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Ochool of industrial Art.
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Committee on Instruction,
1336 Spring Gardibn Stree^t,
Ochool of Industrial Art
-Ji- CIRCULAR *ir-
Committee ON Instruction,
1336 Spring Garden Street,
TABLE OF CONTENTS.
Historical Sketch 7
Tlie Associate Committee of Women 14
Courses of Study.
Regular Course — General Statement 16
Lists of Exercises and Studies.
General Course — Industrial Drawing 29
Decorative Painting and Applied Design ... 32
Modeling Class 34
Advanced Drawing Class 31
Special Courses — General Statement 20
Lists of Exercises and Studies.
Teachers' Class 35
Weaving and Textile Design 36
Chemistry and Dyeing 43
School Year 24
Hours of Study 24
Requiremeirts for Admission 24
" " Graduation 17
Materials for Study 25
Roll of Students 46
Evening Classes 24
Teachers' Cotu-se 17
Graduate Course 25
Employment for Graduates 27
OFFICERS FOR 1S89.
WILLIAM PL ATT PEPPER.
FREDERIC GRAFF. THEODORE C. SEARCH.
Treasurer, Secretary and Curator,
J. H. DINGEE, Jr. DALTON DORR.
BOARD OF TRUSTEES.
The Governor of the State. The Mayor of the City.
Thomas Cochran, Appointed by the State Senate.
Charles H. Cramp, Appointed by the House of Representatives.
Theodore C. Search, Appointed by Select Council
F. Williams Wolf, Appointed by Common Council.
A. Loudon Snowden, Appointed by the Commissioners of Fairmount Park.
ELECTED BY THE MEMBERS.
To serve for three years :
Henry C. Gibson, Frederic Graff,
Stuart Wood, " Isaac Norris, M.D.
To serve for two years :
J. H. Dingee, ■ Crawford Arnold,
William Wood, S. G. Thompson.
To serve for one year :
John Struthers, Thomas Dolan,
William Platt Pepper, Thomas Hockley.
ASSOCIATE COMMITTEE OF ^A/^OMEN TO THE BOARD
MRS. E. D. GILLESPIE.
MISS BERTHA LEWIS.
Mrs. Matthew Baird,
Mrs. C. C. Bartol,
Miss Mary Cohen,
Mrs. E. E. Denniston,
Mrs. Wm. H. Eisenbrey,
Miss Elizabeth Gratz,
Mrs. Horace B. Hare,
Mrs. John Harrison,
Mrs. Joseph Harrison,
Mrs. G. Craige Heberton,
Mrs. Thomas Hockley,
Mrs. H. S. Huidekoper,
MRS. CRAWFORD ARNOLD.
Mrs. Chas. B. Keen,
Mrs. DeCourcy May,
Mrs. James Mifflin,
Mrs. Byron P. Moulton.
Mrs. Geo. R. Preston,
Mrs. Thomas Roberts,
Mrs. John Sanders,
Mrs. F. R. Shelton,
Mrs. Aubrey H. Smith,
Mrs. W. Hinckle Smith,
Mrs. Wm. Weightman, Jr.
Mrs. Howard Wood,
Mrs. Bloomfield Moore, Mrs. H. C. Townsend,
Mrs. Matthew Simpson, Mrs. Caspar Wistbr,
Mrs. Seth B. Stitt, Mrs. Robert K. Wright.
COMMITTEE ON INSTRUCTION
Theodore C. Search, Chairman, Stuart Wood,
Isaac Norris, M.D.,
Mrs. E. D. Gillespie,
Mrs. Thomas Roberts,
Mrs. Charles B. Keen,
Mrs. John Harrison,
Mrs. E. E. Denniston.
COMMITTEE ON MUSEUM.
Isaac Norris, M.D., Chairman, Mrs. Frederic R. Shelton,
John Struthers, Mrs. G. Craige Heberton,
Mrs. E. D. Gillespie, Mrs. William Weightman, Jr.,
Mrs. Aubrey H. Smith, Mrs. Joseph Harrison.
L. W. 'MlLLEK,
From ?\Iass. Normal Art School and School of the Boston Museum of Fine Arts.
Howard F. Stratton,
Graduate (1S82) of The Pennsylvania Museum and School of Industrial Art.
Instructors in Drawing Classes,
Maria L. Holt.
Albert P. Willis.
Professor of Sculpture,
John J. Bdyi.k,
Pupil of Dumont, Paris.
Head Master of Textile Department,
E. A. PilSSKLT,
Graduate of the Government Advanced Weaving School, Reichenberg, Austria,
Department of Chemistry and Dyeing,
Professor RoscoE L. Chase, S.B.,
(iraduate Mass. Institute of Technology.
Instructor in Applied Design,
Myrtle D. Goodwin,
From The Pennsylvania Museum and School of Industrial Art.
Instructor in Applied Design — Evening Class,
From L'Ecole des Arts et Metiers, Paris. Designer of si.xteen years' experience with
Eddystone Alanufacturing Co.
Instructor in Different Branches of Practical Classes, Textile Department,
E. W. France.
Instructor in Wood Carving,
Incense Burner in Wrought Iron in the collection at Memorial Hall. From a pen-and-ink
drawing by Fanny C. L. Smith.
School of Industrial Art.
The Pennsylvania Museum and School of Industrial Art
was incorporated on the twenty-sixth day of Februar)-,
1876, for the purpose, as stated in its charter, of establishing
"for the State of Pennsylvania, in the City of Philadelphia,
a Museum of Art in all its branches and technical applica-
tions and with a special view to the development of the Art
Industries of the State, to provide instruction in Drawing",
Painting, Modeling, Designing, etc., through practical
schools, special libraries, lectures and otherwise. The
institution to be similar in its general features to the South
Kensington Museum of London."
The purpose of the institution as thus defined is distinctly
industrial. The collections at Memorial Hall, where the
Museum is located, embrace examples of art work of every
description ; but as the city already possesses, in the Penn-
sylvania Academy of the Fine Arts, an institution devoted
to the advancement of the Fine Arts, it was determined by
the founders to make the collections of the Pennsylvania
Museum as largely as possible illustrative of the application
of Art to Industry, and the instruction in the School has
constant reference to a similar purpose.
The institution owes its origin to the increased interest in
Art and Art Education awakened by the Centennial Exhibi-
tion of 1876.
Pending the incorporation of the institution, a fund of fifty
thousand dollars was subscribed with which to make pur-
chases at the Exhibition. In the selection of objects, the
trustees had the benefit of the advice of the foreign commis-
sioners to the Exhibition, and, in several instances, the insti-
tution was the recipient of valuable gifts from individual ex-
hibitors. Around the nucleus thus formed the Museum has
grown by purchase, gift and bequest to its present propor-
tions, numbering in its collections upward of ten thousand
The major part of the collection of the products and man-
ufactures of British India, shown at the Centennial Exhibi-
tion, was presented to the Museum by the British Govern-
ment at the close of that Exhibition. It occupies the whole
of the west corridor at Memorial Hall.
The Moore memorial collection of objects of Art, presen-
ted to the Museum by Mrs. Bloomfield H. Moore as a me-
morial of her late husband, occupies the entire east corridor.
It contains exquisite examples of Lace, Embroidery, Fans,
Jewelry, Pottery and Porcelain, Metal Work, Enamels,
Carved Work in Ivory and in Wood, Tapestries and Pictures.
The Museum also possesses several smaller collections,
sufficiently complete in themselves to be regarded as fairly
representative of the departments to which they belong. Of
these, the Caspar Clark collection of Persian metal work.
Pottery and Textiles, the Vaux collection of Ancient Pottery,
and the Castellani collection of Textiles are perhaps the most
In addition to its actual possessions, the Museum is con-
stantl)' receiving accessions in the form of loans of a more or
less permanent character, by which the element of freshness
is secured, and popular interest in the collections continually
In addition also to its standing Exhibition, the Museum
has been enabled by a bequest of the late Joseph E. Temple
to hold an Annual Exhibition and competition for the en-
couragement of Amercan Art Industries and workmen.
