" At present the most valuable gift which can be bestowed on women, is 
 something to do, which they can do well and worthily, and thereby maintain 
 themselves."— James A. Garfield. 
 
 CATALOGUE <AWD Ct%CULA% 
 
 OF THE 
 
 School of Industrial Art 
 
 AND 
 
 Technical Design for Women. 
 i 34 FIFTH AVENUE, 
 
 NEW YO%K CITY. 
 
 IVEres. Florence Elizabeth Cory, Principal. 
 
 — *- 
 
 WITH EXTRACTS FROM THE REPORT OF THE PRINCIPAL, BEFORE 
 THE UNLTED STATES SENATE COMMITTEE ON 
 EDUCATION AND L,ABOR. 
 

 
 tex Ctbrtfi 
 
 SEYMOUR DURST 
 
 
 FORM OF ^BEQUEST. 
 
 I give and bequeath to the School of Industrial 
 zArt and Technical Design for Women the sum of 
 
 Dollars for the purpose of said 
 
 School 
 
 flwwar 
 
" At present the most valuable gift which can be bestowed on women, is 
 something to do, which they can do well and worthily, and thereby maintain 
 themselves."— James A. Garfield. 
 
 CATALOGUE -ANT) Cl%CULA% 
 
 OF THE 
 
 School of Industrial Art 
 
 AND 
 
 Technical Design for Women. 
 \)4 FIFTH AVENUE, 
 
 NEW YO\K CITY. 
 
 Mrs, Florence Elizabeth Cory, Principal. 
 
 
 
 WITH EXTRACTS FROM THE REPORT OF THE PRINCIPAL BEFORE 
 THE UNITED STATES SENATE COMMITTEE ON 
 EDUCATION AND LABOR. 
 
SCHOOL OF INDUSTRIAL ART 
 
 AND 
 
 TECHNICAL DESIGN FOR WOMEN. 
 
 PATRONS, 
 
 Hon. FRANKLIN EDSON (Ex-Mayor of the City), . New York City. 
 
 U. S. Senator HENRY \V. BLAIR New Hampshire. 
 
 U. S. Senator WARNER MILLER New York. 
 
 U. S. Senator W. R. McPHERSON New Jersey. 
 
 Hon. DE WITT C. LITTLEJOHN Oswego, N. Y. 
 
 Hon GEORGE B. SLOAN, Oswego, N. Y. 
 
 Hon. THOMAS S. BRONSON, . . . . Richmond, Ky. 
 Mr. JOHN S. CLARK (Prang & Co ), . . . Hoston, Mass. 
 •Mr. J. S. WARREN (President of the "American Wall- 
 paper Manufacturing Association "), . . . New York City. 
 
 Mr. WM. BERRI Brooklyn, N. Y. 
 
 Mr. WM. A. HARRIS (Editor Carpet Trade and Review), New York City, 
 
 Mr. E. S. KELLOGG (Editor School Journal), . . New York City. 
 
 Mrs. J. P. SILL, Cooperstown, N. Y. 
 
 Mr-,. J. C. CROLY (" Jennie June ") New York City. 
 
 Miss GRACE H. DODGE New York City. 
 
 Miss SUSAN HAYES WARD, Newark, N. J. 
 
 Mr. SHEPPARD KNAPP, New York City. 
 
 Mr. WM. WHITLOCK (Publisher Art Interchange), . New York City. 
 
 Mr. MONTAGUE MARKS (Editor Art Amateur), . New York City. 
 
 Mr. JOHN CLARK HOWE St. Louis, Mo. 
 
 Dr. A. HAW LEY HEATH, New York City. 
 
 M iss VI RG I NT A BRUSH New York City. 
 
 3 
 
OFFICERS AND -INSTRUCTORS 
 
 OF THE 
 
 SCHOOL OF INDUSTRIAL ART FOR WOMEN, 
 
 PRINCIPAL, 
 
 MRS. FLORENCE ELIZABETH CORY. 
 
 BUSINESS MANAGERS. 
 
 JOHNSON L. HALL, FLORENCE ELIZABETH GORY. 
 
 SECRETARY, 
 
 MISS PAULINE CORY. 
 
 INSTRUCTORS — REGULAR CLASSES. 
 
 ELEMENTARY CLASSES, .... Miss Esther Kline. 
 
 Free-Hand Drawing — Walter Smith's Geometrical System. 
 ADVANCED CLASSES, . . . . ' . Mrs. Florence E. Cory. 
 Industrial Designs for Carpets, Oil Cloths, Fabrics, Wall Paper, etc. 
 
 WOOD ENGRAVING, Miss Charlotte B. Cogswell. 
 
 MODELING AND SCULPTURE, . . .. 
 
 FLOWER PAINTING {As applied to Designs), . . Mrs. Florence E. Cory. 
 
 OIL PAINTING, . . Mrs. Eleanor Lansing. 
 
 WATER-COLOR PAINTING 
 
 CHILDREN'S CLASSES, Miss Clara M. Heath. 
 
 SUPERINTENDENT OF WORK ROOMS, 
 
 MRS. FLORENCE ELIZABETH CORY. 
 
 MANAGER DEPARTMENT FOR HOME STUDY, 
 
 MRS. FLORENCE ELIZABETH CORY. 
 
 MANAGER HOME DECORATION DEPARTMENT, 
 
 MRS. FLORENCE ELIZABETH CORY. 
 4 
 
Practical Working Designs made by Pupils of the School, 
 now on Exhibition in the Institute. 
 
 CARPETS. 
 
 Class A. — Body Brussels Sketches. 
 
 Class B. — Moquette Sketches. 
 
 Class C. — Axminster Sketches. 
 
 Class D. — Tapestry Sketches. 
 
 Class E. — Ingrain Sketches. 
 
 Class F. — Body Brussels Working Design. 
 
 Class G. — Tapestry Working Design. 
 
 Class H. — Ingrain Working Designs.* 
 
 Class J. — Ingrain Working Designs for Art Squares 
 
 Class K. — Working Designs for Smyrna Rugs. 
 
 OIL CLOTHS. 
 
 •Sketches for Line Oil Cloths. 
 ■Working Designs for Pin Oil Cloths. 
 Sketches for Linoleums. 
 -Working Designs for Tiles. 
 -Working Design for Table Oil Cloth 
 
 WALL PAPERS. 
 
 Class A. — Working Designs for Wall Papers and Borders. 
 
 Class B. — Stencils. 
 
 Class C— Ceiling Decorations. 
 
 * Ingrains are always put upon the lines in red, no matter what colors are to appear 
 in the finished fabric. In three-plys scarlet and black are always used, although there 
 may be neither scarlet or black in the woven goods. A technical education is necessary 
 to a thorough understanding and appreciation of ingrain designs. 
 
 Class A. — 
 Class B.— 
 C'ass C. — 
 Class D — 
 Class E. — 
 
 5 
 
STAINED GLASS. 
 
 Class A. — Sketches for Windows. 
 
 Class B. — Sketches for Screens. 
 
 Class C. — Sketches for Lamps and Lanterns. 
 
 Class D. — Working Designs for Stained Glass. 
 
 CALICO AND PRIN7S. 
 
 Class A. — Designs for Calico. 
 Class B.— Designs for Sateens and Ginghams. 
 Class D. — Designs for Awning Stripes. 
 Class E. — Designs for Cretonnes. 
 
 CAR VED AND INLAID WOOD. 
 
 Class A. — Design for Inlaid Panels. 
 Class B. — Design for Carved Panel. 
 Class C. — Design for Carved Frame. 
 Class D. — Design for Pyrograuver Panels. 
 
 PORTIERES. 
 
 Design for Portieres to be painted on bolting-cloth. 
 Design for Embroidered Portieres. 
 
 EASTER AND CHRISTMAS CARDS. 
 
 Designs for Easter and Christmas Cards and Valentines. 
 
 LINEN 
 
 Class A. — Designs for Table Cloths. 
 Class B. — Designs for Napkins. • 
 Class C. — Designs for Towel Borders. 
 
 Class D. — Working Designs for Red and White Table Linen. 
 Class E. — Designs for Handkerchief Borders. 
 
 6 
 
BOOK CO VERS. 
 
 Class A . — Designs for Cloth Book Covers. 
 Class B. — Designs for Em bo seel Calf Covers. 
 Class C. — Designs for Printed Paper Covers 
 Class D. — Designs for Lithographed Covers. 
 
 WORSTED WORK. 
 
 Design for Sofa Pillow ^Cress-stitch Embroidery). 
 
 FA N MOUNTS. 
 
 Designs for Painted Pan Covers (on Silk or Satin). 
 Designs for Lace Kan Mounts. 
 
 LACE. 
 
 Designs for Duchess and Thread Lace. 
 
 SILK. 
 
 Class A. — Sketches for Printed Silks. 
 Class B. — Sketches for Silk Hankerchiefs. 
 Class C — Sketches for Ribbons and Sashes. 
 Class D. — Working Designs for Woven Silks. 
 
