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A Suggestive LiSt of

Projedts in Industrial

Arts for Elementary

Schools

By

LEON L. WINSLOWDepartment of Industrial Arts Bowling Green

State Normal College

BOWLING GREEN, OHIO1917

A Suggestive LiSt of

Projects in Industrial

Arts for Elementary

Schools

By

LEON L. WINSLOWDepartment of Industrial Arts Bowling Green

State Normal College

BOWLING GREEN, OHIO1917

Copyright,, 1917, by Leon L. Winslow

4

'CI.A455 527

FEB 12 1917

THE DEMOCRAT PRINTBowling Green, Ohio

•

The Organization of Industrial

Content Material

OME thirty years ago manual training- was introduced into the i

schools, at a time when hand work as a part of formal educationwas almost unknown, when industrial inefficiency upon the part of

school trained individuals was the rule. It was hailed as a pan-

acea; its effectiveness was not then questioned by anyone; today its value

as an all important means to industrial efficiency is questioned universally.

Out of thirty years of trial, error, and 'Success there has at last been'

evolved a logical conception of manual training and of its function in the

curriculum. Briefly, the progressive steps in th;s evolution have been(1) The introduction of manual training as a form of disciplinary activ-ity. (2) The elevating of manual training to the rank of a school study.(3) The consciousness that manual training did not produce efficient

workers, thinking workers. (4) The conviction that manual training be-ing decidedly lacking in content values and therefore, in no way equal to

other content studies, should no longer be entitled to recognition as a

school subject. (5) A more serious contemplation of industry, with aview to providing a school study of maximum educational worth whichshould deal with industry as an organized body of human experience.

As we look back over this growth in the conception of a schoolstudy we wonder that advancementhas been so slow. Industry from thefirst demanded of education that it be made industrial, not merely thatit be made manual. The result of our inability to understand the de-

mands made by industry has been that manual activities have floodedour schools; manual activities, activities specifically manual and de-

cidedly unindustrial. School courses have been limited to one or two mate-rials easily obtained and easily worked because teachers have per-

sisted in holding fast to the old exploded theory that the acquisitionof skill should be the ultimate aim of all industrial courses.

In a word, the selection of activities has been made upon the basi

of the materials at hand rather than upon the industries. Whenevercourses have been thus built they have failed in that they have empha-sized activities unduly and have thus made them ends in themselves rath-

er than means to ends. In suoh courses tool processes have been the de-

termining factor both as regards the choice of projects and their ar-

rangement in the course.

Manual training courses in general have been void of thought pro

during material. The few simple tool operations required nave beeneasily understood if not mastered by pupils who have been able to per-

form them with as much skill as could be expected in the time allowed.

A mastery of specific tool operations in the common school is not essen-

tial. Content is essential.

What elementary schools need most today is not a period now andthen devoted to manual training. It is of course true that pupils in the

grades should have manual tasks to perforin but this hand work need not

be relegated to a period now and then devoted to manual work and the

divested of a large part if not all of its original educative significance.

What the elementary school does need worse than it needs this kind of

manual training is a comprehensive course in industries.

l7~

_In this paper general education only will be discussed. Vocational

education is not our province. There is likely no such a thing as general

vocational education. We .shall keep this fact in mind. There is how-

» ever a vast body of industrial content material with which all men and

women of true culture should be familiar. This material is today being

collected, organized, and evaluated, and it is gradually being crystallized

into a new school study. What this study is called makes little differ-

ence. We choose to call it industrial arts. Professor F. G. Bonser of Co-

lumbia University, has defined industrial arts as the distilled experience

of man in his resolution of natural materials to his needs for creaturecomfort, to the end that he may more richly live his spiritual life. If weaccept this definition and govern ourselves accordingly we shall providefor a school subject which will deal primarily with the industries, a studyof industry from the social side as well as from the material side, a cul-

tural study of industry with the emphasis upon the how and why of in-

dustrial operations combined with a real appreciation of industrial life.

The industrial arts point of view accepted,, we shall see that for

the purpose of organization most of the drawing and construction workdone in elementary schools will fall to the subject of industrial arts, notbecause industrial arts is a MANUAL subject but rather because it is

an INDUSTRIAL subject and because industry deals more with manualactivities than do history or geopraphy or arithmetic. As phases of

school life drawing and manual training are at the disposal of all schoolstudies, but the time has gone by when drawing and manual trainingshould be regarded as subjects in the elementary school.

As regards the range of material at the disposal of the teacher,the following will be found suggestive. (1) The manufacture of machin-ery for the production of power. (2) The manufacture of conveyances.(3) The manufacture of clay products. (4) The manufacture of glass.

(5) The woodworking industries. (6) Contracting and building. (7) Themanufacture of cement. (8) The manufacture of leather goods. (9) Print-ing and publishing. (12) The manufacture of stains and paints. (13) Themanufacture of soap. (14) The manufacture of textile fabrics. (15) Themanufacture of clothing. (16) The preparation and preservation of foods.

The above list, in a general way, may be said to cover the indus-trial field. It is not recommended of course that any teacher should at-

tempt to cover all of these industries in a given grade. There are fac-

tors which will influence his choice. Some industries will be found to bebetter suited to the interests and needs of the girls; others to thoseof boys. Some will be found especially appropriate to certain localities;

but the fact that the industries are not to be approached with a view to

vocational training should not be lost sight of.

The industry once decided upon the c lasts! is put to work investi-gating it, collecting information from all the sources available. Much ofthe material will be obtained through actual contact with those engagedin the industry or who handle its products. Some facts will have tobe obtained from reference books. Pupils will also be able to collect in-

formation by writing to manufacturing concerns whose advertisementsthey see in the magazines and newspapers. The instructor should makeassignments covering such topics as the following: (1) The value of theindustry to man. (How we are affected by it.) (2) The evolution ofthe industry; its heroes of invention. (3) Characteristics of the product.

(4) Analysis of the product. (5) Materials employed. (6) Processes in-

volved. (7) Classification of processes as skilled and unskilled. (8) Health-fulness. (9) Hours and wages. (10) The training of workers. (11) Thepart played in the industry by mathematics. (12) The part played bydrawing. (13) References to the industry found in literature. (14) Theindustry as depicted in art.

Projects illustrative of the industrial processes involved in theabove study are arranged by the instructor who is careful to assign themas problems to be solved, each pupil being allowed wherever possible towork out his own dimensions from the instructions given.

SUGGESTIVE PROJECTS

GRADE I.

Books and PrintedProducts.

The children make a collection of

fragments of paper, cloth, wood, etc.,

upon which letters and designs havebeen printed. They observe theprinted pages of their reading booksand of magazines and newspapers.The concept of printing is formed.

Paper and PaperGoods.

The small paper boxes used bycommercial houses in the packing of

goods are collected and brought to

school. The uses of boxes and themaking of them in factories is dis-

cussed. Paper boxes are made bythe class, folding, cutting and past-

ing being the operations involved.

Bread Making.

The story of wheat and of bread-making. The illustration of this story

by drawings and the use of clay in

modeling. The thrashing of wheat bythe children by rubbing heads of

wheat in the hands; the grinding of

wheat by means of stones or a mor-tar and pestle: the use of the flour

thus made in the making of bread.

Brick andTile.

Pupils become familiar with brickand tile to the extent that they areable to identify them as buildingmaterials. They are able to pick outbrick houses in pictures and on thestreet. The class makes bricks of

clay arid builds little houses. Brickhouses are also shown in imagina-tive drawings made by the class.

This should be expression work in

which the children are free to carryout their own ideas.

Pottery.

Why were articles of pottery first

made? List the various articles of

pottery and assign to each its use.

Utensils of clay are made for the playhouse, i. e., crocks, bowls, washbasins, bath tubs, etc. No particularmethod should be inflicted by theteacher; the children will prefer to

make these articles by pinching theclay into appropriate shapes.