At these Exhibitions a liberal system of prizes is offered,
which are distributed not only among Exhibitors but among
the indix'idual workmen whose ingenuity and skill have been
exercised in the production of the objects displayed.
The first of these Annual Exhibitions was held in the Fall
of 1888 and was devoted to Pottery and Porcelain. The
second, to be held in the Fall of 1889, is to be devoted to
Pottery, Porcelain and Glass, including Mosaics and Tiles.
These occasions have already been the means of much en-
couragement and stimulus to manufacturers and to individ-
ual workmen, and it is believed that they will accomplish
in the future a valuable work.
The purpose of the School is to furnish such instruction
in Drawing, Painting, Modeling, Carving and Designing as
is required by designers, superintendents and workmen in
the various Constructive and Decorative Arts, and to serve
as a Training School for teachers of these branches.
It was opened during the winter of 1877-78 in temporay
rooms in Industrial Art Hall, at Broad and Vine Streets.
It was afterwards removed to the rooms of the Franklin Insti-
tute, at 15 South Seventh Street, and again in 1880 to the
building 1709 Chestnut Street, where it remained until its re-
moval, in 1884, to the building which it occupies at present.
The classes were very small for several years, but the attend-
ance has increased rapidly since 1884.
Up to the time of this last removal the work of the classes
was confined to the general courses in Drawing, Painting
and Modeling, with constant regard to the needs of the in-
dustries, it is true, but without attempting to provide in-
struction in any of the occupations themselves, which it was
hoped would be directly benefited by the training which the
students received here.
The need of providing facilities for such technical instruc-
tion, however, became apparent very early in the history of
the School, as it was seen that only by this means could the
proper direction be given to such purely artistic training as
the School had to offer, by familiarizing the students with
the processes by which any industrial application of design
would have to be made.
The Committee desires to call especial attention to the
work accomplished by the Department of Weaving and Tex-
ESTABLISHMENT OF THE DEPARTMENT OF
WEAVING AND TEXTILE DESIGN.
The Philadelphia Association of Textile Manufacturers was
formed in 1882, and among the objects for which it was spe-
cially created was the fostering of technical education. Its
members represented the progressive element of the manu-
facturing community of Philadelphia and vicinity. These
gentlemen were fully aware of the progress of technical
schools for the Textile Arts in Germany, France and Eng-
land, and were persuaded that the United States could not
hope to maintain the best market for her products unless
those products combined the highest skill in manufacture
and the best taste in design. At that time no thorough
school existed in this country, and it was necessary to begin
at the foundation of the work, without previous knowledge
of the exact methods to be adopted, or the means to be
employed to reach the desired end.
It was apparent that considerable money must be raised
to properly lay the foundation for a successful school. The
sum of $50,000 was fixed upon as the minimum amount
with which to inaugurate the work, and the Association
endeavored to obtain this sum from the manufacturers of
Philadelphia by subscription ; but, as with every public-
spirited enterprise, a few leading men and firms bore the
burden of the work, and the subscriptions finally closed at
$2,S,000, all of which was subscribed with the understanding
that no call should be made unless the entire ^50,000 was
secured. This sum was never reached, and the whole enter-
prise seemed likely to be abandoned.
At this juncture, a few of the individuals who had been
actively engaged in the effort to raise the $50,000, despairing
of success in that direction, concluded to assume the respon-
sibility of attempting the work without the aid of any sub-
The project was made known to the Trustees of The Penn-
sylvania Museum and School of Industrial Art, who very
kindly placed rooms in their school building at their disposal,
without charge. Teachers were engaged, two Jacquard
looms were ordered, and a night class of enthusiastic students
organized in 1883. The outfit was necessarily limited, but
was increased without dela}', as experience shov/ed the needs
to be supplied. Only men of acknowledged skill were en-
gaged as teachers, a fact which greatly assisted the projectors
of the enterprise, and won for the School the confidence of
At a meeting of the Philadelphia Textile Association held
at this time the subject was again discussed, and the Asso-
ciation decided that it would be wise to sustain the enterprise,
and recommended the subscribers to the $50,000 fund to
turn over the amount of their subscription to its use.
Nearly $30,000 out of the original 535,000 was transferred
in this way; twenty-five per cent, of which was authorized
to be paid in for the use of the School in cash. These sub-
scribers were as follows :
Thomas Dolan & Co., .
John & James Dobson, .
William Wood & Co., .
William Arrott, ....
John Yewdall, ....
Fiss, Banes, Erben & Co.,
Conyers, Button & Co. .
George & James
Seville Schofield, . . .
Alexander Crow & Son,
James Smith & Co., . .
M. A. Furbush & Son, .
John Bromley & Son, . $1
Thomas L. Leedom, . . 1
James Doak, Jr., & Co.,
Charles Spencer & Co., .
H. Becker & Co., . . .
Andreas Hartel, ....
S. B. M. Fleisher, . . .
Grundy Bros. & Campion,
H. W. Butterworth &
Stead & Miller, ....
The following sea.son, President Wm. Piatt Pepper, of The
Pennsylvania Museum and School of Industrial Art, under-
took to raise funds for the erection of a building for the use
of the School. He succeeded, within a very few days, in se-
curing the amount needed; the building was completed in
time for the new school year.
The leading manufacturers of machinery responded very
generously to an appeal to supply the institution with the
very best machinery ; and the evening class of 1884-85 was
progressive and enthusiastic, acknowledging the great bene-
fit they derived from their connection with the School.
In September, 1885, the instructors were regularly en-
gaged to give their whole time to the School, and a day class
was organized specially to prepare young men for the higher
departments of the work, by means of a regular course of
instruction, extending over a period of three years.
The season of 1885-86 was prosperous, and proved con-
clusively that such a school must not only be a great addi-
tion to a manufacturing community like Philadelphia, but
an element of strength to the whole country. Friends of the
enterprise visited the best schools of Europe in the interest
of this institution, and whenever methods were found supe--
rior to our own, they were unhesitatingly put into practice,
until to-day the management feel that they are entirely ready
to supply the want that has so long been pressing on the
It is no longer incumbent upon anyone to visit Europe
for technical instruction in Textile Art, as this School is fully
prepared to supply technical information on all subjects con-
nected therewith : Designing, Weaving, Dyeing, Finishing,
Cleansing of raw materials, all being provided for, as shown
by the curriculum.
Indeed in several important respects the superiority of
the School over any of its European rivals is acknowledged.
These advantages are of two kinds. First, the association
of the technical instruction with artistic culture is more
direct and complete than in any European school whose
mission is so distinctly technical as this. Pupils of the
Pennsylvania School are provided with opportunities for
carrying their individual work to completion in a much
more liberal manner than is allowed by the European
schools, where the rule is to arrange the work of the weav-
ing rooms ; to grade the work required by the Course ; to
adjust all machinery ; to make all warps, etc., at the begin-
ning of the year, a few designs only being selected from
among all those produced by pupils, to be executed during
the year, the students passing from one loom to another,
assisting with the weaving and other technical processes in-
volved, at first in those that are simple, and then in the
more complicated, but still without any work being con-
secutive in the case of any individual student, and without
any direct relation between the work executed and his own
design. ' In the Pennsylvania School, on the other hand,
the individual student has an opportunity to work out his
own designs in the fabric. Every step in the process of
production, from the first sketch to the finished product,
is his own work. The advantages of this method are
not only apparent to any intelligent observer, but ample
testimony to its efficiency has been furnished by pupils who
have attended some of the best European schools before
coming here, and who cheerfully testify to the superiority
of the Pennsvlvania School.
The School is located in the building, 1 336 Spring Garden
Street, which has been purchased by the Trustees with funds
provided for this purpose by the Associate Committee of
Women, and adapted to the needs of the classes in the most
thorough manner. Ample provision has been made for the
comfort of students, and every convenience furnished that
will facilitate the work of the classes.
The work in each Department or class is carried on in a
room by itself, so that the annoyances and interruptions in-
separable from the assembling of large classes and different
grades of work in a common room are avoided.
