tect—sculptors, painters, carvers in wood and stone, glass makers, tapestry makers, embroiderers, leather workers. Are there enough schools in America to train all the craftsmen needed on this one monument—is there one school, and if so, where? One of the foolish arguments against Gothic, is that it is quite dependent on artistcraftsmen, and as we have none we must abandon the style; one of the foolish arguments in favor of classical design is that anybody can learn to carve an acanthus, therefore we had better stick to what we know we can do. Neither argument is sound. If we have no artistcraftsmen, then it would be better for us to close up half the schools that are training our architects and employ the funds so saved for the training of the only men who can give life to the architect’s design.”
Now this is the soundest of common sense. No good argument can be advanced in refutation.
It may seem presumptuous to insist that one of the lacking essentials in a profession that claims to be highly educated is the lack of education. This lack is, of course, not one of basic knowledge, but one in the exact direction that would accomplish the best and most lasting results. Undoubtedly we shall see a very decided change in the curriculum of architectural schools. Shall we have to wait until, by years of newer methods of education, we become sufficiently farsighted to sense the necessity for also educating the architect’s alter ego, the craftsman ? The advancement of one is in certain directions bound up in the progress of the other. We should, as architects, do all that we can to develop a class of men whose intelligent cooperation so largely contributes to the success of everything that we attempt in design.
As pointed out earlier in this article, there have developed in this country certain master craftsmen of the highest artistic ability. We have had here in New York an important demonstration as to just what can be and is done when architects and craftsmen co-operate in the broad spirit as brother artists.
The rapidity with which was executed the complicated detail of the architects who originated the Altar of Liberty, the Victory Arch and other decorative features along Fifth Avenue, most of which
have appeared or will soon appear in The American Architect, offers an example and affords a basis of demonstration. In this particular instance, the master craftsman is Mr. Menconi, whose work as an expert modeler and ability as an artist is widely known among architects. Such educational work as is being done in this particular field of craftsmanship is being carried forward by Mr. Menconi. Under his highly skilled direction he has developed a group of master modelers whose work is to be seen in the Victory Arch in its highest development. Certainly this is worth while. Re
sults so eminently satisfactory should be extended to other equally important fields.
When Mr. Egerton Swartwout had completed his very successful Eddy Memorial, he contributed an article to an architectural magazine in which he set forth the valuable co-operation he had received from this master craftsman. He interestingly described his relation as architect to the craftsman modelers. Throughout it was that of one artist in the most cordial co-operation with a brother artist in an allied field of art. When the plaster models had been finally approved and were to be cut in stone, Mr. Swartout tells us that “each man was an artist in his way and that there developed the most intense rivalry in the execution in stone of the plaster models.” Further, we learn that “in many cases the carving far exceeded the models in delicacy, and the most extraordinary results were, obtained.”
But the great object achieved was the manner in which the architect dignified to the craftsman the credit or honor of his work. We are told that “as an incentive, each man was allowed to put his name on the individual stone he carved, on the side bed to be sure, but still it was there, and at the conclusion of this work a full list of the individual carvers, arranged in order of merit, was sent to the Board of the Memorial and each man received a special letter of appreciation.”
Can anything be finer than that? Can there be devised any more intimate and unselfish co-operation than existed under such admirable conditions ? Can there be any surer way to develop craftsmanship and place it on the high plane where at one time it so securely rested?
The progress of the many decorative features that have been under Mr. Thomas Blastings’ origination and direction since we went to war, have all been along exactly similar lines. The writer of this, by personal visit and actual investigation in Mr. Menconi’s large studios, is able to bear witness to the absolute accord between the architect and the craftsman. The result stands forth, an artistic ensemble in which those who created it may take the fullest measure of pride. It is by these means we shall get set along satisfactorily on the road we shall travel in the elevation of the art of the craftsman.
It will be a slow work, but the end will crown it. There must be a long pull and a strong pull and a pull all together. But, if architects will take this matter as seriously as it deserves, we shall look forward to a renaissance of craftsmanship that will vie with all the glories of Italian art.
Now this is the soundest of common sense. No good argument can be advanced in refutation.
It may seem presumptuous to insist that one of the lacking essentials in a profession that claims to be highly educated is the lack of education. This lack is, of course, not one of basic knowledge, but one in the exact direction that would accomplish the best and most lasting results. Undoubtedly we shall see a very decided change in the curriculum of architectural schools. Shall we have to wait until, by years of newer methods of education, we become sufficiently farsighted to sense the necessity for also educating the architect’s alter ego, the craftsman ? The advancement of one is in certain directions bound up in the progress of the other. We should, as architects, do all that we can to develop a class of men whose intelligent cooperation so largely contributes to the success of everything that we attempt in design.
As pointed out earlier in this article, there have developed in this country certain master craftsmen of the highest artistic ability. We have had here in New York an important demonstration as to just what can be and is done when architects and craftsmen co-operate in the broad spirit as brother artists.
The rapidity with which was executed the complicated detail of the architects who originated the Altar of Liberty, the Victory Arch and other decorative features along Fifth Avenue, most of which
have appeared or will soon appear in The American Architect, offers an example and affords a basis of demonstration. In this particular instance, the master craftsman is Mr. Menconi, whose work as an expert modeler and ability as an artist is widely known among architects. Such educational work as is being done in this particular field of craftsmanship is being carried forward by Mr. Menconi. Under his highly skilled direction he has developed a group of master modelers whose work is to be seen in the Victory Arch in its highest development. Certainly this is worth while. Re
sults so eminently satisfactory should be extended to other equally important fields.
When Mr. Egerton Swartwout had completed his very successful Eddy Memorial, he contributed an article to an architectural magazine in which he set forth the valuable co-operation he had received from this master craftsman. He interestingly described his relation as architect to the craftsman modelers. Throughout it was that of one artist in the most cordial co-operation with a brother artist in an allied field of art. When the plaster models had been finally approved and were to be cut in stone, Mr. Swartout tells us that “each man was an artist in his way and that there developed the most intense rivalry in the execution in stone of the plaster models.” Further, we learn that “in many cases the carving far exceeded the models in delicacy, and the most extraordinary results were, obtained.”
But the great object achieved was the manner in which the architect dignified to the craftsman the credit or honor of his work. We are told that “as an incentive, each man was allowed to put his name on the individual stone he carved, on the side bed to be sure, but still it was there, and at the conclusion of this work a full list of the individual carvers, arranged in order of merit, was sent to the Board of the Memorial and each man received a special letter of appreciation.”
Can anything be finer than that? Can there be devised any more intimate and unselfish co-operation than existed under such admirable conditions ? Can there be any surer way to develop craftsmanship and place it on the high plane where at one time it so securely rested?
The progress of the many decorative features that have been under Mr. Thomas Blastings’ origination and direction since we went to war, have all been along exactly similar lines. The writer of this, by personal visit and actual investigation in Mr. Menconi’s large studios, is able to bear witness to the absolute accord between the architect and the craftsman. The result stands forth, an artistic ensemble in which those who created it may take the fullest measure of pride. It is by these means we shall get set along satisfactorily on the road we shall travel in the elevation of the art of the craftsman.
It will be a slow work, but the end will crown it. There must be a long pull and a strong pull and a pull all together. But, if architects will take this matter as seriously as it deserves, we shall look forward to a renaissance of craftsmanship that will vie with all the glories of Italian art.