West — The Deseret Academy of Arts.

The Deseret Academy of Arts opened its doors to students in a
building just south of the present site of the National Bank of the
Republic, the use of which was tendered by Bishop George Romney.

The officers of the school were: President, George Martin Ot-
tinger, landscapist and figure painter ; vice-president, William Morris,
decorator (father of the late gifted decorator and colorist, *'Billy"
Morris); secretary, E. L. T. Harrison, architect; treasurer, the late
C. R. Savage, photographer. Additional directors of the institution
were William Folsom, architect; William Silver, pattern maker and
machinist, and Dan Weggeland, painter of landscape and figure. The
faculty was unique in scope and art attainment and showed that ambi-
tion and power of initiative that is the main characteristic of the pioneer.
Ottinger, Weggeland and John Tullidge, (brother of Edward Tullidge
of Western magazine fame), instructed in painting, landscape and
figure, sketching and perspective ; Harrison and Folsom taught archi-
tecture, and Silver conducted classes in mechanical drawing. When

22 Devotees and their Shrines.

wood hauling, agricultural pursuits, or public work prevented a
teacher's attendance at the studio, his co-workers readily undertook to
conduct his classes. Speaking of that first art school, Mr. Ottinger
says, '*We had a good class which survived ten 'months. At the end
of that time we realized it was a little premature."

WILLIAM FOLSOM.

WiUiam Folsom, the son of a builder and contractor of Buffalo,
New York, worked upon the temple in Nauvoo but took no part in its
design. When he was chosen architect for the tabernacle. President
Brigham Young said, "We want something like this," (opening up his
umbrella and holding it as a shelter over his head). "Could you make
a building like this?" Folsom replied, "I can try." This was enough.
Brigham Young had made the suggestion : Mr. Folsom accepted it as
inspiration and therefore possible. In this openness to the thought
and needs of his patron, he established his rating as an architect. Pres-
ident Young was a natural leader. He selected men of intelligence
and knowledge and power of imagination to perform such offices. His
naive placing of implicit confidence in them inspired the best. The
Tabernacle today is one of the world's unique buildings. The Salt Lake
Theatre, too, was Folsom's architecture. This is a worthy work, and
loved by all Utahns, not only for its beauty but for its associations with
the past. William Folsom designed the Manti and St. George Tem-
ples, the Provo Theatre and tabernacle, and the Moroni tabernacle.
The Folsoms as a family are builders. Hinman D. Folsom is the de-
signer and builder of the Cardston tabernacle. Canada.

While William Folsom was in partnership with Obed Taylor, the
latter designed the mansard houses of Feramorz Little on First South
and Second East streets, and the George Q. Cannon house on West
South Temple.

AMELIA FOLSOM YOUNG.

Amelia Folsom Young, wife of Brigham Young and a daughter of
William Folsom, was also gifted in architecture. She helped to plan
and made many suggestions for the "Gardo House," now called by its
owner, Mrs. Emery Holmes, the "Amelia Palace," which was designed
and erected by Mr. Joseph H. Ridges. Mrs. Young built a home for
herself and retired from the "Gardo House." Later, as the business
houses hemmed her in. she built another residence, always weaving
her own ideas into the design and finishing details for her homes.

A Handbook of Utah Art.

SALT LAKE THEATRE.

E. L. T. HARRISON.

E. L. T. Harrison, associate architect with William Folsom, of
the Salt Lake Theatre, came from that most-interesting-of-all-cities-in-
the-world, London. He was born and bred at Woolwich, a shipping
town, where his father was engaged in the designing and building of
ships. Harrison was sent to London to study architecture at the best
schools and had great opportunities. We find him en route for Utah
in 1860. But he, like many others, who undertook that long and
perilous journey by ox-team, was overtaken by a tragedy. In a lonely
spot the company halted long enough to make a rough grave in which
to lay his young bride. Harrison made every effort to mark the grave.
He drew a close study of every object near and the mountains and sky
lines, hoping to return and recover her ashes. The place was never
found.

Upon his arrival in "The Valley" the walls of the Salt Lake
Theatre were up and President Young was ready to put him to work
with William Folsom to complete that beautiful building. Harrison
being familiar and in sympathy with the best pnglish architecture came
like an inspiration from the art of the old world. He had great
admiration for Drury Lane and now desired to apply some such arch-

Devotees and their Shrines.

itectural treatment to the Salt Lake Theatre, which had distinctive pos-
sibihties. He designed the ceihng — beautiful, elaborate, the boxes with
their ornate and lacy filigree, the proscenium, and galleries, which re-
main to this day examples of his masterful architectural work.

The women of "The Valley" were ladies of culture, refinement and
spirituality. Hungering for the beautiful, they brought him their first
window blinds of buff or green which he decorated with little scenes.
I remember them in several of the fine old homes. Harrison taught
architecture in private classes at his residence and in the Deseret
Academy.

Of his architecture were the first barracks at Fort Douglas, the old
Octagon House on East Second South, the corner store where Mc-
Cornick's Bank now stands, the Godbe-Pitts' drug store, the Grand
Theatre, Atlas Block, Daft Block, the buildings erected by Henry W.
Lawrence on West Temple street, the Walker residences recently torn
down on South Main, the W. S. Godbe residence on East First South,
Commissioner Henry W. Lawrence's residence, and the architect's own
home, still standing, near the site of the capitol building. This house
retains the decorations painted by John Tullidge.

GEORGE M. OTTINGER.

George Martin Ottinger has been an integral part of Utah art
societies and exhibitions. He was for many years teacher of drawing
and perspective in the University of Utah. He has served as president

OTTINGER. INDIAN TKIMMJIS.

Dez'otees and their Shrines.

OTTINGER. PIONEER TRAIN.

of both the Deseret Academy of Fine Arts and the Utah Art Institute.
While sagebrush still grew high in many of the streets of Salt
Lake City, Ottinger arrived by ox-team. The theatre walls were then
up and Brigham Young set him at work upon the stage scenery. For
four years he painted scenes, being assisted by William Morris and
Henry Maiben. The former had been a decorator in London, England,
though of Welsh extraction. His son painted the figures still to be
seen on the ^'Theatre" ceiling. Ottinger made the first scene used in
the Salt Lake Theatre. Speaking of his art life he says : "I have been
sketching all my life here or while traveling in Europe, Asia, Africa,
North and South America, and many islands of the sea. It seems to
me I have always been most interested in 'Old America.' This subject
«• presented a clear field ; no artist had preceded me. I crossed and re-
crossed what is now called the Panama Canal zone. The memory and
pencil sketches of those days have furnished material for all the Pre-
Columbian subjects; which I have so many times %ince depicted."
Ottinger has a special feeling for landscape. Perhaps his greatest
work is "Capeca de paca," an historical picture referring to the year
1536, when a group of four men made the initial journey across the
continent. The route lay through the mesas of northern Texas, through
Arizona, New Mexico, and California.

Ottinger, when a boy, ran away to sea, because his family insisted
on the medical profession for him. He returned home on the day of
his majority, and his people, who had given him up for dead, making

A Handbook of Utah Art. 27

OTTINGER. NEVER HEARD FROM.

no further objection to his art study, he went to study from the best
masters that the East afforded.

Mr. Ottinger is still painting, and a visit to his studio will carry
you back to the beginnings of Utah Art.

DANIEL WEGGELAND.

Daniel Weggeland, from the land of the Vikings, has been an
artist from his boyhood. He began his career in the best art school of
Copenhagen, continuing two years in England. Berlin also gave him
of her store. He was a linguist, speaking the Scandinavian tongues,
German and English. This father of Utah Art has had an influence
in favor of art study abroad. The "younger set" of artists hold "Dan"
Weggeland in great respect. His pictures do not go before a jury as
is the custom in exhibitions, his work being immediately accepted.
Dan Weggeland worked two years on scenery for the Salt Lake Theatre
and with him was associated Billy Morris. His best work is in the
Salt Lake Temple. His best qualities are tenderness, sympathy and
composition. He excels in grouping. His pictures suggest the pioneer
life. Fiords of Norway are favorite themes. Though his career has
led through a diversified path beset with difficulties and trials, yet he
still retains wonderful sweetness of soul and in his 89th year looks
serenely and calmly into the future, painting the scenes he loves best.

A Handbook of Utah Art.
C C. A. CHRISTENSEN.

C. C. A. Christensen, artist and Danish poet, drew a handcart
across the plains in '57.

It was a custom in his native home, Copenhagen, that at fourteen
a boy was confirmed and set to learning a trade. Carl's work was
cabinet making. At school he had shown great cleverness in free hand
cutting of paper. The widow of an admiral discovered him and he
was invited to her palace. Scissors and paper were furnished and he
passed muster before an invited company of ladies. Carl's friend
placed him in an art school in Copenhagen for five years. He wrote
Danish hymns and made some translations from English into his

i
1

Miiil

f:^_

r m^ ISIL^

"t -^

%^^'^

^PHi

CHRISTIANSEN. HAND CART SCENE.

After marrying a Norwegian lady he came to Utah,
and settled in Sanpete county. He also did work on the scenery for
the Theatre. Old "settlers" will remember his Mormon Panorama,
made of twenty-two scenes in water colors, eight by twelve feet in size.
His favorite themes were pioneer subjects and wheat fields.

His passion for the art life was never satisfied. Cast apart from
art influence, his life was one of self suDoression and toil. His most
happy years were spent with Daniel We^o-e^and in decorating the
interiors of the Logan, Manti, and St. George Temples. He died re-
centlv at Ephraim. But few of his neiefhbors ever understood his gift
nor dreamed of his life of dailv sacrifice.

30 Devotees and their Shrines.

THE ORGAN BUILDER.

Joseph H. Ridges is a genius. He was born in a London suburb,
on the other side of the street from an organ factory. He grew up
under its influence, watching, listening, absorbing its most minute
details of each process of organ building. Gradually through years of
listening to the sounding of pipes, he built up a fine critical sense for
musical tones. His interest was not confined to the factory. He made
excursions to the churches thereabouts to get closely acquainted with
each organ. More than once he was locked in and busied himself
happily until "vespers." By trade he was a cabinet maker and builder.

Catching the "gold fever," he went to Austraha, where there were
no organs. His quest for gold ended in quietly building an organ in a
two-story house. The sounding of the first notes brought the excited
inhabitants of Sydney worshiping. Ridges met people from Utah and
decided to take his instrument to the remote city by Great Salt Lake.
He sealed the various parts of the organ in tin receptacles, which he
placed in strong boxes that he had made from Australian mahogany.
Almost all of this priceless wood was afterward used in the cabinet for
the great Tabernacle organ. The few remaining pieces were carved
into furniture for Brigham Young, by the tabernacle carver, Ralph
Ramsey.

Ridges put to sea with his organ, landing at San Diego, California,
where he was met by Amasa Lyman, who assisted in freighting the
instrument from San Bernardino to Great Salt Lake City. Ridges
accomplished this feat without damage to his precious freight which
was soon set up in the old tabernacle, where the Assembly Hall now
stands.

H the influence of this organ had been great in Sydney, in the
heart of the great American desert it was stupendous. As the great
Tabernacle took shape the idea grew that it must have an organ com-
mensurate with its size and dignity. Brigham Young, always open to
inspiration, proposed at a meeting in the old tabernacle that such an
organ be built. This proposal was enthusiastically supported by
George A. Smith, Daniel H. Wells, D. O. Calder, Judge Alexander
Pyper, Dr. Benedict and others.

Mr. Ridges says: "Brigham Young sent for me and asked if it
were possible to build a large church organ in Utah. I told him I
thought it could be done, whereupon he instructed me to draw pre-
liminary plans. I worked for weeks on them at Truman O. Angell's
office. My whole scheme for the great organ, plans and elevation,
were approved by President Young, after which he said, walking up
and down, 'Can we do this thing? Yes; we can; we can do anything

A Handbook of Utah Art.

on which we put our minds. Go ahead with this, Brother Ridges.' "
They went ahead, though there was no telegraph to carry orders
for supplies ; no iron horse to do duty. They sent out scouts on horse-
back, who exacted tribute from the mountains, bringing their precious
loads by ox-team. St. George pine (being most free from gum and
pitch) was hauled five hundred miles over five ranges of mountains.

THE GREAT ORGAN DESIGNED AND BUILT BY
JOSEPH H. RIDGES.

32 Dez'otecs and their Shrines.

St. George pine made resonant pipes. Glue, boiled in great kettles on
temple block, was manufactured from cattle that had died. The pelts
were used for leather for the great bellows. And who would travel
two thousand miles for nails? These men got the habit of achieve-
ment. Every thing was handled with the touch of love. As the
pillars, entablature, towers and domes grew under their hands, joy was
manifest. And when the great instrument began to show itself — the
great bellows and strong frames, carrying their huge wind chests and
the multitude of pipes, standing in readiness, enthusiasm became tense.
But the climax came when the thirty-two foot pipe was put in place.
At its first note Ridges leapt into the air with every fibre of his being
electrified. And scores of people gathered from their homes to hear.

Mr. Ridges, (my good neighbor for many years), says, "Upon
this pipe I had concentrated my greatest effort and hope. It was a
tremendous undertaking, but we had used our brains and had not
spared our muscles. / sounded the note. It zcas as if God had spoken
and the zchole chorus of angels zcere shouting HosannaH"

RALPH RAMSEY.

In all that is dainty and lovable he finds hints for his own com-
binations, and thus is Nature ever his resource and always at his service,
and to him is naught refused. — Whistler's Ten O'clock Lecture.

Ralph Ramsey was born in Leddlesfell, England, Jan. 22, 1824.
He studied the art of carving in Newcastle-on-Tyne and came to
Utah in the first handcart companv, arriving in "The Valley" Sept.
30, 1856.

All the carving on the great Tabernacle organ, some carving in
the Salt Lake Theatre, the bee-hive and eagle, were his workmanship.
The design for the hall-tree for the President's Office was one of his
most pleasing efforts, and is reproduced on the opposite page. It is
now in the possession of the Daughters of the Utah Pioneers. His
favorite woods for carving were quaking aspen, red cedar and black
walnut. Perhaps his most charming piece of carving is the mantel
designed for Mrs. P. P. Jennings, which was first built in the Devereux
House but now stands in her present home.

Mr. Ramsey moved to Richfield in 1872. In 1880 he went to St.
Johns, Arizona, and to Old Mexico in 1885, returning to Arizona he
died in Snowflake 1905. In the long years of his life he pursued his
craft, leaving many beautiful examples of his hand carving wherever
he made his home.

Devotees and their Shrines.

RALPH RAMSEY. MANiiiL i <JR THE DEVEREUX HOUSE.

WILLIAM PAUL AND PRISCILLA P. JENNINGS.

William Paul, English architect and builder by profession, with
his daughter, Mrs. Priscilla Paul Jennings, designed the old time
palacious Jennings residence, the Devereux house. Paul also designed
the "Eagle Emporium" on the southwest corner of First South and
Main.

Mrs. P. P. Jennings inherited a love for architecture and has made
it a study just as other women study music and literature. She has
had a great deal to do with the designing and building of four beau-
tiful homes — a work most suitable to women.

The Devereux house still stands. Its gardens were wonderfully
kept and the lawn was a renowned piece of turf. Both hard and soft
woods were used in the interior finishing, the designing and carving of
.which was done by Ralph Ramsey. The hall banister and the newel-
post, the latter a masterpiece of many and perfect joints, are of b^ack
walnut made from wagon beds in which goods were freighted from

A Handbook of Utah Art.

PAUL. DEVEREUX HOUSE.

the Missouri River. The dancing room floor is set in a fine pattern
of native scrub oak and mountain maple.

Mrs. Jennings says: *'If women understood their opportunities
they would interest themselves more in house building and home mak-
ing. You hear women professing love for home but doing nothing to
make home sweeter. If I had only three rooms to build, I would make
a more careful study than if I were designing a palace. For in the
little home I would have to get every convenience within the smallest
possible space without wasting one inch of room. And a small mis-
take in a small house would be more disastrous than a big mistake in
a mansion. The ''Devereux," as seen above, was remodeled from the
home of William C. Staines, an English gentleman gifted for landscape
gardening. He had filled the grounds with the first rare bulbs, shrubs,
and hedges imported here. The Staines' and Jennings' have always
been past masters of hospitality. This house is historic for having
been the scene of state and municipal functions in early days. Mr. and
Mrs. Staines took into this home the second territorial governor.
Gumming, the U. S. Commissioners acting for Johnston's army, and
Colonel Thomas L. Kane. The Jennings entertained President and
Mrs. Grant. Mrs. Frank Leslie. Jay Gould, General Sherman, Lord and
Lady Franklin, the Colfax Darty, Secretary of State Seward, the Jap-
anese embassy, Tom Thumb, Lily Langtry, and Sidney Dillon.

36 Dei otccs and tJicir Shrines.

ALFRED LAMBOURNE.

..^ji^ '.'. -;^-i*>««it*Lii??* ;

He who is gifted will find some means of self expression. En-
vironment has so much to do with the choice of vocation that often
the artist does not choose the vehicle that is best suited to convey what
is in his heart. None among our artists is gifted with a richer artistic
temperament than is found in Alfred Lambourne. He first turned
to paint and brush and became one of our most prominent painters.
It took him many years, (although he now and then burst momentarily
into the light), to discover that the adequate means to his soul ex-
pression was the pen. So we find him throwing aside the brush and
entering the field of letters with **The Old Journey," "Pines and Sea-
weed," followed by "Plet," "Holly and Easter Lilies," "Pioneer
Trail," "Metta," and "The Rose."

This artist poet, maker of beautiful books, appears elsewhere in
these pages as subjett of sculptures by M. M. Young. Lambourne is
a pioneer. He has sketched in all the mountain states and has made
intimate acquaintance with the life and formation of their mountains.
He lived a recluse on Gunnison island and recorded his experiences
and thoughts in "Pictures of an Inland Sea." His pictures, poems,
sketches and stories are illustrative of the Western life. His art life
is not a thing apart from his literary work but naturally led him into
the literary field. The subjects that appealed to him were too colossal
for paint and brush but admirably fitted for poesy.

•

I^^P^T

v/V

^ '^" 4

LAMECURXr. ClIPISTMAS EVE IN THE WASATCH.

JOHN HAFEX. DRAWN BY WILL VAWll-R.

AT MY EASEL.

Hush'd be commercial noise,

One moment's peace, O Muse,

That I in ecstasy of thought

May turn me from swift currents frau^^hl

With greed for gain

E'en to the depths of mine own soul ;

A Handbook of Utah Art. 39

For there emotions stir and all aglow
New life leaps through my sluggish veins
(Once poisoned and slow.)
Vanished the thickening film of doubt,
A new strange light veils all without.
My brushes call.
Beauty invokes the mystical:
I seize the canvas, paint
Poor things inanimate
To make them live.

Feelings my senses on my soul hath wrought
Must never wholly be forgot.
Why? not that my good neighbors round —
Self-styled "Connoisseurs of Art,"
May twit me on what they call faults :
"Strange that she will not be advised
To paint her picture in another w^ay.
That we might pleased be and understand ;"
But so in richer years to come
When my poor lips have long been dumb.
My canvas then shall speak.
And I may vault among the understood —
The not despised.
Sweet Angel that aye guards me,
Help me to look for God
In the dull sod
Which I, with loving hand,
Transform to flowering green.
Not in the sky
To no avail look I —

My witness be the Earth ! z

Thy handiwork!
To see, to know each flower.
Each blade of grass,
xA.nd its aflinity to me
And in its fitness Thy Divinity!
To tell it as I see it,
Not as does my neighbor ,
Spare me but that, O God !
Not mine to follow paths.
To ape the common lot.
To lend for gain, to hoard and spend,
To eat and drink and merry be,

40 Devotees and their Shrines.

To dress me as Dame Fashion shall decree;
Never to see the stars,
Save when Night's cloak dark falls!
Never to dream the stars !
' (More caged far, than they,
Shut in by steeled bars) —
Never to feel the pulses swell,
Vibrant with the lark's glad call ;
The desert ne'er to know or understand ;
But from a sense of patient duty
There to exist in deep humility,
And only ugliness behold
Where is entrancing beauty !
Quicken my touch.
Attune mine ears,
Unveil mine eyes
To this my Universe.
For it is mine,
Thou didst give it unto me !
Yea ! 'tis mine own heaven !
Not Thine intent
That it to me should be a curse.
O, Earth I love thee! Mine.
The mesquite of the mesas gray
Not subtler than the town's gray-day.;
The willow bursting Winter's bands
Not dearer than thy burning sands.
Where endless deserts push the mountains back
And all the restful purple shadows lack ;
(Changeless they glaring stare
From morn till noon,
From noon until the night
Brings Peace from out the West,
With all her pageantry of color
Conquering the Earth.)
Yea, each lone way I turn —
(And many ways are lone,)
A sweeter meaning in the scene I learn :
Some hidden truth I feel with fervor burn
Into my heart, my soul ! Intelligence !
Intelligence, God's glory!
Glory be to Thee
For Thine the gifted he!

A Handbook of Utah Art.

HAFEN. HOME IN SPRINGVILLE.

JOHN HAFEN.

Where the Artist is, there Art appears, and remains with him —
loving and fruitful — turning never aside in moments of hope deferred
— of insult — and of ribald misunderstanding; and when he dies she
sadly takes her flight ; though loitering yet in the land, from fond asso-
ciation, but refusing to be consoled. With the man, then, and not with
the multitude, are her intimacies; and in the book of her life the names
inscribed are few — scant, indeed, the list of those who have helped to
write her story of love and beauty. — Whistler's ''Teti O'Clock."

In the quaint town of Scherzingen, on the slope of the beautiful
Lake Constance, in daily view of the wonderful Alps, John Hafen, the
landscapist of Utah, was born. At the age of four years he had begun
sketching. A friend of the Hafen family — Mr. John Huber of Mid-
way, Wasatch County — states that before the boy John had reached
his fifth year he made a drawing of a neighbor driving his horses and
wagon. This picture was so good that one could easily recognize for
whom it was meant.

The bov artist utilized the first art material that came in his

42 Devotees and their Shrines.

homely life. With the bits of charcoal that fell upon the hearth he
drew pictures on the margins of old newspapers. His first real sor-
rows were because he lacked material for self expression. He never
ceased expressing himself with pencil or clay all during childhood and
youth, and at the age of eight years he had fully determined upon his
life's career — he was going to be an artist.

John Hafen says, "I discovered my gift by persistent response to
a strong tendency to make pictures." Mr. Hafen's success results
from two qualities : talent and bulldog tenacity. He is kind and gentle
as a child and filled with humility but when he sets his face to the
accomplishment of a purpose he cannot be shaken off.

At the age of nine, the lad heard the sermon of President Brigham
Young on the "Word of Wisdom." Like most Europeans, he was a
drinker of coffee, but the sermon made a deep impression on him, and
he has abided by that law. He therefore lives a simple life, eats no
meat, drinks no coffee, tea, liquors, nor other stimulating drinks, and
has never used tobacco in any form.

He is known as a man of integrity and high mindedness. But
only a marvelous degree of devotion to the talents with which God
hath endowed him and his self sacrifice have made possible his present
attainments in art.

Mr. Hafen holds a unique place among the artists of Utah. None
can be compared to him in his undivided purpose of life. His deter-
mination to express himself with paint and brush are unchanged and
persistent. An earthquake would not stop him; hunger might gnaw
at his ribs, he would remain oblivious except to the scene before him.

John Hafen has laid all upon the altar of sacrifice for art's sake.
His wife has shared the same spirit of devotion. In the face of pov-
erty and misfortune nothing seemed so dark as the thought that her
husband might be forced to throw aside his talents and take up another
course in life. This attitude of his wife and family strengthened, com-
forted and helped to sustain him. What he has accomplished shows
the worthiness of fidelity. His joys are those of the gifted who at last
makes himself understood. Such is adequate recompense for the life
of sacrifice that attends all real greatness.

Though Hafen's beginnings were humble, though others have
commenced the ascent of the roadway of fame with seemingly larger
assets, though he has groped on a lonely way, though obstacles were
continuously thrust upon him, though poverty has struggled to defeat
him, yet he has believed in his gift. He has never loosed the grip of
his stubborn hold, for at each crisis the consciousness of his soul's
inspiration has overpowered outward destructive agents; therefore he

^^H

iji

,^^ 1

'^H>

•i

^^^^^^^Bf

KS:« iT

^' '

.M^WMi

m- . ^

if*

iii^^

■^ ;' ./'in

^ >

■Hiiil^.. ^^a^^ .; .

.:' J,

f ! ^^m^,^ 1

^'' JIB

^.,

HiP<» "^s^H

•

/wtt

HhinM^v\ ^^1^1

4^ -^-^

^^^^^^^HRi . ral^l

.^^^ai:.

la^^^^^H

^^H

^■¥'' ^1

Ifi fl

Hi fl

44 Devotees and their Shrines.

has won the battles, and therefore as a landscapist he has, as the French
would say, arrived.

Hafen's landscapes have been hung in exhibitions of the Society
of American Artists of Paris, in Boston; in the Art Institute of Chi-
cago ; at the annual exhibition of Contemporary American Artists and
at the annual exhibition of Artists of Chicago and vicinity; in annual
exhibition of the Fine Arts, Philadelphia, the St. Louis Art Museum
Midwinter Exhibition, and exhibitions of Indiana Artists, and, by
special jnvitation, in the John Herron Art Institute.

Mr, M. M. Young has painted a portrait of John Hafen which
is in the Springfield (111.) Art Gallery. A portrait of him by Charles
L. A. Smith of Chicago hangs in the building of Marshall Field and
Company, Chicago. Mr. Will Vawter, a prized friend of Hafen,
illustrator for James Whitcomb Riley, made a pencil sketch for this
article.

