HE TOOK ART TO THE MARKET PLACE

He Took Art to the A VISIT TO READ MULLAN'S WONDERFUL WESTERN ART GALLERY

If you were to arrive in Phoenix on a Thursday, Friday, Saturday or Sunday afternoon and ask where you could find the finest collection of Western and Indian painting in the Pacific Southwest, you would probably be directed to Read Mullan Motor Company on the city's bustling Camelback Road. Part of Camelback, the portion that passes Mullan's enterprise, is known as "Auto Row," due to the seemingly endless string of new automobile dealers, used car lots, and similar establishments catering to America's insatiable desire to be on wheels. But if this commercial tundra of business activity and locomotion is hardly likely to complement the world of art it is less apt to shelter an art gallery. Considering this, the possibility of the row housing a gallery dedicated to the enjoyment and appreciation of Western art would, at first appraisal, seem ludicrous. Certainly incongruous. And justifiably so. But any such appraisal would not be taking into consideration an affable, somewhat jaunty, gentleman named Read Mullan. Since Mullan's combination museum-gallery is attracting sizable out-of-state as well as Arizonan interest with requests coming in from distant locales for painting "loans," and his opinion and endorsement is widely sought by numerous painters and artisans, his background would naturally suppose a life-long career of art education, critical study and some, no matter how slight, artistic talent or bent for painting. Such a background with an art collector is usually associated with the connoisseur at best; the dilettante at least. There is no doubt that Mullan is first and last a man aesthetically versed in the values of Western and Indian art, a connoisseur if you will, and that the desultory approach to painting and native crafts has no appeal for him. Yet, Read Mullan does not make his living by charging admission to his gallery, nor does he sell the paintings, rent them, or collect commissions from the artists whose works he so lovingly displays. After a bewildered out-of-stater gets the picture that the gallery is not Mullan's source of livelihood, or for that matter part of it, a standard question pops up: "Well, what does he do?" He is a businessman, He sells Ford automobiles. His many services to the community have resulted in his being selected "Man of the Year" by the Phoenix

Market Place

Advertising Club (1954), while in January of this year he was presented with the "Notable Phoenician" award by the City of Phoenix for his meaningful contributions to civic life.

Until 1929 Mullan claimed the city of Baltimore, his birthplace, as not only his residence but his true home. He still talks fondly of the Chesapeake Bay, Johns Hopkings University and the city's many parks and historical squares, but these natural recollections pale in comparison to his enthusiasm for the Southwest.

"Actually I had no intention of settling in Arizona, but I did have the urge to travel and I accepted a job with the Universal Credit Company, an organization that was the finance subsidiary of the Ford Company. That took me to Detroit. I covered a considerable portion of the East and mid-West, too. Then in 1932 Universal decided to branch out and open a West Coast office. I came out to Los Angeles, and later I spent some time in San Francisco."

Mullan holds a law degree from the University of Maryland; although he was admitted to that state's bar, he has never practiced.

"I came to know Arizona as part of my territory in the 1930's, but I didn't come here to stay until the midforties."

Territory spoken by Mullan immediately loses the business sense and takes on a suggested historical connotation: the Arizona Territory of western vore.

"You know, interest in Western art is really part of the world's heritage. Much of this current interest in