The building contains a Lecture Room ; a Library and
Reading Room ; a room for Elementary Work from casts
and models ; a gallery for advanced work from the cast ;
one for the Life Class ; a room for the Grinding and Prep-
aration of Colors ; one for the Work in Applied Design ;
one for Modeling; one for Wood Carving; and a suite of
rooms for the Class in Weaving and Textile Design. The
Chemical Laboratory and Dye House are located at 1346
and 1348 Spring Garden Street.
THE ASSOCIATE COMMITTEE OF WOMEN.
The School is under the immediate supervision, and re-
ceives the active support, of the Associate Compiittee of
Women, who act conjointly with the Board of Trustees in
managing the affairs of The Pennsylvania Museum and
School of Industrial Art.
This Committee now numbers thirty women, each and all
zealously active in promoting the best interests of the corpo-
ration, with especial reference to the creation and support of
such an Industrial School in connection therewith, as those
most competent to judge of the educational needs of the
city have long desired to see established here.
The Committee was organized in 1883, and it has (besides
greatly increasing the list of members, by whose subscrip-
tions the Institution is largely supported) paid over since that
time to the Trustees $2'j,/\fiO for carrying on the work of the
School and advancing- the interests of the whole Institution.
Porcelain Vase in the collection at Memorial Hall. From a pen-and-ink drawing, by
Jennie W. WoodhuU, a pupil in the School.
Peruvian Water Jar in the collection at Memorial Hall. From a pen-and-ink drawing, by
George F. Goldsmith, a pupil in the School.
COURSES OF STUDY.
The general course of study embraces Drawing and
Painting in water colors from models, casts, draperies
and still life ; Lettering ; Plane and Descriptive Geometry ;
Projections, with their application to machine construc-
tion and to cabinet work and carpentry; Shadows, Perspec-
tive, Modeling and Casting ; Practice in the use of Color, with
special reference to the needs of designers — especially in tex-
tiles; Historical Ornament, study from the Living Model
and Original Design. The Instrumental Drawing is taught
by means of class lessons or lectures, and lectures are also
given on Anatomy and Historical Ornament, upon which
examinations for certificates are based.
Students completing satisfactory exercises in the enumer-
ated Subjects of Study for the first year's course (see page
29) will be eligible for the examinations which are held at
stated times during the year, and on passing the examina-
tions will receive the certificate. Pupils who, having re-
ceived the certificate, also complete either the courses in
Decorative Painting and Applied Design, Decorative Sculp-
ture, Textile Design or Chemistry, each of which covers
two years, will receive the diploma of the School.
This course is arranged for the benefit of those who,
while unable to devote as much time to the work of this
School as would be required to complete the regular course
covered by the certificate, are yet desirous of properly
qualifying themselves either to teach drawing in any ele-
mentary school or to make a good use of the blackboard
in teaching other branches.
Especial attention is paid to this last consideration, and
classes in blackboard w^ork, under the personal instruction
of the Principal, meet every Tuesday afternoon for just
such practice as is particulary desired by kindergarteners
and primary school teachers.
Department of Chemistry and Dyeing.
This department was organized in the Fall of 1887, and
owing to an insufficiency of room in the school building, ac-
commodations were obtained at the southeast corner of Broad
and Spring Garden Streets (1346 and 1348 Spring Garden
St.) a few doors from the main building. A large laboratory
has been fitted up with accommodations for some thirty
students, and is v/ell supplied with the apparatus, chemicals
and dyestuffs necessary for carrying on experimental work in
Chemistry and in dyeing different fabrics. There is also a
small dye-house in which the yarn used by the Weaving
Department is cleansed, bleached and dyed, and in this way
the students obtain a practical knowledge of the art of dye-
ing. The department is primarily designed to give the
student that practical knowledge of the subject which will
enable him to avoid the errors so often made by those who
have no such knowledge, and also to train his powers of
observation so that he will be enabled to detect and overcome
faults in the various methods used in the textile industries.
With this object in view, the regular day students com-
mence the study of theoretical chemistry in the first year.
Lectures and oral exercises are given in the class-room, and
these are supplemented by work in the laboratory. Each
student is supplied with a desk and the apparatus necessary
for carrying on a sufficient number of experiments to
demonstrate clearly the general principles of Chemistry,
with especial reference to its practical application to the
Textile industries. The student is encouraged to make
original research of the various methods used in chemical
and manufacturing work with the object of improving them,
if possible; and as this is done under the eye of an instruc-
tor who is careful to correct any wrong conclusions, the
student is so trained in his faculty of observation that, when
future difficulties arise, he will be able to overcome them.
In the second term the study of Chemistry is continued
by means of lectures, and in the laboratory the student
commences the work of Qualitative Analysis, which is con-
tinued through the term.
Lectures are also given on this subject, and especial
attention is paid to the analysis of those chemicals and dye-
stuffs most commonly used, as well as the methods of detect-
ing the dyes present on fibres and the mordants used. The
laboratory instruction is supplemented as far as possible by
excursions to manufacturing and chemical establishments,
where the processes, conducted on a large scale, can be
seen in practical operation.
Students who have already studied these subjects, and
can pass a satisfactory examination therein, may omit this
part of the course.
In the second year a brief course in Quantitative Analysis
is taken up, and various methods of both Volumetric and
Gravimetric Analysis are taught. This includes the methods
used for testing acids, alkalies, various chemicals, dyestuffs
and mordants, such as sumac, indigo, tartar emetic, etc.
The study of Industrial Chemistry js then taken up and
carried on for the remainder of the year. Lectures are
given on the methods of manufacturing various chemicals
and dyes. The different materials used in Textile industries,
as cotton, wool, silk, jute, flax, etc., are considered, and the
differences between them and their behavior towards chemi-
cals and dyestuffs carefully explained. Having studied the
raw materials, the different processes to convert them into
finished cloth are taken up systematically, and the faults
met with in each, explained.
Taking, for example, the wool fibre, its source is first
considered, and then the variations occurring in it, due to
differences in climate, breed of sheep, and portion of the
body from which the fibre is taken.
The method of scouring and the processes of carding
and spinning, etc., are closely studied.
The various conditions in which wool is dyed, as in the
raw state, or in the form of yarn, or as woven into cloth,
are next taken up, and the methods used in each given.
And, finally, the methods of finishing the woven cloth
Particular attention is paid to the work of the students in
the laboratory in connection with the lectures, and each
student is obliged to carry on experimental work in the
methods used for determining the various materials em-
ployed, whether cotton, wool, silk, etc., and especially to
detect them when mixed together in cloth or yarn. He
then takes up each material, and carries on the processes of
cleansing, bleaching and dyeing.
The action of the different mordants on the various dyes
is considered, and their effect on the shade, as well as on
the fastness of the color, determined.
The methods of dyeing fast shades, and the process of
testing dyed fabrics, as to the fastness of their colors towards
light and scouring, are carried out.
Besides the experimental work in the small way, there is
also a dye-house connected with the Laboratory, in which
the students dye the yarn used in the Weaving Department,
and in this way a practical knowledge is obtained of the
subject. During the past year the students have taken the
yarn in the grease and carried out the entire process of
scouring, dyeing, and weaving it into cloth original in color
and design, so that the entire work from the yarn in the
grease to the woven cloth is now carried on in the School.
There are two day courses, the first of which forms part
of the Three Years' Textile Course, and is recommended
to all who desire to fit themselves thoroughly in Textile
matters. The first year's work is devoted to drawing,
designing and weaving ; the second and third years, in ad-
dition to the studies of the first year, include also Chemistry
and Dyeing. At the close of the Course the full Diploma
of the School is presented to all who have satisfactorily
completed their studies.
For those who desire to take up the study of Chemistry
and Dyeing alone, a Special Course of two years has been
arranged, and also one for those who desire instruction in
Designing and Weaving only.
Special Chemistry Course.