 WINDOW SHADES. 
 
 Working Designs for Decorated Holland Shades. 
 
 NOTE. — Visitors will please note the difference between Sketches and Working 
 Designs. The former are drawings or paintings made to a given scale, and are the repi-e- 
 sentation in miniature of the finished fabric or article. A Sketch is submitted to the 
 manufacturer, who judges as to its general arrangement, color and style ; if the sketch 
 pleases him he then orders the Working Design, which is made the full size of the 
 cloth (sometimes larger) and embraces all the practicalities and technicalities necessary 
 to enable it to be put directlv into the machinery and woven, or printed, from at once. 
 All our Working Designs a're thoroughly practical, and adapted to their own peculiar 
 machinery, and can be manufactured from without having been " worked over" first m 
 the factory. Certain technicalities are also necessary to make a sketch correctly, and 
 these are fully observed in the work done in this school In fact our work is all thor- 
 oughly practical, and therefore remunerative. 
 
 7 
 
CIRCULAR LETTER. 
 
 The establishment of an Institute of Technical Design for 
 Women, in New York, grew out of a forceful necessity for its ex- 
 istence A realization of this need is felt more and more keenly 
 every day, especially among women of artistic ability and cultiva- 
 ted tastes, who are crippled by an enforced incapacity which they 
 see no way of overcoming. 
 
 Thus far existing schools of design teach their pupils the 
 principles of design only, accompanying theoretical teaching with 
 intelligent use of pencil and brush, but in no school in this coun- 
 try is taught the knowledge of machinery and the nice technicali- 
 ties of design, without which the most beautiful pattern is value- 
 less to the manufacturer, and the disappointed student who 
 thought his knowledge all sufficient, is obliged to seek, after 
 graduation, the necessary practical instruction elsewhere. The 
 only alternative for males is to enter a design-room as an appren- 
 tice and there spend months and not unfrequently years, in grind- 
 ing colors, laying in grounds, copying, etc , before becoming suf- 
 ficiently skilled to make a practical original working design. But 
 this alternative has not been made available for women, men 
 and boys only being considered eligible to this apprenticeship. 
 
 A single exception however, was made in favor of Mrs. Flor- 
 ence K. Cory. She, after much fruitless endeavor to perfect her- 
 self practically in the arts of design in the various classes and 
 schools of design (not excepting the highest of our city), did 
 eventually secure admission into the design-room of a prominent 
 carpet manufacturer, and there learned to make practical appli- 
 cation of the principles and theories which up to this period had 
 done almost as much to bewilder as to enlighten her. 
 
 Then, and not till then, could she comprehend the rejection 
 of designs by manufacturers, alike tasteful and attractive in sub- 
 ject, general arrangement and color, to the uninitiated, desirable 
 from every stand-point, but in reality worthless, because they 
 could not be woven. 
 
 8 
 
Machinery has its requirements and its limitations, all of 
 which must be considered when making a design, and without 
 the practical knowledge necessary to do this an acceptable work- 
 ing-design cannot be made. 
 
 Hence the great importance of establishing opportunities for 
 instruction which will cover these vital points, and especially for 
 women whose avenues for lucrative congenial employment are so 
 limited. 
 
 Many women of refined taste and good general artistic cul- 
 ture, waste their energies and health in the vain endeavor to 
 make decorations upon silk, satin, Christmas and Easter cards, 
 panels and plaques, reasonably profitable, who might easily be- 
 come qualified to perfect themselves in some one of the many 
 forms of Industrial Design, and thus secure a steady income if 
 only the opportunity to do so could be secured. 
 
 Manufacturers, too, would profit by such an addition to their 
 home resources in design. 
 
 The great point in competition in all trades now is, unique, 
 tasteful, original designs, and to secure them manufacturers not 
 infrequently exhaust their home resources, and are obliged to de- 
 pend upon the designs bought at great expense in European 
 markets, which they do not see until purchased and delivered, 
 and are then often found entirely unsuitable for the special 
 requirements for which they were ordered. 
 
 In the light of these truths, the managers of this School will 
 take especial pleasure in making every endeavor to extend the 
 possibilities of industrial design for women as widely as possible, 
 and by the aid of a well systematized, thorough and practical 
 course of instruction, they are confident of qualifying a large 
 number of women to become self-supporting in a far more satis- 
 factory manner than has been their wont, as designers or teachers. 
 
 Realizing the importance of being thoroughly well grounded 
 in every pursuit, the managers and instructors will make special 
 -endeaver to have the teachings in the elementary classes very 
 thorough and comprehensive. 
 
 The lessons in drawing and in color will have reference to 
 their application to industrial purposes from the beginning, thus 
 materially facilitating the ultimate object of the students. 
 
 9 
 
The support already given the school enterprise by men 
 prominent in carpet interests, and in other industrial arts, is a 
 guarantee that the work is worthy the serious attention which it 
 has everywhere received, and the managers feel sure that their 
 efforts to give women such advantages as will make them practi 
 cally familiar with the workings of machinery, the technicalities 
 of design as applied to various industries, as carpet designing, 
 wall paper, oil-cloth, linoleum, lace, chintz, silk, calico, leather, 
 book covers, etc., will be richly rewarded by seeing them become 
 self-supporting at an early day, fortified by the fact that they are 
 thoroughly prepared for the new lines of industry for which they 
 have been trained. 
 
 It takes two years to complete the entire course. The ele- 
 mentary class, together with the flower-painting and simple de- 
 signs (such as for calico, muslin, stained glass, inlaid woods, jew 
 elry, etc.), occupy one year's time. 
 
 The advanced classes, with advanced designs for oil-cloth, 
 linoleum, silk, carpets, etc., require another year's study. The 
 third year (if a student chooses to return), is passed in the prac- 
 tice and design room, where no regular instruction is given, but 
 where orders are received and work done under the supervision 
 of the Principal and well-known designers for various industrial 
 purposes, who have offered their services as critics, and who 
 give suggestions as well as criticism to the work of the pupils. 
 This course of instruction fits a pupil to become a teacher as well 
 as a designer ; numbers of our pupils are now teaching in public 
 or private .schools, or have established schools of their own in 
 various parts of the country. 
 
 We are constantly receiving requests for teachers from insti- 
 tutions of all kinds, also from private classes, and from ladies 
 who wish to be instructed in their own homes. 
 
 The managers cordially invite all interested in the promotion 
 of industrial art for women, to visit the School, become familiar 
 with its workings, and then aid the movement in such ways as 
 may be agreeable and possible. 
 
DRA WINGS. 
 
 All drawings made in the School are the property of the pu- 
 pil who made them, with the exception of one sheet from each 
 set made, which shall be retained as the property of the School. 
 Pupils, if they wish to keep their set of drawings entire, have the 
 privilege of duplicating the drawing thus retained. 
 
 They also have the privilege of disposing of all salable de- 
 signs to manufacturers, while still under instruction ; several hun- 
 dreds of dollars were so earned by the pupils of last year, many 
 of them being thus enabled to wholly or partly pay their expen- 
 ses at the School. A commission of 10 per cent, is demanded on 
 all sales, made by pupils, while still under instruction in the 
 School. 
 
 No drawings can be removed from the School (excepting for 
 sale), before the expiration of one year, when all but the one 
 sheet retained by the school may be taken. 
 
 MA TERIALS. 
 
 All materials are furnished by the pupils at their own cost, 
 and can be purchased at the School, or at any well-known art 
 store. The price of materials for the elementary classes is from 
 $7 to $10, and for the advanced classes from $10 to $12, depend- 
 ing upon the branch of study pursued, and the fluctuations of 
 the market. 
 
 ADMISSION. 
 
 Pupils who have not become practically familiar with draw- 
 ing, will be obliged to enter the elementary class. 
 
 Pupils desiring to enter the advanced classes will be required 
 to present specimens of their work — free-hand drawing — flowers 
 from nature, or conventionalized, ornamental figures, or scrolls, 
 etc. 
 
 Pupils of other schools of design, desiring to make practical 
 the theories there learned, will be admitted to the finishing class- 
 es at once. 
 
 The managers of the School do not furnish work to the pupils, 
 
 // 
 
but use their influence — which is considerable — in procuring 
 it from manufacturers. 
 
 TERMS, PA YABLE IN AD VANCE. 
 
 Elementary class, each term, $30.00 
 
 For the entire school year, . . . . . 60.00 
 
 Advanced classes, each term, ..... 50.00 
 
 For the entire school year, ..... 100.00 
 
 For the two years' course, ... . 150.00 
 
 Teachers' class, each term, ...... 25.00 
 
 Summer term, ......... 40.00 
 
 Wood-carving, book covers, ten lessons, . . . 12.00 
 Separate course of flower painting, . . . .25.00 
 
 Oil-painting, each term, . . . .25.00 
 
 Water-color painting, each term, ..... 25.00 
 
 Children's class, each term. . . .15.00 
 
 All private or single lessons, per hour, . . 2.00 
 Lessons in design by letter, each, . 3.00 
 
 Letters of criticism, each, ....... 2.00 
 
 Classes will be formed, or single lessons given, in all the spe- 
 cial branches of the School. 
 