The Building of a WoodenPlay House.

Discussion of wooden buildings andtheir advantages and disadvantages

over houses of brick. Children in the

first grade may profitably be givensome instruction in the problem ofhousing. The children investigate thework of the carpenter, visiting menat work on buildings in process ofconstruction in the neighborhood ofthe school. Later each child makes adrawing to show how he would likehis house to appear when finished.The best of these drawings are usedby the children as guides. After all

the materials needed are determinedthey are supplied and the childrencut the boards into proper lengths,choose nails suitable for fasteningthe parts together, and go to work * ^building the house. Not a nail is

driven by the instructor nor are thechildren told where to place the nails.

In the strictest sense the work is tobe individual and original. The houseis not built in a day; it usually re-

quires about six weeks of persistenteffort, thirty minutes each day beingdevoted to the work and its subjectmatter.The workmanship upon buildings

of this kind is crude enough—jointsdo not fit as we might wish they did.

Yet when judged by the child's stan-dards the house is quite perfect andbeautiful; he has approached if notquite attained his ideal.

In work requiring that wood be cutand nailed by little children it hasbeen found that wooden packing boxesserve well the purpose of benches.Carriage makers' clamps are substi-

tuted for vises. A few hammers,back saws, try squares, soap boxes,and our equipment is complete. Woodmay be bought at the lumber yard in

strips one inch wide; the materialused for the clapboards is one fourthinch in thickness, that used for thehouse frame is seven eights of aninch thick. A few shingles are easilyprocured and a few pounds of nails

varying in length from three-fourths to

two inches may be obtained at thehardware store. The fine thing abouta problem of this kind is that thechildren gain so much in the ability

to express their own ideas through

action. They also learn valuable facts

relating to house building and housefurnishing. The expense involved is

slight as compared with the educa-tional returns.

After the house has been enclosedit is painted with real house paintand the rooms decorated with fur-

nishings made by the children.

GRADE II.

Books and PrintedProducts.

A book is made by folding a longstrip of paper several times, vvvvv.Attention is called to the fact thatthe first books with pages were no'

more than this. A collection of pic-

tures is made, all bearing upona single subject and printed up-

on paper. These pictures are pastedinto the book, great care being exer-

cised in the placing of the picture up-on the page. The name of the bookis printed on the outside sheet, whichserves as a cover, the teacher print-

ing the title suggested by the class

upon the blackboard, and the pupils

following his lettering, line for line.

Brick.

The story of brickmaking is told in

simple lauguage by the teacher andthe children are asked to illustrate

each a certain part of the story.

Such subjects as the following aresuggestive: (1) Men getting clay fromthe ground. (2) Men moulding bricks.

(3) Men carrying bricks to the fire

for burning. (4) Men burning bricks.

Pottery.

The teacher tells the story of prim-itive pottery or the children read it

in their reading books. The story is

illustrated on the sand table, wherethe primitive industry is being car-

ried on by little clay men, represent-ed as being engaged in digging andpreparing materials, in making pots,

and in firing the ware.

GRADE III.

Books.

The story of ancient book makingin China and Japan. Advantages anddisadvantages of the Japanese typeof book. . The making of a Japanesebook. Materials: 2 cover boards ofstrawboard, 3% in. x 6% in.; 2 piecesof straw-board for laced back, 1 in.

x 6% in.; 1 piece of cloth for coverhinges, 4 in. x 14 in.; 2 pieces paperto cover straw-board covers, 6 in. x7% in.; 4 pieces of paper for cover

and -

2 pieces, %•• in. x 6% |n.-; -20

lining, 2 pieces. Zy2 in. x 6% -in.,

pieces of paper for leaves, 6% in. x11 in. Bach of the leaves is foldedas follows: One of the short edgesof the sheet is folded over one inchand the paper is creased. The oppo-site short edge of the paper is nowfolded over to this crease. After thepages and covers have been preparedthey are punched for the laces.

There may be either an odd or aneven number of punched holes. Thebook is now laced. The leaves areleft uncut.

Brick and Tile.

The modern methods of brickmak-ing as compared to the methods fol-

lowed by the ancient Egyptians andby the American Indians, who builthouses from bricks of adobe. Theclass will make little bricks. Fromthese they will construct an adobehouse with a roof of thatch. Mate-rial for the roof can be procured outof doors; i. e., small twigs, grasses,etc.

Pottery.

It is possible that clay suitable forthe making of dishes may be foundin the vicinity of the school building.Ask the children to look for it. Thesoil is brought into the school roomin lumps which are (broken and thelarge stones and roots removed. It is

now placed in a large- pail partlyfilled with water, and the massstirred. The mud being thoroughlymixed to the consistency of a thickcream is poured through a screen in-

to a second pail. The small stonesare in this way removed. An ordi-nary window screen may be used, al-

though a finer sieve is desirable.After settling over night the clearwater is poured off and the clayspread out in the sun to dry suffi-

ciently for use. Before being usedhowever, it is made plastic by work-ing a few minutes in the hands.Designs for the vases are worked

out by folding and cutting pieces ofpaper. In this way silhouette patternsare easily produced. The form shouldbe kept simple, the sides nearly ver-tical. The silhouette is transferredto drawing paper, tinted to match orto harmonize with the color of theclay after it has been fired. A decor-ative border or surface desgn involv-ing the repetition of a unit may beworked out with tempera water colorpaints or with colored crayons. Tne

colors used may be (1) The color ofthe clay after firing. (2) Yellow-red.(3) Red. (4) Black.

The dishes will be made by build-

ing by the use of clay coils rolledbetween the hands and the desk top,

which may be protected by sheets oflinoleum, boards, or heavy paper. Apasteboard disk having the same di-

ameter as the base of the proposedvase form is used as a guide in

starting. This is covered with a diskof clay about 3-16 inches thick andthe building cf the walls is accom-plished by the spiral arrangement of

the clay coil which is welded to

itself at each complete revolution bybeing pressed firmly against thegrowing wall. The clay should bekept in a plastic condition. If thewalls become unsteady becauseof their moist condition and theweight of the clay, the form shouldbe set aside to become leather-hardwhen the building may be continued.Before continuing however, the rimof the dish, formed by the last coil,

should be cut squarely off with a

knife and a 'thick mixture of clay

and water, called slip, applied with abristle brush. A mucilage brush will

answer the purpose. When the formhas been entirely built it is scrapedoff and carefully trued with a knifeand with isandpaper. The design maynow be incised by means of a knifeor the point of a nail, while the clayis still soft. The parts to which col-

or is to be applied are now brushedover with slip just before the coloris applied. The slip is brushed on andthe color applied immediately. Pig-ment colors for application to theclay may be produced by reducingrotten stones of various colors topowder by means of a hammer, orbetter, by mortar and pestle. The col-

ors are now mixed with a small pro-portion cf clay which will bind themto the body of the dish; or more at-

tractive colors may be bought at thepaint or drug store. The colors aremixed with liquid glue and are paint-ed upon the moist clay in the formof a thick paste. It is a good ideato scratch the surface of the claywith a pin or piece of broken glassbefore painting the ware as thiswill improve the bonding quality. Yel-low ccher is used for yellow-red,red oxide of iron for red, and blackoxide of copper for black.

In firing pottery of this kind it is

not necessary to have a kiln in orderto do satisfactory work. Dishes made

in school should be preserved by fir-

ing because an industrial process is

thereby made clear to the child andbecause the dishes thus made areuseful and therefore practical. Ironkettles placed in an open fire ofwood will make it possible for thechildren to fire their pottery afterthe Indian or open fire method, thekettles keeping the burning embersfrom falling upon and thus breaking;the dishes. The kettles therefore,should be covered in order that thedishes shall not be broken. The heat-ing and cooling should be gradual,the dishes being kept at a red heatfor about an hour.