In this Course the student spends most of his time in the
Laboratory. The first year is devoted almost entirely to
Chemistry, which is thoroughly studied. Li the second
year the time is devoted to scouring, bleaching" and dyeing,
and for those who desire to fit themselves in the art of dye-
ing, this Course offers the best opportunity. A special two
years' Diploma in Chemistry and Dyeing is given to the
student who satisfactorily completes this Course.
Special Designing and Weaving Courses.
It has been found in the practical working of the School
that a large number of the day pupils were able to complete
this course in two years by omitting the study of Chemistry
and Dyeing, and for such as desire not to pursue the last-
named branches this Course is now arranged. It is in-
tended to be thorough and complete for the entire Course of
Textiles. Graduates will receive the special diploma of the
Evening Classes in Chemistry and Dyeing.
These are held on Monday, Tuesday, Thursday and Fri-
day evenings from 7.30 to 9.30 o'clock, from October 14th
until the middle of April. The Course consists essentially
of the same topics as are taken up by the day classes, and is
divided into three parts, each requiring one season's attend-
ance. Either Course A or C can be taken up first, but in
order to take up Course B some knowledge of Chemistry
Course A — Chemistry.
This Course consists of Chemistry alone. The general
principles of Chemistry are introduced by a series of lect-
ures with experiments. At the same time work is com-
menced in the laboratory, and each student carries on a
sufficient number of experiments to demonstrate clearly
the general principles of Chemistry. This Laboratory
work is continued throughout the term, the student thus
obtaining a practical as well as theoretical knowledge of
Chemistry. The acids, bases and salts are considered, and
the various combinations of chemicals with reference to
their practical application in the dye-house and in chemical
manufacturing. The practical principle of actual work by
the pupil himself is the basis of all effort in the School, and
in no part of the work is it more fully developed than in
No charge is made for chemicals used; but in order to
cover the expense of chemical breakage, a deposit of five
dollars must be made, which will be returned at the end of
the term, on payment of the amount of glass-ware or
apparatus broken or used up. The amount of the bill
need not exceed one or two dollars at the most, and de-
pends on the care of the student in making experiments.
Course B — Qualitative Analysis.
For those who desire to continue further in Chemistry this
Course offers a good opportunity. A systematic course in
Qualitative Analysis with the methods of detecting impuri-
ties and adulterations is carried on, and also the method of
detecting dye-stuffs on dyed fabrics, and the mordants used.
The metallic elements are first considered, and their com-
bination with the various acids. Commercial chemicals, as
acids and the various salts used in dyeing, are analyzed for
impurities or adulterations. How to detect adulterations
in dye-stuffs, forms an important part of this Course. A
moderate supply of apparatus is furnished, but the student
is advised to supply himself with a full set, which can be
purchased at the School or elsewhere, or will be furnished
on the same conditions as in Course A.
Course C — Dyeing.
This Course is designed for those who wish to study the
dyeing of textile fabrics alone.
The nature of the raw materials used is carefully consid-
ered, in order to have a proper basis for intelligent action as
to their subsequent treatment, which includes the various
methods of cleansing them from all impurities, both before
and after manufacturing, and the operation of dyeing with
both acid and fast color. All new dye-stuffs and processes
are thoroughly investigated with reference to their actual
practical value in the dye-house. During the past season,
among the dye-stuffs and processes investigated have been
the Primuline colors, the Benzidine dye-stuffs, Parapheny-
line blues, the numerous Alizarines, such as Alizarine blue,
brown and red, Viridine, Galloflavine, etc. The Course is
made as practical as possible, and every facility given to the
student to investigate new processes and dye-stuffs.
There is no extra charge for yarn, chemicals or apparatus
Other Special Courses.
Special courses in Wood-Carving, Tapestr}' Painting, and
other branches can usually be arranged to suit the conven-
ience of the pupil, the fees being the same as the monthly
fees for the regular course ; viz : SS.OO a month.
Grecian Helmet. From a pen-and-ink drawing by John J. Bissegger, a pupil in the School.
The next school year of thirty-six weeks begins the third
Monday in September (the i6th) and ends at the first of
June. The evening classes open the second Monday in
October (the 14th) and close at the middle of April. There
is a vacation of one week at Christmas. The School is also
closed on legal holidays and on the Friday following Thanks-
Hours of Study — Day Classes.
The hours of study for the day classes are from nine
o'clock to one, and from two to four every day in the week
Evening classes in all the branches except Wood Carving
are in session from the second Monday in October until
the middle of April, on Mondays, Wednesdays, Thursdays
and Fridays, from half-past seven to half-past nine o'clock.
Thursday evening in each week is devoted to lectures.
Class for Teachers in Public and other Schools.
Special arrangements are made for the accommodation of
teachers, as follows: In addition to the facilities afforded
by the evening classes, persons employed as teachers, in
either public or private schools, may attend every Tuesday
and Thursday afternoon, from two o'clock until four, with-
out extra charge. Particular attention is paid to blackboard
work, especially to such forms of it as are needed in kinder-
garten and primary schools ; and every Tuesday afternoon
is devoted to this kind of practice under the personal in-
struction of the Principal.
Requirements for Admission.
Applicants for admission are expected to be as proficient
in the common English branches as the completion of the
Grammar School course would imply. It is also desired
that pupils should be fairly well grounded in a knowledge
of free-hand drawing ; but proficiency in this branch is not
required as a condition for admission, and pupils who are
deficient in this respect will be given an opportunity, and
furnished with every facility, for making up such defici-
ency. Students in the Textile and Chemical Departments
must also pass an examination in Arithmetic (through per-
All fees are payable in advance, and money once paid
will in no instance be refjinded, except by special action of
the Committee. The fee for the day class in any depart-
ment of the General Course is $40.00 a year. Students
entering for less than a year pay at the rate of $8.00 a
The fee for the evening class is $10.00 a year.
The fee for the teachers' class is the same as that for
the evening class.
Special Courses as Follows :
Weaving and Textile Design, day class, $100.00 a year;
evening class, $15.00 a year. Chemistry and Dyeing, day
class, $100.00; evening class, $15.00 a year. Pupils in the
Chemical Department — day class — are required to make a
deposit of $10.00, to cover breakage, which must be settled
for semi-annually : for the evening Chemistry class, course
A, this deposit is $5.00. Wood Carving, same as General
Materials for Study.
Instruments and materials for study must be provided
by the students. All articles required in any class are for
sale at the School at less than retail prices, and students
are expected to purchase them here.
Graduates from the regular course may continue in the
School for advanced study without payment of fees, on con-
dition that they devote a certain amount of time to teach-
ing in the School or to other Art Work, for the promotion
of the interests of the Institution.
Each student is provided with a locker, in which drawing-
boards and materials are to be placed before leaving the
class-room. On receiving the ke}' the student must deposit
fifty cents, which, when the key is returned, will be refunded,
provided the return is made within one month after the date
at which the student's term expires ; otherwise the deposit
Students will be furnished with facilities for working at
the Museum in Memorial Hall when this is desired.
To be eligible for the examination for the certificate or
diploma, students must have completed satisfactory exercises
in the Subjects of Study (see page 29 et seq). The works
are regarded strictly as exercises, not as results, and stu-
dents will practice the several kinds of subjects until the
work required can be performed with facilit}' in a reasonable
At least one specimen of each student's work in each
class will be retained by the School.
Examinations are held semi-annually, in January and
May, on the results of which, taken in connection with the
quality of the work done in the class-room and regularity
of attendance, the standing of students is made to depend.
Monthly reports of attendance and standing are made
to parents and guardians, and students whose progress is
shown by these reports to be unsatisfactory for three
months in succession will not be allowed to continue their
studies in the School.
The discipline of the School is made as simple as possible,
and students are made to feel that as the requirements are
definitely stated, and the instruction in each branch given
at well-known hours, the progress of each is substantially
in his own hands.
All students, however, are expected to be prompt and
regular in their attendance on all the exercises and lect-
ures of their course, and irregularity in this respect will be
regarded as sufficient reason for dismissal.
Polite and orderly conduct is also insisted upon at all
times, and any damage to School property must be made
good by the student causing it. No book, chart or other
educational appliance will be allowed to leave the building
under any circumstances.