Interior, Read Mullan's Western Art Gallery

Western art that seems to be blossoming everywhere you look is nothing more than a resurgence. People are once again beginning to draw on their background enthusiasm for 'the West.' Their parents and grandparents had immense interest in this part of America. Just stop and consider the various nationalities that left Europe, came to this country and then started the great move west. Even today 'cowboys and Indians' can send the European into delight. Take our Phoenix Orpheus Chorus. They make a tremendous impact when they sing in Europe. Their cowboy outfits attract much interest. This year they took along dancers from St. John's Indian School and the impression the Indians made, coupled with the chorus' outfits, apparently was something outstanding. I understand audiences were wildly enthusiastic. The same thing could happen if our Western paintings were exhibited anywhere in the world with sincerity and care. Mullan not only shows his tremendous interest in Western art by way of his gallery, but champions it whenever it's in danger of being underplayed or ignored. "Of course, you're going to find many people who say Western painting isn't art. I honestly think they feel that by expressing approval or more than mild interest they'll be accused of unsophistication. They see art one way and that's about it. Myself, I'm opposed to this singleminded attitude. I think Phoenix should be a center for Western art. I suppose, in a way, this gallery is my support for that idea." The impetus that started Mullan on the way to his present collection never fails to bring a smile to his seemingly always relaxed face. "I don't suppose there was anything outstanding in my family background that foreshadowed my present interest in art. My family all enjoyed paintings, my brother Ned was an old-school lithographer. He worked under a microscope on stone with diamond-pointed needles, and haunting museums was always one of my delights. Oh, I did pick up a few things that appealed to me, now and again, mostly old masters. I managed to find some Rembrandt, Durer and Whistler etchings. They gave me considerable pleasure. But I had no idea of going beyond the point of merely selecting a few works that I found pleasing. But back in the late thirties something happened that changed this. I was in the office of a good friend. He was a Shriner and his office contained any number of Masonic testimonials, neatly framed. Some were on his desk, but most were on his walls. I noticed a fine painting of San Juan Capistrano, the mission, nestled in among the testimonials. Very much out of place. The artist was Eugene Franquinet. Í expressed interest in it. Said what a fine work it was and how I felt it might be better displayed. Well, he didn't really mean to say what followed, I think. Perhaps he did. It's difficult to tell actually, sinceit happened so quickly. He said, 'You like it? It's yours.' A few seconds later I was taking it off the wall. I didn't give him much of an opportunity to change his mind.

"Even before I came to Arizona I was acquainted with the Spanish expression, Aquí está su casa (My house is yours), but I didn't realize how literally that could be interpreted until I walked out of his office with that painting under my arm. I suppose, then and there, I began my collection of Western art." The gallery's existence on "Auto Row" causes, with rare exception, two contrasting attitudes on the part of art lovers. Attitude 1 is intrigued by Mullan's boldness in including an art gallery in his place of business, but at the same time it's obviously a shade uncomfortable about the location."

"I know the Sears-Roebuck Catalogue is shortly going to include original paintings along with everything else they sell, but a gallery upstairs and Ford automobiles downstairs . . . well . . ."

In essence the objection stems from the age-old prejudice that art and the market place do not or should not meet.

Attitude 2 is delighted with the whole situation, viewing it as a happy marriage of convenience benefiting everyone, the general public included.

Neither attitude impresses Mullan.

"Objecting to a gallery in a place of business is, for my money, more of that 'single-mindedness' I spoke of. What does it matter where it's located as long as the product is good and people can see it? I would like to say, though, that the only buying and selling, the only business being conducted here is out there on the lots and in the showroom. My paintings and other things displayed in the gallery are not for sale. This gallery has certainly not been the result of any business thought. It's a personal matter which I combine with the everyday operation of my Ford dealership.

"Many people do ask me how they can get the work of this or that artist and I'm able to tell them. This benefits the buyer who gets the work of an artist he or she is particularly interested in, and the artist who makes a sale." Mullan laughed, a thing he does often and well.

"No one, believe me, no one has ever come into the museum, studied the paintings and said, 'Say, where can I buy a car?'"

The idea for a gallery to display his collection actually germinated in the early forties. Mullan had a fairsized western collection by this time and after he bought the Ford dealership in 1944, he displayed some of the work in a storeroom on 1st and Van Buren Streets in downtown Phoenix, the early location of his business.

"But the storeroom was quite small, allowing me to put on show only about one-fourth of what I actually had. This meant that many fine works weren't displayed. When I started to work out the plans for this move to Camelback Road and a bigger operation I had the archi-tect include floor plans and designs for the gallery. To the best of my knowledge this gallery is the only one that is any part of a Ford dealership." With a smile, he added, "But then, I guess, you wouldn't expect this sort of thing to be too common."

Mullan moved to his new location in May of '61. Nine months later the art gallery was opened to the public.

"In the beginning, I'd bring my friends into the gallery to look at the paintings and other things and invariably they'd say the same thing: That the public should see it, too. So, after listening to this remark, phrased any number of ways, I finally asked myself, 'Why not?'"

The Phoenician is a bit perplexed when he locates the gallery; the tourist utterly bewildered. In many cases, friends take visitors to . . . "Read Mullan's Western Art Gallery" without knowing specifically where or what it is. Naturally, the uninitiated, raised on the standard concept of what an art gallery does and does not look like, are in for some mental readjusting.

