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 Preface vii

Web Research Each chapter offers web research activities that encourage students to
further study the topics introduced in the chapter.

Focus on Web Design Most chapters offer additional activities that explore the web
design topics related to the chapter. These activities can be used to reinforce, extend, and
enhance the course topics.

FAQs In the author’s web development courses, she is frequently asked similar questions
by students. They are included in this textbook and are marked with the identifying FAQ logo.

Checkpoints Each chapter contains two or three Checkpoints, which are groups of
questions to be used by students to self-assess their understanding of the material. A
­special Checkpoint icon appears with each group of questions.

Focus on Accessibility Developing accessible websites is more important than

ever and this textbook is infused with accessibility techniques throughout. The special icon Focus on
shown here makes accessibility information easy to find. Accessibility

Focus on Ethics Ethics issues related to web development are highlighted through-
out the textbook and are marked with the special ethics icon shown here.

Reference Materials The appendixes in the Web Developer’s Handbook offer ref-
erence materials, including an HTML5 Quick Reference, an XHTML Quick Reference,
­Special Entity Characters, Comparison of XHTML and HTML5, a CSS Property Reference,
a WCAG 2.0 Quick Reference, an FTP Tutorial, and a Web-Safe Color Palette.

VideoNotes VideoNotes are Pearson’s new visual tool designed for teaching students
key programming concepts and techniques. These short step-by-step videos demon-
VideoNote
strate how to solve problems from design through coding. VideoNotes allow for self-placed
instruction with easy navigation including the ability to select, play, rewind, fast-forward,
and stop within each VideoNote exercise.
Margin icons in your textbook let you know when a VideoNote video is available for a
particular concept or homework problem.

Supplemental Materials
Student Resources The student files for the web page exercises, Website Case
Study assignments, and access to the book’s VideoNotes are available to all readers of
this textbook at its companion website http://www.pearsonhighered.com/felke-morris. A
complimentary access code for the companion website is available with a new copy of this
textbook. Subscriptions may also be purchased online.

Instructor Resources The following supplements are available to qualified ­instructors

only. Visit the Pearson Instructor Resource Center (http://www.pearsonhighered.com/irc) or
send an e-mail to computing@aw.com for information on how to access them:
• Solutions to the end-of-chapter exercises
• Solutions for the case study assignments

A01_FELK0746_03_SE_FM.indd 7 12/21/15 7:04 PM

 viii Preface

• Test questions
• PowerPoint® presentations
• Sample syllabi

Author’s Website In addition to the publisher’s companion website for this textbook,
the author maintains a website at http://www.webdevfoundations.net. This website contains
additional resources, including review activities and a page for each chapter with exam-
ples, links, and updates. This website is not supported by the publisher.

Acknowledgments
Very special thanks go to all the folks at Pearson, especially Michael Hirsch,
Matt Goldstein, Carole Snyder, Camille Trentacoste, and Scott Disanno.
Thank you to the following people who provided comments and suggestions that were
useful for this eighth edition and previous editions:
Carolyn Andres—Richland College
James Bell—Central Virginia Community College
Ross Beveridge—Colorado State University
Karmen Blake—Spokane Community College
Jim Buchan—College of the Ozarks
Dan Dao—Richland College
Joyce M. Dick—Northeast Iowa Community College
Elizabeth Drake—Santa Fe Community College
Mark DuBois—Illinois Central College
Genny Espinoza—Richland College
Carolyn Z. Gillay—Saddleback College
Sharon Gray—Augustana College
Tom Gutnick—Northern Virginia Community College
Jason Hebert—Pearl River Community College
Sadie Hébert—Mississippi Gulf Coast College
Lisa Hopkins—Tulsa Community College
Barbara James—Richland Community College
Nilofar Kadivi—Richland Community College
Jean Kent—Seattle Community College
Mary Keramidas—Sante Fe College
Karen Kowal Wiggins—Wisconsin Indianhead Technical College
Manasseh Lee—Richland Community College
Nancy Lee—College of Southern Nevada
Kyle Loewenhagen—Chippewa Valley Technical College
Michael J. Losacco—College of DuPage
Les Lusk—Seminole Community College
Mary A. McKenzie—Central New Mexico Community College
Bob McPherson—Surry Community College
Cindy Mortensen—Truckee Meadows Community College
John Nadzam—Community College of Allegheny County
Teresa Nickeson—University of Dubuque
Brita E. Penttila—Wake Technical Community College
Anita Philipp—Oklahoma City Community College

A01_FELK0746_03_SE_FM.indd 8 12/21/15 7:04 PM

 Preface ix

Jerry Ross—Lane Community College

Noah Singer—Tulsa Community College
Alan Strozer—Canyons College
Lo-An Tabar-Gaul—Mesa Community College
Jonathan S. Weissman—Finger Lakes Community College
Tebring Wrigley—Community College of Allegheny County
Michelle Youngblood-Petty—Richland College

A special thank you also goes to Jean Kent, North Seattle Community College, and Teresa
Nickeson, University of Dubuque, for taking time to provide additional feedback and
sharing student comments about the book.
Thanks are in order to colleagues at William Rainey Harper College for their support and
encouragement, especially Ken Perkins, Enrique D’Amico, and Dave Braunschweig.
Most of all, I would like to thank my family for their patience and encouragement. My
wonderful husband, Greg Morris, has been a constant source of love, understanding,
support, and encouragement. Thank you, Greg! A big shout-out to my children, James and
Karen, who grew up thinking that everyone’s Mom had their own website. Thank you both
for your understanding, patience, and timely suggestions! And, finally, a very special
dedication to the memory of my father who is greatly missed.

About the Author

Terry Ann Felke-Morris is a Professor Emerita of Computer Information Systems at William
Rainey Harper College in Palatine, Illinois. She holds a Doctor of Education degree, a
Master of Science degree in information systems, and numerous certifications, including
Adobe Certified Dreamweaver 8 Developer, WOW Certified Associate Webmaster, Microsoft
Certified Professional, Master CIW Designer, and CIW Certified Instructor.
Dr. Felke-Morris has been honored with Harper College’s Glenn A. Reich Memorial Award
for Instructional Technology in recognition of her work in designing the college’s Web
Development program and courses. In 2006, she received the Blackboard Greenhouse
Exemplary Online Course Award for use of Internet technology in the academic
environment. Dr. Felke-Morris received two international awards in 2008: the Instructional
Technology Council’s Outstanding e-Learning Faculty Award for Excellence and the
MERLOT Award for Exemplary Online Learning Resources—MERLOT Business Classics.
With more than 25 years of information technology experience in business and industry,
Dr. Felke-Morris published her first website in 1996 and has been working with the Web
ever since. A long-time promoter of Web standards, she was a member of the Web
Standards Project Education Task Force. Dr. Felke-Morris was instrumental in developing
the Web Development certificate and degree programs at William Rainey Harper College.
For more information about Dr. Terry Ann Felke-Morris, visit http://terrymorris.net.

A01_FELK0746_03_SE_FM.indd 9 12/21/15 7:04 PM

 Contents

Chapter 1 1.7 Uniform Resource Identifiers and Domain

Names 13
URIs and URLs 13
Introduction to the Internet and Domain Names 13
World Wide Web 1 1.8 Markup Languages 16
1.1 The Internet and the Web 2 Standard Generalized Markup Language
The Internet 2 (SGML) 16
Birth of the Internet 2 Hypertext Markup Language
Growth of the Internet 2 (HTML) 16
Birth of the Web 2 Extensible Markup Language
The First Graphical Browser 2 (XML) 16
Convergence of Technologies 3 Extensible Hypertext Markup Language
(XHTML) 17
Who Runs the Internet? 3
HTML5—the Newest Version
Intranets and Extranets 4
of HTML 17
1.2 Web Standards and Accessibility 4
W3C Recommendations 4
1.9 Popular Uses of the Web 17
E-Commerce 17
Web Standards and Accessibility 5
Mobile Access 18
Accessibility and the Law 5
Blogs 18
Universal Design for the Web 5
Wikis 18
1.3 Information on the Web 6 Social Networking 18
Reliability and Information on the Web 6 Cloud Computing 19
Ethical Use of Information on the Web 7 RSS 19
1.4 Network Overview 8 Podcasts 19
Web 2.0 19
1.5 The Client/Server Model 9
1.6 Internet Protocols 10 Chapter Summary 21
File Transfer Protocol (FTP) 10 Key Terms 21
E-mail Protocols 11 Review Questions 21
Hypertext Transfer Protocol (HTTP) 11 Hands-On Exercise 22
Transmission Control Protocol/Internet Protocol Web Research 23
(TCP/IP) 11 Focus on Web Design 24