Hafen received the Medal of Honor of the Utah Art Institute,
the Three Hundred Dollar prize and first prize for best landscape in
1908 Illinois state fair. This contest was open to the entire country.

John Hafen, more than any of our other artists, has been his own
teacher. However, he has spent several years of time in Paris and art
centers of America, but he has grown from within out. What he
pictures on his canvas is soul expression and with very little outside
help he has worked out his apprenticeship to art. Yet none is more
appreciative of the work of his brother artists. His face lights up
with inspiration before a good picture and before anything of beauty.
This inspiration has been a constant source of light. Hafen would
never let any obstacle entirely darken the way. With what light he
had he looked and painted and looked again, grasping a little more
truth each time; thus, gaining new strength by repeated effort, he
developed power to clear his path and to give himself a freer light.
The years, slipping by, found his good light burning brighter, his
vision becoming clearer, and he was learning to use his tools with the
touch of love. So John Hafen has never stopped painting until he has
painted himself out of all his troubles.

Even if he has been forced to lift himself by his shoe strings,
he has pulled himself up to the front rank. We know he has gone too
far on the toilsome road to turn back; he can only pursue his high
course. And as the years go by he will reach the higher mile stones,
one by one. He must not slacken his pace. Each new achievement
will cost the same effort, the same devotion and the same spirit of
self sacrifice and humility as his past honors have brought him. And
he may, at last, reach the high star which is his beacon light. We are

A Handbook of Utah Art.

assured that he will never stop pushing onward and upward until the
Master stays his hand to set him to work in a Loftier Sphere of Art.
Just as the literary story has no charm for this artist, so also
subject is unimportant. But soul, feeling, sweetness of spirit, tender-
ness, and simplicity are there. Some would-be-artists,paint the fields
in just the same manner as indoor subjects. Not so Hafen. He has
a sense for light and air, the feeling of "out of doors." Have you
seen the woodeny trees of the novice? Then look at Hafen's tree
quality. His trees, as Corot's, seem to be growing. They lead you
to think that the birds could fly in and out among the branches.

On tdCh canvas Hafen reveals some delicate beauty, some charm
that was hidden until his loving brush brought it out. That is why
you ought to have at least one Hafen picture in your home.

To this artist nature opens her heart and tells her feelings, which
he pictures for our joy. What he tells, words are inadequate to ex-
press. Where he begins, Literature is dumb.*

*This article appeared in January, 1910, of the "Young Woman's Journal."
John Hafen died in Brown Co., Indiana, a few months later. Death overcame
him almost without warning, robbing us of Utah's greatest Artist. Hafen was
a charming conversationalist and when you read his wonderful letter, which
follows, and which I received a short time before his death, let his beautiful
personality light up each treasured word.

46 Devotees and their Shrines.

JOHN HAFEN's letter.

"An answer to your favor of August 23 has been put off longer
than I wished, but as all my time is occupied with my professional
labors during this out-of-door season's work, I could not well avoid
the delay.

"Our ancestors are not traceable further back than great-grand-
father, on account of the Reformation. As far back as that no one
gifted especially as artist or poet was connected with them. But my
mother had an unusual fondness for pictures and displayed more than
ordinary taste in the arrangement and decoration of home. No matter
whether we lived in a 'dugout' or a dirt-roofed log cabin, she always
had some wood cuts or engravings upon the unplastered walls. From
her I received encouragement in my childish efforts at picture making.
When I was eleven years old mother showed a bundle of my drawings
to a friend from the country and he gave me one dollar and a half, to
pay for colors and drawing paper, the first real drawing paper and
water colors I ever owned.

"I was employed mostly at gardening. I also learned the trunk
business at Z. C. M. I. In spare time I would always draw pictures.
I had my mind made up to become a painter from my early childhood.
I left Switzerland, my native country, in February, 1862, at the age
of five years. My childhood was spent amid the scenes and hardships
of pioneer life in Utah. Two years were spent at Payson and as long
a time at Richfield. From the latter place we were driven by the
Indians and settled in Tooele until 1868, when we moved to Salt Lake
City. I had no teachers until I went to France to study in 1890. Mr.
Arthur F. Mitchell introduced me to the use of oil colors. He was
well known to all the old painters. To him I am indebted for my first
introduction to art life.

"I decided to go to Paris because that school had the greatest
reputation of any in the world at that time. Mr. Daniel Weggeland
was chiefly responsible for my going abroad to study. James T. Har-
wood and Will Clawson also encouraged the idea, as they both had
been there to study. I have no particular choice of subject. I just
drifted into the landscape for want of models and means to pay for
them. I believe that my main sympathy is with landscape. I believe,
however, that an artist should be as broad as possible in the choice of
subjects, to avoid narrowness, which concentration has a general ten-
dency to brine about. I am happv in being able to say that I can sin-
cerely appreciate a wide range of artistic accomplishments in varied
p^ethods and theories. When I hear men sav. T have no use for such
and sucli style of art.' I pity them for being deprived of so much en-

A Handbook of Utah Art, 47

joyment in life. Taking it for granted that there is talent and train-
ing, / can enjoy any effort so long as it is backed by sincerity and con-
viction; especially if that effort is fraught idth independence. How-
ever, my synipathies, because perhaps of my temperament, are with
such artists as George Innes, Corot, Millet, Rembrandt. As to nation-
alities I have positively no distinction or choice.

"You ask me how I feel when my brother artists are successful.
I rejoice, of course. How could I do otherwise? I not only rejoice
with them but I feel encouraged because some one worthy has won his
just reward. It indicates to me that the Zi'orld is not blind to true
worth, though sometimes it is slow to find it.

"I paint in the east for two reasons ; first, I am not supported in
my home state, and, second, I don't believe in hiding one's talent under
a bushel. I am fondest of painting whatever appeals to me from an
artistic standpoint.

''As I grow older in experience and as I come in contact with the
artists of the world and their works, I begin to realize what reliance
and faith in God have done for me. I observe that artists are as diver-
sified in their opinions and as much at sea as to what constitutes good
art as the world is divided on the subject of religion.

"There is error amongst artists great and small, but much less
in great men. So far as I have become acquainted with men through
their writings, I believe Augustus St. Gaudens, the American sculptor,
to be the cleanest and purest in art sense and temperament of all mod-
ern American artists. I have detected no error in his ideas. He
seemed to me as a man inspired zvhile he lived. Such a sweeping ex-
pression or verdict on the artists of the day may seem presumptuous.
But I do not assume to know this by my own wisdom or power. T
ascribe it to the same source that w^e ascribe a knowledge of Gospel
truth ; for the Spirit of the Lord will lead us into all truth. In faith-
fully and diligently discharging my duties and strictly observing the
Word of Wisdom, I have a right to guidance and ability to recognize
Truth from Error.

"I would say to my friends that by this stand you may wait and
watch a long time in the world of art. Being at variance zvith the
conventional ideas of the day on art, and ignoring the various fads that
pass over the horizon of time, I cannot expect to be 'in the szvim,' as
the saying is. For to listen to and follozv the ideas of the day zvould
be to ignore inspiration, and I cannot afford to do that. I would rather
trust to steadv development on the lines of my conviction and patiently
aw^ait recognition by some hieh and influential intelligence, for I have
bv no means lost confidence in the existence of high, dignified and
trulv artistic intelhVence in the present day.

HAFEN. QUAKING ASPENS.

A Handbook of Utah Art. 49

'*I enjoy the respect and friendship of all my professional brethren
so far as I have met them. I have not yet reached my goal. I mean
eventually to get to New York and Boston and lose myself for a time
in the twenty-five thousand artists congregated there.

"In conclusion I will explain briefly my views and feelings. I
divide the art profession into two classes at all times in history. In
one class are the painters, in the other division are artists. There are
very great men on either side. On the side of painters I might class
John Sargent, Zorn and most modern impressionists. On the side of
artists Rembrandt, Whistler, and John W. Alexander. I might class
Velasquez at the head of the former class. He is very deserving of
that position but he is so great in an artistic sense that it is somewhat
difficult to decide on which side to place him, although one invariably
has to admire and rave over the excellence of his rendering or exe-
cution.

''I believe the tendency of the present age is strongly inclined to
the painting side of art, and troubled seriously zvith comrnercialism.
In fact commercialism is the cause of the present day art lean-
ing to the painting side. Art is a tender, sensitive plant, re-
quiring to be carefully nursed and kept clean of obnoxious
weeds. It passes the eye to the heart and stirs the emotions,
while painting only delights the eye. The two cannot be com-
bined in a painting and be pure art — I don't say good art. I
wish to emphasize the word 'pure' in this relation. The art of paint-
ing and sculpture reaches human understanding through the eyes;
music through the ears ; literature through language to the mind. The
eye cannot entertain itself zvith tzvo things at once; much less can it
stir the heart zvhen the 'hozv it is done' is loudly present. This phase
of the subject needs much elaboration but time in this writing compels
me to confine myself to statement only. On this point I am fighting
almost alone in the world. My work is continually being respectfully
and very considerately criticised as just failing or lacking in this, that
and the other things that go to making up a painting according to
orthodox ideas prevailing in the art world. And those things are the
very ones I continually and purposely destroy. I cannot comply with
the critics because my convictions are opposed to them upon this point
in question.

"What makes this subject more perplexing is that the lack of
knowledge is not responsible for erroneous ideas in the world, but the
inability to comprehend. Men and women who are full of knowledge
on matters pertaining to art cannot comprehend the most vital meaning
in a great work of art. In other words, they are ever learning and
never coming to a knowledge of the truth. "John Hafen.''

Winners
of

Honors
Abroad.

OLD :jtll. liberty park.

Paris Salon.

JAMES T. HARWOOD.

Fate was kind to Utah's strenuous painter, James T. Harwood.
He early entered the art life for his contact with society in the grade
A, B, C, furnished him with the right medium for* self expression in
the form of an old-fashioned slate and pencil. Harwood's powers of
picture-making on that ancient slate are recalled by his old school-
mates.

Harwood's parents took leading parts in the dramatic efforts of
the neighborhood and his grandfather was the town wit and poet. Of
the Harwood boys James turned to paint and brush, Don Valentine to
literature, and Fred to music; all three brothers possessed creative
power.

Lehi is well suited to the life of an observing child. The lake,
the mountain, and the field are stored with riches. To young James
the habits of living things — bird, insect, water fowl, and fish were
known. The willows that feathered the creek, the flowers and weeds,
opened their secrets to him. The distant mountains and the low hills,
the lake, the mountain streams, the orchard, and the grain patches, the
truck garden, and the meadows — all were sources of inspiration. So
among Lehi haunts James T. Harwood found inspiration for a multi-
tude of pictures.

Devotees and their Shrines.

HARWOOD.

A MIDNIGHT -ADVENTURE.
Paris Salon.

Brought Up to a life of usefulness, trained in early youth to a
trade, and living in an atmosphere of thrift and sobriety, our young
artist grew thoughtful and industrious. His first art work was under
Weggeland and Lambourne. Then he struck out for California. At
that time the Academy of Design at San Francisco was one of the
finest art schools in America. Virgil Williams had studied eight years
in Rome. He had a great influence on his pupils, firing them with a
determination to win honors. Throwing his whole soul into the work

A Handbook of Utah Art.

HARWOOD. BOY CARPENTERS.
Paris Salon,

at school, Harwood won all the honors to be gained there before he
set his face homeward.

A studio which he opened in Salt Lake City brought him pupils
and money. Hitching his wagon to a star he decided upon an art
career, which he has since religiously followed. He was the first of
the native sons of Utah to seek inspiration at the fountain-head and
plant his foot in the environment of art — the city of Paris. The year
1889 found him at the "Julian." Dallin followed two weeks later and
Evans, Hafen, Fairbanks, Pratt, and Clawson joined them two years
later, making a most interesting group of Utah art students.

This Utah pioneer to Paris soon was admitted to the Beaux Arts,
the art school of the French government. He was the first Utahn to
be accepted with a picture at the Salon. It was the "Preparation for
Dinner." He had married in Paris and returning home, opened a
studio, teaching art as in the French schools. And in Harwood's
studio, then, began the careers of several groups of our Utah artists
who have won honors in their chosen calling.

Herman Haag showed such surprising feeling for composition
that Harwood persuaded the youth's brothers to give him a chance.

54 Devotees and their Shrines.

Haag's "J^hn the Baptist presents Christ to the Multitude" hangs in
the "Julian," Paris. Haag died before reaching his majority.

Rose Hartwell and Mary Teasdel were the first Utah women to
go abroad for art study, and they are today among our best artists.

Lee Greene Richards, M. M. Young, and A. B. Wright were born
and reared upon the same block, attended classes under Harwood, were
at Paris together and won unusual honors abroad. I saw their work
well placed in the French Salon and in the St. Louis Exposition.

Louise Richards, now Mrs. P. T. Farnsworth, Jr., was successful
in being selected for the Salon, and Myra Sawyer, Lu Deen Christensen
and Lara Rawlins followed the charmed art life in Paris. Lu Deen
Christensen is supervisor of art in San Diego, California.

While Mr. Harwood will be remembered as a painter he will never
be forgotten as a teacher. He is art instructor in the Salt Lake High
School. The art course there is optional, so that none enter that
branch of work except for love of it.

Nineteen hundred and three found the Harwoods back in Paris.
That and nearly all successive years have found him exhibiting with
oil or water colors at the Salon. He is not tied to one medium but
turns readily to oil, water color, pencil, pen, and charcoal. Thus
is he able to refresh himself by change of tool. Figure, landscape, still
life, portrait, all have charms for him.

He loves many moods of nature: morning, evening, moonlight,
wet weather, snow scenes, cloudy days, the four seasons, he often
pictures.

Lake pictures he paints in various effects and with different
mediums. These are especially charming. The truck garden, still
life, fruit, and flowers, offer opportunities to this versatile painter — no
one can overtake him in this field — he paints them in perfection to
perfection.

You may find a group of "old masters" in his studio, which he
copied in Paris and which are valued at several thousand dollars.
These are refreshing to those who have seen the originals in the Louvre
and Luxembourg galleries.

Perhaps his most novel collection is his group of pictures which
portray youthful activities, such as "The Boy Mechanic" and similar
themes. "The Boy Carpenters" was sent to the exhibition of the
Society of Western Artists and brought him the great honor of being
elected an associate member of that society. Harwood has sold
pictures to various art collectors in America, among them being Wan-
amaker. Mr. Harwood's most noteworthy work is a collection of
twenty-five water colors, painted within one year's time. These were
all in and about Liberty park and represent the advance of the seasons.

A Handbook of Utah Art.

"The Old Mill" was shown in the Salon. All the artists agree
that in this collection Harwood has best realized his powers. Lam-
bourne selected a verse, or composed a stanza, to suit the theme of
each picture. The artist refuses to sell one from this collection, which
he recognizes as his most representative work.

Physically, this painter is a magnificent type of manhood, strength
and endurance. He has lived a life of temperance, never having used
alcoholic drinks nor tobacco. He has figured out how to utilize every
waking moment of time in work, and study and play. I have given
some idea of what is his study and work; his play consists in keeping
a small farm, a truck garden, and an orchard, and much reading of
fiction (which occupies his evening hours).

Mr. Harwood is versatile, conscientious and truthful, full of
integrity, and noble in his conduct of life. Those qualities show in his
work. An artist cannot get away from what he is. His work will
tell the tale. The degree of sympathy, and tenderness of the painter
somehow gets into the paint.

Mr. Harwood has nothing to learn from others ; he has spent many
years in mastering his tools and he has mastered them. He is entering
the best era of his art career. Nothing need come between him and
his soul expression. In the ripeness of life and art what may not
James T. Harwood undertake to its marvelous accomplishment?

HARWOOD. RUTH HARWOOD.
Autumn Salon.

Devotees and their Shrines. '

MARY TEASDEL.

"Of pictures, I should like to own
Titian's and Raphael's, three or four,

I love so much their style and tone, —
One Turner and no more, —

(A landscape, — foreground golden dirt, —

The sunshine painted with a squirt)."

— Oliver Wendell Holmes.

Mary Teasdel began right by being richly endowed with talents
for art. Fortunately, too, she had other gifts or she might never have
made a place for herself among the few who occupy front rank in
Utah art.

From both father and mother she inherited aesthetic tendencies
and uncommon intellectual power. These innate possibilities were
strongly reinforced by a natural aptitude to apply knowledge and power
to practical purposes, creating for this artist a fund of initiative that
some men might envy.

Not only is she resourceful in herself, but she is also versatile in
art. and handles oil, water color, and pastel for portrait, figure, flowers,
and landscape. This artist has a distinct leaning toward decorative
art. She has a great interest in architecture, and her work in over-
seeing the planning, building, and finishing of several houses shows-
that she would also have been a successful architect.

58 Devotees and their Shrines.

Miss Teasdel's greatest quality is a subtle feeling for composition
in which none of the other artists overtakes her. She has a refined
sense for tone, a sensitive individuality, and a tender spiritual under-
standing of harmony. These gifts are a predilection of other art
accomplishments, but it is the constant spring of perseverance that
vivifies and keeps alive this woman's giftSj and that is making for her
all things possible.

The art life calls for certain great sacrifices. The wise know that
great sacrifice sets free the loftiest thoughts and feelings, that are shut
up in man's mortal existence.

In the pursuit of art education the difficulties are doubled for
women, but even other sacrifices were required from the hands of
Mary Teasdel.

Her father was a well-to-do merchant, who supplied his family
with a beautiful home and gave them unusual opportunities for culture
in education and travel. Mary was precocious, and while still very
young had graduated at the state university.

She was also trained in the accomplishments, in music, both in-
strumental and vocal, and in drawing and painting. In the latter
subjects her greatest joy was found and very soon she had come to a
decision that she would be a real artist, and therefore would go abroad
■ and study art from the foundation, and Mr. Teasdel reposed full confi-
dence in his own powers to provide for his gifted daughter.

He was proud of her talents, but he did not believe in professions
for women. In his opinion girls should be supported by their fathers
and he saw no reason why a woman should desire to be independent
in financial matters, when she had a parent or brothers who would
gladly furnish her means.

It was a thriftly home in which Mary grew up. Her mother
taught the children how to work. Her father supplied her with a
liberal allowance for pin money, and, looking forward to a day when
she might undertake her life's work, she began religiously to save what
she might have spent for pleasure.

Mr. Teasdel, big hearted and generous, now and then forgave
large debts of his friends who were, or made the claim of being, finan-
cially close pressed. Possibly, unscrupulous men took advantage of
his generosity. The fact remains that thousands of dollars were in
this way turned from his store till. Perhaps his mercantile business
might have survived these sacrifices, but a lare^e railroad contractor
whom he was carrying, failed. The crash could not now be averted
and Mr. Teasdel found himself financially ruined. He gave up all that
he possessed to his creditors, for he was only barely able to meet his
obligations.

A Handbook of Utah Art.

Misfortune never conies single handed. Within the space of a
few months, Mar}^ had to bear the loss of two grown brothers and an
only sister who had been her boon companion and was now snatched
away in her young motherhood. One of the brothers, Henry, left his
savings to his sister Mary, and this sum added to her own savings,
which she had kept in the Zion's Benefit Building Society, was enough,
with very careful management, to keep her three years in Paris.

It was a hard time to set out to face the world alone, for she must

60 Devotees and their Shrines.

leave her parents and an only brother at a time when they most needed
her, for they were crushed and desolate.

Mary had a true friend, Cora Hooper, now Mrs. Ernest Eldredge,
with whom she went to New York and spent a winter in the art studios
there. Here she found that American artists were quite as efficient in
their instruction in art as her foreign teachers were, under whom she
afterward worked in Paris.

The French studios were far better in other respects — the students
abroad were much stronger, and the galleries there far surpassed those
of America.

With another good friend, May Jennings Farlow, Mary Teasdel
went abroad and remained three years.

PARIS STUDIOS.

Have you a rosy picture of student life in Paris and of the art
studios there? The studios are dirty, and barren. No furniture em-
bellishes them. There are plain bare stools from six inches to three
feet high and a platform for the model — that is all.

The studios for women are a counterpart of those for men, but
for women the tuition is double. The proprietors claim that the extra
money is for keeping women's studios cleaner, but the fact remains they
are just as dirty.

There are three periods of study : morning, afternoon, and evening.
A serious student could not get along with only one period. Miss
Teasdel took four hours in the morning and three hours — from seven
to ten — in the evening. Usually there are two criticisms a week from
the teacher. Pupils select positions around the model or cast and try
to finish that drawing or painting during the week, for next week
there will be a new model or a new pose. When the teacher comes to
gives his verdict, it is the custom for all to rise and listen with bated
breath to the words that fall from this wonderful person. It is purely
a one-sided affair for the student has nothing to say. All that he is
or knows is drawn or painted on his canvas or paper. To be so pre-
sumptuous as to say ''The model moved" or "The light was duller yes-
terday." would bring the student in disgrace. The following story
illustrates the situation:

Benjamin Constant, the eminent artist, was giving a criticism to a
young English student who had just crossed the Channel. He told
her many corrections to make in her drawing. She replied, "That is
ensv to say but hard to cfo." The astonished Constant left the room
and no more criticisms were given that day. Word was left that until

A Handbook of Utah Art. 61

that young woman left the class no further criticism would be given by
Benjamin Constant. The matter was finally patched up by the young
lady asking pardon and promising thereafter to be good.

Miss Teasdel at one time studied under Jules Simon, who is one
of the greatest living artists. It was necessary to make application
three months in advance to get a place in this class, which had limited
numbers. Here were always strong painters. Among them were
women who were associate members of the "Champs de Mars," and
in this class the girls had to dig to make a fair showing.

When Mr. Whistler came from England to Paris (of course we
are always proud to say in parenthesis that Whistler was an American)
he introduced an innovation in studio life. A quaint old house was
obtained; the walls were tinted, and harmonious draperies and fur-
nishings were plac^'to make an artistic effect. But not less remark-
able, the place wasSept scrupulously clean. Miss Teasdel became a
pupil there and enj^^d it all fully.

Whistler hims^f was always dressed immaculately and always
gave his criticisms with his black kid gloves on, and everyone was ex-
tremely particular that no spot of paint should mar his perfection.
Unlike other teachers, however, he would often paint on a student's
canvas to illustrate his point of criticism. His pupils had to paint with
the set of colors that he used when painting. He had an original idea
— he started the pupils right out on color, claiming that it is as easy to
draw and model with paint and brush as with black and white. He
said sculptors were better brought up than painters because they were
given immediately the medium they expected to use. His criticisms
were telling. Once he rubbed his finger over a part of a drawing, and
said, "Why do you put that all in when you can come closer to nature
by leaving it out?"

A STUDIO OF ALL NATIONALITIES.

In these classes all nationalities meet. There are always Amer-
icans and Russians in large numbers. There are a few Swedish,
English, and Germant students and an occasional French girl — most
of the' latter seek the private studio of a friend, being very greatly
restricted socially.

There are girls and women from all avenues of life ; from the lady
who comes with an equipage and footman, to the poor girl whose hard
savings have brought her to the studio for a limited time. Yet it is
the most democratic place in the whole world. The nobility are those
who can draw and paint. Money, caste, education, and clothes, count
for naught. For these reasons Mary Teasdel, who was gifted and as

Devotees and their Shrines,

energetic as the best of them, was well treated by teachers and pupils
and much was always expected of her.

Of Miss Teasdel's summer sketch classes, perhaps the one in Nor-
mandy at a fortified old town was the most interesting to our artist.
The girls had rooms in a picturesque old farm house with a lovely
garden. From this charming spot they had to walk a mile and a half
to dinner, after which, they continued as far again. This brought
them to the river, which was visited for the charming evening effect.
During the three mile walk back to the farm house they studied twi-
light effects, which were exceptionally fine and which last there until
nine o'clock in the evening. The work for the day would be ample,
for two memory sketches must be made of the previous evening's study.
At least one "Twilight" and one "Evening" must be sketched in color.

Before leaving Paris, Miss Teasdel made good by being accepted
at the French Salon in a group of ivory miniatures. The next season
she had a portrait in oil accepted and the same summer two others of

MARY TEASDEL. STREET IN
NORMANDY.

A Handbook of Utah Art. 63

her ivory miniatures were placed in the International French Exposi-
tion. She was the second Utahn to have a picture hung in the Salon
and our only painter to exhibit at the International French Exposition.
Dallin was there with sculpture in both places.

Immediately upon her return home, Governor Wells appointed
Miss Teasdel on the governing board of the Utah Art Institute. She
was elected president of that body and labored diligently, perform-
ing her duties with dignity and credit. The year 1907 Miss Teasdel
spent with her mother in Holland and France.

In 1908 Miss Teasdel exhibited in the state fair, wining honors.
She took the main prize with an impressionistic scene of City Creek can-
yon in autumn. Of this picture Edwin Evans, our severest art critic,
said, "It is one of the good things that have been done in Utah." Mr.
Harwood (over whom Miss Teasdel took the prize) complimented
her on this same work, saying, "The awards were just, and I think
you show some great qualities in your work that none of the men have
as yet exhibited." At this same exhibition she took prizes for the best
landscape in water color and the best figure in the same medium.
The water color figure was especially praised by Evans. Among the
judges at this exhibition was a sculptor, Mr. Potter, a visiting artist
from the East. He also liked her work and this impersonal judgment,
coming from a stranger of very good repute as an artist and art critic,
was very complimentary to Miss Teasdel. At one time or another she
has won all of the main prizes in the Utah Art Institute. Often even
men are not given credit for excellence in the field of art. Women
painters are apt to be considered as only "females." It has been a
great shock to this simple class of the dear public to see a woman
given so many honors as Miss Teasdel has won both at home and in
art centers abroad.