 Use of design-room, privilege of receiving orders, sugges- 
 tions, criticism, etc , after graduation, $8.00 per month. 
 
 Sittings, easel-room, etc., $5.00 per month. 
 
 Pupils who have not the time or the means to enter the 
 School for the entire term, or those needing but a few lessons to 
 perfect themselves in some specialty, may enter the School for a 
 month, on the following terms, payable in advance : 
 
 Elementary classes, per month, .... $15.00 
 Advanced classes, " " . . . . 20. co 
 
 Summer classes, .... 20.00 
 
 For the benefit of teachers who are prevented from attend- 
 ing the regular classes, a Teachers' Class is established for Sat- 
 urday mornings, from 9:30 until 12 o'clock. Instructor, Mrs. 
 Florence E. Cory. 
 
 T2 
 
Special attention paid to private pupils and students who are 
 in the city for but a short time. 
 
 There are two terms during the regular school year, and an 
 extra Summer term for Teachers and others who cannot attend 
 the School during the Winter months. 
 
 CALENDAR. 
 
 The School year begins the first Monday in October. The 
 first term closes the last Friday before Christmas. The second 
 term begins the first Monday in January, and closes the second 
 Friday in April. 
 
 The summer term begins the first Monday in May and ends 
 the first Friday in August. The managers reserve the right 
 to change these dates when necessary. 
 
 Pupils can enter the School at any time and will be charg- 
 ed from date of entrance, although it is always best to enter at the 
 beginning of the term when possible. 
 
 HOMES. 
 
 There are a few rooms in the school for rent without board. 
 These rooms are fully furnished, are heated by steam and lighted 
 by gas. Pupils have the privilege of getting their own meals in 
 their rooms on small oil-stoves. Some have their meals sent in 
 hot for $3.00 per week. Many go out for theirs, while others go 
 out to dine, getting their own breakfasts and luncheons. All 
 claim to live much more cheaply in this way than to regularly 
 board, besides enjoying certain privileges and facilities for work 
 that outsiders do not have. The price of the rooms is $2.00 per 
 week with room-mate, or $4.00 per week alone. Pupils must apply 
 for rooms early in the season, accompanying such application 
 with one week's rent in advance, as there is a great demand for 
 them. 
 
 /? 
 
DEPARTMENT OF HOME STUB}. 
 
 This department was inaugurated in 1882, and has proved 
 highly successful as a means of training designers and teachers. 
 Instruction is given by letter in all branches taught in the School 
 to those who cannot enter the classes. 
 
 Letters of instruction {combined with criticism on the last 
 exercises made) are $3.00 each, and are very explicit even to the 
 minutest detail. Just how many letters a pupil will require to 
 perfect her in any chosen branch depends upon her own capabili- 
 ties. Generally from six to twelve are sufficient. 
 
 Letters of criticism merely for pupils who have finished the 
 course of instruction and need only criticism on finished work be- 
 fore offering it for sale, are $2.00 each. 
 
 With each letter of instruction is given a list of" materials re- 
 quired ; these are all quite simple for the first few lessons. If at 
 any time materials are mentioned that cannot be procured at 
 home, they can be purchased from the School at reasonable rates. 
 Material for the entire course will cost from seven to ten dollars. 
 
 All exercises, drawings or designs made after directions 
 given in the letters of instruction are to be sent to the School for 
 criticism and correction. They will then be returned to the pu- 
 pil, together with the next lesson. 
 
 All mail and express charges on designs, goods, samples, 
 etc., must be paid by the pupil. 
 
 When a pupil becomes competent to make a good practical 
 working-design, a list of manufacturers is given to whom the 
 work may be sent for sale, and for further orders. Designs are 
 also sold at the School on commission, 10 per cent, being asked for 
 on all sales. 
 
 With the letters of instruction, are sent samples, diagrams, 
 fabrics examples, etc., when necessary. 
 
 Designs sell for from $5 to $75 each, a rapid worker can 
 make of the former, two or three per day ; and of the latter, one 
 in a week or ten days. 
 
 As letter instruction is individual, a pupil can begin the course 
 at any time, without waiting for classes to form. 
 
 It is utterly impossible to answer the questions, " How long 
 
will it take me to learn ?"or " How soon before I can begin to earn 
 money?" We do not know. Knowing nothing whatever of the 
 pupil's capability, and previous knowledge, her patience, perse- 
 verance, and application, how is it possible for us to judge? 
 
 The only way to decide such a question is to make a trial, 
 and would-be pupils, who are doubtful on these, and all other 
 points, are advised to send us $3.00 for a trial lesson, from which 
 the pupil can judge of our system, and we of her ability as in no 
 other zcay. If neither are satisfactory, no more time or money 
 need be expended on the matter. If our opinion is valued, it will 
 always be given cheerfully as to the merit of the exercises made 
 after the instruction given in this trial letter. Criticism of the 
 drawings will not be given unless the course is continued. 
 
 Payments for the letters may be sent by registered letter, 
 checks, drafts, postal notes, or P. O. money-orders. If the latter, 
 they must be made out to Mrs. Florence E. Cory, Station New 
 York City, and if checks, 15c. must be added to the amount, for 
 the New York Exchange. 
 
 INQUIRIES. 
 
 Persons wishing to make further inquiries in regard to the 
 School, will please state all questions clearly and concisely (if by 
 letter), and inclose stamp, with their name and address in full. 
 All who wish additional circulars sent friends who are interested 
 in the work done at the school, will please send name and address 
 of such parties in full, and circular will be immediately forwarded 
 
 Information upon all points connected with the School will 
 be cheerfully given upon application personally. Those wishing 
 to see Mrs. Cory personally will please call on Mpnday, Wednes- 
 day, or Friday mornings from 9.30 A. M. to 12 M. 
 
 Address all communications to the Principal, 
 
 Mrs. FLORENCE ELIZABETH CORY, 
 
 134 Fifth Avenue, New York City. 
 
 Note. — Sets of gouache colors and all artist's materials for 
 sale at the School. 
 
 '5 
 
Extracts from testimony given by Mrs. Florence Elizabeth Cory 
 before the United States Senate Committee on Education 
 and Labor, {Complete report to be found in 
 " Investigating of Senate Committee on Ed- 
 ucation and Labor'' 1885, vol. II.) 
 
 Mrs. Florence Elizabeth Cory escorted to the stand by 
 the Hox. Henry W. Blair, of New Hampshire. 
 
 MEMBERS OF THE COMMITTEE. 
 
 Henry W. Blair, of New Hampshire, Chairman ; 
 
 William Mahone, of Virginia ; 
 
 Warner Miller, of New York ; 
 
 Nelson W. Aldrich, of Rhode Island ; 
 
 Thomas M. Bowen, of Colorado ; 
 
 James Z. George, of Mississippi ; 
 
 Wilkinson Call, of Florida ; 
 
 James L. Pugh, of Alabama ; 
 
 James B. Groome, of Maryland. 
 
 INDUSTRIAL ART SCHOOLS FOR WOMEN. 
 
 Mrs. Florence Elizabeth Cory sworn and examined. 
 By the Chairman : 
 
 Question. You are a resident of this city ? — Answer. Yes, 
 
 sir. 
 
 Q. State vour employment? — A. I am the Principal of the 
 School of Industrial Art for Women, New York City, and I am a 
 designer. 
 
