memory of the soldiers and sailors at a cost of $100,000.

It is the statue of Lincoln, however,

by Gutzon Borglum, that Newark is chiefly proud of.

"I am now in the garden of Gethsemane," wrote Lincoln in one of the blackest hours of the Civil War. This statue, in the Courthouse Plaza, overlooking the bustling city, represents him in the storm and stress of those troublous days. He is represented as seated on a bench, his whole pose suggestive of loneliness and sadness associated with his life. His massive brow, his careworn face, the deep hollow-set eyes, are all in evidence. His great, gaunt hands and cowhide boots 100m up conspic

GROWING PUMPKINS ON
THE ROOF

AMATEUR gardeners who wish to

make the best possible use of their back yard space can raise quite a creditable crop of pumpkins on the woodshed roof. As the photograph shows, the vines are planted in a row at the foot of the wall and are trained over the roof, where the succulent vegetables seem to thrive as well as on the ground. It is advisable to place a little stick below each pumpkin, in order to keep it from rolling off. In case any pumpkins start to grow on the vine below the eaves, they should be removed, or else given individual support.

This way of growing the vegetables is certain to give them plenty of sunshine and air.

N a special salon at Chicago there was recently placed on exhibition a collection of what are, undoubtedly, the most unique paintings in the world. They are unparalleled in art in that they were painted literally at the bottom of the ocean.

The founder of the new school of submarine painting is Zarh Howlison Pritchard, an Irishman by birth, now residing at Pasadena, California. He spends a good part of each summer at the bottom of the ocean off the coast of southern California painting pictures of the ocean's bed and the creatures that inhabit the water.

Mr. Pritchard works in a way easy enough to understand. He has devised an extraordinary set of apparatus in order to paint pictures under the water. Sometimes he goes down in an ordinary diving suit, furnished with a pair of

pearl diver's goggles. At other times he wears a diver's helmet, which is connected with the upper air by means of a rubber tube. He uses a drawing board made of glass and paper which has been soaked in cocoanut oil to make it waterproof. French waterproof paints and a heavy weight, to keep him at the bottom, complete his outfit. Nothing more is needed, except the courage to descend, the ability to select what to sketch and to sketch it quickly. Nature and practice have given these to Mr. Pritchard, who, however, was years in thinking out ways

and means.

Of course, Mr. Pritchard does not finish his paintings beneath the water. He makes sketches in crayons for them there, transcribing form, noting color, diagraming fish, feeling for the precise color harmony that can never be wholly brought from the depths, then ascends to

A SUBMARINE "GROVE" OFF THE CALIFORNIA COAST.

fix the scene enduringly in his studio. This he does on leather. On leather alone, says the artist, can he reproduce anything like the tone of the sea. With what perfection the medium adapts itself to the subject, one must see to realize. It is almost unbelievable how the surface of the leather holds the pigments and gathers light and depths, perfectly interpretative of deep water.

He has tried canvas but there he loses the delicate blur, which in the sea takes the place of atmosphere. Instead of oil, he uses powdered colored chalk mixed. with spirits of resin, in proportions found by long experiment. That mixture, besides being durable, gives the veil-like aspect that lies over everything submarine. Thus the picture is a thing apart; painted with new colors on a novel material, of a huge, dim, nearby world, where man is a stranger.

As a boy, Mr. Pritchard spent his summers on the northeast coast of Scotland. The rough sports he shared with his fellows there led him into deep water. One of their favorite games was our own boys' game of "tag," adapted, as a race of vikings might adapt it, to use in and under water.

there soon came to him the power to remain under water for many seconds and the ability to observe quickly and with precision. It was the wonderful tones, in blue and green, the bodies of his swimming playmates took on that first drew the boy's attention to the beauties of the submerged world. A little later, the object that fascinated him. was a group of fir trees washed down from the mountains in the great springtime freshets. These trees lay in deep water and had become the center of a mass of new vegetation, and here, again, the dominant attraction was color. greens of the firs were so modified and blended with the diffused sunlight, and the sunlight so broken by the waving mass of growing weeds, that a thousand and one colors and new harmonies were revealed to the sensitive eye of the untrained boy.

The

Day after day he made his descents to study his firs, and day after day, in calm. and storm, in sun and cloud, he caught his impressions, and the marvelous thing was that never were two alike. It was this mutable beauty that was so fascinating, and through the years it urged him, wherever he was, by lake or sea, to take opportunity to view the depths for his own pleasure and without any idea of painting them.

In the meantime, as an art student, he had drifted to landscape work. He had also begun seeking a means for coloring leather. Then he began to indicate on this medium what he remembered of the things he had seen under water. First results were so grotesque that people laughed at him. When he took a number of his paintings to London, the critics pronounced them monstrous and advised the young artist to go home and paint something that people liked to see.. "You paint for London as if you thought it was inhabited by fishes," cried one of them, as he looked through the water at the bases of the basalt pillars of the Giant's Causeway, which rise from the ocean at the entrance to the Irish Sea. In his disappointment young Pritchard actually thought of suicide.

To take his thoughts off morbidity he spent almost his last shilling to see Bernhardt, who was at that time playing

perfect, he thought, but one of her gowns, a robe designed for a sea sorceress, lacked something. The young artist, who knew the strange colors of the sea as perhaps no one else did, instantly resolved to tell her what it needed. After repeated efforts he finally secured an interview.

Before he had spoken twenty words Bernhardt's enthusiasm equaled his, and in

five minutes she had ordered Salome's jewels from designs which he made on visiting cards. The great woman saw that he knew the sea, and she probably divined that he was penniless. She gave him twenty pounds as an advance on the jewels which were to look like the sea. Later, when he told her that he had made pictures of the world beneath the water, her imagination was kindled and when she saw the paintings she immediately bought two of them.

About this time the young artist's health failed and he was forced to leave England. He had learned from Darwin that the most marvelous coral formations

and this led him to go to Tahiti. Here he took up actively the work of painting under water.

The use of a glass drawing board was suggested by a contrivance employed by the South Sea pearl divers-a small glass-bottomed box with a place cut out at the top so that it can be gripped by the teeth, thereby permitting the swimmer free use of his arms. By means of this device there is always a calm space under the glass, and it is possible for the user to view, in that way, the depths of the water in which he is swimming. Mr. Pritchard used this contrivance to locate the particular place he desired to sketch, and pearl diver's goggles to see after reaching the bottom. These goggles, which are merely bits of cow horn cut and shaped to fit the eyes, permit a small