1050 - THIS CLEVELAND OF OURS stander has developed a more artistic magazine form than the old paper ever had, and runs rather to emphasis on beauty of makeup, while Town Tidings has become a small weekly newspaper with its emphasis on society news. Both contain art, book and music reviews. Tidings is edited by Noel Lawson Lewis, with Helen DeKay Townsend as society editor. Among the trade journals are the oil publications put out by Warren Platt. They include a daily paper, Platt's Oil-gram, the weekly National Petroleum News, the monthly International Petroleum Technology and the yearly "Oil Price Handbook." Platt also publishes the Bystander, of which Paul Packard is managing editor. The Harter Publishing Company does interesting things at the other end of the line—school textbooks and workbooks, picture books for little folk, sold in the five and ten cent stores. One of the most important is the Penton Publishing Company, which gets out seven periodicals. They are The Daily Metal Trade, Steel, which is a weekly succeeding the old Iron Trade Review, and five monthly magazines, The Foundry, The Marine Review, Powerboating, Abrasive Industry and Automotors Abstract. Each of these seven has its own editor and staff, but Joseph F. Froggett, as senior editor, exercises a general supervision over the whole group as well as over the other activities of The Penton Publishing Company. Six of these, as their names indicate, are trade publications, but Powerboating is a modified yachting magazine, largely recreational in character. Mr. Froggett, by the way, was of great assistance in the preparation of the chapters on Steel in Volume I of "This Cleveland of Ours." In short, Cleveland furnishes reading matter for people of all ages. The small child may have his bright picture book, the school child an arithmetic workbook, the high school sister her diploma, college brother his guide to a good time, the society woman her news of what her friends are doing, the home woman pictures of lovely interiors, the gardener his out-door helps, the golfer assistance in greenkeeping, the yachtsman his sailing orders, various trades and industries their significant news, the engineers their technological data, all published in Cleveland.—W. C. M. CHAPTER V ART AND ARCHITECTURE Cleveland's Art began, of course, the day the first child brought into the log cabin a bunch of wild flowers. Mother put them in a cracked cup without a handle, on the table. She thought back for a homesick moment to the vases in her father's house, to the orderly beauty of her mother's garden. "We must do with what we have," she reminded herself. She told the children where she had seen a fallen white birch tree, and they ran to bring a little roll of bark, which with flour paste was fashioned into a cylinder to slip over the old cup, and lo, the flowers had a fitting receptacle. Art proceeded through quilts and afghans and other handiwork as soon as there was leisure enough to let beauty go hand-in-hand with utility. But Art with a capital A entered very little into the lives of the Cleveland pioneers. Their traditions were Roundhead. Art was time-wasting, and time-wasting was a sin. It was not until the middle of the century that the pursuit of Beauty began to be quite respectable. Craftsmen who made objects of utility were regarded with respect, and if the products were good to look upon, that was considered favorable. The craftsman himself, being made respectable by his utility, naturally went as far in the direction of beauty as he could. Craftsmen seem to be that way. But just being an artist was never accomplished in pioneering circles. The artist was driven out or starved out, or turned his workaday attention to other tasks, satisfying his soul at odd moments. Presumably there must have been some attempt at art in all the long period between the first wild flowers in the birch-bark holder and the first life class, organized by A. M. Wil- - 1051 - 1052 - THIS CLEVELAND OF OURS lard, in the 'seventies. But Carl Lorenz, writing in 1910, said "Half a century ago there was no art life in the city of Cleveland. Here and there a young man or woman might have been found struggling with brush and pallette full of enthusiasm and perhaps not without talent. But the atmosphere was missing, and in many cases also the schooling. Even architecture was a thing of the future at that time, and the fine arts were represented by a very few real paintings in the homes of the very few lovers of art to be found in Cleveland. One or two wood carvers, and three or four clever stone cutters, foreigners by birth, constituted the art colony of our city, reminiscent of log cabins and wooden shanties from the first half of the last century." It was not until after the Civil war, whose close released Cleveland's energies into other channels, thought Lorenz, that the first signs of artistic activity were perceived which led to the flowering we have today. There is a definite connection, apparently, between the influx of foreigners and artistic development. The newcomers were not inhibited by Puritan tradition, and took the pursuits of art and music for granted along with those more sober ones favored by the New Englanders. In the early 'seventies a group of young artists got together and called themselves the Old Bohemians. They were all sons of German fathers who had come to this country. They were : Otto Bacher, Max Bohm, George Grossman, F. C. Gottwald, George Groll, Herman Herkomer, Hubert Herkomer, Adam Lehr, Louis Loeb, 0. V. Schubert, John Semon, Arthur Schneider, Daniel Wehrschmidt and Emil Wehrschmidt. None of these Bohemians were very old, and all of them were earnest. It was in 1875 that the first life class started under Archibald M. Willard, to which can be directly traced the great development of art education in Cleveland today. Willard was of Vermont stock, and threw the same determination into being an artist under difficulties which his forbears had thrown THE CITY'S LIFE - 1053 into other pioneering aspects of life. He was born in