The lane that runs alongside the main building of Read's large operation is "Henry Ford Avenue." Signs gather attention with: "Parts Service," "Customer Parking," "Wheel Alignment," "Engine Tune-Up," "Brakes Adjusted," "Safety Belts." Read Mullan's "Used Cars" flank the opposite side of the lane. Attendants and salesmen, mechanics and clerks, customer cars and pick-up trucks, the short blasts of horns, loud voices, men at work, and a maze of business activity bring the art lover to a point where he finally is forced to take heart and ask, almost as if the question were expected to bring forth a hearty laugh or surely a blank expression: "Is there a Western Gallery here?"

The direction is indicated quickly and politely. The car is parked and the trip to "Read Mullan's Western Art Gallery" begins. Up a few steps that lead from Henry Ford Avenue to the main display room and the gallery visitor is face to face with the proverbial "green door." This one is distinguished by a faint desert scene, mountains and cacti sketched in white, and the identification:

WESTERN GALLERY HOURS 1 to 5 P.M. THURS.-SUN.

Behind the "green door" a flight of stairs leads to the second floor. Leaving the avenue, climbing the stairs and stepping, at last, into the gallery can have quite an effect. For anyone not familiar with Western art, the impact can be considerable, and for anyone whose image of the "last frontier" has been culled from films, TV and vari-ous western publications, good, bad or indifferent, the upshot reflects childhood imaginings of everything the West ought to be. When the full realization that what is on display has nothing whatever to do with what ought to be but what was and is, the viewer relaxes. Interest, enjoyment and pleasure replace the earlier bewilder-ment of locating the gallery within a thriving business enterprise.

At the present time the gallery displays 114 paintings, 53 prize-winning rugs and a small collection of craft jewelry.

The walls come alive with Cowboys, Indians contem-plative, Indians warlike, Indians occupied with daily exist-ence, rodeos kick up dust, religious ceremonies are bathed in color, migration treks, cavalry scouts and round-ups seem to possess a strange quality of movement, but other paintings portraying night riders and ghost towns enter a touch of nostalgia that, somehow, is felt by most -Westerners or not.

"This is my first trip west. I'm from New York. I heard about these paintings and I wanted to see them.

One of my reasons for stopping in Phoenix, in fact. Really, I don't know anything about the real West, but I've always been fascinated by this part of the country and the paintings and Indian rugs Mr. Mullan has on display-when I saw them-I don't know how to explain it-but I felt quite at home. I understood them all. They gave me a feeling of contentment."

The lady from New York who felt "contented" when she viewed the works in the gallery and tried to express why she felt this way would probably find much in common with the emotions of French critic Louis Delluc, who was equally fascinated by the West and wrote without ever having visited it " bare gray plains, mountains steep and luminous horses and men in all their brute strength tremendous intensity of a life so simple that it has all the room in the world for beauty and harmony and lends an incomparable spark of humanity to the simple sentiments."

Had Delluc, who wrote these words over fifty years ago, lived long enough to visit Mullan's gallery he would have found his observations striking in evidence in the paintings Mullan has managed to corral.

The Mullan gallery has three rooms. Walls, ceiling,

Read Mullan Western Art Gallery, Indian Room

lighting and floor are modeled after the Phoenix Art Museum to insure perfect viewing conditions. The first room is actually something of an anteroom for the large main section which contains most of the paintings. This chamber is liberally blessed with exceptionally fine works as is the larger room. It's not necessary to qualify this observation. Although paintings from the Mullan collection on display are frequently taken down and shipped to other museums (Museum of Northern Arizona, Flagstaff; Whitney Museum of Western Art, Cody, Wyoming; Southwest Museum, Los Angeles; and Mullan's personal favorite, Phoenix Heard Museum, the Phoenix Art Museum and various exhibitions, they are replaced by works of genuine merit. One of the strengths of “Western Gallery” lies in the fact that unlike many private collections, it continually displays new works, replacing favorites (for a time) with paintings Mullan picks up in his travels throughout the Arizona-New Mexico-Utah reservation land, as well as what his “auction haunts” and contacts with art dealers turn up.

