.ws 
 
 ISSUED BY C.PCARY 
 STATE. SUPERINTENDENT SrPUBLIC INSTRUCTION 
 
 UZimSRf^AH 
 
THE SCHOOL 
 BEAUTIFUL 
 
 -^^ 1907 ^p" 
 
 BY 
 
 MAUD BARNETT 
 
 State Library Clerk 
 
 Uj 
 
 lA^^Vt^ 
 
 That is the most beautiful which at the 
 right time is in the right place. — Millet 
 
 ISSUED BY 
 
 C. P. CARY, State Superintendent 
 
 MADISON 
 Democrat Printing Co., State Printer 
 
 1907 
 
V- 
 
 ^i&Y 21 19' 
 
INTRODUCTION. 
 
 This bulletin has been prepared and sent out for the purpose 
 of calling the attention of teachers, school officers and the general 
 public to the need of our schools in respect to decoration and sani- 
 tation. In a word, we believe the schools should be both beau- 
 tiful and sanitary. At present it is little exaggeration to say they 
 are neither. The walls of our average schoolrooms, particularly 
 in the country, are dingy and bare. If not bare, then covered 
 with chromos and other disfigurements named pictures. To find 
 a schoolroom having properly painted woodwork, walls and ceil- 
 ing, one must search -far and wide among country and village 
 schools, while in city schools, rooms that appeal to the artistic 
 sense are far from common. 
 
 It is needless to say children delight in the beautiful ; they are 
 educated by the beautiful and appropriate. The sense of beauty 
 develops under favorable conditions and affects for good the 
 whole attitude toward life. The love of the beautiful is neces- 
 sary to the complete man. If this fact had been duly appreciated 
 at all times by school boards and the general public, doubtless 
 long before this the average schoolroom and schoolgrounds would 
 have been- made attractive. 
 
 On the sanitary side it may be said that the preservation of the 
 health of our school children is the preservation and utilization 
 of one of the chief sources of wealth and happiness. He who 
 can do a day's work in a day, and a year's work in a year, has a 
 tremendous advantage over the man who is feeble, sickly, or 
 otherwise incapacitated for strenuous labor. To shut up our chil- 
 dren in dark, dingy, unventilated schoolhouses, in this day of 
 knowledge and enlightenment, is little short of criminal. Shall 
 we not have in this state, a revolution with respect to the ap- 
 pearance of schoolgrounds and school buildings both exterior 
 and interior, but particularly the latter, and shall we not also revo- 
 lutionize our schools with respect to heating, lighting and venti- 
 lating ? 
 
 C. P. Gary, 
 State Superintendent. 
 
Sraie/ui aoArnotv/ec/jrmeni 
 
 Of assistance in the preparation of this pamphlet is 
 made to Mr. Alexander Mueller, Director Milwau- 
 kee Art Students' League, Mihvaukee, Wis.; Mr. 
 John Cotton Dana, Public Library, Newark, N. J.; 
 Mr. C. J. Jorgenson, Mihvaukee, Wis.; Prof. E. P. 
 Sandsten, University of Wisconsin, Madison; Wis.; 
 Prof. L. H. Clark, Normal School, River Falls, 
 Wis.; Prof. L N. Mitchell, Normal School, Milwau- 
 kee, Wis.; Prin. W. L. Smithyman, Milwaukee, 
 Wis.; and Supt. Julia Rockafellow, Waukesha, Wis. 
 
 The design for the cover of this book was made by 
 Miss L. Zimmerman, Milwaukee, Wis. 
 
SCHOOLROOM DECORATION 
 
THE SCHOOL BEAUTIFUL. 
 
 Any child has an inherent right to a clean, neat, airy and 
 attractive room in which to spend his days at school. If 
 the schoolroom is not hygienic, if it ofifers nothing of the 
 beautiful, nothing in its interior arrangement and decoration of 
 those influences which ennoble character and make for content- 
 ment, he will suffer physically and mentally and spiritually; he 
 will not, when his school days are over, step out into the world 
 with a well rounded education or an appreciation of what the life 
 that is his may hold in store for him. 
 
 The first duty of the teacher who does not find a clean and 
 attractive room ready for occupation, is to make that room as 
 clean and attractive as is possible. At first blush, the task may 
 seem beset with many difficuhies. The glaring whitewashed 
 walls, the bane of so many schools, the unscrubbed floor, the 
 dingy paint, in truth the entire atmosphere of the room, speak of 
 a public spirit lying dormant largely because of the demand for 
 strictly utilitarian instruction. This must be met by arousmg 
 the ever present spirit which wishes the child to have the best 
 the community can afford, and by directing to the bare and deso- 
 late schoolroom the human desire to adorn and beautify. What 
 remains to be done thereafter will be mere detail of organization 
 and direction. 
 
 How to go about this work, the teacher's own good judgment 
 will best dictate. There are no two places just alike and no rules 
 can be laid down for guidance. Tact and perseverance will ac- 
 complish much. 
 
 [9] 
 
In an article written by E. C. Brooks for the September World's 
 Work is given "the story of a little group of college students who 
 formed an organization of thousands of women who have revolu- 
 tionized the school buildings and school grounds of a whole 
 state." The state is North Carolina and the women who inspired 
 the movement were students in the Normal and Industrial College 
 of Greensboro. The organization was formed in 1902 and now 
 has a membership of several thousand. It has done or has 
 caused to be done a vast amount of work in the betterment of 
 schoolhouses and schoolgrounds. County associations were 
 formed later on, to be members of which all white women of each 
 county were invited. To give some idea of what the county 
 associations have accomplished, I quote the report made by a com- 
 mittee appointed to decide a contest for a prize of $100 offered 
 by the Wayne County Association to the district of the county 
 that would make the greatest improvement. 
 
 "This district, No. 1, New Hope township, Wayne county. Miss 
 Bertha Casey, teacher, contains only sixteen families with chil- 
 dren of school age. There are only forty children on the census. 
 The average attendance for the four months' term was twenty- 
 seven. The local association had a membership of seventy-five 
 and held eight meetings during the school term. Of the sixteen 
 families all are farmers and only eight own the land on which 
 they live. Only one of them has had the advantage of a high 
 school education. Seven of them tended only a one-horse farm. 
 Not a mother in the district had any help except what the children 
 could give night and morning. Most of these mothers were mem- 
 bers of the association and were always present at the meetings. 
 
 They raised by entertainments $141.70. They enlarged the 
 grounds to twice their former size, taking up scraggy trees, 
 stumps, and trash. They leveled the grounds, laid off walks and 
 planted young trees and flowers. They built an addition to the 
 school building, put in new lights, built new steps, and painted 
 the building inside and outside. They paid the music teacher's 
 board, laundry, and part of her salary. They bought an organ, a 
 library, and several pictures which now adorn the walls. They 
 polished the stove, cleaned the floor and desks, and provided 
 places for hats and wraps. They did all this without cost to the 
 
 school fund." 
 
 [10] . . 
 
I also quote what the president of the State Association says of 
 the Local Association : 
 
 "It can have a new school house built, or the old one repaired 
 and painted; it can have rough and uncomfortable benches ex- 
 changed for good desks ; it can have black boards multiplied ; it 
 can have the floor scrubbed, the stove polished, the windows 
 washed ; it can have shades or curtains added to the windows ; it 
 can have pictures placed on the walls ; it can secure a library and 
 keep it growing ; it can bring into the school good magazines and 
 papers; it can give interesting and profitable entertainments, 
 which will be of no less value to the community than to the 
 school ; it can beautify the school grounds by having stumps re- 
 moved, grass and flowers planted and play grounds laid off. 
 Finally it can uphold the hand of the teacher, help her, encourage 
 her, and stimulate her in her difficult and trying work. The work 
 will interest the community in the community's school and the 
 community's children; it will teach the few to subordinate per- 
 sonal advantage to the welfare of the whole; it will discourage 
 those two most bitter and most fatal foes to educational progress 
 — local prejudices and neighborhood misunderstandings. This 
 is the work that the local association, and only the local associa- 
 tion, can do." 
 
 From these two quotations it may be seen what women of other 
 communities have done to help other teachers. Let me ask the 
 teacher of any Wisconsin rural school which has never been made 
 beautiful — why not get the women of your community who are, 
 most of them, so much better supplied with this world's goods 
 than those spoken of above, to help you? 
 
 There are many ways of securing money to spend on the im- 
 provement of schoolhouses and schoolyards. The best way is 
 to have the school board appropriate it. But the wants of the 
 school may exceed even the generosity of the board and in that 
 case school entertainments may be given. A concert is a quite 
 usual means, I believe. Sociables sometimes meet with success, 
 and exhibits of the work of the pupils might do well. 
 The Chicago Art Education Co., 215 Wabash Ave., Chicago, 111., 
 and the Horace K. Turner Co., Boston, Mass., offer to lend ex- 
 hibits of their pictures to schools desiring to raise funds for the 
 
 [13] 
 
buying of pictures and other things necessary to a comfortable 
 and pleasant schoolroom. These exhibits will fill a twofold pur- 
 pose. Not only will they be a help in the raising of money, but 
 they will also afford teachers and pupils and parents an excellent 
 opportunity to study art. These two firms will send terms and 
 full instructions concerning the lending of the pictures upon ap- 
 plication. The exhibitors are not required to pay any guarantee. 
 It is doubtful, however, if the plan will be feasible in any town 
 having less than a thousand inhabitants. 
 
 The sensible teacher will determine what method of raising 
 money will best apply in her community. It is usually wise for a 
 teacher to consult with a few of the most progressive people of 
 her town or district with reference to such matters before making 
 a beginning. 
 
 CLEANLINESS. 
 
 Let your means of acquiring funds be what they may, see 
 that the room is thoroughly cleaned. Omit no crack, nor corner, 
 nor closet, nor shelf. Leave no dust anywhere. Take down 
 from the walls and destroy all traces of old work and all 
 decorations which have accumulated dust and smoke. If there 
 are any really good framed pictures of course they should be 
 saved, but if the pictures are not absolutely good, it is better not 
 to put them up again. Bare walls are better than those decorated 
 with specimens of poor art. 
 
 Go through your book shelves and cast out all rubbish which 
 you may find there. The book case is often made a catch-all 
 for odds and ends. It is intended for books and should be 
 used for that purpose alone. Select the books which need mend- 
 ing and put them aside until you can find time to mend them. 
 See that the others are upright on the shelves and ready for use. 
 
 If you have a chart or a map in your room which is torn, 
 mend it neatly. All charts and maps should be hung with pre- 
 cision. 
 
 Scour up the old bell and the water pails and all the cups. The 
 water bench, if you have one, should be painted to match the 
 woodwork. Where there is no other arrangement for drinking 
 
 [14] 
 
water, there should always be two pails, one for fresh water, the 
 other for the water left in the cups after drinking. The use of 
 the pail for slops should often be called to the attention of the 
 pupils. Drinking water should not be allowed to stand long in 
 an open pail in a warm room. It soon becomes infected. Fresh 
 water should be supplied with frequency. Children should be 
 encouraged to bring individual drinking cups and individual tow- 
 els. A tank supplied with faucets for drinking water is a most 
 excellent thing and may be bought or made at a small expense. 
 Great care must be given such a tank as it will easily breed dis- 
 ease if allowed to grow foul. Where it can be arranged, the 
 drinking font supplying running water is the very best thing. 
 
 Mats and scrapers should be placed at the outside door for 
 cleaning mud off the shoes, but the mats themselves must be kept 
 neat. 
 
 If you have a stove see that it is clean and in good condition. 
 If it is not jacketed and is so placed in the room as to render chil- 
 dren who sit nearest it uncomfortably warm, there should be some 
 kind of screen provided to place between it and the pupils. 
 These screens are often made of galvanized iron. 
 
 Sometimes unhinged doors are seen in schoolrooms. Do not 
 let this condition exist in your room. Nothing gives a more de- 
 jected appearance to an interior. 
 
 Be careful of your curtains. They are easily torn from the 
 poles and otherwise damaged. Keep them as well hung and as 
 fresh looking as possible. 
 
 FLOORS. 
 
 If you have a hardwood floor you are fortunate, but if you 
 have an old, wide board soft floor, it may be kept clean much 
 more easily if you will have it painted. The best color for this is 
 dust color as it shows tracks less than other colors. Give the 
 floor at least two coats of paint. Once a week at least it should 
 be mopped and wiped dry. There is a little device for wringing 
 out mops that will help you to keep your hands out of the dirty 
 water, if you are obliged to do your own janitor work. It is in- 
 expensive and can be bought at nearly any grocery store. 
 
 [15] 
 
WOODWORK. 
 
 If your interest in cleaning and putting in order has been deep 
 enough you will surely by this time have interested others and 
 will find plenty of help. But your next step, that of getting 
 newly painted woodwork or newly tinted walls, or new curtains, 
 or a picture, or any new thing which you may feel the need of 
 most, must be taken advisedly. School boards and patrons of 
 schools are generous if they feel that the expenditure of money 
 will be followed by actual good to the pupils, but they are some- 
 times (and rightly too) unwilling to spend money for something 
 for which they may not see the necessity. The task may require 
 infinite tact and understanding and patience. 
 
 Take stock of what you have. What is your woodwork ? How 
 are your walls and your ceilings ? Are they clean or dirty ; rest- 
 ful or glaring? If the woodwork is dirty or high-colored, or 
 the walls need doing over, have the necessary painting and tinting 
 done at once. In most country schools the woodwork has 
 been painted, and of course if that is the case, the only way to 
 freshen it is to paint it again. But if the woodwork has been left 
 natural color and varnished, it may be washed with water and 
 possibly a little soap where it has become very much soiled. 
 
 When repainting woodwork it will be best to use the same color 
 as that intended for the walls but a rather darker shade, or one 
 which will harmonize with the walls, or perhaps a neutral shade 
 somewhere near the color of natural wood. The last will not 
 show dust nor soil very readily and on that account is good. 
 