Bedford, Ohio, in 1836. His father was a minister—which fact may explain financially as well as in other ways why Archibald got very little art training. What he did manage to secure was in the studio of J. O. Eaton of New York. To this he added years of hard work and independent study. Willard was the man who painted the famous "Spirit of '76." This is a very interesting painting, but his service to art education is what he is chiefly remembered for in Cleveland's art history. A short time after the beginning of the life class the new City Hall was opened, its top floor vacant and not needed by the affairs of the body politic. Artists, looking always for north lights and overhead light, moved in, one after another. The Bohemians formed a Cleveland Art Club, welcoming other artists besides their original number, and took over the large east room. Two years later the Art Club started the Cleveland Art School, also located on the City Hall's top floor. "The politicians below were easy-going landlords," says Lorenz, "and the artists above were a merry set of people. In a very few years the artistic activity had taken huge proportions. The very walls in the upper hall bore testimony thereof. If there was no Trilby foot to be seen, one could find a variety of charcoal drawings, good, bad and indifferent, yet always expressing the humor of the Boheme which was reigning up there, nearer to heaven than to earth. The club and the school were flourishing; the artists worked, always full of ambition, if often empty of stomach." In 1882 a Cleveland School of Art was opened by Mrs. S. H. Kimball. This soon outgrew the bounds of a private residence and was, naturally enough, transferred to the City Hall. It is this School of Art, and not the original Art School, which is still in existence. In 1888 this school became a department of Western Reserve University. The arrangement, however, did not work very well, and was abandoned three years later. In 1891 Miss Georgie L. Norton came from Boston to become principal of the school, in which post she remained until her death 1054 - THIS CLEVELAND OF OURS in 1923. The next year after her arrival, the Cleveland School of Art moved to the old Kelley residence on Willson Avenue (East Fifty-fifth Street). In 1906 the present building on Juniper and Magnolia Drives was opened for the school, and in 1906 an addition was built for the special use of classes in sculpture. Among the large donors who made possible to building of the school Judge Stevenson Burke and Mrs. Burke may be mentioned not only for large donations but for continued and vitalizing interest. J. H. Wade gave not only money, but the site of an acre and a half in the University district. It was Thomas H. White who made possible the addition of the studio for the development of sculpture. Not long after the removal of the Cleveland School of Art, the old Art School disappeared. In the picturesque language of today, it "folded up." The writer ventures a guess that the instruction in this institution, given free by various artists for sheer love of art, was of equal calibre with that of the other school, but that superior management and organization won. And in fact, with the new school flourishing on a business basis, the need for the old one was no longer apparent. "By Bohemian," says Froude, "I do not mean to be uncomplimentary. I mean merely a class of persons who prefer adventure and speculation to settled industry, and who do not work well in the harness of ordinary life." When Art joins Education, it finds, after a bit, that it must forsake adventure and speculation for settled industry, must cease to kick up its heels in green pastures, and learn to work well in the harness of ordinary life. Not that this injures the cause of Art. Education needs beauty. Art can bear a little restraint. And if some of the artists fall readily into harness—and are perhaps surprised to find that they can go farther over roads than over roughness—there are always colts coming on to kick up their heels and think they are showing the world something new. In 1898 Mayor John H. Farley decided the city needed its whole building. Out went the artists, hither and yon. Over their walls went a coat of whitewash and the old period was at an end. THE CITY'S LIFE - 1055 What became of the Old Bohemians? Their fates were varied. Otto Bacher had studied with DeScott Evans and Willis S. Adams, and in 1878 went to Europe with Adams and with Sion Wenban. Bacher was the first of the Cleve-land artists to cross the water to study. He studied in Munich and then with Duveneck in Venice, where he became the friend of Whistler, and under the tutelage of that genius became an etcher. His book "With Whistler in Venice" was gotten out with the editorial assistance of William W. Andrew, former Superintendent of Schools of Rocky River, when Bacher and Andrew were living in Bronxville, New York. Bacher finally settled in New York, where he did etching and illustrating. Two of Bacher's four sons have con-tinued the artistic tradition. One began a career in portraiture, but later joined his brother, a ceramic engineer, in a venture somewhat similar to the Cowan Pottery of Cleveland. They make the White Cloud Pottery at White Cloud Farms, Rock Tavern, near Newburgh, New York. A book described as a brief story of Bacher's life, with examples of his etchings and a catalogue of his works, somewhat similar to the book about D. Y. Cameron by Rinda, but done in a smaller way, was prepared for publication during the summer of 1932 by Mr. Andrew. Hubert Herkomer made a financial success at portraiture in New York, then went to England, where honors were heaped upon him for his fine work in many different lines. Edna Maria Clark in "Ohio Art and Artists" says of him that he was as versatile as the Italian renaissance masters—skilled as draughtsman, silversmith, worker in iron, maker of etchings and mezzotints, painter in oil and water color, singer and actor. He was knighted by the English government. John Herkomer, father of Herman, was a