As a water colorist Miss Teasdel is superior. She handles that
medium in a spontaneous, free way. Water color is a disappointment
when handled in the same manner as oil. It has peculiar beauties, and
while it is not as true a medium for values as oil, certain evanescent
qualities can better be secured by its use.

Miss Teasdel has never sacrificed her ideals for commercial pur-
posses. None has been truer to the intentions of art. There is noth-
ing photographic in her paint, for her own individuality is plainly evi-
dent. This leads the writer to believe that she has the necessary qual-
ities that will make herself a style of her own.

Style is the "Golden Fleece" with which the ambitious artist
would wrap his canvas. — Not that even a genius can construct a style
for his use, — rather he cannot get away from what he is, — individti-
ality is persistent.

64 Devotees and their Shrines.

THE GREAT TEST OF ART.

If you doubt the art quality of a picture, ask yourself, ''Could a
kodak do the work?" If a book carries no impression of the author's
individuality; if any one might write that way, the book fails to rise
^ into the field of literature. The lack of style is as fatal to a picture as
to a book. If the camera could do it, be satisfied by letting the
picture be an artistic photograph. The greatest art must have the es-
sential quality beauty. But a picture may have that quality and still
fall short as a work of art — it may be destitute of style.

Good art must at least be a translation, never a copy. Whistler
says, "If imitation were the greatest art, then the king of art would be
the photographer!" Certainly the public has a fondness for the photo-
graphic and yet they are not satisfied with the honest photograph, but
desire photographic paintings and then they insist that the work should
be classed with the fine arts, if you please !

But art is growing. The artists are more appreciated and many
people now are discarding bad pictures and placing good ones in their
homes and there are those who are interested in real art and who know
that art is selection and interpretation, but not imitation.

UTAH ART INSTITUTE.

The state institution for the encouragement of the fine arts, com-
prising, according to law, an annual art exhibition, a state collection, a
course of public lecures on art and an annual prize of $300 for the
best painting (to become a part of the Alice Art Collection) was
created by the Third Legislature. The Art Institute held its fifteenth
exhibition in Dec, 1913. At this time John H. Mozier of Logan
won the state prize. At the first exhibition, opened Monday evening,
December 4, 1899, Governor Heber M. Wells said, "This Institute
and this exhbition is the direct result of woman's enfranchisement in
Utah."

The author of this book accepted the nomination to the lower
house for the purpose of working for the Art interests of Utah and
was the author of the bill which became a law in 1899.

Utah was the first state to create an art department at state ex-
pense. The Art institute will do great good if it be not used by
ofificials for political advantages.

A Handbook of Utah Art. 65

ROSE HARTWELL.

Rose Hartvvell is known in local art circles as an excellent color-
ist. She paints with oils, both landscape and portrait. Her portraits
include both life-size and miniature. For the latter she has a passion
and she is very successful in that field. If no other line of art were
open to her than the miniature she would still be able to make a place
for herself. She pursues, however, other lines and in all of her work
her very excellent coloring is evident. None -of our other artists have
had the privilege of the extensive travel abroad that Rose Hartwell
has enjoyed. She has spent years in the art centers, and has been an
exhibitor in the Salon for years. Miss Hartwell is home again and
comes as a valuable member of our strong art circle in Utah.

Her debut in the Paris Salon, 1903, has been followed up by the
acceptance of her pictures at more recent exhibitions.

The Holmes gallery on South Temple and State, contains Miss
Hartwell's first Salon picture. This brought the artist one thousand
dollars. Our local painters agree that it is the best picture in Mr.
Holmes' collection.

In the Commercial Club of Salt Lake City is to be seen a large
canvas by this woman painter. A few prominent people in our
social art circles also own some of her water colors.

Besides being a painter she is a linguist and letter writer of no
mean order. Much might be written concerning her art work, but
to show the broad life and wide experience of art students abroad it
seems well to quote from letters written by Miss Hartwell while study-
ing art. This correspondence will be helpful to prospective art stu-
dents abroad. Before opening up this theme, however, w^e pause to
quote a remark her critic teacher, Castelucho, made : "Miss Hart-
well, you must be considered very wonderful in your native home,
for your coloring if for nothing else."

Of her childhood she wrote :

"From an artistic standpoint my childhood was not very interest-
ing, as nothing was farther from my mind than pictures and artists,
for I had never even heard of such things, and my only ideas on the
subject were gained from the illustrations in our school books, or
perhaps now and then I saw illustrated magazines or weekly papers.

"In school I used to try to draw people on my slate as most every
child does, but my efforts elicited the admiration of my playmates only,
and generally a reprimand from the teacher. Mr. Harwood was my
first teacher in art, and when I went to him I had never thought of
taking it up seriously. He started me in water color and drawing and

ROSE HARTWELL.

Holmes' Art Gallery.

A Handbook of Utah Art. 67

seemed pleased with my progress, so suggested my taking up oils,
which I did.

"If I have talent it was Harwood who first discovered it, and the
longer I study art the more grateful I am to him for his careful instruc-
tion. He and Mr. Will Clawson were my only teachers in America
and they both advised me to go to Paris."

Of the necessity for some art preparation at home, she says :
''It would have been a great advantage to me had I stayed a year
longer at home under Mr. Harwood's instruction, for one does not
find in these studios, teachers who are as painstaking. One saves a
great deal of time in Paris by coming here with a good foundation
in draziing and that can be had in the United States, as well, if not
better, than in any other country. With the exception of four months
of out-of-door work, I did not touch oils during the first six years that
I^ was in Europe, — and that is another thing I regret and which I
would not advise for pupils, for I lost entirely a certain facility of
technique which I had acquired with Mr. Harwood and which then
seemed quite natural."

HOW TO BEGIN.

"In beginning art study, one should be careful with the drawing,
but it is not necessary to draw always in black and white or with
crayons. One can be just as careful with the drawing, when working
in color ^ and even do broader, more interesting work, looking for
the larger planes of light and shade than with lines. I think it a good
plan to work a half day at drawing and the other half at painting.

"W^hen I left home I was quite unprepared for what was before
me, for my decision had been made so quickly that I had had no time
to get what knowledge I could from books. However, I thought if I
did as the little boy, whose mother told him not to speak and then peo-
ple would not find out that he was a fool, it would not be suspected how
little I knew.

"I had the advantage of crossing the ocean with a party of very
intelligent women from Chicago, mostly school teachers who had been
preparing for a trip through Great Britain, especially to visit the great
cathedral towns. This was most enjoyable and instructive for me.
I had only to remain silent, admire and listen to their conversation.

IN PARIS.

"I arrived in Paris with about a dozen' French words at my
command, but they never seemed to be just the words I needed, so I
gave them up and resorted to plain English, which was generally
better understood than poor French. The first thing to do was to look

68 Devotees and their Shrines.

up studios and a comfortable pension, and as the Julian schools had
been recommended, I went to one of them first. There I met a very
charming American student, who acted as interpreter for me, and who
afterward, went with me to find rooms or pension. She advised me
not to start work at a Julian studio as they were generally so crowded
in the winter that the critics could give very little time to each pupil.

''She then told me of the 'Vitti' school, of which I had also heard
before, and advised me to go there. It is in the Latin quarter and
near the American Girls' club, where I could get help and advice about
things I did not understand. I was very glad that I followed her ad-
vice and soon began to feel quite at home, for there seemed to be more
Americans and English in the 'quarter' and in the 'Vitti' than French.
There I met an English girl who afterward became a very dear friend
and with whom I spent the first six years of my European life. \\'e
took apartments, kept house together, and traveled together constantly.
The first two years I kept steadily at drawing from eight till five, only
taking off Saturday afternoons to visit the galleries. The study of
pictures, I soon discovered, was as much a part of my education as
my studio work. The Louvre was a constant source of instruction, for
I found as I became acquainted with the old masters and their works,
I was helped in my studio work and my studio work made me appre-
ciate them.

APPRECIATION OF ART.

"You ask what my appreciation of art means to me. It means
this ; that if I never do anything worthy of mention, myself, I should
never regret the study I have given art in order to appreciate the art
in others. My ideas and opinions about art have passed through many
stages and it was some time before I could appreciate the good and
respect the bad in the different collections. When I say respect the
had I mean just that, for one feels with the old masters, if their efforts
were not always successful they were honest in their attempt to portray
what they saw and felt. We do not see our ideal in any of them
and we never see it in our oziii work."

ITALY.

"At the end of two years study my friend and I went to Italy,
where we had eighteen months of the most delightful work, not art
alone, but the study of Italy, its history, art, antiquity, etc. We
traveled from north to south, even to Sicily, read Laucinni's books on
Ancient, Mediaeval, and Modern Rome, which are far better than
any lectures one can hear on the subject.

A Handbook of Utah Art. 69

**We visited all of the principal cities and some of the less im-
portant ones, finding them all interesting in different ways.

"Everybody hears and knows about the large cities, so I will
tell you about life in two of the small towns. The first was at San
Giminguano — a quaint old walled town in the Volterra mountains.
The wall was mostly destroyed and out of over fifty towers eleven
remain, all more or less in a state of decay. We spent four months
here and I did my first oil painting since leaving America.

''We had a furnished apartment and the good will of the town and
that is enough to make one happy in a small Italian town. The peas-
ants were devoted to us and ready to wait upon us for a few soldi,
but were quite happy if we only smiled on them. The hills around
the town were covered with olive trees and vineyards, which afforded
many motives for sketching, and the atmospheric effects were the
most wonderful I ever saw.

"We stayed late enough in the autumn to assist at the vintage and
I never had such a feast of grapes in my life. Our landlord owned a
good share of the land, and as soon as the grapes began to ripen he
kept us liberally supplied with .them, sending us every day a basket
full, with no charges except a few soldi to the bearer. When it was
time to begin to gather for the wine making, he sent his cart, drawn by
two beautiful white oxen, to take us out to the vineyards two or
three miles distant.

"We were allowed to climb the ladders, gather the grapes and
drop them in small wooden tubs where they were crushed by large
sticks; a woman stood by each tub to do this as the branches dropped.
These tubs, as soon as filled, were emptied into the tonus which re-
n.'ained on the cart, and as soon as this was filled (generally to over-
flowing), it was driven back to the town to the wine press, which was
in our house. There was a trail of grape juice along the route which
made one remark how improvident are the poor generally, especially
with that to which they are accustomed.

"We followed back after the last cart, the peasants keeping at a
respectful distance, except when we asked a question. Then the fore-
man would lift his hat and hasten to our side to give any information.

"We had learned Italian quite well, which made this sojourn much
pleasanter. I asked the landlord if we could go and see them make the
wine, and if the man washed his feet before 'treading the wine press.'

"He told me I should go and see. The man who was to do the
work, was standing in a lar^e bucket of cold water, his trousers rolled
up above his knees. Stepping out of the water he dried his feet and
legs as best he could on an old sack, then ran up a sort of ladder and
stepped into a huge vat, which was almost twice his height, and it

70 Dez'otees and their Shrines.

seemed certain that he would drown, for we could see the juice come
bubbling over the edge. We soon saw, though, that he was very ex-
pert, and knew how to keep on top of the pulp which had all risen to
the top, leaving only the juice at the bottom. The principal thing is
to see that every grape is thoroughly submerged by the juice at least
twice a day, and this is done by tramping over the pulp very quickly,
until all has been thoroughly soaked. We did not hesitate to finish a
demijohn of this same juice before the fermentation began.

"The whole thing is done just as Virgil describes it in his
*Georgics,' even to the planting of the vines and the white oxen and
the cart ; so you can see how primitive the whole country is.

"At Ana Capri we also took a little cottage and were treated right
royally by the people, each one trying to out-do the other. Our land-
lady, who looked more like an American squaw than a white person,
used to do our marketing for us, and here for the first few days, the
dialect was beyond us. For instance, she would come in the morning
and tell us she was going to Bazha Gabre, which we afterwards dis-
covered meant Bassa Capri, or Lower Capri, where those living at
the top had to go to get their provisions. The women of Ana Capri
(the young women), walk like queens and are very handsome, being
of Greek type, but on account of constantly carrying such loads as
heavy barrels, blocks of stone, etc., on their heads, and up steep hills,
before they are old they are bent and misshapen and not delightful to
look upon. We explored the island from the higher to the lowest point
with a Danish-Russian count as guide and companion. This man, who
was well educated, speaking many languages, and about forty-five
years old, had devoted his life to charitable purposes.

"He had bought an old convent and remodeled it and fitted it up
as a sort of retreat for broken-down ministers and their families. They
could go there free of charge, have good food and plenty of it, with
nothing to do but rest and get plenty of pure air and sunshine.

"He was also the village physician, giving his services and medi-
cine free. His father, who had been a Russian admiral, and had mar-
lied an English lady of nobility, was living in Naples and carrying on
the same kind of work there. It is only by going and living among
the people that one really knows the country, and while there may be a
large scope in the cities, it is nearly the same in them all.

"En route through Italy, we visited several towns we had missed
going down. Among others was Venice, which I was afraid to leave
for another visit to Italy. I can't make up my mind which is the
greater pleasure, to visit a city for the first time or to return to it a
second or third or even a fourth time.

"I met my niece as appointed, and three of us started for a trip

A Handbook of Utah Art. 71

through Belgium and Holland, and returned to Paris in the fall. This
time I took up art in the Julian school, but I found it about the same
standard as the 'Vitti.' In 1899 I sent up my first work — a miniature —
to the Salon and waited with fear and trembling. I had not told them
at home, for I thought if it were refused I would rather bear the disap-
pointment alone, and if it were accepted there would still be time for
rejoicing. But I lost no time in sending home the news of my success.
"After the first trial, it was never so exciting again, though I was
always glad when the notices came — all but once ; for out of five times
sending to the Saloii I have been four times admitted. That's not
bad, is it?"

MY IDEAL IN PICTURES.

"Whose pictures appeal most to me?" you ask. That is very diffi-
cult to say, for different pictures appeal to one from different stand-
points. For instance, Van Dyke's appeal to me for the spirit of refine-
ment as well as the coloring ; Franz Hals for his strength and decided
way of painting; Rubens, for his beautiful color; Velasquez and Rem-
brandt for their color technique, and so on. There is something in
all of them that must appeal to one."

MISS hartwell's travels.

"You wish to know what countries I have visited. It would almost
be easier to tell you what countries I have not visited. England, Ire-
land, Scotland, Wales, three times over; France, Holland, Belgium,
Switzerland, Italy, Norway, Germany, Austria, Egypt, Greece and
Turkey. To visit many of these I have returned a third or fourth time
and to some I intend to go again. In Paris and Florence I am more
at home than in Salt Lake City. To me, travel seems as necessary to
one's education as books, and it is through travel only that one gets
clear and concise, yes, and independent, ideas of a country. Paris is
the greatest educator of all the cities I have visited.

"One can follow in Paris any and every branch of learning he
wishes to pursue, and always have good, if not the best, instructors,
be it in music, art, science, literature, or the humble crafts and trades.
Paris is certainly 'the Art Center,' for among the students at Castel-
ucho's, last winter, I believe every nationality was represented. In the
class where I am working we have had, at one time, American, Eng-
lish, German, French, Austrian, Prussian, Italian, Spanish, Mexican,
Portuguese, Polish, Russian, Danish, Norwegian, Bohemian, Slav and
Turkish students.

Devotees and their Shrines.

RICHARDS.

JOSEPH AND HYRUM.

Alemorial Cottage.

LEE GREENE RICHARDS.

Lee Greene Richards was born with an exalted gift. From both
father and mother he inherits artistic tendencies. His mother, Louisa
L. Greene Richards, who is descended from the same Hne of ancestry
as was the gallant General Nathaniel Greene, is a poet.

The Richards family, too, spring from Revolutionary fathers.
For centuries they have shown a decided tendency toward intellectual
pursuits, such as medicine, letters, law, music, art and the ministry.

Lee Greene Richards is one of three generations of painters. His
father, Levi Willard Richards, a man of unusual intelligence, high
character and charming presence, confesses to this day a hunger for
the art life. Several of his youthful efforts in pencil and water color
are preserved. Conditions in early days held out no encouragement to
the art student, but this man's unsatisfied desire has in a measure been
gratified through the success of his son as a painter.

Sarah Griffith Richards, Lee's grandmother, who was also an
artist, recognized the boy's talent and taught him how to develop his
gift. They used the same box of water-colors, shared with equal priv-
ilege one set of brushes, and, side by side, made pictures. These early
efforts never descended to play ; painting came to be thinking — it was
correcting. Though Lee was precocious, he got no patting on the
back, no setting up as a hero from father nor from grandmother, but
instead, "That is a good effort, but tomorrow you must do better."

A Handbook of Utah Art.

RICHARDS.

BATHSHEBA W. SMITH.

Womans Building.

Sarah Griffiths and her cousin Grace had studied from a master in Eng-
land. Both had talent ; the latter painted with the same technical qual-
ities and spirit as the noted English painter John S. Cottman. Her
style is broad and simple, and it is possible she was a student of Cott-
man. The sketches and pictures of these women artists are charming
notes of color. They are owned by Mr. Richards.

EARLY INFLUENCES.

Through the influence of his grandmother, Lee came to look upon
the English eighteenth century school with Hogarth, Romney, Sir
Henry Raeburn, Reynolds and Gainsborough, as the great school of
painting. To these ideals he has added Rubens, Van Dyke, and Franz
Hals — the painters of red, healthy blood.

Lees' father had a congenial friend and neighbor, George M. Ot-
tinger, and many an enchanted hour the boy passed in that wonder-
place, Ottinger's studio.

When James T. Harwood returned from Europe, our youthful
painter came to him for study with a mature mind and a fund of

Devotees and their Shrines.

self- found information that surprised the older painters. Evans, Hafen,
Haag, all were interested in his art development. Mr. Richards now
says, "I got as much from Harwood as from any teacher that I had
afterwards in Paris. His sound academic training, such as the art
schools give, is good for any student, no matter what field of art he may
ultimately choose.

He filled a mission to England at the age of eighteen 3^ears, and
had opportunities to visit the galleries. At the close of his missionary
labors he visited Paris, and for a brief space of time became absorbed
in its various phases of beauty. But he was withheld from entering
upon the career that lay open before him. It takes money to live while
studying art; it takes a great deal of money to produce art. Raphael
and Michael Angela could not have become the inspiration of the cen-
turies that succeeded them zvithout adequate financial assistance. The
great Medici, the wealthy merchants, the Pope, and the Church, all
stood back of them. It was the vogue at that time for an artist with
gferat talent to be employed by a wealthy patron. Thus all anxiety for
maintenance was overcome, and the artist was permitted to spend his
whole energy upon the development of his talent. Thus the wonderful
masterpieces of the Italian Rennaissance were made posisble. How
vastly different were the opportunities of our painter, Lee Greene
Richards.

PORTRAITS BY LEE GREENE RICHARDS.

A Handbook of Utah Art

RICHARDS. PORTRAIT OF LEVI W. RICHARDS.

He stood in the heart of Paris, amidst the accumulation of cen-
turies of art. The power of genius stirred within him. He was rich
in hope, in aspiration, and in feehng, but he had no money. He was
alone. There was no brilliant Medici to back him, and he turned sor-
rowfully homeward. He must provide his own means for art study ; so,
finding employment in the State Bank of Utah, he worked and saved
for three years. Then he could wait no longer. With summer in his
heart and gratitude filling his whole being, he turned again to face the
world, this time seeking fame as a painter in that city of opportuni-
ties.

A year at the Julian was followed by a season at the Government
School, Eccoles de Beaux Arts, but at the beginning of the third year
he broke away from school, rented a private studio, and went his own
wav.

Devotees and their Shrines.

SUCCESS AT THE SALON.

While a student at the Beaux Arts, success crowned his efforts, for
his portrait of Dr. Heber John Richards (who was then living in
Paris), was accepted and well hung at the Societe des Artistes Francais.
This signal achievement gave no surprise to his many admirers at
home nor to friends in Paris.

RICHARDS. DR. HEBER JOHN RICHARDS. Paris Salon.

DREAMS.

When Lee's mother said "Artists can never hope for riches," the
boy replied, "No, but they can be happy." Byron says, "Dreams in
their development have breath." His hope and dream always was to
become a painter. He had other dreams. In sleep he has seen some
of his most successful pictures. He dreamed he saw his picture at the
Salon with a ticket showing that it had received a medal. The im-

A Handbook of Utah Art. 77

pression was so strong that Mr. Richards went to work and painted as
the dream had revealed the picture. It was accepted at the Salon and
missed the medal by one vote. However, Lee Greene Richards headed
the list for Honorable Mention. No other Utah painter has received so
great a distinction. At this same exhibition Mr. Richards also was ac-
cepted with a large water color landscape, and a portrait of his friend
Mr. Frederick W. Pope of Boston, a sculptor who, in the same Salon,
had a portrait bust of our artist, which is reproduced here. This was
an important advance in his career.

November, 1903, marked the organization, in Paris, of an art
society which conducts an annual exhibition known as the Salon d'
Automne. Exhibitors were allowed to send only three canvases. Mr.
Richards sent a portrait of his cousin, Blanche Richards, and two land-
scapes in oil. The portrait, a half-length figure, has most excellent tone
and color qualities. This portrait is now in Provo, in the possession
of Mrs. H. J. Richards. Ifis a picture that will live. The three pic-
tures were accepted, and for their excellence, Mr, Richards was elected
a full member of the Societe dii Salon d' Automne. He is the only
Utahn to receive similar honors abroad. By invitation, he exhibited in
the International Society of Painters, Sculptors and Etchers, in Lon-
don, Manchester, Bromley and Birmingham. Being invited, he also
sent pictures to Philadelphia and Chicago for some important exhibi-
tions. In June, 1904, Mr. Richards returned home, visiting the St.
Louis Exposition en route, where he saw his portrait of Mrs. H. J.
Richards well placed. This picture is one of his best efforts, and is now
a part of The Alice Art Collection, and is truly a great picture.

Upon his return, Mr. Richards received a commission to paint
three portraits for the general Relief Society — one of President Bath-
sheba W. Smith, one of Secretary Emmeline B. Wells — a poetic pic-
ture of a poet, — and one of Jane S. Richards, a former counselor of
Zina D. Young. The portraits are among his best works, and hang
in the Relief Society apartments. Portraits of Dr. John R. Park, for
the University of Utah, and of President Elmina S. Taylor, for the
Y. L. M. I. A., were later painted.

Those who visit the memorial cottage in Sharon, Vermont, will
find some charming portraits of Joseph aad Hyrum, and Mother Lucy
Mack Smith. They hang over the quaint mantel in the hall. This cot-
tage enshrines the hearthstone of Joseph and Lucy Mack Smith's home.

Who but an artist should marry a quaint, quiet girl like Mary Jane
Eldredge, the daughter of the late Horace S. Eldredge and Chloe R.
Redfield Eldredge? With a quick sense for harmony and beauty in-
herited from her mother, Mrs. Richards makes a wife who will create

Devotees and their Shrines.

RICHARDS. TRAUMERI.

an artistic home atmosphere. An honest living up to the great princi-
ples of art will be possible in a home shared with this woman.

Mr. and Mrs. Richards have spent considerable time abroad, and
have visited many famous galleries in different cities. On returning
home, Mr. Richards says, **I feel that my year in Europe has only con-
firmed my belief in the traditions of the past. I am also convinced that
art traditions are not like the laws of the Medes and Persians, un-
changeable, but it is for every man to work out his own salvation. True,
there are certain fundamental principles which all great artists have rec-
ognized. Each artist adapts these to his own especial and individual
needs in order that he may perfectly reveal himself." In the growth
and development of an artist he must pass through several stages. At
different steps he may seem to have opposite tendencies, and still remain
true to himself.

As a boy, Lee painted in light, glowing, brilliant colors, and in a

A Handbook of Utah Art. 79

frank, spontaneous manner. Later he became interested in gray
schemes, in tonal quaHties, rather than in decided pure colors. Such
themes as twilight, gray days, and moonlight appealed strongly to him.
It was during this period that the portrait of Mrs. H. J. Richards was
painted. An artist has described this picture as a poem in tone. A
portrait of Mrs. Elmina S. Taylor, Mr. Richards treated in a very
similar manner. The character of this wonderful and spiritual woman
IS well suggested.

A portrait of his father, Levi W. Richards, is a strong presenta-
tion of a noble character. A living soul seems to light up the very can-
vas. It is an exquisite rendition, showing a sympathetic understanding
that is possible between a father and a son, when both are of serious
artistic temperament.

The Autumn Salon, 1909, exhibited two portraits by Mr. Rich-
ards, one, "Lucette," a charming scheme of black and white of a twelve-
year-old girl. It was called "distinguished" by art critics. "Le Sac
Rouge," a portrait of his wife, is painted with an extremely simple pal-
ette. No colors were used except black, white, yellow ochre and red,
but a beautiful decorative design and arrangement of drapery was
achieved. The grace and movement and drawing, especially of the
hands, were noted. Another successful portrait Mr. Richards painted
during his last trip abroad, of Mr. Harold Eldredge in his costume used
in the title role of Wagner's opera, "The Flying Dutchman." The com-
position and coloring reveal the melancholy, gloomy character of the
enchanted mariner. The following year, the portrait of Mrs. Jos. L.
Rawlins was shown at the Autumn Salon. This picture is at present
hung in the Social Hall, in the exhibition of the Associated Artists of
Salt Lake. One of the latest products of his brush is of unusual inter-
est, being painted in a light, glowing scheme of rich, bright color. It
is a portrait of President Bathsheba W. Smith. An inspiring expres-
sion lights the face; the intelligent eye and the pleasing, expressive
mouth give the character and feeling of a living woman. The flesh
tints are charming. Nothing in the whole world equals the beautiful
color of the human flesh. No other rose is so lovely as that which
matches the color in the cheek. The master Rubens loved those tints
and shades, and this portrait of Mrs. Smith is suggestive of a Rubens.
Mr. Richards makes a striking note of dignity in composing his por-
tiaits by placing the head high upon the canvas.