 Q. State to the Committee, in your own way, the subject- 
 matter you have in your mind in reference to your pursuit and 
 the School which you have established, its efficiency, and its 
 present and prospective usefulness in the way of furnishing occu- 
 pation and culture to women ? — A. Perhaps it would do as well 
 to tell of my own experience. Seven years ago I wished to be- 
 come a designer for carpets, having made up my mind to that 
 
 16 
 
effect by seeing an ugly carpet and wondering why more beautiful 
 ones were not made ; I could find no one to tell me where I could 
 learn anything of the kind, or even where carpets were made. I 
 looked in the Encyclopcedia but found very unsatisfactory instruc- 
 tion there, telling merely that carpets were made in the United 
 States, but not where they were made or how. During the cen- 
 tennial year, while looking through a file of papers, {Harper's 
 Illustrated Weekly') which was filled with illustrations of the 
 centennial exhibits, among others was one of the carpet depart- 
 ment at the Philadelphia exhibition. This design was made with 
 divisions, over each division w r as the name "Yonkers," "Hart- 
 ford," "Lowell," &c. I took the first name, which happened to 
 be Hartford, and wrote a letter to the Hartford Carpet Companj- 
 asking if designs were in demand, how much they were paid for, 
 how they were made, whether one was restricted in color, and 
 where I could procure the paper on which to make these designs, 
 if they were made on paper. I waited two weeks, then received 
 an answer, stating that designs were in great demand, that they 
 could not possibly fill the demand in this country for designs for 
 carpets. (This happened to be for carpets alone, not for an- 
 other industrial branch). They were much pleased with the idea 
 of a woman's thinking of designing, as I seemed to be the first 
 who had thought of it. Mr. Martin, the agent of the Hartford 
 Company, who wrote me, said that " as women bought carpets he 
 thought it a good thing for women to design them, as they would 
 know best what women liked." He sent me as full instructions 
 as he could by letter, five designs to look at, and several sheets oi 
 paper. I made three or four designs and sent to him (having had 
 no instruction in drawing or painting). They were returned to 
 me as being imperfect, but Mr. Martin thought with instruction I 
 might be able to please them, and advised my going to Cooper 
 Institute, in this city. I gained admission to Cooper Institute, 
 came here to find they knew less about carpet designing than I 
 did myself, because in the three months that intervened I had 
 been learning as much as possible. In Cooper Institute (in the 
 Women's Art Department) there is a normal class, in which they 
 profess to teach designing. They do teach the principles of design 
 and teach them well, but they do not teach praetieal design ; they 
 
do not teach it as applied to any one practical purpose, neither do 
 they teach it at any other school in this country. The Institute 
 of Technology in Boston comes the nearest to it. For instance, at 
 Cooper Institute, they might teach a young lady to make a wall- 
 paper design ; set her down with paper, brushes and colors, she 
 might make a beautiful design, but would not know, neither 
 would the teachers, whether that design could be printed by 
 machinery or not. She would not know how many colors she 
 should use, how the colors should fall, the dimensions, or anything 
 of the kind, the teachers do not know. I was much disappointed 
 in that way, at not learning anything really practical. 
 
 I visited the carpet departments in the principal stores in 
 New York, and studied carpets. I finally found in the carpet 
 department at A. T. Stewart's, a book called the 41 Carpet Trade 
 Review," which gave me the information I wanted — that is, 
 where carpets where made, and by whom they were made. I 
 found a number of agents here in New York City, most of them 
 in Worth Street, I went to Worth Street, the first person I called 
 on was Mr. William B. Kendall, President of the Carpet Trade 
 Association of the United States, and agent of the Bigelow Carpet 
 Company. He was much pleased with my idea, and sent one of his 
 designers to give me a lesson. It was my second lesson really, old 
 Mr. Barber, of Auburn, just before his death, gave me my first 
 lesson in carpets. Mr. Kendall sent me with a note to the head 
 designer at the carpet factory in the city. There is only one fac- 
 tory in New York, that is Mr. E. S. Higgins', at the foot of West 
 Forty-third Street, the head designer kindly offered to give me six 
 weeks' free instruction. I learned a great deal. At that time I was 
 still a pupil at Cooper Union, but by the time I had taken this 
 practical instruction, M\zy thought me competent to teach a class 
 at Cooper Union, I taught a class of seventeen girls and women, 
 which was the first of the kind ever taught in this country, and 
 probably in the world. Three years ago, I taught at the Ladies' 
 Art Association rooms on Fourteenth Street, a small class, hew- 
 ever. At that time I was not a teacher, did not profess or intend 
 to be. I was a designer, and earned my living in that way ; there 
 seemed to be such a demand, so many women who wanted to know 
 how to design, so many who were trying to learn at Cooper Union 
 
 18 
 
and other schools, had met with the same difficulties I had en- 
 countered, — that is— the instruction was not practical ; many of 
 them hearing of me, asked me to help them. I presume I helped 
 hundreds of women in three or four years, by giving them in- 
 struction, giving them hints, teaching them as well as I could, 
 until there came so many I could not attend to my business and 
 them too, I decided to start a school, which I did two years ago, 
 classifying the pupils, and confining them to regular hours, so that 
 I had leisure for my other business and to teach besides. 
 
 Q. Give us some idea of the opening that seems to you to 
 exist in this direction for employment for women. — 
 A. It is one of the best openings for woman's labor in 
 the country. Is remunerative ; is easy work ; is as easy as for a 
 lady to sit down and paint for her own amusement. There is a 
 demand for patterns which cannot be filled by the designers already 
 in this country. There is not a manufacturer of any extent but 
 that sends abroad for hundreds and some for thousands of 
 dollars' worth of patterns yearly. They are not all patterns 
 that can be woven or printed just as they are. For instance, a 
 wall paper manufacturer when he sends to Europe for patterns, 
 does not send for a pattern that exactly fits his own machinery, and 
 they are not always, strictly speaking, wall-paper patterns. Some- 
 times they are silk, chintz, cretonne, bits of carpet, anything that 
 will give a good idea to the manufacturer. After they are brought 
 to this country the designers adapt them to their own require- 
 ments. Sometimes they will take a flower from one piece of chintz, 
 a geometrical figure from a wall-paper, other forms from other 
 things and combine them all to make one design out of four or five. 
 In that way they waste a great deal, sometimes buying a pattern 
 for merely one form that is in it while the rest is useless. These 
 designs are brought from England, Scotland. France, and all over 
 Europe. Manufacturers send men over there, pay their expenses, 
 and pay for the designs, hundreds and, some of them, thousands 
 of dollars yearly. These designs could be made as well in our 
 own country and by women. Women will be as competent, after 
 they are trained, to do it as men, some of them are as competent 
 and more so than nian}* of the men now. It takes time to learn, 
 however. 
 
 '9 
 
Q. For what purposes are patterns and designs needed? Yon 
 mentioned prints wall-paper, and carpeting. In what other in- 
 dustries are they wanted? — A. In this country carpets of all 
 grades, wall-papers of all grades, silk for dresses, handkerchiefs 
 and ribbons, stained- glass, rugs, marbles, table-cloths, tile, towels, 
 calicoes — everything of that kind. There is little lace manufac- 
 tured and I think no lace curta ns, the) 7 are talking of establish- 
 ing a factory now for that purpose, there are embroideries, those 
 made by machine, and the Hamburg edgings are made in this 
 country. Furniture chintz (which I did not include in calico) tile, 
 repousse work in silver, gold, brass and copper, designs for furni- 
 ture, gas-fixtures almost anything you look at that is ornamented 
 is made in this country, and there is a demand for designs. Some 
 factories require more than others. 
 
 Q. State a little more full) 7 as to the competency of women to 
 do this kind of work, to receive the necessary training, and what 
 aptitude do they develop for actually doing this work as well as 
 men do it. — A. They learn readily. I w T ould not hesitate to take 
 any young girl or lady of average intelligence, and am sure I could 
 teach her to become a designer in two school years. A girl having 
 natural taste and genius for this work, would do better than one 
 who had not, but any one with intelligence can learn to design, 
 although some will do better than others. If they can under- 
 stand machinery and its requirements, and I see no reason why 
 they should not, they can learn to make designs to meet these re- 
 quirements. Each kind of machinery has different technicalities 
 and requires a different kind of pattern to be made for it. Even 
 in carpets each grade of goods must have a different kind of 
 pattern made in a different way and adapted to the loom which 
 will weave that grade of goods, whatever it may be. 
 
 Q. How many have you instructed these two years, and be- 
 tween what ages? — A. Two years ago I opened school with 2 
 pupils ; at the end of the third week I had 5 and at the end of the 
 school-year 41 pupils. The second year I opened the school with 
 38 and closed with 75 pupils Then I presume in the two years I 
 have had 20 or 30 private pupils who were not regular students at 
 the school. Add to this 15 or 20 whom I teach in their homes by 
 letter and you have the list for the past year. This year the 
 
 20 
 
school opens on the ist of October, I cannot say how many are 
 coming, I am receiving letters of application and calls daily. I 
 know the school will open with large classes. 
 
 Q. Can you give us some idea as to the remuneration which 
 they command when they are fairly well qualified to be em- 
 ployed ? — A. Yes, I can tell you the remuneration men receive, 
 and women should receive as much, I think they will when they 
 are regularly employed by a manufacturer. They receive a regular 
 salary, just as any business man does, who is employed by the year, 
 the salaries are variable. A first-class designer for body Brussels 
 will receive about $4,500 or 85,000. An ingrain designer receives 
 less. I do not think a good ingrain designer could be employed 
 for less than -^2,500. A moquette designer receives a little more 
 than a body Brussels designer, but not much. Six thousand dollars 
 is a good salary for any designer for any purpose, although they 
 have received more. I believe one designer receives as high as 
 $10,000. 
 
 Q. Are they Americans or foreigners who have come here? — 
 A. Nearly all foreigners. There are a few Americans, but the 
 best designers, as a rule, are foreigners, for this reason, the 
 foreigners have schools, the Americans have not. Foreigners are 
 trained, especially Frenchmen. They have good free-schools 
 where any artisan without pay, can receive instruction in all 
 branches ; here we have none, consequently, must suffer for the 
 lack of them. 
 