woodcarver of no mean distinction. Many of the beautiful old Euclid Ave-nue houses, notably that of John Hay, were adorned with the work of his hands. This writer owns a specimen supposed to be of his handiwork which came from one of those houses through the medium of a second-hand store. It is a beautifully carved mahogany music cabinet, its sides en- 1056 - THIS CLEVELAND OF OURS graved with quotations about music, and with a chorus of cherubs surrounding the cabinet at the top in a band of delightful little singing heads. At the German Lutheran Church at the corner of Prospect Avenue and East Twentieth Street are to be seen four apostles and some other objects of his artistry. Herkomer turned over his carving shop to George Heidenreich, who moved it from the Flatiron Building at Huron and Prospect to Erie near Bolivar Road. Heidenreich was not financially successful, and sold the business to George Fischer, now senior member of Fischer and Jirouch. This firm, direct descendant of the little shop of John Herkomer, did the beautiful carvings of Severance Hall, the Federal Reserve building, the Public Library and other buildings. It has lately done carving for the new Christian Science Church on Overlook Road, the new Masonic Temple at Franklin Circle and the War Memorial at Indianapolis. Herkomer spent his last years in England with his nephew Hubert, in the art colony of Bushy-Hertz, near London. Herman Herkomer studied in New York, Munich and London, painted his cousin Hubert in his Oxford robes, returned to Cleveland for a while and went to California, where his work has been greatly appreciated. The Wehrschmidts joined the Herkomer colony in London and have done excellent work there. Arthur Schneider went to North Africa and became court painter to the Sultan of Morocco. George Grossman, John Semon and George Goth specialized in landscapes and have produced many beautiful things. Semon's "Edge of the Woods" is in the Cleveland Museum of Art. Adam Lehr's work in still life is still regarded as the standard. Louis Loeb "regarded the business of the illustrator very seriously," says Edna Maria Clark, "giving a thoughtful and beautiful interpretation to every scene he chose." He illustrated Mark Twain's "Pudd'nhead Wilson," John Fox's "Cumberland Vendetta," Marion Crawford's "Via Crucis." His painting was touched always by mystery and allegory. THE CITY'S LIFE - 1057 "All his work was done with superior technical skill; there never was a haphazard production. He had an intense desire to help his own people—the Jews, and early became identified with the Zionist movement." F. C. Gottwald was persuaded, as a lad, by his friend Otto Bacher, to join the life class of Willard in the old city hall. The inspiration he there received set moving an immense art force for the benefit of his city. Gottwald studied with Chase in New York and for four years at the Royal Academy at Munich, then returned to Cleveland, where he was a teacher of life-drawing and painting at the Cleveland School of Art for forty-one years, ending in June, 1926, at his own request. The trustees of the school, announcing his retirement, said : "The influence of Mr. Gottwald in the development of Cleveland as an art center is simply immeasurable. There is hardly an artist or craftsman of reputation in the city that has not at one time or another studied with him in day or evening classes at the Art School or at the John Huntington Polytechnic Institute. He leaves his teaching at the very height of his powers, to devote himself to landscape painting." Gottwald's first paintings to attract notice were of Dutch interiors. His later work was of Italian landscapes, of which the Cleveland Museum of Art owns one of the Umbrian Valley. Max Bohm was the greatest painter of them all. From study and commercial work in Cleveland, Bohm went to Paris at the age of nineteen, where he studied at the Louvre and the Julian Academy. After winning a place of honor at the Paris Salon with "En Mer" at twenty-seven, he became a sailor for the purpose of learning how to paint pictures of the sea. Bohm's second period was one of figure painting. "The Family" was purchased by the French government for the Luxembourg. "The Evening Meal" is in the Metropolitan Museum. "At the moment in the world when figure painting is in danger of becoming absurd when it is not vulgar, Max Bohm's work compels cultivated attention," wrote Elliott Daingerfield in a catalogue of an Exhibition of the works of Bohm in the Grand Central Art Gallery. 1058 - THIS CLEVELAND OF OURS In his third period Bohm went into murals. His "New England Town Meeting" in the Law Library of the Cuyahoga County Court House, is one of the best known. It depicts the elders sitting on benches, casting their votes into a hat. An Indian is present, and the soldier, and in the background New England farm buildings and a blockhouse. It is full of interest in color as well as in design. Four of his panels depicting forms and rhythms of music in the home of John Munro Longyear in Brookline, Massachusetts, are said to be among the most beautiful murals in the country. Edna Maria Clark, commenting on the art activities in Ohio prior to 1900 says : "There should be a corner in the museums for a retrospective exhibit, a memorial and historical exhibition showing the advancement of art in Ohio. It might afford a valuable lesson in humility to many of the younger painters." Bohm was one of those who crossed that century line, with valuable work among the early artists and also among the later ones. EDITOR'S NOTE : The next, and most important, section of this chapter is the work of Miss Jessie C. Glasier, art critic of the Plain Dealer for more than twenty years. The first art criticism in Cleveland worthy the name was in the columns of the Waechter and Anzeiger. The appearance of art criticism in the English dailies was due to the inspiration of Hugh Huntington Howard, who in 1907 persuaded the Sunday Editor of the Cleveland Plain Dealer that there should be a little regular space given to art, and at