THE 
 
 DELPHIAN COURSE 
 
 (A) 
 
 EXPOSITIONS AND 
 INDUSTRIAL PROGRESS 
 
 (B) 
 
 AMERICAN ART AND 
 ART CENTERS 
 
 
 SIXTEENTH MONTH 
 
 Copyright, 1913, by Ths DsLyaiAN Society, Chicago 
 
Digitized by the Internet Archive , 
 in 2016 
 
 https://archive.org/details/delphianc6urse00delp 
 
/ 
 
 j Cjrposittons wXtj fnliu 0 trtal | 
 progress t 
 
 ' Intro- ] 
 ductory | 
 
 1 CONCEIVE it to be the duty of every edu- ‘ 
 
 \ II cated person closely to watch and study the ^ 
 
 !r time in which he lives, and, as far as in him r 
 
 j lies, to add his humble mite of individual exertion ^ 
 
 /} to further the accomplishment of what he believes a 
 
 { Providence to have ordained. Nobody, however, ^ 
 
 [ who has paid any attention to the particular features 
 
 i of our present era, will doubt for a moment that we \ 
 
 are living at a period of most wonderful transition, / 
 
 1 which tends rapidly to accomplish that great end— | 
 V . to which, indeed, all history points— the realization 
 1 of the unity of mankind; not a unity which breaks 
 
 ) down the limits and levels the peculiar characteristics | 
 
 ^ of the different nations of the earth, but rather a 
 
 \ unity, the results and products of these very national ^ 
 
 m varieties and antagonistic qualities. The distances < 
 
 S which separated the different nations and parts of 
 
 W the globe are gradually vanishing before the achieve- | 
 
 ^ ments of modern invention and we can traverse 
 
 ^ them with incredible speed ; the languages of all 
 
 nations are known; and their acquirement placed 
 jf within the reach of everybody; thought is com- 
 
 ^ municated with the rapidity and even by the power , 
 
 ^ of lightning. On the other hand, the great principle ] 
 
 V of the division of labor, which may be called the 
 
 j moving power of civilization, is being extended to all 
 
 f branches of science, industry and art. Whilst 
 
 \ formerly the greatest mental energies strove at uni- 
 
 ^ versal knowledge, and that knowledge was confined 
 
 1 to few, now they are directed to specialties, and in 
 
 
 Page one 
 
these again even to the minutest points. Moreover, 
 the knowledge now acquired becomes the property 
 of the community at large. Whilst formerly dis- 
 covery was wrapt in secrecy, it results from the 
 publicity of the present day, that no sooner is a 
 discovery or invention made, than it is already im- 
 proved upon and surpassed by competing ef- 
 fort. . . . 
 
 '‘The exhibition is to give us a true text and a 
 living picture of the point of development at which 
 the whole of mankind has arrived in this great task, 
 and a new starting point, from which all nations will 
 be able to direct their future exertions.'' 
 
 S^ntrotiuttorp 
 
 1. Where do we find the antecedent of present-day 
 
 expositions? X, 83. 
 
 2. Our word fair has what probable derivation? 
 
 3. Where are old-time fairs perpetuated to this 
 
 day? 
 
 4. The yearly assembling of nations at Nijni-Nov- 
 
 gorod presents one of the most unique spec- 
 tacles the world affords. 
 
 5. In what part of the New World were such fairs 
 
 once held? X, 84. 
 
 Carip ^international <iErpojStitionje( 
 
 1. By whom was the London Exposition of 1851 
 
 conceived? X, 84. 
 
 2. The Crystal Palace is still used for large gather- 
 
 ings. 
 
 3. The scope of this undertaking is set forth in 
 
 the speech made by the Consort Prince at a 
 
 London banquet. 
 
 4. By what exhibits was our republic represented ? 
 
 X, 86. 
 
 Page two 
 
5. The classification of exhibitions at the Paris 
 
 Exposition of 1867 has been widely com- 
 mended. X, 87. 
 
 6. What honor was conferred upon McCormick? 
 
 7. What device for transit of news was accorded 
 
 high praise? X, 88. 
 
