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by only a few persons) encloses a land area of 774,000 square miles, and adding only half as much more for the ocean and gulf makes the disturbed area very nearly as large as that given by Reclus for the great Lisbon earthquake of 1755. Indeed, the state department has reported one reliable observation showing that it reached Bermuda. The irregularities of the isoseismals are, of course, due to the varying geologic and topographic structure of the country, and will well repay a more careful study than we have space for here. The rapid loss of energy in the sands and alluvial deposits of the north-east coast and lower Mississippi valley is especially noticeable. The isolated areas of different intensities, too, are typical of cases which would be very numerous were it possible to plot intensities in great detail, instead of only indicating the general features of their distribution.

The coseismals were determined by many very reliable and consistent but non-instrumental observations, the most accurate being from points in that part of the disturbed area north of a line from Jacksonville, Fla., to St. Louis. For the most part, high velocities of wave-transmission are indicated. Where the lines are somewhat crowded, it must be owing, at least in part, to the earlier tremors having failed to reach so far; so that a later phase of the wave was successively felt and recorded. The general use of standard time has added greatly to the reliability of these observations; and, on the whole, we may perhaps be justified in feeling a certain sense of self-satisfaction, in view of Mallet's remark, that "the accurate measurement of time is one of the surest indications of advancing civilization.”

At the present age of this young and interesting science, probably the most valuable results will be obtained from observations made at numerous points in a selected district, with some simple instruments which will accurately record the time, number, and duration of every shock that

occurs.

TECHNICAL AND MANUAL TRAINING CLASSES OF THE SOCIETY OF DECORATIVE ART.

IN the autumn of 1885 the Society of decorative art of New York, desiring to extend its educational advantages, opened an art-school, where men and women, boys and girls, might be trained in the principles of art, and in the rudimentary steps of various art-industries. The first season was one of much usefulness and encouragement, and the second opens with promise. The school is centrally located in West 22d Street, Nos. 37 and 39. An important feature of the school, in

addition to classes in drawing, painting, modelling from life, from still-life, and from the antique, is a special department in manual training, as applied to practical designing, modelling in clay, woodcarving, and metal-working.

In considering the plan of instruction of this new school, the fact must be borne in mind that the work of the Society of decorative art has, from its inception, been distinctively educational. The object of the society was to develop art-industry in America; to extend among women the knowledge of art-needlework, and its adaptation to household decoration; to provide instruction; to lend books; to give helpful criticism for the guidance of those at a distance; and, in addition, to furnish a salesroom where artistic work might be brought to the notice of purchasers.

In the brief period of its life, less than ten years, the society has faithfully striven to accomplish these purposes. A standard of colordesign, workmanship, and adaptation, has been created through its influence,- an influence which is felt in every home throughout the country, and may be recognized in the wares of the humblest shop where decorative materials are sold. Needlework was almost a lost art, so entirely had the sewing-machine triumphed: it has already taken a place among art-industries. Hundreds of women have been trained by the society, and have gone forth to earn a living and provide homes for themselves and those dependent upon them.

The demand of the age is for workers- men or women who can do.' The artisan who has command of head and hand alike is the one who is sure of success. Human machines can have no chance in competition with those who are intelligent in their work. Head-craft and hand-craft combined give to the worker a solid stone on which to stand. The society's department for technical and manual training provides just this education. Classes have been formed where boys and girls are taught to think and do; to use brain, eye, and hand together, that they may become intelligent and disciplined workers.

The school is fortunate in having secured the services of Mr. J. Liberty Tadd as director, who brings to his work an enthusiasm and confidence born of success. The keynote of his teaching is, that everybody has capacity in some direction. Training will develop the peculiar aptitude. The earlier in life this work of training begins, the better for the pupil. The child, restless and impatient, is eager to try its hand, and welcomes a suggestion to make something.' This desire is gratified and directed, interest is held, ambition stirred, and thought developed. The result is calm, quiet growth, an appreciation of labor, a

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ELEMENTARY PRACTICE AT THE NEW YORK ART-SCHOOL (slightly reduced).

knowledge of material, and an ability to both plan and execute that is surprising. Children cannot be made interested and enthusiastic by abstract ideas. They must see, to know.

At the foundation of technical study lies practical designing. Some knowledge of its principles is necessary in almost every pursuit. The acquisition of this knowledge, and reasonable skill, may be easily obtained without special gift or artistic talent. Let us take, for example, one of the free classes. These meet three evenings of the week. The students are ranged on either side of long tables, each of which commands a view of the

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evenness of action developed. all at once. Then comes the second step. The elementary lines are to be combined into certain forms, motives of the Persian, Egyptian, Greek, Roman, Moorish, modern French, or any other school of design chosen by the instructor. These forms are drawn upon the board: the pupil repeats them on the side of his paper. He has now a leaf as his dictionary, and will in time learn the peculiar characteristics of each school of ornament. He is asked to take the forms given, to enlarge, combine, and repeat them in a pattern which shall be suitable for something, sofa

A BOY'S (AGE 11 YEARS) FIRST DESIGN (same size).

large blackboard. In front of each pupil is a sheet of clean brown paper, a piece of rubber, and a pencil.

The instructor draws upon the blackboard with a piece of chalk the elements of all drawing or design, three lines, straight, diagonal, and curved. He explains that the first step in drawing is to learn to put these down with free sweep of the hand,-no piecing out or adding to a broken, given-out line. Many attempts are made, and many sheets of paper covered with crude efforts, to catch the proper knack or to acquire steadiness of hand. But paper is cheap, and the struggler is not limited by material. The hand has naturally more facility in some directions than in others this tendency must be controlled, and

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The best work is marked for inspection, and placed against the wall. In three months' time there is usually a display of much artistic value.

As yet, the work has been only on the flat surface. The pupil must go further. When a good design has been made, the important requisite is to give it form, to put it into the round' by repeating it in clay. Here the work is tested in the cheapest possible material, and here the pupil learns to use his hands in earnest. Artist and

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