the same time persuaded Miss Glasier that she ought to give a little time to art if the Sunday Editor would give her space. From a small group of items of news in the Sunday paper about the doings of artists, the work grew into reviews of exhibitions, until today every newspaper and weekly magazine gives important and increasing space to the news and criticisms of art, architecture and handicrafts. This growth took place during Miss Glasier's twenty years on the Plain Dealer. She grew with the demands of her work, and has given invaluable service to the cause of art in Cleveland. Miss Glasier was succeeded in 1927 by Miss Grace V. Kelley. A QUARTER CENTURY OF CLEVELAND ART By Jessie C. Glasier "The Middle West will be the art center of the United States," declared Max Bohm on his last visit to his old Cleve- THE CITY'S LIFE - 1059 land home. During the quarter-century between 1905 and 1930 this city developed an art impetus which seemed to give his words a prophetic meaning. Dreams of an art museum and a new home for the School of Art appeared to be nearing reality in the early 1900s. On January 17, 1906, the new building of the school, a Roman brick and terra cotta structure on Juniper Road, was dedicated. Leading addresses were made by Sir Caspar Purdon Clark, head of the Metropolitan Museum of Art, and George H. Bartlett, head of the Massachusetts Normal Art School, Boston. Credit was given to Mrs. S. M. Kimball and Mrs. Harriet Kester, who in the earliest days of the institution "worked to provide a place to train and develop talent." An enthusiastic audience applauded and thronged out to inspect every room and enjoy the loan exhibition of paintings by Rembrandt, Van Dyck, Reynolds, Turner, Millet and other masters, contributed from the private galleries of Cleveland collectors. If there could be a happier face than that of Miss Georgia L. Norton, principal, it was the radiant countenance of Mrs. Stevenson Burke, who until her death in 1931, at the age of 89, was known as "the fairy godmother of the School of Art." Cleveland artists were soon invited to exhibit at the school, and rejoiced in the free use of the gallery. Among the first exhibitors were John Semon, Hugh Huntington Howard, Harold A. Streator, George Bradley, C. F. DeKlyn and George Adomeit, landscapists, and William J. Edmondson, then more portrait than landscape painter. May Ames and Nina V. Waldeck of the School of Art staff, Lyda Cox, Anna P. Oviatt and Emma Lane showed landscapes. Herman N. Matzen, head of the school's sculpture department, Horace Potter and Louis Rorimer were exhibitors. One-man exhibitions, receptions to visiting and homecoming artists; pageants and fetes at graduation time; illustrated lectures on art and its history and on the scenic wonders of this and other countries ; cooperation with other art groups in educational and social affairs such as the Inter-Arts suppers held by the Cleveland Art Association, have 1060 - THIS CLEVELAND OF OURS given the school a high place in the cultural life of Cleveland. Its history is entwined with that of the Museum of Art and many other institutions and groups working toward the same goal. Henry Turner Bailey, who came from Massachusetts in 1917 to take the office of dean, soon became a vivid influence in the life of the city, stimulating interest in gifted school children, winning scholarship gifts from business men newly converted to the belief that industry and art are interde-pendent, and waking enthusiasm everywhere by his persuasive insistence of a final goal "Cleveland a great and far-reaching national art center." Before his resignation in 1930 Dean Bailey saw the school's membership grow from 500 to 1,500, with a waiting. list, and its endowment increase from $250,000 to $850,000. Mrs. Martha Tibbals Weaver's ceramic studios were a long established feature of the school. A department of metal crafts under Mildred Watkins was added in 1920. Otto F. Ege was brought from Philadelphia to open a normal art class the following year. A pioneer class in architecture under Francis Bacon was announced in 1921, later growing into the Cleveland School of Architecture, and many branches of art were flourishing at the John Huntington Polytechnic Institute, established in 1918 with Dean Bailey as its first head. Of these two educational institutions more will be said later. To the School of Art came Julius Mihalik of Budapest in 1922, to take charge of a new department of design and batik printing, of which he is a master. By 1930 the staff of the school numbered forty. A far cry from the infant institution of nearly a half-century before. One pupil, taught in the home of Mrs. S. M. Kimball in the fall of 1882, was the forerunner of the thousands who have since received instruction at the school. With Dean Bailey's retirement in 1930 Alfred Mewett became temporary head. Now, under the direction of Henry Hunt Clark of Boston, with Miss Julia M. Raines filling the position lately held by Miss Norton, plans are being made THE CITY'S LIFE - 1061 for a much larger main building and series of studios, on ground near the Museum of Art, acquired in 1930. Miss Norton, forced by ill health in 1922 to give up the work so dear to her heart, and her co-worker Dean Bailey, who died not long after his retirement, will be remembered as lifelong friends of art whose enthusiasm never waned and whose tireless efforts built something into the life of Cleveland that shall endure as long as the city stands. In May, 1913, excavations were begun for the Museum of Art. Three trust funds, bequests of John Huntington, Horace Kelley and H. B. Hurlbut, pioneer art supporters, made the building possible. Ground for the site had been given by J. H. Wade, the surrounding park by his grandfather, Jeptha Homer Wade. The white marble temple, combining classic simplicity with every convenience for the reception, storage and display of works of art, was hailed at its inaugural in June, 1916, as the most beautiful and most satisfactorily planned art museum in the country. From the start of