“I don't have any set policy on obtaining my paintings. I hunt. When the people on the reservation know you're serious about their work, they make referrals. For example, not too long ago I was on the reservation and was told, 'Down at Sheep Springs there's a young boy who's developing into a fine artist. His name is James Wayne Yazzie. You should see some of his work.' I did and I bought two of his paintings.” Mullan has achieved considerable attention in Western art circles for his ability to spot potential talent. “I buy what I like, old or new. I never purchase on the basis of the artist's commercial or artistic success. I buy paintings to keep, to look at and to show others. I think I was the first art collector in Phoenix to realize what talent John Hilton possessed. The man's still doing good work. He started selling paintings back in the thirties. I didn't start to buy Hiltons until about seven years ago. Then they were worth approximately $300. Today a Hilton will go for as much as $2,000.” buy what I like, old or new. I never purchase on the basis of the artist's commercial or artistic success. I buy paintings to keep, to look at and to show others. I think I was the first art collector in Phoenix to realize what talent John Hilton possessed. The man's still doing good work. He started selling paintings back in the thirties. I didn't start to buy Hiltons until about seven years ago. Then they were worth approximately $300. Today a Hilton will go for as much as $2,000.” John W. Hilton's Cheerful Morning is one of Mullan's prized paintings.

“Russell and Remington are considered the acme of Western Art, but I admit I feel a drive to encourage artists whose work appeals to me while they're relatively unknown. I've been an admirer of Olaf Wieghorst for a long time now, long before his real success.” Wieghorst, a solidly established Western artist with an ever-growing reputation that is steadily enhancing the already hefty value of his paintings, seems to appeal to Mullan for many reasons.

“Look at the hooves in Behind Schedule. The horses dominate the painting, the stagecoach is secondary. That's what separates the men from the boys in Western art— the ability to capture horses. I always study very carefully what painters do with the hooves. Olaf is a master at this. I think I like sketches as well as anything, and Olaf has a knack with them, too. There's an immediacy, a capturing of a fleeting moment that appeals to me tremendously. Even Wieghorst's sketches for the Christmas cards he sends are outstanding. But anything a fineand true artist does usually is.

"Another of my favorite artists is Leon Gaspard of Taos. The colors and the motion he puts into his paintings are outstanding. He has much of the feeling of the 'old school' about his work and at the same time is a faithful delineator of the Indian. End of the Snake Dance is a good example."

Mullan lists many "favorite" Western painters, including Wieghorst and Gaspard along with many favorite paintings (Frank Tenney Johnson's Coming Up the Trail (See cover), Gerald Cassidy's Indian Madonna, Maynard Dixon's Mohave Desert), but declines to single out any one painter or painting as "the favorite," although it's no secret the Remington wash painting, Stagecoach in Flight, his most valuable work, is a source of pride. Actually, he divides Western painters into two groupings: Indian painters and non-Indian painters.

"With the Indian group I personally prefer the work of Pop Chalee, New Mexico; Harrison Begay, Tucson, and out in Scottsdale there's Andy Tsinajinie."

After the small anteroom and the main exhibition display in the second and largest room of the three, the visitor comes to Mullan's rug and jewelry collection. The jewelry portion contains exquisite pieces of Navajo, Zuñi, Hopi and Pueblo Indian handicraft. Unusual squash blossom necklaces, intricate concho belts, silver inlay bracelets, earrings and miscellaneous articles of Indian crafts and skills are displayed under glass surrounded by what many consider to be the finest modern Southwest Indian rug collection in the world.

"The jewelry belongs to my wife. She is quite a collector of Indian work herself. I doubt if I'd have this gallery now if it weren't for Fran. She is a native of Texas and graduated from the University at Tucson, so she had something of a head start on me when it came to an understanding and appreciation of Western art. She's done the encouraging and she's gone along with my enthusiasm for these paintings all the way. If I'm in doubt about a certain painting, if the price is holding me back, but I want it badly, it's Fran who says 'Go ahead. Get that painting."

Mullan could undoubtedly hire out as a museum guide if his Ford dealership didn't offer more return from every angle. He's an energetic talker who combines his zest for Western art with wide knowledge of his subject. His rug collection is his special joy, containing some of the work of Daisy Taugel-chee, considered the finest weaver in the Navajo Tribe.