HIS GREAT QUALITIES.

Lee Greene Richards seeks to tell the character of his sitter. His
desire is to reveal a human soul, to give the intelligence of the eye, the
color of the flesh ; in a word, to make a portrait live.

Devotees and their Shrines.

His honest, frank, direct, fearless way of painting is so convincing
that he has won the honors already mentioned. In addition to this
power is a born gift, a genius to discover harmonies, tonal effects, and
qualities. Composition, the fundamental in all the fine arts, has in him
a powerful exponent. He has the instinct of selection^ and therefore
he has received inspiration and subject from the highest sources.

Children he paints with sympathy and understanding. "I love the
children for themselves, you know," he says, ''as he points out to you
their qualities of life — freshness, youth and strong color.

Portraiture is, perhaps, Mr. Richards' greatest field, but he shows
a broad range of appreciation and capacity. His landscapes are con-
ceived with the same artistic power as are his portratis. A feeling
for effect of sunlight, twilight, or moonlight, reveals a decided poetic
tendency.

Water colors he has always handled with ease and facility. M.
M. Young, his associate from pinafore days to studio life in Paris,
said, "Lee has always known how to paint. It was as easy for him
to paint as for other boys to play."

His aim is to combine with classic beauty of line and form living
nature, freshness, harmony, brilliant rich coloring, and a strong ren-
dering of personality. His sense of the artistic is persistent, and serves
him on all occasions. That is why his pictures are so completely
in harmony.

The studio reflects the artist ; it is his home. "The Gables," Mr.
Richards' studio, a unique spot, has been fitted up to meet the needs of
an artist. Mrs. Richards has done her part in the transformation. Her

A Handbook of Utah Art. 81

touch is evident in the repose and air of comfort and home feeling that
pervades the studio. It is altogether a revelation of good taste, which
is nothing but art under another name.

LOYALTY TO THE DESERT.

Those who love art rejoice that such artists as Lee Greene Rich-
ards have remained loyal to their homes, and have returned to their
native soil. We know that far greater opportunities wait in the
art centers, and that they sacrifice much when they leave them. But
the soil from which men spring clings to them. The traditions of par-
ents weave themselves into the hearts of the children, and when mem-
ory stirs those golden threads, the wanderer is drawn homeward. Our
artists love the desert, and the desert does not spurn them. They have
brought credit to the people in these mountain tops as well as to
themselves. They are artists, with rare talents, and possessed of nobil-
ity of character and honor. They have been true to us; we want to
sustain them. Emerson prophesied long ago that the art of America
would rise in the West amidst the feet of a brave and earnest people.
Did he mean that our artists must rely upon the great producing class
for patronage? Yes; for these are they that must be unto the true
artists of Utah the great Medici !

POPE. PORTRAIT BUST OF L. G. RICHARDS. Paris Salon.

Devotees and their Shrines

ALMA B. WRIGHT.

Alma B. Wright's most important work was made possible
through the efforts of the board of trustees' of the L. D. S. university.
They gave \\>ight the commission for a mural decoration for Barratt
hall, financing the scheme personally. This is an example of art for
art's sake. Mural painting offers the best field for art training and
development for the masses. Wall decoration for the public school,
house of worship, state or municipal building and for a certain type
of business block, must come to every community where appreciation
for art grows. A visit to Barratt hall will convince even the layman
of the beauty and appropriateness of this form of art for the public
building.

A Handbook of Utah Art. , 83

Wright's mural painting is presented in two panels illustrating co-
education. The first panel symbolizes the hope of the nation and rep-
resents a youth and maiden in classic dress drinking at the fountain of
knowledge. The second, typifying the strength of the nation, pictures
a man and woman hand in hand, walking forward through a field of
flowers. The legend of the first panel reads, *'Art, Science, ReHgion"
— the elements of the source of the fountain of knowledge. The second
panel bears the legend, "Integrity, Service, Fidelity," — the essentials
for strength of a nation.

The whole scheme is painted in a high key, in buoyant vein. The
decorative handling of lines, harmony of color, conception of design,
rythm of lines, together with a pervading atmosphere of vivacity, car-
ries a cheering and stimulating influence.

This mural decoration may be commended to the trustees of other
institutions. The University of Utah has a new administration build-
ing. There are high schools and chapels. Our capitol building is
nearing completion. It is not enough that our state spends millions of
dollars in the erection of a capitol building. The embellishments for
its walls must also be considered. We have made elTective pleas for
home materials ; we insist on home talent. We have adequate materials
for great buildings and we have equally great talent for decorative
art. No commercial decoration should be allowed place in that splen-
did building!

A. B. Wright is art instructor in the L. D. S. university, portrait
painter and landscapist. He is a tremendous worker. His ideal
reaches out toward form rather than toward tonal qualities. He has
analyzed the principles of art and has arrived at definite conclusions by
which he measures his work, rather than depending wholly on his own
individual taste. From his "Boxer" we discover his thorough stud)
of anatomy and profound interest in structural drawing. He has
greatest admiration for Michael Angelo, the most wonderful exponent
of form.

He first won success abroad. In Paris at the Salon of 1913 he
exhibited a portrait of Mrs. Mary J. Richards. His portrait of Mary
Young followed in 1914. The same year he was accepted in the St.
Louis exposition with an interesting portrait of his wife, who was with
him in Paris. This oil portrait was a strong example of tonal paint-
ing, full of feeling. It portrayed Mrs. Wright's personality without
depending upon commonplace likeness drawing. "Blanche," which
appears on the opposite page, won him the annual state prize in 1904
and in 1905 he took the state medal of honor.

Speaking of his life's work he says, "The portrait is to me a
psychological rendering of personality. While I think a great deal of

Devotees and their Shrines.

the material existence of things I feel that materiality is only a means
to a higher end — the spiritual significance of the sitter."

Mr. Wright is an athlete and an adept at sword play. He has
won the inter-mountain championship for fencing and has successfully
defended it since 1897.

Like all the other really strong Utah artists, Wright is clean and
upright in his life and habits, sincere in his work, self-sacrificing for
the sake of his calling, thoughtful and helpful to students and lovers
of the beautiful.

ii > tic

- >

^\-\

KuY J: ^^[

a:c^c-

:!■!

A Handbook of Utah Art.

WK\

- ^

L^ ..4M L^' ii ^m .^B

Unveiling of the Monument to the Sea Gulls. M. M. Young and a row
of veteran locust fighters.

MAHONRI M. YOUNG.

M. M. Young, known to his friends as "Hon," has found the
human pulse of the people; he has idealized the sentiments of the
Western people. "Their life," he says, "their migrations and suffer-
ings, have always appealed to my imagination, and they embody an
infinite number of artistic themes."

Mr. Young is peculiarly forced into sculpture rather than paint-
ing. While his painting is a success, his talents are all of tremendous
value to one who "sculps." The water colors that he paints are charm-
ing, but their quality is not in color nor tonal qualities, they are treated
more as drawings.

The great quality of his water colors, and for that matter, his oils,
too, is the animation, the movement, the vibration of life. He ex-
presses no doubt, no fear, and there is love in every line. His selection
is always good. He generally has a great many figures in his pictures
which are suggestive of life. These pictures are always well drawn
and well composed, but in every touch there is a strong feeling for
form. So, though he loves paint and brush, destiny has sealed his fate,
he will win fame by the use of his thumb.

The thumb ! That instrument of marvel — the sculptor's best tool.
That organ by which the Omnipotent ordained man to be above all
other creatures of the earth. By its use man creates beauty, plenty,
convenience. No tool of manufacture can approach the hand, with its
wonderful thumb in the perfection and delicacy of its work, nor in its
multiplicity of uses. Foremost educators are beginning to learn that

Dczotccs and their Shrines.

M. M. VOUNG. PLOWING. SEA GULL MONUMENT.

the highest training for power that the child can receive is through the
intellectual use of the thumb.

Mr. Young's best gift is his openness to quick inspiration. His
conception is strong. His power to see a thing as a whole in a
flash enables him to keep his work simple, harmonious, and undivided
in purpose. It has the quality of inspiration and feeling, rather than
of study and labor. Study and labor are necessary, but should
never be apparent. It is enough that the artist toils and sweats. It
should look when finished a simple thing. We cannot forgive the
artist who makes labored things. We will borrow no trouble from
him. He must do the work and leave us the repose or we will cast
him into the rubbish heap, with the other millions of mistakes.

A Handbook of Utah Art.

YOUNG. DELIVERANCE. SEA GULL MONUMENT.

Though Mr. Young's first impulse comes Hke a revelation, he is
willing to spend years if necessary to work out his conception, but some
of his best things are done at white heat and are accomplished within
a few days. This of course is where neither material nor time push
themselves between him and his inspiration.

The bronze bust of Brigham H. Roberts is a searching portrait.
Mr. Roberts lends himself admirably to the needs of the sculptor: in
character and personality he is intensely unique. In some respects he
suggests the Gladstone head. The modeling of the muscles of his
whole head is very decided, in fact, the head is modeled all over.

In this production the artist has surpassed himself. It is a work
that will bring great criticism from a large class of the public, because

Devotees and their Shrines.

VOUNG. HARVE:5ii;\0. SEA GULL MONUMENT.

there is not a note of the commonplace in it. Shakespeare like, he has
made no effort to give a one sided story, so, in this piece of bronze,
behold Roberts with his weaknesses as well as his virtues. You are
made to feel his combativeness, and ruggedness, as well as his sensi-
tiveness, his intellectuality, and his gentleness. Then, too, take note
of the physical strength, the mental endurance, the stubborn touch that
does not hide the general feeling of geniality. The dash of selfishness
and the burst of generosity are as apparent as his spirituality. Mr.
Young has sculped the "Blacksmith orator" with bold, but loving
hands, for in each rugged feature some sweet refinement is disclosed,
while the human struggle is always manifest in no less a degree than
the quality of statesmanship.

A Handbook of Utah Art.

YOUNG. HIS WIFE. CELIA SHARP YOUNG.

Mr. Young's wife, a fine musician, admirably fits into the art life.
The artist reveals his devotion for her in a bust, the first from life that
came from his hands — a type of beauty, spirituality and grace.

Lambourne in clay is like a burst of inspiration, and shows the
giant struggle of mentality in the subjection of materiality. The on-
looker catches an inspirational thought of the superiority of divine
gifts, and also the power that comes out of the struggle to use the
talent.

90 Devotees and their Shrines.

Mr. Young says: *'I have received greatest inspiration in my
conception of sculpture from Donatello and Paulialo, who were of the
Italian Renaissance, and were the forerunners of Michael Angelo.
Houdon, the Frenchman, so successfully modeled Washington, Vol-
taire and Franklin, that I look upon him as the forerunner of modern
sculpture. The work of the great German, Adolph Hildebrande,
Rodin, George Minnae, and Maillol, are the modern men I greatly ad-
mire. Dr. Rimmer was one of our greatest sculptors. Olin Warner
I look upon as the greatest American sculptor.

Mr. Young has secured all of the prizes to be awarded in the State,
and has taken honors away from home. By special invitation he has
exhibited in the Pennsylvania Academy of Design, Philadelphia, and
the National Academy of Design, New York, and in the Chicago Art
Institute. He sold the American painter, Chase, a water color and was
recognized in three Salons in Paris in various ways with models in
clay, pastels or drawings, but so far, his most important works are his
commissions for the Church.

An interesting fact remains to be told. After "Hon's" return he
was many, many months without a patron or an order, but he went on
drawing, painting, and sculping. Finally, when patience was nearly
threadbare, H. J. Faust, Jr., gave the young man his first commission,
to model a woman in butter, for the state fair.

The butter woman made a sensation, and as she slowly melted the
public, too, thawed out. After that more important orders came.

By B. H. Roberts.

Because in their exposed and helpless infancy the She Wolf suckled
the twin founders of Rome, the She Wolf was honored in Rome's
history and niched among the statuary of the capitol. Because geese
awakened the Roman guard by their cackling in time to repel a night
attack upon the citadel, during one of the early Gallic invasions, and
thus saved the capitol, geese, though void of beauty and usually re-
garded as the symbol of folly and silliness, became doubly sacred to the
Romans : first as being the favorite fowl of Juno, Rome's domestic
Deity, and second, as now — after the citadel incident — having saved
the capitol.

Utah's history includes an incident much more beautiful than
either of these related of Rome ; one which occurred at quite as crucial
a period in her history, and one wholly removed from the realm of
leeend to that of well attested fact. This is the Sea Gull incident of
our early pioneer days.

It was the spring of 1848. Following the advent of the first

A Handbook of Utah Art. 91

Pioneers of 1847, a number of companies arrived making the popula-
tion of the Salt Lake valley over sixteen hundred souls, and many more
compnaies were enroute over the plains west of the Missouri. Four
hundred and twenty-three houses had been built, more than five thous-
and acres of land had been plowed, eight hundred and seventy-five
acres of winter wheat had been sown. Spring broke early and soon
the wheat crop put forth its tender leaves. It was a sight that blessed
the eyes of the anxious farmers. This planting had been an experi-
ment. So far it promised well. If this crop matured there would be
food produced from the valley soil before the supplies the pioneers had
brought with them would be exhausted — there would be bread in Israel
for a year to come. If it failed — what else but frightful calamity? A
thousand miles from food supplies, which means a thousand miles from
cultivated lands; and there was no sympathy for our pioneers in the
western frontier states that would prompt extraordinary efforts to
reach them in starvation emergency. Their own means of transport-
ing food supplies across the plains were utterly inadequate and imprac-
ticable. Fish and wild game? Almost utterly negligible as a source
of food supply for those now in the valley, to say nothing of as many
more enroute.

This early, spring-sprouting wheat crop must not fail ! So doubt-
less thought the pioneers of our state. March passes, and April. May
comes and the rich virgin soil under cultivation gives the wheat plant
a strong and healthy growth. Its color is rich. The pioneer farmers
note that it stools well, and the crop will be a heavy one, barring early
or late frosts, for drought is practically overcome by the happy thought
of irrigation. But before May passes an unlooked for foe makes his
appearance, and from an unexpected quarter. Thousands of ugly,
black crickets come from the surrounding hills and descend upon the
new-made fields. They devour all before them. Their appetite seems
never abated. They cut and grind night and day, leaving the fields
bare and brown behind them. There seemed to be no end to their num-
bers. They could not fly, their only means of locomotion was by
clumsily hopping a scant foot at a time — hence, once in the fields, the
difficulty of getting them out; and they came in myriads, increasing
daily. Holes were dug and maybe for the radius of a rod the pests
were surrounded by women and children, and driven into the hole and
buried — bushels of them at a time : and this was repeated again and
as:ain; but what was the use? This method seemed not to affect the
'numbers of the crickets.

Then the men plowed ditches around the wheat fields and through
them, turned in the water and drove the black vermin into the running
streams and thus carried them from the fields and destroyed them by

M. M. YOUNG. B. H. ROBERTS.

A Handbook of Utah Art. 93

the tens of thousands — all to little or no purpose; as many as ever
seemed to remain and more were daily swarming from the hills. Fire
was tried, but to no better purpose. Man and man's ingenuity was
baffled. He might as well try to sweep back the rising tide of the
ocean with a broom as prevail against these swarming pests by the
methods tried. Insignificant, these inch or inch and a half long insects
separately, but in millions terrible!

The incident illustrates the formidableness of mere numbers.
Since the days of Egypt's curse of locusts there was probably nothing
like it. The failure to destroy these pests spelled famine to these first
settlers of Salt Lake valley. It meant starvation to the companies of
women and children then enroute across the plains. Small wonder if
their hearts failed them. They looked at each other in helpless aston-
ishment. They were beaten. That is something awful for strong men
to admit, especially when beaten by units so insignificant. One resents
defeat by merely overwhelming numbers. Meantime the ceaseless
gnawing of the ruthless and insatiable invaders went on. The brown
patches of the wheat fields grew larger. Soon all would be bare and
brown, and hope of food and life would have disappeared with the
recently green wheat fields.

Then the miraculous happened. I say it deliberately, and I am a
man of the twentieth century. The miraculous, I say, happened, as
men commonly view the miraculous. "We do not believe in miracles
now," say the men of our times, "we explain them." Good. Then
explain this: There was heard the shrill half scream, half plaintive
cry of some Sea Gulls, hovering over the pioneers' wheat fields. Pres-
ently they light and begin devouring the crickets. Others come —
thousands of them — from over the lake. The upper feathers of the
Gull's wing are tinted with a delicate gray and some of the flight
feathers, primaries, to be exact, are marked with black, but the pre-
vailing color is white. And as they came upon the new wheat fields,
stretched upward and then gracefully folded their wings and began
devouring the devourers, to the cricket-vexed pioneers they seemed, I
doubt not, like white winked angels of deliverance. They were tireless
in their destructive — nay, their saving work. It was noted that when
they were glutted with devouring crickets they would go to the streams,
drink, vomit, and return again to the slaughter. And so it continued,
day after day, until the plague was stayed and the crops of the pioneers
saved. A fairly good harvest was reaped that year.

This is the heart-touching incident which M. M. Young has com-
memorated in his splendid Sea Gull monument, which now adorns
Temple Square.

94 Devotees and their Shrines.

DONALD BEAUREGARD.

"Nature contains the elements, in color and form, of all pictures,
as the keyboard contains the notes of all music. ******

The artist is born to pick, and choose, and group with science these
elements, that the result may be beautiful — as the musician gathers his
notes, and forms his chords, until he bring forth from chaos glorious
harmony."

Not since George M. Ottinger painted his Capeca de Paca has so
sincere a rendition of the desert appeared as Donald Beauregard's
"Over the Mesas." This was exhibited simultaneously at the Utah Art
Institute, Vermont building, with three other beautiful pictures from his
brush. This work brought him the annual prize and established his
standing among our best painters. Donald Beauregard is the son of
N. J. Beauregard, of Fillmore, Utah, and was born in 1885. He is
strong in conception. He understands the principle of domination and
elimination — that one idea should dominate and all that tends to
strengthen that idea may be introduced but detail attracting attention
from that idea must be left out. Detail may tickle the eye, but it is a
matter of persistent effort not conception. Mr. Beauregard's best
quality is a big broad treatment, and though he is enthusiastic over
color, he does not appeal to the vulgar taste. Others may become
vague in seeking to secure tonal qualities. He does not deal in vagaries
but handles his color in a bold broad way. His pictures have the spirit
of spontaneity and frankness. Only the highest minds can think and
produce harmony. A rose is beautiful for its color and form, but if in
the rose you see only color and form, if God's touch is hidden, the more
subtle harmonies must be lost. With "Over the Mesas and Cliffs near
St. George" the thought grows that the painter has the power to look
deeper than material things. They reveal an understanding of the
desert.

Since the foregoing was written has come the disheartening word
of Donald Beauregard's death. He was working on a series of mural
decorations for the 1915 California exposition at San Diego. These
decorations were to be a permanent exhibit in that city. Beauregard had
undertaken to illustrate allegorically the development of the white race
on the American continent, taking St. Francis, patron saint of the
Southwest, his life, traditions and conquest of that great region, as the
theme for this series of pictures. Beauregard recognized this as his
opportunity to make a name for himself and to bring credit to his
native state. After his return from the archeological expedition with
Dean Cummings he went to San Diego, to familiarize himself with

A Handbook of Utah Art.

conditions there, after which he went to Washington and delved into
the libraries, posting himself on the early Spanish invasion. He then
journeyed to Spain to study his subject from the Old World stand-
point. To refresh and strengthen his drawing he returned to the
Paris studio. Here he won prizes for drawing and color exhibited
in the Salon and sold much of his work to both Americans and French-
men.

He now felt prepared to undertake the composition for the mural
decoration for which he had been given the commission. In Paris he
found suitable models for the figures and with enthusiasm he went to
work painting his final studies. Dr. Hewett, who had financially
backed the scheme, went to Paris and made final acceptance of Beaure-
gard's studies. Dr. Springer was also deeply interested. Everything
seemed propitious for an unusual work of art. The panels were to be
ten by twelve feet in size.

Beauregard's health began to break down but he sent no word in
respect to that. He had time only for work. Returning to America
a few. weeks ago, he went directly to San Diego, laboring desperately
to complete his commission. He made a heroic race with death, but
lost. Before he died, at his old home in Filhnore, he told his mother
that only a few strokes would have been needed to complete the first
panel of his great work. He painted until he fell from the ladder.

DALLIN. SOLDIERS AND SAILORS MONUMENT.

96 Devotees and their Shrines.

C. E. DALLIN.

Cyrus Edwin Dallin was modeling with the clay in the road until
he grew to be quite a lad. He attracted the attention of several men
who afterward proved their friendship. His fame traveled from his
home in Tintic to Salt Lake, where his work was shown at the state
fair in 1879. Mr. C. H. Blanchard of Boston knew the sculptor
Bartlett and wrote to him of the wonderful gift of a miner's boy.
Bartlett replied, "Send him along and we will soon see what he is
made of." Blanchard sent him.

Dallin was barely nineteen but his modeling was so clever that his
Utah friends saw no reason why he should not begin at once taking
orders for sculpture. They had not learned that it takes years of
arduous study, of patient, constant worshipful effort before one safely
passes the danger shoals and sandbars of the would-be-artist and
reaches the harbor of art success. Dallin remained four years in Bos-
ton, studying hard and enjoying his wonderful opportunities. He first
entered the studio of Truman H. Bartlett on Federal street, Boston.
Next spring he was in the terra cotta works, and 1881 found him with
Sculptor Sidney H. Morse. The year 1882 was spent in Charlestown
and the fall of 1882 found him in a studio of his own in Pemberton
Square, Boston.

The winter of 1887-8 was devoted to "The Indian Hunter," which
brought the sculptor the gold medal in an exhibition in New York in
May of 1888. This was voted by the artists themselves. The follow-
ing August, and only two weeks later than Harwood, he set foot in
Paris and entered the Julian academy.

IN PARIS.

Henri Michel Chapu who modeled the charming Joan of Arc that
is to be seen at the Chicago Art Institute was his teacher. Augustus
St. Gaudens was his friend and visited him while he worked on his
General Sherman.

Dallin was asked by Dr. Evans of America to make a model for a
statue of Lafayette. This was satisfactory and was executed in bronze
and later presented to France by the American people. This statue was
shown in the great Exposition of 1889. In 1890, Dallin got in the
Salon at Paris, with his famous "Signal of Peace," which won there an
honorable mention. This was sent to Chicago to the World's Fair,
where it won a medal and diploma ; and it did not end there, for Judge
Lambert Tree bought it and presented it to the city of Chicago as a
memorial to the American Indian. It was unveiled in Lincoln Park in
June, 1894. This was a proud event for Utahns.

A Handbook of Utah Art.

IJALLIN. PORTRAIT OF HIS SON.

Dallin in the meantime had returned to Boston in 1890, and was
offered important commissions by a gentleman from Utah. He now
thought his financial success assured and married Vittoria Colonna
Murray, of Boston, and brought his bride with him to Utah. It was
with surprise that Dallin discovered that his commissions had been
given by a man with more enthusiasm than discretion, and that they
were only roseate bubbles. He was not without friends and apprecia-
tion, however. He secured the commission for the bronze gilded

98 Devotees and their Shrines.

figure of Moroni on the highest tower of Salt Lake Temple. This
beautiful figure is one of his most charming works. The artist was
given carte blanche as to design, and the work shows grace, power,
freedom, and refinement. The monument to Brigham Young and the
Pioneers of 1847 is not so good. Dallin was terribly interfered with
and in order to compromise his ideas with those who had the power to
dictate he was forced to sacrifice art. No one is so sure of his own
good taste and judgment on art matters and no one is so sure that his
ideas are better than the artist's as the man who totally lacks knowledge
and feeling for art. If you want a roasting criticism on a good work
of art find a person who has no. knowledge of these things and he will
give you ample satisfaction. If you would have carrots judged in a
vegetable show you do not select a sausage grinder to award the prize,
and it would be as foolish to take a book worker or a real estate agent.
Why will we rob the artist of his finest tool — artistic conception?

Eighteen hundred and ninety-five found Dallin in Philadelphia as
instructor in modeling at the Drexel Institute. At this time he did his
statue of Sir Isaac Newton for the rotunda of the Library of Congress
in Washington. It is considered an excellent portrait. The artist
made a close study of the death mask and a bust and portrait that are
preserved of Sir Isaac Newton.

Dallin next went to Paris for three more years and was in the three
successive spring Salons with ^'Apollo and Hyacinthus" in plaster, a
bronze equestrian statuette of ''Don Quixote" and the "Medicine Man."

William Howe Downes, writing of Dallin in "Brush and Pencil,"
1899, said: "Don Quixote is the artist's best work up to the present
time. It is conceived in an absolutely ideal spirit and is enveloped in
an atmosphere of romance which is completely in harmony with that
of Cervantes. The character of Don Quixote, moreover, is taken
seriously and with a proper appreciation of its intrinsic nobility and
pathos."

The "Medicine Man" was expressly planned for the great Interna-
tional Exhibition in Paris, 1900. It brought Dallin fame. The group
in bronze was placed at the end of the Alexander Bridge near the Petit
Pallais — than which no more beautiful spot can be found in Paris.
Now praise came to our sculptor from the continent, and from America
something else followed. The Fairmount Park Association of Phila-
delphia, a group of art critics, bought the "Medicine Man" for their
park in Philadelphia. Close on the heels of this came an offer from
Vienna, Austria, for the park there. This was the first time an Amer-
ican ever received an offer for statuary from Europeans. Dallin would
gladly have duplicated his first sale but of course they would not con-

DALLIN. SIOUX CHIEF.
Gold Medal^ 1904, St. Louis Exposition.