 It is seldom well to use dark colors in a schoolroom. The 
 blackboard furnishes quite enough dark surface. 
 
 If you are fortunate enough to have woodwork which has been 
 neither painted nor varnished, you will find stains most satisfac- 
 tory. After the stain has been put on, the woodwork may be var- 
 nished and rubbed down to a dull finish with pulverized pum- 
 ice stone and oil or it may be left without varnish. Another 
 good finish for stained hardwood is paraffine oil. This is com- 
 paratively easy to put on and its effect is very pleasing. 
 
 [16] 
 

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WALLS. 
 
 Some of you may find the walls whitewashed, some may find 
 them painted, and others will find only plaster. The last is 
 of course the easiest to change. Whitewashed walls are much 
 better than dirty ones and cleanliness is a first necessity, so if it is 
 a choice between whitewash and soiled walls, take the whitewash. 
 But do your best to have your walls tinted or painted or stained, 
 because the glaring white of the whitewash is hard on the eyes. 
 
 Paint lasts well. It may even be washed with more or less 
 success, and may easily be kept new by adding a fresh coat now 
 and then. If you decide to paint your walls, you will have to put 
 on at least two and probably three coats. The first need not neces- 
 sarily be of the exact shade of the last two, but it should not 
 greatly differ. Do not use for your walls paint which is hard 
 and glossy after it has dried. The effect is too cold. The 
 surface should be soft and velvety looking. This effect may 
 be heightened by stippling the last coat. This is done with a 
 large, flat brush with long bristles. The brush is set down on the 
 freshly painted wall and moved slightly, taken up and set down 
 in another place and so on until the entire wall is covered. This 
 stippling breaks up the surface so that it appears much softer. 
 
 If your walls have been calcimined they may be re-calcimined 
 or painted. In painting or calcimining walls it is well first to 
 try the colors on a small part of the surface to be treated and to 
 let them dry before going over the whole wall, so that you may 
 be sure that they are satisfactory. 
 
 It may be that some of you will find rough plaster finish. This 
 finish is beautiful if painted or stained with large sweeps of the 
 brush. However, many object to rough finish plaster for school- 
 rooms as dust clings to the surface so easily. 
 
 DESKS. 
 
 It is doubtful if you will be able to change the unpleasantly 
 bright colors of the desks and seats. These desks and seats may, 
 however, be made absolutely clean and kept whole and free from 
 pocket-knife ornamentation. If desks are to be bought you can 
 use your influence in securing those made of natural woods, var- 
 nished or stained to harmonize with walls and woodwork. 
 
 [19] 
 
If the room is not furnished with adjustable desks and seats 
 (those which may be made lower or higher or have the slope 
 of the desk changed), or with several sizes of stationary ones, 
 you should urge your board . to supply them. Many pupils 
 have been seriously deformed by occupying seats which are too 
 high or too low or which do not fit them, or by sitting before desks 
 too high or too low, too near the seat or too far away from it, or 
 before those having a wrong slope. Adjustable seats and desks 
 are the best; but in case you cannot secure these, there should 
 be at least three sizes of desks and seats, and if there still re- 
 main pupils who are not comfortable, special measures should 
 be taken to make them so. The smaller children may be given 
 footstools and the larger pupils may, if necessary, be seated in 
 chairs before tables. A pupil to be comfortable should be able to 
 sit firmly back in the seat with his feet flat on the floor and his 
 limbs bent at right angles at the knee. There must be sufficient 
 room between back of seat and desk but there must not be so 
 much that he will be obliged to bend forward or sit on the edge 
 of the seat. The height of the desk should be such that his shoul- 
 ders will not be lifted when his arms are on the desk, nor his body 
 bent forward to lean on it. It is better to have desks, the slope 
 of which can be adjusted to suit the needs of the various school 
 occupations, but if these cannot be obtained a medium slope is 
 best. Use judgment in seating your pupils. They should, as 
 far as possible, be seated according to size but if there are any 
 children who are defective in sight or hearing they must be 
 given special consideration. 
 
 The old method of placing all the largest desks and seats in 
 the rear, the medium sizes next and the smallest sizes nearest 
 the front, is not the best. It is better to form one or two entire 
 rows of the largest size, perhaps on the two sides of the room, 
 then one or two or more rows of the medium sized seats next 
 the large ones and toward the center of the room ; and last, one 
 or two or more rows of the smallest size in the center. This or- 
 der may be reversed or otherwise changed. But, however the 
 rows are arranged, this method affords an opportunity to place 
 some of the larger pupils near the front if occasion demands. 
 
 [20] 
 
WINDOW SHADES AND LIGHT. 
 
 Many of you will find fairly well adjusted window shades. 
 There is a curtain fixture which allows the curtain to be so ad- 
 justed as to screen any part of the window, top, middle or bot- 
 tom and that only. These fixtures are desirable. If you 
 find no shades at all on windows which receive the sun, you 
 should endeavor to get some, if nothing more than paper 
 cambric tacked to curtain sticks and provided with cords so 
 they may be rolled up and fastened. Windows that receive no 
 sun need no shades. For those which receive much sun a blue 
 gray, semi-opaque shade is doubtless best for the eyes, as the 
 bright light shining through it becomes about the same in qual- 
 ity as a north light and is therefore a desirable light for students. 
 
 Do not make the' mistake of keeping shades pulled down or 
 half way down unless there is necessity for so doing. Light 
 from the upper portions of the windows is needed for the dis- 
 tant parts of the room. 
 
 Light should come to pupils from the left and the rear. If 
 you have windows on both left and right, it will be better to 
 pull the shades over the latter most of the time on bright days. 
 If there are windows in the front they should be screened, as 
 bright light shining in the faces of the pupils is exceedingly in- 
 jurious. 
 
 In buying shades for our own homes we select those which 
 harmonize with the walls and furnishings, but in buying shades 
 for a schoolroom it must be kept in mind that their purpose is 
 to regulate the light, not to shut it out, and that a schoolroom is 
 not a parlor but a workroom. 
 
 White muslin sash curtains make a room cozy, but they must 
 be precisely hung and kept scrupulously clean. Otherwise it is 
 better not to attempt them. 
 
 VENTILATION. 
 
 As much of the ventilation of rural schoolrooms is still accom- 
 plished by means of windows and doors, all sashes should move 
 readily so that windows may be thrown open at every recess and at 
 
 [21] 
 
other intermissions, or when pupils are taking gymnastic exer- 
 cises. 
 
 Boards cut about 8 inches wide and as long as the width be- 
 tween the window casings, may be used to assist in properly 
 supplying fresh air. They should be set between the casings at 
 the lower part of the windows next the sills, leaving at least two 
 inches between the sashes and the boards. The boards should be 
 inclined inward at an angle of about 60°. If the sashes are then 
 raised about 4 inches the air will pass in and be directed upwards 
 between the boards and sashes, and not upon the children. 
 
 A much better method of ventilation is that of the jacketed 
 stove with piping for outside air. It may be installed in the fol- 
 lowing manner: 
 
 The school stove should be entirely enclosed in a circular jacket 
 fastened to the floor. It should be placed six inches from the 
 stove and extend at least one foot above the top of the stove 
 when used to enclose a round oak heater, or to the height of 
 a person of average stature, when used to enclose an old-fash- 
 ioned box stove. The box stove should, however, not be used 
 when it . is possible to secure a round oak heater. Suitable 
 openings should be made in the jacket through which 
 the fuel may be placed in the stove and the ashes taken 
 out, as well as suitable openings for draughts. Care should 
 be taken to reinforce the opening made for fuel by strong 
 iron straps in order that the jacket may not be bent or 
 injured. Openings one inch wide and five inches long should be 
 cut through the bottom part of the jacket about 2 inches from the 
 floor and about 2>^ inches apart. A "belt damper" just large 
 enough to surround the jacket and 7 or 8 inches in width, with 
 openings to correspond to those in the jacket should be made 
 and fitted neatly to the jacket just over the openings in such a 
 way that it will move easily back and forth over the openings. 
 By this means the draft in the room may be regulated. Instead 
 of this "belt damper" hinged doors 2 by 6 inches in size may 
 be used to close the openings. Fresh air should be admitted by 
 means of an air tight wood or galvanized iron conduit placed un- 
 derneath the floor and extending from an opening in the outside 
 
 [22] 
 
wall to one underneath the stove. This fresh air intake should, 
 if a galvanized iron cylinder, be at least twelve inches in diameter. 
 If a wooden box is used it should be at least 12 by 13 inches inside 
 measurement. A damper should be placed in this flue at the 
 point where it enters the basement in such a manner that it may 
 be easily operated from the inside of the schoolhouse. Means 
 for drawing the foul air from the floor of the schoolroom should 
 be provided either by making an opening into the chimney at 
 the level of the floor, where the chimney is built from the ground, 
 or by an open stove pipe connected with the chimney and ex- 
 tending to within six inches of the floor. The foul air flue 
 should be approximately of the same dimensions as the fresh 
 air inlet and should contain dampers for the regulation of 
 the draught. The mode of operation is as follows : the air 
 surrounding the stove on the inside of the jacket becomes 
 heated, circulates through the upper portion of the room, 
 and as it cools, gradually falls to the floor, where it is taken 
 out of the room through the foul air opening by the 
 draught up the chimney. On cold mornings it may be well for 
 the janitor to close the fresh air flue by means of the damper 
 mentioned above, open the "belt damper" or hinged doors at the 
 bottom of the jacket, and take the supply of cold air from the 
 schoolroom until the temperature has reached a reasonable degree 
 of warmth. The total cost of installing this system need not 
 exceed twenty-five dollars. 
 
 There are other systems operating on much the same princi- 
 ples which have been patented and can be purchased ready for use. 
 
 BLACKBOARDS. 
 
 Blackboards should be placed low enough for the youngest pu- 
 pil to use and should not extend too high for the teacher. 
 Slate blackboards are the best, but there are a number 
 of preparations for blackboard finish which may be bought and 
 applied to old boards with fairly good results. The surface of 
 the board should not be shiny. The finish should always be dull 
 as is slate. Reading from a shining surface is injurious to 
 the eyes. If the old boards are to be refinished I would sug- 
 
 [23] 
 
gest that they be made to harmonize with the color scheme of 
 the room. To do this, use coloring matter in the liquid prepara- 
 tion. Dark green boards look well in a room having a green 
 color scheme and are restful to the eyes. 
 
 Boards and erasers and chalk troughs should be cleaned 
 daily. When the blackboards are disagreeably large or seem 
 to spoil the color scheme of the room, curtains of inexpensive 
 material and of a color in harmony with the walls, may be ad- 
 justed so that they may be drawn over the boards when the latter 
 are not in use. These curtains are also useful in hiding work 
 placed on the board by the teacher for future use. Curtains, 
 however, are dust catchers. 
 
 Do not allow careless blackboard work at any time. Every- 
 thing written on the blackboard should be well and carefully 
 done. Stenciled borders or figures colored or uncolored are 
 sometimes attractive, but should never be allowed to remain 
 long on the boards. 
 
 CLOAKROOMS. 
 
 Cloakrooms should be treated as to floors, walls, ceiling and 
 woodwork just as the room proper has been treated. If it is pos- 
 sible, a separate compartment should be supplied for each child, in 
 which to hang his wraps. This convenience would prevent much 
 contagion and many misunderstandings. Cloakrooms especially 
 should be well aired. They should be kept cool. 
 
 BULLETIN BOARDS. 
 
 A bulletin board in a schoolroom is a great convenience, almost 
 a necessity. It may be made to fit into some open space on the 
 wall or it may be swung on a standard. Felt is probably the best 
 material for covering a solid board, as it is thick and easy to pin 
 to or tack through, but a frame of two inch boards covered with 
 burlap to match the walls does very well. A satisfactory board 
 can be made by covering a cheap clothes rack with denim, and 
 painting such parts of the woodwork as are left visible, to corre- 
 spond with the colors used in the room. Interesting clippings 
 
 [24] 
 
from newspapers, good bits of work from the hands of the pupils, 
 good pictures obtained from various sources and used to illustrate 
 lessons, may be fastened to this bulletin board, left there as long 
 as is necessary, then taken down and filed away, if they are worth 
 filing, or destroyed if they are not. Sometimes the pupils may 
 wish to take their bits of work home after they have been honored 
 by display on the board and sometimes also they may bring in- 
 teresting things from home which may be pinned there for a day 
 or two and returned. 
 
 The bulletin board should never be allowed to grow stale. 
 Things should not stay there for long periods of time ; they must 
 be kept moving. In fact, specimens of pupils' work, clippings, 
 pictures of no great merit, but only pleasing for a time or useful 
 in teaching some lesson, should never find a permanent place on 
 the walls nor on the bulletin board of any schoolroom. Only the 
 good in art should be long before the eyes of the pupil. Pictures 
 used on the bulletin board and taken down may be mounted on 
 cardboard, labeled and put away for future reference. Clippings 
 may be treated in the same way, several of them relating to the 
 same subject being grouped and mounted together. 
 
 [27] 
 
COLOR SCHEMES. 
 
 The most difficult problem to be solved in connection with 
 schoolroom decoration is that of making the proper selection 
 of colors for the walls, ceiling and woodwork. On the 
 harrriony of these colors depends the success of any endeavor to 
 make a room attractive and restful. On it also depends the 
 effectiveness of all pictures, casts, pottery and other objects used 
 for decorative purposes. 
 
 Not merely for beauty alone, however, should the walls be col- 
 ored, but for the undeniable effect of colors upon the 
 child. It is a fact now generally accepted by neurologists and 
 physicians who have given the subject thought and study, that 
 colors have a considerable influence upon the mental and physical 
 condition of children. In recent years many cases of severe 
 nervous headache and nervous irritation in children have been 
 traced to the bare white or poorly colored walls of schoolrooms. 
 
