Of course the facts could not be gainsaid; local pride was aroused, and as a result not only were the advertised "dirty spots" cleaned up, but the munic.i.p.al authorities went out and hunted around for other spots in the city, not knowing what other photographs Bok might have had taken.

Trenton, New Jersey, was the next example, and the same storm of public resentment broke loose--with exactly the same beneficial results in the end to the city. Wilkes-Barre, Pennsylvania, was the third one of America's "dirty cities." Here public anger rose particularly high, the magazine practically being barred from the news-stands. But again the result was to the lasting benefit of the community.

Memphis, Tennessee, came next, but here a different spirit was met.

Although some resentment was expressed, the general feeling was that a service had been rendered the city, and that the only wise and practical solution was for the city to meet the situation. The result here was a group of munic.i.p.al buildings costing millions of dollars, photographs of which The Ladies' Home Journal subsequently published with gratification to itself and to the people of Memphis.

Cities throughout the country now began to look around to see whether they had dirty spots within their limits, not knowing when the McFarland photographers might visit them. Bok received letters from various munic.i.p.alities calling his attention to the fact that they were cognizant of spots in their cities and were cleaning up, and asking that, if he had photographs of these spots, they should not be published.

It happened that in two such instances Bok had already prepared sets of photographs for publication. These he sent to the mayors of the respective cities, stating that if they would return them with an additional set showing the spots cleaned up there would be no occasion for their publication. In both cases this was done. Atlanta, Georgia; New Haven, Connecticut; Pittsburgh, Cincinnati, and finally Bok's own city of Philadelphia were duly chronicled in the magazine; local storms broke and calmed down-with the spots in every instance improved.

It was an interesting experiment in photographic civics. The pity of it is that more has not been done along this and similar lines.

The time now came when Bok could demonstrate the willingness of his own publishing company to do what it could to elevate the public taste in art. With the increasing circulation of The Ladies' Home Journal and of The Sat.u.r.day Evening Post the business of the company had grown to such dimensions that in 1908 plans for a new building were started. For purposes of air and light the vicinity of Independence Square was selected. Mr. Curtis purchased an entire city block facing the square, and the present huge but beautiful publication building was conceived.

Bok strongly believed that good art should find a place in public buildings where large numbers of persons might find easy access to it.

The proximity of the proposed new structure to historic Independence Hall and the adjacent buildings would make it a focal point for visitors from all parts of the country and the world. The opportunity presented itself to put good art, within the comprehension of a large public, into the new building, and Bok asked permission of Mr. Curtis to introduce a strong note of mural decoration. The idea commended itself to Mr. Curtis as adding an attraction to the building and a contribution to public art.

The great public dining-room, seating over seven hundred persons, on the top floor of the building, affording unusual lighting facilities, was first selected; and Maxfield Parrish was engaged to paint a series of seventeen panels to fill the large s.p.a.ces between the windows and an unusually large wall s.p.a.ce at the end of the room. Parrish contracted to give up all other work and devote himself to the commission which attracted him greatly.

For over a year he made sketches, and finally the theme was decided upon: a bevy of youths and maidens in gala costume, on their way through gardens and along terraces to a great fete, with pierrots and dancers and musicians on the main wall s.p.a.ce. It was to be a picture of happy youth and sunny gladness. Five years after the conception of the idea the final panel was finished and installed in the dining-room, where the series has since been admired by the thirty to fifty thousand visitors who come to the Curtis Building each year from foreign lands and from every State in America. No other scheme of mural decoration was ever planned on so large a scale for a commercial building, or so successfully carried out.

The great wall s.p.a.ce of over one thousand square feet, un.o.bstructed by a single column, in the main foyer of the building was decided upon as the place for the pivotal note to be struck by some mural artist. After looking carefully over the field, Bok finally decided upon Edwin A.

Abbey. He took a steamer and visited Abbey in his English home. The artist was working on his canvases for the State capitol at Harrisburg, and it was agreed that the commission for the Curtis Building was to follow the completion of the State work.

"What subject have you in mind?" asked Abbey.

"None," replied Bok. "That is left entirely to you."

The artist and his wife looked at each other in bewilderment.

"Rather unusual," commented Abbey. "You have nothing in mind at all?"

"Nothing, except to get the best piece of work you have ever done," was the a.s.surance.

Poor Abbey! His life had been made so tortuous by suggestions, ideas, yes, demands made upon him in the work of the Harrisburg panels upon which he was engaged, that a commission in which he was to have free scope, his brush full leeway, with no one making suggestions but himself and Mrs. Abbey, seemed like a dream. When he explained this, Bok a.s.sured him that was exactly what he was offering him: a piece of work, the subject to be his own selection, with the a.s.surance of absolute liberty to carry out his own ideas. Never was an artist more elated.

"Then, I'll give you the best piece of work of my life," said Abbey.

"Perhaps there is some subject which you have long wished to paint rather than any other," asked Bok, "that might fit our purpose admirably?"

There was: a theme that he had started as a fresco for Mrs. Abbey's bedroom. But it would not answer this purpose at all, although he confessed he would rather paint it than any subject in the realm of all literature and art.

"And the subject?" asked Bok.

"The Grove of Academe," replied Abbey, and the eyes of the artist and his wife were riveted on the editor.

"With Plato and his disciples?" asked Bok.

"The same," said Abbey. "But you see it wouldn't fit."

"Wouldn't fit?" echoed Bok. "Why, it's the very thing."

Abbey and his wife were now like two happy children. Mrs. Abbey fetched the sketches which her husband had begun years ago, and when Bok saw them he was delighted. He realized at once that conditions and choice would conspire to produce Abbey's greatest piece of mural work.