If there is no clay at hand it maybe ordered from a school supplyhouse. A low temperature clay shouldbe specified.

In connection with the study ofpottery it is suggested that the classcollect illustrations in which articlesof pottery are advertised. These pic-tures can be mounted on large cardsand the dishes compared. They shouldbe judged from the standpoints ofutility and of beauty. Articles of pot-tery or fragments of pottery may al-

so be collected to illustrate earthen-ware, stoneware and porcelain.

GRADE IV.

Books and PrintedProducts.

A comparative study of the meth-ods of bookmaking which obtainedduring the middle ages and those ofto-day. How are we effected by booksand ether publications? What wouldhappen if there should be no moreprinting? Imagine the world withoutany facilities for printing for the pe-riod of one year, beginning to-day.What would be the result?To make a book of a single signa-

ture:

The cover boards will be Vh in.

wider and % in. longer than thepage in order that the coversmay project beyond the pages. Thesize and proportions will be deter-mined to suit the purpose for whichthe book is to be made. The bookdescribed below is suggested as suit-able for the mounting and preserv-ing, of reproductions of masterpiecesin art. Each picture is mounted ona page of odd number, while thestory regarding it is written on thepage at the left or a page of evennumber. The mounting of the pic-

tures and the arrangement of writtenmaterial, the observing of proper

margins according to the best typog-raphy, etc., are problems in designinvolving the division of space. Pro-cedure: (1) Choose a rectangularpiece of straw-board large enough to

make one cover board. (2) Place thesame on the desk so that it lies ver-

tically in reference to the edge of

the desk nearest ypu, which is horiz-

ontal. (3) Place the ruler on thestraw-board along the upper edge. (4)

Measure 6% in. from the left cornerand place a point. (5) Place ruler ondesk just below the lower edge of

straw-board and place a point on this

edge 6% in. from the left edge. (6)

Draw a line connecting this pointwith the one on the upper edge. (7)

Place ruler on left edge of straw-board and measure down on left edgeSy2 in. from upper corner and placea point. (8) Measure down on pen-cil line %y2 in. from upper edge andplace a point. (9) Connect this pointlast made with that on the left edgeof the straw-board. (10) Cut out coverboard. (11) Day out and cut secondcover board. (12) To lay out linen

back measure off on back of mate-rial, dimensions in tihe manner givenabove, getting out the bookbinders'linen 5 in. x 9% in. (13) Draw acenter line lengthwise of the mate-rial. (14) Draw lines across either

end parallel with and y2 in. from theshort edges of the material. (15)

To prepare cover papers 5% in. x 9%in. measure as suggested above. (16)

Paste linen back to cover boards,leaving % in. between the boards(the thickness of the book deter-

mines this distance). (17) Pastecover paper to cover boards, cuttingcorners on mitre and then pastingdown laps. (18) Count out half asmany papers as there are to beleaves in the book. (There shouldbe a supply of paper stock for

this purpose cut 8% in. x 13% in.)

(19) measure and cut this paper into

pieces. 8% in. x 13 in. (20) Foldeach sheet to make two pages, 6% x8*4 in. (21) A piece of ordinarylinen cloth is now prepared as superfor holding the covers to the leavesof the book. It is measured and cut

y2 in. shorter than the length of

pages (or 7% in. long, and 4 in. wide.(22) Draw a center line lengthwiseof the super. (23) Place pages to-

gether and stab or pierce for sewing.Stabbing may be accomplished bymeans of a fine awl or coarse nee-dle. (24) Place super outside of fold-

ed pages, its center line lying along

the stabbed holes, and "sew the pagesand super together, the needle firstentering the center stabbed hole, pro-ceeding to one end of the row ofstabbed holes then back to the oppo-site end and so on to the center,where the knot is tied. (25) Pastethe signature or section of pages tothe cover boards by pasting the su-per to the cover boards, being care-ful to center signature at back, inreference to cover boards. (26) Pastedown end sheets, the leaves next tothe covers.

Caution: The worker should haveat hand a pile of flat papers about9 in. x 12 in. Torn newspaper willserve the purpose. These papers areto protect the work as it is being putthrough the various processes. Thepapers should be stacked before thepupil who keeps his work upon theuppermost piece which is alwaysclean since he crumples the pa-pers and drops them on the flooras soon as they become soiledwith paste or glue. Papers are al-

so used under the hand when rub-bing one pasted paper upon another.At the close of the period the crum-pled papers are picked up and putin the waste basket.

Paper and PaperProducts.

The evolution -of writing materials.A comparative study of early andmodern methods of paper making.The pupils are asked to bring cleanscraps of white cloth, and the otherthings needed. The making of pa-per. The following directions willguide the teacher in carrying outthe project: (1) Tear the rags intolittle bits about y2 in. square or evensmaller. (2) Twelve ounces of causticsoda* are dissolved in six quarts ofwater. (3) The fine bits of cloth arestirred into this. (4) The causticsoda solution, containing the rags insuspension, i.s boiled for three orfour hours. This may be done out ofdoors if no stove is at hand. (5)Rinse rags thoroughly in three wa-ters, pouring the mixture into a col-ander and wringing the rags eachtime. (6) Dry the rags, spreadingthem out in shallow tins or uponboards where they may better comein contact with the air. (7) Run dry

*CAUTION: Caustic soda or sodi-um hydroxide comes in stick form andis poisonous. It should be providedand cared fcr bv the teacher.

rags through mj&at chopper, whichwill reduce them to a fine pulp. (8)

Put pulp into a wash of six quarts ofwater, containing eight tablespoonsfull of starch, one of bluing and onehalf pint of liquid glue. (9) Agitatethe wash by stirring with a paddleor stick and while the pulp is heldin even suspension in the water, dip

in the mold, a screen the isize of theproposed sheet of paper.

When the screen is lifted out theliquid will be allowed to drain backinto the tank. (10) Turn thin layer

of pulp which has been deposited onscreen into a. shallow dish (a pie tin

will answer this purpose) .A piece of

cheese cloth should first be placed in

the dish in order to prevent the pulpfrom sticking fast to the dish. (11)

Cover this first layer of pulp with a

small piece of cheese cloth. (12) De-posit a second layer of pulp; coverwith cheese cloth; etc.. until the de-

sired number of sheets has been pro-

vided for. (Each child in turn will de-

posit his layer of pulp and a cover of

cheese cloth upon the pile). (13) Ap-ply pressure to pile. This may bedone by placing it in a standing pressor letter press. The pressure mayalso be applied by means of clampsor hand screws, or by t'he use of

weights such as bars of iron, heavystones, etc. The water will run outas the pressure is applied. A fewholes may be made in the tin dish

containing the pile of pulp. (This

may be easily accomplished with a

hammer and nail). The water is

caught in a pail as it is squeezed out.

Pottery.

Modern commercial methods of

making rectilinear clay dishes.

The making of a design for a

square dish for flowers. The jardi-

niere may be elevated upon four

feet, one at each corner, if desired.

It may be glazed if equipment for

glazing and firing is at hand. Theside of this flower dish will furnish

a problem in design involving an ap-

plication of the principle of balance,bisymmetrical or free. Proportionswill be determined first, after whichwill come the consideration of theplacing and shape of legs, the deco-

ration and color, if the piece is to beglazed. The design will be incised

by means of a sharp instrument (a

nail will answer the purpose). Themotive for design may be suggestedby natural forms such as flowers,

fruit, birds, etc., or it may be geom-

etric. The class will work with col-

ored crayons, striving to representcorrectly the color of the clay. If

colors are to be employed in decora-tion the scheme of color should beanalogous, i. e., colors lying next to

one another in the color circuit, asblue and blue-green ; blue-green andgreen; green and green-yellow, etc.

The making of a square flower dishusing slabs of clay to form the wallsand bottom: The sides and bottomwill be made separately (five pieces).