All work must be put away before the student leaves the
building. Lost articles may be inquired for of the janitor.
Students are requested to give prompt notice of change of
Lectures on the Anatomy of the Human and of Animal
Form as applied to Decorative Art, on Harmony of Color
and related subjects are given throughout the year.
Class instruction in the Geometrical branches is given
every Monday, which all students are expected to attend ;
and lectures on Original Design, on Art History and on
Perspective are given by the Principal every Wednesday
morning from eleven o'clock to half-past twelve, and every
Thursday evening. All first-year students are expected to
attend these lectures.
Employment for Graduates.
The School does not undertake to find places for gradu-
ates, but applications for teachers and designers are con-
stantly being received by the Principal, and students
desiring employment are requested to notify him to that
No pupil, who has not spent at least one year in the
School, will be recommended for a position either as teacher
Candlestick Henri II, in the collection at Memorial Hall, by Janet B. MacAlister, a pupil in
Old Oaken Chair, time of Cromwell. From a pen-and-ink drawing by Vernon H. Bailey, a
pupil in the School, in the collection at Memorial Hail.
SUBJECTS OF STUDY.
(i) Drawing of Ornament from casts in charcoal, pen-and-
ink and crayon.
(2) Model drawing in Charcoal, pen-and-ink and crayon.
(3) Drawing of Pieces of Furniture, Chairs, Tables, etc.
(4) Studies of Drapery in crayon, pen-and-ink, wash, etc.
(5) " Objects of Industrial Art from the Museum.
(6) " Flowers and Foliage from Nature, in char-
coal, pen-and-ink and water color.
(8) Analysis of Plants for the purpose of Design.
(9) Original Designs, from natural forms.
(10) Studies in Historic Ornament.
(11) Design applied to Surface Decoration, flat or in relief.
(12) Exercises with Instruments (construction of plane
♦ figures, line shading, etc.).
(13) Plans and elevations of buildings and machinery.
(14) Descriptive Geometry (intersections and developments).
(i) Plane Geometrical Drawing.
(3) Descriptive Geometry.
(5) Model Drawing.
(6) Drawing from Memory.
(7) Historical Ornament, a written paper, illustrated by
(This class attends lectures once a week on Geometry in all its applications
to Drawing ; and once a week on Perspective, on the Principles of Design, on
Historical Ornament, or some other subject directly related to the work of the
Head Modeled by Winifred E. Ketcliain, a pupil of the School.
ADVANCED DRAWING CLASS.
This class is for the thorough study of the figure from
the cast and from the living model. Students are admitted
to this class only after completing the courses described on
pages 29 and 30, or, in the case of those who do not desire
to complete the course, or who have received their prelimi-
nary training in other institutions, on passing a satisfactory
examination in drawing the human figure, either from life
or from the cast.
The Life class works from the Draped Model, and each
pose is arranged with as much reference to the study, either
of historical costume or of beauty of decorative effect, as
of the figure itself
This class is under the personal instruction of the Prin-
Original Design by Mary L. Price, a pupil in the School.
DECORATIVE PAINTING AND
(i) Enlargement and reduction of colored ornament, from
Plates and from Actual Fabrics, Carpets, Wall
(2) Exercises with Instruments. Drawing of Geometrical
Patterns from Plates and Fabrics. (For students
who have not taken the Certificate of Class A.)
(3) Grinding and Preparation of Colors.
(4) Studies in Color Harmony, consisting of Original De-
signs treated in different schemes of color.
(5) Studies of Plants and Flowers from Nature.
(6) " " Groups, Draperies, etc.
(7) " " Objects from the Museum.
(8) Original Designs for Body Brussels and Ingrain
Carpets, Smyrna Rugs, Turcoman Curtains, Up-
holstery Goods, Wall Papers, Oil Cloths, Linoleum,
Lace, Embroidery, etc.
(i) Time Sketch in water colors of flowers or a group of
(2) Exercises in Color Harmony, in water colors.
(3) Paper on the Origin and Chemistry of Pigments.
(4) " " Principles of Design in Surface Decoration.
(5) Description of Lithography, Engraving and Etching,
Porcelain and Pottery Decoration, Fresco Painting,
Mosaic Work, Inlays, Colored Glass Work.
(This class attends the lectures on Harmony of Color, on Historic Orna-
ment, and on Principles of Decorative Design.)
To earn the Diploma the Student must devote two years to the work of this
class in addition to completing the work of class A.
Original Design, by S. M. Eckert, a pupil in the School.
Tiles designed and modeled by pupils of the School.
(i) Studies of Ornament from casts.
(2) " " Details of Human Figure from casts.
(3) " " Animal from casts.
(4) " " Ornament from prints and photographs.
(5) " " the Living Model.
(6) Original Designs for Wood or Stone Carving, and for
(7) Original Designs for Ornament in Terra Cotta.
(8) Anatomical Studies of the Human Figure.
(9) Designs for Work in Cast or Wrought Metal.
10) Designs for Furniture or Cabinet work with carved
(i) Paper on Historical Schools of Sculptured Ornament.
(2) Paper on Principles of Design as applied to Sculptured
(3) Time Sketch in Clay of Ornament from cast or print.
(4) Paper on Anatom}- of the Human Figure.
(This class attends lectures on Human and Animal Anatomy, on the Prin-
ciples of Constructive and Decorative Design, and on Historical Ornament.)
To earn the Diploma the Student must devote two years to the work in this
class in addition to completing the work of class A.
(For those employed as Teachers in either Public or Private Schools.)
(i) Drawing of Ornament from the cast.
(2) " from models.
(3) " Pieces of Furniture, as chairs, tables, etc.
(4) Foliage from Nature.
(5) Analysis of Plants for the purpose of Design.
(6) Elementary Design.
(7) Studies of Historic Ornament.
(8) Applied Design.
(9) Drawing from Dictation.
(10) Modeling, with special reference to the work of the
(11) Plane Geometrical Drawing.
(12) Elements of Projection.
(13) Element of Perspective.
(i) Model Drawing.
(2) Drawing from Dictation.
(3) Plane Geometrical Drawing.
(4) Elements of Projection.
(5) Elements of Perspective.
(6) Drawing on the Blackboard.
Original Design for Lace, by Nellie Slater, a pupil of the School.
DEPARTMENT OF WEAVING AND
COURSE OF STUDY.
For pupils who have not been in attendance at the School,
the Course in Textile Design (including Chemistry and
Dyeing) covers three years ; but upon the satisfactory evi-
dence being furnished of the Student's proficiency in the
work of the first year's General Course, he may complete
the Course in Textile Design in two years.
First Year's Course.
Squared Designing Paper for the different Textile Fabrics.
Weaves for Textile Fabrics and the Methods of their
Tlic Plain or Cotton Weave. — Construction. Influence of
the Twist of the Yarn. Fancy Effects Produced by using
Threads of Different Sizes, or by the Combination of Two
or More Colors.
Tivills. — Construction. Influence of the Twist of the
Yarn upon tlie Various Textures. Division of Twill
Weaves. Combination of Two or More Colors for Pro-
ducing Different Effects.
Satins. — Methods and Rules for Constructing the Va-
rious Satin-Weaves. Influence of the Twist of the Yarn
Upon Fabrics Interlaced with Satin-Weaves.
Draiving-in of the Warp in the Harness. — Description of
the Operation. Principle of a Drawing-in Draft. Methods
Used for Preparing Drawing-in Drafts. Division of Draw-
ing-in Drafts. Straight Drawing-in Drafts. Fancy Draw-
ing-in Drafts. Drafting of Drawing-in Drafts from Weaves.
Preparing the Harness-Chain by Fancy Drawing-in Drafts.
Rules for Estimating the Number of Heddles Required
for Each Harness, a. For Straight Drawing-in Drafts, b.
For the Various Fancy Drawing-in Drafts. The Reed,
and Rules for Calculations.
From the Plain or Cotton Weave. — Common Rib-Weaves.