 Q. The salaries which you have mentioned, of course, apply 
 only to those who are the most skillful ? — A. Yes.' 
 
 Q. The leaders in the art ; but what can an ordinary designer 
 earn ? — A. These are ordinary designers. For instance, take Mr. 
 Higgins' carpet factory on Forty-third Street. They have one 
 head designer, and under him anywhere from fourteen to sixteen 
 men and boys. The boys are employed at the rate of about S3 a 
 week when they first begin, all they have to do is to grind colors. 
 They are kept grinding colors for the designers— mixing shades. 
 If the}' are at all competent, from that they get to copying, that is, 
 with simple patterns, ingrains ; they will then be paid from $7 to 
 $10 a week. From that to laying in the grounds, and finally work 
 on the higher patterns; if they have taste, by that time they should 
 
 21 
 
have picked up a great deal from seeing other designers work, and 
 finally become designers themselves, that is the only way in 
 which people in this country can become designers, by entering 
 young and learning the business from what they can pick up; de- 
 signers will not teach and there are no schools. Designers are 
 afraid to teach as those taught might do better than they, and 
 thus take the bread out of their mouths. 
 
 Q. Relatively, as shown by facts, how does the work of those 
 who have been educated with you compare with that of other de- 
 signers?— A. Favorably. The difference is here : my method of 
 instruction is thoroughly systematized. I begin at the beginning, 
 and any pupil that is graduated from my school understands 
 thoroughly all the technicalities for all the fabrics. For instance, 
 if she enters the class for fabrics, she learns the technicalities of all, 
 which is more than many male designers in this city can say, even 
 the best. Take a designer in this city or in any of the carpet 
 factories, as a rule he understands only one kind of designing. 
 An ingrain designer does not know anything but ingrains. He 
 may know a few points, but does not know thoroughly well the 
 technicalities and practicalities of body Brussels. A body Brussels' 
 designer may know nothing whatever about ingrains. But my 
 pupils can tell you every technical part of every kind of fabric of 
 every quality of goods. They may not be able in two years, to 
 make as pleasing a design as a designer who had worked for ten, 
 twenty, or thirty years, but they would understand machinery 
 quite as well, if not better. It requires practice to make the de- 
 signs. 
 
 Q. Can you answer from your observation this question : 
 Whether women appear to possess as much natural aptitude for 
 this work as men? — A. Yes, they do and more. They have 
 better taste. It is more natural to them. 
 
 Q. You think that here is a field of industry specially open to 
 women?— A. I do most decidedly. It never should have been 
 occupied by men, and I do not think it ought to be any longer 
 when women are trained to it. It is pleasant work and simple ; is 
 what a woman can do ; and I do not see why men cannot enter 
 the harder fields of labor and leave the simpler to women ; not 
 that I am strong minded at all, but a woman certainly has taste 
 
 22 
 
and the skill required is no more than to paint a picture, and you 
 all concede women can do that. 
 
 Q. You think they are certainly reduced to the condition with 
 sharp competition of being able to hold their own? — A. Yes, after 
 a time ; not now. I do not think they need fear us for four or five 
 years to come. There are but few now ; in fact I am the only 
 real full. fledged woman designer ; then there are my pupils, but 
 the school has only been opened two years, and I do not profess to 
 graduate them before that length of time. 
 
 Q. Have you any objection to stating in what directions you 
 work principally as a designer yourself ? — A. On carpets, almost 
 exclusively. I have made designs for wall-paper and various 
 things, but my business is carpets. 
 
 Q. For what firms or establishments do you work?— A. I am 
 not employed by any one firm. I make designs for, and receive 
 orders from different manufacturers. I received within the last 
 month two orders from England for patterns, one from Leeds and 
 one from Warwick. I have had orders from Philadelphia, and 
 have worked for quite a number of firms. Have sold oil-cloth 
 designs to Messrs. Potter & Co., and to Bailey & Co. Have 
 worked for the Bromley Carpet Company, one of the largest car- 
 pet firms in Philadelphia I am not employed by any special com- 
 pany, but sell designs as I make them to whoever wants them or 
 will pay me the highest price. 
 
 O. Have you any reason to think that your work is not valued 
 as among the best they can get ? — A. Last year one of the patterns 
 I made was exhibited at Sheppard Knapp's as the handsomest 
 carpet they had that year. They sold as much of it as of any 
 carpet in the store at the time. It was one of the Bromley goods. 
 
 Q. Do I understand you that this business opens out in the 
 direction of all manufacturing where forms of beauty and of utility 
 and adaptations to good taste are required ? — A. Yes, and not only 
 as applies to manufactures, but to other things. For instance, we 
 teach in the school, interior decoration. 
 
 O. What do you mean by that ? — A. We teach women to 
 understand what is beautiful and true, that they may be able to 
 decorate their homes or become decorators for others' homes, to 
 decorate rooms and buildings, making them beautiful at the small- 
 
 23 
 
est possible expense — all the tasteful things are not expensive by any 
 means. Some of the most beautiful things are reasonable in price 
 if women only knew how to look for them and use them. 
 
 Q. Do you think any common country or city girl could 
 better qualify herself for the duties that naturally devolve on the 
 sex by instruction in this art ?— A. Yes, she could in this way : 
 She could make her home happier and more pleasant by making 
 it attractive, where it is beautiful it is atttactive. The more 
 attractive she can make it, at the least expense, the better it will 
 be for her husband. 
 
 Q. I should think there was in that direction a great field 
 where this sort of instruction might be given to advantage, and I 
 should think homes would be more likely to be established under 
 these circumstances. What do you think of the cultivation of 
 this quality that you speak of as an accomplishment to women as 
 compared with music and painting ? Which is the more impor- 
 tant for women to have really, this quality you speak of and this 
 power to decorate a home, or the other accomplishments I have 
 mentioned? — A. Industrial art by all means, for several reasons : 
 In the first place, any one with taste would not care for a picture 
 unless it were really good, and there are few who can make really 
 good pictures. There are many who daub, paint on silk or satin, 
 frittering away their time— not counting, but consuming time. 
 Half the money expended on industrial design would teach them 
 to do something which if they were compelled through force of 
 circumstances, they could turn to account. When it comes to 
 music, there are hundreds of thousands already in the field. There 
 is hardly a house now but has a piano, which is drummed on to 
 the annoyance of the neighbors. This art is something new. It 
 does not offend ; even if you do not accomplish anything you do 
 no harm by it. It does not require as high talent to make a good 
 designer as it would to make a good picture-painter ; it dees not 
 profess to be high art at all ; it is within the scope of every in- 
 telligent person. 
 
 Q. As bearing on the question whether this culture is within 
 the reach of those of ordinary means or those who may be actually 
 dependent on themselves for a living, I should like to know, in a 
 general way, whether these pupils of 3* ours have been persons of 
 
 H 
 
wealth or persons of ordinary means, perhaps a little short of the 
 money that is necessary to get on with in this world ? — A. As a 
 rule, persons of ordinary means ; some of them poor, quite poor. 
 I have only had two or three pupils that might be called wealthy, 
 they were girls, as I considered them, of a great deal of intelli- 
 gence, who wanted something to do besides frittering away their 
 time, who thought it best to learn this art, so that in case of re- 
 verses they might have something to depend upon. If they never 
 need it, certainly they would have learned something, and it is an 
 employment and amusement to them now. I have had pupils 
 who were well off. Every pupil was cultivated. I have never 
 had an ignorant pupil. 
 
 Q. Explain to the Committee your method of instruction. — A. 
 Begin with a pupil who enters the school knowing nothing what- 
 ever of drawing. First, she is taught to judge of distances by 
 making lines of certain length and judging the lengths by her 
 eye. I say to the pupils: "Draw a line three inches long." 
 (Nothing is copied in the school; everything is drawn either from 
 the mind or from the object). They draw this line. Probably not 
 one in the whole school will make it just three inches long. After 
 it is drawn they test it, find out whether the lines are too long or 
 too short, what the difference is, and draw another, which, more 
 nearly approximates the proper size. After the}' have exercises 
 of this sort I give them lessons in dictation. I say : " Draw a 
 three-inch square." The only guide is the hand and eye. Per- 
 haps the next dictation will be : " Draw its diagonals and diam- 
 eters ; bisect the sides, from the points of bisection draw lines," 
 either diagonal, vertical, or horizontal, anything I have a mind to 
 dictate. So I go on from step to step until the first thing they 
 know they have a design They did not know what it was to be ; 
 it may be a chair, a goblet, or just a haphazard design that would 
 do for a tile. All have the same thing without seeing each other's 
 drawings, just from what I tell them to do. That gives the idea 
 of how to lay out a design systematically and geometrically. 
 Then I say : ' ' Now make a design yourselves in the same way : 
 draw a square, circle, triangle, any geometrical form you wish ; 
 divide it with any subdivisions you like, and connect these points 
 by lines, either curved or straight, and see what the result will 
 