These parts will be welded togetherby means of a mixture of clay andwater, slip. Surfaces to be united bywelding are first covered over withslip applied by means of a bristle

brush (an ordinary mucilage brush is

excellent for the purpose). The sur-

faces are immediately united by be-

ing pressed firmly together andtapped with finger tips to increasethe bond.

A brief study of glazes is taken up.

The story of Palissy the Potter is

read by the class or is told by mem-bers of the class, who have read it.

The dish may be fired according to

the open fire method described for

Grade III, or in the school kiln, if

such is provided.

DairyIndustry

During the study of dairying, chartsare prepared which help to clarify

the concepts of utensils and process-

es and furnish opportunity for vital

instruction in art. The class is en-

couraged to bring material, such as

pictures, advertisements, labels, etc.

The instructor aids in the selectingand grouping of these by suggestionsonly. The material is arranged bythe children.

One chart might be labeled DairyProducts and all pictures and othermaterial illustrative of this topic

mounted on it. Little bottles of milk,

cream, butter, buttermilk, cheese,

malted and condensed milk, could bedisplayed effectively in this way.Another chart might be designatedDairy Utensils and illustrations of

the various utensils used in the

dairy would be arranged on it. Mis-cellaneous pictures of the dairy andits utensils and machines could begrouped on still another chart en-

titled The Dairy.The cardboard used in mounting

should be rather large, 20 in. x 24 in.

or even larger. The cord employedin hanging charts and in fastening

the bottles and other objects in place'

should- be of the same hue of color

as the chart itself, which should be

of a low color chroma of yellow-red,

green, blue, etc. The titles for these

charts should be printed by the chil-

dren. Pieces of paper, of the same

hue as the mounting board chosen,

but of a lighter value, cut to occupy

the space required for the printed

title, are prepared by the children,

who are left to determine size and

proportion. The best size and shape

being decided upon by the class,

each pupil prepares a strip of pa-

per of the established shape and size

and prints upon it the title for the

chart. The most satisfactory printed

title is mow chosen and the pupil

making it is allowed to paste it in

place. Each chart is prepared by

the class, the articles being first

pinned in the places where they ap-

pear to the ibest advantage and then

pasted. Equal margins are observed

at the left and right and a margin

slightly larger than tbe one at the

top is left at the bottom of the chart.

Chart making will be found an ef-

fective means of vitalizing subject

matter and of sustaining interest.

The work will throughout its progress

enable the pupils to select material

bearing upon a single subject and to

arrange this material to the best ad-

vantage considering the relative im-

portance of the units and their best

artistic arrangement. The finished

charts will be hung in the school

room where the class may see the

combined result of their efforts.

Drawings made by the children,

might also be mounted on another

chart. These drawings should include

free representations of the utensils

used in dairying.

Butter Making.

While the dairying industry is be-

ing investigated the process of but-

ter making can be clarified by the

making of butter. All the materials

and many of the utensils should be

brought in by the children.

If dairy utensils cannot be obtain-

ed-; improvised utensils can be used

with equally satisfactory results. Aglass fruit jar, having a tightly fit-

ting cover can be used in' churning

and is easily handled by the children.

While using these improvised uten-

sils, the teacher should constantly re-

fer to the practical dairy utensils, thus

giving the pupils a correct idea as to

the utensils as well as the process

of butter- making.. The cream is first allowed to sour,

then poured into the real or impro-vised churn. When the butter hasbeen formed by churning, the butter-

milk is poured off and strained. Thebutter is then worked, salted andset in a cool place to harden. A lit-

tle bottle of this product should beplaced on the Dairy Products chart,

and the remainder may be given to

the pupils to eat on crackers at re-

cess in order that they may judgethe result of their work. The uten-sils emphasized in this work are:

the churn or jar, the wooden bowland mixing paddle, and the crock.

Each child should be given a taskso that the process will be under-stood by all. The work of preparingmaterials, washing utensils and churn-ing the butter by shaking the glasscan should be shared among all thepupils.

Butter making provides a splendidopportunity for the teacher to empha-size sanitation. All utensils shouldbe carefully washed and sterilized,

then kept covered until used. Thesource and growth of bacteria colo-

nies should be carefully explained in

order that the pupils will understandwhy these precautions are necessary.

This project can be used as ameans of motivating lessons in draw-ing, spelling, language and arithme-tic. The utensils can be drawn andthe drawings mounted on the chart;

the names of the utensils can beused as spelling words; problems andcompositions can be woven aboutthe industry. The educational valueas well as the interest and enjoy-ment afforded will convince one thatthe time devoted to work of this kindis well spent.

GRADE V.

Books and PrintedProducts.

A comparative study of early and

of present day methods of printing

by means of movable types. The

story of John Gutenberg and his

printing press is read before the

class hy pupils to whom this reading

has been assigned.

A simple booklet is made in whichwill be preserved information rela-

tive to the subject of printing. Avisit to a small job printing shop

should be arranged if possible, and

an account of the visit written for

the booklet, which, should also con-tain drawings made to illustrate: (1)The first printing press. (2) Type.(3) Hand lettered alphabet. (4)

Printed books. These drawings shouldindicate that pupils understand theprinciple that surfaces viewed at anangle appear to be narrower fromfront to back than they actually are.

Examples of good typography, cutfrom magazines and newspapers, mayalso be mounted and kept in thebooklet.

The construction of the projectneed not be elaborate. The pages,perhaps 7 in. x 9 in., are fastened to-

gether by punching and lacing. Apiece of flexible paper will serve asa cover. A simple cover design ap-propriate to the subject of printing,

is made. This design will include:

(1) A marginal line. (2) The title

and the name of the author in freehand lettering. (3) An appropriatespot or unit which may symbolize aprinting press, a printer at work, ashelf of books, etc. The design for

unit will be transferred to a linole-

um block (a block of soft wood aboutan inch in thickness to which a pieceof linoleum, perhaps 3-16 in. in thick-

ness, has been glued). The linoleumis cut away from those parts of thedesign which are not to print. A.

pad of cheese cloth is made by roll-

ing up a strip of the material so

that at least four thicknesses arepiled one upon the other. Over this

pad is poured a mixture of liquid

glue in which tempera water color

paints have been niixed. If the mix-ture is too stiff a few drops of wa-ter are added. By the use of this

ink pad and the linoleum block theunit design is printed upon the coverwnere it will appear to the best ad-

vantage. A complementary colorscheme should be used. The color

employed "In the printed unit beingthe complement of that used in themarginal liner and lettering, as for

example, yellow and purple-blue, redand blue-green, yellow-red and blue,

etc.

Pesters offer excellent opportuni-ties for combining instruction in in-

dustry and art. In the making of aclass poster all members of the classare provided with linoleum blocksjust alike. An entire alphabet is

cut, each pupil cutting a letter. Eachmember of the class now makes asmall pester design and the most sat-

isfactory one is chosen for the largeclass poster. The large poster is

printed^ each pupil inking and im-pressing a letter in turn, the pupilsbeing arranged in line, type blocksin hand, to spell out the words need-ed. Such work will require carefulsupervision. It is well to appointtwo pupils to act as foremen. Theletters forming the words should beplaced close together and the spacesbetween the words should be equal.The printed lines can be kept straight

by means of thumb tacks and strings.

The principle of balance should beobserved in the arrangement of print-

ed matter upon the page. A pad of

soft papers, placed underneath theposter paper will facilitate the print-

ing.

Brick,

and Tile.

A study of modern brick and tile

making. Small pieces of wood smallnails and a hammer will be given to

each pupil who will endeavor to con-trive and construct a brick makingmachine, I he function of which shall

be: (1) To form clay into strips

which are oblong in section. (2) Toprovide for cutting this strip of clay

into small pieces, thus forming thebricks. The bricks will be made byforcing clay through the mold; thebricks are then cut off with a piece of

wire. They can be fired in an openfire out of doors.