preliminary work the officials had taken the ground that "an art museum, to be fully successful, must be so conducted that its influence reaches to all ages and all kinds of people." The deepening impress of the institution on the life of Greater Cleveland during the past sixteen years proves the loyalty with which these men and their successors held to this ideal. The first official roster, published in 1913, named William B. Sanders president; J. H. Wade, D. P. Allen, C. W. Bingham, Hermon A. Kelley, vice presidents. The accession committee was composed of the president and director-to-be, ex officio, and D. P. Allen, E. S. Burke, Jr., H. P. Eells, Ralph King, D. Z. Norton, Samuel Mather, William G. Mather, J. H. Wade. On the advisory council were the president of Western Reserve University, Dr. Charles F. Thwing ; the president of Case School of Applied Science, Dr. Charles Howe, and Charles F. Brush, H. G. Dalton, Paul Feiss, L. C. Hanna, H. R. Hatch, Myron T. Herrick, Ralph King, E. A. McNairy, E. W. Oglebay, Kenyon V. Painter, James Parmelee, John L. Severance, Ambrose Swasey, W. S. Tyler, Worcester R. Warner. 1062 - THIS CLEVELAND OF OURS The history of the museum is a record of the faithfulness and generosity with which these men, chosen from the top ranks of the city's educational, professional and business groups, discharged their responsibilities. When Director Frederick Allen Whiting led inaugural visitors through the galleries on that day of fulfilment in June, 1916, there had been installed the beginnings of the Wade collection of textiles and jewelry; the Worcester R. Warner collection of Far Eastern Art; the Holden Italian primitives; Ralph King collection of Chinese art; Japanese inro and netsuki collections from D. Z. Norton; Chinese art from Ralph King and the armor collection presented by Mr. and Mrs. John L: Severance. In the garden court, an innovation among museums, were sculptures given by Mrs. John Huntington. Later, besides additions to all these collections, came Rodin bronzes from Mr. King, chief of them "The Thinker," placed at the front entrance of the museum. From the first, educational work with children was stressed, Dean Henry Turner Bailey being director and advisor in turn. "The Desert," the first of a series of historical groups, was placed in the corridor leading to the children's room. When cooperation with the public schools brought an ever increasing number of boys and girls to the museum's free drawing classes on Saturday, Mrs. E. C. T. Miller gave six groups portraying "Historic Man." A nature group, "Beavers" and the Abbott Thayer memorial collection of brilliant hued butterflies were later gifts. With the installation of a fine organ given by Mrs. P. H. McMyler, and her two daughters, Gertrude McMyler Lawrence and Doris McMyler Briggs, in memory of P. J. McMyler, music became a regular attraction. The organ was the first to be placed in any museum of art. Courses in music appreciation were opened by Douglas Moore, curator of music, and Sunday afternoon recitals increased the throng of visitors. Lecture programs were increased in scope. Dean Bailey talked on art appreciation. Rossiter Howard of the educa- THE CITY'S LIFE - 1063 tional department cooperated with the schools in Saturday talks on art history. Evening lectures, such as "The Age of Pericles," by H. H. Powers of Boston, drew overflowing audiences. Saturday entertainments, stories from history, fairy tales, puppet shows, delighted the "avalanche of children." In 1919 the Cleveland Art Association, Mrs. Harry L. Vail, president, induced the museum to cooperate in an annual exhibition of the work of Cleveland artists and craftsmen, a new undertaking which has ever since been one of the main sources of art production and appreciation. With the late Mrs. Grace Harman Mather as chairman, every branch of art was organized for representation. Unknown workers in foreign arts and crafts were discovered, and sent their best handiwork. Thousands of individuals and many club and other groups have patronized these "May shows," the sales totals, under the management of Mrs. Paul Smith, reaching over $140,000. At the first of these exhibitions F. C. Gottwald, for forty years one of the city's foremost artists and best known by his Italian landscapes, vibrant in color and much sought by Collectors for their sunlit charm, took first honors in oil portraiture with "The Dreamer." The Cleveland Society of Artists, of which Mr. Gottwald was one of the earliest members, now owns this canvas. Gerrit A. Beneker was first in industrial subjects in this 1919 show, with his stalwart laborer, entered under the title "Men are Square." Gordon Barrick's "Early Snow" won first prize in landscape. Frank N. Wilcox was first in decorative painting; William J. Eastman in watercolor, Merle Boyer in photography. Honors in metal work, hand weaving, lace, block printing and batik were won by Anna Wyers Hill, Ruth Baker, Mrs. L. A. H. Burgert, Betty Long and Ethel Stilson respectively. Many of these names appear again and again among the prize winners. At the second exhibition Henry Keller, a master of color and draughtsmanship, began a long period of prize-winning in figure and animal painting, still life and landscape, showing in 1923 a group of ten oils which was 1064 - THIS CLEVELAND OF OURS voted first in maintained excellence. On another occasion his "Memories of Andalusia" was voted the finest canvas in the annual display. Among other early winners were Caroline Coit and Thomas Clough in landscape ; Warrant Pryor in mural and decorative work; J. S. Burton in silverware ; J. R. Stewart in sculpture; Edna O. Zimmer in block printing- and the Potter studio in jewelry. Paul Bough Travis, painter in oils, who recently returned from Africa with first hand jungle material, from pygmies to elephants, won in etching in 1922; August Biehle in watercolor; Stephan Rebeck in sculpture, Ethel Standiford Mehling in photography; Clara Louis Bell in miniatures; Josephine Laney Beduhn in block printing. Antimo Beneduce, born