 8. What were the circumstances that made a 
 
 Vienna Fair popular? X, 89. 
 
 Stmerica’si f irjSt ^international jpair 
 
 1. Our country was fortunate in having two poets 
 
 par excellence to extol the significance of the 
 Centennial. X, 90, 99. 
 
 2. Note the splendid showing made by Japan at 
 
 this early date. X, 92. 
 
 3. What benefits has our national signal service 
 
 accorded us since that time? 
 
 4. The merits of a kindergarten were shown for 
 
 the first time in America on the Exposition 
 Grounds. 
 
 5. What part did women take in the enterprise? 
 
 X, 94. 
 
 6. Why is it customary to begin any study of 
 
 American art with the Centennial ? X, 94. 
 
 7. Contrast the dark nights with closed grounds 
 
 and nights at present-day expositions. 
 
 8. Why has this Fair been called “severely educa- 
 
 tionaF’? 
 
 9. What lasting benefits did it give? 
 
 Cfttcaso’ii WWt <titp 
 
 1. How did our country celebrate, in 1792, the 
 
 anniversary of its discovery? X, 103. 
 
 2. Beginning with the Centennial, each exposition 
 
 held in America has left some memorial build- 
 ing or buildings to commemorate the occasion 
 and give material advantage to the locality. 
 X, 106. 
 
3- Uniformity of architectural desigfn accounted 
 in a large measure for the gratifying spectacle 
 Chicago’s exposition ground afforded in 1893. 
 
 4. Here for the first time electricity made nights 
 
 attractive, buildings being threaded by in- 
 candescent lights. 
 
 5. The Children’s Building was an innovation. 
 
 X, 108. 
 
 6. A study of the growth of the variety of amuse- 
 
 ments each large city and resort now affords, 
 would reveal the fact that such diversions un- 
 dertaken on any extensive scale date from the 
 Chicago Exposition. 
 
 7. Where were historical records housed? X, 109. 
 
 8. Never have the allied Congresses in connection 
 
 with an exposition been given greater impor- 
 tance. 
 
 9. What is said of the Congress of Religions and 
 
 why was it remarkable? X, iii. 
 
 10. Some of the seed sown by workers in the cause 
 of woman’s suffrage has since borne fruit. 
 
 €()e (ejcjtojEittton of ^meticajS 
 
 1. What conditions made it seem desirable to con- 
 
 vene representatives and exhibits from the 
 Latin republics of South America? X, 152. 
 
 2. What did President McKinley mean when he 
 
 called expositions “the time-keepers of prog- 
 ress” ? 
 
 3. In what particulars did this showing at Buffalo 
 
 excel ? 
 
 4. What style of architecture prevailed? 
 
 5. Color was used for the first time on buildings 
 
 at this exhibition. 
 
 6. How have evenings at the Pan-American been 
 
 described? X, 156. 
 
 7. Why is it desirable that the federal government 
 
 should make extensive exhibitions at ex- 
 positions ? 
 
8. What new electrical devices were shown here 
 for the first time? X, 158. 
 
 Were the results hoped for this undertaking 
 realized ? 
 
 Souijafiatia ^uctl^a^e Cele&ration 
 
 1. There is no story in American diplomacy more 
 
 fascinating than the one recounting the pur- 
 chase of Louisiana. 
 
 2. What difficulties threatened its accomplishment? 
 
 X, 160. 
 
 3. Why was Napoleon willing to part with this 
 
 wide territory? 
 
 4. Note Webster’s opinion of its value and realize 
 
 how little the region was comprehended at 
 the time. 
 
 5. What states and territories have been formed 
 
 from the territory purchased ? 
 
 6. Why was this celebration appropriately held in 
 
 St. Louis? 
 
 7. What was the keynote of the exhibition? X, 
 
 ’ 164. 
 
 8. In what respects did it differ from earlier exhibi- 
 
 tions ? 
 
 9. What gives unity to our public education when 
 
 each state develops its own system? X, 166. 
 
 10. What lessons do expositions give for municipal 
 construction and development? X, 167. 
 
 ttctoij# anb Clarfte (ejcpojtfition 
 
 1. Why did Jefferson send an exploring party out 
 
 to the great northwest? X, 168. 
 