 The location of the schoolhouse and the position of its windows 
 have much to do with the selection of colors. A room with little 
 sunlight needs lighter and warmer shades than one which re- 
 ceives the direct sun during a large portion of the day. 
 
 In deciding what colors to use you must keep in mind at one 
 time the walls, ceiling, woodwork and furniture. If the color of 
 the woodwork is satisfactory, or being unsatisfactory, cannot be 
 changed, use it as a basis and adopt a shade for the walls which 
 will harmonize with it. Walls and woodwork in certain shades 
 of brown, ceiling in old ivory, and desks in natural wood, will 
 all harmonize. Dark gray green woodwork, lighter gray green 
 walls, still lighter green ceiling and natural wood desks are a 
 very pleasing combination. 
 
 Use plain colors in soft dull shades. Do not attempt bor- 
 ders or clouded effects unless you have a skilled and experienced 
 designer to do the work. 
 
 Xlt is always safe to select for a color scheme, shades of the same 
 color, arranging them so that the lightest shade will appear on the 
 ceiling and the walls down to the picture molding, the medium 
 shade on the walls, and the darkest on the woodwork, if the latter 
 happens to be stained or painted. By this, however, T do not 
 
 [28] 
 
mean to ^suggest that there are no harmonies except in scaled 
 colors. 
 
 C- J- Jorgenson of Milwaukee, a colorist of note, contributed 
 an article to the American School Board Journal, December, 
 1905,. from which both he and the editors of the Journal have 
 kindly given permission to quote. The article will be very help- 
 ful to any teacher or school board about to decide on colors for 
 a schoolroom. It is, in part, printed here : 
 
 "The necessity of congenial and cheerful surroundings in our 
 public schools is being recognized and considered more from 
 year to year as one of the several elements in the direction of 
 cleanliness and sanitation. 
 
 The coloring in the schoolroom must appeal to the aesthetic 
 feeling of the pupils, and not offend their color sense by unhar- 
 monious color combinations. "Tfie color must irnbue the mind 
 with a pleasing restfulness, and thereby heighten the faculty of 
 conception of the pupil, as well as strengthen the energy and pa- 
 tience of the teacher. 
 
 In defining the proper colors for a room, the natural light must 
 be considered first. It is a well known fact, that the diffused 
 light entering through windows not exposed to the sun, is the 
 most agreeable to read and work by. Therefore, the north ex- 
 posure is preferable for such purposes. As most of our public 
 schools receive light from all four directions, it is essential to ad- 
 just the light in a proper manner. The sunlight breaking into 
 a room with unrestricted power, must be softened and diffused by 
 window shades and curtains. 
 
 Sunlight passing through a perfectly white semi-opaque shade, 
 will create a decidedly creamy color leaning towards the yellow 
 orange. The same effect is observable where sunlight is thrown 
 through a milky liquid. In order to overcome this yellowish 
 light, and to produce more of the effect of the north light, the 
 window shades should be colored in a light bluish gray, and 
 thereby make the light in such a room as agreeable and neutral as 
 may be found in a room not exposed to the sunlight. 
 
 Colors are often classed as warm or cold. Warm colors are 
 also called advancing, and cold colors retiring. Warm colors 
 are those in which red and yellow predominate ; these colors have 
 
 [29] 
 
no influence on the temperature of the room but they will make 
 impressions of this nature upon the mind. This should be borne 
 in mind when the interior wall coloring of a school house is un- 
 dertaken. 
 
 On the north exposure, the colors can be warm and lean toward 
 yellow and red ; on the east, the colors should be less warm, i. e., 
 blended with a little blue; the west and south sides can have a 
 preponderance of blue, if the color of the hardwood, or other 
 local conditions, do not demand a dififerent treatment. 
 
 All primary and secondary colors should be blended to har- 
 monize with woodwork and surroundings. All space not actu- 
 ally needed for blackboards, should be treated in the wall color. 
 Blackboards should not be carried all around the room, but con- 
 fined to the necessary minimum, in order to allow the wall color 
 to predominate. 
 
 In older school buildings, where there is an insufficiency of 
 light it is well to keep the colors of ceiling, walls and woodwork 
 as light as possible to produce reflection. In the newer and well- 
 lighted building, the color scheme should not be too light, especi- 
 ally in rooms finished in natural hardwood. The walls can be 
 colored dark in such rooms. The colors should never form a 
 direct contrast to the woodwork, but always blend with it. 
 
 The ceiling should be kept light, but never white or chalky. It 
 is never touched by the rays of the sun, except by reflection from 
 a mirror, or other polished surface ; consequently, in the ma- 
 jority of cases it will receive diffused cold light only, and should 
 always be treated in warm tints. 
 
 The spectral colors, yellow, orange, red, violet, blue and green, 
 should never be used for ceiling and walls without combining or 
 ornamenting them with softer colors. Such softer colors are also 
 called broken colors, and are produced by mixing spectral colors 
 in pairs, thus blending one color into the other. These many soft 
 colorings, resulting from such mixtures, will please the educated 
 eye and train the uneducated to distinguish and appreciate broken 
 color tints. Equally objectionable are the bright color stains 
 commonly used on school desks and other school furniture. 
 Softer and darker stains would be in better taste and give more 
 repose. 
 
 [30] 
 
This excerpt from Mr. Jorgenson's article requires no expla- 
 nation, yet the rules laid down are so important and are so diffi- 
 cult to apply that a repetition of what has already been said may 
 be helpful. 
 
 Never use bright colors on woodwork, walls or ceiling. Never 
 use any unbroken color of the spectrum. The spectral colors 
 must first be dulled by so mixing them with each other as to 
 produce soft tones. 
 
 For instance spectral green when placed upon the walls is 
 harsh and irritating, but when mixed with other colors so as 
 to produce the stone greens or sedge greens or the rich olive 
 greens or any one of the long list of neutral greens, its effect is 
 restful and artistic. 
 
 Again, spectral red, the most irritating of all colors to the eye 
 should never be used even in combination with other colors in 
 such proportion as to stamp the combination with its quality. 
 As Mr. Jorgenson puts it, "on the north exposure, the colors can 
 be warm and lean to the red." Cardinal, pink, cerise and the like 
 are not meant, but rather the soft reddish buffs and terra 
 cottas. 
 
 But even colors which merely lean toward the red should be 
 used advisedly. It is a well established scientific fact that the 
 nearer a color is to the red end of the spectrum the more irrita- 
 ting it is to the eye, and the nearer it is to the blue end of the 
 spectrum the easier it is for the eye, with the exception of the 
 extreme violet rays which are also irritating. From the ex- 
 amination of many school children it has been ascertained that 
 while red is irritating it is also exciting, and that while blue is 
 quieting it is also depressing. From all this it would appear 
 that the three middle colors of the spectrum used as bases are 
 the most suitable for the schoolroom. The best of these is green 
 in such combination as to produce soft tones. It should prob- 
 ably be used as the basic color for wall tinting in three-fourths of 
 the schools of the state, the shades adopted depending largely, 
 of course, upon the amount of light admitted to the room. 
 In schoolrooms, however, enjoying a plenitude of siinshine, 
 colors leaning toward the blue may be employed, and in rooms 
 having little sunshine, colors leaning toward yellow and even 
 
MR. JORGENSON S OFFER. 
 
 Teachers and school boards about to select color schemes for 
 schoolroooms will be given advice free of charge upon applica- 
 tion to Mr. Jorgenson. Sample colors will be furnished if a 
 full description of each room giving all the information called 
 for in the outlines appearing on the following pages accompanies 
 the application. All communications should be addressed to C. 
 J. Jorgenson, 521 Jackson St., Milwaukee, Wisconsin. 
 
 Two color schemes recommended by Mr. Jorgenson for two 
 schools in Waukesha county with the descriptions upon which 
 such recommendations were based are printed herewith. 
 
 Description of schoolroom sent to Mr. Jorgenson from Dis- 
 trict No. 6, Town of Summit, Waukesha Co. 
 
 School Room 
 
 Length, 24 ft. ■ ■ 
 
 Width, 24 ft. 
 Height, 14 ft. 
 
 Windows 
 
 Length, 5 ft. 
 
 Width, 5 ft. 
 
 Number, 4. 
 
 Which sides of building, East, West. 
 
 Doors 
 
 Where placed. South end. 
 Number, 2. 
 
 Blackboards 
 
 On which sides of room. North. 
 Width, 4 ft. 
 Color, Gray. 
 Material, Slate. 
 
 [34] 
 
Seats 
 
 Color, Birch. 
 
 Face what direction, North. 
 
 Woodwork 
 
 Kind of wood, Piiic. 
 Finish, Painted. 
 Color, Brown. 
 
 Walls 
 
 Finish, Wainscot, j 1-2 ft., painted. 
 Color, Light brozcn. 
 
 Stove (if any) 
 
 Where located. South end. 
 Any other information. Bookcase, dark oak; organ, zvalnut. 
 Amount of money available for doing over, $jj. 
 
 Description of schoolroom sent to Mr. Jorgenson from Dis- 
 trict No. 4, Town of Brookfield, Waukesha Co. 
 
 School Room 
 
 Length, 2p ft. 
 Width, 25 ft. 
 Height, 13 ft. 
 
 Windows 
 
 Length, 6 1-2 ft. 
 
 Width, 2 5-6 ft. 
 
 Number, 8. 
 
 Which sides of building. East, West, South. 
 
 Doors 
 
 Where placed, South side. 
 Number, j. 
 
 [35] 
 
Blackboards 
 
 On which sides of room, North, East and West. 
 Width, 5^ ft. 
 Color, Black. 
 Material, Slate, wall. 
 
 Seats 
 
 Color, Cherry. 
 
 Face what direction, North. 
 
 Woodwork 
 
 Kind of wood. 
 Finish, Paint. 
 Color, Drah. 
 
 Walls ; 
 
 Finish, Kalsomine. 
 
 Color, White. 
 Stove (if any) 
 Amount of money available for doing over, ^55. 
 
 Mr. Jorgenson's offer to the schools of the state is most gen- 
 erous and it is hoped that school boards and teachers will take 
 advantage of it. 
 
 [36] 
 
 • • 
 
Colors advised for District No. 6, Town of Summit, 
 Waukesha County. 
 
 
 CEILING. 
 
 WALL. 
 
 WOODWORK. 
 
 Colors advised for District No. 4, Town of Brookfield, 
 Waukesha County. 
 
 CEILING. 
 
 WALL. 
 
 WOODWORK. 
 
PICTURES. 
 
 The purpose of pictures in the schoolroom is twofold ; first, to 
 decorate the bare and silent walls, and, second, to direct the 
 child's taste and sympathy toward the beautiful. A third but 
 much less significant purpose is to familiarize the pupil with rec- 
 ognized works of art and methods of expression in art. 
 — Every schoolroom should have at least one picture of artistic 
 merit. If means permit, it is well to have more, but it is a great 
 mistake to have too many. 
 
 For the guidance of those who will select pictures for the com- 
 mon schools of this state, the following suggestions may not be 
 amiss : 
 
 Select pictures having a human interest. Pictures of animals 
 and of children always appeal to the little folks. But whatever 
 the subject let it be one which the child will be able to compre- 
 hend through experience or knowledge common to children of 
 his age. 
 
 It is a matter of prime importance to consider the ages and 
 environments of the pupils before selecting any picture for the 
 schoolroom. The real problem always is to get some work of art 
 which the child will appreciate and enjoy and which will at the 
 same time prove a suitable decoration for the wall. In the solu- 
 tion of that problem, what old masters or other paintings appeal 
 to you or me is of no consequence. Our taste and our ability to 
 understand and appreciate have developed since we left the mid- 
 dle and grammar grades. To determine rightly what the pupils 
 of today should have in the way of artistic surroundings, we must 
 in part forget our present point of view and remember the limita- 
 tions of the days of our childhood. The following is an excerpt 
 from an article on The interior decoration of schools by W. J. 
 Kenyon, State Normal School, San Francisco, Cal., printed in 
 The School Review, November, 1906. "Let us avoid reading our 
 own preferences too unreservedly into the children, and becoming 
 their self-appointed proxies. The children have not that sense 
 of historical values which is always in danger of giving their 
 seniors a bias. We have not quite learned to distinguish between 
 that which is imposing, from the art curator's standpoint, and 
 
 [3Y]. 
 
that which is inherently beautiful, regardless of its niche in the 
 lore of art. It is one thing to stock a museum of art with the 
 conspicuous milestones of art history. It is quite another to deco- 
 rate a children's room with things intrinsically beautiful — and 
 beautiful from the child's view-point." 
 
 Select colored pictures if it is possible for you to obtain those 
 which are true works of art. They are more decorative as a 
 rule and are more appreciated by the child. 
 
 Be very careful, however, in your selection. If you have not 
 a keen appreciation of color, it will be better to confine yourself 
 entirely to the list of colored pictures given later on or to solicit 
 the assistance of an artist. 
 ,;> Select pictures of simple outlines and of little detail. Com- 
 plexity in design and in execution should be avoided. Much de- 
 tail interrupts the attention of the child and often causes him to 
 lose entirely the conception of the whole." All teachers who have 
 taught drawing know that a child in attempting to make a pic- 
 ture of an apple having some slight imperfection on it, often 
 makes the imperfection the most prominent feature of the pic- 
 ture. The detail has caught the attention. And so it is when a 
 child stands before a work of art of much complexity of design. 
 His attention is caught by one detail and then another until his 
 interest flags and he turns away without having formed any con- 
 ception of the picture. 
 
 Select bright, sunshiny or at least moderately cheerful subjects. 
 Children are greatly influenced by subjects of pictures and sad- 
 ness comes soon enough. It need not be lugged in. Avoid also 
 subjects which give no food for thought and which will soon be- 
 come tiresome. 
 