GRADE VI.

Books and PrintedProducts.

The linotype machine; stereotypingand electrotyping as means of mak-ing type arrangements permanent. If

possible, a visit to an up-to-date news-paper or publishing house should bearranged.The instructor may illustrate the

process of stereotyping in the fol-

lowing manner: (1) Obtain fromGrade V a linoleum print block whichhas been made by a pupil of that

grade; or make such a block by cut-

ting a letter in relief. (See Grade V).

(2) This block will be the patternfrom which it is desired to make a

matrix, or form for casting type.

Pack pulp (made by soaking paper in

water) around the block in order to

get an accurate impression of all, in-

cluding the letter and entire block.

(3) Remove the print block from thepulp which has now been made to

conform to its shape. (4) Allow this

pulp box or matrix to dry. (5) Pour"moulten lead into the matrix. If

poured very slowly the "metal willrun down into all the edges of theinside of the form. (6) After the leadhas hardened and cooled the pulpmay be scraped off. (7) The face ofthe piece of type thus cast is nowfinished with a file.

Modern bookbinding. The makingof a book of many sections. ConsultCockerell, Bookbinding and the Careof Books.

Hollow Tile.

Hollow tile manufacture The mak-

ing of hollow tiles 1 in. x 1% in. x

2 in., by means of a simple woodenmechanism constructed by the pupils.

The firing of the tile. The planningand erecting of a small model build-

ing such as a house, barn, or ga-

rage. The making of the plan will

involve a study of building plans(some of these should be brought to

school by pupils), and the drawing of

a plan to scale.

The hollow tile made in school will

serve as the building material. Thebinding paste will be common limemortar which is made by combininglime, sand and water. The advan-tages and disadvantages of lime mor-tar will be discussed, the proportion-

ing of the quantities of materialswill be based on volume, i. e., 1 partlime, 2y2 parts sand, 2% parts water.The materials are measured out andare" kept separate. A large pan servesas a mixing box. A bed of sand is

made in the pan and the lime dis-

tributed as evenly as possible over it.

The entire amount of water is nowsprinkled over the lime and the re-

mainder of the sand sprinkled overthis. It is advisable to cover the panin order to retain the vapor givenoff while the lime is being slaked.The wet materials are now left un-disturbed for at least twenty-fourhours before they are mixed to-

gether. The mixing may be. donewith a small trowel or a broad knife.

The mixing process should be thor-ough, an even paste being the result.

Baskets.

A comparative study of the follow-ing as materials for basket making:strips of ash, oak strips, willow, rat-

tan. Investigation of a modern bas-ket factory through visiting or corre-spondence.The designing of a small basket to

be made either of rattan only or ofrattan covered with raffia. Pupilsshould be allowed to choose which

type of basket they would rathermake. A silhouette or outline pat-tern is obtained by folding and cut-ting. The outline is then transferredto a sheet of drawing paper and thedesign colored by means of crayonsor water color paints. If the basketis to be made of rattan and raffiamore elaborate decorative patternsmay be used. The principles ofadaptation and interrelation of unitsmay thus be provided for in design,while chroma or strength of colorwill be emphasized in the making ofappropriate color combinations.

In the weaving of rattan basketsthe reeds perform two functions:those which form the skeleton frame-work are called spokes, while thosewhich pass in and out, thus filling inbetween the spokes, are called theweavers. Large diagrams placed up-on the blackbroad to illustrate themeciiod of starting the basket, willbe found helpful in teaching theoperations of construction. The in-structor should also start a basketbefore the class.The rattan should be moistened

before using but it should not beput into hot water nor soaked formore than a half hour. The reedsto be used as spokes should be cutto the proper lengths and tied to-gether in bundles before wetting:reeds to be used as weavers arecoiled and tied before soaking. Theworker should keep his fingers moistby occasionally dipping them intowater.

In making a rattan basket from 5in. to 8 in. in diameter it is advis-able to use No. 4 rattan for thespokes and No. 2 for the weavers.The basket maker takes four spokesin each hand and, pressing these flatso that each lies, beside another, heplaces the four spokes held in theright hand upon the four held in theleft hand. The groups of four reedseach are now made to intersect eachother at right angles, the point of in-

tersection being midway from end toend on each group of reeds. A half-length spoke is now placed besideone group of four and the weaving is

begun, there now being in position17 spokes projecting around the cen-ter. When the start has* reached adiameter of 5 or 6 inches a new spokeis inserted beside each of those al-ready in position excepting the last,there now being 33 spokes in all. Thebasket Is carried to completion. Tofinish the rim bring each spoke

around the two following it and in-

to the basket, moistening the reeds,

pulling them in place, and pressingthem tightly upon the last weaver.

In making a basket from rattanand raffia it is possible to employ oneof several satisfactory stitches. Theone which makes the firmest basketis perhaps the stitch known as figure-

of-eight, so named because the raffia

describes this figure as it passes in

and out in the process of sewing, 8.

The basket is formed by coiling a

piece of rattan, covering it with raf-

fia and at the same time sewing it to

itself as the process of coiling pro-

gresses. The extreme end of the rat-

tan which has been thoroughly soak-ed is first bent to the form of a

hcok; then the raffia is wrappedabout this and the coiling-sewingprocess begins. A fine tapestry nee-

dle is used for sewing and the raffia

is split, in order that the sewingmay be facilitated, and is workeddry. The figure-of-eight is simply anover-and-over stitch the progress of

the needle being: (1) Between reedsand into basket, (2) Around outsidereed and into basket, (3) Around in-

side reed and out of basket, and re-

peat.

Concrete Construction.

The making of a small rectilinear

concrete box. Portland cement and

its use in the making of concrete.

Sources of materials. The uses to

which concrete is put, etc.

The following steps of procedurewill be observed: (1) Determine useoi doa and its dimensions. No di-

mension shall exceed five inches.

The walls and bottom will be V4 in.

thick. (2) Make a working drawingof box representing three views. (3)

When the box is cast in concrete it

will be necessary to use a clay coreto provide for the shape of the in-

side of the box. Make a workingdrawing of this core using the inside

dimensions of box as dimensions for

the core. (4) Compute in cubicinches the total volume of box, solid.

(5) Compute volume of core. (6) Finddifference between these two quan-tities, which will give the cubic con-

tent of the walls and bottom of box.

(7) Allowing one fourth of this vol-

ume for loss wrhen materials aremixed (the cement filling the voidsbetween the grains of sand), deter-

mine the number of cubic inches of

material needed. (8) Four parts of

cement will be used to one part of

sand.* How much cement will beused? How much sand? (9) Makecore of moist clay. (10) The boxwill be cast with the mouth down orin an inverted position. Place coreen a slate, glass, or piece of board,putting a sheet of paper, or better,

waxed or stencil paper, under theclay to prevent concrete from stick-

ing. (11) Prepare outer walls of

form building them of clay about V>

in. in thickness, leaving a full % in.

between the core and walls, carry-ing the walls up a little over % in.

above the top of core in orderto provide for bottom of box.

(12) Construct a measure in the formof a one inch cube for cubic measure.Use heavy paper and provide laps

for gluing. (13) Measure out the ce-

ment and sand, placing tnese mate-rials in a shallow dish (a pie tin

makes a good mixing pan). (14.)

Mix the materials dry and then slow-

ly add water while mixing until themixture is just thin enough to pour.

(A broad knife is a good tool for

mixing). (15) Strengthen clay formby piling clay about it on the out-

side. (16) Pour *the concrete mixtureinto the form, over the core, beingcareful to avoid air bubbles. (17)

Tamp with knife, being careful notto disturb core. (18) Place long wirenails across core in order to rein-

force the box at the bottom. Do not

allow nails to project to within morethan V4 in. of the form walls. (19)

Put away to set. The cement will

begin to harden within half an hour.

