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

70 AKT AND HANDICRAFT studios with a determination to learn all she possibly can from steady, grinding’, acadsmic work, and from her teachers. To this encl she spends years in the up-hill, uninteresting pursuit of train- ing the eye to a sense of proportion and construction before she o Q attempts really serious work. She has learned to “wait with all her might.” If there is one character- istic beyond another that the average American woman possesses, it is an “instinct for expansion.” She has an unquenchable thirst for information, a love of knowledge for its own sake; this actuating impulse has resulted in her development in all direc- tions. If we consider Mrs. Foote the pioneer as an artist illustrator, it seems incredible that, considering the comparatively few years her drawings have been before the public, there should be so many illustra- tors to dispute the field with her. Let us take, for in- stance, Dora Wheeler Keith, whose figure-work shows a grace of line and sense öf balance indicating a strong decorative tendency, and an insight into the realm of fanciful creation. Rosina E. Sherwood’s illustrating possesses solid qualities handling and subject, her draw- and evidences of versatility in aLluJCCL) uer ciraw- . ings ranging from purely imaginative ''creations to the delin- ' eation of ultra-fashionable life. Rhoda Holmes Nicholls stands at the very head and front as a painter in water-colors, and is the recipient of medals both here and abroad. Though an English