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 Contents xi

Chapter 2 2.18 HTML Validation

Chapter Summary 62
59

HTML Basics 25 Key Terms 62

Review Questions 63
2.1 HTML Overview 26
Apply Your Knowledge 64
HTML 26
Hands-On Exercises 65
XML 26
Web Research 66
XHTML 26
Focus on Web Design 66
HTML5 27
Website Case Study 66
2.2 Document Type Definition 27
2.3 Web Page Template 28
2.4 HTML Element 28
2.5 Head, Title, Meta, and Body
Chapter 3
Elements 28 Configuring Color and Text
The Head Section 28 with CSS 81
The Body Section 29
3.1 Overview of Cascading Style
2.6 Your First Web Page 29 Sheets 82
2.7 Heading Element 33 Advantages of Cascading Style Sheets 82
Accessibility and Headings 35 Configuring Cascading Style Sheets 83
CSS Selectors and Declarations 83
2.8 Paragraph Element 35 The background-color Property 83
Alignment 36
The color Property 84
2.9 Line Break Element 37 Configure Background and Text Color 84
2.10 Blockquote Element 38 3.2 Using Color on Web Pages 85
Hexadecimal Color Values 86
2.11 Phrase Elements 39
Web-Safe Colors 86
2.12 Ordered List 40 CSS Color Syntax 86
The Type, Start, and Reversed
Attributes 41 3.3 Inline CSS with the Style Attribute 87
The Style Attribute 87
2.13 Unordered List 42
3.4 Embedded CSS with the Style
2.14 Description List 44 Element 89
2.15 Special Characters 46 Style Element 89
2.16 Structural Elements 47 3.5 Configuring Text with CSS 92
The Div Element 47 The font-family Property 92
HTML5 Structural Elements 48 More CSS Text Properties 94
The Header Element 48 CSS3 text-shadow Property 97
The Nav Element 48
3.6 CSS Class, Id, and Descendant
The Main Element 48
Selectors 100
The Footer Element 48
The Class Selector 100
Practice with Structural Elements 50
The Id Selector 101
2.17 Anchor Element 51 The Descendant Selector 102
Absolute Hyperlinks 53 3.7 Span Element 104
Relative Hyperlinks 53
Site Map 53
3.8 Using External Style Sheets 105
Link Element 105
E-Mail Hyperlinks 57
Accessibility and Hyperlinks 58 3.9 Center HTML Elements with CSS 110

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 xii Contents

3.10 The “Cascade” 112 4.8 CSS3 Visual Effects 165

3.11 CSS Validation 115 The CSS3 background-clip
Property 165
Chapter Summary 117 The CSS3 background-origin
Key Terms 117 Property 166
Review Questions 117 The CSS3 background-size
Apply Your Knowledge 118 Property 166
Hands-On Exercises 120 CSS3 Multiple Background Images 168
Web Research 122 CSS3 Rounded Corners 170
Focus on Web Design 122 The CSS3 box-shadow Property 172
Website Case Study 123 The CSS3 opacity Property 176
CSS3 RGBA Color 178

Chapter 4 CSS3 HSLA Color 180

CSS3 Gradients 183

Visual Elements and Graphics 135 Chapter Summary 185

Key Terms 185
4.1 Configuring Lines and Borders 136
Review Questions 185
The Horizontal Rule Element 136
Apply Your Knowledge 187
The border and padding Properties 136
Hands-On Exercises 188
4.2 Types of Graphics 142 Web Research 189
Graphic Interchange Format (GIF) Images 142 Focus on Web Design 190
Joint Photographic Experts Group (JPEG) Website Case Study 190
Images 143

5
Portable Network Graphic (PNG) Images 144
New WebP Image Format 144
Chapter
4.3 Image Element 145
Accessibility and Images 146
Web Design 205
Image Hyperlinks 147 5.1 Design for Your Target Audience 206
Accessibility and Image Hyperlinks 149 5.2 Website Organization 207
4.4 HTML5 Visual Elements 150 Hierarchical Organization 207
HTML5 Figure and Figcaption Elements 151 Linear Organization 208
HTML5 Meter Element 153 Random Organization 208
HTML5 Progress Element 153 5.3 Principles of Visual Design 209
4.5 Background Images 154 Repetition: Repeat Visual Components
The background-image Property 154 Throughout the Design 209
Browser Display of a Background Image 154 Contrast: Add Visual Excitement and Draw
Attention 209
The background-repeat Property 155
Proximity: Group Related Items 210
The background-position Property 157
Alignment: Align Elements to Create Visual
The background-attachment Property 158
Unity 210
4.6 More About Images 158
5.4 Design to Provide Accessibility 210
Image Maps 158
Who Benefits from Universal Design and
The Favorites Icon 160 Increased Accessibility? 211
Configuring a Favorites Icon 160 Accessible Design Can Benefit Search Engine
Image Slicing 162 Listing 211
CSS Sprites 162 Accessibility is the Right Thing
4.7 Sources and Guidelines for Graphics 162 to Do 211
Sources of Graphics 162 5.5 Writing for the Web 212
Guidelines for Using Images 163 Organize Your Content 212
Accessibility and Visual Elements 164 Choosing a Font 213

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 Contents xiii

Font Size 213 5.12 Web Design Best Practices

Font Weight 213 Checklist 234
Font Color Contrast 213
Line Length 214 Chapter Summary 238
Alignment 214 Key Terms 238
Text in Hyperlinks 214 Review Questions 238
Reading Level 214 Hands-On Exercises 239
Spelling and Grammar 214 Web Research 242
Focus on Web Design 242
5.6 Use of Color 214
Website Case Study 243
Color Scheme Based on an Image 214
Color Wheel 215
Shades, Tints, Tones 215
Color Scheme Based on the
Color Wheel 216
Chapter 6
Implementing a Color Scheme 217 Page Layout 247
Accessibility and Color 217 6.1 The Box Model 248
Colors and Your Target Audience 218 Content 248
5.7 Use of Graphics and Multimedia 220 Padding 248
File Size and Image Dimensions Border 248
Matter 220 Margin 248
Antialiased/Aliased Text in Media 220 The Box Model in Action 249
Use Only Necessary Multimedia 221
6.2 Normal Flow 250
Provide Alternate Text 221
6.3 CSS Float 252
5.8 More Design Considerations 221
Load Time 221
6.4 CSS: Clearing a Float 254
The clear Property 254
Above the Fold 222
The overflow Property 255
White Space 223
Avoid Horizontal Scrolling 223 6.5 CSS Box Sizing 257
Browsers 223 6.6 CSS Two-Column Layout 258
Screen Resolution 223 Your First Two-Column Layout 258
5.9 Navigation Design 224 Two-Column Layout Example 261
Ease of Navigation 224 6.7 Hyperlinks in an Unordered List 262
Navigation Bars 224 Configure List Markers with CSS 262
Breadcrumb Navigation 224 Vertical Navigation with an Unordered List 263
Using Graphics for Navigation 225 Horizontal Navigation with an Unordered List 264
Skip Repetitive Navigation 225
Dynamic Navigation 225
6.8 CSS Interactivity with
Pseudo-Classes 265
Site Map 226
CSS Buttons 267
Site Search Feature 227
5.10 Page Layout Design 227
6.9 Practice with CSS Two-Column
Layout 268
Wireframes and Page Layout 227
Page Layout Design Techniques 228 6.10 Header Text Image Replacement 271
Improved Header Text Image Replacement
5.11 Design for the Mobile Web 231 Technique 272
Three Approaches 231
Mobile Device Design Considerations 231
6.11 Practice with an Image Gallery 273
Example Desktop Website and Mobile 6.12 Positioning with CSS 276
Website 232 Static Positioning 276
Mobile Design Quick Checklist 232 Fixed Positioning 276
Responsive Web Design 232 Relative Positioning 276

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 xiv Contents

Absolute Positioning 277 7.7 CSS3 Media Queries 331

Practice with Positioning 278 What’s a Media Query? 331
6.13 CSS Debugging Techniques 280 Media Query Example Using a Link
Verify Correct HTML Syntax 280 Element 332
Verify Correct CSS Syntax 280 Media Query Example Using an @media
Configure Temporary Background Colors 280 Rule 332
Configure Temporary Borders 280 7.8 Responsive Images 336
Use Comments to Find the Unexpected Flexible Images with CSS 336
Cascade 281 HTML5.1 Picture Element 338
6.14 More HTML5 Structural Elements 282 HTML5.1 Responsive Img Element
The Section Element 282 Attributes 340
The Article Element 282 Explore Responsive Images 341
The Aside Element 282 7.9 Testing Mobile Display 342
The Time Element 282 Testing with a Desktop Browser 342
6.15 HTML5 Compatibility with Older For Serious Developers Only 343
Browsers 284 Media Queries and Internet Explorer 343
Configure CSS Block Display 285 Mobile First 343
HTML5 Shim 285 7.10 CSS3 Flexible Box Layout 344
Configure a Flexible Container 344
Chapter Summary 287
Configure the Flex Items 345
Key Terms 287
Review Questions 287 Chapter Summary 350
Apply Your Knowledge 288 Key Terms 350
Hands-On Exercises 291 Review Questions 350
Web Research 292 Apply Your Knowledge 351
Focus on Web Design 292 Hands-On Exercises 354
Website Case Study 292 Web Research 355

7
Focus on Web Design 355
Website Case Study 356
Chapter
More on Links, Layout, and
Mobile 307 Chapter 8
7.1 Another Look at Hyperlinks 308 Tables 371
More on Relative Linking 308 8.1 Table Overview 372
Relative Link Examples 308 Table Element 372
Fragment Identifiers 310 The border Attribute 373
Landmark Roles with ARIA 312 Table Captions 373
The Target Attribute 312 8.2 Table Rows, Cells, and Headers 374
Block Anchor 313 Table Row Element 374
Telephone and Text Message Hyperlinks 313 Table Data Element 374
7.2 CSS Sprites 313 Table Header Element 374
7.3 Three-Column CSS Page Layout 316 8.3 Span Rows and Columns 376
7.4 CSS Styling for Print 322 The colspan Attribute 376
Print Styling Best Practices 323 The rowspan Attribute 376

7.5 Designing for the Mobile Web 327 8.4 Configure an Accessible Table 378
Mobile Web Design Best Practices 328 8.5 Style a Table with CSS 380
7.6 Viewport Meta Tag 330 8.6 CSS3 Structural Pseudo-Classes 382

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 Contents xv

8.7 Configure Table Sections 384 Telephone Number Input 425

Search Field Input 426
Chapter Summary 387 Datalist Form Control 426
Key Terms 387 Slider Form Control 427
Review Questions 387 Spinner Form Control 428
Apply Your Knowledge 388 Calendar Form Control 429
Hands-On Exercises 390 Color-well Form Control 430
Web Research 391 HTML5 and Progressive Enhancement 433
Focus on Web Design 391
Website Case Study 391 Chapter Summary 434
Key Terms 434