 In buying, look not only at the individual picture, but at the 
 composition of the entire wall. Consider how the picture will 
 look on the wall for which you are selecting it, and whether or 
 not it will be in harmony with the pictures already hung. The 
 color of the walls and ceiling, the pictures considered as decora- 
 tive spots (not as pictorial subjects), all help to give a certain 
 color and tone to the room, and to determine the prevailing at- 
 mosphere, which should in all cases be artistic and soothing. 
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the size of the room, so that you will buy pictures neither too large 
 nor too small. A very small picture in a very large room is lost. 
 A very large picture in a very small room looks out of place. Be 
 sure that your picture will "carry," that is, that it will not lose its 
 effectiveness when viewed at a distance. > 
 
 REPRODUCTIONS OF THE MASTERS. 
 
 "Progress in art" says John Cotton Dana of the Newark 
 Public Library, "is not progress in knowledge of Madonnas and 
 Corots, — save in one narrow sense. Progress in art is growth 
 in sensibility, growth in power of appreciation, growth in capacity 
 to get pleasant thoughts and feelings from the sight of things 
 which surround us every day, — the wayside flower, the waving 
 grass, the tree naked to winter winds, the towering chimney, the 
 familiar utensils of our homes, the pictures of .the popular jour- 
 nals, and a thousand other things. The best course in art would 
 begin with a waving spire of grass or a branch of the nearest 
 tree, not with Raphael's Sistine Madonna or Michael Angelo's 
 David." 
 
 The opinion largely prevails among educators and those in- 
 terested in schoolroom decoration in this country, that photo- 
 graphic reproductions of the works of the old and modern mas- 
 ters are the only pictures appropriate for schoolroom decoration 
 and the study of art by school children. I have not been able to 
 bring my thoughts into harmony with this opinion. The educa- 
 tional theory upon which it is based has, moreover, for some years 
 past been exploded in Germany and other European countries. 
 I do not mean to say that children should not be taught anything 
 of the history of art during their school days or that they should 
 have no familiarity with the pictures of the great masters in 
 art but I do mean that reproductions of these pictures are bet- 
 ter calculated for study as the pupil advances in years and 
 knowledge than they are for the purpose of decorating the walls 
 of rooms in which young children sit. Granting that the con- 
 stant display of good or poor reproductions of pictures of this 
 class may have some indefinite beneficent influence upon the 
 child's character and upon his abilitv to appreciate what is ideally 
 
 [41]' 
 
or actually beautiful, nevertheless the proposition that a child 
 in the common schools can be taught to recognize artistic ex- 
 pression or the beautiful in art through reproductions of Rem- 
 brandt's or DaVinci's or Michaelangelo's pictures, appeals to me 
 as impossible as it would be to teach Middle Form pupils mathe- 
 matics by illustrating problems in conic sections or calculus, or 
 literature by reading to them Faust or the Inferno. 
 
 But leaving out of consideration the value of such pictures as 
 a means of education in artistic expression, in what of the great 
 art of the painting is the child able to find delight? What 
 would there be in a rendition of Parsifal by the Chicago Or- 
 chestra that the average child could understand, that he could 
 enjoy, that would tend to inculcate in him a love of music? What 
 is there for him in all the angels and Madonnas painted in the 
 indolent, elegant but withal ascetic days of the Italian Renais- 
 sance ? 
 
 Let us take yourself and myself for examples. We may have 
 had the advantage of University or Normal School training. 
 We may have had courses in aesthetics. We may have visited 
 the great art galleries of the world. We may have stood be- 
 fore the works of Rubens, Murillo, Van Dyke, Velasquez and 
 Titian and many others. We gathered up the story of the past 
 and our hearts and souls were filled with admiration for these 
 mighty men. And then we turned away from The Assumption, 
 The Holy Family, Don Balthazar and the rest, and it was not 
 the technique, the conception, the detail, the color, all that dis- 
 tinguishes great masterpieces, which had most impressed us, but 
 what each painting was about. 
 
 Perhaps you remember standing in the art gallery at the Col- 
 umbian Exposition in Chicago and watching the crowds surg- 
 ing in front of the picture by Hovendon entitled Breaking home 
 ties, while other and greater works of art went unnoticed. Why? 
 Not because it is a great work of art. It is not. But because 
 the canvas portrays a scene which touches the heart. 
 
 How many times in our visits to art galleries or art exhibi- 
 tions do we pass by what is truly excellent as a work of artistic 
 expression and then stop to admire some potboiler, dear at al- 
 most any price, the subject of which commands our interest. 
 
 [42] 
 
If is is true of us that we are often unable to appreciate the 
 artistic merit of many of the old masters, and are frequently 
 less attracted by them than by the work of mediocrity, is it not 
 also true that the child with its limited comprehension, its lack 
 of training and education, will probably often fail to find in these 
 famous paintings any beauty of expression? To him even the 
 historical and human setting is lost. The religious impulses 
 pervading the periods of our civilization during which most of 
 the old masterpieces were painted, are not discussed in such 
 histories as the child in our common schools would read, or, 
 reading, would understand. 
 
 Let us go further, bearing in mind at the same time that our 
 ideals of beauty frequently lie beyond our power of express- 
 ing them. Give the average child in the Primary Form a pencil 
 and ask him to draw a man. He will probably begin by making 
 something that looks like a circle for the head and two smaller 
 circles for the eyes, with lines for the mouth and nose. Should 
 he do better than this, his drawing at the best will be linear, 
 without shading and without expresssion. Still, he will in all 
 probability be very proud of his work. It is his graphic method 
 of expressing his idea of a man. Give him a brush and colors 
 and ask him to draw a cow. He will paint a large mass for the 
 body and continuations of this mass for head and feet. If the pict- 
 ure at all resembles our domesticated animal and not some mon- 
 ster of another age, he is to be complimented, but his effort illus- 
 trates the method of childhood, and his conception and appreciation 
 of art and artistic expression does not go far beyond this. The 
 multiplicity of detail, of expression, and of light and shade; the 
 infinite variety and blending of colors ; the complexity of motif 
 found in the great masterpieces and great works of art will only 
 tend to confuse him and lessen the interest in art which he already 
 has. 
 
 We should seek to develop the artistic instincts of the child 
 along rational lines just as we seek to develop his faculties in 
 other directions. Give young children simple pictures, those 
 with little detail and dealing with some phase of life or thought 
 which they can understand. From these they may be led on to 
 an ability to distinguish between good and poor art in more diffi- 
 
 [43] 
 
cult subjects, and to an appreciation of the good. But they 
 should not be expected to have this ability at the start. 
 
 To summarize my objections to the use of photographic repro- 
 ductions of the great masters for schoolroom decoration in the 
 grades : 
 
 Much of the artistic excellence of many of the pictures of the 
 masters lies in the manner of their execution and in their 
 coloring. This is largely lost in a photographic reproduction. 
 
 They are usually executed in too much detail, and therefore dis- 
 tract the attention of the child from the conception of the artist. 
 
 They lack color and color is an essential in commanding the 
 child's interest. 
 
 Many of the subjects are too difficult and complex ; most are 
 historical and foreign. 
 
 PICTURES FOR SCHOOLROOM DECORATION. 
 
 Having in mind all that goes before, I recommend the follow- 
 ing prints for use in the common schools. . Many of them are suit- 
 able for the High Schools. Each one is an original production 
 by a modern artist, and in many instances they are printed from 
 original lithographs engraved by the artists who painted the 
 pictures. They are posters in style and are very simple yet very 
 strong. Each is a work of art in itself. Many of them are de- 
 signed especially for school use. They are, all in colors and be- 
 cause of this also are more interesting to children. 
 
 Starred pictures have been seen by the writer. As to the oth- 
 ers, although I have not seen the full size lithographs, I have 
 reason to believe that they are correct in color and composition. 
 L — indicates pictures desirable for the Lower Form ; M — Middle 
 Form; U — Upper Form; H — High School. R — indicates pic- 
 tures desirable for rural schools where there are many grades. 
 Prices given (not publisher's prices) were obtained in each 
 instance from the Chicago Art Education Company, 215 Wabash 
 Ave., Chicago, 111. 
 
 [44] 
 
FITZROY PICTURES. 
 
 Published by George Bell and Sons, London. The "Guild of 
 the Iron Cross," Boston, Mass. 
 
 "With reference to our actual productions, they are color 
 prints, not reproductions of paintings. Vitality of suggestion 
 rather than imitative realization is their mark. Selection of es- 
 sentials — essential form, character, action, color, and their re- 
 combination in the form we have adopted, that is, arrangement 
 of color space bounded by expressive line, is our method, and its 
 result is asserted as much by omission as by commission." Art- 
 ist's foreword. 
 
 These prints are particularly well adapted for use in the 
 Lower Form. They may also be used in the Middle Form. 
 
 * 1. St. George and the dragon. By Hey wood Sumner. 
 
 49x39 in. Colored by hand. Price $3.50 (Publisher's 
 price, $1.40). L. 
 
 * 2. Love rules. By Louis Davis. 37x19 in. Reproduced in 
 
 colors by James Akerman. Price $3.25. (Publisher's 
 price, 65 cts.) L. 
 3. In the morning. By Louis Davis. 37x19 in. Colored 
 by hand. Price $2.50. (Publisher's price, 90 cts.) L. 
 
 * 4. The months. By Heywood Sumner. Four prints, each 
 R. 34x24 in. Reproduced in color by James Akerman. 
 
 Price $2.25 each. (Publisher's price, 65 cts. each, or 
 set for $2.50.) L. or M. 
 
 * 5. The four seasons. By Heywood Sumner. Four prints, 
 R. each 36x19 in. Reproduced in colors by James Aker- 
 man. Price $2.25 each. (Publisher's price, 65 cts. 
 each or set for $2.50.) L. or M. 
 
 6. The plough. By Heywood Sumner. 37x24 in. Colored 
 R, by hand. Price $2.50. (Publisher's price, $1.10.) L. 
 or M. 
 
 RIVIERE PRINTS. 
 
 Lithographs from pictures painted for the purpose by the 
 French artist Henri Riviere. Published by Eugene Verneau, 
 108 Rue de la Folie-Mericourt, Paris. 22x32 in. and smaller. 
 Publisher's price in France, for largest size, 10 francs ($2.00). 
 
 [4Y] 
 
An eminent critic says : ''I have praised Riviere many times. 
 Words fail me to describe his charm and power. His work dis- 
 plays simplicity, feeling, invention, and the imagination of the 
 true poet." 
 
 * 1. The setting sun. (Le Coucher du Soliel.) By Henri 
 R. Riviere. 24x36 in. Price, $4.50. (Publisher's price, 
 
 $2.00.) M. or U. 
 
 * 2. The evening star. By Henri Riviere. 9x24 in. Price, 
 R. $2.75. (Publisher's price, $1.35.) M. or U. Best 
 
 adapted for use in city schools. 
 
 3. The mountain. (La Montagne.) By Henri Riviere. 
 R. 24x36 in. Price, $5.00. (Publisher's price, $2.00.) M. 
 
 4. The bay. (La Bale.) By Henri Riviere. 24x36 in. 
 R. Price, $5.00. (Publisher's price, $2.00.) M. 
 
 5. Woods in winter. (Le Bois I'Hiver.) By Henri Riviere. 
 R. 24x36 in. Price, $5.00. (Publisher's price, $2.00.) M. 
 
 VOIGTLANDER PRINTS. 
 
 Published by R. Voigtlander, Leipzig, Germany. Lithographs 
 in colors, of paintings by German artists. The pictures are drawn 
 upon stone by the artists themselves and are printed under their 
 direct supervision. Publishers' prices, 28x40 in., 6 marks, 22x30 
 in., 5 marks, 12x16 in., 2>4 marks. 
 
 The pictures published by Voigtlander are standard. 
 
 * 1. A farmyard in the Palatinate. (Pfalzischer Bauernhof.) 
 
 By Albert Haueisen. 28x40 in. Price, $4.00. (Pub- 
 lisher"s price, $1.50.) L. Excellent. . 
 
 * 2. Swabian village. ( Schwabisches Dorf.) By Georgi. 
 
 28x40 in. Price, $4.00. (Publisher's price, $1.50.) 
 L. 
 
 * 3. Twilight. (Dammerung im Watt.) By Matthaei. 22x 
 R. 30 in. Price, $3.50. (Publisher's price, $1.25.) M. 
 
 or U. 
 
 * 4. The iron guard. (Eiserne Wehr.) By Angelo Jank. 
 R. 22x30 in. Price, $3.50. (PubHsher's price, $1.25.) 
 
 M. U. or H. Excellent. 
 [48] 
 
5. A ruin. (Eine Ruine.) By Hoch. 28x40 in. Price, 
 
 $4.00. (Publisher's price, $1.50.) U. or H. 
 
 6. Village street in lower Germany. (Niederdeutsche Dorf- 
 R. strasse.) By Kallmorgen. 22x30 in. Price, $3.00. 
 
 (Publisher's price, $1.25.) L. or M. 
 
 7. The Rhine at Bingen. (Der Rhein bei Bingen.) By v. 
 R. Volkmann. 28x40 in. Price, $4.00. (Publisher's 
 
 price, $1.50.) U. or H. 
 
 8. The brook in winter. (Bach im Winter.) By Hoch. 
 R. 22x30 in. Price, $3.00. (Publisher's price, $1.25.) M. 
 
 U. or H. 
 
 * 9. An old castle. (Altes Schloss.) By von Ravenstein. 
 R. 22x30 in. Price, $3.00. (PubHsher's price, $1.25.) 
 
 M. or U. 
 *10. Swabian city. ( Schwabisches Stadtchen.) By Adolf 
 Luntz. 28x40 in. Price, $4.00. (Publisher's price, 
 $1.50.) M. or U. 
 
 TEUBNER PRINTS. 
 
 Published by B. G. Teubner, Post-Strasse 3, Leipzig, Germany. 
 Lithographs from pictures painted by German artists for this 
 purpose. Publisher's prices in Germany 28x40 in. 6 marks ; 
 22x30 in. 4 marks; 20x24 in. 3 marks. 
 