in Naples, educated at the School of Art and the National Academy of Design, New York, and now nationally known as a fine watercolorist, exhibiting at the Corcoran gallery and the Philadelphia academy, received honorable mention in the annual exhibition in 1923. Carl F. Broemel, with his tropical watercolors from Barbados and Bermuda; Guy Cowan, head of the Cowan potteries, Arthur D. Brooks, Norris Rahming, Carl Gaertner, sincere workers all, saw their entries well received year after year. Katherine Chandler and Mary Susan Collins, landscapists, and Elsa Vick Shaw, now recognized among the city's mural painters, were some of the members of the Cleveland Wom-en's Art club whose work was favorably hung. Louise Maloney sent in typical peasant heads and village scenes from the Italian hill town where she worked with Maurice Sterne. Jessie Jones showed landscapes of delicate charm. Water colors by Ethel Stilson, miniatures by Helen Slutz and Betty Long ; camera studies by Ann Anthony Bacon, Carle Semon and Frank Baker, were memorable features. Among the foremost in sculpture was Max Kalish, who showed "Laborer at Rest" and "Toil's End." Today his statue of Lincoln, bought with school children's pennies, adorns Cleveland's Mall. Walter Sinz, prominent in decorative sculpture, and later Alfred Mewett, and Alexander Blazys, whose "City Fettering Nature" stands near the en- THE CITY'S LIFE - 1067 trance of the museum, have won many honors. Hughlette Wheeler, the young art student from Florida, whose cowboy ponies and their riders, modeled to the life, have won high honors, received inspiration from the annual exhibitions. Anna Pfenninger, strong in portrait sculpture, Miriam Cramer. and Catherine Brasted, a younger worker, are prominent exhibitors in this branch of art. Portrait busts of Matzen and Gottwald at the School of Art, show Joseph Motto's proficiency. In ceramics, Guy Cowan and his fellow-workers of the Cowan potteries have repeatedly been on the list of prize-winners. Unique in color and design, the work of these skilled artists deserves much more than passing mention. Many beginners had ambition roused and talent fostered by these annual exhibitions. Walter H. Brough, whose sensitive perception, delicate modeling and fine brushwork have made him one of Cleveland's leading portraitists, is one of these. The best pictures of the year have also been hung in the annual summer exhibition of American artists, which with special shows from the Carnegie International exhibitions draw crowds of visitors each year. Foreign artists, such as Nicholas Roerich and Ivan Mestrovitch, have held one-man exhibitions of painting and sculpture at the museum, and memorial and loan exhibitions have brought to Cleveland the work of many American and old world masters. In addition to these, the museum, now under the direction of William M. Milliken, continues to maintain an educational loan collection which carries art objects from its own stores to a number of institutions, from schools to hospital wards. Ranging from Egyptian pottery and jewelry to modern toys, this collection stimulates art interest in many ways. Of all the treasures acquired by the museum, the objects lately purchased from that magnificent foreign collection, the Guelph treasure, are most proudly displayed. In addition to the Huntington and Wade funds, gifts from the Holden family and from Mrs. E. B. Green made their purchase possible. The approach to the museum was beautified through the desire of the Garden Club to see the grounds between the white marble building and the lake made worthy of their 1068 - THIS CLEVELAND OF OURS location. An Italian street fair held for three days in June, 1925, by the Garden Club, netted $30,000. Landscape artists were summoned, sculpture competitions devised. On July twenty-third, 1928, the 132nd anniversary of the founding of Cleveland, the Fine Arts Garden was dedicated. Many were the donors who brought this beauty spot into being. Mrs. Leonard C. Hanna gave the white marble fountain, the work of Chester Beach, which occupies the central basin. Back of this are twelve marble terms, the signs of the zodiac, given by Garden Club members. The Holden terrace and the ramp, terrace steps and curbing, were largely contributed to by members of the Holden and Wade families ; and Mrs. Benjamin P. Bole, a daughter of Liberty E. Holden, gave the bronze group "Night Passing the Earth to Day," by Frank L. Jirouch, a Cleveland sculptor, which holds the garden's sun dial. Two bronze drinking fountains, the work of Emilie Fiero, stand on the east and west sides and are called "the great blue heron fountains" from their design. One of these, a memorial to Caesar Grasselli, was given by Mrs. Eugene Grasselli. The other was the gift of the Cleveland Art Association. At the edge of the lake are two mermaids, given by Mr. and Mrs. F. E. Drury. An endowment of $250,000 from Mr. and Mrs. John Sherwin, the latter the president of the Garden Club, insures the maintenance of the Fine Arts Garden, for which some $400,000 have been expended. A French fair, given at the garden in June, 1930, under the auspices of the Garden Club, again brought out the workers at the previous fete, Mrs. Andrew Squire, Mrs. C. A. Otis and Mrs. W. G. Mather, now president of the club, being especially active. More money poured in, and the grounds around the lake were beautified, a disused boathouse being made the city's garden center. The entire project is the outgrowth of a meeting held in 1912 at the home of Miss Katherine Mather, then Garden Club president. Both museum and grounds, long in perfecting, are now the city's pride. Many of those to whom the Cleveland Museum of Art is indebted for its earliest growth have gone to other fields. THE CITY'S LIFE - 1069 J. Arthur MacLean, curator of the Oriental department; Theadore Sizer, head of the print department, from which developed the museum print club, and Douglas Moore, music director, are among these. The early death of W. M. McKee removed a valued assistant. Director Whiting resigned