9
Review Questions 434
Apply Your Knowledge 435
Chapter Hands-On Exercises 437
Web Research 438
Forms 399
Focus on Web Design 439
9.1 Overview of Forms 400 Website Case Study 440
Form Element 400

10
Form Controls 401
9.2 Input Element Form Controls 401
Chapter
Text Box 402
Submit Button 403 Web Development 451
Reset Button 403
10.1 Successful Large-Scale Project
Check Box 405
Development 452
Radio Button 406
Project Job Roles 452
Hidden Input Control 407
Project Staffing Criteria 453
Password Box 408
10.2 The Development Process 453
9.3 Scrolling Text Box 408 Conceptualization 455
Textarea Element 408
Analysis 456
9.4 Select List 411 Design 456
Select Element 411 Production 458
Option Element 412 Testing 458
9.5 Image Buttons and the Button Launch 461
Element 413 Maintenance 462
Image Button 413 Evaluation 462
Button Element 413 10.3 Domain Name Overview 462
9.6 Accessibility and Forms 414 Choosing a Domain Name 462
Label Element 414 Registering a Domain Name 463
Fieldset and Legend Elements 416 10.4 Web Hosting 464
The tabindex Attribute 418 Web Hosting Providers 464
The accesskey Attribute 418
10.5 Choosing a Virtual Host 465
9.7 Style a Form with CSS 419
Chapter Summary 468
9.8 Server-Side Processing 420 Key Terms 468
Privacy and Forms 423 Review Questions 468
Server-Side Processing Resources 423 Hands-On Exercises 469
9.9 HTML5 Form Controls 424 Web Research 471
E-mail Address Input 424 Focus on Web Design 472
URL Input 425 Website Case Study 472

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 xvi Contents

Chapter 11 Chapter Summary 507

Key Terms 507
Review Questions 507
Web Multimedia and Apply Your Knowledge 509
Interactivity 473 Hands-On Exercises 510
Web Research 510
11.1 Plug-Ins, Containers, and Codecs 474
Focus on Web Design 511
11.2 Getting Started with Audio and Website Case Study 512
Video 476

12
Provide a Hyperlink 476
Working with Multimedia on the Web 477
Chapter
11.3 Adobe Flash 479
HTML5 Embed Element 479 E-Commerce Overview 517
Flash Resources 481 12.1 What Is E-Commerce? 518
11.4 HTML5 Audio and Video Elements 482 Advantages of E-Commerce 518
Audio Element 482 Risks of E-Commerce 519
Source Element 483 12.2 E-Commerce Business
HTML5 Audio on a Web Page 483 Models 520
Video Element 484 12.3 Electronic Data Interchange
Source Element 485 (EDI) 520
HTML5 Video on a Web Page 485
12.4 E-Commerce Statistics 520
11.5 M
 ultimedia Files and Copyright
Law 487 12.5 E-Commerce Issues 521
11.6 CSS and Interactivity 487 12.6 E-Commerce Security 523
Encryption 523
CSS Drop Down Menu 487
Integrity 524
CSS3 Transform Property 489
Secure Sockets Layer (SSL) 524
CSS3 Rotate Transform 490
Digital Certificate 525
CSS3 Scale Transform 490
SSL and Digital Certificates 526
CSS Transition Property 490
Practice with Transitions 493 12.7 Order and Payment Processing 526
Credit Card 527
11.7 Java 495
Stored-value Card 527
Adding a Java Applet to a
Web Page 496 Digital Wallet 527
Java Applet Resources 498 Digital Cash 527

11.8 JavaScript 498 12.8 E-Commerce Storefront

JavaScript Resources 500 Solutions 528
Instant Online Storefront 528
11.9 Ajax 500
Off-the-Shelf Shopping Cart Software 528
Ajax Resources 501
Custom-Built Solutions 528
11.10 jQuery 501 Semi-Custom-Built Solutions on
jQuery Resources 502 a Budget 529
11.11 HTML5 APIs 502 Chapter Summary 530
Geolocation 502 Key Terms 530
Web Storage 502 Review Questions 530
Offline Web Applications 503 Hands-On Exercises 531
Drawing with the Canvas Element 503 Web Research 532
11.12 Accessibility and Multimedia/ Focus on Web Design 533
Interactivity 505 Website Case Study 533

A01_FELK0746_03_SE_FM.indd 16 12/21/15 7:04 PM

 Contents xvii

13
Review Questions 564

Chapter Hands-On Exercises 565

Web Research 566
Web Promotion 547 Focus on Web Design 566
13.1 Search Engine Overview 548 Website Case Study 567

13.2 Popular Search Engines 548

13.3 Components of a Search Engine
Robot 548
548
Chapter 14
Database 549 A Brief Look at JavaScript and
Search Form 549 jQuery 571
13.4 Search Engine Optimization 549 14.1 Overview of JavaScript 572
Keywords 550
Page Titles 550
14.2 The Development of JavaScript 572
Heading Tags 550 14.3 Popular Uses for JavaScript 573
Description 550 Alert Message 573
Description Meta Tag 550 Popup Windows 573
Linking 551 Jump Menus 574
Images and Multimedia 551 Mouse Movement Techniques 574
Valid Code 551 14.4 Adding JavaScript to a Web Page 575
Content of Value 551 Script Element 575
13.5 Listing in a Search Engine 552 Legacy JavaScript Statement Block
Template 575
Map Your Site 553
Alert Message Box 576
Alliances 554

13.6 Monitoring Search Listings 554

14.5 Document Object Model Overview 578

13.7 Link Popularity 556 14.6 Events and Event Handlers 581

13.8 Social Media Optimization 556

14.7 Variables 584
Writing a Variable to a Web Page 584
Blogs and RSS Feeds 557
Collecting Variable Values Using a Prompt 586
Social Networking 557

13.9 Other Site Promotion Activities 557

14.8 Introduction to Programming
Concepts 588
Quick Response (QR) Codes 557
Arithmetic Operators 588
Affiliate Programs 558
Decision Making 588
Banner Ads 558
Functions 591
Banner Exchange 559
Reciprocal Link Agreements 559 14.9 Form Handling 594
Newsletters 559 14.10 Accessibility and JavaScript 600
Sticky Site Features 559
14.11 JavaScript Resources 601
Personal Recommendations 559
Newsgroup and Listserv Postings 559 14.12 Overview of jQuery 601
Traditional Media Ads and Existing Marketing 14.13 Adding jQuery to a Web Page 601
Materials 560 Download jQuery 601
13.10 Serving Dynamic Content with Inline Access jQuery via a Content Delivery
Network 602
Frames 560
The Ready Event 602
The Iframe Element 561
Video in an Inline Frame 562 14.14 jQuery Selectors 604
Chapter Summary 564 14.15 jQuery Methods 604
Key Terms 564 14.16 jQuery Image Gallery 607

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 xviii Contents

14.17 jQuery Plugins 611 Appendix C Special Entity

Characters 643
14.18 jQuery Resources 615
Appendix D Comparison of XHTML and
Chapter Summary 616 HTML5 645
Key Terms 616
Appendix E CSS Property Reference 653
Review Questions 616
Apply Your Knowledge 617 Appendix F WCAG 2.0 Quick
Hands-On Exercises 619 Reference 659
Web Research 620 Appendix G FTP Tutorial 661
Website Case Study 620
Appendix H Web-Safe Color Palette 665
Answers 667
Web Developer’s Hand book 633
Index 687
Appendix A HTML5 Quick Reference 635
Appendix B XHTML Quick Reference 639

LOCATION OF VIDEONOTES IN THE TEXT

VideoNote
A series of videos have been developed as a companion for this textbook. VideoNote
icons ­indicate the availability of a video on a specific topic.
Chapter 1 Evolution of the Web, p. 2
Chapter 2 Your First Web Page, p. 29
HTML Validation, p. 59
Chapter 3 External Style Sheets, p. 105
CSS Validation, p. 115
Chapter 4 CSS Background Images, p. 154
Rounded Corners with CSS, p. 170
Chapter 5 Principles of Visual Design, p. 209
Chapter 6 Interactivity with CSS pseudo-classes, p. 265
Chapter 7 Linking to a Named Fragment, p. 310
Chapter 8 Configure a Table, p. 372
Chapter 9 Connect a Form to Server-Side Processing, p. 421
Chapter 10 Choosing a Domain Name, p. 462
Chapter 11 HTML5 Video, p. 486
Chapter 12 E-Commerce Benefits and Risks, p. 518
Chapter 13 Configure an Inline Frame, p. 562
Chapter 14 JavaScript Message Box, p. 576

A01_FELK0746_03_SE_FM.indd 18 12/21/15 7:04 PM

 1
Introduction to the
Internet and World
Wide Web
Chapter Objectives   In this chapter, you will learn how to . . .

●● Describe the evolution of the Internet and ●● Identify ethical use of the Web
the Web ●● Describe the purpose of web browsers and
●● Explain the need for web standards web servers
●● Describe universal design ●● Identify networking protocols
●● Identify benefits of accessible web design ●● Define URIs and domain names
●● Identify reliable resources of information on ●● Describe HTML, XHTML, and HTML5
the Web ●● Describe popular trends in the use of the Web

The Internet and the Web are parts of our daily lives. How did they
begin? What networking protocols and programming languages work behind the
scenes to display a web page? This chapter provides an introduction to some of
these topics and is a foundation for the information that web developers need to
know. You’ll be introduced to Hypertext Markup Language (HTML), the language
used to create web pages.

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 2 Chapter 1 Introduction to the Internet and World Wide Web

1.1 The Internet and the Web

The Internet
The Internet, the interconnected network of computer networks that spans the globe,
seems to be everywhere today. It has become part of our lives. You can’t watch television
or listen to the radio without being urged to visit a website. Even newspapers and maga-
zines have their place on the Internet.

