effort will be made to meet the needs of the most advanced teachers, vocal artists, and all who believe in the spoken word as an agent of education. The courses of the School of Expression are arranged systematically, so that the work, so far as mastered in the summer school, counts the same for final graduation as if taken during the winter term. All former members of the School of Expression, Boston College of Oratory, Boston University, or Boston School of Oratory, are cordially invited to be present. Special arrangements are made to assist them. Those who desire to come earlier, either to Boston or to Plymouth, will find teachers who will give them courses in individual instruction or form preparatory classes. All students who expect to come are requested to prepare two or three recitations, the argument of some leading poem for conversation; to study Longfellow's "Miles Standish," — to be prepared for the illustrations at Plymouth. Students, especially speakers, are requested to study the subjects of the oratorical studies; Demosthenes "On the Crown;" part of Burke's "Warren Hastings;" Daniel Webster's oration at Plymouth, and something of Webster's life. An excursion will be made to Webster's grave at Marshfield. Each student is also requested to come prepared with some dialogue (one part or all the parts) for the dramatic training classes. By making preparations in this way, students will secure more assistance. Each full course will consist of at least four and one half hours' work daily, five days of the week for five weeks. Terms, $50.00. Rates to clergymen, $25.00; to public school teachers, $40.00. It is understood that such students are not studying to become teachers of elocution. Those desiring to review courses previously taken are charged one half rates for those courses. Courses of one hour a day will be $15.00 for the term. Board and rooms can be obtained at from $7.00 to $10.00 per week. Students can obtain rooms at one place at from $1.50 to $3.00 per week, and table board in another house at $4.50 per week, enabling them to have room and board at $6.00 per week. Many prefer this as it gives them greater freedom in the selection of their room. Electric cars make frequent trips the entire length of the town. The Dublic library will be open to students. A steamer makes trips to the beach every half hour, where there is good sea-bathing. There is also quiet salt-water bathing near the School. There will be a Conference at the rooms of the School of Expression in Boston the three days preceding the summer term, July 6, 7, and 8, with discussions upon every department of expression. All students will be greatly benefited by spending these three days in Boston. Plymouth is thirty-seven miles from Boston from the Old Colony Depot. Students coming from New York, who do not wish to come to the Conference, can take the Fall River Line with through tickets to Plymouth. It is hoped all will attend the Conference. The discussions will afford the best possible introduction to the work of the summer term. An advanced teacher said of the Conference last year that she learned more in an hour than she did from the whole National Convention of Elocutionists. This Conference is open free to all. For a Catalogue of the School of Expression, or other particulars, address, S. S. CURRY, PH.D., 458 BOYLSTON STREET, BOSTON, MASS. Puritan Established CYCLES. The result of scientific development in Bi- is obtained only in Bicycles bearing the BUILT ON HONOR-SOLD ON MERIT. Recognized all over the world as being the BEST FINISHED, MOST SUBSTANTIAL, and EASIEST RIDING BICYCLE ever manufactured. O. J. FAXON & CO., Manufacturers, Factory and 3, 5, and 7 Appleton Street, Warerooms, BOSTON, MASS. EXPRESSION. THE DECORATIVE PAINTING. HE development of the art of painting to a high degree of efficiency, in any age, has been chiefly dependent upon its use in the decoration of great buildings. Easel painting in its very nature is confined to a lower plane. Sublime and beautiful as may be many of the easel pictures of the world the great decorative paintings have been more expressive of the ideals of an age, a nation, or a city, and more influential in moulding public taste. At Florence, Rome, and Venice, the decorative painting upon some church or public building, where the people were wont to assemble, was the chief means of advancing pictorial art. Decorative painting is not the isolated expression of an individual artist, to be carried he knows not whence, to be hung he knows not where, by the side of he knows not what discordant color, or upon a wall of he knows not what tint, or in a room with he knows not what surroundings. The easel painter is unable to blend his art or in any way to bring it into sympathy with its surroundings; he is confined within his frame. The decorative painter, on the other hand, must make his picture a part of some building; his work must harmonize with the architecture of that building and with the work of other artists, with whose spirit and aim he must feel in full sympathy. Delsarte said, "all art is |