two slabs at a time. The bread takes from fifteen to twenty minutes to bake. Four men are assigned to each oven, and they are kept busy operating the slabs, seeing that the bread bakes evenly, and removing the loaves to the cooling racks. Such a thing as burnt bread is unknown in the bread factory.

The cooling racks are formed of wire shelves so constructed as to permit the cool air to circulate between the loaves. This is as essential as any other detail in breadmaking. Were they

placed at once in a basket or piled close together they would flatten out and be unfit for use.

The result of all these devices for saving labor, and the utilization of hygienic knowledge, is that "mother's home-made bread"-pretty legend from the past is far excelled by the product of the modern bread factory. One great merit of the latter is its absolute uni

formity. Its ingredients are always the same, the dough is allowed to rise at a constant temperature, and perfect sanitary conditions are maintained.

Though the rise of the bread factory has been so rapid, the day of the small city baker is not yet ended, however. All through the crowded East Side of New York, and on the West Side, in the sections inhabited by the foreign element,

the loaves range from the "cottage," like little round pound-cakes, to loaves made in circles almost as large as a child's hoop.

A great deal of the bread baked in the cellar bakeries has been made at home by the industrious housewife, who simply pays the baker his price for baking it in his oven. At a regular hour every day, all of this class of patrons form in two lines behind the baker, their immense pans of dough poised on their heads and covered with table-cloths. At a signal, the pan of the first woman in line is inverted on to the bread paddle and deftly thrust by the baker to the rear of the oven. The others follow as quickly as the women can empty them. Four or

fats obtained from milk. On a Friday, or the second day before any great holiday, space to bake a loaf of bread is hard to find in a Jewish bakery. There the biggest loaves in all the city are turned. out. Ten, and sometimes twenty, pounds of flour will have been set to rise by the Jewish matron in a pan as big as a child's bathtub. There is no shortening in it, but usually six or more eggs and perhaps olive oil. Every loaf contains a slip of paper with the name and address of the owner carefully jammed into the dough. It costs twenty-five cents to bake one of these masterpieces of braided bread, and hundreds of family loaves are baked in this manner in hundreds of different shops.

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and Crafts movement; and, in the United States, at least, woman has been its prophet and its leading exponent. every handicraft in which manual skill and dexterity must needs be wedded to artistic taste, the feminine worker has displayed an aptitude which amounts almost to supremacy.

In every city of consequence, there are women workers in the precious metals, women candlestick and bowl makers, women potters and women bookbinders, whose product commands a higher price than the stuff sold in the shops, and who are making both a financial and an artistic success.

First of all, a woman who would make the new art jewelry must have a knowledge of design. There are many schools where such a

knowledge can be obtained. Then she must have an acquainance with the practical side of working gold and silver and mounting gems and semi-precious stones. This, in almost every case, must be acquired by actual trial without the aid of an instructor. With a little lamp and blowpipe, a couple of hammers, some files, and a few simple and inexpensive tools-adding, perhaps, a small forge and vise-many women have persevered with their trials until they have attained a degree of skill which entitles them to rank as experts. And the fact that conditions have required such personal experiments is doubtless responsible for the great variety and strong individuality displayed in the work of the women jewelry makers.

Among these women, Mrs. Madeline Yale Wynne is prominent. Artistic in every way, Mrs. Wynne turns out from her workshop in the upper story of her house in Chicago, most gorgeous and magnificent necklaces antl other articles of personal adornment, utilizing a great number of semi-precious stones, as well as the recognized gems. She is skilled, too, in the use of enamels, and she re

somewhere of the beautiful effects produced by the Egyptians by treating copper with various acids, and she determined to regain, if possible, that lost art. After long experimenting, she succeeded in getting many of the most remarkable effects. A visit to her studio will show many kinds of handsome necklaces such as baroque pearls interspersed with diamonds, abalone shells set in gold cups, matrix set with pearls, and Cyprian glass decorated with pearls carved as swans.

Miss Jessie Preston is another young woman who is noted as a metal worker. She not only works beautiful jewelry, but also turns out handsome candlesticks and lamps. They are widely admired for their unique designs. She goes to nature for these designs, using grasses and wild flowers possessed of beautiful shapes, which she copies directly or mod

and the fullness of their decorations. Others are elaborately carved with great skill.

Cleveland, Ohio, has one of the best metal workers in this country. Miss Jane Carson opened a studio there a few years ago, but it was not long before her work received recognition from the best art and craft workers in the country. She does not limit herself to the making of jewelry, but models table services and jewel-caskets. She has a happy way of combining odd designs and unique stones, and is wonderfully successful in the art of enameling.

Boston and the surrounding country has several successful metal workers, none better known than Miss Knight of Wellesley Heights. She began designing for an Eastern house, when an art lover of Boston became interested in her work, started a cooperative society, and