 25 
 
be." Before they know it they have made a design. They 
 hardly understand what they are doing until they have made one 
 or two. Then they begin to see how it is that you lay out de- 
 signs, and from that go on step by step. All the floral forms are 
 drawn from nature. I have flowers in the school, and the pupils 
 draw and paint them. That is one of the steps. When it comes 
 to the advanced class they have learned to make pleasing forms, 
 and not only draw the flower and paint it as an artist would do, 
 but resolve it into its elements ; that is, draw the flower front 
 view, back view, front and back of leaf, the roots, every part of 
 the flower ; the more the better. Then pick this flower to pieces. 
 Draw and color one petal, draw and color a stamen or the pistil ; 
 cut the side in two, and see what geometrical figure that is — for 
 every flower and every part of every flower is based on some 
 geometrical figure. That is one of the first things they learn. 
 They also learn on what geometrical figure each flower and leaf 
 is based. I hold up a flower or leaf and ask them, " What figure 
 would inclose that best?" whether it is triangular in shape, oval, 
 elliptical, or what it is. Then this flower, as I said before, is re- 
 solved into the elements, and each element drawn separately. By 
 the time they are through they understand its manner of growth 
 and everything that belongs to it, and have say from seven or 
 eight, up to twenty or thirty, different forms derived from the one 
 flower. When they combine these elements into a design, that de- 
 sign will be pure; if they make a design from a rose there will be 
 nothing but rose elements introduced; there will be the rose seed- 
 pod, the thorns, the rose itself, and all the various portions; so 
 that it must be pure throughout. Another thing, they will never 
 make the mistake, after studying a flower in this way, of putting 
 ivy leaves on roses, and spring flowers with those that bloom in 
 the fall, and so on. They know every flower they study thoroughly, 
 through and through. They begin with the natural plant and the 
 natural drawing, and finish the full-size working-design derived 
 from it. 
 
 Q. This process is repeated for the two years ? — A. Yes. The 
 first year is taught geometrical arrangement, conventionalization 
 of flowers, the drawing of flowers from nature and adapting them 
 to simple designs, that is, prints, etc. The technicalities are sim- 
 
 26 
 
pie as concerns wall paper, chintz, calico, or anything that is 
 printed. In the second year I teach the principles and the tech- 
 nicalities of machinery, and designing for all fabrics upon which 
 the design is brought to the surface by the Jacquard loom — all de- 
 signs that are woven are brought to the surface by a Jacquard 
 loom — whether they are red and white table-cloths, linen table- 
 cloths, carpets, silks, any fabrics in which the design is brought 
 to the surface. There are three ways of applying a pattern to sur- 
 face. The first is by weaving the cloth or manufacturing the pa- 
 per, whatever it may be, and printing the design on the surface 
 after the surface itself is finished, as in calico, in wall-paper, some 
 kinds of silks, and other things. Another way is by printing the 
 threads before they are woven, as is done in tapestry carpets. 
 Tapestry carpet is formed of only one thickness of wool. The 
 threads are wound around a drum and a pattern corresponding to 
 the design we have on paper is printed on these threads. After- 
 wards the thread is put in the machinery and woven, and as it is 
 woven the pattern comes up of itself, to the surface. The third 
 method is by taking threads or yarns of different colors — (that is, 
 each thread is all one color; it is not printed in bands or strips) — 
 these different colored wools are brought to the surface in their 
 proper place and form a pattern by means of the Jacquard. That 
 is the case with body Brussels, Wiltons, silks, table linens and 
 many other fabrics. 
 
 O. You are a lady of American birth ? — A. Yes; I was born 
 in Syracuse, X. Y. 
 
 O. So that you have demonstrated in your own case that an 
 American woman can do this if an American man can? — A. Yes; 
 and I have had no instruction further than I have told you. 
 Everything I know of this business I picked up myself and bored 
 people by questioning them. I visited a representative factory, 
 of not every industry in the United States, but of many. When I 
 finished the carpets, I attacked wall-papers; when I finished the 
 wall-papers I went to Paterson and visited the silk mills, and so 
 on; I understand the machinery thoroughly, and can tell you all 
 about the manufacture of almost every industry in the United 
 States. There are very few that I cannot. 
 
 O. I suppose women can probably get so as to earn a living 
 
 27 
 
in some of the least difficult forms of work in a year ? — A. Yes . 
 some of my pupils who entered the school last year found em- 
 ployment almost at once. One lady from Lafayette, Ind., and 
 one from Utica, N. Y. The one from Utica was a grand-daughter 
 of a clergyman. They entered the school on the ist of October 
 and on the ist of January both got situations in Mr. Hobb's wall- 
 paper factory in Brooklyn, one as an original designer, the other 
 as colorist, one at §10 a week and the other at $15, which was 
 very good indeed to begin with. The youngest pupil I had 
 (only 14 years old) sold two designs, one at $8 and one at $10, 
 then she received a prize of S20. All together more than paid her 
 tuition. Several of my pupils earn money ; many of them paid 
 their entire expenses, some helped to pay their way while others 
 did not make anything, and never will. 
 
 Q. Wherever there is to be a family it would be well that the 
 wife should have this same instruction? — A. Yes, sir; it would 
 be a great benefit if the women of the country knew more about 
 it — beneficial to the country and to the people. I am already- 
 giving instruction in this art by letter, to over sixty women 
 throughout the United States and Canada. You would be sur- 
 prised at the ease with which they learn by correspondence, and 
 at the proficiency they display. It would bring many dollars 
 into the country that now are expended abroad. There is no 
 reason why all this money could not be made by people at home, 
 and by women as well as men. Certainly, full grown, intelligent 
 women ought to do as well as boys. Boys are taken in the fac- 
 tories when they are 13, 14 or 15 years of age, just common boys, 
 not particularly cultivated ; w r orkingmen's and artisan's sons who 
 have a common-school education, some of them hardly any. 
 Some learn to be designers, others do not. Women ought to do 
 as well. They earn their living. They do not get as high salarv 
 as if they understood more about the business. 
 
 Q. Is there any other matter that occurs to you that you 
 would like to state ?— A. You asked me something about the ex- 
 pense of learning. I cannot tell you anything excepting as re- 
 gards my own school ; no one will teach elsewhere. A designer 
 will not teach at any price. Manufacturers will not allow their 
 designers to teach in the first place, and the designers would not. 
 
 2S 
 
do it if the}- were allowed : there are no practical schools with the 
 exception of rny own. 
 
 Q. The designers are as bad as the Trades-Unions in that re- 
 spect? — A. They are certainly. In my school there are two terms 
 throughout the school year. In the elementary class the terms 
 are $30 a term, or $6q for the entire year. In the advanced class 
 the terms are $50 a term, or gioo for the entire year. The terms 
 were put down as low as they could be and cover expenses, from 
 the fact that girls and women who came here to learn cannot 
 afford to pay high prices ; if the}* could, it would not be neces- 
 sary for them to learn this branch of industry ; as they have to 
 learn to earn their living the terms were made as low as possible. 
 
 Q. Instruction is given by the blackboard very largely, I sup- 
 pose ? — A. Yes ; instruction is given entirely by lectures. I have 
 a small platform and give a lecture. If the class has had a lec- 
 ture before I tell them what my lecture will be this time, I say, 
 " My next lecture will be about ingrains." I give a lecture on 
 ingrains telling the pupils all about the machinery, illustrating it 
 on the blackboard as I go, giving all the requirements to make 
 the design, just how to do it to the minutest particular. I leave 
 ■nothing undescribed, and illustrate what I say by designs already 
 made by good designers, so that they can see exactly — with the 
 illustration I make on the board — what is required. My lecture 
 lasts anywhere from twenty minutes to an hour, depending on the 
 subject. Some are much more lengthily described than others. I 
 only give one kind of a fabric or one kind of industry at a time. 
 They pass me designs made since the preceding lecture. I hold 
 up each pattern before the whole school and criticise it before 
 them all, so that they may not only have the benefit of their own 
 mistakes, but those of other pupil's. It is a great benefit. They 
 learn as much by their mistakes as by what they do right. I crit- 
 icise severely, and then give instruction as to what to do for the 
 next lesson. That ends the lesson as far as I am concerned. 
 They can either make at home or at the school their designs and 
 drawings to bring to me at the next lecture. 
 
 Q. I should judge from your description that practically there 
 would be hardly any limit to the number of pupils you might in 
 
 29 
 
struct at the same time ? — A. Any number, provided my room 
 was large enough to hold them. 
 
 O. Have you any idea of the number of persons who might be 
 employed in this work of designing ? — A. A slight idea, I can- 
 not tell exactly ; it would need statistics for that. As I said be- 
 fore there are 75 to 100 carpet factories in this country. Some of 
 these factories employ only one or two designers and buy many 
 outside designs; others employ 15 to 16; 20 would be a large 
 number of designers for any one carpet firm. When you come 
 to silk, wall-paper and other industries it is about the same. The 
 large wall-paper factories employ about the same number of de- 
 signers that the large carpet factories do. There are hundreds and 
 hundreds of men in this country employed as designers. 
 