Birth of the Internet

The Internet began as a network to connect computers at research facilities and univer-
sities. Messages in this network would travel to their destination by multiple routes, or
paths. This configuration allowed the network to function even if parts of it were broken or
destroyed. In such an event, the message would be rerouted through a functioning por-
tion of the network while traveling to its destination. This network was developed by the
Advanced Research Projects Agency (ARPA)—and the ARPAnet was born. Four comput-
ers (located at UCLA, Stanford Research Institute, University of California Santa Barbara,
and the University of Utah) were connected by the end of 1969.

Growth of the Internet

As time went on, other networks, such as the National Science Foundation’s NSFnet, were
created and connected with the ARPAnet. Use of this interconnected network, or Internet,
was originally limited to government, research, and educational purposes. The number
of individuals accessing the Internet continues to grow each year. According to Internet
World Stats (http://www.internetworldstats.com/emarketing.htm), the percentage of the
global population that used the Internet was 0.4% in 1995, 5.8% in 2000, 15.7% in 2005,
28.8% in 2010, and 45% in 2015. Visit http://www.internetworldstats.com to explore more
statistics about the usage and growth of the Internet.
The lifting of the restriction on commercial use of the Internet in 1991 set the stage for future
electronic commerce: Businesses were now welcome on the Internet. However, the Internet
was still text based and not easy to use. The next set of developments solved this issue.

Birth of the Web

While working at CERN, a research facility in Switzerland, Tim Berners-Lee envisioned a
means of communication for scientists by which they could easily “hyperlink” to another
research paper or article and immediately view it. Berners-Lee created the World Wide
VideoNote
Evolution of the Web Web to fulfill this need. In 1991, Berners-Lee posted the code for the Web in a newsgroup
and made it freely available. This version of the World Wide Web used Hypertext Transfer
Protocol (HTTP) to communicate between the client computer and the web server, used
Hypertext Markup Language (HTML) to format the documents, and was text based.

The First Graphical Browser

In 1993, Mosaic, the first graphical web browser became available. Marc Andreessen and
graduate students working at the National Center for Supercomputing Applications (NCSA)
at the University of Illinois Urbana–Champaign developed Mosaic. Some individuals in this

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 1.1 The Internet and the Web 3

group later created another well-known web browser—Netscape Navigator—which is an

ancestor of today’s Mozilla Firefox browser.

Convergence of Technologies
By the early 1990s, personal computers with easy-to-use graphical operating systems (such
as Microsoft’s Windows, IBM’s OS/2, and Apple’s Macintosh OS) were increasingly available
and affordable. Online service providers such as CompuServe, AOL, and Prodigy offered
low-cost connections to the Internet. Figure 1.1 depicts this convergence of available com-
puter hardware, easy-to-use operating systems, low-cost Internet connectivity, the HTTP
protocol and HTML language, and a graphical browser that made information on the Inter-
net much easier to access. The World Wide Web—the graphical user interface to informa-
tion stored on computers running web servers connected to the Internet—had arrived!

Figure 1.1 Convergence of Technologies. Used by permission of World Wide Web

Consortium (W3C)

Who Runs the Internet?

You may be surprised that there is no single person “in charge” of the global intercon-
nected network of computer networks known as the Internet. Instead, Internet infrastruc-
ture standards are overseen by groups such as the Internet Engineering Task Force (IETF)
and the Internet Architecture Board (IAB). The IETF is the principal body engaged in the
development of new Internet protocol standard specifications. It is an open international
community of network designers, operators, vendors, and researchers concerned with
the evolution of Internet architecture and the smooth operation of the Internet. The actual
technical work of the IETF is completed in its working groups. These working groups are
organized into areas by topic, such as security and routing.

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 4 Chapter 1 Introduction to the Internet and World Wide Web

The IAB is a committee of the IETF and provides guidance and broad direction to the IETF. As
a function of this purpose, the IAB is responsible for the publication of the Request for Com-
ments (RFC) document series. An RFC is a formal document from the IETF that is drafted by
a committee and subsequently reviewed by interested parties. RFCs are available for online
review at http://www.ietf.org/rfc.html. Some RFCs are informational in nature, while others are
meant to become Internet standards. In the latter case, the final version of the RFC becomes
a new standard. Future changes to the standard must be made through subsequent RFCs.
The Internet Corporation for Assigned Numbers and Names (ICANN), http://www.icann.org,
was created in 1998 and is a nonprofit organization. Its main function is to coordinate the
assignment of Internet domain names, IP address numbers, protocol parameters, and pro-
tocol port numbers. Prior to 1998, the Internet Assigned Numbers Authority (IANA) coordi-
nated these functions. IANA still performs certain functions under the guidance of ICANN
and maintains a website at http://www.iana.org.

Intranets and Extranets

Recall that the Internet is an interconnected network of computer networks that is globally
available. When an organization needs the communication capabilities of the Internet, but
doesn’t want its information to be available to everyone, either an intranet or extranet is
appropriate.
An intranet is a private network that is contained within an organization or business. Its
purpose is to share organizational information and resources among coworkers. When an
intranet connects to the outside Internet, usually a gateway or firewall protects the intranet
from unauthorized access.
An extranet is a private network that securely shares part of an organization’s information
or operations with external partners such as suppliers, vendors, and customers. Extranets
can be used to exchange data, share information exclusively with business partners, and
collaborate with other organizations. Privacy and security are important issues in extranet
use. Digital certificates, encryption of messages, and virtual private networks (VPNs) are
some technologies used to provide privacy and security for an extranet. Digital certificates
and encryption used in e-commerce are discussed in Chapter 12.

1.2 Web Standards and Accessibility

Just as with the Internet, no single person or group runs the World Wide Web. However,
the World Wide Web Consortium (http://www.w3.org), referred to as the W3C, takes a pro-
active role in developing recommendations and prototype technologies related to the Web.
Topics that the W3C addresses include web architecture, standards for web design, and
accessibility. In an effort to standardize web technologies, the W3C produces specifications
called recommendations.

W3C Recommendations
The W3C Recommendations are created in working groups with input from many major cor-
porations involved in building web technologies. These recommendations are not rules; they
are guidelines. Major software companies that build web browsers, such as Microsoft, do not
always follow the W3C Recommendations. This makes life challenging for web developers
because not all browsers will display a web page in exactly the same way. The good news

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 1.2 Web Standards and Accessibility 5

is that there is a convergence toward the W3C Recommendations in new versions of major
browsers. You’ll follow W3C Recommendations as you code web pages in this book. Follow-
ing the W3C Recommendations is the first step toward creating a website that is accessible.

Web Standards and Accessibility

The Web Accessibility Initiative (WAI) (http://www.w3.org/WAI), is a major area of work by
the W3C. Since the Web has become an integral part of daily life, there is a need for all
individuals to be able to access it. Focus on
Accessibility
The Web can present barriers to individuals with visual, auditory, physical, and neuro-
logical disabilities. An accessible website provides accommodations that help individu-
als overcome these barriers. The WAI has developed recommendations for web content
developers, web authoring tool developers, web browser developers, and developers of
other user agents to facilitate use of the Web by those with special needs. See the WAI’s
Web Content Accessibility Guidelines (WCAG) at http://www.w3.org/WAI/WCAG20/glance/
WCAG2-at-a-Glance.pdf for a quick overview.

Accessibility and the Law

The Americans with Disabilities Act (ADA) of 1990 is a federal civil rights law that prohibits
discrimination against people with disabilities. The ADA requires that business, federal,
and state services are accessible to individuals with disabilities. A 1996 Department of Jus- Focus on
tice ruling (http://www.justice.gov/crt/foia/readingroom/frequent_requests/ada_coreletter/ Accessibility
cltr204.txt) indicated that ADA accessibility requirements apply to Internet resources.
Section 508 of the Federal Rehabilitation Act was amended in 1998 to require that U.S. gov-
ernment agencies give individuals with disabilities access to information technology that is
comparable to the access available to others. This law requires developers creating information
technology (including web pages) for use by the federal government to provide for accessibil-
ity. The Federal IT Accessibility Initiative (http://www.section508.gov) provides accessibility
requirement resources for information technology developers. As the
Web and Internet technologies developed, it became necessary to
review the original Section 508 requirements. New proposed Section
508 requirements were aligned to WCAG 2.0 guidelines and released
for comment in 2015. This textbook focuses on WCAG 2.0 guidelines
to provide for accessibility.
In recent years, state governments have also begun to encourage
and promote web accessibility. The Illinois Information Technology
Accessibility Act (IITAA) guidelines (see http://www.dhs.state.il.us/
IITAA/IITAAWebImplementationGuidelines.html) are an example of
this trend.

Universal Design for the Web

The Center for Universal Design defines universal design as “the
design of products and environments to be usable by all people,
to the greatest extent possible, without the need for adaptation or
specialized design.” Examples of universal design are all around Figure 1.2 A smooth ride is a benefit of
us. The cutouts on curbs that make it possible for people in wheel- universal design. Definition from The Principles
of Universal Design by The Center for Universal
chairs to access the street also benefit a person pushing a stroller Design. Published by by NC State University,
or riding a Segway Personal Transporter (Figure 1.2). Doors that ©1997

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 6 Chapter 1 Introduction to the Internet and World Wide Web

open automatically for people with mobility challenges also benefit people carrying pack-
ages. A ramp is useful for a person in a wheelchair, a person dragging a rolling backpack
or carry-on bag, and so on.
Awareness of universal design by web developers has been steadily increasing. Forward-
thinking web developers design with accessibility in mind because it is the right thing to
do. Providing access for visitors with visual, auditory, and other challenges should be an
integral part of web design rather than an afterthought.
A person with visual difficulties may not be able to use graphical navigation buttons and may
use a screen reader device to provide an audible description of the web page. By making a
few simple changes, such as providing text descriptions for the images and perhaps providing
a text navigation area at the bottom of the page, web developers can make the page accessi-
ble. Often, providing for accessibility increases the usability of the website for all visitors.
Accessible websites, with alternative text for images, headings used in an organized man-
ner, and captions or transcriptions for multimedia features, are more easily used not only
Focus on
Accessibility by visitors with disabilities, but also by visitors using a browser on a mobile device such as
a phone or tablet. Finally, accessible websites may be more thoroughly indexed by search
engines, which can be helpful in bringing new visitors to a site. As this text introduces web
development and design techniques, corresponding web accessibility and usability issues are
discussed.