"Over half the rugs I have on display are prize winners. I consider Indian rug weaving about the last of our truly native crafts still practiced in the original manner. Take the Navajo rugs for an instance. Everything is accomplished step by step: the shearing and dyeing of the wool, the spinning of the thread, the making of the rug. I'm very fond of the tapestry-style rug. The finest, I think, of this work comes from the Two Grey Hills area in the northeast part of the Reservation (Arizona-New Mexico-Utah). They use no dyes. The white comes from white sheep, black from the black, gray from mixing the two, and brown from the brown sheep. Nowadays some of the Indian weavers will dye to get a stronger black."Going to a stack of handsome rugs, he took several and spread them out on the gallery floor, indicating their finer points, where they were weak, what enabled this rug to win a prize, what undoubtedly was wrong with a rug that failed to gather any particular recognition.

"Down around Klagetoh, Wide Ruins or Pine Springs, you'll find them using native dye. Vegetable dyes.' On one wall Mullan has placed charts and samples that enable the interested to see exactly what each individual dye will produce when applied to the untouched wool. The bush or berry that supplies the dye is represented by a branch or cluster: Juniper Berries, Mormon Tea, Owl Clover, Sulphur Flowers, Wild Holly, Indian Paint Brush, etc.

"You'll find more and more decorators using these rugs in the East, especially if the pastels are good. Actually I don't find them too well suited as floor rugs. They're strong, but rather light. Funny thing-when Westerners come here they begin with the paintings. Easterners with the rugs.

"Rugs that come from the Crystal area of the reservation are fine for floor rugs, though. Solid and heavy. What makes this rug collection unique is age. I mean by this that all the rugs I have here have been woven within the last ten or fifteen years, none older, unless you count Hasteen Klah."

This rug, woven by the Navajo medicine man Hasteen Klah sometime around 1922 is of more-than-routine interest. (It is a "sand-painting rug," depicting the Shoot-ing Chance, male branch ceremony, one of two that are known to exist in the world. The second is in the Museum of Navajo Ceremonial Art in Santa Fe, New Mexico. White dawn, blackbird, antelope, hawk, bat, heat mirage, sunset, bluebird, constellations, rainstorms and cyclones play the design.) Klah was one of the few Navajo men who wove, this craft being pretty much in the domain of women.

"This was, naturally, a ceremonial rug. All sand-paintings made of vari-colored sand have a deep religious significance and are supposed to be destroyed before nightfall. The rug was prayed over many times to cancel any offense its existence might provoke and to appease the spirits. But Hasteen Klah was very careful to make sure it wasn't an exact reproduction of the original. I'm told that the original sandpainting had thirteen feathers along one side. If you count the feathers this rug has you'll find it has only twelve. The rug originally belonged to King Gillette, Gillette Safety Razors. When he died, his son kept most of his father's things packed away and when the son died the auctioneer put up the assets of both father and son. "Everyone thought I was crazy bidding on the rug. No one seemed to know what it was exactly." Mullan laughed. "Oh, yes, there was one person bidding against me-Vincent Price."

Mullan has definite ideas regarding his "art in the market place" venture.

"America today is getting excited about art in a way that would have been thought impossible a few years back. Western and Indian art get a large share of this enthusiasm and I'm grateful-it deserves a chance to be seen. One reason I put this Indian rug collection here-was to show that this is what is being done today. Too many people think of Western art and craft in the past sense. When they come here they get a new viewpoint. The West is still alive."

Is it likely that other businesses will follow Mullan's lead in mixing art with business?

"Quién sabe? I've always wanted to do it and I have, but as I've said the only things being sold around here are downstairs in the business rooms and on the lots." Mullan stopped for a moment, thought, and with his wide grin continued, "I have never traded a painting for a car, but I have traded cars for paintings."

Read Mullan looked around his gallery with ultimate satisfaction. "Now that may not have been good for the business, but it was wonderful for the gallery."

Prints Available FROM THE READ MULLAN WESTERN ART GALLERY

We are pleased to announce we have produced eight beautiful art prints from the paintings by master Western artists shown herein and they are now available upon order. Each print is reproduced is reproduced 12" x 18" in size centered on 17" x 23" heavy Carousel art paper. Beautifully reproduced from the original paintings in vivid lithography, these prints are perfect for framing and would embellish any home or office. Send orders to Arizona Highways, Phoenix 9, Arizona.