Common Basket- Weaves. Fancy Rib-Weaves. Fancy
Basket-Weaves. Figured Rib-Weaves. Effects Produced
by using Two or More Colors in Warp and Filhng of Fa-
brics Interlaced Upon Rib and Basket- Weaves. Oblique
Rib-Weaves. Combination of Common and Oblique Rib-
From the Regular Twill Weave. — Broken-Twills. Using
Two or More Colors for Producing Various Effects upon
Fabrics Interlaced with Broken-Twills. Steep-Twills of
63° Grading or Diagonals. Steep-Twills of 70° Grading.
Steep-Twills having a Grading of 75°. Reclining-Twills
or Twills having a 27° Grading. Curved-Twills. Skip-
Twills. Combination of Two Different Common Twills to
Steep-Twills of 63° Grading. Corkscrew-Twills. En-
twining-Twills. Twills having Double Twill-Effects. Twill
Weaves Producing Checkerboard Effects. Combination of
Warp and Filling Effects from a 45° Twill Weave after a
Given Motive. Fancy Twill Weaves. Pointed-Twills.
Derivative Weaves from Satins. — Double Satins. Granite
Weaves. Combination of Different Systems of Weaves
into One Weave. Figured Effects Produced by the Fancy
Arrangement (of Two or More Colors) upon Fabrics In-
terlaced with Derivative Weaves,
Weaves for Single Cloth Fabrics of a Special Construction
and Peculiar Character. — Honeycomb Weaves. Imitation
Gauze (Plain and Figured). Combination of Weaves for
Fabrics constructed with One System of Warp and Two
Systems of Filling. Combining Two Systems of Filling to
One Kind of Warp for Increasing the Bulk of a Fabric.
Figuring with Extra Filling upon the Face of Fabrics In-
terlaced with their own Warp and Filling. Principles of
Swivel Weaving. Explanation and Illustration of a Swivel
Loom. Combination of Weaves for Fabrics constructed
with Two Systems of Warp and One System of Filling.
Two Systems of Warp and One System of Filling for
Producing Double-Faced Fabrics. Using an Extra Warp
as Backing for Heavy- Weight Worsted and Woolen Fa-
brics. Figuring with E^xtra Warp upon the Face of Fa-
brics Otherwise Interlaced with the Regular Warp and
Filling. Principles of Lappet Weaving. Explanations and
Illustrations of the Lappet Loom. Tricot Weaves.
Description and object of making double cloth fabrics.
Rules for designing double cloth fabrics. Double cloth
weaves designed with warp and filling, one end face to alter-
nate with one end back. Warp, one face, one back, filling,
two face, one back. Warp, two face, one back. Filling, one
face, one back. Warp and filling, two face, one back. Warp
and filling, two face, two back. Warp, two face, two back,
filling, two face, one back. Warp and filling, three face,
one back. Double cloth weaving without stitching both
Cloths. Principle of constructing seamless bags, hose and
similar fabrics. Double cloth fabrics in which the design
is produced by the stitching being visible upon the face of
the fabric. Worsted coatings. Matelasses. Quilts (plain
pique fabrics and figured pique fabrics). Rib fabrics. Three-
ply fabrics. Four-ply fabrics, etc.
Analysis of Textile Fabrics.
Methods and rules in practical use for ascertaining the
Weight per Yard and Ends per Inch, in Warp and Filling
for the Finished Fabrics from a given sample. Ascertain-
ing the Weave. Ascertaining Raw Materials used in the
construction of textile fabrics. Ascertaining the Texture
required in Loom for a given fabric sample. Ascertaining
the Arrangement of Threads in a sample, according to their
Color and Counts for the Warp and Filling. x-\scertaining
the Sizes or Counts of the Yarns necessary for the Repro-
duction of a given sample. Ascertaining the Weight of the
Cloth per yard from Loom. Ascertaining the Process of
Finishing necessary. (Ascertaining the Shrinkage of a
Fabric during Finishing, with an Explanation of the Rela-
tions between Finished Width and Length of a Fabric and
its Width and Length from Loom.)
Miscellaneous Yarn Calculations.
Dressing of warps by hand, and calculations for same ;
The hand-loom analyzed and explained, with reference
to the various ''witches'' and " dobbys" in use.
Practical work on hand-looms for cotton, woolen and
Principles of the cam loom and of the roller loom, with
reference to the best manner of adapting these to fancy
Exercises with instruments ; construction of plane fig-
ures ; line shading, etc.
Enlargement and Reduction of Designs ; Analysis of
Plants for the purpose of use in Design for Textile Fabrics;
Work in Color ; Lectures on Color Harmony.
Students must pass satisfactorily the Course of Freehand
Drawing: to be admitted into the Second Year's Course.
Second Year's Course.
Pile Fabrics Produced by the Filling. — Velveteens, Fustians,
Corduroys. Chinchillas, Whitneys, Plain and Figured.
Chenille for the Manufacture of Curtains and Rugs. Che-
nille as Produced in the Manufacture of Fringes.
Pile Fabrics in ivhich the Pile is Produced by a Separate
Warp in addition to the Ground Warp. — Description of the
Structure of Warp Pile Fabrics. Terry and Velvet Pile.
Velvet and Plush Fabrics. Figured Velvet. Astrakhans,
their various methods of construction. Tapestry Carpets.
Brussels Carpets. Double-Faced Carpets.
Double Pile Fabrics. — Principle of their Construction.
Methods of Operation for Producing Double Pile Fabrics
and Cutting the same on the Loom during Weaving.
Turkish Tozvclings and Similar Fabrics.
Smyrna Carpets and Rugs. Two-Ply Ingrain Carpet.
Principle of Construction of Gauze Fabrics. Combina-
tion of Plain and Gauze Weaving. Jaquard Gauze.
The Jacqtiard Machine, as Necessary for Figured Work.
History of the Jacquard J\Iachi)u\ The Jacquard Maclnne,
General Arrangement and Application. Illustration of the
different parts of the Jacquard Machine. Method of Opera-
ion, etc. The Jacquard Harness. The Comber-boardst
Tying-up of Jacquard Harness. Straight-through Tie-up.
Straight-through Tie-up for Repeated Effects, in one Re-
peat of the Design. Straight-through Tie-up of Jacquard
Loom, having Front Harness attached. Centre Tie-up.
Straight-through and Point Tie-up Combined. Straight-
through Tie-up in Two Sections. Tying up a Jacquard
Harness for Figuring Part of the Design with an Extra
Warp. Straight-through Tie-up in Three Sections. Point
Tie-up in Three Sections. Combination Tie-up in Two
Sections. Straight-through Tie-up in Four Sections.
Tying-up of Jacquard Looms with Compound Harness
attached. Tying-up Jacquard Looms for Gauze Fabrics.
Modifications of tlie Single Lift Jacquani Macliine. — Dou-
ble Lift Single Cylinder Jacquard Machine. Double Lift
Double Cylinder Jacquard Machine. Substitution of Tail-
cords for Hooks, etc.
Tying-np of facqnard Harness for Tivo-ply Ingrain
Carpet, etc. — General Description of the Construction of the
Fabric. Straight-through Tie-up. Point Tie-up.
Stamping of Jacquard Cards ; with reference to the
Lacing of Jacqiiard Cards.
Squared Designing Paper for the different Textile Fabrics
executed on the facqiiard Machine. Selection for Designing
Paper for Single Cloth. For Double Cloth. For Two-ply
Ingrain Carpet, etc., etc. Colors used for Painting Textile
Sketching of Designs for Textile Fabrics to be executed on
the Jacquard Machine. Methods of Setting the Figures.
Size of Sketch Required. Enlarging and Reducing Figures
for Sketches. Transferring of the Sketch to the Squared
Designing Paper. Outlining in Squares. Rules for Out-
lining in Squares Inside or Outside the Drawing Outline.
Illustration of a Sketch. Outlining on Q Paper. Finished
Design. Fabric Sample (Single Cloth). Designs for Dam-
ask Fabrics to be executed on a Jacquard Loom, with
Compound Harness attached. Designs for Two-ply In-
grain Carpet. Designs for Dress goods, Figured, with
Extra Warp. Designs for Figured Pile Fabrics.