1.3 Information on the Web

These days anyone can publish just about anything on the Web. In this section we’ll
explore how you can tell if the information you’ve found is reliable and how you can use
that information.

Reliability and Information on the Web

There are many websites—but which ones are reliable sources of information? When
visiting websites to find information, it is important not to take everything at face value
(Figure 1.3).
Questions to ask about web resources are listed as follows;
• Is the organization credible?
Anyone can post anything on the Web! Choose your information
sources wisely. First, evaluate the credibility of the website itself.
Does it have its own domain name, such as http://mywebsite.com,
or is it a free website consisting of just a folder of files hosted on a
free web hosting site (such as weebly.com, awardspace.com, or
000webhost.com)? The URL of a free website usually includes part
of the free web host's domain name. Information obtained from a
website that has its own domain name will usually (but not always)
be more reliable than information obtained from a free website.
Evaluate the type of domain name: Is it for a nonprofit organization
(.org), a business (.com or .biz), or an educational institution (.edu)?
Businesses may provide information in a biased manner, so be
Figure 1.3 Who really updated that web careful. Nonprofit organizations and schools will sometimes treat a
page you are viewing? subject more objectively.

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 Another Random Document on
Scribd Without Any Related Topics
 VI.

PRESENT TENDENCIES OF AMERICAN ART.

A T the close of the fourth chapter of this volume it was briefly stated that
new influences and forms of art expression have recently become
prominent in our art, and are rapidly asserting their growing
importance. With perhaps one or two exceptions, these new influences so
gradually shade out of our former art that it is difficult to tell the exact
moment when they assume an individuality of their own, and appear as new
and distinct factors in the æsthetic culture of our people.
It is only when we take a retrospect of the whole field, and compare one
generation with another, that we discern the vanishing point of one set of
influences and the genesis of new schools, with the introduction of new
branches of art culture in the community. Considering the progress of
American art from this point of view, we find it divided most decidedly into
periods, advancing with regular pace from one phase to another like the
tints of a rainbow, shading off at the edges, but gradually becoming more
intense. Thus we are able to trace in geometrical ratio the progress from
primitive silhouettes and rude carvings up to the present comparatively
advanced condition of the arts in this country.
And yet a closer inspection into the history of American art enables us to
detect in its growth the same rapid spasmodic action, when once a start is
made in a certain direction, as in other traits of our national development.
There is a tropical vivacity in the manner in which with us bloom and
fruition suddenly burst forth after a period of apparently unpromising
barrenness. Thus West and Copley appeared almost full-fledged in art
genius and capacity to adapt themselves to occupy prominent positions in
Europe, and yet there were but few premonitory signs to indicate that the
country was prepared for the advent of such artists.
 "THE MOWING."—ALFRED FREDERICKS.

Until recently, also, owing to some cause yet unsolved, we have not
seemed able to develop more than one or two forms of art at once. At one
period it was historic painting and portraiture; then portraiture, including for
a time very marked success in miniature painting, headed by Fraser and
Malbone, and continued by such able artists as T. S. Cummings, J. H.
Brown, Miss Goodrich, and Mrs. Hall; then, all at once, landscape-painting
made its appearance, and almost at a bound reached a good degree of merit.
Hand in hand with landscape art came remarkable facility in line engraving.
How rapidly excellence in this art was achieved in this country may be
judged from the fact that in 1788 the editor of the American Magazine said
apologetically, in presenting an incredibly rude plate of a dredging-machine
in the magazine, "The editor has given the plate of the new machine for
clearing docks, etc., because he had promised it. The want of elegant plates
in a work of this kind is extremely regretted, and will, if possible, be
supplied. If it cannot, the editor flatters himself that the infancy of the arts
in America will be accepted as an apology for the defect." And yet not
twenty years from that time Peter Maverick was doing good steel-engraving
in New York; and scarce ten years later Durand was executing the masterly
engravings of Trumbull's "Declaration of Independence" and Vanderlyn's
"Ariadne." And from that time until recently engravers like James Smillie,
senior, A. H. Ritchie, and John Marshall have carried this art to a high
degree of excellence; while John Sartain has attained celebrity in mezzotint.
Strange as it may seem, while portraiture, landscape, and steel engraving
were pursued with such success by our artists, a feeling for the other arts
could hardly be said to exist. A sympathy with form, generally the earliest
art instinct to show itself, was long in awakening, as proved by the tardiness
of the plastic arts to demand expression among us; while to the resources of
black and white, or camieu, or a perception of the matchless mystery and
suggestiveness of chiaro-oscuro, the people have, until within a very short
time, seemed altogether blind. Water-colors, also, were almost hooted at;
wood-engraving was for long in a pitiful condition; and as for architecture
and the decorative arts, nothing worthy of the name, and scarcely a sign of a
perception of their meaning, could be said to exist on this side of the
Atlantic.
Some years ago W. J. Linton, one of the most distinguished wood-
engravers of the century, came to this country to live. Whether that had
anything to do with the very rapid development of wood-engraving here
since that time cannot be stated with certainty; but, judging from analogy,
we should say that he has exerted a marked influence in stimulating the
remarkable progress already reached by our engravers within a very few
years. A.V.S. Anthony was one of the first to respond to the awakening
demand for good wood-engraving here, and has shown great delicacy and
skill in interpreting the drawings of our very clever artists in black and
white. Charles Marsh is also an engraver of remarkable character and
originality of style. In the rendering of a decorative or highly ideal class of
subjects he brings to his aid an artistic genius not surpassed by any engraver
we have produced. Messrs. Morse, Davis, Hoskin, Wolf, Annin, Juengling,
Kingsley, Müller, Cole, Smithwick and French, Kreul, Dana, Andrew, and
King, among a number who have distinguished themselves in this art, are
especially noteworthy, not only for correct rendering of the spirit of a
drawing, but often for individuality of style.
One of the most interesting phases of the development of wood-
engraving in this country has been the discussion as to its position among
the arts, and the merits of the recent method of engraving drawings or
paintings photographed directly on the wood. This discussion has been
interesting and valuable as another evidence of the activity and importance
which the art question has already assumed in the community. That
engraving is an art, one would think could never be disputed, if the question
had not already been raised with a certain degree of acrimony on the part—
strange as it may seem—of those who are often dependent upon the genius
of the engraver for the recognition of their abilities by the public—the
artists themselves. It seems to us to be sufficient answer to those who
consider it purely a mechanical pursuit, that the simple fact that the higher
the artistic perceptions of the engraver the better is the engraving he does,
proves it to be a work of art.
 "BIRDS IN THE FOREST."—[MISS JESSIE CURTIS.]

On the other hand, it appears that the engraver may in turn assume too
much when he claims to improve upon an illustration, or objects per se to
cutting photographs on wood. While granting to engraving the rank of art, it
cannot justly be forgotten that it is, after all, a means to an end,—an art, it is
true, but an art subordinate to other arts which it is designed to interpret.
Once this is allowed, it follows, as a matter of course, that it is the duty of
the engraver to render faithfully the drawing or painting that is to be cut;
and to magnify himself not at the expense of the artist who made the
drawing, but by rendering, as nearly as possible, a fac-simile of the original
picture. If this be granted, then is it not clear that, instead of opposing, he
should hail with satisfaction any new process which enables him to give on
wood or any other material a closer copy of the style and spirit of the artist
whom he is interpreting. That this can be done by a clever engraver by
photographing a pen-and-ink drawing or painting directly on the wood, and
then studying also the original work as he cuts it, seems to be no longer an
open question. It has been demonstrated by too many excellent engravers
within the last five years.
Another advantage of what we cannot but consider an advance in this art
is, that it admits of a larger variety of styles, and a freer expression of the
designer's methods of thought and feeling, and also enables many who do
not care to work in the cramped limits of a block of wood to make a large
composition in black and white, whether with Indian-ink or monochrome in
oil, which is then photographed on the wood. In this way far greater
freedom and individuality of handling is obtained, and a nobler utterance of
the truths of nature. Can there be any question that a process which allows
of such variety of expression must inure to art progress, and still more to the
instruction of the people, who are directly benefited by the illustrations
which are brought to their own doors, and placed in the hands of the young
at the time when their tastes and characters are forming, and their
imagination is most plastic and impressionable?
It would seem as if the art of wood-engraving had received in the most
direct manner the action of some unseen hand, impelling it suddenly
forward in this country by concerted action with the genius of illustration;
for apparently by secret agreement that branch of art has within the last
decade developed a comparative excellence yet reached by none of the
sister arts in the land. And this turn for illustration has naturally been
accompanied by an active movement in black and white drawing,
particularly in crayon.
Samuel W. Rowse was one of the first to give an impetus to crayon
drawing by a style of portraiture especially his own. As such he ranks with
our leading portrait-painters; while the fact that he employed crayon as a
medium for a time gave him a position almost entirely alone in this country.
There is a wonderful subtlety in his power of seizing character and the
rendition of soul in the faces he portrays. Equally happy in all the subjects
he treats, he will be longest remembered, perhaps, for the many beautiful
children's portraits he has executed. The success of Rowse naturally led to
similar attempts by other artists; and in all our leading cities one may now
find crayon artists who are more or less successful in the department of
portraiture, among whom may be mentioned B. C. Munzig and Frederick
W. Wright. Out of this has grown a school of landscape-artists employing
charcoal—a medium that Lalanue and Allongé had already used with
magical results. John R. Key, who is well known as a painter in oil, has,
however, done his best work, as it seems to us, in charcoal. There is great
tenderness in his treatment of light and shade, together with harmonious
composition. J. Hopkinson Smith, known as a water-colorist, also handles
charcoal like a master. He seizes his effects with the rapidity of
improvisation, treats them in masses, and shows a feeling for chiaro-oscuro
that is almost unique in our art.
Representing the manner of PETER'S Courtship.
[Howard Pyle.]
 When we come to the book illustrators we encounter a number of artists
of merit, and occasionally of genius, who are so numerous that we can
select only here and there a few of the most prominent names. Felix O. C.
Darley was one of the first to show the latent capacity of our art in this
branch. His style soon became very mannered, but, at the same time,
undoubtedly showed great originality and invention in seizing striking
characteristics of our civilization, and a refined fancy in representing both
humor and pathos. His linear illustrations to "Rip Van Winkle" and Judd's
"Margaret" placed him, until recently, among our first two or three genre
artists. Less versatile and inventive, Augustus Hoppin has, however, earned
an honorable position among our earlier illustrators. Louis Stephens also
won distinction for an elegant rendering of humorous subjects. Then
followed a group of landscape illustrators, among whom Harry Fenn holds
a high position for poetically rendering the illimitable aspects of nature and
the picturesqueness of rustic or Old World scenery and ruins. Under the
guidance of his facile pencil how many have been instructed in art, and
learned of the varied loveliness of this beautiful world! Thomas Moran
ranks with Mr. Fenn as a master in this field. It appears to us that in this
branch he displays more originality and imagination than in the elaborate
paintings by which he is best known.
Within a very few years—so recently, in fact, that it is difficult to see
where they came from—a school of genre illustrators have claimed
recognition in our art, educated altogether in this country, and yet
combining more art qualities in their works than we find in the same
number of artists in any other department of American art. It is a little
singular that, notwithstanding the recent interest in black and white in this
country, the genre artists who represent it should at once have reached an
excellence which commands admiration on both sides of the Atlantic, while
our painters in the same department have rarely achieved more than a
secondary rank.
 SOME ART CONNOISSEURS.—[W. HAMILTON GIBSON.]

