A supplemental textbook for middle and high school students, Hoosiers and the American Story provides intimate views of individuals and places in Indiana set within themes from American history. During the frontier days when Americans battled with and exiled native peoples from the East, Indiana was on the leading edge of America’s westward expansion. As waves of immigrants swept across the Appalachians and eastern waterways, Indiana became established as both a crossroads and as a vital part of Middle America. Indiana’s stories illuminate the history of American agriculture, wars, industrialization, ethnic conflicts, technological improvements, political battles, transportation networks, economic shifts, social welfare initiatives, and more. In so doing, they elucidate large national issues so that students can relate personally to the ideas and events that comprise American history. At the same time, the stories shed light on what it means to be a Hoosier, today and in the past.

RURAL TEXTBOOK SERIES Edited by L. H. Bailey Modern Fruit Production THE MACMILLAN COMPANY NEW YORK. BOSTON CHICAGO DALLAS ATLAN1A SAN FRANCISCO MACMILLAN AND CO., LIMITED LONDON BOMBAY CALCUTTA MADRAS MELBOURNE THE MACMILLAN COMPANY OF CANADA, LIMITED TORONTO Modern Fruit Production by JOSEPH HARVEY GOURLEY HORTICULTURIST THE OHIO AGRICULTURAL EXPERIMENT STATION PROFESSOR OF HORTICULTURE THE OHIO STATE U N I V E R S I T Y FREEMAN SMITH HOWLETT ASSOCIATE HORTICULTURIST - THE OHIO AGRI CULTURAL EXPERIMENT STATION ASSOCIATE PROFESSOR OF HORTICULTURE THE OHIO STATE UNIVERSITY New York The Macmillan Company COPYRIGHT, 1941, BY THE MACMILLAN COMPANY ALL RIGHTS RESERVED NO PART OF THIS BOOK MAY BE REPRODUCED IN ANY FORM WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER, EXCEPT BY A REVIEWER WHO WISHES TO QUOTE BRIEF PASSAGES IN CONNECTION WITH A REVIEW WRITTEN FOR INCLUSION IN MAGAZINE OR NEWSPAPER Published February, PRINTED IN THE UNITED STATES OF AMERICA AMERICAN BOOK-STRATFORD PRESS, INC., NEW YORK PREFACE Orcharding and small fruit culture represent a major phase of American agriculture, both domestic and export. With the in tensified development of the industry, the science of horticulture becomes more complex, and the professional horticulturist, the student, and the grower all feel the need of additional training and a ready source of recent research. Not only the American, but also the foreign, literature is increasing rapidly, and every branch of study demands consideration. The student of fruit culture, whether in or outside college, should have a grasp of general concepts. He should strive to interpret physiology, morphology, soils, chemistry, and other fundamental sciences interms of fruit plants and their products. The authors hope that they have presented the fundamentals in such a way that they become of vital concern to the serious student. At the same time, they have endeavored to present the most acceptable practices of American fruitgrowing. Pomology has developed into a science in its own right, similar in its fundamental background to other plant sciences. The horti culturist must always remember, however, that he is the representa tive of a vast industry, and that his scientific efforts and leadership must be based on practical considerations. No effort is made, therefore, to force scientific data into this text except as they form a basis for modern fruit production. The general subject of insect and disease control has not been included in this volume. The field is so extensive and specialized as to lie outside our immediate purposes hence only incidental reference is made to sprays and spray practice. The present volume represents a complete rewriting and expan sion of the Text-Book of Pomology. While a few portions of it remain much the same as they were in the original text, by far the major vi PREFACE portion of material is entirely new both as to American and foreign sources. Acknowledgments The authors of this work have drawn freely upon the published material of their associates in the general plant field. Although no attempt or pretention has been made to cite all acceptable literature dealing with a subject, yet the authors have endeavored to select such representative experiments and data as would assist the reader to a better understanding of the problem. Fellow workers have been most helpful either in reading portions of the text orin offer ing suggestions through correspondence, and also in furnishing illustrative material. Our sincere appreciation is hereby expressed. We are particularly indebted to Dr. J. R. Magness for a critical and helpful reading of the entire manuscript. Special assistance and courtesies have been extended by Dr. F. P. Cullinan, Dr. R. M. Smock, Dr. Leon Havis, Professor F. H. Beach, Dr. Reid M. Brooks, and Dr. L. D. Baver. Two of our students, Wesley P. Judkins and David Allmendinger, assisted in the compiling of data and the checking of literature. To Jean W...

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.