100 Devotees and their Shrines.

sider buying anything but the original work. At this hour of triumph
a third son was born in Paris to Mr. and Mrs. DalHn.

Since that time the "Appeal to the Great Spirit" has brought him
a gold medal. At Syracuse, New York, is a monument to the
Soldiers and Sailors of the Revolution. The unveiling occurred with
great ceremony and with more laurels for Dallin. He did all the work
for this monument in America, but went to Paris to have it bronzed,
as the cost is less and the work is more satisfactory.

Mr. Dallin has won honors far ahead of any other Utah artist.
He is loyal to his place of birth, and we of Utah do not forget him.
His talent is of a high order. He is genuine, and is extremely refined
in spirit and feeling. Native art gifts and intellectual powers, together
with hard work, a spotless moral character and a life as open as a book,
have made him successful. Such men are not to be passed by, at least
not for long, they eventually reach the high places.

MYRA SAWYER.

Myra Sawyer recently returned from six and a half years spent
in art study abroad. Aside from the regular studio work, she spent a
summer in Spain, copying from the great master, Velasquez. A win-
ter was passed in Italy and a season in Holland (without which study
abroad would be incomplete).

The most delightful of her sketching seasons was in Giverney,
France, the home of Claude Monet, the painter of exquisitely delicate
harmonies. Miss Sawyer and Rose Hartwell lived in daily view of
the artist's picturesque home. There were color schemes and won-
derful harmonies throughout. The house was painted rose pink, with
pale green shutters. In spring the flowers were all purple and blues;
in autumn there were golden yellows and reds. Monet and his wife
often walked in the garden. The lady dressed in harmony with the
flowers.

In this influence of charming color of flower and tree. Miss Sawyer
painted many beautiful sketches, some of which are in the exhibition at
Social Hall. A later sketching season was spent near the home of
Macmonnies, remembered for his fountain that graced the Court of
Honor at the Columbian exposition. Miss Sawyer brought home
sketches that describe better than words the delightful hours spent
there in painting out-of-doors.

Miss Sawyer exhibited in the American Girls' Club, Paris, 1910,
the "Hostel" (a collection of sketches open to all nationalities) ; in the
American Society of 1912, an exhibition of miniatures, and she had
two miniatures accepted at the Academy of Fine Arts, Philadelphia.

A Handbook of Utah Art, 101.

By request she also exhibited with the recent show by the Water-color
Society of Washington, D. C, in the Corcoran Art gallery.

The miniature, one of the most charming- of all kinds of portraits,
especially for women and children, is a field in which Miss Sawyer
excels. In fact all of the foremost women artists of Utah are success-
ful miniature painters. The miniature portrait is painted with oils on
ivory. The miniature may be used as a brooch or small picture. It is
a difficult thing, requiring six weeks or more in producing.

Miss Sawyer is especially adapted for teaching. She has been
successful in teaching art at the U. of U. and now holds a private class
at Rowland Hall.

RECENT SALON EXHIBITORS.

Ralston Gibbs, a grandson of Lorenzo Snow, has exhibited several
times at the Paris Salon. He is seen in humorous subjects which have
attracted attention and elicited comment because they are quite different
from the usual types.

Girard Hale, son of a Utah architect, has also gotten in the 1914
May Salon.

Mrs. P. T. Farnsworth, Jr. (Louise Richards), daughter of Dr.
Joseph S. Richards, succeeded in winning a place with a portrait in the
Salon, 1904.

AVARD TENNYSON FAIRBANKS.

Avard Tennyson, tenth son and youngest child in a family of
eleven children, was born March 2, 1897. Avard's mother died while
he was a babe. To the mother is due, no doubt, much of the talent for
sculpture of which Avard and his elder brother J. Leo have given evi-
dence. The child early displayed aptitude for sculpture in his father's
and brother's studio. At the age of thirteen his father took him to
New York, where he attended public school and sketched from the

AVARD FAIRBANKS. NATIONAL ACADEMY.

102

Devotees and their Shrines.

AVARD FAIRBANKS. NATIONAL ACADEMY.

animals at the Bronx park. Avard by good fortune came in contact
with the noblest specimens of wild animals at an age when he was
most impressionable to their power and activity and they affected him
deeply. His evenings were spent in drawing from life at the Art
Students League. He attracted attention wherever he worked and
before he was fourteen years old, had exhibited sculpture in the Na-
tional Academy at New York and at an exhibition in Buffalo, and had
been written of in the International Studio.

As we go to press word comes of Avard's success in being ad-
mitted to the 1914 French Salon. The work was done in his fifteenth
year. He is the youngest artist ever admitted.

J. LEO FAIRBANKS.

J. B. FAIRBANKS.

Artists of Varied Attainments.

''Rut when the evenino- niist clothes the riverside with poetry, as
witli a veil, and the poor buildings lose themselves in the dim sky; when
the tall chimneys become campanili, and the warehouses are palaces in
the night ; when the wdiole city hangs in the heavens, and fairyland is
before us — then the wayfarer hastens home; the workingman and the
cultured one, the wise man and the one of pleasure, cease to under-
stand, as they have ceased to see, and Nature, who for once has sung
in tune, sings her exquisite song to the artist alone, — her son and her
master : her son in that he loves her, her master in that he knows lier. —
Whistler's ''Ten oTlock/'

THE FAIRBANKSES.

To John B. Fairbanks, father of J. Leo and Avard, belongs the
credit of doubling the state appropriations for the Utah Art Institute.
Through his efforts the purchasing fund was created. It provides
money for original work by Utah or non-resident artists, or for copies
of great pictures. Mr. Fairbanks was associated with John Hafen for
many years and between them was a bond of deep affection. Fair-
banks has been well known in art circles. In his life he is genial, am-
bitious and self sacrificing. A variety of themes appeal to his imagina-
tion. He searches for evening effects or sunny harvest scenes or misty
water or tree subjects. He has made many copies from famous
paintings in the galleries of both the Old and New World. These he
has painted to get a closer analysis of a great work and a deeper under-
standing than can be gained by merely looking at a picture ; just as a
student of literature takes a great work and by studying each line, word
and phrase, arrives at a clearer understanding of the methods and
spirit in w^hich it was written. The painter has the additional advan-
tage of a good substitute for the oriofiual when he is forced to live far
from the inspiration of the great galleries.

Mr. Fairbanks has never ceased studying. He began his career
in the art schools at Paris. He took an extended trip for art study,
through Central America and the Magdalena valley in South America,
where he secured sketches for many successful pictures. He has spent
much time in American art centers, painting original work and copving
famous pictures. He has exhibited in important American exhibitions
and is now in Paris working- with his son Avard.

While the father went on a sketching trip to South America,

104

Devotees and their Shrines.

J. B. FAIRBANKS. FIRST GLIMPSE Ol^ i n r. V/yLLEY.

the eldest son J. Leo, together with his only sister, undertook the
bread winning for the large family. He made a success of that and
laid by means to start for Europe. When returning from attending
the International Frauenkongress at Berlin, I visited Paris in order to
see Miss Lu Deen Christensen of Gunnison, Utah, established there
at an art school. I met J. Leo Fairbanks at that time. He and ''Hon"
Young conducted me to its most interesting shrines of art. Fairbanks
was forging ahead. During his two years at the Julian he won second

J. LEO FAIRBANKS. MURAL DECORATION.

A Handbook of Utah Art.

105

J. LEO FAIRBANKS. CLARENCE MERRILL.

honorable mention in both sculpture and painting — an unusual achieve-
ment. On returning he secured the appointment of supervisor of
drawing in the Salt Lake City public schools. He has held this for
many years, supplementing his art study abroad with courses in arts
and crafts at Columbia and other American universities in New York
and Chicago. Speaking of his life's work, he says : "My father's atti-
tude, his willingness to sacrifice everything to his art, has been an in-
spiration to me and I firmly believe has changed my whole career.
Without his example I would undoubtedly have followed more lucra-
tive employment. I am glad of the life I have chosen and for the
opportunity that is now coming whereby I may work out some of my
ideals. Nothing is more delightful than creating lovely things and
helping others to appreciate the beautiful." He is genial, gifted and
loves work.

Mr. Fairbanks has an inclination to mural decoration in its rela-

106 Devotees and their Shrines.

tion to architecture. He is interested in pattern and has made several
successful schemes for mural decoration for interior of public halls.
He says, ^'I have enjoyed the sculpture work for its aid in the study
of anatomy and design." J. Leo Fairbanks is a good speaker on art
subjects. He is one of a commission working for civic beauty and is
chairman of the Art and Literature committee of the Commercial club.
He is a member of the advisory committee of the American section,
International Congress of Drawing and Manual Training Teachers.
He is president of the "Associated Artists," an organization which
maintains a free public exhibition at the old Social Hall, Salt Lake City.
The exhibition is open Thursday, Saturday and Sunday from 4 to 6
p. m. Mr. Fairbanks has a draped fissure "Grief" which is strong and
sympathetic. His mural decoration in public buildings is no doubt his
p-reatest field. The portrait of Clarence Merrill is praised by J. T.
Harwood for its quality of life. His small pictures are especially
charming.

LORUS PRATT.

At the instance of George 0. Cannon, President Wilford Wood-
ruff sent Lorus Pratt, Edwin Evans, John Hafen and J. B. Fairbanks
abroad to fit themselves for decorating and beautifying the Salt Lake
Temple, which was then nearing completion. Examples of the best
art of these men are in that beautiful interior.

Lorus Pratt is the son of Orson Pratt, the first of the pioneers of
'47 to set his foot in Salt Lake vallev. Lorus as a boy loved music
Pud drawing. The vicissitudes and sacrifice of poineer life were
fresh in his mother's mind. She could not consent to her son's devot-
ing his life to the trials and hardships that must come in pioneering art.
Lorus Pratt attended the Deseret university and later went East and
to Europe for art studv. While he was in New York, America's first
great centennial of 1876 took place. Here Lorus came in touch with
the art of Europe. Its contact fired him to visit Paris, and thereafter
nothine could turn him from his great desire to be a painter. At home
he was under Dan Weggeland, a man of trulv artistic temperament
who was enthusiastic over his students going abroad.

Pratt became a student at the Jidian and was the first of the Utah
bovs to eain recognition. His teachers were Constant, Doucet,
Fleurier, Elonee and Rigelott.

Harvest, river and peasant scenerv are among his favorite com-
positions. He has also painted portraits of his illustrious father and
uncle. Mr. Pratt married Elzina Wheeler. A noble woman she has

A Handbook of Utah Art.

107

PRATT. THE SHEPHERD AND FLOCK.

proved. The struggles of this artist and his wife have been all that his
mother foresaw.

Pratt had ready sale for the pictures he painted before his study
abroad : but the public was neglectful of him and lost interest when he
entered a more advanced field of art. Let us hope his life's great
struggle against poverty will be by him forgotten and that hereafter
he may be recognized by the people of this state. Lorus Pratt has-
never given up in his heroic fight. He has never sacrificed his noble
calling for gain. He has done what he could to remain steadfast and
true to his high ideals.

HARRIETT RICHARDS HARWOOD.

In the woman's building, World's Columbian exposition, Mrs.
Harriett Richards Harwood exhibited a still life, painted in Paris. She
was the only Utahn to receive that honor.

Harriett Richards was married to J. T. Harwood in Paris, and
remained there with him, studying, visiting, in the galleries and paint-
ing, until their return to America. She shows originality in choice of
subject and has a special aptness for still life. Mrs. George A. Smith
owns a small picture by Mrs. Harwood called ^'Goodies," in which the
qualities of honey, cake, lemon drops and other sweetmeats are surpris-
ingly painted.

It would be disappointing if Mrs. Harwood were not a little un-
usual, for her parentage is of the best. Dr. Heber John Richards is a
life-long student of philosophy and science. Mrs. Harwood, like her

108

Devotees and their Shrines.

mother, has a passion for flowers, especially house plants. She has
painted cosmos, asters, chrysanthemmiis, fruit blossoms and roses.
Handling her paint daintily she secures that elusive Uower quality.

Petunias at window is one of
Mrs. Harwood's best pictures. Her
daughter Ruth, who appears in J. T.
Harwood's story, designed and
made the beautiful collection of
hand bags shown.

LARA RAWLINS CAUFFMAN.

Lara Rawlins* CaufTman is the daughter of Senator Joseph L.
Rawlins, who has done much for Utah's advancement, and Julia E.
Rawlins, a well known patron of local art. Lara went abroad with
Miss Teasdel and returned to Paris again with her mother and brother.
Her drawing attracted attention from the time:6f her entrance to the
Salt Lake studios and through her career in France. Mrs. CaufTman's
native grace, refinement, observing power and feeling for the beautiful
show admirably in her work. She married and lives in California.
Her field is portraiture. A recent portrait of her mother reveals a gift
of a high order. A handsome baby boy is now posing for her sketches.

There is great promise in the young artists Calvin Fletcher, Waldo
Midgley, G. Watson Barrett, Florence Ware and Clyde Squires.

G. WESLEY BROWNING.

"In the citron wing of the pale butterfly, with its dainty spots of
orange, he sees before him the stately halls of fair gold, with their
slender saffron pillars, and is taught how the delicate drawing high
upon the walls, shall be traced in tender tones of orpinient, and re-
peated by the base in notes of graver hue." — Whistler's ''Ten o' Clock."

G. Wesley Browning has temperament. He is admired chiefly
for his water colors, though he paints successfully in oils. He has been
denied the privilege of art study abroad, but his intense love of nature
and close powers of observation have served him in lieu of studio life.
His charming personality, kindliness, gentleness and dignity have found
their way into his pictures. From early youth Mr. Browning roamed
the hills, canyons and mountains, searching out the wild ilowers, insects
and bird life and studying nature's varying moods. Music and art
have divided his affections, but lately he is giving more time to paint-
ing. Being a business man he can paint at intervals only, a fact that
is regretted by his brother artists, who feel the sympathetic and musical
direction of his work. Mr. Browning has been active in all art societies
in recent years. He is an authority on the Utah flora and has one of
the largest collections of native entomological si:>ecimens in the state.
He has published articles and stories in nature study magazines, which
show a wide knowledge of the life history and habits of birds. His
favorite themes are lights and shadows in running brooks, sunlight
through clouds, sunset glow and hillsides of flowers.

Devotees and their Shrines,

H. L. A. CULMER.

The late H. L. A. Culmer, according to his own declaration,
painted to please the public. He succeeded so well that at his death he
was undoubtedly the most popular Utah artist.

He was born in England and came to this country at the age of
fourteen years. He hoped to become a painter, but being governed by
circumstances he spent only Sundays and holidays at his favorite avo-
cation— and his pictures were mostly studio painted. Alfred Lam-
bourne was his first art teacher, but his tutelage under others was brief
and what success he won may be said to have been self achieved.

He was the first president of the Utah Art Institute, serving two
terms. Active in all civic lines, he was a member of the board of gov-
ernors and of the building committee of the new Commercial club. He
did considerable writing as a member of the Press club. In his younger
days, he was a member of the Wasatch Literary society and the Zeta
Gamma debating club, organized by Dr. John R. Park. He was one
of the founders of the Home Dramatic club in 1880.

Mr. Culmer compiled a list of all the attractions which appeared
at the Salt Lake Theatre from the opening night in March, 1862, down
to some ten years ago. It is a valuable record and is now owned by
the Salt Lake Theatre.

Mr. Culmer married a beautiful and gracious woman, Annette
Wells, a daughter of President Daniel H. Wells, who was one of the
foremost of Utah's statesmen.

Speaking of Culmer's work Lambourne says, ''Especially was his
knowledge of geology evident in his painting and many of his best
pieces were founded upon that science. The 'Mystery of the Desert'
and the 'Temple of Om' are scenes of southern Utah, which suggest
the magnificent action of nature in remote periods of time."

Mr. Culmer's recent death caused a shock to the entire community.
He was a man of charming personality and made warm friends. His
paintings hang in the homes of many of the wealthy citizens of Salt
Lake City, as well as in public places.

A Handbook of Utah Art. Ill

EDWIN EVANS.

No matter that Edwin Evans did not discover his gift until he was
nearly thirty years old; neither did Corot. No matter that he had a
wife and children before he entered upon the profession of art. No
matter that environment had offered little suggestion of how to utilize
his gift. Two years after his entrance to the Paris art school he was
exhibiting in the art building of the World's Columbian exposition at
Chicago with an important picture on the line, the only Utah painter
to be thus honored.

Evans and Harwood were schoolmates in a country village when
the latter was painting and sketching. He had his first art awakening
when he saw a gifted Scandinavian cutting shapes of animals from
paper — he could do that ! He soon got hold of water color, a medium
for which he has a quick sympathy and a comprehension of its peculiar
possibilities.

Evans, a Western Union telegraph operator, dispatched scenes he
loved while waiting for messages. Alonzo E. Hyde and John Beck
came to send a night message, saw his clever sketching and told him
he was an artist. Within a few months he was transplanted from a
country telegraph station to paint, brush and palette in Paris. Har-
wood credits Evans with advancing more rapidly during his two years
abroad than any of the other artist students. The artist himself admits
that he had never loved work so completely as when he was painting.

Soon after his return from Paris he, with Harwood, Hafen, Fair-
banks, Clawson, Pratt and others, organized the Society of Utah
Artists and held a picture show. Among exhibitors were also Wegge-
land, Ottinger, Lambourne, the Brownings, Mrs. Marie Gorlinski
Hughes, Harriett Richards and Herman Haag. Who does not recall
the glory of those first annual exhibitions of real art given more than
a score of years ago? The town invariably turned out to see. And
in those days people bought pictures. Strange to think back that
society attended and the wealthier class patronized the artists! The
press, too, was favorable to the best art.

Evans was chosen president of the Society of Utah Artists and
served as such many years. He has been president of the Utah Art
Institute ever since the incumbency of William Spry as governor of
Utah. Of late Evans has been absorbed in educational work and for
years has held the chair of art in the University of Utah.

Because he has had the fearlessness to hew a line and to say, "This
is art and that is not art," he has made strong friends and strong
enemies. He despises the copyist and is, moreover, intensely critical ;
but he is quick to recognize true art. He will condemn a picture which

112

Devotees and their Shrines.

from casual view, might be full of interesting detail, but upon closer
study would reveal a lack of the vital fundamentals of art.

He is quick to penetrate shallowness and demands that a picture-
must have one paramount idea with all else subordinated.

Hafen was more emotional than Evans; Evans was more intel-
lectual than Hafen. Hafen never ceased working. His devotion to
his calling carried him ahead of all the rest. It is to be regretted that
Evans has given his later years to other work than painting, but we
are not unmindful that he has spent his time in an effort to advance the
art interests of the state along educational lines.

He has been a persistent and fearless advocate of the development
of original talents among the youth of the state, and has bitterly op-
posed the importation of certain systems of drawing in our common
school curriculums — systems which sap vitality and originality, the
whole hope of art.

Sunlight effects are considered his best work. He revels in light.
It is difficult to paint yellow both in sunlight and shadow and at the
same time to keep the shadow sparkling with light as it does in nature.
In this field no other Utah painter has equaled him. It is so easy to
make mud, but Evans keep his canvas luminous. He paints success-
fully such themes as moonlight, foggy and misty weather, evening,
cattle, the lake and mountains. He is direct and virile in style.

Ib*1 fill IR^ir -^

iiiiiii !|' 1

1 1 1 1 1 y| a H

1 ^^^^B

{^■^^^^■■■^■■^^^^■^■■■■il

NEW ADMINISTRATION BUILDING, UNIVERSITY OF UTAH.
Cannon & Fetzer, and Ramm Hansen, Architects.

A Handbook of Utah Art, 113

BYRON CUMMINGS.

Archaeology is a young science and as yet not appreciated fully.
To Dean Cummings of the State University belongs the credit of show-
ing us of the West the wonderful things within our own boundaries.
He has succeeded in introducing the study into the Utah university
and has lately obtained from the legislature (1912-13) a yearly appro-
priation of $2,000 for exploration purposes.

Through his influence a Utah branch of the Archaeological Insti-
tute of America was organized in the fall of 1905 and steps were taken
to awaken a greater interest in archaeological study and research. The
following summer he, then secretary of the society, made a short trip
of exploration into ''Nine Mile" canyon in eastern Utah. This first
field trip demonstrated that that was the most northern limit of the
homes of the "Cliff Dwellers" and showed that these earliest Indians
ventured farthest north in Utah. Since then Mr. Cummings, aided by
various university students* has made six summer expeditions of many
weeks' duration into the cliff dwelling regions of southern Utah and
Arizona. The first two of these, into the San Juan country, were gen-
erously financed by Col. E. A. Wall. He also assumed the balance of
expense above the $2,000 allowed by the legislature of 1908-09, which
covered the publication of Mr. Cummings' two exceedingly interesting
bulletins, issued by the University of Utah and partly paid the expenses
of the expeditions of 1909 and 1911. In all of these trips the cost has
been kept down to the actual expenses of transportation, food, etc.
Those taking part have dug, packed and cooked as the occasion de-
manded and endured hardships cheerfully for the education and enjoy-
ment they were able to get out of the trip. The material results in
collections and data all belong to the State and are being housed in the
new fire-proof Administration building at the State University, the
whole top floor being set apart to art and archaeology. This museum
will always be accessible to the people of-the State.

In 1907, Bluff, one hundred fifty miles from the railroad, was
made the base of operations and the time spent in surveying and pho-
tographing the White canyon great natural bridges and exploring the
ruins of the homes of the ancient ''Cliff Dwellers" in White canyon,
fifty-five miles north-west of Bluff, and in Montezuma canyon and
Butler's Wash which come into the San Juan fifteen miles east and ten
miles west of Bluff, respectively. In 1908, the side canyons of Mon-

*Joseph Driggs, Sandy; John C. Brown and Andrew Kerr, Ogden; Fred
Scranton, Neil M. Judd, Stuart Young, Jay Stockman, Warren Stratton, Thos.
Harper, Geo. Rynearson and Malcoln Cummings, Salt Lake City; Donald
Beauregard and J. F. Anderson, Fillmore; A. S. Jensen, Brigham; and Leslie
Frazier, Beaver.

114 Devotees and their Shrines.

tezuma canyon were explored and a large pueblo ruin on Alkali Ridge
excavated. From this work quite a large collection of excellent pottery
and and stone implements was obtained. From here the three Uthans
(Cummings, Judd, and Lockhart) traveled about one hundred miles
into the Segie canyon country, laying plans to spend the next summer
amongst the interesting cliff ruins found there.

This was done. After some delay and hardship caused by the
high water and quicksands in the San Juan, the party succeeded in
reaching the southern shore of that treacherous stream and heading for
Oljato, Wetherill's trading post. The greater part of the summer was
spent in exploring and excavating in Segie ot Losie canyon, along the
Kayeuta wash and in the upper Segie canyons. Some very interesting
ruins of the earlier cave dwellers were found in Segie ot Losie canyon
and a fine collection of their baskets, sandals, stone and wooden imple-
ments and crude pottery obtained. In the Kayeuta wash a number of
specimens of real pottery of the best type were obtained from burials.
In the Segie canyons two large houses — "Kitsil," containing 148 rooms
and "Betalakin," containing 120 rooms — were visited. ''Betalakin"
had never been entered by white man before and very few Indians seem
to have known of it. From the excavation of "Ladder House," a ruin
discovered the summer before, some excellent material for the museum
was obtained. The party made two trips to Navajo Mt., one in July
of about a hundred miles to the south of Navajo Mt. into some deep
box canyons known as the Nitsie canyons, where were discovered three
large cliff ruins, the other in August to the north-west of Navajo Mt.
into a very rough country where they discovered the largest natural
bridge in the world, the Nornezoshie or Rainbow arch.

Having secured a leave of absence, Mr. Cummings spent Septem-
ber on the Kayeuta in Arizona and with the assistance of Roe and John
Redd and George Barton of Monticello, the month of November in
exploring and excavating in Fable Valley and Beef Basin, in the north-
western part of San Juan County, in Utah. The first of December
they again crossed into Arizona and excavated the "Betalakin" pueblo
which the party discovered the previous August. Many excellent speci-
ments of pottery, basketry, mats, sandals, cloth, etc., were secured here.
The winter of 1909 will long be remembered on the Reservation as
one of deep snows and severe cold. Necessity compelled hard work in
the day time to keep warm and the morning often found the party dig-
ging their way out from under the canopy of snow that had covered
them during the night ; yet the results paid. The return trip to Bluff,
of one hundred and ten miles, as the year of 1909 closed, was the
severest yet encountered. When the thermometer fluctuates between
15 and 24° below zero, and bacon freezes on the way from the frying

A Handbook of Utah Art.

115

pan to the mouth, both man and beast find it rather trying to camp out.

During" the summers of 1911-12-13 three large houses have been
discovered, excavated and studied, namely : ''Turkey" house, "Bat-
woman" house, and "Twin-cave" house, all in the Segie canyons in
northern Arizona. From these houses have been obtained fine speci-
mens of baskets, cloth, sandals, all kinds of implements and pottery.
From them also, have been gathered the evident foundation of several
Navajo myths that help connect the oldest clan of the Navajo with the
inhabitants of these cliff houses.

In 1912 a short trip was made to the Hopi villages and much in-
formation and material obtained which show that the Hopi are the
direct descendants of the old "Cliff Dwellers."

