prehensive collection ever shown at a world's exposition.

To pay a tribute to the genius of the sculptors, painters and architects. who contributed so brilliantly to the success of the great world's fair, there will be published in January a wonderfully comprehensive and elaborate volume entitled "Art in California." This superb work will present a survey of American art with special reference to California painting, sculpture and architecture, past and present, particularly as those arts were represented at the Panama-Pacific International Exposition. It will be California's most elaborate attempt to preserve for all time in a work of art the artistic glories of the Exposition. No such sumptuous volume, it is said, has ever been printed, or even planned in the West.

There would seem to be a wide field for such a volume. No one may prophecy what will be the verdict of time as to the most lasting impulse following from the great Exposition, but clearly its magnificent stimulus in the field of art will not be the least of its permanent results.

The external glories of the Exposition were the marvel of all visitors. Its exquisite grouping of majestic architectural forms was a source of inspiration to thousands of Exposition sightseers, and left each one with the definite impression that here at the Golden Gate was revealed an artistic impulse felt throughout the life of the American people, and now made evident through the notable assemblage of sculptures and paintings representing the best works of American artists.

The new volume, it is announced, reviewing as it will the field of American art as covered by the Exposition, will be in every way a classic. It will contain more than three hundred full page illustrations and will constitute an exquisite contribution to the bibliography of American art. Altogether it will comprise in the neighborhood of five hundred pages printed upon especially made cameo stock. A feature of "Art in California" will be an elaborate introductory

criticism by Mr. John E. D. Trask, chief of Fine Arts at the Exposition, and formerly secretary and manager of the Pennsylvania Academy of Fine Arts. So impressed was Mr. Trask with the interest in art evidenced by western visitors at the Exposition that in this volume he writes in part:

"The response of the people of the west, their understanding and appreciation of and their sympathy for works heretofore comparatively unknown to them has been such as to convince me that the next great forward movement in the fine arts will center about the Golden Gate."

Among other notable contributors are Bernard R. Maybeck, architect of the Palace of Fine Arts at the Exposition; Louis Christian Mullgardt, designer of the Court of Abundance at the Exposition, who took a prominent part in the designing of the Fisheries building at the World's Columbian Exposition in Chicago; A. Stirling Calder, acting chief of sculpture at the Exposition; Robert B. Harshe, assistant chief of Fine Arts at the Exposition; George Sterling, poet; Michael Williams, critic and author; Bruce Porter, artist; A. B. Clark, associate professor of graphic art at Leland Stanford. University, and many others.

In addition to its standard representation of American paintings and sculpture, the volume will present various artistic phases of the Exposition from original studies by Dr. Emil Jellinek, Francis Bruguiere, Gabriel Moulin and other photographers of note. Many of these views have not been heretofore reproduced, and present details of the Exposition in new and alluring phases. Particularly are the studies of the Palace of Fine Arts attractive, revealing as these do the magnificent structure partially enveloped in shrubbery, as some ancient ruin overgrown with vegetation in the course of the centuries. Photographs of the majestic Arch of the Setting Sun, crowned by the imposing group Nations of the West and illumined by shafts of light; of the Fountain of Earth in the Court of Ages, at night; of Eugene Walter's

whimsical fountain, Beauty and the Beast, and of scores of other subjects, are all especially prepared features of a published record that will be treasured as a classic for all time and will constitute a notable summary of the artistic achievements of the PanamaPacific International Exposition.