Alfred Fredericks has distinguished himself by combining landscape and

figure in a most graceful, airy style; and Miss Jessie Curtis, in the
delineation of the simplicity and beauty of child life, has delightfully treated
one of the most winsome subjects which can attract the pencil of the poetic
artist. Miss Humphreys, in the choice of a somewhat similar class of
subjects, has yet developed individuality of method marked by breadth of
effect and forcible treatment. Of the ladies who have found scope for their
abilities in the field of illustration perhaps none have excelled Mrs. Mary
Halleck Foote. We cannot always find her style of composition agreeable,
and in invention or lightness of fancy she seems deficient, while her manner
is strong rather than graceful. But she is a most careful student of nature,
and the effects she aims at, and sometimes reaches, are inspired by an
almost masculine nerve and power, and show knowledge and reserve force.
Some of her realistic landscapes are almost as true and intense in black and
white as the daring realisms of Courbet in color, but showing fine technical
facility rather than imagination. Miss Annette Bishop, who died too early to
win a general recognition of her talents, was gifted with a most delicate
poetic fancy, and singular facility in giving expression to its dreams.
F. S. Church is an artist of imagination, painting in oil and water-colors,
but perhaps best known for striking and weird compositions in black and
white, often treating of animal or bird life. He is an artist whose advent into
our art we hail with pleasure, not because his style is wholly matured or
always quite satisfactory, for it is neither, but because it is inspired by a
genuine art feeling, and yet more because it shows him to be—what so few
of our artists have been—an idealist. What is art but a reaching out after the
ideal, the most precious treasure given to man in this world? It includes
faith, hope, and charity. To search after the ideal good, to live in an ideal
world, to yearn after and try to create the harmony of the ideal, is the one
boon left to man to give him a belief in immortality and a higher life. The
more of an idealist the poet or the artist, the nearer he comes to fulfilling his
mission. The idealist is the creator, the man of genius; and therefore we hail
with joy the appearance of every idealist who enters our art ranks, and
infuses vitality into the prose of technical art, and inspiration into the
dogmas of the schools. The most hopeless feature of American art has
always been hitherto, as with our literature, the too evident absence of
imagination; and wherever we recognize an idealist, we set him down as
another mile-stone to mark the progress in art. It is through the idealists that
Heaven teaches truth to man; and hence another reason why we regard with
such importance the present school of artists in black and white. In no
department is there more scope for the imagination than in the drawing of
the pure line or in the suggestions of chiaro-oscuro. Therein lies the
enormous power of the art of Rembrandt. He dealt with that seemingly
simple but really inexhaustible medium, light and shade: in the hands of a
master, potent as the wand of a magician to evolve worlds out of chaos.
"WASHINGTON OPENING THE BALL."—[C. S. REINHART.]
 Barry, Bensell, Shepherd, Davis (who is also known as a decorative
artist), T. A. Richards, Eytinge, Frost, Merrill, Ipsen, Shirlaw, Lathrop,
Lewis, Perkins, and Davison are other artists who have justly acquired
repute for success in the department of black and white, or book illustration.
Kelley has a sketchy style that is very effective, and of which the correct
rendering on wood would have been well-nigh impossible with the old
processes; but there is danger of carrying it to the verge of sensationalism.
The facilities afforded by photographing a design on wood has seemed to be
the occasion for aiding the development of a class of artist-authors who
both write and illustrate their own articles for the magazines. How
remarkably well this can be done is proved by such clever artists as Howard
Pyle and W. Gibson, who display at once fertility of imagination and
technical facility as draughtsmen. C. S. Reinhart has become widely known
as one of the most versatile illustrators we have produced. Excelling as a
draughtsman, he brings to his aid an active fancy that enables him vividly to
realize the scenes he undertakes to represent; and he seems equally at home
in the portrayal of quaint old-time scenes, or the brilliant costumes and
characters of the present day, combined with forcible delineations of
scenery. The Puritan damsel or the belle of Newport may alike be
congratulated when Mr. Reinhart ushers them before us with the grace of a
master. The success of this school of artists, who have made their mark in
the department of illustration, has doubtless been due in part to the
increasing study of the figure in this country, and the greater facilities
afforded for drawing from the life. Most of these artists are young men,
whose abilities have been vastly assisted by their studies in life schools,
which it would have been well-nigh impossible for them to find in the
earlier periods of our art. Although perhaps better noticed under the head of
Ethics rather than of Æsthetics, we may allude to the surprising growth and
influence of caricature-drawing in this country, represented by such able
artists as Nast, Bellew, Kepler, or Cusack, as associated with the
development of our black and white art.
An artist who seems to combine the qualities we see more or less
represented by other artists in black and white, who has already
accomplished remarkable results, and gives promise of even greater
successes, we find in E. A. Abbey. It must be taken into consideration that
he is still very young; that he now for the first time visits the studios and
galleries of Europe; that his advantages for a regular art education have
been very moderate, and that he is practically self-educated. And then
compare with these disadvantages the amount and the quality of the
illustrations he has turned out, and we see represented in him genius of a
high order, combining almost inexhaustible creativeness, clearness and
vividness of conception, a versatile fancy, a poetic perception of beauty, a
quaint, delicate humor, a wonderful grasp of whatever is weird and
mysterious, and admirable chiaro-oscuro, drawing, and composition. When
we note such a rare combination of qualities, we cease to be surprised at the
cordial recognition awarded his genius by the best judges, both in London
and Paris, even before he had left this country.
If I have spoken strongly in favor of our school of illustrators, it is
because I think such commendation has been rightly earned, and to
withhold it when merited would be as unjust as to give censure when
undeserved. Criticism need not necessarily be the essence of vitriol and
gall, as some critics seem to imagine it to be. A jury is as much bound to
approve the innocent as to condemn the guilty.

MUSEUM OF FINE ARTS, BOSTON.