 "They find a wide welcome, and they leave the aesthetic con- 
 science unimpaired." 
 
 * 1. The wheatfield. (Wogendes Kornfeld.) By Hans von 
 R. Volkmann. 28x40 in. Price, $4.00. (Publisher's 
 
 price, $1.50.) M. and U. Very beautiful. 
 
 * 2. Oak-trees. (Eichen.) By Edmund Kanoldt. 28x40. 
 R. Price, $4.00. (Publisher's price, $1.50.) U. or H. 
 
 * 3. The Matterhorn. By Wieland. 22x30. Price, $.'5.00. 
 
 (PubHsher's price, $1.00.) U. 
 
 4. Peasant ploughing. (Pfluegender Bauer.) By Gcorgi. 
 R. 28x40. Price, $4.00. (Publisher's price, $1.50 ) U. 
 
 or H. 
 
 5. Roman Campagna. By Max Roman. 28x40. Price, 
 R. $4.00. (Publisher's price, $1.50.) H. 
 
 [49] 
 
6. Moonrise. (Mondaufgang.) By Kampmann. 28x40 
 R. Price, $4.00. (Publisher's price, $1.50.) M .or U. 
 
 * 7. May morning. (Maimorgen.) By Otto Fikentscher. 
 R. 12x16. Price, $1.50. (Publisher's price, 65 cts.) M. 
 or U. 
 
 OTHER FOREIGN LITHOGRAPHS AND PHOTOGRAVURES IN COLOR. 
 
 * 1. Let me live only on the Rhine. (Nur am Rhein will ich 
 R. leben.) By Erich von Nekutowski. 15x35 in. Price, 
 
 $4.50. U. 
 
 * 2. Entengeschnatter. By Hans C. Ulrich. Price $2.75. 16x 
 
 38 in. L. 
 
 * 3. Autumn on the heath. By Franz Kortyohann. 20x29 in. 
 
 Price, $10.00. M. U. and H. 
 
 * 4. The poppy field. By Szinyci. 20x33 in. Price, $10.00. 
 R. M. or U. This may also be had in an American print, 
 
 14x17 in. at $4.00. 
 
 * 5. Return of the flock. By Mueller. This is a colored etch- 
 
 ing 20x29 in. Price, $18.00. L. M. U. or H. 
 
 * 6. Evening after the thunder storm. By Merker. 27x30 in. 
 
 A colored photogravure. Price, $20.00. 
 
 * 7. Scotch landscape. By Charles Collins. 13x27 in. Price, 
 R. $7.50. M. U. or H. 
 
 * 8. Fisherman's wife. (Femme de pecheur.) By Houben. 
 
 A colored photogravure, 21x29 in. Price, $15.00. L. 
 M. U. or H. 
 
 [50] 
 
LIST OF COLORED LITHOGRAPHS IN USE IN VIENNA SCHOOLS. 
 
 Published by K. K. Hof and Staatsdruckerei in connection with 
 the "Lehrmittelzentrale" Company in Vienna. 
 
 Selected by a jury of artists and educators. Engravings made 
 by the artists themselves. 
 
 Size 27x36 in. Publisher's price, $1.35. (5.25 marks.) 
 
 (The writer has seen none of these and can say nothing as to 
 their excellence. The Chicago firms have not imported them.) 
 
 1st Series. 
 
 1. Bamberger Flood (Ueberschwemmung) 
 
 2. Comploj Cinderella ( Aschenbrodel) 
 
 3. Danilowatz Railroad station (Bahnhof) 
 
 4. Ederer Polar bear (Eisbar) 
 
 5. Ederer Pyramid (Pyramide) 
 
 6. Kurzweil Fisherman (Donaufischer) 
 
 7. Lenz The mill (Miihle) 
 
 8. Suppantschitsch The valley of the Danube (Donautal) 
 
 9. Wilt Woods in the fall (Herbstwald) 
 
 2nd Series. 
 
 10. Earth. .Farmhouse in winter (Stierisches Bauernhaus im 
 
 Winter) 
 
 11. Engelhart Traveler in winter (Wanderer im Winter) 
 
 12. Ederer In the pasture (Auf der Weide) 
 
 13. Ederer. .. .Farmhouse in winter (Bauernhaus im Winter) 
 
 14. Friedrich Potter ( Topfer) 
 
 15. Lenz In the carpenter shop (In der Tischlerwerkstatt) 
 
 16. Andri Farmer ploughing (Pfliigender Bauer) 
 
 17. Wilt. .Freighters in the harbor of Trieste ( Frachtschiflfe im 
 
 Triester Hafen) 
 
 18. Wilt Semmering 
 
 19. Andri Harvesting wheat (Kornschneiden) 
 
 20. Andri Haying ( Heuernte) 
 
 [51] 
 
The Langl and Hohel pictures are designed more for instruc- 
 tion than for decoration, though some of them are very decora- 
 tive. 
 
 "These Holzel pictures are so beautiful, so carefully prepared 
 and so varied in instructive qualities and at the same time so as- 
 tonishingly cheap, that every temperament can gain something 
 from this fertile field of education." 
 
 Their sizes and prices follow : 
 
 ' LANGL' S PICTURES. 
 
 Published by Ed. Holzel, Luisengasse 5, Vienna. Lithographs 
 printed in oil colors. 23x30. Publisher's prices in Austria: 
 (a) Historical pictures, seventy-one subjects, unmounted, each 
 60 cents; mounted, 75 cents, (b) Plans of famous buildings, 
 twelve subjects, 30x39 in. Single 35 cents each. Can be bought 
 in sets at lower prices. 
 
 HOLZEL GEOGRAPHICAL PICTURES. 
 
 Published by Ed. Holzel, Luisengasse 6, Vienna. Colored 
 lithographs. Large size, 24x32 in. Forty subjects. Single 
 pictures unmounted $1.00 ; mounted, $1.25. Can be bought in 
 sets at lower prices. 
 
 [62] 
 
AMERICAN COLOR PRINTS. 
 
 In addition to the European color pictures I wish to mention 
 some American color prints which are desirable for school rooms. 
 
 * Hiawatha (poster). By Elizabeth Norris. 15x22 in. Price, 
 
 $2.00. L. 
 
 * Gouda. (Holland scene.) By Gassier. 16x20 in. Price, 
 
 $4.00. M. or U. 
 
 * In the Oraibi plaza. (Indians.) By Aikin. 14x21 in. Price, 
 
 $6.00. U. 
 
 * Breaking of the ice. By Fritz Thaulow. 15x23 in. Price, 
 R. $7.00. M. or U. 
 
 * Play days in Holland. By F. Gharlet. 17x22 in. Price, $G.0O. 
 
 L. 
 
 * The White house, Washington. By Jules Guerin. 16x24 in. 
 
 Price, $5.00. 
 
 * The Gapitol, Washington. By Jules Guerin. 16x24 in. 
 R. Price, $5.00. 
 
 * Smithsonian institute. By Jules Guerin. 16x24 in. Price, 
 
 $5.00. 
 The Guerin pictures can be bought only from The Uni- 
 versity Art Shop, Evanston, 111. 
 
 First steps in a child's life. By Jessie Wilcox Smith. 9x14 in. 
 Price, $1.00 each. L. 
 The first lesson. 
 The first dissipation. 
 The first love. 
 The first sermon. 
 The first punishment. 
 
 Children at school. By Jessie Wilcox Smith. 12x16 in. 
 Price, 75 cts. each. L. 
 The first day at school. 
 Kept in. 
 The recitation. 
 
 [53] 
 
Set of child pictures. By Jessie Wilcox Smith and Elizabeth 
 Shippen Green. 11x12 in. Price 50 cents each. L. 
 
 * In the hammock — Jessie Wilcox Smith. 
 
 * Mushrooms — Elizabeth Shippen Green. 
 
 * Playing parchesi — Elizabeth Shippen Green. 
 
 * Eating apples — Elizabeth Shippen Green. 
 
 * Christmas morning — Jessie Wilcox Smith. 
 
 * By the fire — Jessie Wilcox Smith. 
 
 Any of these three sets framed in panels will make an attractive 
 frieze for children's rooms. 
 
 Walter Crane's illustrations of children's classics. Picture 
 books published by John Lane, New York. These are taken 
 apart and framed in panels to be used as friezes. The books may 
 be bought of John Lane, 67 Fifth Ave., New York; A. C. Mc- 
 Clurg & Co., 215 Wabash Ave., Chicago, 111. ; Eau Claire Book 
 & Stationery Co., Eau Claire, Wis. ; or of local book dealers for 
 25 cents each. They include * Cinderella, Red Riding-Hood, 
 Jack and the beanstalk, Hind in the wood, Three bears, Forty 
 thieves, and other favorites. L. 
 
 The pictures so far listed with the exception of the Guerin 
 lithographs, the Crane pictures and the pictures in use in Vienna 
 schools can be obtained from any of the following firms : 
 
 Chicago Art Education Co., 215 Wabash Ave., Chicago, 111. 
 Anderson Art Co., 178 Wabash Ave., Chicago, 111. 
 W. Scott Thurber, Fine Art Dealer, 210 Wabash Ave., Chi- 
 cago, 111. 
 M. O'Brien & Son, 208 Wabash Ave., Chicago, 111. 
 All of these firms allow discounts to schools. 
 
 However, there are New York firms who will import pictures 
 for public institutions free of duty, that is at the prices given as 
 "Publisher's price." They are: 
 
 G. E. Stechert, 9 East 16th St., New York. 
 The J. R. Lynch Co., 24 East 23rd St., New York. 
 It is sometimes many weeks or even months before an order 
 for importation is filled. The money saved often makes the de- 
 lay worth while. 
 
 [54] 
 
LIST OF PHOTOGRAPHIC REPRODUCTIONS OF THE MASTERS. 
 
 Knowing well the predilection of many school men and women 
 for the soft browns and grays of the photographic reproductions 
 of the old and modern masters, for schoolroom decoration, and 
 conceding that there are among the modern masters and some few 
 of the old ones many subjects simple enough in motif and in 
 execution to lend themselves to schoolroom use, I append a short 
 list arranged according to Forms in which they seem perhaps 
 most suitable, though if is impossible to say that any one of them 
 belongs only in one Form and cannot be used to good advantage 
 in other Forms. Most of the pictures listed in Lower, Upper and 
 Middle Forms may properly be hung in High School rooms. In 
 fact, the High School seems the place for photographic repro- 
 ductions of masterpieces. Neither is this list thought or in- 
 tended to be at all exhaustive. It is merely suggestive. 
 
 Many of these pictures may be had in colors, but it is not safe 
 to buy them unless first judged by an artist. It is next to impos- 
 sible to reproduce the complexity of color of an oil painting by the 
 lithographic process. Then, too, the color reproductions of 
 famous paintings are but reproductions of reproductions, and for 
 that reason also are often inaccurate in tone. It is quite different 
 with the German and French lithographs which are made directly 
 from the originals painted for the purpose and which are printed 
 under the supervision of the artist himself. 
 
 Primary. 
 
 Feeding her birds Millet 
 
 A distinguished member of the humane society Landseer 
 
 Little Rose Whistler 
 
 R. Shoeing the bay mare Landseer 
 
 The sheepfold Jacques 
 
 Escaped cow Dupre 
 
 Mother and daughter Douglas 
 
 Spring Mauve 
 
 Soft persuasion Elsley 
 
 R. Shepherdess knitting Millet 
 
 [55] 
 
Primary school in Brittany Geoffroy 
 
 Tiie first step -.Millet 
 
 The pet bird v. Bremen 
 
 Madonna of the rosary Murillo 
 
 Middle. 
 
 R. Horse fair Bonheur 
 
 Children of Charles I Van Dyke 
 
 R. Spring Corot 
 
 R. At the watering trough Dagnan-Bouveret 
 
 R. Sir Galahad Watts 
 
 Ploughing Bonheur 
 
 R. Haying time Dupre 
 
 Deer in forest Bonheur 
 
 Penelope Boothby Reynolds 
 
 Angels' heads ^ Reynolds 
 
 Portrait of his sons Rubens 
 
 Equestrian portrait of Prince Don Balthasar Velasquez 
 
 The return to the farm Troyon 
 
 Upper. 
 
 Washington's farewell to the army Gow 
 
 R. Washington Stuart 
 
 R. Martha Washington Stuart 
 
 R. Abraham Lincoln St. Gaudens 
 
 Vikings Douglas 
 
 Washington crossing the Delaware Leutze 
 
 R. The haymaker Adan 
 
 A reading from Homer Alma-Tadema 
 
 R. The sheperdess Millet 
 
 R. The fighting Temeraire Turner 
 
 R. Song of the lark Breton 
 
 The lake Corot 
 
 R. Water gate Marcke 
 
 Capitol at Washington 
 
 [56] 
 
SHOWING ARRANGEMENT OF FLOWERS IN TALL VASE. 
 
High School. 
 
 Napoleon and the old guard Crofts 
 
 Arch of Constantine, Rome 
 
 Arch of Titus 
 
 Hunting with falcons Fromentin 
 
 The golden stairs Bnrae- Jones 
 
 Flight of night Hunt 
 
 Roman Forum. View from Coliseum 
 
 The sphinx. Egypt 
 
 By the riverside Lerolle 
 
 Parthenon, Athens 
 
 Aurora Guido Reni 
 
 iMoses Michael Angelo 
 
 Cicero denouncing Catiline Maccari 
 
 Evolution of the book (series of six) (frieze) . . . .Alexander 
 
 Holy Grail series (frieze) Abbey 
 
 Advancement of literary knowledge (frieze) Oakley 
 
 Frieze of the prophets Sargent 
 
 Probably the best reproductions of these subjects or at any rate 
 the ones most to be depended upon, are the carbon photographs. 
 The process by which they are made produces fadeless reproduc- 
 tions — a point greatly in their favor. 
 