D'amp cloths should be thrown overthe form at the end of an hour fromtime of pouring. This will preventthe evaporation of the water andwill thus facilitate setting. The formshould not now be disturbed until at

least two days have elapsed. (20)

Carefully remove outside clay formand dig out clay core. (21) Smoothoutside of concrete box by rubbing it

over a piece of No. 3 sandpaper, be-

ing careful not to break it as it is

still quite soft. (22) Make on paper,

using pencil, border design, adapting a

flower or animal form to the purposeof decoration. (23) Scratch this de-

sign upon the box with a sharp wire

*White Portland cement and mar-ble dust may be substituted for these

materials if the same can be obtainedfrom the dealer. Boxes made of the

marble resemble marble boxes. TochBros., 320 Fifth avenue, New YorkCity.

nail. (24) Place completed box in a

pail of water to become as bard as

rock. Tbe more time allowed for

this process of curing, the better.

Three days however, will be foundsufficient. (25) Remove box fromwater. (26) urain water out of it

and allow all moisture to dry out of

walls and bottom. (27) Paint box,

if desired, with Tech's cement filler

or with any other suitable cementvarnish. If a dull finish is desired,

the varnish can be sandpapered with

No. 00 sandpaper.

Plaster Molds for PotteryCasting.

The method employed in industry

for making any number of cups or

vases, all just alike. Sources of ma-

terials. Location of the places wherethe industry is carried on.

To make a plaster mould from a

small bowl or cup, the same to bewithout a handle and to have noflange or projecting rim at the bot-

tom. Pupils bring cups from homefor the purpose of making the moulds.The processes involved are as fol-

lows: (1) Invert cup upon a piece

of stencil or oiled paper. (2) Buildvertical clay wall all around the in-

verted dish allowing 1 in. between it

and the clay wall. This wall, about %inch thick, will extend 1 in. above thebottom of cup. (3) Strengthen wall bybanking clay around it on the out-

side. (4) Prepare size by putting apiece of soap, as large as a walnut,into a dish containing y2 pt. of wa-ter. The water is heated and thesoap allowed to simmer in it until

entirely dissolved. The size is nowallowed to cool. When cool it shouldbe of the consistency of molasses.(5) A coat of size is now appliedwith a brush to the entire surface of

the inverted dish. It is well to goover the dish twice to make surethat all parts have been covered. (6)

Plaster-of-Paris is now mixed for

pouring. For every quart of water2% lbs. of plaster should be used.Plaster is thrown into cold water, ahandful at a time, until the requiredamount has been put in. The plas-

ter is now allowed to soak for a

couple of minutes when the hand of

the worker is plunged into the mix-ing dish and the plaster thoroughlystirred to the consistency of cream.The mixture is soon felt to thicken.When it has become as thick as athin batter it should be poured at

once over the inverted cup, care be-

ing taken to cover all parts of thesurface and to fill the dry form to

the top of the wall. Air bubblesmust be broken or kept from beingpoured into the form. (7) The workis now left for a few minutes, whileattention is given to the mixingdish which must be rinsed out at

once before the plaster sets. Therinsing water is carried out of doorsas the pouring of it into a sink will

stop up the drain pipes. (8) The pro-

cess of hardening, called setting, be-gan as soon as the liquid plaster waspoured into the form. In about tenminutes from the time of pouring theplaster will begin to heat. Thiswarmth indicates the completion of

setting. (9) The clay walls are nowremoved at once and the sides of theplaster mould trued with a knife.This is easily done as the walls arestill quite soft. (10) The plaster castis now turned over, the cup removed,and the mould put away to dry. It

is most important that all of the wa-ter should dry out of the plaster.

To Cast a Small Bowl or Cup ByMeans of a Plaster Mould.

Cups are cast by pouring a mixture of

clay and water, called slip, into plas-

ter-of-Paris moulds. It is convenient tomake this slip in small quantities, sev-eral pupils being engaged in the work.Large bowls or pails are used formixing. Into a quart of water, whichmay be warmed if desired, is placeda large lump of clay which has beenkneaded to a thoroughly plastic con-dition. The clay is now mixed withthe water, which the worker accom-plishes by constantly squeezing thelumps of clay at the bottom of themixing dish until they almost disap-

pear, the mixture of clay and watergetting thicker and thicker as ad-

ditional particles of clay become sus-

pended in the water, until the con-sistency of batter is, reached. Theslip is now poured through a sieve

to remove any remaining lumps of

clay.

The plaster moulds, which are to

be poured, are now arranged in arow. Two pouring dishes should beprovided for the slip. Tin cans bent

to facilitate pouring, or pitchers, maybe used. Before using the slip, how-ever, it should be slowly poured backand fourth from one pitcher to theother in order that any air bubbles,

which are likely to form in all new-ly prepared slip, shall be broken.

Each plaster mould still retains

some of the soap size which must -beremoved before it can be used. It is

therefore cleansed by being filled

with slip, which is at once emptiedout. It is then allowed to standfor ten minutes in order that the wa-ter may be absorbed from the clay,

which has been deposited upon thewalls. This thin lining of clay is nowtaken out by means of a small pieceof plastic clay, which is pressedagainst it. The clay coating will ad-

here to the piece of moist clay. If

all of it can not be taken out in this

way it may be wiped out with apiece of cloth. After cleaning,- theform should again be allowed to dryout thoroughly.The plaster moulds are again ar-

ranged for pouring and each is nowpoured brimful of slip, which is al-

lowed to round over the opening in alittle mound, which gradually sinkslower and lower into the form as

water is absorbed into its plasterwalls. After the last form has beenfilled it is likely that the first will

be ready for refilling. The processof filling is continued, each of the

forms being kept brimful. After all

have been kept full for a couple of

minutes -the -blade of a broad- knifemay be scraped across the brim of

the first form in order to ascertainthe thickness of the clay wall whichhas been drawn to the inside of theplaster form,, this clay deposit beingthe wall of the dish which is beingcast. A thickness of y8 in. is desired.If the walls have not attained this

thickness the pouring must be re-

sumed.

Each plaster form is now carefully

lifted and the free slip poured out.

Each form is inverted upon two sticks

or pencils in order to provide for

circulation of air under it. A smallquantity of slip will drip from eachform before the drying begins. Formsshould be left in this position undis-

turbed, for at least half an hour, at

the end of which time the first maybe examined for removal. If the dry-

ing has progressed far enough theclay wall will be found to haveshrunken slightly from the plaster.

The newly cast dishes are put aside

to dry. After they have becomequite dry they may be finished bythe use of sandpaper. They are thenfired.

INDUSTRY CLASSIFICATION

I. d. Tools, Hammers, Chisels,Files, Hatchets, Saws.

Stone, Clay and GlassProducts.

Cutlery, Knives,e. Stoves.

1. CONCRETE.— f. Electric Dynamos and Mo-The manufacture of Portland tors.

Cement. g. Incandescent Lamps.Concrete Construction. h. Telegraph and Telephone

2. BRICK AND TILE.— Apparatus.Building Brick. i. Wagons.Paving Brick. j. Automobiles.

Drain Tile. k. Locomotives.

Floor Tile. 1. Ship Building.

9 POTTERY.— i

Earthen Ware.

m. Plows and Cultivators.n. Harvesters and Threshing

Stone Ware. Machines.

White Ware. o. Clocks and Watches.

Porcelain Ware. III.

4. GLASS.—Bottles.

Window Glass.

Wood Manufactures.

1. Saw and Planing Mill Products.

Plate Glass.2. Cooperage.3. Furniture and Cabinet Work.

II. 4. Pencils.

5. Fiber Goods.Metals, Machinery and Fiber Pails.Conveyances. Wall Board.1. SILVER—

Smelting and Refining.6. Reed Baskets—Slat Baskets.