 2. In what respects was the progress of these two 
 
 pathfinders remarkable ? 
 
 3. From what incident did Council Bluffs take its 
 
 name? X, 169. 
 
4- The diaries of the explorers abound in interest 
 which a new country could alone provide. X, 
 
 174. 
 
 5. How did the Portland Fair differ from those 
 
 previously held? 
 
 6. For the first time a display was made of irrigat- 
 
 ing methods and devices. X, 172. 
 
 7. Vast western desert regions will be brought 
 
 under cultivation when irrigation is more 
 widely undertaken. 
 
 8. Why did the Forestry Building attract atten- 
 
 tion? 
 
 9. What practical results attended the exposition? 
 
 X, 173. 
 
 €ommemotation of ^'atnesftoton Settlement 
 
 1. The strivings of the first English colony at 
 
 Jamestown afford an interesting chapter in 
 American history. 
 
 2. How nearly did this colony come to total failure ? 
 
 3. Why was it appropriate that an exposition held 
 
 at this point should give emphasis to colonial 
 conditions ? 
 
 4. What colonial industries and occupations were 
 
 revived for our new and wondering genera- 
 tion? 
 
 5. Note the first exhibition made by the colored 
 
 people of the South. X, 188. 
 
 6. In what respect was the advertising of this 
 
 enterprise unfortunate ? 
 
 7. Why are military displays less popular here 
 
 than in certain European countries? 
 
 8. Did this exposition look towards the past or the 
 
 future ? 
 
 9. Was it regarded as successful? 
 
1. Compare the outburst of indignation that fol- 
 
 lowed the Louisiana Purchase with that which 
 greeted Seward’s achievement. X, 196. 
 
 2. The resources of Alaska are so far unguessed 
 
 that few Americans have any conception of 
 their vast extent. 
 
 3. Why was Seattle the most appropriate spot for 
 
 the holding of this celebration? X, 197. 
 
 4. It was hoped to stimulate American trade with 
 
 what foreign countries? 
 
 5. Note the substantial benefits this fair conferred 
 
 upon the State University. 
 
 6. What permanent buildings were constructed? 
 
 X, 200. 
 
 7. Note the first showing made in the United 
 
 States from the Islands. 
 
 Alaska* 
 
 Yukon- 
 
 Pacific 
 
 ^anamar^^acific <£rpOi8?xtion 
 
 J^^ITH the exception of the Buffalo Exposition, 
 undertaken in the interest of trade alone, our 
 national and international “Fairs” have been held 
 to commemorate some historical occasion. When 
 first we invited foreign peoples to join with us, we 
 celebrated the anniversary of our Declaration of 
 Independence, which proclaimed the birth of a nation 
 “conceived in liberty and dedicated to the proposi- 
 tion that all men are created equal.” At the great 
 Lake City, honor was paid to the dauntless spirit 
 that braved the terrors of the deep and revealed 
 two continents to the civilized world. At St. Louis 
 was celebrated that happy purchase from France 
 of a boundless tract from which twelve states and 
 
 Page seven 
 
two territories have been formed. At Jamestown 
 men enjoying twentieth century advantages and 
 comforts looked back to the exposures and dangers 
 that confronted earliest settlers in our land and 
 ’ viewed with admiration the rapid progress made 
 by the forefathers in a wilderness. At Portland 
 the courage and fortitude of the pathfinders was 
 honored, while the glories and resources of a great 
 northwest were made more generally known to dis- 
 tant parts of our republic, while in celebrating the 
 Alaskan Purchase, the possibilities of unknown 
 Alaska were given some publicity. 
 
 The Panama-Pacific Exposition looks backward 
 only to give a passing glance to the realization of 
 an old, old dream, considered and dismissed by an 
 early Spanish king and resurrected by another nation 
 only to be abandoned. It is the greatest physical 
 undertaking the world has witnessed and is destined 
 to affect future trade and industry profoundly. 
 
 1. Note the history of the Canal project. X, 201. 
 
 2. Why did the French company organize to con- 
 
 struct this waterway fail? 
 