 Q. They find employment in these large factories? — A. Yes, 
 large and small both. The small factories pay as good a salary 
 to a designer who can do the same work, only they do not require 
 as many, for they get out a smaller quantity of goods. 
 
 Q. Besides the carpet factories, the wall-paper factories, and 
 the silk factories, what others are there ? — A. There is a large fac- 
 tory on South Fifth Avenue where they embroider by machinery 
 tidies and all kinds of decorated work, piano-covers, table-covers, 
 and things of that kind. They employ a great many designers, 
 and pay them $25 a week. One of my young lady pupils secured 
 work from them. 
 
 Q. You think, then, several thousand persons at least would 
 find employment in the present state of the art ? — A. Yes, indeed. 
 The furniture trade takes many designers; to design for furniture 
 you should be something of a joiner and understand carpentering, 
 you might make a beautiful design, but you must make a practi- 
 cal working-design as well, drawn to a scale. 
 
 Q. Have you known any women who had learned that branch 
 of the art?*— A. I know of one or two who have designed succes- 
 fully for furniture. I do not know them personally. In Chicago 
 there is one lady who has designed for a furniture house for some 
 time. I do not know her name. 
 
 NOTE. — Please note that the foregoing testimony was given in 1884, since which time 
 changes have been made in the school, new schools established, and old .schools advanced 
 Therefore some statements, true when made, do not hold good at the present time. 
 
 30 
 
Address of Miss Katherine S. Smith, " Historian of the School for 
 1889. 
 
 " As there may be some present this evening, who are not altogether familiar 
 with the modus-operandi " and growth of the School, it may not be inappro- 
 priate to present a few statistics and give a slight resume of the characteristic 
 work which has been done, and is now being accomplished by the students of the 
 Institution. 
 
 When in the fall of 1 88 1, a class of five was instructed by Mrs. Cory in the 
 Principles of Design, and taught to apply these principles practically to Industrial 
 Arts, then was first established the organization known as the " School of Indus- 
 trial Art, and Technical Design for Women," from that nucleus sprang the pros- 
 perous School which at present has upon its Roll of Membership 490 names, 
 correspondent pupils inclusive, all of whom are striving to attain a degree of 
 proficiency in their several departments of practical designing, and Industrial 
 handi-craft, that will enable them to become self-supporting. Among these pupils 
 are representatives of every State and Territory in the United States. Many 
 Canadian cities, and the Sandwich Islands. During the first two or three years 
 lectures were given by prominent artists and designers to the students, but the 
 classes soon assumed such proportions there was insufficient room to accommodate 
 all who wished to avail themselves of the privilege. 
 
 Numerous invitations have been extended by manufacturers in New York 
 and vicinity to visit their factories, and prizes amounting to several hundred 
 dollars in gold, offered for various designs. To aid in the establishment of the 
 School the following firms each donated the sum of $100, since then no monetary 
 assistance has been received, " Smith Bros.," through Mr. J. M. Sloan. " Frede- 
 rick Beck & Co.." through Mr. Allen, " Bigelow Carpet Co.," through Mr. Win, 
 Kendal, President of the Carpet Trade Association of the United States, " Mr. 
 John Clark of Prang & Co., Boston, and from Prang & Co. a set of Floral plates, 
 conventionally tieated, also samples of French Wall Papers — just brought by the 
 donor — Mr. Robert Hobbs — from Furope, specimens of paper from " Beck & Co.," 
 " Warren & Lange," " Daily & Montague," and many retail dealers. Samples of 
 silks, cottons, and other textures from " Claflin & Co." Carpets from ** Sheppard 
 Knapp,' " Hartford Carpet Co." and 11 Sanford & Co." 
 
 The following publications are reglarly sent to the School by the publishers. 
 "The Century," " Dress," " Business Woman's Journal," " Decorator & Hn- 
 isher," " China Decorator," " Carpet Trade Review," "Silk Journal," "Textile 
 Designer," " Wall Paper Journal," " Art Amateur," " Philadelphia Carpet Trade 
 and Upholsterer," "Art Interchange," ""Woman's Cycle," "Boston Textile 
 World," and many other trade journals. 
 
 Various designs have been made and sold to manufacturers since the establish- 
 ment of the School; carpets of all grades, oilcloths, linoleums, wall-papers, 
 stained-glass, carved and inlaid wood panels, printed silkolines, drapery silk^s, 
 ribbons, upholstery fabrics, portieres, table linen of all kinds, calicoes, prints, 
 
 31 
 
awning stripes, decorated window shades, designs for lace, fan-mounts, book- 
 covers, china decoration, Christmas, Easter and Menu cards. Not only have orders 
 been filled for American manufacturers, but there have been sent to Leeds and 
 York, England, patterns for ingrains, to Carlsbad, Austria, designs for china, to 
 Dundee, Scotland, patterns for table linen and towel borders, to Japan for 
 printed and embroidered silks. 
 
 Many applications are made to the School for teachers in all branches of In- 
 dustrial Art, and letters of inquiry come in from all sides by the hundreds. 
 
 Mrs. Cory's name has been connected with this work from the first. She it 
 was, to whom all credit and honor due, first conceived the plan, overcame many, 
 seemingly insurmountable difficulties, by her untiring energy and devotion, was the 
 " Pioneer " of woman's work practically applied to the " Industrial Arts," in this 
 country. An illustration in her success of the old French proverb, " Vouloir c'est 
 Pouvoir." 
 
EXTRACTS FROM THE PRESS. 
 
 " The Woman's Art School connected with the Cooper Union, New York, 
 has recently received a new impetus in the acquisition of Mrs. Florence E. Cory as 
 teacher of an afternoon class. Mrs. Cory is a practical carpet designer, and is 
 connected with the designing department of Messrs. E. S. Higgins & Co." — Car- 
 pet Trade and Revie-v t Feb , 1S77. 
 
 " In the admirable Institute presented to the City of New York by Peter 
 Cooper, a class now numbering some dozen young ladies, under the instruction of 
 Mrs. Florence E. Cory — a practical designer of carpets — are already doing very 
 creditable work." — Carpet Trade and Revieiv, May, 1S78. 
 
 " A class has been established by the Ladies' Art Association of New York 
 City, under Mrs. Florence E. Cory, the first, and at present the only, woman 
 carpet designer in this country " — Woman's Journal, 1SS1. 
 
 11 Under the supervision of Mrs. F. E. Cory, the first class for teaching carpet 
 designing was established in Cooper Union." — Carpet Trade and Review, April, 
 1881. s 
 
 "Mrs. F. E. Cory is the only lady carpet designer in this country." — Carpet 
 Trade and Review, June, 1881. 
 
 " The Ladies' Art Association has undertaken a class in carpet designing, 
 taught by Mrs. Cory, who has pursued this subject with much enthusiasm, and in 
 the face of many disadvantages, and whose designs are now a constant source of 
 profit." — Art Amateur, June, 1881. 
 
 " The outcome is an emp'oyment thoroughly remunerative, and a department 
 of carpet designing in the Ladies' Art Association, taught by Mrs. Florence E. 
 Cory. This ciass in carpet designing is the only one in existence." — N. Y. 
 World, June 19th, 1S81. 
 
 "During the present month there is to be established in New York City, a 
 worthy college of Industrial Art, to be known as the ' Woman's Institute of Tech- 
 nical Design.' The Principal of the Institute is Mrs. Florence E. Cory, a skill- 
 ful carpet designer, who is the only lady engaged in producing practical original 
 designs for floor-coverings in this country, perhaps in the world." — .9/. Paul Pio- 
 neer Press, Oct. 30, 1881. 
 
 " The Woman's Institute of Design is conducted by its energetic Principal, Mrs. 
 F. E. Cory, the carpet designer." — Carpet Trade, Nov. 1881. 
 
 " An interesting lecture on Industrial Art was given at Steinway Hall, on 
 Saturday afternoon last, by Mrs. F. E. Cory, Principal of the 'Woman's Institute 
 of Technical Design." — School Journal, Dec, 1881. 
 
 " The ' Woman's Institute of Technical Design,' under the charge of Mrs. 
 
 33 
 
Cory, now enters on a new term. Few enterprises have had such a marked 
 success at the outset." — School Journal, Jan., 1882. 
 
 " ' The Woman's Institute of Technical Design, was organized in October last, 
 by Mrs. F. E. Cory, to prepare young women for practical work in making artis- 
 tic designs for wall-paper, carpets, etc." — New York Sun, June 8, 1882. 
 
 " The school was started under the charge of Mrs. Florence E. Cory, with Miss 
 Florence A. Densmore as assistant." — N. Y. World, June 8, 1882. 
 
