Newark School of Fine and Industrial Art - Fawcett Yearbook (Newark, NJ)

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THE MAN WHO HEARD THE BLACKBIRD’ A Folk Story OD ELIM of the woods was both solitary and silent, and for all that was known about him, he might have been the wisest or the most foolish of men. Never a word was he known to waste in talk, as though he was saving all his thoughts for some reason or no reason at all—and as he had no faults, his friend Duric of the Bogs, who had as much curiosity as a cat and just as much patience, tried to find out if he had any virtues. Felim lived on the ridge of a hill in a house that was neither large nor small, but it had one door, four windows and a spacious hearth and that's plenty for any- one who knows the difference between too much and enough. There were no pic- tures on the walls, or distractions of any kind, because when you looked through the four windows you saw pictures greater than man ever painted and every day they changed, so that you never grew tired of looking at them. Now Duric loved Felim and the house as well and whenever he felt lonesome, and that was often, he used to call on his friend and through the dint of diligence he learned just enough to make him wish he could learn more. Felim, he dis- covered, not only knew the birds of the forest by their color, but by their songs as well. But there was one bird that he could only see and this was the bird of all birds that he wanted to hear. As far as Felim knew, no one ever had heard this songster. The name of the bird was Felim's secret and to find out the bird's name was the task that Duric set out to accomplish. Effort after effort was made by Duric to wring the secret from Felim and he was about to give up in despair, when it occurred to him that while there's life there's hope and he so old that he not only forgot his own age, but the age of Felim as well. So after a great stretch of years, he made another journey to the house on the hill, full of recent news and expectancy and found Felim seated by the hearth where faggote blazed and tried to engage him in conversation. “Patriac, the shepherd saint who banished the snakes, is dead,” said Duric. But Felim did not speak or show sign of joy or sorrow. “Oilean-Ur was discovered by a navigator out of Genoa,” said Duric. Felim kept gazing into the fire. “There was an unheard of upheaval and great slaughterings in the western world. Monarchs fell from their thrones and nations were torn asunder,” said Duric, rising like a man full of knowledge. Felim did not budge or move his lips. Duric walked towards the door, swung on his heel and said, “Felim of the woods,” said he, “the man who heard the blackbird was killed in the unholy war. Felim gazed in amazement at Duric for a moment, then dropped his head like one who could never speak again. Frances Ledwidge, the Irish poet who was killed in the world war. “Oilean-Ur” means America. Patriac is the old way of spelling St. Patrick. Seumas O'Brien.

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A BUST OF BEETHOVEN SAT there on my high stool, and gazed—with wide-opened eyes at the bust of Beethoven. It was turned a little away from the window, but the rays of the dying afternoon sunlight fell clearly on the profile. There it was—the beauty of that noble high forehead—the strength of the closely knit eyebrows—the wan and weary lines of the sunken furrowed cheeks—the delicacy of the drooping lips, the firm set of the chin, and the everlasting unconscious youth which permeated the whole— till, although there was supreme agony in every part of the face, a strange beauty shone through—a beauty showing supremacy over physical pain—and mental anguish, over many disappointments and disillusions. I was almost moved to tears for Beethoven, the master of music, who was so misunderstood by the court, by his friends, by the ladies, but who was so full of human kindness that he could easily be won over to sympathize with his fellow-man's thoughts through his sensitiveness as an artist and his generosity as a man. And as I gazed, the sun began to disappear and the shadows gathered more thickly about the head of Beethoven, and seemed to say—“I suffer—but such is my fate!” Through art a great spirit has been made real. May the splendid work of Seumas O'Brien inspire us to greater artistic accomplishment. WE THANK MR. KRESGE It is the eve of our graduation, after which we shall face the world at large and endeavor to show our worth; when the world shall say to each one of us, “Just what can you do? Mr. Kresge has given us just that kind of opportunity during the year, in offering prizes for posters and modelling for real advertising purposes. These live problems have inspired our students mightily. МА few months ago, Mr. Kresge presented to the city one of the finest and largest architectural master pieces in Newark, in the form of Kresge Department Store. We feel complimented at his interest in our work. We hope to find in future years other philanthropists who will appreciate our ability as well as he. We take this opportunity of thanking Mr. Kresge for his generous patronage. Gladys Black. The great architect, Mr. Ralph Cram, said, “Architectural schools should also teach all the Arts and Crafts, and the Allied Arts, thus placing them at the service of constructural design. He claims the resulting course would be a well-rounded and essentially professional one. This and other telling points were stressed in his very brilliant lecture given under the auspices of the Newark Art Club in the Newark Museum. Fawcett students were given the privilege of attending this lecture. А large group, many of them from the Architectural Department, attended, thus proving their intense interest in all things “Art-full”.

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COSTUME DESIGN “Vanity, vanity, all is vanity.” What a furore that saying has always created! But today we freely assert that the woman who is well-dressed has a right to be vain. She must have taste and discrimi- nation, combined with an expert knowledge of color and design. The costume of today demands a highly-developed, selective ability. Materials, colors, and accessories must be so combined as to create a perfect ensemble. A knowledge of color and design as ap- plied to dress should be acquired by every woman as a highly im- portant part of her education. In line of professional costuming, the ability to portray an idea is of the greatest aid in working out a design. Sketching, rendering in color, and working in various mediums are a part of the training of the well-equipped professional dress-creator.