In another department of our arts we also feel called to award praise to a

degree that has never before been possible in the history of American art. I
refer to the department of architecture. It is difficult to say exactly when the
new movement toward a fuller expression of beauty in our civic and
domestic building began; but we are conscious that about ten years ago
what was for a time a mere vague feeling after more agreeable examples of
architecture shaped itself into a definite and almost systematic impulse. The
Chicago fire, and more especially the great fire in Boston, accelerated the
action of the forces that already directed the people to demand nobler forms
and types in the constructions that were henceforth to be erected in our
growing cities. The advance of landscape-gardening, as evidenced in the
Central Park of New York, and the public parks of other cities, doubtless
aided to increase the yearning for material beauty. But whatever the
influences at work, there is no question as to the results already apparent. I
would not be understood as approving all the buildings of importance that
have recently been put up in this country—very far from it. But, on the
other hand, one cannot avoid seeing that the general tendency is toward
improved styles, and that here and there groups of buildings or single
structures have been erected which are at once elegant, commodious, and
artistic; and, if not strictly offering new orders of architecture, presenting at
least graceful adaptations of old orders to new climatic and social
conditions in a way that gives them the merit of originality.
So prominent has this improvement in architecture already become in
American cities, that already their external aspect or profile has begun to
partake of the picturesque character hitherto supposed to belong only to the
Old World, and to present that massing of effect so dear to the artistic eye.
We can illustrate this by mentioning only two or three examples among
many. One who looks toward Philadelphia from the railway station on the
east side of the Schuylkill, may see a cluster of spires and domes centering
around the Academy of Fine Arts, which is so agreeably composed that one
would almost imagine the position of each to be the deliberate choice of a
master in composition. Twenty years ago one would have looked in vain for
any such harmonious outline of structural beauty in this country. The small,
quaint fishing-port of Marblehead has also found itself suddenly
transformed into one of the most pleasing cities of the Union, as viewed
from the Neck across the harbor; for on the very crest of the hills upon
which the place is built a town-hall has been erected, of brick, neatly faced
with stone, and surmounted by an elegant tower. At once the old town has
emerged from the commonplace into the region of the picturesque. The new
structure has given character and symmetrical outline to the city by
producing convergence to a central point of effect; and when the sun sets
behind it, and brings its outline into bold but harmonious relief against a
golden background, while a mist of glowing rays glazes the whole into
tone, the view is in the highest degree artistic, and so resembles some of the
scenes one so often sees in the Old World that he can hardly believe he is
gazing at an American prospect.
We find a somewhat similar effect, but on a much larger scale, presented
by the new Capitol, or State-house, at Albany. This city, as beheld from the
opposite banks of the Hudson at Greenbush, has always been one of the
most pleasing of American cities, situated as it is on several lofty hills,
divided by ravines in which purple shadows linger when night is
approaching; but the addition of the vast structure now in course of
completion there adds greatly to the glory of the spectacle. It dominates
over the city of eighty thousand inhabitants with superb dignity; and the
whole place borrows beauty from it, and is elevated above prose into
poetry. Again one is reminded of the cathedral towns of Europe, where
some lofty, venerable minster guards through the ages the roofs that cluster
below. Not that this pile, which is rather hybrid in its style, is to be
considered equal to the masterpieces of old-time architecture; but it is a
long step in advance compared with the civic buildings formerly erected
and admired in our cities, and its presence at the capital of a great State
cannot but have an ennobling and educational influence upon rising
generations.
The styles, whether pure or modified, that are most employed by our
architects in this new movement have been chiefly the Romanesque, the
Palladian Renaissance, the French Renaissance of Mansard and Perrault,
and the later Elizabethan or Jacobean. The first two have entered chiefly
into the construction of civic buildings; the second has been followed in
religious edifices; while the last has been used with excellent effect in
domestic architecture. A fine example of the success achieved in the
employment of the Romanesque is seen in the new Trinity Church on the
Back Bay lands, in Boston, designed by Gambrel and Richardson. This is
one of the most conscientious and meritorious buildings erected on this
continent, although less imposing than it would have been if the original
design had been fully carried out. There is, also, an affectation of strength in
the massive blocks of undressed stone under the windows, in a part where
such strength is disproportionate to that employed in other portions of the
building. But the general effect is excellent, and the covered approaches or
cloisters are quite in the spirit of true architecture. Color enters judiciously
into the selection of the stone used to aid the general effect; and the same
observation may be applied to the very elegant tower of the new Old South
Church, close at hand, designed by Peabody and Robinson, in the Italian
Gothic style, and which for grace, beauty, and majesty has not been
surpassed on this side of the Atlantic. The church edifice to which it is
attached, although sufficiently ornate—perhaps too much so—is lacking in
that repose of outline or just proportions that are required to bring it into
harmony with the campanile.
 "THE ASTONISHED ABBE."—[E. A. ABBEY.]

Other towers and churches are clustered in that neighborhood, erected

within ten years, which present an effect that is really intrinsically beautiful,
without taking at all into question the rapidity of the transformation which
has come over the spirit of our architecture. And the effect is heightened, to
a degree never before attained on this continent since the Mound-builders
passed away, by the excellence of the domestic architecture which has
entered into the construction of the dwellings of that vicinage, especially on
Boylston Street and the adjacent avenues. Beauty, taste, and comfort are
there found combined to a degree that promises much for the future of
architecture in our country. The gargoyles, gables, cornices, and carvings
one meets at every turn carry one quite back to the Middle Ages. It is
interesting to observe that the sham cornices formerly so common here are
gradually being discarded, together with all the other trumpery decoration
so much in vogue. Good honest work is shown in external decoration,
together with a feeling for color that is adding much to the cheerfulness of
our cities. Brick is made to do service for ornamentation as well as for mere
dead walls, and string courses, or bands of colored tiles or terra-cotta
carvings, all of an enduring character, enter into the external decorations of
private dwellings.
 A CHILD'S PORTRAIT.—[B. C. PORTER.]

Not only is the love of beauty shown in domestic architecture, but it is

found displayed in the construction of banks and stores; and it is again in
Boston that we find whole streets of buildings of rich and elegant design,
and conscientiously constructed, devoted wholly to business purposes. But
a building which, perhaps, more than any other is typical of the
architectural movement now passing over the country is the Museum of
Fine Arts in Boston. It is not so much after any one style as a choice from
different schools of later Gothic adapted to modern conditions. The terra-
cotta groups in relievo in the façade, temper what would be otherwise too
large an expanse of warm color, for it is built of red brick. The grouped
arches, turrets, and oriel windows, and the numerous terra-cotta decorations
at the angles and on the gables, are elegant, but perhaps so generally
distributed as to be a little confusing. The effect is scattered, and thus
weakened, instead of being massed at one or two central or salient points.
This is the most glaring error we discover in the present importation or
adaptation of foreign and ancient styles to our needs here. It is an error
which we share with the modern British architect, and was forcibly
illustrated in the new Houses of Parliament, by Sir Charles Barry. No
buildings of this century are so profusely ornate as some of the magnificent
cathedrals and town-halls of the Middle Ages; but at the same time all this
sumptuousness of decoration was massed upon one or two effective spots,
surrounded by large spaces comparatively simple and free of
embellishment. Thus grandeur and nobility of outline were preserved, while
extraordinary beauty in color and sculpture could be added without
disturbing the general effect or cloying the imagination. But our architects,
not having yet fully grasped the ideas after which they are searching, scatter
instead of concentrating the external decorations of their buildings.
 A BIT OF VENICE.—[SAMUEL COLMAN.]

Interior decoration has also naturally assumed importance as the quality

of our architecture has advanced. Elaborate wood-carvings are entering into
the decorations of the houses of our citizens, and painting is called in to
adorn the walls of private and civic buildings, sometimes with more
affectation or extravagance than taste; although it can be conceded without
hesitation that a remarkable and decided improvement is noticeable within a
very few years in the decoration of interiors in this country. M. Brumidi
made a beginning, some twenty years ago, in the frescoes of the Capitol at
Washington; and quite recently Mr. Lafarge has beautified the interior of
Trinity Church, Boston, and other public buildings, with sacred designs in
fresco, and other decorative work in gold and red, which are very
interesting. Among the last, and probably the most important, works of the
late William M. Hunt were the mural paintings in oil for the new State-
house at Albany. Other artists who have shown promise in this department
are Francis Lathrop and Frank Hill Smith.
 It is not surprising to find that this advance in decorative art, together
with the increasing luxury accompanying it, should create a demand and
develop a talent for toreutic art, or art in metal-work, especially the precious
metals; and such we find to be the case. The success achieved in this
department is, perhaps, the most remarkable yet attained in American art,
excepting possibly that of some of our artists in black and white, and has
justly merited and obtained unqualified applause abroad as well as at home.
It is to such designers as Messrs. Grosjean, Perring, Wilkinson, and Moore,
assisted by the most skilled artisans of the age, that our toreutic art is
indebted for the recognition it received at the French Exposition.
Another sign of the rapidly increasing activity of the interest taken in the
art question in America is presented by the art museums or galleries which
have almost simultaneously arisen in Boston, New Haven, New York, and
Washington, founded at considerable expense, and entirely without State
aid. With the former two are connected important schools for art instruction,
combined with fine casts of the masterpieces of ancient plastic art.
Another evidence of the awakening art feeling of a great nation is the
demand for art education—a want which has been met by the establishment
of numerous schools or academies of art in our leading cities all over the
land, from the Atlantic to the Pacific. It is true that in Philadelphia, Boston,
and New York academies were founded early in the century, and the last
especially had become a very important factor in stimulating the latent love
for art in our people. The Massachusetts Normal Art School, under the able
direction of Mr. Walter Smith, while devoted chiefly to the advancement of
industrial art, has also by its example greatly assisted the growth of the art
feeling in the popular mind. While much may be urged with reason against
compulsory instruction of art in the public schools, it would seem that few
could be found to object to the education of art instructors, and the addition
of an optional art branch to the State schools for the benefit of those who
are desirous of art instruction, but are too poor to avail themselves of the
advantages offered by such admirable art schools as those of the Cooper
Institute and Artists' League in New York, the National Academy or the
Museum of Fine Arts in Boston, or the Academy in Philadelphia. It may,
then, be conceded that the founding of the Massachusetts Normal Art
School is not only a strong indication of a growing demand, but that it has
also been a very powerful agent in the diffusion of art knowledge in the
United States.
 "THE OLD ORCHARD."—[R. SWAIN GIFFORD.]

Thus we see that by a cumulative effort the arts are making sudden and
rapid progress in America. And there is still another movement which
strikingly indicates this. Slow to be recognized, and meeting in some
quarters with but cold welcome, it is yet by no means the least significant
indication out of many that we are in the full tide of æsthetic progress, and
have fairly entered on the third period of American art. From the time of
West it has been not uncommon for our painters to go to Europe for study
and observation; but they either had the misfortune to form their style after
that of schools already conventional and on the wane, or they were not yet
sufficiently advanced to accept the methods and principles of new masters
and schools. A possible explanation, that is more philosophical, but which
some may decline to accept, may be found in the general laws directing
human progress, that obliged us, unconsciously, falteringly to tread one
after the other the successive steps which others have followed before us.
For the same reason, when an artist of unusual ability, like Stuart, appeared
in the country, he had little or no following, because he came before his
time.
 A LANDSCAPE.—[GEORGE INNESS.]

