dimensions which should remain in this country, and gladly offered to co-operate. But, try as he might, Bok could not secure an adequate sketch for Mr. Tiffany to carry out. Then he recalled that one day while at Maxfield Parrishs summer home in New Hampshire the artist had told him of a dream garden which he would like to construct, not on canvas but in reality. Bok suggested to Parrish that he come to New York. He asked him if he could put his dream garden on canvas. The artist thought he could; in fact, was greatly attracted to the idea; but he knew nothing of mosaic work, and was not particularly attracted by the idea of having his work rendered in that medium.
Bok took Parrish to Mr. Tiffanys studio; the two artists talked together, the glass-worker showed the canvas-painter his work, with the result that the two became enthusiastic to co-operate in trying the experiment. Parrish agreed to make a sketch for Mr. Tiffanys approval, and within six months, after a number of conferences and an equal number of sketches, they were ready to begin the work. Bok only hoped that this time both artists would outlive their commissions!
It was a huge picture to be done in glass mosaic. The space to be filled called for over a million pieces of glass, and for a year the services of thirty of the most skilled artisans would be required. The work had to be done from a series of bromide photographs enlarged to a size hitherto unattempted. But at last the decoration was completed; the finished art piece was placed on exhibition in New York and over seven thousand persons came to see it. The leading art critics pronounced the result