 3. What was done by the United States sanitation 
 
 ^ commission before the work of construction 
 
 began? X, 202. 
 
 4. What portions of the work were most difficult 
 
 to accomplish? 
 
 5. What advantages does San Francisco offer for 
 
 the celebration of this engineering feat? 
 
 6. What plan for general arrangement of exhibi- 
 
 tion buildings was decided upon? X, 9. 
 
 7. Several beautiful courts will add to the beauty 
 
 of the Exposition grounds. 
 
 8. How will color be employed in architecture? 
 
 9. The statuary carries out the underlying idea of 
 
 the whole in what ways ? 
 

 Exten* 
 
 sion 
 
 Work 
 
 25ibKograpf)p 
 
 (Magazine articles and government reports supply 
 material for this subject. A complete history of 
 expositions is yet to be written.) 
 
 Helpful for western expositions: 
 
 Vancouver’s Discovery of Puget Sound, Meany; 
 Macmillan. 1907, 
 
 Fifteen Thousand Miles by Stage, Straham ; Put- 
 nam. 1911. 
 
 Lewis and Clarke— The Trail Makers, Barnes; 
 1904. 
 
 Glimpses of California, Jackson; Little-Brown. 
 1883. 
 
 The Great Pacific Coast, Enock ; Scribner. 1910, 
 The Mastery of the Pacific, Colquham ; Macmil- 
 lan. 1902. 
 
 Islands of the South Seas, Shoemaker; Putnam, 
 1898. 
 
 The Philippine Islands, Atkinson ; Ginn. 1906. 
 Panama, Lindsay; Winston. 1911, 
 
 Panama and What It Means, Fraser; Cassell. 
 
 1913- 
 
 Page nine 
 
Intro- 
 
 ductory 
 
 9lmer(can ^xt anti 9ixt Centers 
 
 INCE our forefathers settled in a wilder- 
 ness and began to hew homes for themselves 
 and their children in primeval forests, Amer- 
 icans have been principally occupied with the get- 
 ting of a living. Some among them have become 
 so impassioned with the love of gain that long after 
 the living had been provided they have continued 
 to pile up metal for itself alone. Nevertheless, the 
 vast majority have found the pursuit of a livelihood 
 sufficient for their energies. A new continent with 
 resources yet undreamed has supplied many varieties 
 of work, and the fascination of binding it with iron 
 rails, constructing tunnels, spanning chasms and 
 eliminating distance, of bidding the desert to blossom 
 as a fruitful valley, of creating cities and supplying 
 these with every comfort of the age, has so far 
 satisfied and satiated the ambitions of a young 
 nation. 
 
 Art was long regarded as superficial, wholly out- 
 side the consideration of the man of affairs. It is 
 still largely viewed as the portion of a leisure and 
 moneyed class. Yet this American view is not 
 shared generally by people of other lands. In older 
 countries of Europe the simplest laborer feels a 
 personal pride in the gifted of his vicinity and coun- 
 try. In Germany the great musical composers are 
 spoken of familiarly by all and beautiful statues and 
 paintings are pointed out by children with pride. 
 Such beauty as the past has bestowed is cherished 
 and the new arrival to our shores sadly misses 
 works of art known from infancy. A Greek fruit 
 
vender expressed surprise at questions asked him by 
 a resident of Hull House upon one occasion, when 
 suitable Greek actors for an amateur production 
 of Antigone were being sought. He had not known 
 that people in America were interested in Greece. 
 '‘Why,’' he exclaimed, "I grew up within sight of 
 the Acropolis, yet during the ten years I have lived 
 in Chicago, no one has ever asked me about my 
 home in Athens !” Many an Italian, working with 
 pick and shovel in a street gang, could tell of 
 some secret for delicate mosaic or other ornamental 
 and decorative design that has been handed down 
 in his family for generations, and the statuary and 
 painting of his native town he has known since child- 
 hood. 
 