Tableware. Iv.

2. COPPER— Furs, Leather and RubberSheet Copper. Goods.

Copper Wire. 1. LEATHER.—3. BRASS.— The Preparation of Leather.

Castings. Tanning.

Rods. 2. FURS AND FUR GARMENTS.—Tubing. Fur Dressing.Brass Spinning. Dyeing.

4. ALUMINUM.— 3. BOOTS AND SHOES.—Refining.

4. RUBBER —Sheet Aluminum and Aluminum

Utensils.Separating Rubber from the

Latex.Castings. Preparation of Raw Rubber.

5. TIN— Vulcanization.Refining. Hard Rubber.Sheet Tin. Rubber Boots and Shoes.Tin Cans. Rubber Tires.

6. IRON AND STEEL.—a. Ore Crushing, Smelting and

V.

Refining Ch emicals, Oils and

Pig Iron. Pa ints.

b. Rolling Mills and Steel 1. White Lead, Linseed Oil, PaintWorks and Putty.

Rails. 2. Varnish, Shellac and Wood Alco-

Rods. hol.

Wire. O. Turpentine and Pitch.

Wrought Iron Pipe. 4. Gasoline and Kerosene.c. Welding. 5. Printing Ink and Writing Inks.

Chains. 6. Soap.Bolts, Nails and Screws. i

.

Matches.

VI.

Paper and PaperProducts.

1. The Evolution of Paper.2. Paper Making.3. Paper Boxes, Tubes. Cartons and

Bags.

VII.

Books and PrintedProducts.

1. Engraving and Wood Block Print-

ing.

2. Type Casting and Type Setting.

3. Linotype Composition.4. Electrotyping and Stereotyping.5. Bookbinding.6. Newspaper and Magazine Pub-

lishing and Printing.

VIII.

Textiles andClothing.

1. Silk and Silk Goods.Spinning and Weaving.

2. Wool Manufactures.Shearing, Carding, Spinning andWeaving.

3. Cotton Goods.Ginning, Spinning and Weaving.

4. Flax, Hemp, and Jute Manufac-tures.

Rippling,Scutching,Weaving.

5. Bleaching,Printing.

6. Men's Garments and Furnishings.Men's Tailoring.

Retting,Hackling,

Breaking,Spinning,

Dyeing. Finishing,

8.

Men'9 Shirts, Collars and WhiteGoods.

Women's Garments and Furnish-ings.

Women's Cloaks, Suits andSkirts.

Women's White Goods.Wool, Felt and Straw Hats.

IX.

Foods.

1. Flour and Cereals.

2. Bread Making.3. Sugar and Molasses Refining.4. Fruit and Vegetable Canning and

Preserving.5. Chocolate and Cocoa.6. Salt.

7. Lard Compound.8. Oleomargarine.9. Yeast.

10. Slaughtering and Meat Packing11. Dairy Products.12. Artificial Ice and Distilled Water.13. Cider, Vinegar and Grape Juice.

X.

Water, Light andPower.

1. Water Pumping.2. Gas.3. Electricity.

4. b.eam n.eat and Power.5. Garbage Disposal.

Adapted from the Industrial Di-

rectory of New York (1912) by Mr.

A. P. Gompf of the Bowling GreenState Normal College.

A LIST OF HELPFUL REFERENCE BOOKS

(Books which may be placed in thehands of the pupils are marked withthe asterisk).

Theory and Practice.

Bailey, H. TV; Art Education; NewYork; Houghton Mifflin Co.

Bonser, F. G., and Russell, J. E. ; In-

dustrial Education; New York;Teacners College, Columbia Univer-sity, Bureau of Publications.

Dow, Arthur W.; Composition;New York; Doubleday, Page & Co.

Munsell, A. PL; -A. Color Notation;Boston; Geo. W. Ellis.

Norton, Dora M.; Freehand Per-

spective and Sketching; Brooklyn;Pratt Institute.

Baskets, Boxes,Cartons.

Buxton, F. B., and Curran, F. L.;

Paper and Cardboard Construction;

Menomonie, Wis.; The MenomoniePress.

*Dutton, Maude Barrows; In Field

and Pasture; Cincinnati; AmericanBook Co.; Indian baskets, pp. 29-31

*Dopp, Katharine E.; The Early

Cave Men; Chicago; Rand, McNally& Co.; Baskets-Pages 67-70, 126-137;

Illustrated.

*Dopp, Katharine E.; The TreeDwellers; Chicago; Rand, McNally& Co.; Baskets-Pages 106-111; Illus-

trated.

*Dopp, Katharine E. ; The Early

Cave Men; Chicago; Rand, McNally& Co.; Bags-Pages 92-95; Illustrated.

Holton, Martha A. and Rollins,

Alice F. ; Industrial Work for Public

Schools; New York; Rand, McNally& Co.; Raffia and Reed Baskets.

*Sneeden, Genevra Sisson; Dorcas,The Indian Boy; Boston, D. C. Heath& Co.; Indian Basketmaking pp. 17-18.

Trybom, J. H.; Cardboard Con-struction; Springfield, Mass.; MiltonBradley Co.

James, George Wharton; Indian

Basketry and How to Make Baskets;1 William St., New York; HenryMalkan.

Turner, Luther W.; The BasketMaker; New York; Atkinson, Ment-zer & Co.

White, Mary; How to Make Bas-

kets; New York; Doubleday, Page &Co.

White, Mary; More Baskets and

How to Make Them; New York;Doubleday, Page Co.

Bread.

*Button, Maude Barrows; In Fieldand Pasture; Cincinnati; AmericanBook Co.; Indian Bread-making, pp.14-15; Good Illustrations.

Goddard, Pliny Earle; Indians of

the Southwest; New York; AmericanMuseum of National History; Bread-making, p. 83.

Greer, Edith; Focd, What it Is andDoes; New York; Gmn & Co.

*Laing, Mary E., and Edson, An-drew; Edson-Laing Readers, BookThree; Boston, New York, Chicago;Benj. H. Sanborn & Co.; Bread-mak-ing, PP- 29-30; Indian Life.

Sherman, Henry C; Food Products;New York; The Macmillan Co.*Snedden, Genevra Sisson; Docas,

The Indian Boy; Boston; D. C. Heath& Co.; Indian bread, pp. 20-21.

Ward, Artemas; The Grocer's En-cyclopedia; 50 Union Square, N. Y.;

Pub. by the auihor; Look underBread, Yeast.

Wardall, Ruth A., and White, Ed-na N. ; A Study of Foods; New York;Ginn & Co.

Brick, Tile andTerra Cotta.

Searle, Albert B.; Modern Brick-making; New York; D. Van Nostrand.Marquand, Allan; Lucca Delia Rob-

bia; Princeton N. J.; Princeton Uni-versity Press. .-=

*Snedden, Genevra Sisson; Docas,The Indian Boy; Bcston; D. C. Heath& Co.; Indian Brick-making, pp. 72-78.

Building.

*Goddard, Pliny Earle; Indians of

the Southwest; New York; AmericanMuseum of National History; Build

ings, pp. 23-39; Good Illustrations.

*Dopp, Katharine E.; The TreeDwellers; Chicago; Rand, McNally& Co.; Shelter-Pages 93-98, 102-104;

Illustrated.

*Dopp, Katharine E.; The EarlyCave Men; Chicago; Rand, McNally& Co.; Shelter-Pages 18-26, 40-42; Il-

lustrated.

Concrete.

Davison, Ralph C; Concrete Pot-

tery and Garden Furniture; NewYork; Munn & Co.

Hering, Oswald C; Concrete and

Stucco Houses; New York; MoBride,Nast & Co.Lewis, Myron H., and Chandler, Al-

bert H.; Popular Hand Book for Ce-

ment and Concrete Users; New York;The Norman W. Henley Pub. Co.