in 1930 to became president of the American Federation of Arts, being succeeded by William M. Milliken, curator of decorative arts, a position which he still holds, with Gertrude Underhill associate curator of textiles; H. C. Hollis, Oriental art; Henry Sayles Francis, paintings and prints; A. W. Quimby, musical arts; Thomas Munro, education, with Miss Ann Horton continuing her work with the schools and Louise M. Dunn, formerly in charge of the children's work, associate curator for administration. Nell G. Sill is librarian; Edd 0. Ruggles, staff photographer ; I. T. Frary, publicity director of nearly a dozen years standing. Flora E. Hard at her sales desk at the main entrance has been an unofficial hostess to visitors for many years. John Huntington, who left a trust fund to be used in establishing an art museum, wanted to help young men, "especially those not having had advantages of college." Under his will the John Huntington Polytechnic Institute, now in its fifteenth year, offers free instructions "to persons engaged in industrial pursuits in Cleveland." Forty courses are given, including evening classes in applied art, freehand and architectural drawing, design, commercial art, etching, lithography, mechanical illustration, advertising art and printing. Lectures on the history of architecture and many other branches are open, free, to the public. In the technology department are taught building construction, welding engineering, heating, ventilation and air conditioning. Even industrial law and production planning are given place on the curriculum. Staffed in great part by School of Art instructors in its early days, the "Poly" catalog shows a list of teachers which still coincides largely with that of the School. Alfred Mewett, of the Battersea Polytechnic Institute, London, is dean. The school has a good downtown location on Carnegie Avenue. 1070 - THIS CLEVELAND OF OURS Financed for three years by the Cleveland chapter of the American Institute of Architecture, the "pioneers course in architecture" opened in 1921 at the School of Art became in 1924 the Cleveland School of Architecture and in 1929 became affiliated with Western Reserve University. President Robert E. Vinson, of the University, was made head of the school, and Francis Bacon, its former leader, dean. Henry Turner Bailey, who had aided the project from the start, was put on the board of managers, of which Abram Garfield, one of Cleveland's leading architects, was made chairman. Now located on Euclid Avenue near the University, this school offers courses in clay modeling, drawing, architectural design, history of art and architecture, anatomy and representation, with members of the School of Art staff as instructors for the most part. Economics, languages, physics and mathematics are taught by Western Reserve University professors. Art in the public schools and in the School of Education, where teachers are trained, has been carried on with most excellent results through the years, by a corps of teachers and special supervisors. Chapters could be written on the struggles and successes of the art groups which carried on while awaiting the long promised art museum. The Cleveland Society of Artists, founded in 1876 as the Cleveland Art Club, celebrated "the 45th anniversary of the recognition of art endeavor in Cleve-land" in 1920 at the Gage Gallery, whose founder, George E. Gage, has done much to encourage art. Gottwald, Keller, Ed-mondson, Howard and Adomeit, before mentioned, Charles Shackleton, Sheldon Clark, George Groll, F. W. Simmons, F. M. Seamans, Wilbur L. Oakes, the late Charles Lines and many others whose landscapes and portraits will endure, ap-pear on the society's roster. Beginning in the old city hall days with A. M. Willard, R. Way Smith, Adam Lehr and their fellow art pioneers and working in many later locations, this group now has a home on East Eighty-eighth Street, maintained in part by annual auction sales of the members. THE CITY'S LIFE - 1071 William J. Eastman, with a long record of successes in landscape and decorative work, is president. In 1911 a group of young men, inclined to experiment in fields outside the academic domain, founded the Kokoon Art Klub. Carl Moellman was its first president. Much serious work has been done by these followers of modern art, despite the fact that their annual gala night, celebrated with a bal masque savoring of the Latin Quarter, gives the club a tinge of rakishness. Joseph Jicha, John Anderson, William Sommers, Maurice Cornell, Joseph Garramone, were among the early members. John Anderson and Rolf Stoll did good work with the club for a short period. Henry Keller, whose studies in light and color proved very helpful to younger painters, was made an honorary member at the start. The club has its home on East Fortieth Street, with Philip Kaplan president. The Woman's Art club, organized in 1912 in Belle Hoffman's studio in the Gage gallery, had Mrs. Caroline G. Williams, well known landscape and flower painter, as its first president. Mrs. Carrie B. Robinson, when president, gave the site for a summer studio on Robinwood Road, Gates Mills, and the club's city home for a time was on the upper floor of the Gage Gallery. It now has headquarters in the lodge on the J. H. Wade estate. The club has prospered under such leaders as May Ames, Grace Rhoades, Clara L. Deike, Mildred Watkins, Stella M. Rausch, Nina V. Waldeck, Ethel Stilson, Mrs. A. F. Haw-good and other serious workers. Its present head is Miss Grace Walsh. A history of the club, by Mrs. Carrie B. Robinson, will soon be off the press. Chief among Cleveland's earliest women painters was Caroline Ransom, who made an enduring name for herself in Washington, D. C., in the latter years of the 19th century. One of her admirably modeled portraits now hangs in the Cleveland Museum of Art. Her sincerity and strength were reincarnated in the group of women now working with brush and palette, clay and marble, metals and fabrics. May Ames, who won the title of Cleveland's first impressionist painter, 