Joseph Pennell's Pictures of War Work in America Reproductions of a series of lithographs of munition works made by him with the permission and authority of the United States government, with notes and an introduction by the artist

XVII THE TRANSPORTS XVII THE TRANSPORTS T HE spoils of war, for what had been great traders were now to be great troop ships—and with their transformation what an awful change has come to our world. XVIII READY FOR SERVICE AGAIN J UST as retired Officers have offered their services again to the Country—so these old Ships, even more pictorial than the new, are being found places where they can do their “bit.” XIX THE BALLOON SHED I ONLY know of this one “balloon shed” in the country—probably in design it is out of date—but pictorially it is fine. XX THE LARKS H ARK , Hark the Lark,” this one sings a song too, all his own, as he soars up to greet the coming sun, then away to battle or to train for it. Our Lark. XXI MAKING RIFLES G ALLERY after gallery is like this in the great building, all filled with tiny men working at tiny machines making the tiny guns they fight with; and over them hangs the flag of the country, put there, the director told me—not by the management—but by the men. XXII THE FORGES H OW fine are the forges—but one man said as I drew the figure leaning back to rest—“Hully gee! He’s got Creeper all right. Look at his pants!” But the noise is awful—and one day as I sat on a bit of boiler a roar ten times worse than ever before broke out beneath me and I jumped right off, and from the boiler crawled a grimy human who, putting his hand to his mouth, yelled “What yer making all that racket fur?” XXIII CASTING SHELLS S LOWLY the ladle moves, carried by the crane man, steered by the workmen, goggled and gloved—I had no time to draw those details. Into each mould it dropped just enough molten metal to make a shell head. And when all the moulds were filled, a man from another shop dropped in—“Say, what youse up to now?” “Me—I’m makin’ shells for the Kaiser.” “What! an’ here?” “Sure”—and as a French Inspector passed—“Ain’t we sending ’em to him as quick as we kin?” XXIV FORGING SHELLS: THE SLAVES OF THE WHEEL N O composition could be finer, no movement more expressive, no grouping more perfect, and yet all this was happening every day and all day in an oily, dirty, greasy, smoky shell factory where no artist had ever worked before and the workmen, black men, were turning the big shell, under the big hammer, by the big capstan wheel that held it, and I noted in the shop that the black men saw more in my drawings than the white, yet there’s only one black painter in the country. XXV THE WHITE AND THE BLACK HAMMERS T HE biggest hammer in the world, said the foreman, maybe—any way the Shop was amongst the most pictorial of all those I have drawn devoted to shell making. “Say, friend,” said the workman, “won’t they let yer use a machine, in war time, is that why youse does it by hand?” XXVI SHELL FACTORY NO. TWO: FROM SHOP TO SHOP T HE contrast between the dark old shop and bright new one was wonderful. “Pretty good, Dad,” said a precocious apprentice. I suppose they don’t mean anything but compliments, still I never fail to lose my temper, then the peace maker appears—“Don’t mind that kid, mate, he dunno no better, he’s edurkated.” “Say, wot paper’s it comin’ out in—I’ll buy that paper.” That was a compliment. XXVII SHAPING A GUN FROM AN INGOT W HEN the ingot comes from the furnace, it is put in this press, deep buried in a pit, and the hot metal is compressed into the shape of a section of a great Gun—then it is taken out and bored and planed and finally, after about a year of work, the gun is ready to do its work. XXVIII THE GUN PIT. NO. ONE T HESE Pits which I have drawn in Europe and America have the greatest individuality of all the processes of war industry. The buildings are most impressive, towering, windowless, sombre without, very spacious within, filled with strong shadows and strange shapes. And as I looked out from the blackness to the ore crane, making new ranges of Alps on its hillside, I wanted a gun—or rather wanted to know how it was moved. “Why, bring him one,” said the manager—and it came and posed while I drew, and was such a good sitter. And so I find my studio and my models wherever I work. XXIX THE GUN PIT. NO. TWO N O better proof could be shown