Dean Cummings is, naturally, enthusiastic over his chosen field,
and certainly the growing interest for the pre-historic dwellers of the
wilderness shown by his students repays him for his pains. The
public, as well as himself, may well be proud of the museum he has
founded. Its use might probably be clearer if put in his own words:

"This State should certainly have a museum of archaeology and
history connected with its university. Future generations of students
will need collections adequately representing the degree of culture at-
tained by these first inhabitants of Utah and surrounding states, and
showing the struggles through which our forefathers have passed in
laying the foundations of this commonwealth. Now is the opportunity
to collect and save these things that will speak far more forcefully than
the written page to the generations who will follow. The men of today
owe this to the young men and women of tomorrow ; and they cannot
afford to neglect this opportunity for science."

[NOTE.— Officers of our local Archaeological Institute— Rt. Rev. F. S.
Spalding, Hon. W. W. Riter, Hon. Jas. H. Moyle, Miss Kate Thomas, Dean
CHi-nmings, N. M. Judd, Col. E. A. Wall and Dr. J. T. Kingsbury.]

George M. Ottinger, by Lee Greene Rich-
ards.

Applied Art

EMMA FRANCES DAFT.

The field of art includes more than pictures and statuary. The
artist chooses the medium best suited to his self expression. Even a
coal scuttle is not intrinsically ugly — but it must remain a coal scuttle.
The extent to which it performs its function determines its claim as art.

That which the hand can fashion without brains can never be art.
Such is labor and must remain so. Such is machine work ; and speed
the day when it all shall be done by the machine ! But when the soul's
inspiration seizes upon a design by which material may be shaped to
satisfy some need, then the hand lovingly does the bidding of the brain ;
then labor is exalted into art, and the 'laborer becomes greater than
his hire." It is then he exclaims, 'T know what happiness is, for I
have done good work."

This is the motto of the students of crafts in the Salt Lake High
School.

For years I have listened to the daily marching of throngs of
school children, with the question always stirring my heart, keeping
time to their little feet, "Wherewith shall ye eat ? Wherewith shall ye
be clothed ?" But I have seen the High School boys and girls working
with their hands, learning to be self sustaining. At last self expression
is made possible for the child student. We are showing the educators

ART STUDY IN SALT LAKE CITY HIGH SCilOUL.

A Handbook of Utah Art.

117

WORK OF STUDENTS UNDER MRS. DAFT.

of our nation the way to provide efficacious art training for future
citizens.

Emma Frances Daft, teacher in the department of applied art, has
always been a champion of her beloved art. Mrs. Daft is an artisan,
technically correct, experienced as to finish of all minute details, under-
standing the principles of good construction. But she is more than
this ; she is an artist. Years of training with J. T. Harwood and in
schools of crafts, have developed her natural gifts — a refined sensitive
comprehension of all things beautiful, an inventive aptitude, a gift of
originality in shaping materials into artistic forms. Without art talent
and art training no teacher can be of any real service in this field.
Art to the mechanical is as the "savor to the broth." Through the art-
artisan we will learn true appreciation for such as painting and
sculpture.

Among the art producing peoples of pre-machinery times, appre-
ciation for the beautiful was a part of the life training. Owing to its
malleability, the skilled art-artisan wrought from copper a beauty of
expression equal to that of a plastic substance. In many examples
found in the great museums one feels a grasp of art, love of work and
the power of mind over matter. The physical power to beat the metal
into shape is" not sufficient ; the artisan's fine individuality must be evi-
dent. In that and in that only lies the value of the finished product,
establishing- both its commercial and aesthetic status.

All who serve art, no matter in what medium they work, be it
canvas, marble, plaster, wood, metal or textile, are of one family, con-
secrated to one end: to make the world beautiful. What a wonderful

118

Devotees and their Shrines.

thing to see this field of beautiful occupations opening its door to the
young. In the fourth year work at the high school jewelry is studied
as a climax to three years of training in delicate manipulations in metal
and leather. The student cuts and polishes beach pebbles, agates and
our native stones. The girls make their own rings and brooches with
the amatrice. Lamps, trays, nut sets, handbags, purses, and articles
too numerous to mention, come out of this department.

Metallography, because of its inexhaustible processes and tech-
nique, furnishes the best training for the hand. A spirit of interest
charms and holds the student ; each article he has wrought becomes his
treasured work of art. In creating each fabric he discovers and uses
the great fundamental principles that underlie all art. He feels for
beauty of form or of line. He works out an original design. He
makes a harmony in color. He has thought of balance and agreeable
proportions. Aiming for utility he discovers simplicity and uncon-
sciously stamps the whole with his own personality. Did Giotto, the
builder of the marvelous campanile of the cathedral of Florence work
differently in constructing that surpassingly beautiful piece of archi-
tecture? No, the process was the same. The difference was only in
the extent of power.

MARGARET MERRILL FISHER.

Margaret Merrill Fisher, designer and maker of real lace, inherited
art talents. Her mother Bathsheba S. Merrill, could always fashion
anything from paper, and is also a real lace maker and designer. Her
grandmother, Bathsheba W. Smith, studied drawing and painting in

A Handbook of Utah Art. 119

Nauvoo and in early days took prizes for drawing and designs which
she executed in hand woven wool, linen or cotton fabrics.

Mrs. Fisher studied design in New York, and made several hun-
dred botanical drawings for Prof. Marcus E. Jones for illustrating his
recent work on western botany, etc.

Mrs. Fisher has taken prizes at the Utah Art Institute for original
designs in lace, silk and wall decorations.

LOUISE E. JENNINGS,
DECORATIVE ARTIST.

The Salt Lake High School is
forging ahead in decorative art — the
right field of art study for eight and
nine grades. Teachers are asbo-
lutely valueless in this work without
a good foundation. Louise E. Jen-
nings has brought excellent results as
seen by the accompanying designs
done by her pupils at high school.
Miss Jennings finished a thorough
course in the Chicago Art Institute,
where her standing was high. She
is strong in her work, mentally alert
and talented. She is the daughter of
Isaac and Irene Jennings and a
granddaughter of William and Jane
Jennings. She has grasped the true
meaning of decorative art and while
firing the whole class with enthu-
siasm has the faculty of recognizing
the best touch in each individual
pupil. The absence of this trait in
teachers is what retards art growth
in schools. For while ninety per cent
of school children can develop a taste
for art by designing and making
beautiful things, only one or two of
a large class are fitted for the art of
making pictures.

History of Architecture.

By GEORGE M. ALLEN,
B. S.; E. M., Univ. of Utah; Master of Architecture Cohimbia Univ.

A History of Architecture would record man's efforts to build
beautifully. The erection of works without beauty is building; it is a
trade and not an art. Structures built for stability, strength, and
utility are properly works of engineering, and it is only when the idea
of beauty is added that they become architectural. We may therefore
define architecture as the art which seeks to combine utility with beauty
into a harmonious and pleasing whole. It is a fine art that touches the
very life of man at many points. It provides him with shelter ; with
places for worship, business and amusements ; with monuments, tri-
umphal arches, etc., for the enrichment of his cities; with tombs, me-
morials, catafalques and other structures for the needs of his complex
civilization. In point of people employed and money expended it is
surpassed by one occupation only, that of agriculture. Everyone at
some point comes in contact with architecture ; is influenced by it, and
in turn exerts an influence. It is this close universal relationship that
makes it so sure an index, a sort of personal thumb mark, of the
civilization of any time and people. The way and manner in which
the architectural ideas of any time and people are expressed depends
chiefly on the following things: (a) racial heredity, tendencies and
traditions, showing in the preference of structural forms over orna-
mental or decorative forms, or vice versa ; in the desire for richness,
dignity and grandeur; in breadth and greatness of conception; in love
of color, use of accessories such as statuary, monuments, etc. Also the
intellectual, religious, social, moral and even political tendencies deter-
mine the kind of structures, their number and also their relative sizes
and importance; (b) environment as determined by geographical loca-
tion, contact by conquest or commerce with other nations, importation
of works of art and materials and the employment of foreign artisans,
etc., resulting sometimes in a very strong influence and sooner or later
in the planting of the germ. of a new style; (c) geological conditions,
building materials at hand and availability of manufactured supplies.

Hi.storically, the life of man has been one uninterrupted succession
of external influences and hereditary influences, of causes and varying
results. Through it all tradition and custom have persisted to a re-
markable degree. To understand the results, we must know the

A Handbook of Utah Art.

121

causes, and the study of architectural history is as much the study of
the determining reasons and the varying controHing spirit, as it is of
the architectural forms themselves.

ARCHITECTURE IN ENGLAND.

Architecture Before the Renaissance. The earliest historic
monuments existing in England (as distinguished from the prehistoric
circles of stones, tumuli and harrows) are some few Saxon and Celtic
buildings, mostly towers and crypts whose exact ages are unknown.
They all show poverty in design and lack of skill in building.

With the Norman Conquest (1066) came Norman ecclesiastics
from the monasteries, which were then the centers of culture, art and
technical skill, and who, under William the Conqueror, endeavored to

rival and surpass the con-
temporary churches of
Normandy. Their system
and style of building was
one variety of the Ro-
manesque style as used
over Western Europe —

(I I ^^^^Hp ^ churches of stone, using

\l ^^^B^ j^JH ^vhere possible fireproof

^ IHIv P^H ^^^^^^''§^ vaults of stone. It

i'lWiil M^M ^^^ ^^^^ persevering at-

tempts to solve this prob-
lem of vaulting that led
finally to the wonderful
churches of the Gothic
period. Norwich cathe-
dral (1096-1135, Fig.l)
is one of the few Norman
(or English Romanesque)
cathedrals that has not
been very greatly altered
and added to. Its massive
Norman round arched
walls are used to support a Middle Period Gothic vaulted ceiling. In
Fig. 1 the four centered arches around the chancel are in the Late or
Perpendicular Gothic — the style which formed the basis of the Tudor
Gothic. In the twelfth century came a great intellectual awakening,
which with the many economic, social and political changes marked
to some extent the beginning of our modern civilization. The power
and authority of the church and the state rose rapidly and with it

Fig. 1. Interior of Norwich Cathedral.

122

Devotees and their Shrines.

ecclesiastical architecture received a fresh and powerful impulse. The
work and the style of this period (1150-1450 or 1500) are known by
the unsuitable name of Gothic ; the structural principles of which were
those of the Romanesque, but carried on to a logical conclusion. West-
minster Abbey (begun 1245), an important example of English Gothic
style development, shows a decided French influence in its flying but-
tresses, its internal loftiness and its polygonal chevet and - chapels
(Fig. 2). The "plate" tracery of the interior and exterior windows
of the chevet fix the style as Early to Middle Period English, as do
the mouldings, carved capitals, etc. There is not space 4iere to discuss
the English Gothic, from either the historical sequence or the decora-
tive forms used, and all that can be done is to refer the reader to any

Fig. 2. Interior of Westminster Abbey.

good architectural history. Care must be used in studying the English
Romanesque and Gothic cathedrals since practically all of them have
undergone important changes at various times during the Gothic Period
and again in the nineteenth century.

The Transition to the Renaissance. In domestic architec-
ture, the early Gothic houses of the better class were fortress-castles
belonging more to military engineering than to architecture. It was
not until the last part of the period and in the sixteenth century that
the better establishment of law and order resulted in the building of
manor-houses, in a debased Gothic style, called the Tudor Gothic, and
which still retained much of the feudal character of the earlier castles.
In the smaller class very few stone houses remain, but of the half tim-
bered houses of the fourteenth and fifteenth centuries very many are
still standing, wider and lower than the contemporary houses of

A Handbook of Utah Art, 123

France — but patterned after tlieni — in frames of wood with brick and
plaster fillings. Later, during the reigns of Henry VII and Henry
VIII (early sixteenth century) many Italian artisans were employed
in building. Their efforts were confined to details and resulted in
many delicately moulded plaster ceilings and friezes; works in terra
cotta and low relief and carvings after their own style. Their influ-
ence although not great, helped pave the way for the more mature
Renaissance to come.^

Elizabethan Style. With the change of religion under Eliz-
abeth (1558-1603), the then considerable commerce and intercourse
with Italy was rapidly diverted to Germany and the Low Countries,
and it was consequently from these latter that England began to draw
her foreign artisans — decorators, masons, carpenters, wood carvers,
weavers, etc. These foreigners were called in by the English master
masons to do practically nothing more than the decorating and orna-
mental parts of their nearly finished manor houses, since that was the

^The Renaissance movement became apparent in Italy as early as the
fourteenth century. The reaction from the restraint of medieval church teach-
ings, etc., led to inquiries into the various sciences and to the discoveries by
the early navigators. Above all it led to an enthusiastic study of the wealth
of classic Roman architecture scattered over all Italy. The Gothic in Italy
had been but little more than a borrowed style, and soon gave way to the freely
appropriated and altered Roman art, for the Italian artists were quick to catch
the spirit of the classic revival and it developed rapidly, at first full of grace
and freedom of decorative detail, and use of motives with great variety and
originality. Then came the formally classic Period or the High Renaissance
(1490-1550) when the "orders" were copied with increasing accuracy, with an
increase of stateliness and some loss of delicacy and freedom of design; then
the BaroQue Period (1550-1600); followed by the Decline (1600-1700).

The several types of columns and entablatures used by the Romans (100
B. C.-300 A. D.) are called the Classic Orders. The column had its prototype
in the stone piers of houses and tombs; and the entablature in the great stone
slabs or lintels resting on the piers. The steps of development we must skip.
One tvpe the Romans found in Italy; they imported three more from Greece;
altered and adopted all four of them; and practically created a fifth. The
colunms and entablatures each consist of three main members — the base, shaft,
and capital of the column, and the architrave frieze, and cornice of the en-
tablature, all of which vary in their proportions, combinations and kinds of
mouldings and motives used. Each order was fairly definite in itself — the
result of convergent practice extending over a considerable time. The five
orders are: the Tuscan — the simplest and strongest; the Doric, in which there
are two varieties of entablatures; the Ionic, with its curved volutes; the Corin-
thian, and the Composite. Vignola in the sixteenth century drew these Orders
to what he considered the best proportions, and with the best combinations of
mouldings, as determined by the measurement and study of the numerous
Roman monuments. To the reader is urgently recommended the study and
familiarization of Vignola's Orders; of the architectural monuments and civili-
zation of the Romans, as well as those of the Italians during the Renaissance.
English Renaissance architecture, both as to spirit and forms used is funda-
mentally based on the Italian, and a real understanding of the former requires
a knowledge of the latter.

124 Devotees and their Shrines.

only type of building going on then to any extent. The German in-
fluence is seen very strongly in the wood screens, mantel pieces, ''strap-
work" gables, plaster ceilings, etc., of the period. This ''strap-work"
— a curious flat relief carving, resembling leather or metal straps
applied with nails or rivets — was used with little judgment on all possi-
ble surfaces. The "orders" began to be used in the minor decoration
of doors, windows, mantels and chimneys. The heavy Tudor battle-
ments were replaced by open work balustrades, and the pointed Tudor
Gothic arches gave way to square topped openings. Ceilings were
treated with elaborate interlacing patterns in low relief, and with the
increasing use of woodwork the manor houses took on a more home-
like air.

Elizabethan houses planned around a quadrangular court soon
gave way to those with three-sided courts, and these in turn were re-
placed by houses with E and H-shaped plans, in which rigid detailed
symmetry was observed. The small house was rectangular, with the
hall or living room in the middle; the kitchen at one end, and the living
rooms at the other. In both the large and small houses, the hall was
the center of the plan, with rooms on either side, access to which was
from the court or from adjacent rooms, for hallways or corridors were
not introduced until late in the reign of Elizabeth. The hall lost its
importance and became just an entrance hall, opening into the principal
staircase hall and surrounded by living rooms, parlors, etc. ; with the
long gallery — a development of this period — on the second or top floor.
The sixteenth century contributed the long gallery, the grand staircase
and the superabundance of windows. Some of the important buildings
of this sty'e are Longleat House (1579); Wollaton Hall (1580);
Hardwicke and Charlton Halls, and Burghley, Hatfield, Holland and
Montacute Houses (1580-1600). Montecute House, (Fig. 3), shows
little German or Italian influence. It is rather the work of English
builders, in the Tudor style as generally modified by these foreign
influences. The balustrade between the flat gables of the roof, and the
square carved panel over the entrance door are the only typically
Renaissance details visible.

Jacobean Style. Building traditions continued much the same
under James I (1603-25) as they were in the previous reign. Details
of classic origin came into more general use, but greatly altered and
treated without grace and lightness. Examples of this style are Bo-
kover Castle (1613), and Heriot's Hospital, Edinburgh.

Classic Period. The English spirit of conservatism was respon-
sible for the slow yielding of the Tudor Gothic traditions to the mature

A Handbook of Utah Art.

125

classically correct Renaissance as introduced finally by Inigo Jones.^
Of his early works, the Banquet Hall, at Whitehall (begun 1619) is a
notable example. It is a composition in two stories, rusticated through-
out; adorned with columns and pilasters, and contains a fine vaulted
hall in three aisles. It formed a part of the design for a Palace at
Whitehall, a big conception excellently planned and well studied in
details; but beyond the exhausted resources of the kingdom. Most of
Jones' works show the same feeling of dignity and simplicity. Im-
portant examples of his work are St. Paul's Convent Garden (begun
1631), now altered and modernized; Raynham Hall, Norfolk (1636) ;

the south front and a suite

of rooms of Wilton House,
near Salisbury, and the
villa at Chiswick, a some-
what reduced copy of Pal-
ladio's Villa Capra near
Vicenza in Italy; and a
front to St. Paul's, Lon-
don— an unhappy addition
of Renaissance architec-
ture to a Gothic building.
John Webb (1611-
74), a pupil and draughts-
man of Jones, carried to
completion the construc-
tion of many of Jones' designs after his death in 1652. Webb was an
apt pupil, but he lacked balance and mastery of detail, as most of his
designs show. Thorpe Hall (1656), one of his greatest successes, is
singularly dignified; the interior is richly ornamented with paneling
and plaster work ; the plan is oblong, with the main rooms on the first
floor above a high basement — a common practice of the day, — and the
exterior is of stone, in three stories, with a steep pitched roof with
dormers, and covered with slate.

Along with the Renaissance, as introduced by Inigo Jones, the
Late or Perpendicular style of Gothic persisted in church architecture,
due mostly to the slow changing of religious thought and ritual needs.

Entrance Front of Montacute House,
Somersetshire.

2]y[Q(]gj.,-j architectural history is mainly the record of the works of indi-
vidual architects, where the architect is responsible for the entire design; as
contrasted with the medieval method of building, by trade guilds, etc. — where
often not more than the general scheme was determined beforehand, and the
design and construction left to the guilds themselves, who built according to
their acquired knowledge and their traditions. Since a modern building is so
much the work of one man, or an architectural firm, it expresses the person-
ality of the architect in many ways — a truism well to remember.

126

Devotees and their Shrines.

Sir Christopher Wren (1632-1723), the greatest of Jones' suc-
cessors, was particularly successful in parish church architecture, of
which St. Stephens', Walbrook, is most admired. It has a rectangular
plan, divided into five aisles by rows of columns, and in the central
portion a circular dome 45 feet in diameter is supported on arches
springing from a heavy entablature on eight columns. He may also
be called the inventor of the English Renaissance type of steeple, in
which a pyramidal or conical spire is fitted to a square tower or belfry,
with motives between to make a harmonious whole. The steeple of
Bow Church, Cheapside, is the most successful example of the type.

It-'

iimiii

Fig. 4. Exterior of St. Paul's, London.

After the great fire of London in 1666, in which St. Paul's was burned.
Wren was ordered to prepare drawings for a new St. Paul's, to replace
the former Gothic one, and the plan of which as finally accepted, is that
of an English Gothic, with its typical great length of nave, and square
ended apse. The general dimensions are: length, 480 feet; width of
transepts end to end, 250 feet; diameter of centra! area under dome,
108 feet; height of inner dome, 216 feet; and to the top of the lantern
on the exterior dome, 360 feet. The style is strictly Italian Renais-
sance and of dignified and sober design, although somewhat lacking in
variety and inspiration. The exterior walls are treated with two
stories of corinthian columns, the second story being merely a screen
to hide the clear story and to give greater height and mass to the long
exterior. The west front with its two storied porch and bell towers
is more successful, and next in interest to the dome, which, dominating

A Handbook of Utah Art.

127

Fig. 5. Interior of St. Paul's, London.

the church; with its high drum and impressive peristyle gives to the
whole a signal majesty of effect. The dome consists of three shells,
the inner 216 feet high, enriched with an Ionic Order, paintings, etc.;
the middle shell — a cone of brick to support the stone lantern sur-
mounting the exterior dome of wood. St. Paul's is the most imposing
modern building in England and ranks among the first five or six of

Europe. Wren also did the
pavilions and colonnade of
Greenwich Hospital, his best
work in public buildings; the
Sheldonian Theatre, Oxford,
and Trinity College Library at
Cambridge.

The Anglo Italian style of
Jones and Wren continued
through the eighteenth century.
Between 1700-1750 a number
of important county seats and
some churches were erected.
The leading architects of the time were Van Brugh (1666-1726),
Hawksmoor (1666-1736), and Gibbs (1683-1754). To Van Brugh
belong Blenheim and Castle Howard, both showing skilful handling
of plan and mass, and a successful striving for grandeur and variety.
Hawksmoor, a pupil of Van Brugh, was the architect of St. Mary's,
Woolnoth, the exterior of which was designed without the orders, by
rusticating the entire wall surface and placing the windows in large
recessed arches; St. George's, Bloomsbury, and the new Quadrangle
of All Souls at Oxford. James Gibbs did St. Martin's-in-the-Fields,
London, (1726), a church with an impressive Corinthian portico and
a steeple apparently "placed on the roof" with no visible line of support
from the ground, a device open to criticism, yet giving an effect as a
whole of grandeur and harmony; Radcliffe Library, at Oxford (1747,
Fig. 6), a circular domical hall surrounded by rooms and alcoves, the
exterior of which is treated with coupled columns, set on a rusticated
lower story.

Sir William Chambers (1726-96) was the best known of the later
eighteenth century architects, chiefly on account of his Treatise of Civil
Architecture, and the extension and altering of Somerset House, Lon-
don. Robert Adam, one of the brothers Adam, who were known for
their interior decorating, and mantel pieces, etc., designed Keddlestone
Hall, and Edinburgh University. The two Dances were the architects
for New Gate Prison, at London (recently demolished), and the

128

Devotees and their Shrines.

Mansion House (Fig. 7), a design in three stories using a colossal
Corinthian Order, an entrance portico, and an attic story treatment
for the third floor. The style is more Roman than Renaissance and
belongs to the classic Roman Revival. The architecture of the eigh-
teenth century was mostly respectable, and often dignified, yet it was
a period peculiarly lacking in spontaneity and artistic creativeness.

The Classic Revivals. In Europe the Renaissance movement
had practically ceased in the early eighteenth century, and during the

subsequent reaction and depres-
sion the taste swung to Roman
Architecture, not so much for in-
spiration as for literal copying.
The result was a decided gain in
the splendor of the streets at the
expense of interior proprieties and
conveniences, which were greatly
subordinated. The Roman Re-
vival was superseded by the Greek
Revivai near the end of the eigh-
teenth century. Interest in the
architecture and art treasure of
Greece was given a powerful start
by the expedition of Stuart and
Revett in 1732.

In England the Renaissance
style of Wren and Gibbs and their
successors continued until super-
seded by the Greek Revival, but
not without a distinct tendency to
the Roman, spirit and motives, which show in the Royal Exchange
(1789, restored 1846); in the Mansion House, already mentioned
(Fig. 7), and in many public buildings of Dublin, and Bath. The
Greek movement began to supersede the Roman and in the Bank of
England (1788), by Sir John Loane, it had its first important monu-
ment. The order used is a close copy from the Greco-Roman order
of the round temple at Tivoli, applied to a facade too low for its
length, and set on an insufficient stylobate, or platform. But there
is a certain effectiveness about the recessed colonnade and unpierced
walls. The British Museum, by Robt. Smirke (1781-1867) is an
attempt in a more pure Greek Ionic style, but the facade is a mere
frontispiece, applied to a poorly planned and commonplace building.
English architects apparently did not realize the bareness of Greek

Fig. 6. Radcliflfe Library, Oxford.

A Handbook of Utah Art.

129

architecture when stripped of its scultpure and color. The British
Museum in particular would have been greatly bettered by the judic-
ious use of carving and statuary groups. The Fitzwilliam Museum at
Cambridge (Fig. 8), by Basevi, was more happy, of better proportions
and avoided the trouble of several stories of windows in the height
of the order, but it is as much Roman as it is Greek. The most suc-
cessful of the British Greek designs is St. George's Hall, Liverpool, by
Elmes (1809-46). The exterior, with its imposing peristyle and
porches, is Greek in spirit and detail, but the interior with its great
hall, is really Roman. The Greek Revival affected domestic and
ecclesiastical architecture of the time to a great extent, in spite of its
lack of flexibility. In sepulchral monuments there are several worthy

Fig. 7. Mansion House, London.

of mention, among these are the monuments to Robert Burns and
Dugald Stewart, both in Edinburgh, and inspired from the Monument
of Lysicrates (330 B. C.), at Athens.

The Victorian Gothic. While the Greek Revival was still de-
veloping in the early nineteenth century, a group of students of Eng-
lish Medieval Architecture started a movement for the revival of Gothic
as the national style. Led by the two Pugins, Brandon, Rickman and
others, about 1830-40, the first attempts were travesties. Later, with
the increasing skill and knowledge, the movement became more con-
sistent, and tended more to archeological correctness than to freedom
of design. During this time a great number of restorations of me-

130

Devotees and their Shrines.

dieval buildings were carried on, doubtless contributing a great deal
to the restricting of artistic creativeness. Between 1850-70 this
archeological correctness gave way to a new spirit of design, that of
adapting the Gothic forms and principles to modern requirements.