Study of the Crompton and Knowles Harness Looms of
the latest makes, single and double beam. Methods of set-
ting up and timing of their various parts. Box motions and
chain building explained. Rules and calculations for change
gears, also such as to ascertain desired speed of shafting and
size of pulley required for a given speed of loom. Practical
weaving with these looms of worsted and woolen fabrics of
The Jacquard Machine. Principles of construction and
method of operation of the single-lift machine ; the various
modifications, such as double-lift single cylinder, double-
lift double cylinder ; laying out of comber boards, and
figuring for various changes in texture ; tying up of harness
for single cloth.
The study of the Bridesburg Clipper Loom, timing
of its various parts, and practical work with the same, with
special reference to its use in connection with the double-
lift double cylinder Jacquard machine for damask table
covers, etc. The study of the Ingrain Carpet Machine and
various tie-ups for the same. The Ingrain Carpet Hand
Loom and the Murkland Power Carpet Loom analyzed and
explained ; practical work with these looms. Card-stamp-
ing for the different fabrics, as damask table covers, dress
goods, upholstery, ingrain carpets, etc. Card lacing.
Study of cut pile fabrics. — Velvets, Plush, Tapestry and
Brussels Carpets ; double-faced Brussels Carpets. Astra-
khans, cut ; uncut; figured in Terry and velvet. Chenille
Rugs, Curtains, etc. Gauze fabrics, plain ; figured.
Plans for machinery, mill buildings, etc. Illustrating
process of weaving. Illustrating sectional cuts of Textile
Sketching for the different fabrics on Jacquard work.
Tools Required in Practical Department by Each Scholar.
One small monkey-wrench ; one screw-driver (medium
size) ; one pair plyers ; one pair scissors ; one pair overalls
Candlestick in the collection at Memorial Hall. From a pen-and-ink drawing by
Janet B. iNIacAlister, a pupil in the School.
DEPARTMENT OF CHEMISTRY AND
SCHEDULE OF STUDIES.
Lectures and laboratory practice.
The elementary substances.
Theory of atoms and molecules.
Application of the atomic weights.
Chemical equations and their interpretation.
Acids, bases and salts.
Sodium, Potassium, Silver, Calcium, Barium, Strontium,
Lead, Magnesium, Zinc, Cadmium, Aluminum, Chromium,
Manganese, Iron, Cobalt, Nickel, Copper, Mercury, Tin,
Detection of metallic elements.
Detection of acids.
Analysis of various salts.
Industrial and Organic Chemistry as applied to dyeing.
Lectures and laboratory work.
Wool, Cotton, Linen, Silk.
General properties and action of chemical agents.
Affinity for different coloring matter.
Theories of dyeing.
Mordants and their application.
Artificial coloring matter.
Natural coloring matter.
Application to different fibres.
Dyeing fast colors.
Bronze Lamp Stand in the collection at iMemorial Hall. From a drawing by
Vernon H. Bailey, a pupil in the School.
Course of Study.
(i) Selection, Sharpening and Care of Tools.
(2) Bosses and Scrolls from Casts and Models.
(3) Intaglios and Mold Sinking.
(4) Ornament from Prints and Drawings.
(5) Original Designs for Panels, Carved Enrichments for
Furniture and Cabinet Work, Picture Frames,
ROLL OF STUDENTS.
ADULPH, ALBER'J' J.
ASPDEN, NEWTON J.
BAILEY, VERNON H.
BARNES, JAMES P.
BARINGHURST, REV. GEORGE
BIRD, H. M.
BEDFORD, CORNELIA E.
BELL, THOMAS S.
BOCK, RICHARD C. A.
BOND, WILLIAM E.
BOTTOMLEY, CHARLES S.
BR EADY, EDWIN K.
BROOKS, JAMES E.
BROWN, MRS. N. C. S. .
CAMPBELL, ANGIE L.
CAMPBELL, JOHN J.
CAROLAND, MAY R.
CHARLTON, WILLIAM J
COLESBERRY, J. BENNETT
CONVERSE, C. A.
CRAWSHAW, ALEXANDER G.
DAVIDSON, HARRY O.
DAVIS, JOHN AI.
DEMOLL, CARL G.
DOAK, willia:\i a.
DORISS, JOHN W.
EASTWICK, C. J.
ECKERT, SUSAN M.
EINSTEIN, MRS. HENRIETTE
ELMORE, MRS. AGNES
EMERICK, J. M.
ENSINGER, HOWARD G.
EVERETT, WM. S.
EYSTER, J. H.
FAWKNER, FRED. L.
FETHERSTON, FLORENCE C.
FERRIDAY, HARRY M.
FINCKEL, CONYERS B.
FITZGERALD, JOHN C.
FLEMING, JAMES B.
GARDINER, MARIE E.
GARNER, FRANK A.
GIBBONEY, A. FRANK
GREEN, MRS. LYDIA L.
GOLDSMITH, GEORGE F.
GRIFFITHS, MRS. A. T.
HAINES, JOHN N.
HALLO WELL, ELIZABETH M.
HARRISON, GEORGE L.
HARRISON, CHARLES C.
HARRISON, HARRY W.
HARTSHORNE, ANNA C.
HARVEY, GEORGE H
HAYES. J. J.
HERRGEIST, CHARLES W .
H ILL, THOMAS
HOLT, MARLA. L.
HOLT, WILLL\M F.
HOGAN, MARY H.
HUNT, FREDERIC S.
IVES, J. E.
JACKSON, X. WARE
JACOBS, ERNEST J.
JAMES, MARY A.
KAUFMANN, GEORGE F.
KEW, WALTER B.
KEYS, JOHN L.
KNEEDLER. HARRY M.
KNIGHT, HARRY B.
KREIDER, JOSEPH G.
LENTZ, OLIVER G.
LETCH WORTH, SALLIE H.
LEVERING, M. E.
MacALISTER, JANET B.
MacINTIRE, MRS. LUCY P.
MASOX, A. HAMILTON
MAYER, FRED. E.
McCALL, ANXETTA G.
McCOXNELL, JOHN J.
MILLER, J. HIBBERD
]\IITCHELL, A. J.
MITCHELL, JEANE E.
MORRIS, JOSEPH, JR.
MUIR, AUGUSTA E.
XARDI, C. E.
XEFF, J. THORNLEY
NEWMAN. O. B.
'NICHOLS. WALTER S.
PAGE, H. P.
PAGETT, WM. W.
PATTON, WILBER F.
PEALE, HARRY. JR.
PLUMMER, EVELYX E.
PHILLIPS, ALBERT C.
PRESTON, W. B.
PRICE, MARY L.
PRICE, SUE M.
PRICHARD. E. SYDNEY
PURDY, BELLE B.
QUAY. HARRY E.
RAWLIXS, MARY B.
RICE, WILLARD M., 3d.
ROBERTS, WM. H.
ROGERS, HARRY T.
RUSSELL, HEXRY R.
RUSSELL, i\IARY C.
SCHWARTZ, ALBERT F.
SCHUERLE. HARRY A.
SEVERXS, A. LIXCOLN
SIMON'S, A. C.
SMITH, A. D.
SMITH. EMMA A.
SMITH, HARVEY X.
SMITH, FAXNY C. L.
SO^NIERS, MAE E.
STEEL, WARXER J.
STEEL, CHARLES F.
STEVEN'S, FLORRIE G
STOHR, JODOK, JR.
TILGHMAX, E. S.
THIELE, THOMAS M.
TOY, ELIAS, JR.
TRUITT, J. P., JR.
ULLMAN, JOHN J.
VAN GUNTEN, CHARLES J.
VOSBURG, CORNELLA. V.
WALDRON, WILLL-\iM K.
WALENTA, EDMUND J.
WALGE^IUTH, FRANCIS F.
WARREN, WILLIAM C.
WEED, A. N.
WEISEL, DEBBIE D.
WHITTINGTON, FRED. O.
WILKINSON, HOWARD M.
WILLIS, ALBERT P.