Shaler, Nathaniel S.; The UnitedStates of America (Cement) ; NewYork; D. Appleton & Co.

Furs.

*Dopp, Katharine E.; The EarlyCave Men; Chicago; Rand. McNally& Co.; Clothing-Pages 55-60; Illus-

trated.

*Snedden, Genevra Sisson; Dorcas,The Indian Boy; Boston; D. C. Heath& Co.; Indian methods of preparingskins for clothing, pp. 22-24.

Iron and Steel.

William's, Henry Smith; The Won-ders of Science in Modern Life; NewYork; Funk & Wagnalls, Vol. IV.

International, Textbook Co.; Inter-

national Library of Technology—Ma-terials of Construction; Scranton,Pa. ; International Textbook Co.The Newr International Encyclope-

dia—Iron and Steel; New York; Dodd,Mead & Co.; under Iron, Steel.

Household Industries.

*Dopp, Katharine E. ; The TreeDwellers; Chicago; Rand, McNally& Co.; Food-Pages 57-60; 112-115;

Illustrated.

Dopp, Katharine E.; The LaterCave Men; Chicago; Rand, McNally& Co.; Food-Pages 54-55; 165-168; Il-

lustrated.

*Dopp, Katharine E. ; The TreeDwellers; Chicago; Rand, McNally& Co.; Tools-Pages 72-80; Illustrated.

*Dopp, Katharine E.; The LaterCave Men; Chicago; Rand, McNally&Co.; Weapons-Pages 32-39,73-74,92-

100, 118-123,153-160; Illustrated.

*Dopp, Katharine E.; The EarlyCave Men; Chicago; Rand, McNalley& Co.; Weapons-Pages 28-31, 45-54;

Illustrated.

Snedden, Genevra Sisson; Dorcas,The Indian Boy; Boston; D. C. Heath& CO. ; Indian fire-making, p. 4 ; meth-ods of cooking, pp. 6-7.

Meat.

*Laing, Mary E., and Edson, An-drew; Edson-Laing Readers, BookThree; Chicago; Benj. H. Sanborn &Co.; Eskimo Life-Meat, pp. 8-18.

Wissler, Clark; North AmericanIndians of the Plains; New York;American Museum of National His-

tory; Meat, pp. 26-28.

*Yan Sickle and Seegmiller; TheRiverside Third Reader; Boston. X.

Y., Chicago; Houghton-Mifflin Co.;

Indian Life-Meat, p. 177.

Paints.

Smith, J. Cruickshank; The Man-ufacture of Faint; London; Scott,

Greenwood & Son.

Milk and DairyProducts.

Belcher, S. 1).; Clean Milk; New-York; Orange-Judd Pub. Co.

Green, Mary E. ; Food Products of

the World; Chicago; The HotelWorld Pub. Co.Greer, Edith; Food, what it is and

does; New York; Ginn & Co.

McKay, G. L. and Larsen. C; Prin-

ciples and Practice of Buttermakin.i.'

:

New York; J. Wiley & Sons.Lane, Clarence B.; Business of

Dairying; New York; Orange-Judd.Larsen, C, and White, Wm.; Dairy

Technology; New York; J. Wiley &Sons.

Michels, John; Creamery Butter-

making; Wanwatosa, Wis.; The Au-thor.

Sherman, Henry C; Food Products;

New York; The Macmillan Co.

Toothaker, Charles R.; Commer-cial Raw Materials (Milk); NewYork; Ginn & Co.

Van Norman, H. E.. First Lessonsin Dairying; New York; Orange-.Judd

Pub. Co.Ward. Artemas; The Grocer's En-

cyclopedia, (See articles on Milk, Ice

Cream,, Butter, Cheese) ; The Au-

thor; 50 Union Square, N. Y.

Wardall, Ruth A., and White, Ed-

na N.; A Study of Foods; New York;

Ginn & Co.

Wing, Henry H.; Milk and Its

Products; New York; The Macmil-

lan Co.

Paper.

Butler, F. ()., The Story of Paper-

making; Chicago; .J. W. Butler Pa-

per Co.Chase, A., and Clow E.; Stories oJ

Industry, Vol. I; New York; Educa-

tional Publishing Co.

Sindall, R. W.; The Manufacture of

Paper; London; Archibald Constable

& Co.Toothaker, Charles R.; Oommercial

Raw Materials (Paper); Xew York:

Ginn & Co.

Ward, Artemas; The Grocer's En-

cyclopedia (Paper); 50 Union Square,

New York; The Author.

Pottery.

Biarber, Edwin Atlee; The Potteryand Porcelain of the United States;New York; G. P. Putnam's Sons.

Binns, Charles F. ; The Potter'sCraft; London; Constable & Co.

Cox, George J.; Pottery for Artists,

Craftsmen and Teachers; New York;The Macmillan Co.

*Dutton, Maude Barrows; In Fieldand Pasture; Cincinnati; AmericanBook Co.

Goddlard, Earle Pliny; Indians of

the Southwest; New York; AmericanMuseum of National History; Pottery,

pp. 41-44; 90-94; 143-145; ExcellentIllustrations.

Holland, R. S. ; Historic Inventions;Philadelphia; George W. Jacobs &Co; Palissy and His Enamel, pp. 42-

52.

Huddilston, John Homer; Lessonsfrom Greek Pottery; New York; TheMacmillan Co.

*Laing, Mary E., and Edson, An-drew; Edson-Laing Readers, BookThree; Chicago; Benj. H. Sanborn &Co.; Indian Poteery, pp. 35-39; Excel-lent Illustrations.

Moore, N. Hudson; Delftware, Dutchand English; New York; FrederickA. Stokes Co.

Moore, N. Hudson; Wedgewcod andHis Imitators; New York; FrederickA. Stokes Co.

Pottier, Edmond; Douris and thePainters of Greek Vases; London;John Murray.

Skinner, Alanson; The Indians of

Manhattan Island and Vicinity; NewYork; American Museum of NationalHistory; Pottery, pp. 31-36; Designsp. 35.

Walters, H. B., History of Ancient

Pottery in two volumes; London;John Murray.

Printing andPublishing.

Aldrich, Thomas Bailey; Friar Je-rome's Beautiful Book; New York;Houghton, Mifflin & Co.; manuscript,illuminating, illustrated.

Holland, R. S. ; Historic Inventions;Philadelphia; George W. Jacobs &Co.; Gutenberg and the PrintingPress, pp. 9-41.

Weaving.

Carpenter, Frank George; Howthe World is Clothed; Cincinnati;American Book Co.; Flax, pp. 50-59.

*Dutton, Maude Barrows; In Fieldand Pasture; Cincinnati; AmericanBook Co.; Indian Weaving, pp. 19-21;

Splendid Illustrations.

Eppendorff, Lina; Handwork Con-struction; Brooklyn, N. Y.; The Au-thor, Pratt Institute; pp. 15-33.

Goddard, Pliny Earle; Indians of

the Southwest; New York; AmericonMuseum of National History; Weav-ing, pp. 49-52; 94-95; 152-159; Excel-lent Illustrations.

Holland, R. S.; Historic Inventions;Philadelphia; George W. Jacobs &Co.; Whitney and the Cotton-gin, pp.96-110, Argwrigiht and the Spinning-jenny, pp. 84-95.

*Laing, Mary E., and Edson, An-drew; Edson-Laing Readers, BookThree; Boston, N. Y.; Chicago; Benj.H. Sanborn & Co.; Indian Rug-weav-ing, pp. 30-31; Good Illustration.

Toothaker, Charles R. ; CommercialRaw Materials; Boston; Ginn & Com-pany; Flax, pp. 19-20.

New International Encyclopedia.Look under carding, spinning, weav-ing, cotton, wool, flax, silk.

LIBRARY OF CONGRESS

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