Fig. 8. Fitzwilliam Museum, Cambridge.

This movement is called the Victorian Gothic. Scott, Street, Water-
house, Burges and others were the architects of many buildings in the
style; chief in size and cost and also the most successful of which was
the Parliament Houses, at Westminster (Fig. 9), begun in 1839 by

Fig. 9. Parliament Houses, Westminster.

Sir Charles Barry (1789-1850) but more in the Perpendicular Gothic
than the Victorian. It is imposing in its simple masses, its details are
refined and carefully studied, but too minute, and the plan is some-
what confused. Other monuments are the Assize Courts, at Man-

A Handbook of Utah Art. 131

Chester; the New Muesum at Oxford, and the New Law Courts, Lon-
don, by Street. Most of the buildings of this period give the impres-
sion that the architects were not wholly masters of the style ; that the
style itself was not entirely suitable to adaptation to modern secular
needs. The Natural History Museum at London, by Waterhouse
(1789) is a study in Romanesque, but otherwise similar to the other
examples mentioned. The church architecture is characterized by
almost unfailing good taste and dignity, and simplicity of design.

In the last thirty years there has been quite a general return to the
Renaissance principles, and the results are seen in a great variety of
buildings, in which the Renaissance forms have been treated with in-
creasing freedom and good taste. The Albert Memorial Hall (1863)
is a very early example of this movement, and other later buildings
are the Lnperial Institute, by Colcutt; the Oxford Town Hall, and
the new South Kensington Museum, by Webb.

In domestic architecture the ''Queen Anne" style was popular for
a while ; based on the brick architecture of Queen Anne's time, a rever-
sion from the excessive use of stucco and plaster, to red brick, windows
of small panes of glass, and to slate roofs. It is in residences that the
most advance has been made in the last few years, although there
have been many large mansions and schools designed in a free 1\i(lor
or Collegiate Gothic.

At the present time British architecture is still inferior to the
French, in monumental feeling, and in freedom and richness of detail,
but it is superior in the picturesque handling and variation of masses.

ARCHITECTURE IN THE UNITED STATES.

The Formative Period. The American colonists brought the
tastes and customs of their mother countries, of civilizations long estab-
lished, to the New World, a country of no civilization and no developed
resources. All energy of thought and labor was necessarily given to
subduing nature — to the detriment of education and the finer arts.
With the successful conquest, however, and the increase of commerce
and wealth, there came some leisure, and with it the fine arts appeared
in a few spots peculiarly favorable, but governed of course by the taste
and traditions of the mother countries. It was from England, with
whom the colonies had the most commerce, that the new arrivals and
influences came, and to whom the colonies looked for inspiration and
standards of education and living. It was only with political and

132

Devotees and their Shrines.

commercial independence, with high national culture, and development
of natural resources, that the arts began a really national growth, yet
even at the present time, in this twentieth century, architecture has not
developed into a wholly independent national style.

The Colonial or Georgian Period. Very few of the seven-
teenth century buildings were of stone; in the Southern and Dutch
colonies houses were often of brick, imported from Europe ; while the
New England houses, especially, were made of wood. This wide-
spread use of wood had much
to do in determining the form
and style of the architecture of
the colonies. Of the very early
examples, as for instance the
Town Hall, Williamsburg, Va.,
and St. Michael's, Charleston,
both attributed to Wren, and
many manor houses and
churches in Virginia, the most
that can be said is that they are
simple and pleasing in propor-
tions, but without architectural
elegance, while those in New
England are even simpler.

Beginning about 1725, and
continuing to the Revolutionary
War the rapid increase of popu-
lation and wealth caused a great
advance in the architecture, with
the development of a style based
on English architecture of the
reigns of Queen Anne (1703-
14); George I (1714-27), and

Christ Church, Philadelphia.

George II (1714-60) ; but freely modified on account of the general
use of wood, and because of the scarcity of trained architects. This
style period is called the Colonial, or Georgian, although "Colonial" is
technically the better word. The interiors reflect the good tastes of
the time, and contain much wood work of artistic quality, imported
from England. Church architecture of the time was influenced by the
Wren (1632-1723) and Gibbs (1683-1754) types of church, and the
steeples are especially interesting. Examples are : Old South Church,
Boston; St. Paul's, New York, of stone (1764), and Christ Church,
Philadelphia (1727-35, Fig. 10), by Dr. Kearsley. The cut shows

A Handbook of Utah Art.

133

the service or chapel end, hghted by a "Pallachian motive" window.
Note the clear expression of galleries on the interior by the two stories
of windows on the side walls. The church is in general, of the same
feeling and character as St. Martin's-in-the-Field, London (1726), by
Gibbs, and is one of many equally worthy of note. The interior of
Christ Church, Hartford (Fig. 11), differs from the majority of church
interiors in its segmental barrel vault and in its general spirit, which,
although Colonial, contains considerable classic Renaissance feeling.
The slenderness of the columns and pilasters, without giving a sense

of weakness, adds to the
Colonial effect, which in all
its branches is characterized
by naive simplicity, and slen-
der, refined and delicate
detail.

In dwellings the varying
tastes of the different colonies
are very evident. Virginia

^^^^;^^gF ^^^\ r- ^^^"^ and Maryland abound in

l^^^^-^^Xi '^-^ -'__ ~^^ brick manor houses, set in
H^'^^'^^S'; 1 id .: _ ._ ^ ^^^ — __ .,^ extensivegrounds, and whose
— ^^- ■^""~'""^' -^ ''""^' ' — -^ interior finish is often elab-
orate and skilfully done. The
Harwood and Hammond
houses at Annapolis, Md. (1770), and Westover (1737), Carter's
Grove (1737), and the Shirley House (1700, Fig. 12) in Virginia,
are examples. Shirley House, as is seen from the date, is very early,
yet it is Colonial in spirit and form, for the simple rectangular plan
with its regular arrangement of windows, the straightforward cornice
and roof with its plain dormers, the large chimneys, and the air of
frankness about it all, are typically of the "period." The two-storied
porch was a device seldom used ; generally the portico was made part of
a colossal order. Note the naive manner of placing the cellar entrance
against the side porch. Many of the Southern Colonial houses had
rambling wings on either side of the main or central part and typical
verandas, as distinguished from the more compact New England
houses which In plan were often simple rectangles, and which lost
something of stateliness from less commodious settings and approaches.
The influence of the Brothers Adam type of decoration and furniture,
and of the Sheraton furniture is seen in the quaint and often charming
variations of classic motives. The Sherburne House, Portsmouth
(1714) ; the Rumford House, North Woburn, Mass., and the Craigie

Fig. 11.

Interior of Christ Church,
Hartford.

134

Dci'otecs and their Shrines.

or Longfellow House, at Cambridge, Mass. (1757, Fig. 13), are typ-
ical examples. Roofs were generally either gambrel or hipped, with
the central part often made nearly flat and balustraded, while door-
ways often showed notable elegance and refinement of design.

Of public buildings, the Colonial has little to show, there were no
large cities, for New York, Philadelphia and Boston were still villages ;
a little overgrown perhaps but still rural. The public buildings — they
were mostly town halls and court houses — were small and inexpensive.
The Old State House and Faneuil Hall, Boston ; the Town Hall, New-
port, R. I., and the In-
dependence Hall, Phila-
delphia, are not striking
architecturally.

The Early Re-
publican Period. Fol-
lowing the Revolution
the need of buildings
for state and national
government, led to a
more monumental phase
of building in stone,
in which colonnades,
domes and cupolas or
bell towers were regard-
ed as indispensable fea-
tures of civic architec-
ture. Churches contin-
ued in the Wren-Gibbs
style, but with greater
classical correctness; of which there are several examples in Con-
necticut. In domestic architecture there was some decline in the re-
finement of details, except in some cases where the French influence
of the Louis XVI style showed in delicate stucco work and interior
decoration. This same French influence shows verv strongly in the
New York City Hall (1803-12, by McComb and Mangin, Fig. 14)
in the delicate richness of the Renaissance forms used — a characteristic
of the Louis XVI period. The original Capitol at Washington, that
is, the central part of the present building (by Thornton, Hallet and
Latrobe, 1793-1830); the State House, Boston (1795), by Bulfinch,
and the University of Virginia (1817, restored 1895), by Thomas
Jefferson, — which was, by the way, the first American University to
adopt a definite plan for architectural growth, — are the most important

l'""' '

^^M^..

It wm

ijiil.-' ^

L , ^/W' ^ff- B

Fig. 12. Shirley House, Va.
(Copyright, Detroit Publishing Co.)

A Handbook of Utah Art.

135

examples. The Library of the Univ. of Virginia (Fig. 15), the
"center" of the group of buildings, which *'were to be models in the
forms of present antiquity," shows the classic style which Jefferson
decided was most appropriate, and was inspired by the Pantheon, at
Rome (second century, A. D.). But the use of windows and brick
walls, and the smaller scale of the building with its consequently dif-
ferent treatment, gives it an appearance and style not wholly Roman.

The Revivals. The influence of the European Revivals began
to appear late in the eighteenth century, and reached its culmination
about 1830-40, during which it affected all types of buildings; pro-
duced numerous attempts in the brick and wood domestic architecture,
but left its impress most strongly on Federal architecture and govern-
mental buildings of the states and cities. One of the first examples

Fig. 13. Craigie (Longfellow) House, Cambridge.

was the White House, or Executive Mansion, at Washington, by
Hoban (1792), containing both the Renaissance and Roman feeling,
and recalling the large English country houses of the times. The
Greek Revival began to replace Roman types as early as about 1820
and thereafter dominated public architecture of the country for nearly
thirty years. The Treasury and Patent Oflice at Washington, the
Philadelphia Mint, the Boston Custom House, the Old Custom House
and Sub-treasury (Fig. 16), at New York City; a number of state
capitols ; and the Marine Exchange and Girard College at Philadelphia
are conspicuous examples of variable success in the style. The Sub-
treasury is rectangular in plan, and of straightforward design, im-
pressive in its well proportioned simplicity, and without ornament —
an omission in keeping with the building's character, — while the low

136

Devotees and their Shrines.

pitched pediment, entablature and columns are typically Greek. The
buildings of the period, although well built, lacked the free mastery of
adaptation of the Greek forms that was possible with the Roman, most
probably because the Roman architecture itself was flexible and of
universal application, covering a multitude of buildings with almost
as many combinations of architectural forms. But even with its un-
adaptability, the Greek Revival produced on the whole more satisfac-
tory results than in either England or Germany. The Capitol at
Washington was much enlarged during this Revival period, by the
addition of end wings with five Corinthian porticos, in the Roman
style rather than the Greek, while the Dome, by Walter, added in 1858-
73 as an after-thought, and made of cast iron instead of stone — because

u;.iiyyj

!lf

Fig. 14. New York City Hall.
(Copyright, Detroit Publishing Co.)

of weak foundations, — is of successful and impressive design. It gives
a noble aspect to the building, and by its domination ties the three
pavilions together into a single comf>osition — a sort of decorative and
impressive pedestal or base course leading up to and helping the
dome itself.

The War Period. From 1850-1876 political and industrial ac-
tivity occupied the public mind to the detriment of the finer arts. After
the Civil War came a period of great development of the mining re-
sources and manufactures, — a period of widespread commercial activ-
ity, but of little artistic feeling. The civic and church buildings of the
time show this, among which are the Capitol at Albany, and the
Municipal Building at Philadelphia, both full of fundamental errors of
planning and detail. The greatest monument of this period, subor-
dinate only to the Capitol at Washington, whose completion was con-

A Handbook of Utah Art.

137

temporary with it, was St. Patrick's Cathedral, New York City (1858-
86, by Renwick, Fig. 17), a Gothic church, which, if somewhat cokl
and mechanical in detail, is of pleasing general design. The west front
is particularly successful, and the interior shows two distinct European
influences, English in the lierne ceiling vault, and in the multiplicity of
mouldings on the piers and pier arches, and the French in the polygonal
ending of the apse and in the window tracery. Trinity Church (1843,
by R. M. Upjohn) and Grace Church (1840, by Renwick), in New
York City, although early, are examples of this modern Gothic, while
among the last of the civic buildings w^ere the State Capitol at Hart-
ford, Conn., by Upjohn, and the Fine Arts Museum, at Boston. Of

the Federal buildings, by Mul-
let, most of which were unin-
spired, the New York and Bos-
ton Postoffices, and the State,
Army and Navy Department
Building, at Washington, are
examples, all of them of me-
chanical design.

The Modern Movement.
In the years between 1870-1880
there were many things to stim-
ulate the growth of artistic taste
and of interest in building. The
great fire in Chicago (1871),
and in Boston (1872), opened the way for many new buildings. The
sound revival of business after the disastrous panic of 1873, and the
rapidly increasing travel to Europe, began to influence the artistic spirit,
as did the establishment of Schools of Architecture at Boston (1866)
and other cities, and the opening of many public art museums. In
architecture the personal influence of two men, trained in the Paris
Ecole des Beaux Arts, was very noticeable, that of R. M. Hunt (1827-
95) and H. H. Richardson (1828-86), and with them others of less
fame, but of high ideals. The many works of Richardson, in a free
version of French Romanesque, were of powerful and personal design,
so much so that, although creating widespread interest and many fol-
lowers in the profession, they did not touch a sufficiently repsonsive
chord, and the movement lapsed soon after Richardson's death. Trin-
ity Church, Boston (Fig. 18), his earliest important work, shows much
of his manner and the well balanced force of his designs. Throughout
all his work there is striking contrast between massive stoniness and
delicate carved detail, which by their very contrast accentuate each
other. In the Centennial Exhibition at Philadelphia (1876), American

Fig. 15. Library University of Virginia.

138

Devotees and their Shrines.

people were, for the first time on their own soil, brought into direct
contact with the art and manufactures of Europe. The result of the
exhibition was immediate and affected nearly every branch of en-
deavor; caused students to throng to the centers of Old World art;
raised the standards of artistic excellence at home, and helped the de-
velopment of important and widespread art industries,. Another in-
fluence in the same direction was added by the Columbian Exhibition
at Chicago in 1893, in the Renaissance style, but thi stime the effect was
chiefly upon architecture, and the Renaissance movement thus popu-
larized has been gener-
ally in use since. The
training of increasing
numbers of Americans
in the French Architec-
tural Schools and under
French influence has led
to s. growing apprecia-
tion of monumental de-
sign in planning, com-
position and setting of
buildings, rather than in
the acceptance and im-
itation of French mo-
tives and models. An-
other growing modern
tendency is ecclecticism,
or the free use and
choice of styles, which
choice and adaptation,
however, is most often
directed by the designer to the advantage of the work in hand.

In commercial buildings there has been a development of new
types of excessive height, due to the modern demand for fireproof con-
struction; for well lighted buildings; for elevator service, and for
concentration of business over limited ground area — all made possible
by the modern use of structural steel and reinforced concrete. To
render a building of many stories pleasing to the eye, especially when
built on an irregular site, is a difficult problem, to which as yet there
has not been a wholly successful solution. There have been, however,
some notable achievements in this line, in most of which there has
been clearly shown the principle of treating the lower part of the
building as a well marked pedestal or base, and the top stories as a

<j^

1
1

!
1

Fig. 16. Old Sub-treasury, New York City.
(Copyright, Detroit Publishing Co.)

A Handbook of Utah Art.

139

rather ornate crown or capital, with the intervenino- stories of com-
parative simph'city — the whole su^j^gestino^ a vertical construction or
decorative member with its base, die or shaft, and crownin^^ cap. In
some instances the interior steel skeleton is expressed on the exterior
by slender vertical piers extending from basement to roof, as is often
done in the Middle West, while in the East the walls are generallv
treated as thoujoh of masonry. Of the style forms used — and there
are modern buildings in all the historic styles — the tendency is, with
very few exceptions, to use these forms in a decorative way onlv, as a
dress for the modern frame within. This subordination of style mo-

Fig. \7. Interior cf St. Patrick's Cathedral, New York City.

tives and details and gradual accenting of the structural lines, with the
tendency towards expression in two or three forms, marks the begin-
ning of a national style.

It is in Residential work that architecture has its most varied and
typically American treatment. The frankness and the artistic feeling
with which the demands of American climate and modern domestic
life have been treated have resulted in the logical expression of interior
arrangement in the exterior, in pleasing and often picturesque manner.
The disapearance of the parlor, the increased importance of the living
room, the staircase hall, and the typical veranda, have been factors in
this modern evolution. Materials of construction have caused varia-
tions of shape and style in different sections of the country; in the
East, Middle West, and on the Pacific Coast, the use of wood pre-
dominates, while throughout the Rocky Mountain region the building

140

Devotees and their Shrines.

material is brick. In the last few years hollow tile and concrete have
come into extensive use, while in the Pacific states the stucco ''Mission"
style is prevalent; derived from the numerous missions, scattered
churches, and the few secular building's, built, under Spanish dominion,
mainly between 1770-1800 and influenced by the Churrigueresque
period of Spanish Renaissance. The detailed style treatment of resi-
dences is very variable, most of them cannot be called anything but
American even while based on and using many masses and forms of
historic styles. The larger country houses generally adhere closely to
some particular building or phase of a style period, and in interiors,

historic accuracy down to minute
details is commonly desired and
often in as many different styles
as there are suites of rooms — an
arrangement giving a refreshing
variety and change if well con-
ceived and harmoniously carried
out, but unsuccessful in the smaller
houses, where consistency is need-
ed to make an impressive and de-
lightful whole.

Examples of Recent Arch-
itecture. American architecture
has generally been less successful
in public, administrative, and ec-
clesiastical work than in the com-
mercial and residential types. In
the semi-public architecture, such
as hotels, theatres, clubs and
libraries, there are many note-
worthy examples of successful de-
the Ponce de Leon Hotel, at St.
Augustine, Fla., in a free version of the Plateresque or Early Spanish
Renaissance; the Auditorium Theatre at Chicago; and the Madison
Square Garden and the Casino Theatre at New York City ; all erected
1880-90. Of later examples the Century, Metropolitan and University
Clubs at New York, and the Boston Public Library (all by McKim,
Mead and White) ; the Carnegie Library at Pittsburgh ; the Congres-
sional Library at Washington; the Minnesota State Capitol at St. Paul
(by Cass Gilbert), and the New York Public Library (by Carrere and
Hastings, Fig. 19), show in varying degrees the increasing capacity of
American architects for monumental design. The New York Public
Library leans a little towards the classic French Renaissance in exterior

Fig. 18. Trinity Church, Boston,
sign; among the early ones being

A Handbook of Utah Art.

141

and interior treatment, but is at the same time American. There has
been much* architectural activity in educational buildings the last fifteen
years; one of the first important undertakings being that of the Uni-
versity of California, which in 1898, after an international competi-
tion, accepted the design of E. Benard of Paris for its magnificent
monumental group plan. In New York City the Law Library of
Columbia University, a strikingly noble and impressive building in
neo-Greek, with other of the University Buildings, and the New York
University group, all by McKim, Mead and White, and the interesting
neo-Gothic group of the New York City College, by G. B. Post; the
project for the Washington University at St. Louis, and those of many
other imiversities and colleges are worthy additions to the rapidly
growing list. Among them might be added the improvement in

Fig. 19. New York Public Library.
(Copyright, Detroit Publishing Co.)

process at the Military Ccademy at West Point, by Cram, Goodhue
and Ferguson, and at the Naval Academy at Annapolis, by Ernest
Flagg. In ecclesiastical architecture the preference for small parish
churches, treated more as audience rooms than rigid places of worship,
has retarded or prevented the building of many monumental church
buildings. Yet there are some such monuments of great dignity and
beauty, in both the neo-classic and the neo-Gothic style. Among the
latter, one of the most conspicuous and successful is St. Thomas'
Cathedral at New York City (by Cram, Goodhue and Ferguson, Fig.
20), in which the utiliation restrictions of lot size, seating requirements
and interior proportions, etc., played a very important role in deter-
mining the final plan. The Cathedral shows much French influence,
in the plan arrangement, in general and detailed interior and exterior
treatment and forms; and some English in the square ending of the
aspe, and the absence of flying buttresses. It is a good example of

142

Devotees and their Shrines.

well-governed ecclecticism in which harmony of effect and spirit, and
honesty of materials and construction were deemed essential. Mention
should be made of many recent Federal buildings (court houses, post
offices and custom houses), by various architects in competition. The
New York Custom House, by Cass Gilbert, and buildings in Washing-
ton, Indianapolis, Cleveland, and
other cities, are worthy of men-
tion. The tendency to award the
designing of all classes of impor-
tant public buildings by competi-
t'on instead of by personal or po-
litical favor, has resulted in a
marked improvement in the quality
of American architecture.

The tendencies underlying the
apparent confusion of styles, in
modern architecture, are still
somewhat hidden. But the use of
new materials and methods of con-
struction; increased attention to
details, and the growing sense of
monumental planning, have left an
impress on modern planning, pro-
portions and artistic composition,
irrespective of the styles used.
This new movement with its not
wholly successful efforts to adapt
or evolve appropriate style motives
for the developing structural
forms, and the endeavor to convey a consistent impression of character
in each type of building, is in a state of transition, and open to criticism
in several respects, but it appears to be full of life and promise for
the future.

ENSIGN WARD CHAPEL.

The accompanying design for a meeting house, Sunday school,
and amusement hall, has been prepared for a corner site of 165 feet
square. The auditorium and amusement hall are separate, but are
connected by an entrance common to both. Sunday school class rooms
occupy the lower story under each building. The auditorium is placed
farthest away from the car line, and the main entrance is interposed
to eliminate as much as possible the noise of passing cars. The design
of the auditorium has departed from the customary, and in most in-

Fig. 20. St. Thomas' Cathedral,

New York City.
(Copyright, Detroit Publishing Co.)

A Handbook of Utah Art.

stances objectionable method of placing the choir either in front or
behind the rostrum, by arranging the choir in one of the symmetrical
bays at the side of the audience, raised sufficiently above the main floor
for sound projection. The natural lighting is arranged so that no
offending ray of light will be directly in the eyes of either speaker or
audience, and during the evenings, no electric light bulb will be visible
in any part of the building. Separate rooms with a vault are provided
for the bishopric, the Sunday school superintendent and secretary, a
wash room for those administering the sacrament and rooms for the
choir. Entrance to the rostrum can be obtained from the exterior of
the building. A side entrance close to the rosturm has been provided
for the use of funerals. The amusement hall — the building to the right
— has a floor area of 2,600 feet. The stage is 30 feet by 21 feet, and is
provided with a rigging loft. Men's and women's retiring rooms are
provided with every convenience. A lantern booth is arranged for
picture displays. A wide stair adjacent to both auditorium and amuse-
ment hall provides means of communication between the upper and
lower stories where the class rooms are arranged in varying dimensions.
The primary and kindergarten rooms are close to the main entrance,
will face due south, and are thus provided with all the sunlight required.
The Relief Society room is separate from the class rooms, is 38 feet by
17 feet, has kitchen and storage rooms adjoining. The class rooms
near the Relief Society room are so arranged that by means of folding
doors, one large room 57 feet by 23 feet can be used as a banqueting
hall. The building throughout will be warmed and ventilated by means
of a Sturtevant fan in the basement and inlets for the warmed fresh air
under the seats. The exterior of the building will be finished with
white brick. The architects of the building, Monson and Price, have
each had more than twenty years careful training in designing.

144

Devotees and their Shrines.

ARTISTIC GARDENING.

LEILA MERRILL ALLEN.

The best time to plan a flower garden is in winter. To get the
ensemble draw a map to a scale of your home grounds. Lay out
walks, lawn, flower beds and garden. It is easier to change your plan
than to change your garden. Every garden should have a theme to
which all other parts relate. This may be the residence, walk, or perhaps
a summer house. The theme of my home is the living porch. Through
it I have sought to unify the life in the home and the life in the garden.
Around this porch are grouped the growing things and from it radiate
the paths.

Lawn and Shrubs.

Before planting the lawn, dig deeply and free the earth from
stones. Keep the center open, massing the flowers at the boundaries
against the sheds and between the walks. A small lawn will appear
much larger if not "cluttered" with rose bushes and flower beds. Shrubs
are a necessary part of a well balanced garden, and with careful selec-
tion are extremely decorative. The althea (Rose of Sharon), blooms
through August and September.^ For early flowering the snow ball,^
lilac, syringa, and double flowering almond,^ are among the most
popular. The spirea,* a low shrub with delicate foliage, is used with

^Alba Plena (double white crimson center); Duchess de Brabant (double
dark red);Violacea Plena (double rosy white); Jeanne d'Arc (double pure
white). 2Arborescens Grandiflora. sPrunus Japonica and the Pyrus Japonicus
(Japan Quince). '*Spirea Van Houttei and the new crimson WalluflF.

A Handbook of Utah Art.

145

HULSK WliKKI

WAS i;uK>;

good effect. By all means have a rose garden. The east or south
exposure is preferable for planting. Make a map of your rose plot with
the name, height and color of each rose. There are hundreds to choose
from. The new roses will bloom from June to Thanksgiving day."^
Buy the small bushes in large quantities, at small cost, and set them in
the kitchen garden; as they bloom eliminate those you care least for,
and next spring they will be large enough to be transplanted to the
rose garden. It is a mistake to plant between rose bushes which need
hoe culture from the first. The new everblooming climbing roses will
often glorify a very inartistic back yard with its unattractive fences,
sheds, and outlooks. Even an old treep stump offers support for a
bower of roses.

Flower Beds and Borders.