SUBJECTS AVAILABLE

GEOLOGIC MAP YUMA COUNTY, ARIZONA GEOLOGIC MAPPING OF ARIZONA BUREAU OF MINES, U OF A, COMPLETES PROJECT

By Elizabeth Shaw Modern man, surrounded by the wizardry of science, may sometimes overlook the magic of maps, which have performed miracles of communication from before the days of Prince Henry of Portugal who saw on maps lands far beyond his vision, to the present age of maps showing us the moon and the depths of land and sea. Bound by his body to go only where his feet or a vehicle can take him, man can nonetheless, with maps, extend his comprehension across continents, while the continents themselves shrink in the process to the size of a desk. The broad lands of Arizona are in this manner being compressed by dynamic and varied mapping techniques. The Arizona State Highway Department in 1960 produced county atlases for Gila, Santa Cruz, and Maricopa counties; the first three in a projected series of road and topographic atlases of the state, which will greatly clarify the traveler's view of Arizona. In 1961, the Arizona Bureau of Mines again demonstrated the magic of maps by publishing the first complete series by county of geologic and mineral maps of the state. As used by geologists and mineralogists, maps show not only the surface of continents, but their depths; not only the depths of soil and rock, but of man's basic economy. For under the surface of Arizona, as under the whole planet, lies a great portion of man's wealth, and one which has always been a vital theme in human history. Early minerals explorations often resulted in the crudest use of map language-the arrow pointing to the treasure site. Less than this drove the conquistadores over desert and mountain, and the mapmakers followed them. Successive waves of treasure hunting have become more and more complex, seeking substances more and more refined, by increasingly difficult means. At last, in our own age, the mapmakers go ahead of the explorers, surveying, recording and interpreting such geographical entities as Arizona, of which certain parts are known to be vital to the minerals economy, and other parts will later come into focus as of even greater interest. The 113,909 square miles of Arizona, requiring countless hours of study and transcription, appear in color on the maps recently assembled by the Bureau of Mines and assembled this spring for the first time in folio form. The composite assemblage represents not only the first such total mapping of the state, but is at present a geologic and mineral record more complete than that of any other state. This achievement is a milestone in Bureau of Mines history: hence a good point at which to pause for a reflective look at the growth of a remarkable service institution. Service is indeed the defining function of the Bureau of Mines-service to the people of Arizona: private individuals, prospectors, miners, industrialists-services that

to the laboratory, but even to the investor in New York, who need to know what is possible. That is the problem of availability central in all questions of natural resources. The treasures of the earth have not been lost forever. They become remarkable only when man applies energy and thought in search of his need to extract them.

Hence, in spite of the existence of so complete a survey of any district, the recorded geological picture of Arizona was still constructed of specific answers to specific problems, and huge gaps remained to be filled by the Bureau of Mines when James D. Forrester became Director in 1936.

It was Dr. Forrester who inspired the Bureau to issue the geologic maps on a county basis. The two major reasons for his decision were that a much larger scale could be used for the maps in such a breakdown, and that new findings could be released much more quickly to interested personnel. Geologists or mineralogists needing, for example, maps of Maricopa, the first county mapped, in 1957, would not have to wait until the last county-Coconino-was mapped late in 1960. According to Dr. Forrester, the fourteen counties of Arizona are of such dimensions that they lend themselves admirably to separate map treatment.

In 1961, in cooperation with the University of Arizona Press, Dr. Forrester decided to issue the complete map series in a folio for maximum utility. Singly or in folio they are now all available from the Bureau in black leatherette binders, individually pocketed in transparent plastic, the whole set flexible enough to be carried in a briefcase, or in the packcase of a field geologist.

Such utilitarian qualities are of paramount importance to geologists and other mining personnel and have been since the early days. Dr. Chapman recalls that the first geologic mapping of Arizona was done by field men on foot, on horseback, or in buckboards. Motorized vehicles, and above all, the Jeep, with its four-wheel drive mechanism, were real transformers in the story of geologic field work, vastly reducing the time and strenuousness of the mapping process.

