Art and Handcraft in the Woman's Building
of the World's Columbian Exposition

APPLIED ARTS IN THE . WOMAN’S BUILDING. ANOTICE of the Applied Arts in the Woman’s Building must begin with the specimens of antique art which belong to the collections of different countries in what is called the Foreign Section—exhibits which comprise the arts of embroidery, fan-painting, jewelry, silverware, and the exclusively feminine art of lace-making. The collection of Queen Margherita covers not only the long history of the lace-making art of Italy, but that of all lace-making countries as well, while in other foreign exhibits are found eccle- siastical and antique embroideries of all nations, treasures of all countries, centuries, epochs, and schools. Not gleanings, but selec- tions from the precious arts of all countries are here, since among these it is always the most valuable, the costliest, the most difficult of accomplishment, which receives the care of succeeding genera- tions, and survives for the inspiration, guidance, and standard of mankind. It is wonderful that such treasures, under even the most careful conveyance, should have floated down the centuries and been allowed to drift to a country so far removed and undreamed of when some of them were created. But it is not alone from foreign countries that these riches are gathered. An American collection, owned and loaned by citizens of New York, and collected by the New York State Board of Women Managers, is shown in the west gallery of the Rotunda. It does not by any means represent the wealth of curios and works of art possessed in this country, or even in New York City alone, but enough is shown to illustrate the very best periods of creative art, and to prove that if these private treasures could be occasionally gathered into public exhibitions, students and artists need not cross the great barrier of the sea to study examples of ancient knowledge and skill. In passing from the best work of the past to that of to-day, and especially to that which is exclusively the work of the women of to-day, we must remember that, as far as practice is concerned, we are considering a new birth, a revival of ancient handcrafts, instead (59)