The wonderful impulse in American art created through the Exposition has inspired a production of a number of notable art volumes in San Francisco, of which "Art in California" will be the most sumptuous and comprehensive. The publishers of "Art in California" have enjoyed the invaluable co-operation of many wellknown art critics and connoisseurs in the preparation of this volume. Among the representative American painters to be shown are the following: J. W. Alexander, Cecilia Beaux, George Bellows, Mary Cassatt, Emil Carlson, William M. Chase, H. G. Cushing, Frank Duveneck, Frederick Carl Frieseke, Horatio Gaigher, Jules Guerin, Daniel Garber, Albert L. Groll, Johanna K. Hailman, Philip L. Hale, Alexander Harrison, Winslow Homer, John McClure Hamilton, Berge Harrison, Childe Hassam, Robert Henri, Sargent Kendall, Ernest Lawson, Haley Lever, Gari Melchers, Richard E. Miller, Willard L. Metcalf, Violet Oakley, Josephine Paddock, Lawton Parker, Ellen Emmet Rand, Robert Reid, Edward W. Redfield, John S. Sargent, Charles Walter Stetson, Edmund C. Tarbell, John H. Twachtman, James McNeil Whistler. Among the representative American sculptors to be shown are Herbert Adams, Edith W. Borroughs, Karl Bitter, Paul Bartlett, Daniel Chester French, John Flanagan, James Earl Fraser, Charles Grafly, Albert Laessle, Leo Lentelli, Isadore Konti, Paul Manship, Bela L. Pratt, A. P. Proctor, Furio Piccirilli, F. G. R. Roth, St. Gaudens, Paul Troubetzkoy, Adolph Weinman, Mrs. Harry Payne Whitney, Mahonri Young.

Among Californian sculptors whose

works are now familiar to Americans to be shown are Robert Aitken, Chester Beach, Earl Cumming, J. J. Mora, Haig Patigian, Arthur Putnam, Ralph Stackpole, Douglas Tilden, Edgar Walter, Julia Bracken Wendt; and among California painters are Arthur Atkins, Ferdinand Bergdorff, Cora Boone, Lester Boronda, Karl Oscar Borg, Maurice Braun, Henry Joseph Breuer, Anne M. Bremer, Benjamin. Brown, Giuseppe Cadenasso, Emil Carlsen, Rinaldo Cuneo, Betty De Jong, Maurice Del Mue, Maynard Dixon, Charles F. Dickman, Helen Dunlap, E. Charlton Fortune, Maren M. Froelich, John Gamble, Percy Gray, Joseph Greenebaum, Thomas Hill, Armin Hansen, Herman G. Herkomer, Clarence K. Hinkle, Clark Hobart, Julia Heunemann, C. Chapel Judson, Amedee Joullin, William Keith, Florence Lundborg, Ferdinand Lundgren, Jean Manheim, Francis J. McComas, Arthur F. Mathews, Constance Macky, E. Spencer Macky, Xavier Martinez, Eugen Meuhaus, Perham Nahl, Frank O'Brien, Orrin Peck, Gertrude Partington, Richard Partington, Charles Rollo Peters, Isabel Percy, Bruce Porter, Ernest Peixotto, Gottardo Piazzoni, Jules Jules Pages, Henry Varnum Poor, Hansen Puthoff, Joseph Raphael, Mary Curtis Richardson, C. D. Robinson, Toby Rosenthal, Winifred Rieber, Lee Randelph, Granville Redmond, William Ritschel, Mateo Sandona, Donna Schuster, Henrietta Shore, Shore, John Stanton, Jules Tavenier, Frank J. Van Sloun, William Wendt, Robert Wagner, Theodore Wores.

Everyone interested in art and in the artistic achievements of the Exposition will find in this work a summary in text and in the published reproductions of the most notable displays at the Exposition.

The beautiful work, "Art in California," will be issued in January by California's Mgazine, New Call Building, San Francisco.

Q. Could you please tell me how many ways vacuum can be lost?

R. M. K., South Chicago.

Ans. Vacuum may be lost partly or wholly by a leak in the condenser, a leaking stuffing box on the low pressure cylinder, a leaky air pump, dislocation of the valves of the air pump, not enough circulating water, the circulating water too warm, the circulating pump being out of order, leaky pistons, leaky valves and cylinders. In a jet condenser, injection water too warm and too much of it, not enough injection water, or the spray may be clogged.

Q. Please explain the chief points of the difference between the action of the reciprocating steam engine, and the steam turbine. A. Z. K., New York.