 The following are excellent: 
 
 Berlin Photographic Company's Reproductions of famous paint- 
 ings, 14 East 23rd St., New York. Photogravures. 21x29 in., 
 $12.00; 20x28 in., $10.00; 15x19 in., $5.00; 10x14 in., $3.00; 7x9 
 in., $1.00. Good catalog sent on application. 
 
 Braun's Carbon prints. Braun, Clement & Co., 249 Fifth Ave., 
 New York. Photographic reproductions of paintings, sculpture 
 and architecture. 36x54 in., $80.00; 24x30 in., $18.00; 14x18 
 in. to 16x20 in., $5.00; 8x10 in. (old masters), $2.00; 8x10 in. 
 (modern), $2.00; 11x14 in., $3.00. Special discounts to educa- 
 tional institutions. Catalog on application. 
 
 [59] 
 
Hegger's Carbon Photographs. Published by Frank Hegger, 
 288 Fifth Ave., New York. 36x48 in., $40.00; 24x36 in., $15.00; 
 18x24 in. (old masters), $7.50 ; architectural, $6.00. Will proba- 
 bly send catalog. 
 
 The Copley prints also deserve mention. They are published 
 by Curtis & Cameron, Pierce Building, Boston, Mass. Prices 
 as follows: 10x12 in., $2.50; 16x21 in., $5.00 and $7.50; 24x26 in. 
 or 28 in., $10.00; 30x40 in., $15.00. They come both in sepia 
 and in gray. Many of the subjects are not suitable for school use, 
 but a few are very desirable. The friezes mentioned in High 
 School list are very good in these prints. ' 
 
 All, or nearly all, of the pictures enumerated above can be 
 obtained direct from one or another of these firms or from any 
 of the art firms in Chicago heretofore mentioned, or from the 
 F. H. Bresler Co., Milwaukee, Wis. Do not buy too small pho- 
 tographs for framing. They are entirely uninteresting unless 
 they can be seen plainly. 
 
 It will be well to obtain catalogs from the Berlin Photo- 
 graphic Co., Braun, Clement & Co., Frank Hegger and Curtis 
 and Cameron, before purchasing, as many of the subjects are 
 there shown. 
 
 CHEAPER REPRODUCTIONS. 
 
 Seemann's Wall Pictures. Photographic reproductions of mas- 
 terpieces of architecture, painting and sculpture. . . Published by 
 E. A. Seemann, Leipzig, Germany. 18x26 in. 250 pictures, in 25 
 parts. Price, $5.00 each part. A selection of any 10 plates, 
 $7.50. Single plates, $1.00. Varnished or unvarnished. Mounted 
 on card-board (unvarnished or varnished) at an additional cost of 
 25 cents for each picture. 
 
 These can be imported through the New York importing firms 
 at publisher's prices. 
 
 Turner brown prints. Published by Horace K. Turner Co., 
 221 Columbus Ave., Boston, Mass. Reproductions from the orig- 
 inals of famous paintings, sculpture, and architecture in Europe 
 
 [60] 
 
and America. 14xir in., $2.5U ; lGx2U in., $3.50; 18x22 m., 
 $4.00, etc., to 50x70 in., $50.00. Good catalog sent on applica- 
 tion. 
 
 Not having seen any of these in use I am unable to say how 
 long they will keep their color. 
 
 Reproductions of carbon photographs. Published by The 
 Prang Educational Company, 378-388 Wabash Ave., Chicago, 
 111. A few of the pictures mentioned in the list may be had in 
 this style, 20x26 in. at $1.00 each. Catalog sent on application. 
 These reproductions are, of course, not as lasting as the photo- 
 graphs, but are good for the price. 
 
 Bromide enlargements. Reproductions of famous pictures by 
 special process. Published by Soule Art Publishing Company, 
 500-510 Dudley St., Boston, Mass. They range in size from 
 8x10 to 40x60 in. and in price from 60 cents to $22.00. They 
 may be had in black and white or in sepia. Cannot say from 
 experience how long they will last. 
 
 It will be safe for a teacher to order any picture given in the 
 list of colored lithographs from any one of the Chicago art 
 companies listed. It will also be safe to order any one of the 
 famous pictures in carbon photographic reproduction from any 
 one of these firms or from the F. H. Bresler Co., Milwaukee. 
 All of these firms offer discounts to schools. Any one of them 
 will send two or three pictures on approval with the view of 
 assisting those who wish to purchase reproductions in color 
 which will harmonize with the color scheme of the room. If 
 sample of color scheme be sent the dealers will give aid in select- 
 ing pictures in tones which will look well against the background 
 for which they are intended. 
 
 In towns where a number of pictures are to be bought, it will 
 be worth while to import through the New York firms men- 
 tioned, but I would not advise this course when only a few pic- 
 tures have been selected. It requires several months to make 
 importations from Europe and in case there is anything wrong 
 in the filling of the order there is little chance for redress at so 
 
 [61] 
 
great a distance. By purchasing the German and French Htho- 
 graphs and EngHsh prints from dealers nearer home it is prob- 
 able that much delay and annoyance will be avoided and that 
 more satisfactory selections will be made, all of which will be 
 sufficient compensation for the higher prices. 
 
 Where it can be arranged the exhibit of the Chicago Art Edu- 
 cation Company, or the Horace K. Turner Company, which are 
 spoken of earlier in this pamphlet, will be found a help toward 
 selection. The W. Scott Thurber Co., 210 Wabash Ave., Chi- 
 cago, 111., also sends out exhibits occasionally, and with them 
 sends a lecturer. In arranging for exhibits state kind of pictures 
 which you particularly wish to see. 
 
 [G2] 
 
SMALL PRINTS FOR STUDY, REFERENCE AND NOTE BOOK 
 ILLUSTRATION. 
 
 Geo. P. Brozvn & Co., Beverly, Mass. 
 
 Birds and nature pictures in color, 2 cents. Reproductions of 
 famous pictures, size of Perry pictures. Also famous repro- 
 ductions in miniature. 
 
 The Thompson Publishing Co., Syracuse, N. Y. 
 4x5 blue prints for note book illustration. 
 
 Perry Picture Company, Maiden, Mass. 
 Perry pictures, regular size, 1 cent. 
 
 New York edition (sepia), two cents. 
 
 10x12 in. (sepia), five cents. 
 Elson prints (photogravures made directly from negatives from 
 
 the originals), 5^x8 in. on paper 9x12 in., 10 cts. 
 Pictures in colors (birds, animals, fruits, etc.), 2 cents. 
 Perry pictures, 3x3^ in., yi cent. 
 
 Chicago Art Education Co., 215 Wabash Ave., Chicago, 111. 
 Prang platinettes (for class picture study), 2 cents unmounted, 
 5 cents mounted. 
 
 Douglas Aft Co., P. O. Box 176, Washington, D. C. 
 Douglas prints of Library of Congress. 
 
 A. W. Mumford & Co., 378-388 Wabash Ave., Chicago, 111. 
 Colored photographs of birds, animals, flowers, minerals, 2 cts. 
 
 A. M. Kashine, 22 W. 99th St., New York, N. Y. 
 Set of silk worm photographs, $2.50 per set. 
 
 Nature Study Publishing Co., Chicago, 111. 
 Colored photographs of birds. 
 
 [63] 
 
MATS. 
 
 There is no rule governing the use of picture mats. Usually 
 large reproductions are best framed without a mat, while small 
 reproductions of the same sort often need one. Pictures hav- 
 ing much in them frequently look crowded if framed to the print 
 (without a mat). It is best to try the effect both with and with- 
 out a mat before framing, as the question must be settled anew 
 for every picture. 
 
 The choice of color in mats depends upon the nature of the 
 ■picture. In most cases it should be of the same general color as 
 the picture, but leaning rather toward its middle shades. Color 
 prints often look better with white or cream mats. 
 
 The thing to be guarded against is the bringing of the mat 
 into too much prominence. It should serve only to bring out 
 the beauty of the picture and should attract no attention to itself. 
 
 ' . FRAMING. 
 
 When choosing a frame, select a plain molding of natural 
 wood. A gilt lining is not necessary and is also expensive. Do 
 not choose natural wood in which the grain is too noticeable. 
 Never use gilt frames in schoolrooms. 
 
 The natural wood molding may often be stained to harmonize 
 with some tone of the picture. In general it should lean toward 
 the darker tones. 
 
 In framing color prints, a dull green or black molding is often 
 very good. Use wider moldings when framing without a mat 
 than when framing with a mat. 
 
 There must be nothing in the frame which will attract the 
 eye before it is caught by the picture. Let simplicity be the rule. 
 
 HANGING. 
 
 Hang pictures low and where pupils can see them plainly. If 
 hung above the blackboard a space of at least 8 inches should be 
 left between the board and the frame. A picture with the wall 
 color as a background all around it will "stand out" better. 
 
 [64] 
 
Every picture should have as good a light on it as is possible. 
 Never hang between two windows set near together. Hang 
 flat or nearly flat against the wall, the picture so hung becomes 
 more a part of the room. 
 
 If you have several pictures for the same wall space, avoid 
 hanging so that the tops or bottoms of the frames will form a 
 straight line across the wall. Also avoid any other regularity 
 in the hanging such as the forming of geometric designs by exact 
 grouping. 
 
 Do not hang many pictures on any wall space. By hanging 
 too many you dissipate their effect and distract the attention. 
 Before hanging always study the shapes and sizes of your wall 
 spaces and the shapes and sizes of your pictures and then ar- 
 range as effectively as you can. 
 
 Always have a molding extending entirely around the room, 
 from which to hang pictures. The wall should never be defaced 
 with nails and tacks. 
 
 CASTS. 
 
 A plaster cast reproduction of some piece of antique or mod- 
 ern sculpture often adds greatly to the effective decoration of a 
 schoolroom. Those "in the round" may be placed on the book 
 shelves, the teacher's desk or on a pedestal for the purpose, and 
 those in relief may be hung flat against the wall. As much at- 
 tention should be paid to getting the right light on a cast as to 
 getting it on a picture. This can be determined only by trial. 
 Light should, of course, come from only one side. Some of the 
 best casts for school use are the following: 
 
 M. Lion walking Bayre 
 
 L. A Bambino (relief) Delia Robbia 
 
 L. St. John Donatello 
 
 M. Choir boys with book (relief) Delia Robbia 
 
 H. Apollo Belvedere (bust) 
 
 H. x\ugustus Caesar 
 
 H. Doryphorus (bust) Polycletus 
 
 [65] 
 
U. Hermes (bust) Praxiteles 
 
 H. Minerva Giustiniani 
 
 U. Wrestlers 
 
 M. Boy extracting thorn 
 
 H. Ajax (bust) 
 
 H. Minerva of Velletri 
 
 U. Grant Simmons 
 
 U. Longfellow • Brock 
 
 H. Shakespeare Roubilliac 
 
 M. Washington Houdon 
 
 M. Franklin Houdon 
 
 U. Lincoln Volke 
 
 H. Winged Victory of Samathrace 
 
 H. Triumph of Alexander 
 
 H. David Michaelangelo 
 
 H. Sections of Parthenon Frieze (relief) 
 
 Do not have too many casts nor casts that are too large. It is 
 better to have no casts than to have too many, though they are 
 very beautiful if appropriately chosen and well placed. Old 
 ivory finish is much more desirable than pure white. 
 
 P. P. Caproni and Brother, 1920 Washington St., Boston, 
 Mass., make and sell good plaster cast reproductions. 
 
 The Chicago Art Education Company carries a good line at 
 reasonable prices. Catalogs sent from either firm. 
 
 POTTERY. 
 
 There are now made many forms in pottery, simple and beau- 
 tiful in outline and color, which can be bought at reasonable prices. 
 They are largely reproductions of Japanese forms but some origi- 
 nal designs come from the kilns of home artists. They may be 
 had in gray-greens, blues, browns, terra cotta and metal effects, 
 and in dull glaze and range in price from twenty-five cents to five 
 dollars or more. A few pieces of this pottery will be found 
 very effective for decorative purposes. Some of the bet- 
 ter glazes may be used for cut flowers and all occasionally for 
 
 [66] 
 
SHOWING ARRANGEMENT OF FLOWERS IN BOAVL-LIKE RECEPTACLE. 
 
dried leaves and grasses. To drawing classes they are of great 
 service. 
 
 The Prang Educational Company, 378-388 Wabash Ave., Chi- 
 cago, 111., and the Chicago Art Education Company, 215 Wa- 
 bash Ave., Chicago, 111., have good things in the pottery line at 
 reasonable prices. 
 
 VASES. 
 
 If you have money enough you may wish to buy a beautiful 
 vase for decoration. The selecting of this must be done care- 
 fully, and the whole room taken into consideration so that the 
 colors in the vase and on the walls will be in harmony. Its 
 beauty may add the one last touch necessary to a perfect room, 
 or on the other hand, its note of color may mar an otherwise 
 harmonious whole. 
 
 In general, seek a vase with refined curves, good proportions, 
 and a smooth surface. All pretzel forms and gingerbread 
 ornamentation, and flowers and scenes in bright colors should be 
 avoided. 
 
 There are probably few schools able to afford expensive vases 
 and it is doubtful if they are often desirable. 
 
 FLOWERS AND RECEPTACLES FOR FLOWERS. 
 
 Cut flowers, and many of them will be brought to you by your 
 pupils. There may often be an embarrassment of riches in this 
 direction. It is hard to arrange tastefully many flowers, or 
 flowers of many different colors. It is better to have a few at a 
 time and those all of one or two varieties. Too many flowers in 
 a vase produce a clublike effect. They should stand loosely and 
 in some cases much of the stem should be exposed. 
 
 By exercising a little tact you will be able to arrange with the 
 children so that you will be supplied with a few fresh flowers 
 each day in the spring and fall. Vases holding bouquets should 
 
 [69] 
 
receive daily attention. Withered blossoms should never be 
 permitted to stand in the room. 
 