WILSON, AMANDA M.
WOLF, SARAH E.
WOODHULL, JENNIE W.
YERKES, JENNIE L.
VOUDS, MAUD A.
Chrysanthemum.s, from- Nature ; by Lydia L. Green, a pupil in the School,
A Partial List of Former Students of the School,
with their Present Occupations.
ADOLPH, ALBERT J., Designer, Carlile & Joy.
BANES, J. W., with Erben, Search & Co.
BARR, WILLIAM, Dyestuff salesman, Davis & Walton.
BEATTY, JOHN R., Woolen and Cotton l\Ianufacturer.
BECK, ROBERT K., Designer, John A. Lowell, Boston, Mass.
BERG, KATF. H. W., Decorative Painter.
BICKHAM, S. A., with Thomas Wood & Co.
BILSON, C. R., Designer, DeKosenko & Hetherington, Philadelphia.
BIRD, CLINTON H., Woolen Manufacturer, Bethlehem, Pa.
BISSEGGER, J. J., Draughtsman, Cope & Stewardson.
BLACK, W. A., Designer, Carey Bros., Philadelphia.
BROOKS, JAMES E., Ink INIanufacturer.
BROOM, HARRY, Dyeing, Firth & Foster Bros.
BURT, JOHN, Boss Dyer, M. A. Furbush & Sons.
BUTTERWORTH, SAMUEL, Member firm France & Butter^vorth , Woolen Manufacturers,
CAMPBELL. PETER, Dyeing.
CAMPBELL, ARCHIE, Boss Dyer, Ivins, Dietz & Magee.
CAlNIPBELL, J. ADDISON, Woolen Manufacturer, Manayunk.
CUMMINGS, HELEN N., Decorative Painter, Philadelphia.
CARROLL, BENJAMIN, Designer, Philadelphia.
CHADWICK, ROBT., J. & J. Dobson, Philadelphia.
CHALK, Wj\I. GEORGE, Designer, Philadelphia.
CHUBB, AMY, Designer, John B. Bierck & Co.
DIEZ, JOHN, Designer, Philadelphia.
DODD, HARRIET J., Decorative Painter, J. E. Newton, Philadelphia.
ENGEL, GEO. W., Designer, Philadelphia.
EVANS, GERALD, Designer, Tr^-mby, Hunt & Co., Philadelphia.
FARLEY. ROBERT, Overseer Weaving Department, Philadelphia.
FIRTH. EDWARD, with Firth & Foster Bros.
FITZGERALD. SMITH, Foreman wool sorting. Craven & Deamley.
FOSTER, J. W., with Firth & Foster Bros.
FOSTER, FRANK, with Firth & Foster Bros.
FROMUTH, AUGUST, Designer, J. & J. Dobson, Philadelphia.
FRY, J. W. B., Architect, Philadelphia.
GADSBY, H. C, Treasurer Hope Mills, of North Carolina.
GLEDHILL, JOSEPH, Designer, Philadelphia.
GOODWIN, HOWARD R., Designer, Philadelphia.
GOODWIN, MYRTIE D., Teacher Penna. Museum and School Industrial Art.
GRAY, W. F., Designer, Philadelphia.
HALL, T. L., Designer, Philadelphia.
HALLOWELL, ELIZABETH M., Teacher of Drawing.
HARRIS, W. J., with T. A. Harris.
HARVEY, GEO. H., Carpet Manufacturer (firm of Harvey & Co.), Philadelphia.
HAYES, J. J., Boss dyer, West Jersey Dyes Works.
HAYS, FRANK, Architect, Philadelphia.
HENRY, JAMES. Designer, Leedom, Bristol.
HILL, EUGENE H., Designer, Philadelphia.
HILL, JOSEPH E., Teacher of Drawing, Philadelphia.
HOLT, MARIA L., Teacher Penna. Museum and School Industrial Art.
HOLT, THOMAS, Superintendent, Frank Leake, Philadelphia.
HOLT, WILLIAM, Designer, Berkey, Gay & Co., Grand Rapids.
HOPFER, CHAS., Designer, Philadelphia.
HUQUENELE, ADELE, Teacher of -Drawing and Painting, Philadelphia.
HOSEY, THOS., Dyeing, Wm. Wood & Co.
IVINS, WM., Jr., Carpet Manufacturer.
JACOBS, GEARY, Woolen Manufacturers, Jacobs Bros., Portland, Oregon.
JUNGKURTH. JOHN W., with Thomas Wood & Co.
KELLY, JOHN, Designer, Philadelphia.
KETCHAM, WINIFRED E., Designer, Keystone Watch Case Co., Philadelphia.
KNEEDLER, HARRY M., Manufacturer,
KNIGHT, HARRY B , Dyestuff salesman, F. Bredt & Co.
KRAYER, J. FREDERICK. Designer, Denver, Col.
LANG, WM., Designer, Philadelphia.
LATHROP, BESSIE, Teacher Modeling and Designing, School for Deaf Mutes, North-
LAWSON, DAVID, Designer, Philadelphia
LETCHWORTH, SARAH H., Teacher of Drawing, Friends' School, Moorestown, N. J.
LEVERING, JOHN, with Erben, Search & Co.
LITTLEWOOD, BENJ., Boss dyer, Wm. Wood & Co.
LUDELL, HAROLD, Designer, Philadelphia.
LUTZ, EDWIN G., Designer (General), Philadelphia.
MAGEE, JAMES S., Carpet Manufacturer, Philadelphia.
MALCOLM, JOHN, Dyeing, Quaker City Dye Works Co.
MARTIN, WM. S., Designer, Philadelphia.
MASON, A. HAMILTON, Swift Manufacturing Co., Columbus, Ga.
McGUIGAN, JOHN, with Thos, Dolan & Co.
McKEE, VEAGH, Designer, Philadelphia.
MERCER, FRED T., Draughtsman, Philadelphia.
MELLON, WM. S., Designer, Philadelphia.
MERCER, W. HARRY, Designer (Furniture), Philadelphia.
NEWLIN, ARCHIE, Teacher of Drawing.
OGIER, VICTOR, Designer, Philadelphia.
PENNELL, JOSEPH, Artist, London, England.
PHILLIPS, A. C, Finishing, Joseph Boncroft & Sons.
PRICE, S. M., Teacher of Drawing, Friends' Select Schools.
PUGH, GEO. W., Designer, Philadelphia.
RAMBO, H. E. Carpet Manufacturer, Philadelphia.
REDDIE, ARCHIBALD F., Designer, McCallum & Sloan.
REINECKE, WM., Dyeing, with Wm. R. Diller & Co. ;
RICE, R. A., Superintendent. j
RICORDS, JENNIE T., Designer, Ketterlinus & Co., Philadelphia. \
ROGERS, WM. H., Overseer Weaving Department, John G. Carruth & Co., Philadelphia. s
SCHEMLE, HARRY A., Pearl button-maker. ,1
SCHLESINGER, ALFRED R., Designer Furniture, Berkey, Gay & Co., Grand Rapids. "I
SHAW, ALEXANDER, Color mixer -j
SHINLE, JOHN, Designer, Philadelphia. j
SKEEN, JOHN, Designer, Philadelphia.
SMITH, THOMAS, Designer, Bromley, Philadelphia.
SOMERS, MAE E., Decorative Painter, Philadelphia.
STEWART, JAMES T., Manufacturer, Philadelphia.
STONE, THOMAS, Designer, Potoneska Mill, New Bedford, Mass.
STRATTON, HOWARD F., Teacher Penna. Museum School of Industrial Art.
TITHER, JAMES T., Designer and Superintendent, Media, Pa.
VAN GELDER, PETER, Designer, Philadelphia.
WALTON, JOHN P., Designer, Philadelphia.
WATSON, AGNES M., Artist. Philadelphia.
WATT, THOS. E., Designer, Bromley & Bros.
WILLIS, ALBERT P., Decorator, McGregor & Son.
WOODWARD, ESTELLE, Teacher of Drawing.
YUNDT, CHARLES, Designer, Philadelphia.