 The beginnings of art have been made in America. 
 It was the recollection of bare church walls in New 
 England that led LaFarge to enter upon a laborious 
 study of mural paint^^ - ?aia stained glass windows 
 and to make the fi.st successful attempts in these 
 fields in this country. It is no longer imperative 
 that an artist make his home abroad. A few of our 
 gifted pa^^Kers have remained characteristically 
 American. However, a time is coming when har- 
 mony and beauty will be accorded deeper impor- 
 tance, when strangers will not comment upon our 
 unfinished cities with public buildings erected as if 
 each were to stand alone and residences constructed 
 without regard to surrounding structures and the 
 general appearance of the neighborhood. Not al- 
 ways will the average household interior display a 
 motley array of articles each accumulated regardless 
 of the rest. In the Greek home the appointments 
 were simple but each water jug and jar was in itself 
 an ornament. A sense of harmony pervaded the 
 house and this was accentuated by the beauty of 
 the city’s citadel. Small wonder that he imbibed a 
 love of beauty with his earliest breath and became 
 an ardent worshipper of beauty. 
 
American fainting 
 
 Early Painting. 
 
 1. What discouragements confronted the aspir- 
 
 ing colonial painter? X, 207. 
 
 2. The life of West reads like a romance. X, 
 
 208. 
 
 3. Why did early artists go to Europe to work ? 
 
 4. What kind of pictures did Copley produce? 
 
 5. In what did Stuart excel? X, 210. 
 
 6. The commission given by Congress to Trum- 
 
 bull was the first of importance to be given 
 to any American artist in this country. 
 
 7. Who were important among The Hudson 
 
 River group of painters? X, 21 1. 
 
 8. Who was most gifted among them? 
 
 9. Why was Inness unsuccessful as instructor 
 
 to others? 
 
 10. What phase of nature especially appealed to 
 him? X, 213. 
 
 Later Painters. 
 
 1. What prodigious undertaking gave Vedder 
 
 wide fame? X, 215. 
 
 2. Where has he spent his life? X, 216. 
 
 3. Why is Winslow Homer regarded as most 
 
 American of painters? X, 217. 
 
 4. Which are best known among his produc- 
 
 tions ? 
 
 5. In what way has he influenced American Art ? 
 
 6. LaFarge was versatile in tastes and abilities. 
 
 X, 219. 
 
 7. What celebrated windows did he design and 
 
 execute ? 
 
 8. Where may his mural decorations be seen? 
 
 9. In what sense was Whistler an American 
 
 artist ? X, 220. 
 
 10. Note his preferences for night scenes. 
 
^ II. Sargent is America's greatest portrait painter. 1 
 
 \ 1 
 5 12. What painter has been tireless in his assis- 
 
 1 tance to art students ? X, 224. 1 
 
 [The 
 
 j Delphian J 
 \ Course ] 
 
 ^ ‘‘Among the most pathetic figures in the world 
 
 may be counted the men and women who may be 
 seen in any picture-gallery slowly circumambulating | 
 
 ^ the four walls With eyes fixed upon catalogue or 
 
 i guide book, only looking up at intervals to insure ^ 
 
 w that they are standing before the right picture. All ( 
 
 (T unknowing, they falter on, achieving only fatigue 
 
 j of body and mind, with a certain mournful satisfac- | 
 
 h tion in a toilsome task nearing accomplishment. 
 
 i Again and again they find themselves looking at ^ 
 
 1 famous pictures without seeing them. They are 
 
 L conscious that some wonderful power lies hidden < 
 
 1 there, but they do not know the charmed word to . 
 
 J release it. They feel sure they should be interested ; ( 
 
 at the same time they know they are bored. . . . 
 
 1 “We long to feel at home in a collection of pic- 
 
 ^ tures, instead of lost in a strange world, out of 
 
 {( touch with its inhabitants. Not a city of importance < 
 
 M in Europe but has acquired or is acquiring its * 
 
 ^ picture-gallery. Not a house or cottage but con- \ 
 
 W tains some form of pictorial art. Yet there is little t 
 
 P or no literature dealing with pictures from the point ^ 
 
 \ of view of how to look at them. The art of seeing 
 
 pictures is not contained in rules or formulae. Books 
 n can no more teach how to see pictures than how to 
 
 3 paint them. 
 
