,which 'we pass our working-day, study the striking undulations In the
grain of oak, ash, elm, or other of our native 'woods, and in so
doing, learn the 'worth of patient, 'welf-direded and skilled labor;
of that labor 'which educates; that is: leads out and de2,elops the
hidden 7balues ano qualities of things too often neglected because they
are frequently seen



                     PRO PATRIA
 WHEN in the decade of1870-1880, Oriental art began to receive
        'wide-spread attention in France, and became a favorite topic
of conversation In fashionable salons, there 'were many connoisseurs
'who denied its c[lams to consideration. Then it 'was that M. Thiers,
the President of the French Republic, summed 'up in a single pithy
sentence the reasons for the narrow prejudice 'which refused currency
to ideas other than those consecrated by long familiarity.
                       He declared: "One should not go to Japan
'with the Parthenon In one's mind."
                       A similar prejudice has established itself in
this country regarding the use of mahogany In the finer pieces of
household furnishings.  The preference for this 'wood, founded
partially upon its beauty, receibved a Wery strong impetus from the
connection of the 'wood and of certain famous cabinet makers 'with our
colonial history, 'which of late has been so thoroughly treated by
American authors, and so thoroughly studied by our patriotic clubs.
Consequently, our nati~e products have been neglected and theirpossi-
bilities olerlooked. But it is true that oak, ash and elm, properly
treated, possess attractions that yield to those of no other 'woods.
The undutations of their grain, the soft, unobtrusive tones 'which
they assume through skillful polish, the color-play 'which runs over
their smooth surface are qualities 'which to be appreciated need only
to be fairly obser¶ed.   The inteltigent craftsman in our country is
now raising our northern 'woods to a place beside that occupied by
the long-admired mahogany.


iv


THlE CRAFTSMAN