 In buying vases for flowers, select those having good lines 
 and no ornamentation. The plain clear glass vases are as a 
 rule to be preferred and are inexpensive. Many of them are 
 excellent in design. There should be at least two of these in 
 each room, one tall and the other bowl-like, because different 
 flowers need differently shaped vases. The glass bowls com- 
 monly used for keeping gold fish are excellent for large bunches 
 of roses, nasturtiums and wild flowers. 
 
 PLANTS. 
 
 A few growing plants will lend as much cheerfulness and at- 
 tractiveness to a schoolroom as any other decoration. Un- 
 fortunately but few schools in Wisconsin possess a heating plant 
 which keeps the temperature always above the freezing point. 
 For those which do, the variety of plants which may be grown is 
 large: oxalis, primrose, amaryllis, begonia and German ivy are 
 among the best. Others must confine themselves to those vari- 
 eties of dwarf pine which will not freeze and which are decorative. 
 
 All plants in the schoolroom should be placed in earthen pots 
 and arranged upon a zinc lined table or window board. If there 
 is a sunny window removed some distance from the desks use 
 a table. If not, use a window board where it will least inter- 
 fere with free use of the aisles. 
 
 The zinc covering should be made with raised edges so that 
 it will form a shallow pan. In this way all superfluous moisture 
 will be kept from dripping on the floor. 
 
 Paint the table or window shelves the color of the woodwork 
 of the room. 
 
 Select large pots and rich friable soil for planting. 
 
 [70] 
 
SMALL PICTURES AND PUPILS' WORK. 
 
 A word as to the penny Perry pictures and others of the 
 same kind. They are excellent half tones, and a good collection 
 of them is valuable in a schoolroom. You should not, however, 
 make the mistake of using them for decorative purposes. They 
 should be cut from their white margins ; neatly mounted on card- 
 board and filed away for later study. They will be helpful in 
 teaching many lessons in history and geography ; in the study of 
 great men's lives and great deeds, and will help to familiarize 
 pupils with the paintings of great artists. 
 
 Whenever these small pictures are needed, they may be brought 
 out and fastened to the bulletin board for a few days, or the pupils 
 may be given access to them. But at all times their main pur- 
 pose should be for study, not for decoration. 
 
 I also want to caution you about decorating the rooms with 
 the work of the children. It is very gratifying to the pupils to 
 have their efforts recognized in this way. They like to see their 
 work on the walls, and it is right that some of the best work 
 should be placed there, but it should not remain longer than a few 
 days. The best work of the pupils , no matter how good, is not 
 good enough for other pupils to copy, hence it should not be al- 
 lowed to hang permanently before their eyes. 
 
 [71] 
 
OUTDOOR DECORATION 
 
OUTDOOR DECORATION. 
 
 A first essential in beautiful schoolgrounds is tidiness. No 
 loose sticks, stones, pieces of paper or other offending material 
 should be seen lying about. It is never impossible to keep the 
 grounds neat. It is impossible to make them beautiful if they 
 are not kept neat. 
 
 While many of our schoolhouses are ideally located, there are 
 very many which stand in barren and bleak places and which 
 make little or no pretense to beauty of surroundings. The lo- 
 cation of the schoolhouse cannot be changed, but the surround- 
 ings may be made beautiful. Trees and shrubs, vines and flow- 
 ers may be induced to grow in any part of Wisconsin. Deso- 
 late playgrounds may be made shady and delightful. Ugly 
 fences and buildings may assume lovely and graceful shapes. 
 Corners and odd places may be made spots of beautiful color. 
 
 It is certainly due the pupils in a school that they should have 
 as much beauty about them as possible. The beautifying of the 
 schoolgrounds will not only give them pleasure through the eye, 
 but will create in them a love for growing things which will be 
 of benefit to them all their lives. 
 
 "Two primary objects should be kept in view in the decoration 
 of the school grounds: (1) Instruction; (2) Beauty and utility. 
 
 The primary object of the school is instruction. The work of 
 beautifying the school grounds should also carry with it an ele- 
 ment of instruction. The grounds should serve as an object les- 
 son for the residents of the community in which the school is 
 located. They should be laid out "on sound principles of land- 
 scape gardening, and be so well executed as to induce residents 
 of the vicinity to copy the general idea of the plan and possibly 
 the details of the shrubbery groups. The idea of beauty can be 
 emphasized in the proper grouping of trees and shrubs in rela- 
 
 [Y5] 
 
tion to walks, drives, and vistas, and utility can be subserved by 
 so placing the heavy plantings as to serve as a shield from the 
 wind or sun. Shrubbery groups can be arranged so as to sepa- 
 rate one portion of the grounds from another and yet not in- 
 terfere with large open spaces which can be used as playgrounds, 
 such as ball fields, tennis courts, etc." * 
 
 Before anything is done toward improving the grounds, it is 
 best to try to awaken an interest in the pupils and in the older 
 members of the community. You will work against odds if you 
 undertake to work alone. It may require tact and patience, but 
 the friends of the school must be brought to a desire to improve 
 the schoolgrounds, to take pride in them, and to wish to help 
 in making them beautiful. Do not despair if this is difficult of 
 attainment. It has always been so. 
 
 Central Park was secured to the people of New York only in 
 the face of the bitterest opposition, but it has proven itself to the 
 people a blessing of beauty and rest, and to the city a great finan- 
 cial aid, as it has not only paid for itself, but has brought to the 
 city many millions of dollars in taxes on surroimding prop- 
 erty. This beauty spot has certainly been worth while, and 
 yours will be worth while. 
 
 Every schoolhouse site should contain at least one acre of land. 
 When much planting is to be done it would be better to have 
 an acre and a half, or two acres. In schools where there is a 
 large attendance more than this is desirable. 
 
 A plan of the grounds should always be made before any work 
 is done, and on this plan should be indicated the exact spots for 
 planting trees, shrubs, vines and flowers. The first thing to 
 locate, however, is sufficient playground for the children. The 
 latter must always have room to run and play and must never 
 feel restricted by the too near presence of flowers and shrubs. 
 But even after large clear play spaces have been set aside you 
 will find ample room for ornamentation. Then plan with care 
 and for the years to come. Trees and shrubs are so slow of 
 growth that no mistakes in original planting can be afforded. 
 
 Let me urge on you in making your plan not to waste your 
 energies in placing great quantities or varieties of plants and 
 
 *L. C. Corbett in The School Gurden. 
 
 [76] 
 
flowers in the space given, or in stripping away all the old 
 landmarks and reducing your grounds to formal gardens of 
 walks and beds and borders, but to take things as you find them, 
 to study them closely and in detail and in their relation to the 
 whole that you may know best what use to make of them, and 
 above all to get such a conception of the possibilities of that bit 
 of landscape which you have set about to beautify, that you will 
 arrange for the planting of no tree or shrub or vine without 
 first being able to see just what its relation to your whole scheme 
 will be. Ruskin says, "almost all natural landscapes are re- 
 dundant sources of more or less confused beauty, out of which 
 the human instinct of invention can by just choice, arrange not a 
 better treasure, but one infinitely more fitted to human sight and 
 emotion, infinitely narrower, infinitely less lovely in detail, but 
 having this great virtue that there shall be nothing that does 
 not contribute to the effect of the whole." Let this guide you 
 when you are planning and planting. 
 
 THE PLAN * 
 
 "The first essential for the work of beautifying the grounds 
 will be a plan. The beginning of this plan may be a rough 
 sketch of the area on which the school building stands, with di- 
 rections and distances marked upon it. Next, locate the per- 
 manent objects, such as trees and buildings. Determine next 
 the main lines of travel leading to the schoolhouse and use these 
 as a basis for the permanent walks, unless there is some good 
 reason for changing the main paths. The walks and drives 
 should be straight, if distances are less than 100 feet, and gently 
 curved if longer, so as to admit of the use of trees and shrubs 
 along the border. The outlook from each door and window 
 should be carefully inspected before determining which objects 
 in the landscape should be retained in view and which hidden or 
 concealed by the use of trees and shrubs. 
 
 Trees and shrubs should be confined chiefly to the borders of 
 the place, an open and unbroken lawn being preserved in front 
 
 *L. C. Corbett in The school garden. 
 
 [V9] 
 
and at the sides or rear where playgrounds are to be maintained. 
 In rural districts the trees should be so located as to give pro- 
 tection from storms in winter and from the sun in summer, and 
 at the same time to produce a pleasing effect. Shrubs may be 
 employed to advantage in screening unsightly objects. The 
 plans of the grounds will serve both as an exercise in geography 
 and in arithmetic, and if the pupils are encouraged to make such 
 designs their interest in the work will be assured and a practical 
 application of the principles taught in the schoolroom will be a 
 result of no little value. 
 
 WALKS. 
 
 The walks leading to and from the school should be direct, 
 but where space will permit they should have gentle and pleas- 
 ing curves which conform to the contour of the ground. Upon 
 level areas it is well to allow an artistic use of shrubs in groups 
 in the bays, which shall serve to break the monotony and obtru- 
 siveness of an unscreened straight walk across an open lawn. 
 
 The material used in the construction of walks will be de- 
 termined by circumstances and by the locality in which the work 
 is to be done. When the walks are to be made permanent, noth- 
 ing fills the requirements better than cement or artificial stone. 
 When gravel or cement is used the walks should be made slightly 
 crowning, and the highest point in the surface should be at least 
 2 inches below the general level of the greensward. No coping 
 or borders should be allowed, and the grass should be brought 
 up to the edge of the gravel or cement. A slightly sunken walk 
 makes the care of the lawn easier, besides hiding it very effec- 
 tively from view when looking across the lawn, thus giving 
 the grassplot an unbroken appearance and having the effect of 
 enlarging its extent. 
 
 LAWNS. 
 
 Lawns are the foundation of all decorative planting. A good, 
 well-kept lawn contributes more to the beauty of grounds than 
 any other single factor. For this reason special attention should 
 
 [80] 
 
be given to the grading, cultivation, and enriching of the area 
 to be devoted to the lawn. After good preparation come good 
 seed and care. 
 
 The variety of soils which will be encountered and the special 
 treatments which they need render it possible to make only the 
 broadest generalizations here. For localities north of St. Louis, 
 Mo., and Richmond, Va., lawns can be formed chiefly of blue- 
 grass, redtop, and white clover." 
 
 TREES. 
 
 You may have some fine trees growing on the school grounds, 
 but if you have not, a few strong specimens should be set out. 
 Some may also be planted outside of the grounds, along the road 
 and walks. 
 
 According to Professor I. N. Mitchell of the Milwaukee Nor- 
 mal School, the following varieties of trees are best. They are 
 placed in the order of their desirability: 
 
 1. Elm; 2. Norway maple; 3. Basswood; 4. Oak, white; 5. 
 Ash, white or green; 6. Sugar maple; 7. Tamarack; 8. Cut- 
 leaf birch; 9. Wild black cherry (attractive to birds); 10. Rus- 
 sian mulberry (attractive to birds) ; 11. Colorado blue spruce 
 (evergreen). 
 
 Professor Cranefield, Secretary of the Wisconsin State Horti- 
 cultural Society, gives the following list in his bulletin. Trees 
 and shrubs for shade and ornament. The more desirable ones 
 are double starred and a further selection of five is indicated by 
 single stars. 
 ** American Elm 
 
 * Box Elder 
 Black Cherry 
 Carolina Poplar 
 
 ** Green Ash 
 
 * Hackberry 
 Honey Locust 
 Larch 
 
 ** Linden (Basswood) 
 ** Norway Maple 
 
 [83] 
 
* Scarlet Maple 
 ** Silver Maple 
 
 * Sugar Maple 
 Scarlet Oak 
 
 * White Oak 
 White Ash 
 
 Following is his list of "best" sorts of evergreens for general 
 planting : 
 
 Norway Spruce 
 
 Colorado Blue Spruce 
 
 Arborvitae 
 
 White Spruce 
 
 White Pine 
 
 Savin Juniper (dwarf) 
 
 Mugho Pine (dwarf) 
 
 Most of these evergreens are slow growing. If there are no 
 trees on the school grounds, it might be well to use at first one or 
 two varieties of quick growth such as the soft maple and box 
 elder, these, however, to be cut out as soon as the better trees 
 attain any considerable size. 
 
 TREE PLANTING. 
 
 Do not try to transplant very large trees. If forest trees are 
 used it is better to select those growing on the edges and thus 
 most isolated, because they have already learned to protect 
 themselves by growing heavier bark. If trees growing in thick 
 woods are taken up and transplanted, they are almost sure to 
 die, no matter how much care is given them, because they are ac- 
 customed to protection from surrounding trees and brush. 
 
 Before planting a tree, examine its roots and cut off with a 
 sharp knife all those which have been injured. 
 
 Transplanting must always be very carefully done because 
 the tree is at a most critical period in its life. If no gardener is 
 in charge of your grounds, solicit the assistance of some person 
 who has had experience in the planting of trees. However, 
 should the work devolve entirely upon you and your pupils, 
 study the following rules laid down in a pamphlet sent out by 
 the United States Department of Agriculture : 
 
 [84] 
 
"Planting is best done by two or three persons. A, who mani- 
 pulates the tree, is the planter, and is responsible for the results ; 
 B and C do the spading under his direction. A places the tree 
 in the hole, to ascertain whether this is the proper size ; a board or 
 stick laid across the hole aids in judging the depth. Trees 
 should not be set deeper than they stood before, except in loose, 
 poor soil. More trees are killed by too deep planting than the 
 reverse. If the root system is developed sidewise but not cen- 
 trally, as is often the case, a hill is raised in the hole to fit the 
 hollow space in the root system, and the earth of the hill is 
 patted down with the spade. 
 
