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

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THE OFRICE (A Play in One Act) (Time—the present. Helen is working assiduously at her desk. Miss Marquart enters. ) Miss M. Good morning, Helen. HELEN. Good morning, Miss Mar- quart. Miss M. No, Helen, I don’t want to be disturbed today. I am very busy and must have the schedule finished this after- noen. You understand? HELEN. Yes, Miss Marquart. [Exit Miss M., to her private office. | [Telephone rings. Helen picks up the receiver. | HELEN. Will you speak a little plainer. What? Who? No, this is not the Morgue. This is the Fawcett School of Art. [Hangs up.] [Enter the plumber.]} PLUMBER. Good morning, Miss. Heten. I thought you were to he here on Friday. PLUMBER. Dat’s so, but I forgot zee hammer, and had to go home for it, and ven I gets back the school was closed. HELEN. Miss Marquart is very busy now. PLUMBER. Vell, I have my hammer this time. [Enter the coal man, the electrician, the carpenter, the mason, the slater, a deputa- tion from the Art for Art’s Sake Associa- tion, a hopelessly fat lady looking for a job as a model, a number of ex-art stu- dents looking for letters of introduction, and Mr. Kleinfeldt with an arm full of broken casts, including a head of Julius Caesar. | Mr. K. [Very excited]. Where’s Miss Marquart? HELEN. She is very busy now, Mr. K. Mr. K. Ah, she’s always busy. I must see her right away. PLUMBER. Say, boss, you cannot see Miss Marquart. I vass here before you. Mr. KLEINFELDT. Before me? Are you crazy? I’ve been here for forty years. PLumBErR. I don’t care if you were here for four hundred years, I must see her first. Coat Man. Listen here, I must see her before any of you. If not, I’ll take back the coal and you can all freeze to death. Mr. K. You must not take back the coal, and you can see Miss Marquart after I find out who broke those casts. [Lets one of the casts fall on the foot of the fat lady. She swoons and falls into the arms of the plumber. He becomes embarrassed and lets her fall on the floor. Miss Mar- quart hears the noise and comes from the next room. | Miss M. Anyone wish to see me? [She sees the model on the floor.| My goodness! What’s the matter? PLUMBER. Julius Caesar stepped on the lady’s corns, ma’am. [The model is revived.] Miss M. Now, what can I do for you all? PLUMBER. If you don’t let me work on the pipes today the school will be flooded. Mason. I want to get started, too, and finish the breach in the wall before the frost comes. SLATER. If I don’t get started the rain will come through the roof. Coat Man. I want to know who or- dered the coal. If I don’t find out I'll take it back. StrANGER. And I have called on be- half of the Art for Art’s Sake Association. Crazy Man. I have heard that a few of the students dies here. This is my card. We bury our clients very cheap. Mr. K. And I’d like to know who broke those casts, : CARPENTER. I’m ready to fix the door. [Miss Marquart looks bewildered. The telephone rings. | HELEN. No, this is not the Lunatic Asylum. [Hangs up. The bell rings again.| Yes, she’s here. Miss Marquart, you are wanted at the City Hall. Miss M. [Goes to the telephone]. Yes, my car is here. I have a few minor matters to deal with, but I’ll be there in a quarter of an hour. [Miss M. hangs up the receiver, gets everything straightened out, puts on her hat and coat.]| Miss M. sible, Helen. HELEN. All right, Miss Marquart. I’ll be back as soon as pos- [58 ]

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ARCHITECTURE EGISTRATION week, five years ago, found us among the many ambitious persons taking advan- tage of the opportunities extended by the Fawcett School. af The enrollment in the architectural division be- ing large, we were divided into four classes. During the first year our instructors were besieged with innumerable questions, both wise and otherwise. Symbols of Materials, Roof Intersection, Detailing, Small Bungalow Designs, the Classical Orders, and a course in plane geometry prepared us for our future work. The first year, having served as a testing ground of the students’ ability and sincerity in their work, left us with a large second year class to proceed with the study of the design of the classical orders. We had an opportunity to plan a residence and many and varied were the ideas submitted. The interesting but mysterious subject of algebra bewildered us at first, but after becoming more acquainted with its use, cumbersome mathematical problems met in general practice could be reduced to simple equations producing greater results in accuracy and speed in working. Loft buildings were designed during the third year. Libraries produced during this term were also of various designs and arrange- ments, representing the reward of generous reading. It was dur- ing the preparation of sketches for these buildings that we received our first dose of the chief draftsman and his dreaded marking pencil. Many designs seemingly unsurpassable in composition, were discarded after criticism, to be replaced by more balanced and effective embodiments of good practice in architecture. The builders and architectural apprentices in the class received practical information on estimating. The interpretations of the building code and specifications were also found to be extremely beneficial to the practicing student. In the fourth year a collection of perspectives and renderings embodying views of country estates, town houses, shrubbery and interesting details of buildings were used in the yearly exhibit, several of which were later placed on exhibition at the Newark Museum. Lectures were given on building materials, various kinds, grades and properties, and discussions were held on the manner in which materials are specified and incorporated in a building. Having finished the Essentials of Algebra, and after a short review, we undertook the rudiments of trigonometry, and still later, advanced trigonometry. With this knowledge in hand we were fitted to undertake the necessary calculations in preparing plans for [59 ]