But it has been evident for some years that a new element was entering
our art ranks and demanding expression, which has at last reached a degree
of vigor and organized strength that challenges respectful attention, if not
unqualified acceptance. By associations, schools, and exhibitions of its
own, it has thrown down the gauntlet to conservatism and conventionalism,
and the time has arrived when we can no longer shut our eyes to the fact
that a new force is exerting itself with iconoclastic zeal to introduce a
different order of things into American art. We cannot justly consider this
movement in the light of reform, for up to this time our art has been very
creditable, and, considering the environing circumstances, full as advanced
proportionally as the other factors of American civilization. We regard it
simply as another stage in our art progress, destined, when it has
accomplished its end, to be in turn succeeded by yet higher steps in the
scale of advance; for, notwithstanding the somewhat demonstrative
assumptions of some of its promoters, the new movement does not
comprehend within itself, more than any other school, all the qualities of
great art. To no school of art has it yet been given to demonstrate and
include in itself all the possibilities of art, or to interpret all the truths of
nature and man. Perhaps some future school may arise, with all the
knowledge of the ages to choose from, which may comprehend the whole
sphere of art in its compass. But they are probably not yet born who shall
see it, or give to it the symmetry of perfection. Until that time, it behooves
those neophytes and disciples, who proclaim that their art includes all that
art has to tell, to be modest in their claims, and to be satisfied if they have
been able by fasting and prayer to enrich the world of art with one or two
new truths. Nowhere is humility more becoming than in art; arrogance and
assumption dig its grave sooner or later; while humility is by no means
incompatible with earnestness, zeal, and progress.

"LA MARGUERETTE—THE DAISY."—[WILLIAM M. HUNT.]

 The ripeness of our art for a change before the new movement actually
assumed definite shape had already been suggested and welcomed in
advance by such artists as Eastman Johnson, Homer Martin, and Samuel
Colman, the admirable painter in oil and water colors, strong in chiaro-
oscuro, brilliant in color, and, although without academic training abroad,
of a most excellent catholic spirit in all matters relating to art, ready to
accept the good of whatever school, and to aid progress in the arts of his
native land by whomsoever promoted. Benjamin C. Porter, whose massive
characterizations in portraiture, broadly treated and admirably colored, have
been among the most important achievements in recent American art, and
Winslow Homer, A. H. Wyant, and E. M. Bannister are also among the
artists whose sympathies are naturally with the new movement, although
receiving their art training chiefly in this country, and who have thus
indicated and prepared the way for the assertion of new influences in our
art.
R. Swain Gifford should be added to the list of the noteworthy
landscape-painters who have thrown the weight of their influence in
advance to welcome to our shores new elements of progress and change
whereby to quicken American art to fresh conquests. This artist at one time
devoted his efforts to marine-painting, in which he did and still does some
creditable work, his knowledge of ships being sufficiently technical to
satisfy the nautical eye; but since his sojourn in Algeria, and the
observations made in the Continental galleries and studios, he has devoted
himself to landscape, and adopted a bolder style and a truer scheme of
color. The influence of French art is perceptible in his later methods, but
altogether as an influence, and in no sense as an imitation, for in his works
there is always evident a sturdy self-assertion, whether in subject or
treatment. In catching the gray effects of brooding skies receding in
diminishing ranks through an aërial perspective of great distance and space,
and giving with fine feeling the Druid-like spirit of clumps of sombre
russet-hued cedars moaning by the granite shore of old Massachusetts, and
identifying himself with the mysterious thoughts they suggest, Mr. Gifford
has no superior on this side of the Atlantic. As a professor in the Cooper
Institute, his influence is of great importance to the future of American
pictorial art.
 MOONLIGHT.—[JOHN J. ENNEKING.]

George Inness is another painter who, although without training in

foreign studios, should be included with the artists just named, whose
sympathies have gradually led him to exemplify in his works some of the
most characteristic traits of later Continental methods. At first his style was
not unlike the prevailing style of our middle school of landscape-painting;
like that, giving careful attention to the reproduction of details. But his
emotional nature, and intense reflection upon the philosophical principles of
art, gradually led him to a broader style and a more free expression of the
truths of nature, dealing with masses rather than with details, and handling
his subjects—especially atmospheric effects—with a daring and an insight
that has never been surpassed in our landscape art. To these he has added a
feeling for light and color that place him, at his best, among the masters of
the art. But there is inequality in his works, and sometimes a conflict of
styles, as when he dashes off a composition, in two or three sittings, that is
full of fire and suggestion; and then, perhaps with a relic of his first method
still lingering in his memory like a habit, goes over it again, and smooths
away some of those bold touches which, to an imaginative observer, gave it
additional force.

"HAVING A GOOD TIME."—[LOUIS C. TIFFANY.]

In his latest works Mr. Inness has shown a disposition to yield more and
more to a style at present called impressionist. Impressionism pure and
simple, as represented by its most extravagant supporters, is like trying to
represent the soul without the body. This may be well enough in another
world; but in this a material body is needed to give it support. But,
philosophically considered, there is no question that impressionism—or the
attempt to represent nature according to the impressions it makes upon the
mind's eye, rather than the mere reflections left on the material eye—
undoubtedly presents the quintessence of the spirit of art; and therefore all
good art must have in it more or less evidence of subjective influence. But
just so long as art finds expression with material means, the artist must
make concessions to the limitations of substance. Naturally, of all the arts,
music comes nearest to the ideal which the impressionist is seeking to
grasp.
 It is useless to deny that, extravagant as some of the works of the
contemporary impressionists appear to many, they undoubtedly present a
keen appreciation of aërial chromatic effects, and for this reason are worthy
of careful attention. That they are not carried nearer to completion,
however, indicates a consciousness on the part of the artist that he is as yet
unable to harmonize the objective and subjective, the material and the
spiritual phases of art. A perfect work of art combines the two; but, alas!
such achievements are as yet rare, although that is the ideal which the artist
should keep in view. The artist who gives us what is called a finished
painting is so far right. He represents what appears to the material eye. In
proportion as he combines with this a suggestion of the intellectual
impression also made on his mental vision, he approaches the ideal in art
execution. On the other hand, the artist who is impatient of details, and
deals wholly with a broad, and sometimes, we regret to say, dauby and
slovenly interpretation of nature, is yet so far right, because he is
endeavoring to interpret the wholly imaginative and intellectual side of art.
When to this bias he adds the balance of power which enables him to give
something of the other phase of art, he in turn approaches the ideal aim of
art. Turner was an impressionist; so was Corot; so, to go farther back, was
Velasquez; so, also, are the Japanese. But these artists, especially Turner
and Velasquez, had the supreme faculty of uniting the two opposite poles in
art in their best works, and hence the commanding position which they
hold, and always will hold, in the art world.
 SOUTHAMPTON, LONG ISLAND.—[C. H. MILLER.]

So far as can be ascertained, it is to the late William M. Hunt that we

must ascribe the initiation of the third period in our pictorial art, and
perhaps, in a secondary manner, the general impulse toward foreign styles
now modifying the arts of design in this country. When Mr. Hunt went to
Düsseldorf to study, in 1846, he did no more than many of our artists had
already done. But when, dissatisfied with the conventionalism of that
school, he turned his steps to Paris, and became a pupil of Couture, and was
one of the first to discover, to admire, and to emulate the art methods of
Millet, then, unconsciously, he became a power, destined by his somewhat
narrow but intense personality to influence the destinies of our art—
especially by returning to Boston, a city easily brought under the
magnetism of a strong individuality, and more ready than any other city in
the land to surrender the guidance of its opinions to those whom it
condescends to admire.
The going of Mr. Hunt to Paris meant that technical knowledge and the
perception of the underlying principles of art were now, as never before, to
be systematically mastered and imported to America by our artists, together
with the most advanced theories, truths, or discoveries in the technical part
of the subject. It did not mean that all our artists who went abroad to study
would necessarily be great, or that any of them would be especially
original, but that there would be a general harmony of action toward
improving the means of art education in America. Regarded in this light,
Mr. Hunt must be considered to have been a most important promoter of the
development of art in America. He was probably not a man of genius—
unless great force of character be considered as such—but he had a true
perception of the character and aims, the limitations and possibilities of art;
and the intolerance he sometimes exhibited was not unusual in those who
are introducing new methods, and have to create a circle of influence. In his
own works, as a landscape, portrait, genre, and decorative painter, it cannot
be said that he added greatly to the sum of the world's art by anything
strikingly original; but he exhibited a true perception of the importance of
the ideal in art; and one feels, in contemplating his works, that he was ever
striving to overcome the difficulties of material means of expressing the
ideal. Moved, like most leading American painters, by a feeling for color
rather than for form, yet, in such compositions as "The Bathers,"
representing a boy about to dive from the shoulders of another, who is half
immersed in a pool, vanishing into the green gloom of the wooded banks,
we have an admirable example of the manner in which this artist sometimes
combined form, chiaro-oscuro, and color, with a delicacy, force, and
suggestion of outline and tint, to a degree rarely equalled before by
American art; with a technique essentially that of the later French school,
yet modified by individual feeling.
 A STUDY.—[FREDERICK DIELMAN]

But the life-work of Mr. Hunt was, after all, not more in his paintings
than in that influence by which he gathered about him a school of admirers
and disciples who disseminated his opinions and imitated his style, although
rarely with his success. Among those who directly profited by his style and
influence may be mentioned Mrs. Darrah, who effectively paints gray coast
scenes and landscapes in a low, minor key; Miss Helen M. Knowlton; Miss
Bartol; F. P. Vinton; and S. S. Tuckerman, the marine painter.
The power of Mr. Hunt was still more widely felt in directing a large
number of young art-students to visit Paris, and eventually also Munich, at
each of which the tendency has been for some years toward bolder methods
in the technics of art. The result has been to introduce to this country a truer
perception of the vital importance of style in the present stage of our art,
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