 "When the hole is in proper order, A holds the tree perpendic- 
 ularly in the middle of the hole, with the side bearing the 
 fullest branches toward the south or southwest, for better pro- 
 tection of the shaft against the sun. B and C spread the roots 
 into a natural position and then fill in the soil, using the good 
 surface soil first — small spadefuls deliberately thrown over the 
 roots in all directions — while A, by a slight shaking and pump- 
 ing up and down on the stem, aids the earth in settling around 
 the rootlets. A close contact of the soil with the rootlets is the 
 secret of success in planting. Only fine, mellow soil, free from 
 stones and not too moist, will permit such adjustment to the 
 rootlets, which should also be aided by hands and fingers filling 
 in every crevice. A, while setting the tree, must exercise care 
 to keep it in proper position and perpendicular, until the soil is 
 packed so as to keep the tree in place. Then B and C rapidly 
 fill the hole, A treading down the soil firmly after a sufficient 
 quantity is filled in, finishing off a little above the general level 
 to allow for settling, and finally placing stones or any mulching 
 around the stem. 
 
 "Do not use water while planting unless it is very carefully 
 applied with a 'rose' after the soil is well filled in and packed 
 around the fibrous roots. It is not uncommon to see water 
 poured in the hole while it is being filled up. This practice does 
 harm rather than good, for it washes the fine soil away from 
 close contact with the roots, leaving empty spaces between the 
 roots, or even leaving, as the water dries and the earth hardens, 
 the rootlets in the midst of hollows like the insides of pipe- 
 
 [87] 
 
stems. In such a case they cannot touch the earth, which gives 
 them nutriment, and they die. More trees are killed by too 
 much water in transplanting than by too little. Water after the 
 transplanting is useful, and should be applied during the hot sea- 
 son, the late afternoon or evening being chosen for its appli- 
 cation." 
 
 RULES FOR PRUNING SHADE AND LAWN TREES AFTER 
 TRANSPLANTING.* 
 
 "All deciduous leaf trees after transplanting should be pruned 
 or cut back to the extent of the injury to the root system caused 
 by transplanting. As a general rule one-half of the top should 
 be removed. What portion of the top should be cut back de- 
 pends upon the kind of trees planted and upon the shape and 
 size. The larger the tree the more severe should the pruning 
 be. 
 
 If trees are not pruned after transplanting, they are very apt 
 to die, or at least suffer severely. The injured roots are unable 
 to supply enough water to all the leaves, hence these wilt and 
 die, while if one-half of the leaf area is cut back, the roots are 
 able to supply the remainder with water for evaporation and for 
 the growth of wood. 
 
 If large branches are cut off, they should be cut close to the 
 main body and a coat of paint applied to the wound to prevent 
 decay. All pruning should be done with a sharp knife so as to 
 leave a smooth surface, and thus permit a rapid healing of the 
 wound. Some prefer pruning before planting but ordinarily 
 it is better to prune after the tree is set out as one can better 
 judge the symmetry and general shape of the tree. Before 
 planting the bruised and torn roots should be cut off smooth; 
 otherwise, decay is very apt to set in. 
 
 Evergreen trees should not be pruned at all as it injures the 
 shape. For this reason it is better when planting evergreens to 
 plant nursery grown trees as these have a more fibrous root sys- 
 tem and are better able to stand the shock of transplanting. It 
 
 ♦By Prof. E. P. Sandsten, University of Wisconsin. 
 
 [88] 
 
is advisable in most cases to mulch around the tree after plant- 
 ing. Evergreen trees, as above stated, should not be pruned at 
 all, not even the lower branches as the chief beauty of the ever- 
 greens lies in their natural growth. The branches should be 
 permitted to reach the ground so as to form a continuous line of 
 green on the ground with the lawn." 
 
 SHRUBS. 
 
 Shrubs should never be planted singly in the schoolyard, but 
 should be grouped in masses in fence corners and elsewhere. 
 The location of the shrubbery should be very definitely indicated 
 on the schoolground plan. Large groups of shrubs may be 
 used as screens for outbuildings. Use the taller varieties as a 
 background and plant the lower in front. If it is desired to 
 plant shrubbery along a fence line, do not plant with geometric 
 exactness, but let the outline waver, showing high dense masses 
 in some places and perhaps only single low bushes in others. 
 Pine trees make a good background for shrubbery. 
 
 All shrubs used in schoolyards should be hardy. Many good 
 specimens may be found in the woods. Professor L. H. Clark 
 of the River Falls Normal School, who has had great success in 
 beautifying his own premises, gives the following list of shrubs 
 native to Wisconsin which are fairly well adapted for school- 
 ground planting: Sumac; Leatherwood or Moosewood; Black 
 haw; Wahoo; Prickly ash; Nine-bark (a spirea) ; High bush 
 cranberry ; Wild rose ; Elderberry ; New Jersey tea and Kinnikinic. 
 He also mentions among cultivated shrubs the tartarian honey- 
 suckle as being one of the best of shrubs for screening purposes. 
 Professor Mitchell's Hst of desirable shrubs is as follows: 1. 
 Persian lilac (10 ft.); 2. Spirea Van Houttii (6 ft); 3. Rosa 
 rugosa, red and white (4 ft.) ; 4. Hydrangea paniculata (3-3 
 ft.); 5. Syringa, Mock orange (7-10 ft); 6. Weigelia, rose, 
 white (3-7 ft); 7. Black-berried elder, comm.on (3-5 ft.); 8. 
 Staghorn sumac (6-18 ft.) ; 9. Red osier dogwood, common (5- 
 7 ft.) ; 10. Deutzia gracilis (18 in.). 
 
 [89] 
 
Below is a list of exotic shrubs from Professor Cranefield. 
 They are all hardy. 
 
 Common lilac, purple and white; Persian lilac (4^6 ft.); 
 Tartarian honeysuckle (12-15 ft.) ; Syringa (8-12 ft.) ; Rosa 
 rugosa; Amur tamarix; Common barberry; Thumberg's bar- 
 berry (3-4 ft.) ; Snowberry (3-4 ft); Oleaster (8-10 ft); 
 Weigelia (6-10 ft.) ; Van Houten's spirea. 
 
 To these he adds a list of hardy native shrubs : Ninebark 
 spirea; Red osier dogwood; Wahoo; Thimbleberry ; Common 
 elder; Currants (red and black) ; Wild rose; Willow-leaf spirea 
 or Meadow sweet ; Button bush ; Sumac and Leatherwood. 
 
 VINES. 
 
 Vines are wonderful beautifiers and may be used to cover or 
 screen almost any -unsightly spot on the schoolgrounds. They 
 look well climbing over porches and between windows, over old 
 stumps and along fences. 
 
 Probably one of the best for hiding objects which are not pleas- 
 ant to look upon is the Virginia creeper or common woodbine. 
 The wild grape looks well running into old trees. The wild hop 
 is also desirable, and the Clematis paniculata and Clematis Vir- 
 giniana, the latter being native to many parts of the state. The 
 crimson rambler rose is good for porches and fences. If quick 
 growing vines are wanted, plant the wild cucumber or morning 
 glory. 
 
 It is probably best not to plant vines so that they will come 
 directly in contact with the outside of the school building, though 
 in some cases they may preserve rather than injure it. Pro- 
 fessor Clark gives the following device for protecting the build- 
 ing: "If it is deemed advisable to have them (vines) on the 
 school building, netted wire fencing may be attached to the cor- 
 nice. First drive staples into the cornice where it is desired to 
 fasten the support for the vines. Then bend the free ends of 
 the wire and hook them directly into the staples. The lower end 
 of the fencing may then be fastened securely to hardwood stakes 
 driven into the ground directly below the cornice. The support 
 can be taken down without injury to the vines, whenever it is de- 
 sirable to paint the schoolhouse." 
 
 [90] 
 
FLOWERS. 
 
 Do not too greatly indulge your taste for flowers. Flowers 
 require more attention than hardy shrubs and vines, and when 
 school is closed for the long vacation they are apt to suffer. 
 However, if arrangement can be made to give them proper care, 
 a few perennials and even some annuals may be planted if they 
 are confined to borders and out of the way places. They should 
 never be allow^ed to interfere wdth the children's playgrounds. 
 
 It should also be remembered that flower beds are unsightly 
 mounds during a great portion of the year. A few hollyhocks 
 near one of the buildings will help to decorate, and a bunch of 
 golden glow is beautiful in late summer. 
 
 Professor Clark has had great success in planting wild flowers 
 in a bed extending around his house. This plan might be fol- 
 lowed on schoolgrounds. The children will be glad to bring 
 wild plants and ferns from the woods. A bed two or three 
 feet wide close to the building may be made without interfering 
 with the playgrounds. The soil must of course be rich. With 
 care in transplanting and a little attention such a bed will prove a 
 joy. 
 
 THE LAWN. 
 
 All grass plots should be kept cut, and a lawn mower bought 
 for the purpose. If pupils are interested in the appearance of 
 the grounds there will be no difficulty in keeping the lawn mowed. 
 Toward the end of the summer the cut grass should not be raked 
 off the lawn but should remain where it falls. Never allow a 
 new lawn to mature seed. 
 
 PROFESSOR SANDSTEN's OFFER. 
 
 E. p. Sandsten, Professor of Horticulture in the University of 
 Wisconsin, has offered to make, free of charge, plans for arrang- 
 ing and planting schoolgrounds surrounding schoolhouses in two 
 
 [93] 
 
districts of each county in the state, and to give advice free of 
 charge to teachers and school boards in the state, desiring to beau- 
 tify the schoolgrounds under their charge. 
 
 Each county superintendent is earnestly urged to make selection 
 of two schools under his supervision and to apply to Professor 
 Sandsten for plans for the beautification of these grounds, and 
 further, to see that the plans are carried out with exactness. 
 
 DIRECTIONS FOR MAKING MAPS OF SCHOOLGROUNDS 
 FOR PROFESSOR SANDSTEN's USE. 
 
 It is very important that a teacher make as complete a plan as 
 possible of the grounds and buildings, otherwise the landscape 
 gardener cannot properly arrange the planting and the laying out 
 of walks. 
 
 First. Make a plain sketch or outline of the grounds with the 
 dimensions for each side. 
 
 Second. Mark the buildings, size and outline and give their 
 location on the grounds, measuring from at least two points on 
 connecting boundary lines. 
 
 Third. Fill in each tree and shrub in its approximate position 
 giving distances from two points on connecting boundary lines. 
 
 Fourth. Fill in the existing walks and mark their location 
 from two points on connecting boundary lines. 
 
 Fifth. Indicate on the plan whether there is more than one 
 highway leading to or by the school. 
 
 Sixth. Tell briefly the nature of the immediate surroundings 
 of the school grounds. 
 
 Seventh. State briefly the topography of the grounds and in- 
 dicate whether a separate playground is desirable. 
 
 On the following pages appear two maps of schoolgrounds pre- 
 pared under the supervision of Miss Julia Rockafellow, Superin- 
 tendent of Schools for Waukesha County. The landscape plan 
 prepared by Professor Sandsten follows each map. 
 
 The numbers following the names of shrubs mentioned by 
 Professor Sandsten indicate how many of each kind are needed 
 for suggested planting. 
 
 [94] 
 
DISTRICT NO. 4. TOWN OF BROOKFIELD, WAUKESHA COUNTY, WIS. 
 
 Simple map of grounds prepared by the teacher and submitted to Prof. 
 
 Sandsten. 
 
 H. 
 
 Hickory. 
 
 B. 
 
 Basswood. 
 
 M. 
 
 Maple. 
 
 E. 
 
 Elm. 
 
 T. A. 
 
 Thorn Apple 
 
 F. P. 
 
 Flag Pole. 
 
DISTRICT NO. 4. TOWN OF BROOKFIELD, WAUKESHA COUNTY, WIS. 
 
 Plan for planting grounds prepared by Prof. Sandsten. 
 
 H. Hickory. 
 
 B. Basswood. 
 
 M. Maple. 
 
 B. Elm. 
 
 T. A. Thorn Apple. 
 
 F. P. Flag Pole. 
 
 A. T. Amur Tamarix, .36. 
 
 R. O. Russian Olive, 52. 
 
 Th. B. Thumberg's Barberry. 34. 
 
 R. D. Red Dogwood, 40. 
 
 R. R. Rosa Rugosa, 90. 
 
 M. O. Mock Orange, 36. 
 
 T. H. Tartarian Honeysuckle, 24. 
 
 P. B. Purple Barberry, 18. 
 
 C. B. Cut Leaved Birch, 2. 
 
 Col. S. Colorado Blue Spruce, 3. 
 
DISTRICT NO. 6, TOWN OF SUMMIT, WAUKESHA COUNTY, WIS. 
 
 Simple plan of grounds prepared by the teacher and submitted to Prof. 
 
 Sandsten. 
 
 B. B. Box Elder. 
 
 O. Oak. 
 
 W. Well. 
 
 F. P. Flag Pole. 
 

 
 DISTRICT XO. 6, TOWN OF SUMMIT, WAUKESHA COUNTY, WIS. 
 Plan for planting grounds prepared by Prof. Sandsten. 
 
 B. 
 
 E. 
 
 Box Elder. 
 
 
 O. 
 
 Oak. 
 
 
 W. 
 
 Well. 
 
 F. 
 
 P. 
 
 Flag Pole. 
 
 K. 
 
 D. 
 
 Red Dogwood, 100. 
 
 T. 
 
 H. 
 
 Tartarian Honeysuckle, 40 
 
 J. 
 
 L. 
 
 Lilac (Japanese), 36. 
 
 iM. 
 
 O. 
 
 Mock Orange, 18. 
 
 Tb. 
 
 B. 
 
 Thumberg's Barberry, 38. 
 
 A. 
 
 T. 
 
 Amur Tamarix, 30. 
 
 K 
 
 O. 
 
 Russian Olive, 28. 
 
 C. 
 
 B. 
 
 Cut Leaved Birch, 1. 
 
 
 El. 
 
 Elm. 1. 
 
BO 1907 
 
LIBRARY OF CONGRESS 
 
 030 218 068 4 
 
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