 " Mrs. Cory, however, will always have the satisfaction of being the first in the 
 field, and by her own skill and success, of having been the means of opening 
 another door in addition to those into which women have already gained admit- 
 tance." — Jennie June — in Demoresfs Monthly, Oct. 1882. 
 
 " Mrs. Florence E. Cory, a graduate of Cooper Institute, determined to open a 
 school where this branch of industry, hitherto closed to woman, might be thor- 
 oughly and systematically taught."— Evangelist, June 25, 1882. 
 
 " Mrs. Florence E. Cory will open a school of Industrial design, October 2. 
 She is a lady of practical ability, and well qualified for the work she has under- 
 taken," — Freemans' Journal, Cooperstown, Aug. 8, 1882. 
 
 "Mrs. Florence E. Cory, realizing the great want of good original designers, 
 established last fall a school of Industrial Design for Women in New York City." 
 —Hornellsville, Steuben Co., N. V., Aug., 1882. 
 
 " Mrs. Cory has long been known as a carpet designer who has no superior 111 
 this country, and she seems not only to possess faculty, but to be capable of im- 
 parting her method of puttingit to use."— Oswego Times, Oct.. 18, 1882.^ 
 
 "It" has been reserved for a lady, formerly of Syracuse, Mrs. F. E. Cory, to 
 establish a School of Industrial Art for Women in New York City."— Syracuse 
 Courier, Dec, 1882. i t f 
 
 " The Moquette pattern, designed by a graduate of the ' Woman s Institute of 
 Technical Design,' of which Mrs. Cory is Principal, is proving very successful ; 
 Sheppard Knapp & Co. had it put up."— Carpet Trade and Review, July I. 1883. 
 
 " For years Mrs. Corv, who is a practical carpet designer, has been engaged in 
 this work of instruction,' and has now opened what is believed to be the larg- 
 est class-room for the study of practical designing in this country. "— Truth, Oct. 
 
 l8 " 3 in 1881 Mrs Corv established a School of Industrial Art for Women, having 
 ^eventv-five pupils at her residence last year."— New York News. Dec. 27, 1883. 
 
 " Mrs Corv has engaged in an enterprise which is sure to be of great service to 
 her sisters in industry, for it is artistic work that calls for. and is sure of, a gener- 
 ous compensation,"— Kingston Freeman, Rondout, N Y. 
 
 "Pupils have the privilege of selling their work made while under instruction 
 (several hundred dollars were so earned by the pupils last year) "—Daily Era, 
 Lancaster, Dec. 1883. % --■ ; \ . ' 
 
 "The question of teaching woman in America the Arts of Design has been 
 solved by Mrs. Florence E. Cory, herself a practical designer. Mrs Cory is a 
 graduate of Cooper Union, and, in 1877, taught in that Institute the first class m 
 practical carpet designing ever established for women in this country. After leav- 
 ing Cooper Union Mrs. Corv took a thorough- course of instruction m practical 
 
 34 
 
■design at Messrs. E, S. Higgins' carpet factory in New York City. Afterward 
 she visited a representative factory of nearly every art industry in the United 
 Mates, studying in each the technicalities of the machinery and practical require- 
 ments of the design of these various industries, thus qualifying herself to be the 
 best as well as the first teacher in practical design for industrial purposes in 
 America." — Manufacturer and Industrial Gazette, Boston, Mass. 
 
 " The fir^t Institute of Technical Design, devoted exclusively to the instruction 
 of women it is claimed in the world, was opened in the City of New York, on 
 October 27, 1881, under the auspices of its originator, Mrs. Florence E. Cory. 
 As the Institute is now termed, in its second year, ' School of Industrial Art for 
 Women,' offers to women the best facilities for instruction in carpet designing that 
 can be found in the Middle States, perhaps in the Union." — Manhattan, for 
 August. 
 
 " 'The School of Industrial Art for Women,' is the only one in America which 
 possesses a Jacquard carpet loom, by means of which application of the design to 
 the fabric may be illustrated. Many other things are needed, however, in the way 
 of apparatus, books, charts, etc. Contributions are therefore solicited, and will be 
 thankfully received by the managers of the School : for, as James A. Garfield 
 said : ' At present the most valuable gift which can be bestowed on women is 
 something to do, which they can do well and worthily, and thereby maintain 
 themselves.' " 
 
 YVomkn's Work AT Home. — Dear Sir ; — In the Home Department of the 
 Witness is a letter asking for woman's work at home which will prove remunera- 
 tive. Allow me to suggest designing for industrial purposes. For the past nine 
 years I have been investigating the subject of woman's work in all its branches, 
 and have as yet found none so pleasant and profitable as designing for carpets, 
 wall-paper, calicoes, stained-glass, etc., etc. Perhaps many women will say : "But 
 I cannot design, I have no talent for drawing. I know nothing about art." To 
 such I would reply : It does not require that talent most people imagine, nor a 
 special knowledge of art. Any lady of average intelligence can master easily the 
 fundamental rules and principles, as I personally know many who, under the in- 
 struction of Mrs. Florence E. Cory, the first practical woman designer in the 
 world, have succeeded as designers who knew they had not a spark of talent when 
 they entered the School of Industrial Art for Women. More than five years ago 
 Mrs. Cory established this School in the City of New York for the purpose of 
 helping girls and women to become self-supporting. Since that time her pupils 
 have materially aided themselves at home, in design-rooms, stores, and as teachers 
 not only supporting themselves but many of them, others dependent upon them. 
 Ladies who from home duties or from lack of means, cannot enter the school, may 
 obtain instructions by letter ; or should they have but a short time to devote to the 
 study, will be given individual instruction and taken on as rapidly as their capa- 
 bilities will admit. I write this in no way as an advertisement of Mrs. Cory or 
 her school, but to convey information to many women who will be glad to learn of 
 the opportunity to become self-supporting, as it is a work that may be done at 
 home or abroad, in city or country. I know by personal experience how hard it is 
 for women to find work for which there is a market not crowded, and which yields 
 
 35 
 
even a fair remuneration, and I feel that I cannot speak too often, or too publicly, 
 of this excellent school — excellent in its instruction, and in its results. 
 
 [We are much obliged for the above suggestion, which we think is worthy of 
 careful consi deration. — Editor.] — New York Witness, Feb. 1886. 
 
 Some months ago in the pages of this magazine appeared a short: account of the 
 aims, the methods and the results of the School of Industrial Art for Women, es- 
 tablished in New York by Mrs. Florence E. Cory. Such an enterprise is worthy 
 of every encouragement, as it is an important practical step in the training of 
 women in the light industrial arts, proficiency in which will afford them support, 
 comfort and independence. All well directed efforts to throw open avenues of 
 profitable, adaptable employment to women deserve the support of all who are in- 
 terested in the great question of women's work. It is pleasant to see that this 
 school of Mrs. Cory's has received the endorsement of those well qualified to 
 express an opinion. The Women's National Industrial League at their meeting, 
 adopted the following lesolution : 
 
 Resolved, That the Women's National Industrial League desires to call public 
 attention to the work which has been accomplished by the founder and managers 
 of the School of Industrial Art for Women, and to express their admiration and 
 esteem for Mrs. Florence E. Cory, who has devoted herself heroically, and en- 
 dured years of toil and fatigue, that she might, by her own personal research and 
 labor, obtain the practical knowledge necessary to enable women to compete 
 with men in technical education in art and design. And not only do they wish to 
 evince their esteem for Mrs. Cory, but for all others interested in bringing this 
 school to a practical issue, and the school itself which has accomplished so much 
 real good. — Domestic Monthly, 1883. 
 
 It is not absolutely necessary to go to a school to study practical design, though 
 it would be best ; the next best course would be to take lessons by correspondence 
 with a competent instructor. Mrs. Florence E. Cory, who was the first teacher of 
 practical carpet designing in the City of New York, teaches by letter ; she is also 
 very thorough in wall paper, calico and cretonne designing. Address a letter to 
 her at the original School of Industrial Art for Women, No. 120 West Sixteenth 
 St., New York City. — Notes and Queries Column, Art Interchange, Sept. nth, 
 1886. 
 
 36 
 
 G> XS 
 
MRS. FLORENCE ELIZABETH CORY, 
 
 Originator and Founder of the " Women's Institute of Technical 
 Design," having dissolved the business partnership 
 founded in 1881 with Florence A. Densmore, 
 established in 1882, 
 
 The School of Industrial Art and Technical Design 
 
 for Women. 
 
 Parties have been advertising a school which claims to be the 
 original school, and to be of like n attire with Mrs. Cory's. 
 This is ?iot so, as the original methods of instruction, . 
 the original instructors, etc., etc., are now in 
 The School of Industrial Art for Women. 
 
 For further terms and particular s address 
 
 MRS. FLORENCE ELIZABETH CORY, 
 134 Fifth Avenue. NEW YORK CITY, N. Y.