Through flower beds and borders you may show your individ-
uality. The amateur should begin simply. A few varieties well
massed will be most effective. Intimacy with plant life is not alone
for the botanist; learn the names of your plants, both common and
scientific, and use them. Choose your color schemes, note the light and
shade of your beds and borders, using the sunny places for your bright-

^Hardy everblooming climbing roses: Killarney, pink; White Maman
Cochet; Clotelae Soupert, an ivory-white color, shading towards the center to
silvery. Hardy Hybred Perpetual Roses: General Jacquenniot; Glory of the
Exposition of Brussels; Prince Camille de Rohan, crimson.

146

Devotees and their Shrines.

Mrs. Allen's rocker}" and cactus garden. A long sweep of unniterrupted lawn.

est flowers. Every garden has its own particular charm. The old
fashioned garden touches our heart as no great gardens can. In the
little garden about Aunt Melissa's cottage grew the rose, athea, lilac,
snow ball, and peony. The borders were the sweet mignonette, lark-
spurs, sweet rockets, snapdragons, bleeding hearts, bachelor buttons,
pinks, marigolds and sweet williams; each seemed trying to outdo the
other in bright color. The fence was hidden with morning-glories and
hollyhocks. Jhis old garden grew around the first house to be plas-
tered in Utah, and was built of adobe in 1848 by Alfred Lambson.

Peonies and Lilies.

The peony is the aristocrat of the garden, almost rivaling the rose
in perfume and brilliancy of color. Any or all of seventeen hardy
varieties are wonderfully effective planted either in mass or groups.
The Lilium Superbum, I plant between the peonies. When the peonies
cease blooming the spikes of coral tinted bells rise high above the dark
green foliage and fill the air with perfume. The June showering
double varieties of Canterbury bells could be used in the same way. In
China, for more than fifteen hundred years, a record has been kept of
the parentage of seedlings of this "Hon Wang" (king of flowers).
Perhaps there is no better authority on peonies than Horace Stayner,.
of Salt Lake City, from whom I got my best varieties of peonies.®

®Festiva Maxima (a grand old variety of dazzling white, with splashes of
bright carmine in the center); Queen Victoria (early white); Floral Treasure
and Golden Harvest (soft shades of pink); Louis Van Hutte (a late dark red);
Canisto (clear pink, fragrant); L. Esperence (rose pink, very fragrant); Frances
Ortegal (crimson); Venus (beautiful shell pink); Marie Lemoine (fine late
white): Rosea Elegans (large rosy purple); Delicatisima (pale pink). Of the
single varieties, Pink Beauty, Salmon Queen, Newport Pink, and Sutton's
Scarlet.

A Handbook of Utah Art.

147

A corner in Mrs. Allen's garden. Wildness is its charm.

Peonies begin to make fine white rootlets and continue this growth
through winter and spring ; after the blooming season there is a ripen-
ing off time and then a stage where the plant is almost dormant — this
is the time for transplanting, September and October.

No garden can afford to omit the stately blue delphinium (lark
spur). Plant in mass for effect. There are wonderful shades of blue,
which with green make fine color schemes. The Siberian lark spur
will do well in the shade of an apple tree. It has a delicate feathery foli-
age and the blossom sprays are loose and spreading, the whole plant
being a cloud of lovely bloom from May until snow flies.

Be sure to plant a bed of Yucca (Adams needle) the foliage of
which is of an evergreen nature. The tall flower-spikes rise four
feet above the plant and are decked with white bell-shaped drooping
flowers. A cluster of Ricinus trees (castor oil beans) with a mass of
Nicotiana near by, bordered with cannas and gladiolus, will give a
decided tropical effect.

The Giant Oriental Hardy Poppies hold an unrivaled position for
gorgeous effectiveness and early blooming and are very easily raised.

The Hardy Perennial and brilliant Phlox are the easiest grown
flowers. They will thrive in almost any soil, if given a sunny position.
One wants the Aquilegias (Columbine), CoeruleaHybria being the true

148 Devotees and their Shrines.

Rocky mountain variety with long-spurred flowers of white and blue.
My finest plant I got at the head of City Creek Canyon.

Iris.

There are so many species in the German Iris that the classification
has become difficult but it is safe to say the bearded section contains the
best known and most easily grown varieties. The flowers abound in
variety of color. They are hardy and patient, thriving under the most
trying conditions. Not long since I visited the spot where once stood
the log cabin (by the old mill) in which my husband was born. Poking
among the tall weeds I found the stone that had been the door step and
near it was a little bunch of Iris which had been there for over forty
years. I brought it home and put it in our Iris garden and it is now one
of our finest plants. Japanese Iris is much more beautiful than the Ger-
man varieties and is perfectly hardy. It is very good in borders.

Fall Flowers.

The Dahlia is one of the best for summer and autumn flowering.
The double and single sorts when massed make a beautiful showing.
Cosmos can be planted with good effect. Chrysanthemums are
the best autumn flowers and can be raised in mass or borders. Hardy
Perennials, if used in borders, make a wonderful showing.*

Invincible Asters are the healthy, robust branching plants pro-
ducing long stems of massive double flowers. White, blue lavender,
crimson, pink, are some of the many varieties. When massed they make
a fine showing, but do better in the vegetable garden for cutting pur-
poses. Godetia, a very beautiful low growing plant with rose-like
flowers, does well in poor soil and grows where no other flowers will
thrive.

Petunias are among the most beautiful of all annuals, particularly
the frilled varieties. Massed with a border of verbenas they are a beauti-
ful sight from early spring until snow flies. The annual lark spurs are
greatly improved and very useful for cutting. Make a bed of them
in pale pink and lavender colors. Salpiglasses (painted tongue) Salvia
Splenreus — flowering sage — with a border of Phlox Drumunda makes
a fine color scheme in red ; for blue, the double blue corn flower with
Blue Annual Lark Spur and Ageratum used for the border; for
yellow, Calliopsis, Coreopsis, Calendula and Eschschoetiza for the
border. If one wants a screen along a fence a fine color effect in yellow
may be obtained by planting sunflowers. Globes of Gold, (Hilineum),
Golden Glow, Coreopsis, Calendulas and day lilies.

♦Calliopsis, Aquilegia, Campanula, Delphinium, Dianthus, Digitalis, Gaillardia,
Gypsophila, Lobelia, Cardinalis, Oriental poppy, Scabiosa, Sweet williams. Double
wall flowers.

A Handbook of Utah Art. 149

Mr. Allen's shop with petunia bed and Allen's everblooming roses,

border of verbenas.

THE DEAR OLD GARDEN.

BY DR. EMMELINE B. WELLS.

My dear old garden ! still I call it mine,
And mine it is, for in its grateful shade

Of ev'ry tree, and shrub, and flow'ring vine,
My children and my children's children played.

Round these my aching heart instinctive clings,

And they to me are sweet and tender things.

Under these trees I've sauntered to and fro,

In search of hidden gems of precious thought ;

Perchance some wayward fancies all aglow

Have been in chains of measured rhythm caught,

For rustling leaves and sighing boughs have stirred

The depths of love no living voice hath heard.

And here young lovers plighted vows have given,
And sealed them with the first fond ling'ring kiss

That hallows love, and makes earth seem a heaven,
A sweet enchanted dream of rapturous bliss.

When two pure hearts, in confidence and truth

Unite their joys and hopes in early youth.

These trees, and shrubs, and every bush and vine.
We've watched from tiniest seed and stem ;

Why then should I not always call them mine?
For in my heart of hearts I treasure them —

No matter how neglected now they be.

They were a part of my home life to me.

Yes, I remember sitting there so well,

With baby in my arms and children round.

150 Devotees and their Shrines.

And a sweet peace hung o'er me like a spell.

While the white blossoms fluttered to the groun(
For the young apple trees were just in bloom,
And we were breathing in their sweet perfume.

O, how the childish voices, loud and clear.
Rang out in laughter and in merry song!

No wonder that to me the place is dear,
To which so many memories belong.

O, would those days but come to me again,

'Twould ease my heart of all this racking pain!

O, little ones 'mong the long tangled grass,

Where buttercups and clover nestled down.
Or, like a shadow, flitting as you pass

. To gather hollyhocks in "silken gown ;"
Or pull the morning-glories from the vine
Which gaily round the fav'rite tree entwine.

The honeysuckles fragrant were and fair.

And on them humming-birds swung to and fro.
But something fairer, sweeter still, was there,

A little maiden singing soft and low.
O, that melodious voice we hear no more.
Save in our dreams it echoes o'er and o'er.

My garden when the world was dark and cold,
And troubles gathered thickly round my way,

I wandered there my feelings to unfold;
*Twas there I knelt upon the ground to pray.

In that old garden thro' the ma'ze of years,

I scan life's pages, blurred wnth mists of tears!

A color bchciiic ui j^i^eu and blue in Mrs. Allen's garden.

A Handbook of Utah Art. 151

THE COTTAGE. S. C. DALLAS.

If our object is to build a home for a peaceful and unpretending^
mind, we must not erect a building fit for the abode of wealth and
pride. However beautiful and imposing in itself, such a home would
indicate a kind of existence wholly unsuited to that mind, and there
could exist no sympathy. But where the dwelling is in unison' with the
inmates and the surroundings, then indeed is art attained! This
principle is involved in the wigwam and the te-pee just as it is in the
cottage and the palace. Ugliness can not be concealed by lavish orna-
ment. What might have been a cottage of picturesque grace if left in
modest plainness, may be so overloaded with worthless trash that its
original expression is lost. Even conspicuous cheapness is not neces-
sarily unpleasant to the cultured mind ; but dishonesty, such as forcing
a material to appear what it is not, — that old hypocrisy that is despised
everywhere — we can not palliate. Granite can not be made out of
sheet iron. There is a deeper honesty than that which relates to
material and construction, it is a conscientiousness of purpose, an artis-
tic spiritual sense of eternal fitness without which there can be no lasting
beauty.

It is a solemn thing to build even the outside of a home, for it
not only influences your fellow men, but reveals your own character.
Houses have a facial expression as marked as that of human beings,
often strangely like their owners. Some destroy one's faith in human
nature ; others look impudently defiant ; many reveal vanity ; a few
show spreading hospitality or superficial elegance ; some are a hetero-
geneous importation from every land. Every man instinctively desires
a comfortable, convenient, healthful, happy and beautiful home. That
is his right and duty. Small and humble it may be as to cost, but
secure, refined, and the dearest spot on earth.

The cottage is at its best unspoiled by town sophistications ; where ,
it nestles in the midst of an orchard of trees, with the luxuriant rose
trained gracefully over the window, the gleaming lattice thrown half
open to admit the fragrant laden breeze and the broad wooden porch
breaking the flat of the cottage face by its projection. Its power is the
poiver of association ; its beauty that of fitness.

The architect studies the house plan from the viewpoint of the
owner and adheres to it. If the plan be prudent, all things will grav-
itate toward it and a mutual dependence will be established among all
Darts of the domestic system. Arrangement and convenience can not
be thrust upon a plan but must be a part of the construction. A build-
ing which boldly bids us admire, we can only despise.

The notion that there can be an architectural fashion, or fashion

152

Devotees and their Shrines.

in any other enduring work of art, is absurd. Neither can an ingen-
ious combination of "Neo Greek," ''Gothic decadence," ''Norman
renaissance," Elizabethan or Louis. XV school, have any place in the
cottage.

MOUNTAIN CAMP.

Select the campsite carefully, studying how best to satisfy the
family needs. Choice of location may hinge on the mode of transpor-
tation to camp and the frequency with which the bread-winners must
return to business in town. But wherever the choice may lead, pro-
vide room enough for seclusion from neighbors. A hundred feet
frontage should be allowed. The view point should be fine, and the
water supply pure, nearby and abundant. The camp must be set up
where the morning sun will reach it and never built down on the bank
of the creek. The whole house, doors, porches and windows, must be
screened from the fever breeding flies, and so constructed as to also
exclude rodents. At least one room should be so built that in cool or
wet weather, it may be closed and easily heated by means of fireplace or
stove. There must be airy porches or the house should be convertible

A Handbook of Utah Art. 153

by devices, into a screened porch. There must be a well built toilet,
screened as perfectly as the house, and furnished with a dry vault.

What is more soothing to the tired brain than the song of the
mountain stream ? Build near it. Water is easily polluted, so watch the
stream above you and your own camp. All campers below are alike
dependent upon this source of water supply — History tells us that a
few disease germs have many times caused a typhoid epidemic in the
city below.

Building material for the camp will largely depend on what is
available on the spot. The design for the illustration given would be
most charming in the rustic style, if built of pine logs with the ends
of the logs projecting beyond the walls at the four corners. The in-
terior of this could be made tight by hewing the logs on the inside and
on the upper and lower edges — this makes a perfect join. In keeping
with this style leave the rafters exposed and place the roof sheeting
close together. This same house is designed to be constructed with
much less expensive material than logs — ship-lap and rough dimen-
sions timber, at a cost of $500. Now apply a preservative and a beau-
tifier in the shape of a coat of paint for either logs or ship-lap. Give
one coat of paint inside and out, made with equal parts linseed oil and
creosote, and tinted with asphaltum pitch to give a warm brown tone.
This coat of paint will also make the cabin bug proof. Cobble stone,
or field stone, though it might prove more expensive, would be suitable
for this house and would offer better protection from both excessive
heat and cold.

The roof of any canyon home should have as much slant as can be
obtained, so that the heavy falls of snow may move off. There is
otherwise danger of the roof's breaking.

Give some thought to the camp's paths and approaches. A grad-
ual slope should be made to a* high camp. A steep climb seems and
really is more difficult than in the valleys. How much bet-
ter it is to make the furniture suit the style of the house, add to con-
venience, and save expense than to haul up the mountains the ugly
furniture one wants to get rid of at home! Now that our boys and
girls are learning at school how to construct furniture, they gladly
make what is necessary.

A mountain home is charming painted straw color and white.

A light outing effect may be secured by painting this house white
outside and the roof green ; the furniture white and the walls, ceilings,
and floors treated with the creosote, etc., already referred to.

This whole scheme would also be charming with the linseed oil
and creosote. This house may be built of siding. The walls consist
mostly of windows. Fixtures for lights could be made between win-

154

Devotees and their Shrines.

dows by materials at hand — from bits of odd-shaped Hmbs from maple
or birch or scrub oak. The few steps out of doors that must be built
should also be in keeping with the tree growth surrounding. Odd tree
trunks may be adjusted to make very artistic steps and the bridges,
too, offer a subject for beautifying the whole mountain home.

a hce

SUii-ao "Door

Torch e.'b %vt.(1 ft-e^roaim.

ta.b\e
and
b€irich«>

vy»r€-^cr€<ixnvQ^ b-etw/ecn -WiDs.

>noYab")e Cott^kci

I have here sketched an arrangement that would make com-
fortable interiors for cabins, keeping in mind that the dining room
porch should be protected at least at one end. The living room is sup-
plied with a fireplace, and by closing the sliding door it may be easily
warmed. In the heat of day, the sliding door is opened, converting
the living room into a part of the large screened porch. '

A MOUNTAIN CLIMB.

The climb is a hard one, and takes about thirteen hours from
camp to the summit and return. But the inspiration we receive is
just compensation. Timpanogos is the highest mountain in the Wa-
satch Range, having an elevation of 11,957 feet. It is conceded by
those who have seen its varying moods of even a single day, to be the
most beautiful mountain in Utah and the equal in majesty, scenery
and scientific interest of any in the world.

Mount Timpanogos is really the ''Ancient of Days" in the inter-
mountain country as is evidenced by its glacier and moraines. These
link it with the glacial period of Northeastern North America and of

A Handbook of Utah Art.

155

DR. F. W. TAYLOR AND PARTY CLTMBTNG TTMPANOGOS IN

AUGUST.

DR. TAYLOR'S PARTY AT THE GLACIAL LAKE ON THE SUMMIT
OF MOUNT TIMPANOGOS.

156 Devotees and their Shrines.

Europe. The glacier is approximately one mile long and a quarter
of that distance wide, carrying upon its back thousands of tons of rock
as lateral and central moraines. The depth of the ice has not been
determined. The glacier has formed at its end a small glacial lake
which receives the icebergs from the glacier and the terminal moraines
as the ice melts. The little lake supplies the numerous waterfalls that
make the trip to Mount Timpanogos so delightful. Its flora is the
same as now predominates in Iceland and Greenland furnishing us a
simple object lesson of the inaccessible polar countries and climes.

CITY PRIDE.

AN ADDRESS IN SEVENTEENTH WARD CHAPEL.

I hold as a fundamental principle of good government that each
citizen, whether rich, poor, sick, well, old or young, should be re-
quired by the commonwealth of which he is a necessary unit, to
do his just portion of labor in making and sustaining a healthful and
beautiful city. Our city has not yet come into a full understanding
of her own. She should fasten upon her citizens, not only an edu-
cational and financial responsibility but an individual, moral and
physical responsibility. We ought to have eflicient municipal oflicers.
Further than that, each citizen has an individual responsibility to aid
the solution of these difficult problems. Though we are far from the
millenium, let us, as a united body of women, hasten the reign of
righteousness by a proper use of our votes. Is it not possible for us
to use that trust so sacredly that no incompetent man shall seek
office?

What would you think of an ordinance to compel residents or
land holders to keep out weeds? What would result from compul-
sory house screening, stable screening and garbage screening? What
would weekly moving of garbage and manure bring about? We look
upon each citizen as an asset in the municipal corporation. The
citizens constitute its greatest wealth. It has no more important
problem than- providing the best means for preserving health, to
lengthen the lives of the citizens. To complete man's happiness the
home is made, the city founded, municipal government established;
and what gives more joy than a clean and beautiful home, a clean
and beautiful yard, a clean and beautiful city? I would like to bring
to the hearts of those present the opportunity that this Mutual Im-
provement Assoication has squarely before it, even the privilege to
organize and utilize an enormous amount of energy (that is daily
wasted, misdirected, or lost) toward enriching soil, destroying weeds,
placing trees and hedges, planting vegetable gardens, designing flower-
beds and window boxes and making lawns. We could if we would,

A Handbook of Utah Art. 157

make of this city a veritable garden of Eden. Let us set aside beauty
for a moment and become sordid. It would pay — alas, that is the
measure into which everything must fit, for we are in a commercial
process at the commercial stage. Yes, it would pay! A yard, six
rods by ten, this season produced fully $50 in fruit and vegetables, and
gave the same profit for flowers, and over one hundred large boquets
for friends besides. So it is a conservative estimate that I give you
when I say that within two years from its entire setting out, in the
form of a park, a block would be saving its residents one thousand dol-
lars per year, and furnishing boquets, too, for friends. The residents
on any block could unite. Here we are friends, relatives, neighbors
of long standing. Let us take out the unsightly fences, mark our
property lines with rows of flowers, lay out the block as a park — a
combined vegetable garden, orchard, vineyard, flower garden and
lawn ! It would be beautiful indeed. And who would be content with
the stale market product after enjoying fresh fruit and vegetables
from one's own vine andftree? I believe that the greatest difference
between poverty and plei^, between poor living and good living, is a
home garden. Then thii&k of that degraded poverty which never al-
lows God's children to see even a bud unfold.

Gardening is healthful for old and young.

There must be early rising. Go out in your own quiet garden,
where everything seems waiting for the sunlight. Yes, gardening
pays and in more ways than one.

In parking a block, after the fences are removed, the soil should
be fertilized by manure and dead leaves that are available. What a
waste to burn the leaves, and how dreadful it makes the atmosphere.
Walks should be laid out. Make them broad to add beauty to your
home. Small sunny patches should be filled with strawberries, rhu-
barb and asparagus. More shady spots will like English currants,
gooseberries, raspberries, sage, parsley, mint, summer savory and
thyme. In the hottest soil and sunniest spots hang the grape vines
on a pergola or lattice. A small grove of English walnuts and al-
monds, will pay large dividends after eight years. They are decor-
ative from the first. Mr. J. T. Harwood has varieties of the walnuts
that have been acclimated to these parts so that they will not freeze
down.

The "East side" has shown us what is possible in artistic garden-
ing here, but long before that others blazed the way. Let us hark
back to when old "settlers" did the first planting. George A. Smith
brought peach stones and from them grew the first peaches which were
given away liberally — one to a family and each stone planted a new
tree. Thomas R. Ellerbeck got the first rose bush cuttings by ox team

158 Devotees and their Shrines.

and within two years after the wild roses in every door yard were
budded into lovely varieties of cultivated roses. I have three bushes
of that original stock transplanted from the Ellerbeck rose garden.
They have bloomed over fifty years. James Dwyer planted the first
lawn on this very block and it is still beautiful. Have you forgotten
the great lawn the Carrington girls made and kept and that white
climbing rose on the south wall of the old home across the street?
.Think back to the big trees of white and purple lilacs and the cabbage
roses all ablom in Margaret Ann Merrill's door yard just a stone's
throw from here. Then there are the wonderful old mountain willows
in the old University grounds. How I loved to pass them. But alas,
the day that I found the most beautiful of those monarchs of the
ground lying broken ; helpless to lift their dainty green. They were al-
ways first to open their buds in spring ! Think of destroying a half block
of trees with a history to make a place in which boys and girls might
drill and play when a hundred blocks lay empty at the top of the
hill. Trees that if they could speak, could tell the story of hunters
with the flint and arrojv, of dry, parched desert places, of the entrance
to this valley of the pale face, of the first breaking of soil, the birth
of the science irrigation, the hiding of the desert's nakedness beneath
a mantle of green — in a word, witnesses of all our fathers have done.
Year by year the grand old willows had lovingly reached out in newer
beauty; making shadier seats — seats you and I have sought for study
periods. And now m}'' heart ached, my voice choked with tears, when
my startled vision beheld them ruthlessly cut down. Now no repent-
ant hand could recall the work of the cruel ax.' A few were spared,
near the work-shops and on the side walk; though cut out of all true
shape they still retain the same wonderful color and artistic feeling.

We have a beautiful city, she has been set upon hills, slopes that
look out on a wonderful inland sea. She is guarded and girded
around by mighty mountains, crowned with everlasting snows, veiled
with marvelous shades of blue. She is blessed with clear, cooling
streams, fresh from ten thousand springs. Her soils vary from sandy-
graveled, loamy to clayey earth and all can be made to grow some
lovely thing.

Can we honestly lift our eyes in praise and thanksgiving to God
for these blessings and permit the very earth under our feet, our onm
inheritance, the sod encompassing our sacred hearth stones, to lie inert
forbidding in barren ugliness, or worse, matted with zveeds to scatter
seed-like a foul contagion upon our neighbor's garden? It seems to
me the very ground upon which we tread from day to day and from
year to year would recoil from our touch being forever denied seed
and love!

FINIS.

Are you weak in the faith of your own destiny ? Or does your ef-
fort seem of little avail ? Remember that on you depends the success of
the whole scheme of existence. Your failure is not only your own
tragedy. It is a tragedy of the whole. Then discover your endow-
ment and make use of it lest regret, the Great Judge, at the last hour,
turn back the pages to lay his finger upon lost courage, lost time,
lost energy, lost hope!

Contents.

FOREWORD, 7.

INTRODUCTORY, 8.

HISTORIC. Extract from Whistler's Ten O'clock, 17; Cliff Dwellers' Pottery,
18; Architecture in the Early Fifties, 20; The First Art School, 21; William
Folsom and Amelia Folsom Young, 22; E, L. T, Harrison, 23; George M.
Ottinger, 24; Daniel Weggeland, 21; C. C. A. Christensen, 29; The Organ
Builder, 30; Ralph Ramsey, 32; William Paul and Priscilla P. Jennings, 34;
Alfred Lambourne, 36.

Poem, At My Easel, 38.

John Hafen, 41; Hafen's Letter, 46.

WINNERS OF HONORS ABROAD, 51. James T. Harwood, 51; Mary
Teasdel, 56; Rose Hartwell, 65; Lee Greene Richards, 72; Interior Memorial
Cottage, 74; Alma B. Wright, 82; Mahonri M. Young, 85; B. H. Roberts'
Story of the Sea Gulls, 90; Donald Beauregard, 94; Dallin, 95; Myra Sawyer,
100; Ralston Gibbs, Girard Hale, Louise Richards Farnsworth, Avard
Tennyson Fairbanks, 101.

ARTISTS OF VARIED ATTAINMENTS, 103. The Fairbankses, 103; Lorus
Pratt, 106; Harriett Richards Harwood, 107; Lara Rawlins Cauffman, 108;
G. Wesley Browning, 109; H. L. A. Culmer, 110; Edwin Evans, 111; Byron
Cummings, Archaeologist, 113.

Utah Art Institute, 64, 103; Present home of Alice Art Collection, 112.

APPLIED ART, 116. Emma Frances Daft, 116; Margaret Merrill Fisher, 118;
Louise E. Jennings, 119.

HISTORY OF ARCHITECTURE, by George M. Allen, 120. Preface, 120;
Architecture in England, 121. The Transition to the Rennaissance, 122;
Elizabethan Style, 123; Jacobean Style, Classic Period, 124; The Classic
Revivals, 128; The Victorian Gothic, 129. Architecture in the United States,
131. Colonial Period, 132; The Early Republican Period, 134; The Revivals,
135; The War Period, 136; The Modern Movement, 137; Examples of
Recent Architecture, 140.

Ensign Ward Chapel, 142.

Artistic Gardening, 144.

Poem, The Dear Old Garden, by Dr. E. B. Wells, President National Woman's
Relief Society, 149.

The Cottage, by Architect S. C. Dallas, 151.

Mountain Camp, 152; Timpanogos, 154.

City Pride, 156.

Finis. 159.

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Devotees and their shrines; a hand book of Utah art"

See other formats