Nevertheless a basic vigor and hardiness is called for even today in Bureau staff members who travel and survey the areas. They still must hike, climb, cook, and sleep outdoors, understand the desert mysteries of sand-storms and flash floods, and the ever-present shortage of For instance, a Bursan mainscalogst walked forty smiles lest year when the oil plag shock out of his Jeep Jeep on trail in the wilds of the places north of the Coluseko River. Another pair of Bureau moppers found thawwιάνας accidentally targeted by buzzing milksry skcaaft in pracies on ons of the strta's growery exages. Brokes bones, scorpion stings, expoenre to hest, and just plaka everyday discomfort are still routine in mapping a stabe that la long on desare, barren mouazsin, and dry wash; and reacades, in spite of booming population, shorς α when conteris In tive field, then, physical endurance is vital. Back-s the Bharsan, problkins sod challenges also skrundi, in transfourcing Said notas and data into the grapble, zuzmarking language of a finished geologic map. Haze agda modarn technology bas worked wonders, but many procemes still rex hand, eye, and ingenity. The conversion of all of the somay varying scales of dienses vased in Bureun and USGS maps no a finel usiloin scale of sex miles to one isch was a great problem. This ons was solved by use of the Reed Focalustic Projection machin. Another major challangs was the need for sbundent and correct colors to distinguish the long list of geologik, minsselogic, and topograpbic elements from one wettene, ot now, the techniques called for had not previously been performed on mich a scale in Artzoos, se that the Buress map project constituend a fint in graphic arts in the state, as well as in genłogle map coardiation.

Not The actual steps in producing colored coxxy maps wozy interest Arizona readers:

No. Contact negatives were nøde from the color plates, and corrected by hand for scratches and blenzishes. Except for rasps of the two largest counties-Cocoaloo and Apache-all warm painted in Tucson. These, being too isige for any color offset press in Arkuna the time, were painted in Californi What are the fruts of this complea project whh im rugged phases in the field followed by the exercise of precision skills in the laboratory and office? At last report, more than 13,000 of the individual comdry mapa had been sold to educational institutions, libraries, mining corporations seaking a bass for exploration, prospectare, md amateur geologisu all over the the nation. Even Campers c and hunters buy boy the the maps to obala the information suppied on roads, railroads, mines, mentalos, acream drταίς aye, and tralls by which they can extend their explora dous to the less sccesible recreational sress of Arizona. The public is responding sheady to snouncemast last fall of the complete map follo, and e can be saticipated that the follo may become a zmodel for similar geologic coordination in ocber saates. How about futan pablictions from the Burena of Minest The Barea is now tooleg is immoediate attention to odser publications which sko affords poble service in analyzing the physical setting, geologic mvizomment, and resoures of the soste. Being repcisted also sre many valuable balletis which have been out of print: for several years but are still la demand. Director James Forrester beings to the publishing progeen the same penchant for positiva sction and the barne ensžusiesça chst be brought to the mapping project. Pablic service is omarsi in his concept of the Borcan's function. De unreservedly describes bluselt es "gratified and proud to be engaged in activities of sach widespread value to the state. He says that his Avikoon sojenera thus far is the "most astisfying" of his career, and he maxdbutes this to the vital part that the mineralı kadastry plays in the Eves of Achons people, and the sympa thetic support wod vzdencanding of my colleagues in the University and in the smiras dury industry." A calm, yet forceful schministzwcor, Forrester is ales one wiso believes in a diversity of activity rusoking in a more effective man and a more effective job. He himself is in concimal contact with the public through the Burau's services. As deso of a inajor college he is a bridgehead between the probleme of state university aduinistration and college depromental personnel. As a teacher he remains clous to the mainspring of college life-the student body, for he insists, which many deans do not, en continning to teach, and mests with a freshen clas of go students every week. Dr. Forrester is a Westerner whose extending intercate asoved him physically as well as mentally into diversa realms. Born in Salt Lake City, gradusted from the University of Utah, he received his doctarane st Comell and toght dears. He worked for the Anaconda Copper Mining Coimpway for several years, and was professor and hasd of de Department of Mining Engineering at the Missouri School of Miors, Rollo, Mo. He was invited to mtarn to Vesh la rgyó te receive the degree of Geologia Engineer, at the time that be was Desp of Mines and Director of the Barera of Alles at the University of Idako. In zoes he assured his putant position at te University of Arizona bo Tucson.