Identifier: stnicholasserial372dodg (find matches)
Title: St. Nicholas (serial)
Year: 1873 (1870s)
Authors: Dodge, Mary Mapes, 1830-1905
Subjects: Children's literature
Publisher: (New York : Scribner & Co.)
Contributing Library: Information and Library Science Library, University of North Carolina at Chapel Hill
Digitizing Sponsor: University of North Carolina at Chapel Hill

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thing that a boyserved seven years as apprentice and seven moreyears as a journeyman before he became a master. 1910.) BOYS ROOMS 927 The Gothic tables of oak were made for all time,so strong were they. The examples that are leftto us have grown more beautiful with age both incolor and in the softened quality of their carving.In the Tyrol, Styria, Salzburg, and other parts ofAustria, tables are still made in the same fashion.Built of strong wood, without ornamentation ofany kind, they are splendid forms for work-benches. We have not directly copied the designs the sternest of all the famous Florence streetfronts of rusticated stone. It was only the streetfronts of these palaces that were stern as a de-fense against medieval street broils and factionfights. In the interior there were courtyards androoms made splendid through the work of manyartists. This chair from the Strozzi Palace wasprobably designed by its architect. The architectsof that time were not only designers of buildings,
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A BOY S ROOM IN THE ATTIC. of the work-benches, but we have tried to learnfrom these old tables how to make frameworkpicturesque as well as strong, and how to get intothe spirit of the mortise and tenon joints and thewooden pegs. A three-legged stool would have, perhaps,served all necessary requirements in the secondworkshop, but a chair-back adds a not unwar-ranted bit of comfort. The medallion-shaped topis for a monogram or seal. It can be worked incolor, or in carving, or on an inserted copper-plate, and can give your workshop a pleasantdecorative touch. It was suggested by a fifteenth-century chair from the Strozzi Palace, which is but artists and craftsmen as well. In Florencethere were no art schools and no schools of archi-tecture. The boy was brought up in the work-shop and learned to be an artist and an artisan atthe same time. Ghirlandajo, one of the greatestof early Florentine painters, used to paint hoopsfor womens baskets; Brunelleschi, the builder ofgiant domes, chased r

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