Ans. The piston of the reciprocating engine is driven back and forth by the static expansive force of the steam, while in the steam turbine, not only is this static expansive force made to do work, but the velocity of the steam in expanding from a high to a low pressure is also utilized in turning the rotor of the turbine.

Q. Could you kindly tell me what provision should be made on condensers to relieve the pressure of the exhaust, in case the vacuum is lost.

J. B. St. Paul, Minn.

Ans. An automatic relief valve

should be attached to the condenser which is a spring or weight loaded valve and will open when the pressure rises to a certain point, the same as the safety valve on the boiler. When the engine is working, condensing the valve will be held to its seat by the atmospheric pressure from the outside.

two

Q. Please answer on what plans are gas engines built, and what is the four stroke cycle.

A Member of Local 577. Ans. Gas engines are built on fourcycle and two-cycle plans. The first requires one cycle to draw in the mixture, another to compress it, a third to explode it, and the last to get out the exthe fly wheels, and taking gas every haust, completed in two revolutions of other revolution, when under full load. The two-cycle engine keeps the mixture under pressure, and admits it to the cylinder without previously clearing out the exhaust. These engines take gas every revolution.

4.

Is it correct to say "horse power per minute," "horse power per hour," etc?

1. Ans. By horse power. 2. Ans. Thirty-three thousand foot-pounds per minute, 550 footpounds per second, or 1,980,000 footpounds per hour.

3. Ans. One pound of force exerted through one foot of space.

4. Ans. No. If an engine is doing work at the rate of 50 horse power, it is doing 50 horse power all the time. It is an error which is frequently made to assume that such an engine is doing 50 horse power per minute, for 50x60 equals 3,000 horse power per hour.

Q. Please inform me as to the corrcct answers to the following, viz.:

1. What effect has it to give a slide valve inside lead?

2. What effect has it to give a slide valve inside lap?

C. J. S., Seattle, Wash.

1. Ans. It gives an earlier release and decreases compression.

2. Ans. It gives a later release and increases compression.

Q. Kindly answer the following

question for me: What is the difference between the angle of advance and angle of lead? H. S., Cincinnati.

Ans. The angle of advance of an eccentric is the angle included between a vertical line drawn through the center of crank shaft and the center line of the full portion of the eccentric when the crank is on dead center. The angle of lead is the angle included between the center line of the full portion of the eccentric when moved around on the shaft far enough to bring the valve line in line with the admission part and when moved far enough to give the valve its proper lead. The angle of advance is then equal to the sum of the

angle due to the lap and the angle of lead.

Q. Please inform me if heat is transmitted in more than one way. R. H. L., Pullman.

Ans. Yes. Yes. Heat is transmitted in (3) three ways, viz.: Convection, conduction and radiation.

In a recent test the following question was asked and would be very thankful if same was answered for me.

A. J. S., Peoria, Ill.

Q. Why are two eccentrics and two wrist plates put on some Corliss engines?

Ans. One eccentric is for the induction valves to lengthen the range of the cut-off; the other for the exhaust stroke to admit an early release without excessive compression.

(To be continued.)

Inez Haynes Gillmore, writer, expresses these views of the A. F. of L. convention:

"It was like listening to the plans of generals of an army.

"I was truly impressed by the physical aspect of those men. They were the biggest, the most highstanding, the most straight-looking men I ever saw in my life. And they had more of the fighting spirit than all of the army and navy put together, because the army and navy are bureaucratic and fight for a position, while the A. F. of L. fights

only for labor.

"I believe that the labor union is

the only thing that we have that is training men to citizenship. Our schools do not do it, or colleges do not do it. But as soon as a man joins a labor union he begins his training in citizenship. The remarkable intelligence of every man in that convention as to what was going on, and their knowledge and understanding of it and all of the economic laws under it was the most impressive thing I have ever seen.

"I say this without qualification, and I go on record as saying this, that the best citizens the country has will be found among the unionists."