 ^ “You must look at pictures studiously, earnestly, j 
 
 ^ honestly. It will take years before you come to a 
 J full appreciation of art; but when at last you have 
 1 it, you will be possessed of one of the purest, loftiest 
 
 \ and most ennobling pleasures that the civilized world j 
 
 1 can offer you." 
 
 
 Page thirteen 
 
1 Amefi- . 
 can Art 
 /Galleries / 
 
 ' ^mmcan ^rt aBaHemsf 
 
 1 The Metropolitan. ' n 
 
 
 ) I. Where is this gallery located? X, 225. | 
 
 ^ 2. What old masters are represented? ^ 
 
 1 3. Note the examples of early American paint- 
 
 ^ ing here. ^ 
 
 ) 4. What endowment was directed to the en- 
 
 rz 
 
 couragement of living American painters? J 
 
 X, 226. (L 
 
 ^ Pennsylvania Academy. 1 
 
 3 5. When was this gallery founded ? X, 227. 1 
 
 6. Note that the present building commemorates | 
 
 ^ the Centennial. J 
 
 L 7. What especially attracts the visitor here? [ 
 
 I 8. In what does the value of the collection ^ 
 
 largely consist? 1 
 
 1 Boston Museum. d 
 
 ^ 9. What led to the establishment of this g 
 
 1 museum? X, 230. g 
 
 c 10. What real treasures are here? S 
 
 J II. Several recent American artists are well c 
 
 represented? X, 231. / 
 
 Corcoran Gallery. ^ 
 
 / 12. For whom was this collection named? X, ^ 
 
 1 232. ^ 
 
 ^ 13. Note that bi-annual exhibits are held here, ^ 
 
 these more important to aspiring artists \ 
 
 . than any others yet inaugurated. 
 
 1 14. What American painters are well repre- J 
 
 sented ? | 
 
 Page fourteen 
 
i^itral ^aintins 
 
 1. Under what discouraging conditions did La- 
 
 Farge undertake the first commission for 
 mural painting in America? X, 235. 
 
 2. What exposition gave great impetus to this 
 
 form of artistic expression? X, 236. 
 
 3. What well known painters were chosen to 
 
 beautify the Boston Public Library? 
 
 4. Who executed the Grail frieze? 
 
 5. What work of Sargent’s is here? 
 
 6. Who directed the mural decoration of the Con- 
 
 gressional Library? X, 239. 
 
 7. Note the six illustrations showing the Evolu- 
 
 tion of the Book. X, 240. 
 
 8. What work of Vedder’s is here? 
 
 9. The rotunda received what treatment? 
 
 10. What unique conception was given expression 
 
 at the Carnegie Institute ? X, 242. 
 
 11. What well known artists made beautiful the 
 
 State Capitol of Minnesota? 
 
 12. Some of LaFarge’s best work is here. 
 
Exten- 
 
 sion 
 
 Work 
 
 25i6Uograp!)p 
 
 History of American Art, 2 vols., Hartman; 
 Pag-e. 1901. 
 
 History of American Sculpture, Taft; Macmil- 
 Ian. 1903. 
 
 Famous Painters of America, McSpadden; 
 Crowell. 1901. 
 
 History of American Painting, Isham; MacmiF 
 Ian. 1910. 
 
 American Masters of Painting, Caffin ; Century. 
 1902. 
 
 American Masters of Sculpture, Caffin; New 
 York. 1903. 
 
 American Mural Painting, King; Boston. 1902. 
 LaFarge, Cortissoz; Houghton. 1911. 
 
 Life and Works of Winslow Homer, Downes; 
 Houghton. 1911. 
 
 Memories of Whistler, Way ; Lane. 1912. 
 
 Life of Whistler, 2 vols., Pennell; Lippincott. 
 1909. 
 
 Art Treasures of Washington, Henderson; Page. 
 1912. 
 
 History Metropolitan Museum, Howe; New 
 York. 1913. 
 
 Art of Metropolitan Museum, Preyer; Page. 
 1909. 
 
 Page sixteen 
 
 THC OCLFHIAN PRESS 
 CHICAGO 
 
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