of the way each big plant puts big character into its products than this and the previous drawing. Here everything is done deep down under ground; in the other shop it is all above, away up high in the air. And one day, they told me, the President of the Company passed with a party—and he saw a man, tired out, sitting with his head in his hands. “Why don’t you clean out the pit, boy?” “Well, Sammie, if you want to know why, you go down an’ find out for yourself.” XXX THE GUN FACTORY S O like a British one, that I wonder which one got the idea of arrangement of the Shop from the other. Here the guns are turned; and one man said to me: “Well, I don’t know whether I’ll be drafted by the U. S.—but I do know, I’d sooner waste my time makin’ guns, than spend it havin’ ’em shot at me by some Dutchman.” XXXI THE BIGGEST LATHE IN THE WORLD M ANY of the subjects I have chosen are probably the “biggest in the world” and the most impressive, too—that is the reason why I have drawn them. I have seen great lathes and great guns in Europe, but this one is certainly greater than any other. “You couldn’t do that, Fatty,” said the man. “Couldn’t I,” said the other. “You bet I could if I had been drawin’ lathes as long as him!” It was the second one I have drawn. XXXII THE GUN TESTING GROUND I NTO the rocky cliff great holes had been bored, and into them the Guns mounted on their carriages, by the great gantry, were fired, passing through wires hung from screens, to test their velocity. One thing that interested me, standing behind the guns—interested me too much, really—was, that there was no smoke, save that which came out of the hole where the shells exploded. And another fact was, that I could not see the shell in its flight—nor can those at whom it is fired—it goes so fast the sound cannot keep up with it. Sight cannot follow it. XXXIII THE RIVETERS W HAT perpendicular cathedral is as full of mystery as this shop. I know of none and I know most of them, and when the fires glow on the work altar, and the great jaws pierce and rivet the boiler plates, then is heard the Hymn of Work. XXXIV BUILDING ENGINES FOR THE ALLIES I N serried lines they stood—first one for Russia—then one for France—and on the other side several for ourselves—and I said, “Why, this is Ford’s idea!” for the parts came in at the sides of the shop and the finished engine steamed out at the end. “Oh, yes!” said the manager, “only we have been doing it twenty years,” and now they build a locomotive in four days. XXXV THE FLYING LOCOMOTIVE Y ES , locomotives can soar—can fly—and, like Mahomet’s coffin, stand in the air; and they do these things in a blaze of glory—because the shop where they are built is not big enough to shift them about in any other way. As the engine sailed toward me I tried to make a note of it. “Why would you like to draw it?” said the manager, as I frantically went on making notes of the approaching monster. “Which end would you like up?” He made a signal, they don’t talk in these shops, it stopped and there it hung. “Bring on another,” signalled the manager—and so I drew and so the creature posed till I had finished—an excellent model in a wonderful studio. XXXVI THE CAMP: THE NEW ARCHITECTURE I N the centre of the new city is something like a long train of box cars—yet when you see their sides you find they are houses. As you look they grow—and from a few holes in the ground till the building is finished takes about forty-five minutes, the architects tell me. They are better built than the English Munition towns—they are unbelievable—these Cities of fifty thousand inhabitants built while the army was formed. This drawing is but a bit of one of them—to right and to left and behind the town stretched—the embodiment of usefulness, respectability—a triumph of ugliness and energy. *** END OF THE PROJECT GUTENBERG EBOOK JOSEPH PENNELL'S PICTURES OF WAR WORK IN AMERICA *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate . While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Related documents

• Sound of Silence#978038
• Some Overlooked Extracts from Mary Wollstonecraft’s Writings Published in Britain, 1792–1795#105583
• Duchamp's paradox#84324
• [Rezension von] Diana Seave Greenwald, Painting by Numbers. Data-driven histories of nineteenth-century art. Princeton: Princeton University Press 2021#275769
• The Praying Jew#978035