1072 - THIS CLEVELAND OF OURS grows riper in landscape each year, from broadly painted scenes with a wide outlook, to miniature canvases like gems in color. Her range of subjects is large—from ancient ruins of Greece and Italy to autumn vistas in Cleveland parks. Many Cleveland artists have gained international recognition. Luella Varney Serrao, represented here by a finely modeled statue of Bishop Louis Amadeus Rappe, on the grounds of St. John's cathedral, has maintained a studio in Rome for many years. Etchings by George Reindel are owned by the British Museum. Orville H. Peets is favorably known abroad in the same field of black and white. The two Warshawsky brothers, Abel and Alexander—the latter better known as Xander—are strong and colorful impressionists whose Breton landscapes and peasant types are sought by European collectors. William Zorach, interpreter of many moods on canvas, is another painter who returns from time to time with fresh honors. Ernest Dean and Grace Rhoades Dean, grounded in Munich traditions of painting and etching, send entries to Cleveland exhibitions from their Toledo studios. Turning from sculpture to oils, Ferdinand Burgdorff, a School of Art graduate who had continued his study in Herman Matzen's private studio, took a wander year in Greece and Italy and later went to make his home in California, sending back impressions of the Pacific, the desert and the Grand Canyon which proclaim him a mature master of color and form, sunlight and atmosphere. Ora Coltman, one of the older group of artists who has mastered both oils and watercolors, has gone on his serene way, painting landscapes in England and New England and our southern states. His pictures of the Portuguese quarter in Provincetown are more in modern vein than his preceding canvasses, but he is still loyal to good drawing and composition and finds his pictures in good demand. Another of this group was the late Hugh Huntington Howard, devotee of pure landscape, who drew from the woods and streams of his native state more inspiration than he ever THE CITY'S LIFE - 1073 found in scenes farther afield. His paintings of rock and water at Put-in-Bay and Catawba Island are especially well and favorably known. Though he painted many fine pictures in New. England and on the rugged Kerry coast, Ireland, his Ohio landscapes, glowing with autumn coloring and suffused with golden light, remain his ripest work. Charles Shackleton left enduring records of the shifting sand dunes of Cape Cod and the summer sea at their feet. John Semon's Ohio woodlands and Charles M. Lines' Berkshire hills give enduring delight to art lovers, as do F. W. Simmons' portraits, figure studies of French types, and foreign landscapes. Jeanette Agnew Lyon, a Pittsburgh artist who has long made her home in Cleveland, still paints the Adirondack woods through which she ranged on sketching trips, as a young girl, with the famous trio, Inness, Martin and Wyant. She also has spent several summers on the wharves of old Gloucester, her boat pictures adding to her well earned fame as one of America's most gifted painters. Sandor Vago, formerly of the University of Budapest, possesses a dashing technique, sureness of line and brilliance of color which soon placed him in the lead in portraiture. Between important portrait commissions he has classes at the Cleveland School of Art. Also on the school's staff is Cora M. Holden, a cousin of F. D. Millet, whose child portraits won special favor before she became one of the city's leading mural painters. Excellent draughtsmanship and color, with ability to interpret a subject in a large way, are marked in Miss Holden's public murals. These include a series on the life of Esculapius, in the Allen Memorial medical library; "Steel Production" in the Federal Reserve bank; four panels in the Pearl Street bank, and two large panels in the new headquarters of the Board of Education, representing the progress of many branches of education. Rolf Stoll, also an instructor at the School of Art, has twenty-eight landscape panels in the same building. Mr. 1074 - THIS CLEVELAND OF OURS Stoll has won many honors in figure painting and still life, a season of painting in Spain giving him an intimate sense of the sombre and rugged characteristics of the country and its people. Ivor Johns, Glenn M. Shaw and Willard Combes are represented by murals in the bank buildings and schools of their city. Cleveland's civic art includes Frank Brangwyn's "Signing of the Magna Charta" and Violet Oakley's "Constitutional Convention" in the county courthouse, together with a second "Spirit of 'Seventy-six" in which A. M. Willard made a change in the figure of the wounded soldier in the foreground, giving him strength to raise his cap and cheer as fife and drum sound. Also in the courthouse are Max Bohm's "New England Town Meeting" and Charles Y. Turner's "Trial of Captain John Smith" and "Conclave Between Pontiac and Rogers' Rangers." Groups symbolizing Jurisprudence and Commerce, by Daniel Chester French, stand at the entrance of the Federal building. In the Federal building courts and offices are murals by E. H. Blashfield, Frederic Crowninshield, Kenyon Cox, Will H. Low and Siddons Mowbray, and in the postmaster's domain are thirty-five small panels portraying the collection and delivery of the mails the world around. Thirteen historic panels by Millet, portraying exploration, colonization and industry, decorate the main building of the Cleveland Trust Company. In the Union Trust Company's main building are panels by Jules Guerin, and six others by the same artist were recently installed in the new Terminal building. Joseph F. Sturdy of Chicago contributed to the Public Library a series of murals on the development of the fine arts and mechanical sciences. "Jason and the Golden Fleece," a watercolor by Norman Littledale Roberts, a young Cleveland artist in whom Pre-Raphaelite spirit seemed to have reincarnated itself, is another of the art works on the library walls. Herman N. Matzen, dean of Cleveland sculptors, is repre-