The arrangements were quickly settled; the Curtis architect had accompanied Bok to explain the architectural possibilities to Abbey, and when the artist bade good-by to the two at the railroad station, his last words were:

"Bok, you are going to get the best Abbey in the world."

And Mrs. Abbey echoed the prophecy!

But Fate intervened. On the day after Abbey had stretched his great canvas in Sargent's studio in London, expecting to begin his work the following week, he suddenly pa.s.sed away, and what would, in all likelihood, have been Edwin Abbey's mural masterpiece was lost to the world.

a.s.sured of Mrs. Abbey's willingness to have another artist take the theme of the Grove of Academe and carry it out as a mural decoration, Bok turned to Howard Pyle. He knew Pyle had made a study of Plato, and believed that, with his knowledge and love of the work of the Athenian philosopher, a good decoration would result. Pyle was then in Italy; Bok telephoned the painter's home in Wilmington, Delaware, to get his address, only to be told that an hour earlier word had been received by the family that Pyle had been fatally stricken the day before.

Once more Bok went over the field of mural art and decided this time that he would go far afield, and present his idea to Boutet de Monvel, the French decorative artist. Bok had been much impressed with some decorative work by De Monvel which had just been exhibited in New York.

By letter he laid the proposition in detail before the artist, asked for a subject, and stipulated that if the details could be arranged the artist should visit the building and see the place and surroundings for himself. After a lengthy correspondence, and sketches submitted and corrected, a plan for what promised to be a most unusual and artistically decorative panel was arrived at.

The date for M. de Monvel's visit to Philadelphia was fixed, a final letter from the artist reached Bok on a Monday morning, in which a few remaining details were satisfactorily cleared up, and a cable was sent a.s.suring De Monvel of the entire satisfaction of the company with his final sketches and arrangements. The following morning Bok picked up his newspaper to read that Boutet de Monvel had suddenly pa.s.sed away in Paris the previous evening!

Bok, thoroughly bewildered, began to feel as if some fatal star hung over his cherished decoration. Three times in succession he had met the same decree of fate.

He consulted six of the leading mural decorators in America, asking whether they would consent, not in compet.i.tion, to submit each a finished full-color sketch of the subject which he believed fitted for the place in mind; they could take the Grove of Academe or not, as they chose; the subject was to be of their own selection. Each artist was to receive a generous fee for his sketch, whether accepted or rejected. In due time, the six sketches were received; impartial judges were selected, no names were attached to the sketches, several conferences were held, and all the sketches were rejected!

Bok was still exactly where he started, while the building was nearly complete, with no mural for the large place so insistently demanding it.

He now recalled a marvellous stage-curtain entirely of gla.s.s mosaic executed by Louis C. Tiffany, of New York, for the Munic.i.p.al Theatre at Mexico City. The work had attracted universal attention at its exhibition, art critics and connoisseurs had praised it unstintingly, and Bok decided to experiment in that direction.

Just as the ancient Egyptians and Persians had used glazed brick and tile, set in cement, as their form of wall decoration, so Mr. Tiffany had used favrile gla.s.s, set in cement. The luminosity was marvellous; the effect of light upon the gla.s.s was unbelievably beautiful, and the colorings obtained were a joy to the senses.

Here was not only a new method in wall decoration, but one that was entirely practicable. Gla.s.s would not craze like tiles or mosaic; it would not crinkle as will canvas; it needed no varnish. It would retain its color, freshness, and beauty, and water would readily cleanse it from dust.

He sought Mr. Tiffany, who was enthusiastic over the idea of making an example of his mosaic gla.s.s of such dimensions which should remain in this country, and gladly offered to co-operate. But, try as he might, Bok could not secure an adequate sketch for Mr. Tiffany to carry out.

Then he recalled that one day while at Maxfield Parrish's summer home in New Hampshire the artist had told him of a dream garden which he would like to construct, not on canvas but in reality. Bok suggested to Parrish that he come to New York. He asked him if he could put his dream garden on canvas. The artist thought he could; in fact, was greatly attracted to the idea; but he knew nothing of mosaic work, and was not particularly attracted by the idea of having his work rendered in that medium.

Bok took Parrish to Mr. Tiffany's studio; the two artists talked together, the gla.s.s-worker showed the canvas-painter his work, with the result that the two became enthusiastic to co-operate in trying the experiment. Parrish agreed to make a sketch for Mr. Tiffany's approval, and within six months, after a number of conferences and an equal number of sketches, they were ready to begin the work. Bok only hoped that this time both artists would outlive their commissions!

It was a huge picture to be done in gla.s.s mosaic. The s.p.a.ce to be filled called for over a million pieces of gla.s.s, and for a year the services of thirty of the most skilled artisans would be required. The work had to be done from a series of bromide photographs enlarged to a size hitherto unattempted. But at last the decoration was completed; the finished art piece was placed on exhibition in New York and over seven thousand persons came to see it. The leading art critics p.r.o.nounced the result to be the most amazing instance of the tone capacity of gla.s.s-work ever achieved. It was a veritable wonder-piece, far exceeding the utmost expression of paint and canvas.

For six months a group of skilled artisans worked to take the picture apart in New York, transport it and set it into its place in Philadelphia. But at last it was in place: the wonder-picture in gla.s.s of which painters have declared that "mere words are only aggravating in describing this amazing picture." Since that day over one hundred thousand visitors to the building have sat in admiration before it.

The Grove of Academe was to become a Dream Garden, but it was only after six years of incessant effort, with obstacles and interventions almost insurmountable, that the dream became true.

XXIII. Theodore Roosevelt's Influence